Author Archive: Azlyrics

Fact Mix 836: Sockethead

Sockethead stitches together a smoked-out selection of his own productions in a loose sonic narrative.

Central to the contemporary explosion of unbridled creative energy currently reverberating around Manchester’s electronic and experimental music scenes is artist and lecturer Richard Harris. Working across painting, collage and sound with the same expansive approach, his Sockethead project sees him folding found internet media, live instrumentation, field recordings, as well as both analogue and digital technologies, into his source material, sculpting a loose, exploratory sound that draws as much from outsider folk and DIY noise as it does from Detroit techno and DJ Screw. From sparking up against FUMU and Turinn as part of the Return To Zero collective to drifting in and out of the ever mysterious Michael J. Blood’s cult tape series, Harris’s ragged production techniques and somnambulist vocals are threaded through this new Manchester sound, breaking out into idiosyncratic, mutant forms on his singular debut album, Harj-o-Marj. Released during the pandemic but recorded back in 2018 alone in a caravan on the west coast of Scotland as part of an artist residency, the album stares bravely into the void of the psychological torment and self-sourced melancholy of isolation, wrenching back a well-worn set of makeshift tools for navigating the headfuck anxiety of lockdown.

Tracing a similar vein for his Fact mix, Sockethead stitches together a smoked-out selection of his own productions. “This mix is a journey into my practice of storytelling through sound,” explains Harris. “I have included examples of film scores that have been made in response to moving image, experiments in synthesis and wandering spaces. Performing live has influenced the sonics of this piece for Fact, harnessing chaos and moving constantly. It’s a letter home, to myself, and to my angels.” At once formal and iconoclastic, these cut up compositions demonstrate a reverence for foundational US and UK dance styles while always turning towards the rougher and weirder enclaves of club sonics, flitting between surging drum machine rituals and yearning, wasted soul, stretching skeletal dembows into peals of feedback squall and contorting the exhumed remains of grime instrumentals and screwed hip-hop into twisted, ouroboros sound design. But it’s in Harris’s lyrics that we might pick out his fractured narrative, which returns to themes of isolation and oblivion explored on his debut, shot through with situationist anguish and urban existentialism.

“It’s cold in the city when you’re on your own,” he intones. “It’s cold in the city when you’re loved ones are gone. It’s cold in the city when the night turns black. It’s the neon lights that kinda save me from that.” Blurred vignettes and snatches of dialogue gesture towards Beckettian cycles of surreal frustration and entropy ( “You didn’t need to do that / Why did you do that?”), pitch-shifted mantras suggest a creeping religious weight (“all good souls”) while Harris’s own crackled croon hints at sacrifice and desire (“love comes with its prices”). Ultimately Sockethead seems to exist in a liminal space between the quotidien drudgery of tough, neglected environments and moments of fleeting, narcotic transcendence, playing the songs of the in-between: “It’s cold in the city when you’re awake at night. It’s cold in the city if you keep getting high. It’s cold in the city when you want to escape. I tried it many times but the fear doesn’t shake. But instead I’m here flossing my teeth away.”

For more information about Sockethead and his work you can follow him on Instagram. Sockethead appears alongside Michael J Blood and Rat Heart on True: Volume 1, out now on BodyTronixxx.

Tracklist:

‘Improvisation_1’ (Score from a collaborative film with Joe Whitmore) 
‘Well Of Gratitude’ 
‘Practicing Karate On Swans’ 
‘Good’
‘Fear Of Failure’
‘We Keep Moving’ 
‘Humanising Machines’ 
‘My Teef Hurt’ [Feat. Baby Teef]
‘Yup’
‘Cold In The City’ 
‘The White Hotel’ 
‘Priorities’ (Sample provided by Arli) 
‘Yeah, The Healing Powers’ (Sample provided by Metal Preyers) 
‘I Wish I Knew How To Get Rid Of This’ 
’21’ 
‘Lost Boy’ [Feat. Baby Teef] 
‘Socket’ 
‘3 Times A Week’ 
‘A Knife Is A Silent Weapon’ [Feat. Cloudboi] 
‘Letter Home’ 
‘Drum Track’ 
‘Next to You’

Listen next: Fact Mix 835 – Disco Ma Non Troppo

L I M embarks on a journey of self-discovery in ‘BUBU’

Milan-based artist L I M and Italian director Giada Bossi tell a “coming of age” story about body and identity.

