Nuclear Rapture- 23:58

It’s two minutes to midnight. For the last 2.5 million years or so, we’ve lurched along a hairline equipotential in the vast, catastrophic universe. Rapture is so near you might even be able to peer over the ridge. This is where all that becoming has brought us. Finally, we will know instant solidarity. Annihilation unites us all.

This album was recorded in a single take, late one winter night in Escondido. Adam Goodwin, my former roommate, had come from Berlin to tour the Southwestern United States with a loose confederacy of instrumentalists known as the Murmur Collective. These shows were the first time in years that Adam and I had shared a difference tone. While this recording marks a clear continuation of the aesthetics of Molten Lava Eyeball Fiend (2010-2012), much of the instrumentation has changed. Everyone’s favorite amplified metal cow-bat, Ms. Bovina Clovis, has long been put out to pasture and euthanized. Her characteristic bullroar has been replaced with belching, distorted homemade synths and turbulent wavelets of Penelope Gkika’s virtuosic violin shredding. The dispersive resonance of long amplified metal springs provides a broth for the stew.

Regarding the music video we made for this album — “Grand March” — I hope it is clear that the marchers are not intended to be understood as fascists. The source footage comes from the Korean People’s Army, so, if anything, the marchers are workers with an unfair despot for a leader. In that sense, they have something in common with the USA. Mostly I was thinking about solidarity with the marchers, hence painting them red and black. The non-human military imagery risks seeming to glorify technology–I intended instead to simply point to the totalitarian endgame of technology under capital. It’s a bit tongue-in-cheek, especially since we kept the title as ‘Grand March’, implying the imperialist spread of liberal Whig ideals toward world domination.

Sitting around a campfire in 29 Palms, we discussed the inevitability of civil war breaking out here. Families would be ripped apart, urban guerrilla warfare would likely drag on for years afterward. “It makes me want to flee the country for Europe or something like that,” I said flatly, “It’s just not worth it.” Adam paused, and looked at me for a moment. “It makes me want to come back.”

Thank you to J Robert Oppenheimer

Πηνελόπη Γκίκα – Violin
Adam Goodwin – Bass
Joe Mariglio – Electronics
20′ industrial spring – Itself


Album art by Adam Goodwin, Chelsea Pattee, and Joe Mariglio.

Recorded, Mixed, Produced by Joe Mariglio.

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