Wednesday, 23 March 2016


duncan smith cameron work from robin bale on Vimeo.

So the sanctimonious slapheaded twat now claims to have a conscience  that has revolted at the things he appeared previously to be doing with some gusto. Who knows if it's true? Who cares?

But anyway, just in case anyone feels the tiniest sliver of empathy for the prick (unlikely, I know) - here's a video I made a few years ago of him trying to justify his "Work Programme" slave labour initiative. It might sound more familiar in German. I'm not saying that he's a nazi, or not consciously anyway; he's just obviously historically illiterate, perhaps.

There's some Cameron in there too (I think that it was his post-riots statesman act) for added emphasis and colour.

Saturday, 12 March 2016


My performance from last December at the Dungeons of Polymorphous Pan. In case you are wondering, aqua tophana was a poison believed to work so insensibly slowly that it was indistinguishable from old age. It was also meant to be so virulent that a single drop could poison the entire sea. It actually does have some historical basis, in that there was a famous manufacturer of that  poison, Giulia Tofana - so it is in fact a brand name.  I've always enjoyed the idea that we have all been poisoned by it - which is why we don't live forever.

The stick that you can see me holding is an improvised bass - it had machine heads strung with fishing line, an empty can for a resonating chamber and a contact mic for amplification. It was rather microphonic, so you can hear my voice coming through it into the effects pedal it was attached to as well. Unfortunately, it didn't survive the night but mark II will make its appearance sometime soon I hope.

Monday, 26 October 2015


The Bike Cemetery in Winter 2012

 My podcast, Return to the Bike Cemetery, is now available on
 there's some other very good stuff on there too, including a talk from a historian of smell, an ethnomusicological discussion of the music of the BayAka people, and a discussion of  manifestations of economic thought in cultural products. It's a very pleasingly heterogenous collection.

My piece is the first in a projected series of three programmes that will take different levels of interpretation (or degrees of generality) and angles towards the Bike Cemetery. They will all be equally preoccupied with sound, though; how it can evoke a space, or series of them, how it can internally dislocate a space (especially when broadcast to somewhere else), and its temporality - that is, its passing, which is of course the precondition of its stubborn or uncanny return (say, in the use of delay).

A rough outline might go: Bike Cemetery - empty space (as in Claude Lefort's image) - sovereignty of subject (bourgeois liberal democratic) - sovereignty (as in Karl Schmitt's version of decision) - exception and example, and the spatial relationship that both categories necessitate - Bike Cemetery - waste ground - "waste" in terms of time - metaphors of "natural" growth/accumulation - the responsibilized subject - "unnatural" growth/stasis - the welfare state and its characterisation by the likes of Charles Murray - "addiction" as trope, to benefits or (for the state) to debt - addiction as perpetual return (to same place) therefore antithesis of neoliberal models of growth or statehood - the stuttering, repetitive inscriptions at the Bike Cemetery.

I realise that the outline just given might seem confused, fragmentary and a bit dry, but I am going to do my best to make it a coherent trip through some contemporary obsessions. I think that the audio essay form can do this well. 

Sunday, 9 August 2015


Sunday, 2 August 2015


Clear evidence of the detrimental effects of sleep deprivation - at Super Woofer yesterday
So the promised album became a five track E.P, though all the tracks are relatively long...But nonetheless it has appeared and made its debut in the world yesterday at the SuperWoofer audio fair. It was a lovely event with lots of cool stuff going on - though I have to say I wasn't all there myself; I had to do an all-nighter Friday to get the covers done. But what did I experience through a fog of near hallucinatory tiredness was highly enjoyable. Many thanks to all who stopped to chat, listen and a big thanks of course to all that bought one. It may not be apparent in the picture, but I was (and still am) buzzing that I'd actually got it done.

The tracks are (though not necessarily in this order on the CD):

In The Fifth Year parts 1 & 2
History Will Be My Judge
July 2015
The Chariot

The cover artwork is, as promised hand-printed by myself. It is comprised of lino and foam cuts made by me. The imagery is drawn from the track The Chariot - which was very nearly the title of the release, but for a variety of reasons, one of which was the relative ease of carving 6 letters as opposed to 10 and another was the content which seemed to focus on shame but in the more nuanced sense that the German word has; of wrong, blame and accusation as well. Hence Schuld.

So here's some pictures - click on image for full-size slideshow:
Front cover - foam print on gatefold card

Cover - front and back. Foam, rubber letterpress and lino cut on gatefold card (yes the fly and horse are in The Chariot as well

The Faecal Sword - lino cut on gatefold card (you'll have to listen to the track) and the label - lino cut and letterpress on paper

Label - lino cut and letter press on paper CD label
Inside cover

 If you want one - and I can't see why anyone wouldn't - it's available from me, £5 + p&p. Just email me and I'll stick one in the post. I will be setting up a DISFIGMENT/BANKRUPSEA website that will have future releases on it. There will be future releases, rest assured. I will also stick a sampler on soundcloud - it'll be linked here, of course - cos I suppose it is possible that you might want to hear what it's like.

Wednesday, 22 July 2015


The title/logo of my new imprint. Text from the Bike Cemetery.
A very slight and oblique clue about the album - could be title or dominant trope

On Saturday 1st of August, I will have a table at the SuperWoofer sound fair (1-11pm, free entry) at Matts Gallery 42–44 Copperfield Road, London E3 4RR.

I will be flogging a newly released CD of tracks that are unavailable online with a lovely hand printed cover. It will be the launch of my new imprint (logo at the top of the page).

It's more guitar heavy - though admittedly mostly one or two chords, so no heroic virtuosity - than anything I've posted up here. Two of the songs deal with places - one directly with a real place and the other a fractured allegorical origin tale of a place. One evokes a journey by car. One is a recontextualisation of an  intelligence-insulting political cliche much bandied about. 

It's comprised of stuff I've had lying around on my computer for a number of years and have sort of tinkered with on and off, that now seems ripe for an airing. It's partly about exorcising some of my old (post) punk ghosts, and partly about how these are fucking great tracks that should be heard.

All going well, there will also be a companion CD of experiments and oddments that are more abstract but hopefully as rewarding. I don't know what sort of cover that will have. I also don't know yet which will be the E.P. and which the album.  I have also made a booklet of image/text treating of the Bike Cemetery that simply needs printing - if I get that done it'll be available to buy at the event too. It all depends on available time/energy/money.

So come along if you can, gentle reader, and buy some top quality noise and poetry; or just come and say hello and have a drink. It promises to be a great event in any case.

You can get the CDs after the launch direct from me as well, just write and we'll sort it out. 

Sunday, 19 July 2015


Video still courtesy of Nicola Woodham 2015

If any of you are in the South East London area tomorrow - or even east London, what with the very effective overground connection that now exists - and you fancy seeing and hearing some psychedelic noise performance, come along to Goldsmiths College, 3rd floor of the Ben Pimlott Building. Check out the installation that will be open before 6 - and the rest of the MA fine art shows beforehand whilst you're at it.

I'm accompanying the great Nicola Woodham in her vocal piece Garg. She will be using a costume and effects pedal on her voice and I'll be playing noise guitar and some percussion through a space echo and synth. Feedback and resonance will abound.