In the video for L I M’s ‘BUBU’, directed by Giada Bossi, the protagonist levitates from the bedroom to the club in a surreal narrative. The song’s house beat initially mimics a muffled heartbeat before the stillness erupts into a joyous club track just as the scene shifts to the dancefloor. The video ends back in the bedroom after an explosive psychedelic sequence that leaves the viewer wondering whether what transpired was dream or reality.

‘BUBU’ is taken from Milan-based L I M’s debut album GLOWING, which tells the artist’s personal story of self-discovery, and was written after a long period of “work, healing and transformation”.

The album was written alongside L I M’s longtime friend and collaborator Stefano Riva. “We worked for two years and a half about this glittering revelation, we choose to unfold the journey of discovery, my identity and the collective experience linked to it,” L I M writes.

“I decided to fully embracing my identity and body and to everyone who can relate to this process I send you all my unconditionally love and support.” 

The video was directed by Giada Bossi, an Italian director whose approach combines storytelling with an aesthetic approach to documentary and narrative. “It is an ode to transformation, a current “coming of age” story about self-discovery and embracement, about body and identity, talking about L I M and many others going through the same path,” Giada Bossi says of the video’s concept.

“Dreams and reality merge, in a journey that has to face others: it is just through the support of people around, that the protagonist dives into himself to embrace his essence.”

GLOWING is released on February 18, 2022 on La Tempesta Dischi. Follow L I M on Instagram and find his music at Spotify. Find Giada Bossi at Instagram.

Credits:

Director: Giada Bossi
Executive producer BWGTBLD GmbH: Philipp Ramhofer
Executive producer Borotalco.tv: Matteo Stefani
Cinematographer: Francesca Pavoniv
Line Producer: Giuditta Mauri
Production Manager: Tommaso Spagnoli
1AD: Viola Folador
Production Coordinator: Matilde Brockhaus
Assistant producer: Ilaria Fondaci
Production Assistant: Leonardo Pavesi
Casting Director: Greta Brunelli
Styling: Aurora Zaltieri
Stylist Assistant: Federica Furfaro
Make Up: Thea Vismara
Hairstylist: Gabriele Marozzi
Set Designer: Carlo Maria Filippelli
Photographer: Anna Adamo
1st AC: Niccolò di Guida
2nd AC: Valentina Chiarello
Data Manager: Matteo Croci
Gaffer Day 1: Alan Zacchetti
Gaffer Day 2: Filippo Ficozzi
Electrician: Gabriel Reyes, Matteo Corti, Filippo Testa
Key Grip: Mohamed Ali
Grip: Fabio Macchi, Giacomo Colombo
Stunt coordinator and stunt performer: Simone Belli
Key safety: Riccardo Cabalisti, Federico Lanzone, Beatrice Tedaldi
Stunt assistant: Cristian Toscano, Lucrezia Mariutto
Visual Art: Martino Pastori
Editor: Filippo Patelli
Colorist: Daniel Pallucca
Location: Spazio36, Tunnel Club
Service: Moviechrome Milano
Camera Car: SkyRent
Transport Equipment: Free Autotrasporti
Driver cast: Arcobaleno Trasporti
Admin: Agnese Incurvati, Annamaria Modica
Protagonist: Ian
Co-Protagonists: Giacomo, Sara Amico, Yuri, Maurilio, Sophie Margot Bercovich
Extras: Alice, Omar Gabriel Delnevo, Silvi, Fra, Andrè Fernandes, Sofia Esposito, Aaron, Federica Giulia
Sacchi, Matteo Paglierani, Marco Tabasco, Annalaura Guastini, Aureliana Bontempo, Francesca Genesi,
Martino Pastori, Giacomo Marchetti, Ludi Mengoni, Albassa
Special Thanks to: Lombardia Film Commission, Andrea Montanelli, Maria Prinzivalli, Daniel Patelli, Cristina
Gaudioso, C3 & friends, DiffRent, Gianluca Colino
Music credits:
Written and composed by L I M prod. by RIVA,
mixed by Stefano Scattolin, mastered by Antonio Baglio.
Label: La Tempesta International

Watch next: Ehua channels the motion of water in ‘Aquamarine’

Ehua channels the motion of water in ‘Aquamarine’

Ehua and Matteo Zamagni explore the paradoxical nature of a liminal shade through intricate costume design and improvised choreography.

