"One of the goals of this project was to use iconographies tied to the complex of technological neoliberalism (think things like QR codes, NFC tags, etc) in ways that allow me to question more deeply my role as an economic cyborg, being that my entire genealogy is born of the transatlantic slave trade, of the middle passage and the events which ensued.
Ubiquitous cameras, facial tracking algorithms, predictive analytics, etc-- each of these technologies have been built in ways that facilitate acts of continued violence and exploitation onto my people. These icons take on a very totemic quality-- connecting the impacts of these acts to realms outside of the purely physical and material and into realms of the genealogical and the spiritual. With that, I am doing what I can to exaggerate these qualities through my music, my writings, and through this performance installation project."
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"(T)he music has a conceptual richness and grandeur that's startling for a short record composed of sparse and kitschy elements. It recalls the crystalline post-grime of Visionist flushed with confused longing, as if the dystopian intelligent machines of the HD digital music for which Adam Harper coined the term distroid had discovered the ghosts within themselves. The tracks are shot through with elation and mourning, cavernous strings and anti-rhythmic drums clashing with bleak vocals." The Wire Magazine. October 2016. Print.
"A droning meditation on ubiquitous surveillance, the continued commodification of blackness and black bodies, and the opportunities and dangers posed by contemporary capital, this is a graceful, heartsick work. Its songs arrive broken and fractured, before reassembling themselves with joints exposed: a series of posthuman laments, powered by wailing strings, skittering textures, and cyborgian utterances. Over mournful soundscapes, spoken word pieces are lodged close to the ear, telling tales of (dis)connection, (dis)appearance, pain, and love. These songs feel like the remnants of a distant storm, exposed, dislocated, and peripatetic, as if they might be blown away at a moment’s notice. One is given the impression of walking through some haunted space, buffeted by voices and sounds that swell and strain, impinging on the machinic and the digital. Lovesick drone-ballads for the neoliberal age. 4/5 (EUREKA!)" - Tiny Mix Tapes. Web. 30 August 2016.
With a crushing instrumental debut just out via Rabit's Halcyon Veil imprint, Fayetteville-based multidisciplinary artist N-Prolenta (née Brandon Covington Sam-Sumana) has prepared for Purple Tape Pedigree a piece entitled A Love Story 4 @deezius, neo, chuk, E, milkleaves, angel, ISIS, + every1else.... and most of all MY DAMN SELF as an active extension of their performance project entitled Black Hydra’s Discharge Springs Forth Errantly From Her Many Mouths.
This EP reflects the journey to reach illumination on the function of personal identity – both individual and collective, among contemporaries – within the confines of the present. Through 5 movements pulsating with distorted sub frequencies, fragmented melodies, and decimated voices twisting out lines of spoken word prose, N-Prolenta seeks to, in their own words, “grate against systems of power by using pieces of its own language, especially within networked space.”
On “Rush (a humor),” waves of disturbed noise erupt into an orchestra of spiraling clicks, giving context to the fragile, societal membranes tying us together. “Bref (denise, beside herself)” trails delicate yet discordant strings over walloping drums and manipulated vocals as a taste of the present wound that they pull apart, grasping for connection under a system of oppression. “Query As Prayer” brings the record into a vast expanse by fashioning a collage from sheer pandemonium, clashing and panning about, creating an unsteady, tension-stressed ground for the narrator's charred speech. “Kola’s Lemma” is a soliloquy on the current American condition, elevated into a state of spiritual trance charged with punches and metallic hits. The final song, “SCREAM PA MI (for @deezius and kola),” celebrates the deformation of one's identity as a glossy R&B solo is warped into a glitchy, auto-tuned choir atop a surging, struggling drum pattern. It is a rightful closer to A Love Story…, bringing a sympathetic breath to the record’s electronic flurry.
released August 26, 2016
Mastered: Jeremy Cox
Cat. No.: PTP010
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I really like that this album has so many interesting things going on; usually with these ambient-type things they'll have repetition as a motif, and that's fine and good, but this really stands out because it has its own atmosphere, one that is nocturnal and thrilling. It's certainly one of the best modern works ever made. catfoodcanopener