Just a bit more than two weeks ago, Bandcamp Daily released a review of JPEGMAFIA, focused on his latest album,¬†Veteran. We at Guillozine only regret that it took us so long to come across him. In his work is combined artistry of the highest calibre, both lyrically and sonically, even in comparison to the rest of the burgeoning experimental/industrial rap scene, and a consistently, uncompromisingly radical lyricism, including some of the best song titles this decade: our favorite is “I Cannot Fucking Wait Until Morrissey Dies”. All of his albums are available for free on his bandcamp, and we urge that you do not limit your listening merely to Veteran, but rather listen to his entire output, from Communist Slow Jams onwards.


Zeal & Ardor

The band “Zeal & Ardor”, a masterful fusion of black metal and the blues, has recently received extensive attention following the release of their debut album last year, Devil is Fine; my main regret is that I did not come across it earlier. This fusion of genres, one which seems entirely without precedent, surprisingly works quite well: according to the band’s leader and vocalist, Manuel Gagneux, a leftist in his own terms, this is due to the roots of rebellion in both genres, as well as the complex and antagonistic relationship to Christianity, which was, in his words “forced upon both the Norwegians and the American slaves”.

I enthusiastically await another release


Theses on the Relationship Between Horror, ‘Dark Music’, and Critical Theory

  1. Horror has two strata: ‘horror’ and ‘avant-garde’
  2. There is a close link between the concerns of various currents in critical theory and currents of horror/avant-garde fiction: consider the similarities in concerns between the Frankfurt School and Kafka, or between French Nietzscheans and the Symbolists and Decadents (Bataille, being an avant-garde novelist as well as a critic, is an especially good example), or the connections between contemporary British theory and horror fiction (such that ‘theory-fiction’ is a genre born from the CCRU, and hauntology is both a critical term and a device used in fiction).
  3. If the various musical movements of the 1970s (funk, art rock, disco) reflected the hope and experimentation of the radicalism¬† of the ‘hot 1970s’ (take, for example, “Life During Wartime” by Talking Heads), first the bitter anger of punk and then the depressive horror of post-punk, gothic rock, and industrial music were a response to the neoliberal turn of the late 1970s and the retreat of the Left. Indeed, with some exceptions (Wham! being a notable one), one can separate New Wave from post-punk based on attitudes towards the neoliberal turn.
  4. The emergence of fascist bands from post-punk (beyond of course the brief vogue of fascist symbology to “shock the bourgeoisie” in early post-punk, itself a practice that must be condemned), and their relative strengths in the black metal, power electronics, and neofolk subgenres (the latter being founded by a Strasserite) should remind one that a refusal is not enough. If subculture claims to be apolitical (as many fans of fascist bands–and as many bands that rely on fascist imagery–do), what it means it has not thought about its politics and does not intend to.

Moor Mother

To kick off Guillozine, we’ll review Moor Mother, the solo experimental Afrofuturist noise project of Camae Ayewa. It’s not for nothing that even such mainstream, corporate outlets as Pitchfork, Rolling Stone, and The Wire all acclaimed her 2016 album Fetish Bones as one of the best avant-garde albums of the year. While this is her most well-known album, all of her releases are definitely worth at least a listen. Her work is explicitly and thoroughly political (take, for example, her EP Thank you Dear Sister Assata / Angela Speaks, which, as the name implies, includes vocals from speeches by Assata Shakur and Angela Davis), and benefits from this focus–as she said in an interview with The Fader, “I’m slipping them the liberation technology into the droney beats”.