Earlier this year London-based, Italian-Ivorian producer Ehua released Aquamarine on Nervous Horizon, an EP inspired by the colours and movements of water. Corralling homemade percussive samples, original vocals and a broad variety of tempos and moods, Ehua explores the depths of her subject matter with a dark and enveloping sound. It makes sense, then, that for the visual for the project’s title track the artist’s sights are set squarely on the bottom of the ocean. Collaborating with director and musician Matteo Zamagni, also known as Seven Orbits, Ehua embarks on an exploration of “the paradoxical nature of the aquamarine colour, it’s presence and invisibility.” Abstract, gauzy close-ups of fabric, skin and pearls give the impression of organic life forms, Ehua’s own movements approximating the ebb and flow of marine life.

“Preparing to shoot this video was a unique experience,” she says. “We turned Matteo Zamagni’s place into a workshop and spent over a month brainstorming, designing and looking up materials to create the outfit and all its imaginary creatures and natural formations. I want to incorporate all my skills in my artistic practice. Dancing is my compass, they way my body reads sound and lets me know I’m onto something good when I’m working on new music.” Drawing inspiration from aquatic lifeforms, Ehua looked to channel the motion of deep sea creatures in her choreography. “To build the vocabulary for the dance improvisation I observed the contrasts between the subtle and almost undetectable movements of corals and the virtual freedom of the jellyfish.”

The result is a hypnotic marriage of instinctual movement, carefully crafted costume and evocative set design, with Ehua and Matteo Zamagni bearing out the cavernous pressure and shadowy sensuality of the track in the most minute detail.

‘Aquamarine’ is out now, on Nervous Horizon. You can find Ehua on Instagram. For more information about Matteo Zamagni and his work you can visit his website and follow Seven Orbits on Instagram.

Watch next: Entangled Others Studio visualise harmony between natural and artificial life in Hybrid Ecosystems

Entangled Others Studio visualise harmony between natural and artificial life in Hybrid Ecosystems

Neural networks trained on the sounds and images of the day-to-day of the world around us generate a constantly shifting, hybrid ecosystem.

Entangled Others Studio was founded to tease out the complex entanglements between the human and the “more-than-human” world. Neural artist Sofia Crespo, generative artists and former architect Feileacan McCormick, sound artist Alejandro Mune and creative researcher Alan Ixba define an entanglement as “a complex state one where no single entity can be said to be separate, or somehow unaffected, by any other present entangled.” In acknowledgment of the continual blurring of physical and virtual space due to the development of more and more complex technological systems, Entangled Others assert that “the rich substrate of the uncanny, eerie spaces between us and the non-human world cannot remain as an aesthetic space, our world cannot bear this self-imposed distance and denial of our inter-twined state of us and other.” Instead, through a communal generative art practice, the studio seeks to encourage and nurture an interconnected world in which the natural and the artificial, the human and the more-than-human exist in dynamic harmony.

Hybrid Ecosystems is an ongoing work that is emblematic of this engagement with everyday entanglement. “The digital and physical world seems at first glance separate, occupying different layers of reality that seem to reluctantly interact, this is further reinforced through the manner in which digital interfaces are designed,” explain the studio. “The reality of our mundane life is that these two layers of reality are in fact tightly interwoven, constantly influencing, interacting, shaping & reshaping, consuming and acting. Our inherited bias towards seeing the man-made, or artificial, as different from the natural world further obscures this reality where digital agents (software & hardware) behave and interact as an ecosystem, also with the natural world.” Aquatic life-forms suggest themselves before rapidly evolving into more complicated variations and blending seamlessly into artificial abstractions, intricate coral formations and deep-sea organisms sharing space with oscillating circuit boards, formless electronics and unrecognizable virtual interfaces.

“By prompting neural models trained on the vast mundane visuality of our world, i.e. with standardised datasets that are considered a benchmark for the status quo of our day-to-day lives, we attempt an exercise of re-imagining,” continue Entangled Others. ” Starting well within the familiar, this exploration of neural-speculative visions of reality attempts to manipulate and distort our mundanity into speculative representations of the digital & physical entanglement: exploring how we can stretch our imagination so as to see a world of harmoniously interacting artificial and natural life as one single, sustainable ecosystem.” Set against the uncanny, discordant tones of Alejandro Mune’s sound design, Hybrid Ecosystems approximates the experience of being submerged, not in the aquatic environs that the work gestures towards, but in the ceaseless currents of an entangled, harmonic environment.

For more information about Entangled Others Studio you can visit the studio website and follow the studio on Instagram. You can also find Sofia Crespo, Feileacan McCormick, Alejandro Mune and Alan Ixba on Instagram.

Watch next: Against The Clock – Stiff Pap

Against The Clock: Stiff Pap

Against The Clock is a series where we give an artist 10 minutes in the studio and see what they come up with.

