There is, as always, a lot happening on all fronts and countless chainsaws to keep up in the air. Since I saw you last I’ve had a book published. Written for the one of the oldest and most prestigious art galleries in East London, the Whitechapel Art Gallery, it’s a primer for 4 to 12 year-olds presenting them approaches on how to break down and engage with some of the basic ideas of contemporary art. Deeply interactive. It’s a handmade book that’s only available at the gallery for the time being though over the Summer we’ll be in negotiations about putting it out more mainstream. Should it become something that you can get online I’ll be sure to send up a flare and let you heat-seek.
Work on the fabled, storied Prude record, "The Dark Age Of Consent", is almost done on our end. Once the eyes are crossed, the t’s detonated and the spring sprung from the banana clip of our AK47 it’ll slot into the hungry little mandibles of Wade Alin for production. I know that it's been a long time in coming, but this is one of the negative by-products of writing a record with five people who are all engaged in their own projects. Life, and building the record across 300 miles of dark water didn't make it any easier. Next one we record in one place and in one week.
You can come and sniff the putrefaction here: www.myspace.com/prudemusic
Plastic and I are also deeply engaged in writing a record of our own. This will be another tangentially weird one, following more of an Eno arc through a broken land of songs, stories, soundtracks and rainy shadow traffic. We’re going to be releasing a collected series of very limited edition records through Welt Muzik ( the site, currently under construction, is: www.weltmuzik.com ) courtesy of the Ded Man. He’s old guard Chemlab and has some great Machine Rock ticking machine war stories to recount. Maybe some time we’ll record them too. The series will go under the heading of The Speed Trials. We’re debating whether to call this first release “The Future Was Then” or call it “The Future Was Yesterday”. I’m leaning towards the latter today.
I could spend a lot of time talking about what it is and will be, but I need to mention that there will only be 200 copies. It’ll be pressed on vinyl, 10”, nothing digital, and each of the covers will be signed, numbered and the artwork handmade so that each one’s utterly individual, some containing embedded teeth, paint, ashes, steel shards, rust dust and other Atomic Age waste.
Collectors item shit, ya know.
For more details you can check out an eye-shard that’s got a bit more info about the record. It’s triangulated here:http://www.youtube.com/watch?v=U4Kc1xlJ4_0
I’ll let you know when it’s going to go into the sales stream. There’s been a lot of interest in it already and I could essentially sell it out right here in the UK, but that’s utterly unfair to my long-time US fan base and I want it to be available across the dial. However, since there will only be 200 copies available, no pre-orders and no press copies, it’ll go fast. We’ll eventually make it digitally available to everyone that buys the vinyl so that you can have it on your iPod, but that won’t happen until it’s sold out, just to keep it from getting bootlegged everywhere…like there would be that kind of interest!
The latest Chemlab track, Solar Max (The Jimmy Semtex Coil) will be out in February on the ‘Electronic Saviours’ compilation released through Metropolis. It’s a 4-disc comp that’ll be all over the map including exclusive tracks from:
Suicide Commando, Rein[Forced], Caustic, SMP, Assemblage 23, Stromkern, Cyanotic, TERRORFAKT, The Gothsicles, Christ Analogue, 16 Volt, Combichrist, Ego Likeness, Acumen Nation, Gencab, Imperative Reaction, Tower/Opens/Fire, Deviant UK, Spahn Ranch, Massiv In Mensch, Hype Factor and on and on.
There are literally dozens more, sprawling across the musical spectrum from Splatter to Chatter through Dark Scree and Stutter, confounding splinter factions and purists everywhere. It’ll be a sight to behold, a scalpel to hold, and it’ll support an excellent cause: cancer research.
The last thing to tell you right now is that I’m on Twitter: www.twitter.com/chemlab
You won’t find details of the cup of coffee I just drank or the size of last night’s shit. That quotidian blah just doesn’t interest me at all. Instead, I bitch it, use it as a stories division, a place where I can fuck with lyric ideas, post clips and new songs and just riff neon-streams off the cuff at 3am. I’m there when I want, and that’s on-again off-again. Come check out the frayed edge, the back-port, the sunken wreckage.
There’s a fire outside. I’m gonna go and watch.