Stiff Pap are producer Jakinda and MC Ayema Problem, a Johannesburg-based duo whose music combines hip-hop and house influences with South African kwaito and gqom. They describe their sound as “post-kwaito” in a nod to the previous generation of South African club producers, whilst adding their own spin to the genre’s rich legacy to create their own unique hybrid sound.

On this episode of Against The Clock, we visit the duo in Johannesburg, where they make a track in 10 minutes with a simple setup including laptop, Ableton Live, NI Komplete Kontrol MIDI keyboard and APC40 controller, with Ayema Problem layering vocals on top.

As the duo tells Fact, making a beat with time restrictions isn’t something that they’re used to. “The thing about making a beat in that kind of time is that you really get into it and then you wanna keep going,” Jakinda says. “I think that the method we used to record the song was interesting, because we were recording right from the start, which we don’t really do but for the purposes of this I thought it would help us out.”

“We were just in the moment,” says Ayema Problem. “When you get 10 minutes you focus so much on what you’re doing, you block out the outside world, and I feel like we really were in our element.”

Earlier this year, Stiff Pap released TUFF TIME$, an album accompanied by a short film that present a snapshot of life as young Black men in Johannesburg. It was followed by a three-track remix EP, featuring reworks from Nyege Nyege affiliate Menzi, Rose Bonica and Petite Noir.

Follow Stiff Pap on Instagram and SoundCloud, and find more of their music at Bandcamp.

Filmed by Diego Ollivier

Watch next: Against The Clock: Rian Treanor & Mark Fell present Intersymmetric Sequencer 1

Fact Mix 835: Disco Ma Non Troppo

Disco Ma Non Troppo chase lysergic sounds across a dizzying expanse of genres, tempos and moods.

Disco Ma Non Troppo was the name of a series of clandestine, suspiciously well-attended parties that took place in various basements between 2016 and 2018, so-called to reflect the prevailing musical interests of their audience and the night’s four founders: disco, but not too much. Pursuing an omnivorous, communal appetite for the obscure, the lairy, the sexy and the strange, the crew were committed to chasing a mysterious sound across genre, tempo and mood – impossible to describe, but unmistakable once heard. Though the parties have been on a temporary hiatus, nowadays the four-piece channel their shadowy energies into a monthly radio show on 1020.live, a cult YouTube channel and their own sporadic mix series, Deep Bath. For their Fact mix, Disco Ma Non Troppo step out of the shadows only to drag us down into the lysergic, subterranean realm they are compelled to explore.

“The mix is an attempt to marry our current listening habits and the slightly chaotic approach to DJing we employed at the parties we used to run and plan to resurrect soon,” they say. “We’re also available for bookings at children’s birthdays, gender reveal parties, dogs’ funerals, etc. Even though the genres we play are a bit all over the place, there’s a kind of psychedelic spine to the mix that makes it feel coherent to us, despite the breakneck pace changes. We had a lot of fun putting this together (including some friendly head-knocking over track selection) and hope that energy translates into the mix.” Thoroughly breaking open our heads with the cannibal erotica of psychopath murder ballad ‘Bloodsucker’ from 48 Cameras, the esoteric assemblage project of self-proclaimed “non-musician”, poet and social worker Jean-Marie Mathoul, it’s clear that Disco Ma Non Troppo have spent time in some pretty out-there places during the last few years.

Chugging through the skittering concrète of essential electroacoustic composer Ivo Malec, horrorshow hip hop from ’90s illbient legend Spectre, and the vampirically sexy instrumental from Massive Attack and Mos Def’s ‘I Against I’, perhaps the most memorable cut from the Blade II OST, the acid-dipped 2021 update of John T. Gast’s ‘kings x’ (sister_marion_version2021) signals a plunge into even deeper and colder zones. An excerpt from the stunning score to ‘Anti-Clock’, a forgotten British “puzzle picture” from artists Jane Arden and Jack Bond, oozes into the skunk smoke humidity of Shackleton’s ‘Mountains of Ashes’. The post-punk squirm of The Invisible College’s ‘Between Wars’ trips over itself into the pioneering squat rave techno of Jan Duivenvoorden and Curley Schoop.

Reaching terminal velocity with a lethal sequence of depth charge breakbeat from Hamilton Scalpel, vintage, vicious grime from Crazy Titch and the schizophrenic intensity of Georgia’s ‘Walking Around Soho’, Thoom’s vocals break the spell, dragging us out of the k-hole and into the place to which Disco Ma Non Troppo were leading us all along. The third and final section of this variegated trip, which begins with legendary experimenter Peter ‘Sleazy’ Christopherson’s computer-generated choral project The Threshold HouseBoys Choir and ends with the shredded, four chord invective of beleaguered Manchester punks God’s Gift, sees the four selectors letting loose in spectacular fashion, each pouring their respective energies into a thoroughly crooked dance party. Take us back to the basement.

You can find Disco Ma Non Troppo on YouTube, SoundCloud and every month on 1020.live.

Tracklist:

48 Cameras – ‘Bloodsucker’
Ivo Malec – ‘Spot’
The Spacewürm – ‘Spacegerm’
Spectre – ‘Pillars of Smoke (Return to the Temple)’ [Feat. Sensational]
Massive Attack And Mos Def – ‘I Against I’ (Instrumental)
AIR LQD – ‘قتل عربي’
John T. Gast – ‘kings x (sister_marion_version2021)’
T.U.M.S.A. – ‘Nezinu’
Jane Arden and Jack Bond – ‘Mindless ‘(Anti-Clock OST)
Shackleton – ‘Mountains of Ashes’
The Invisible College – ‘Between Wars’
Jan & Curley – ‘Part 2’
Aasthma – ‘Los Angeles’
Hamilton Scalpel – ‘Cadzow Skrak’
Crazy Titch – ‘Icee Mountain Vocal’
Georgia – ‘Walking Around Soho’
Thoom – ‘Kitabi’
The Threshold HouseBoys Choir – ‘So Young It Knows No Maturing’
Ann Southam – ‘Boat, Moon, River (Edit)’
Belan – ‘Belan 1’
Passarani – ‘Reut-Rc’
Toastyboy – ‘Distant Minds’
DJ Abstract – ‘Identity Crisis’
Heuristic Audio – ‘Wisla’
Clan of Xymox – ‘Stranger (Demo)’
Шесть Мёртвых Болгар – ‘10000 / 200 / 20 / 2’
God’s Gift – ‘Discipline’

Listen next: Fact Mix 834 – Skyshaker

Holly Childs, Gediminas Žygus & Mark Prendergast mould themselves to fit their tools in Hand Axe

Artist Mark Prendergast stars as a YouTube unboxer and tech influencer who warps reality around a misshapen ring light.

Back in 2020 writer and artist Holly Childs collaborated with composer and sound artist Gediminas Žygus on a series of works entitled Hydrangea. Culminating in an album for James Ginzburg’s Subtext, Hydrangea explored political conspiracy theories, post-internet theories of history, and both artists’ lifelong experiences with rave culture. Working together with Metahaven, who created artwork and lyric videos for the album, Childs and Žygus attempted to unpack the “use of contemporary and postmodern artistic strategies to design narrative uncertainty,” as well as the ways that political theorists such as Steve Bannon, Aleksandr Dugin and Vladislav Surkov manipulate and weaponise information to design realities for submission and control. Setting gnomic dialogue, read by collaborators Elif ÖzbayMarijn Degenaar and artist Mark Prendergast, against Disney string sections, Ravelian piano impressions and HD sound design inspired by gabber and hardcore, the duo blur the lines between fiction and reality, building a disorienting world in which you’re never quite sure whether you’re listening to post-structuralist theory, a data leak or someone’s desperate attempt to make meaning in a sea of multiplatform noise. For their follow up, Gnarled Roots, a contraction of the title of the original performance of the work, Hydrangea 2: Gnarled Roots of a Creation Theory, Childs and Žygus follow these threads, mapping out an intricate account of 21st Century mythology, taking the destruction of the Twin Towers on September 11, 2001 as its origin story.

The album and performance take this title from the infamous PhD thesis of Australian businessman Craig Wright, a computer scientist and businessman, who in 2016 made the spurious claim that he was, in fact, the creator of bitcoin, the mysterious Satoshi Nakamoto. This exploration of confused contradiction, the presentation of two possible realities, neither of which seem to have any satisfying consequence, refers back to the original image of the Hydrangea, a plant that blooms either pink or blue depending on the soil it’s grown in, a phenomena which today invokes the deranged spectacle of gender-reveal ceremonies shared on social media. It’s in this space of online artifice and reality-bending that the warped visual for Hand Axe takes place. Created by Mark Prendergast, who also narrates the track and stars in the video, Hand Axe follows a YouTube unboxer and tech influencer making content about a uniquely contemporary artefact – the ring light. “I’m fascinated by the whole YouTube software tutorial / consumer tech review / unboxing content creation phenomena – It seems to be a kind of marker of where large swathes of the western world is at right now, and I’m really interested in the mechanics of it all,” explains Prendergast. “There’s an inherent mania to these kinds of videos, especially the unboxing ones, where the person is trying to keep what is in essence quite a boring activity engaging.”

“The product worship aspect of the whole thing only adds to the mania”, he continues. “In my mind it can all lead to people betraying themselves, at mercy to the strange ‘adsphere’ we all find ourselves in.” The video sees Prendergast receiving delivery of misshapen ring light, yet, rather than disappoint his followers, he warps the world around him and his own form in order to adapt to the defective technology. Drawing inspiration from Michel Gondry’s video for The White Stripes’ ‘Denial Twist’, Prendergast flips the aspect ratio, exposing the mutant properties of the digital image in the process. “When the vertical video format started becoming more prevalent on smart phones and Instagram/TikTok, I always wanted to explore the distortions that happen if you stretch a 16:9 landscape video to 9:16 extreme portrait, as I feel the new formats that arise from the progression of technology can become sites to explore where culture is at,” he says. “When Holly and Gediminas asked me to be in the video, it felt like a perfect opportunity to give space to my inner influencer. The track’s theme of the relationship between human and tool seemed to really be encapsulated in the narrative of an influencer reaching out and turning the camera in order to deform himself around the product he is unboxing. There’s two different versions of the video too, desktop and IGTV. As always, make sure to like and subscribe, and follow @600unboxes for more content.”

“We started making the Gnarled Roots album at a residency in the Lithuanian spa town of Druskininkai in 2018,” explain Childs and Žygus. “It is a small town that used to be a Soviet sanatorium town, that is essentially in a massive, lush and magical forest. We were talking about the history of Lithuanian forests and them as being the containers for underground and illegal activity, such as illegal raves, mafia criminality and guerilla warfare. We were also thinking about forests in general as spaces that can be impenetrable and secret, where some entities are able to navigate the terrain, and others get completely lost – the legibility of the space is a gradient. Druskininkai is on the border with Belarus; and is now also the backdrop of the refugee crisis that is playing out, and that is the subject of an intense informational war that can be seen all through the media.” In Hand Axe, we see Prendergast trying to figure out this new, deformed world he finds himself in, navigating a digitally transfigured topology that only makes sense in relation to the new technology he has introduced into the environment.

“The concept of the track is loosely based around the hypothesis that technological tools and generally design itself, is continuously reshaping the human body,” they continue. “It was originally theorized by architectural and design theorist Mark Wigley. The video Mark has made for Hand Axe works with one of the central tenets we come back to often in our work: “find the false illusion and make it real”. In this video, his character unboxes a ring light, and finds that it’s not as he expected. Instead of questioning the seemingly defective ring light, a tool for casting even light over a portrait subject, he moulds himself to fit this tool, he warps his own dimensions to honor the ring light as a perfect circle. “Human, the species to redesign itself // Making things that don’t work is human.” Committed to manipulating the parameters of reality in service of content, Prendergast pulls the aesthetic potency of Instagram filters and apps like Facetune out of the smartphone and into the physical world, rendering himself a malleable object within his own flattened representation of material reality. In the process of his production, his own image is deemed less important than the capabilities of the technology used to capture said image.

You can find Holly Childs and Gediminas Žygus on Instagram. For more information about Mark Prendergast and his work, follow him on Instagram. Gnarled Roots is out now.

Hand Axe Credits:

Directed by Mark Prendergast 
Music by Holly Childs & Gediminas Žygus
Text by Holly Childs & Gediminas Žygus
Voice by Mark Prendergast

Mark would like to thank Waèl el Allouche, Guus Kaandorp, Ben Smalley and Loulou van Staaveren.

Hand Axe Lyrics:

Some of the resistance stayed deep in the forest
Their space, their rules
And no one would ever fuck with you
Because they can’t find you
Because there are no maps to complex ecosystems
Of places of plants
Maps cease to make sense or have clue

Traversing endless root-lines
Vines cross-crossing pentagrams of foliage
Through thick peat ether and seedy pungent poison fruit
It’s just so vast

Human, the species to redesign itself
Making things that don’t work is human
If you feel the urge to go forwards, look backwards

Odyssey
Stack
Hell

Remote sensing spirits don’t think, they outsource

To smash the world day in, day out
Sunrise it

Watch next:

LUX: Hito Steyerl – This is the Future

A look inside the German artist’s immersive mixed-media installation, which portrays an “optimistic vision of the future”.

German filmmaker and artist Hito Steyerl’s work interrogates the digital world, surveillance capitalism and artistic production. Her work spans essays, such as 2009’s In Defence of the Poor Image, and immersive video installations such as 2015’s Factory of the Sun, which explores the global flow of data in the contemporary digital landscape.

Another key idea in Steyerl’s work is artificial intelligence and its implications for human society. Machine learning is utilised in her 2019 video installation This Is The Future and its accompanying multi-channel installation, Power Plants, both of which are currently showing at LUX: New Wave of Contemporary Art, a new exhibition co-curated by Fact and SUUM Project.

Co-commissioned by 180 Studios and conceived for the 58th Venice Biennale, This is the Future, soundtracked by Kojey Radical and Susumu Yokota, follows a woman who sets out to find a garden that she had to hide in the future in order to protect it. The digital flowers of Power Plants are generated by neural networks that are programmed to predict the future by calculating the next frame in the video.

In this film, Steyerl talks to Fact about the ideas behind This Is The Future and her ideas around the future of machine learning and AI in art and human society. “This Is The Future is an optimistic vision of the future, in that it tries to imagine in future in which there is a lot of plants that have a lot of political characteristics or abilities,” Steyerl tells Fact. “They are able to heal the present, if you like. It is definitely a vision of nature which is more optimistic than the present really allows.”

LUX: New Wave of Contemporary Art is open until December 18 at London’s 180 Studios, 180 The Strand. For opening times and tickets visit 180 The Strand’s website.

Watch next: LUX: Carsten Nicolai – unicolor

Fact Mix 834: Skyshaker

A blistering transmission of chaos and catharsis from the newly founded House of Vemanei Soundsystem.

Skyshaker describes the newly founded House of Vemanei as “an international alliance of chosen families committed to the creation of worlds in which feminine presenting transgender and nonbinary people of color best fit.” Juggling their work as a DJ, composer and filmmaker with their tireless activism as a mainstay of the house and ballroom community in New York, Sky Vemanei spent time with the legendary House of LaBeija and the House of Old Navy, before going on to form the the artist collective House of Vemanei as an incubator for the gender-nonconforming Streamline community. Their Fact mix serves as an inauguration of Vemanei Soundsystem, a blistering, four-deck transmission from a new and vital community. “I was happy to be behind four decks after spending the majority of the pandemic indoors and writing on a laptop,” says Sky. “This mix navigates all the emotions I felt during the pandemic, having lost a friend a day before lockdown, and plotting to leave several toxic circumstances.”

“This mix also chronicles the creation of my house Vemanei, as an extension of my afrofuturist Saved By Air universe. Born out of a confrontation with several leaders in ballroom, my relationship to the subculture evolves ever further as I work to educate and protect my children against the Corporate America that now smells money on them. By the end of the mix, I hope the reckoning was worth it – and the destination is healthier as a result.” What follows is a brutal journey of catharsis and chaos of truly epic scale, in which Skyshaker finds emotional release in the cacophonous, gesturing towards vulnerability and tenderness with a relentless barrage of ballroom, pitch black techno and a lethal array of blends and mashups. Always exhilarating, frequently overwhelming, it’s a virtuosic session in constant dialogue with House of Vemanei’s mission “to transmute our individual pains into collective, purpose-driven tools of reclamation, recovery, affirmation, and self-defense.”

A similar energy radiates from Skyshaker’s latest project, Novox 10, which sees the artist reimagining a selection of tracks from the SVBKVLT back catalog to commemorate a decade of remixes under the Skyshaker alias. “This is a collection of electronic music commemorating a decade of Black voices silenced by anti-Black racism and xenophobia,” they say. “The Black experience remains an inspirational cornerstone of popular music worldwide, yet Black artists with deeper skin color remain doubted, dismissed, and uncompensated. Popular music in Asia is no exception, as fair-skinned Asian artists rise to superstardom and financial prosperity off the backs of Black artistry and Black suffering. Novox 10 emerges in Shanghai as a navigation beyond that contempt into a place of autonomy, authority, and commitment towards the shaping of worlds in which Black people best fit.”

In both their selections and productions, Skyshaker harnesses their singular sound as a raw material with which to forge the House of Vemanei, ensuring constant deference to the queer Black spaces in which this music was born whilst looking forwards to the kinds of spaces it will exist in the future. As they explain: “Born out of the house and ballroom community, Vemanei stands beyond the runway and on the shoulders of transgender women and gender-nonconforming people of deeper skin color. It is their spaces that we aim to create, maintain, and protect. It is their messages we aim to preserve.  Love remains the message.”

Novox 10 is out now on SVBKVLT. You can follow Skyshaker on Instagram.

Tracklist:

Skyshaker [Feat.] ID – ‘ID’
Alice Glass – ‘Stillbirth’
Evanescence – ‘Bring Me To Life (Skyshaker Dusk Edition)’
Health – ‘Body Prison’
SHXT – ‘2016’
Skyshaker x Bulma x Kayla Nicole x Taylor Girls x Flo Milli – ‘Innocently Bundled’
EL MEGA X ZAKMATIC – ‘DAME MI BANDA SINFUL REACTIONS (ZAKMATIC HARD ☠ TRANCE EDIT)’
Gabber Modus Operandi – ‘Dosa Besar’
Linda LaBeija and Skyshaker – ‘Skins (FIXED)’
Loyalty XIX – ‘Synobazz’
Vitamin String Quartet x Uematsu Nobuo – ‘How Deep Is Your Fayth (Skyshaker Fusion)’
Nina Simone – ‘Black Is The Colour Of My True Love’s Hair’
Teranoid – ‘Teranoid Anthem’
Skyshaker – ‘ID’
B.Yhzz x Polybius – ‘Raptor Gore (Skyshaker Baile Funk Remix)’
Tomas Urquieta x Imaabs x Kali Mutsa x Neana x Chunk – ‘Traga Shalt, Banbra (Skyshaker Fusion)’
Arca x Eva x Massacooraman – ‘Lash Revival Spell (Skyshaker Fusion)’
Tygapaw – ‘The Meek Shall Inherit The Earth’
Tropical Interface – ‘Elements’
Conjure One & Jaren vs. Schossow & Boiler – ‘Icy 2099 (Skyshaker 2011 Fusion)’
Loyalty XIX – ‘Orbita’
‘Give it Up (hands performance version)’
Beek – ‘Higher (Blow Your Smoke)’
Icy Flame x Ce7este x Sasha Manik Emocium – ‘Revelation’
Sky x Keyshia x Ying Yang Twins x Swan Meat x B.YHZZ x MY SWORD – ‘Breakup Spell’
Jikouroux – ‘Ruptured Pulse’
Faze Miyake [Feat. Sasha Go Hard] – ‘Below Me’
David Temessi – ‘You So Strong’
TOLE – ‘Thirst’
33EMYBW – ‘English (Skyshaker Kodeswisha Novox)’
Tzafu – ‘Resurrection’
Bentech – ‘No One Takes Me Down (Svetec Remix)’
Tygapaw – ‘Bag Juice’
I Hate Models – ‘The Night Is Our Kingdom (Skyshaker Shadewalk Edition)’
Osheyack – ‘Parataxon (Skyshaker Remix)’
Manni Dee – ‘The Wolves’
RVDE – ’90s Hammer (Perc Remix)’
4 Strings – ‘Diving (Cosmic Gate Remix)’
Zaliva-D – ‘End of Sky (Skyshaker Fem4Fem Novox)’
Hyph11E – ‘Escapism (Skyshaker and Lenchanter Edition)’
Hyph11E – ‘Escapism (Vemanei Transmission 072720)’

Listen next: Fact Mix 833 – Sha Sha Kimbo

Paul Institute Presents: Ruthven, Live at 180 Studios

Fact invites vocalist, songwriter, producer and proud Paul Institute alumnus Ruthven into 180 Studios for an intimate performance of new songs, ‘123 Days’, ‘Don’t Keep It To Yourself’ and ‘The Window’.

To mark the release of his new single Fact invited Ruthven and his band members into 180 Studios to play some new songs. Directed by Jasper Brown, the performance features an all-new live band, including Ben Reed, who featured on Frank Ocean’s Blonde and Endless, on bass, Avi Barath, who was the musical director for Berwyn & Pa Salieu, on keys, Nicola Sipprell on backing vocals, Calum Duncan on guitar and Ellis Dupuy on drums. At once fragile and swaggering, delicate and steamy, we’re delighted to present this thrilling showcase from a singular artist.

“Music’s kind of been life for me,” admits Ruthven. Growing up around a family of musicians and music lovers, the vocalist, songwriter, producer and proud Paul Institute alumnus would accompany his mother to piano lessons she would teach throughout south London. “I got to know Jazz Piano Grade Three in the ’90s,” he explains, “I know them pieces. They’re just locked in my head.” It’s from this early introduction that Ruthven developed what he considers to be his greatest musical asset, his ear. “I feel like I can hear where the parts are going to go,” he says.

From there he entered the Centre For Young Musicians to play drums, an experience that would solidify the artist’s ambition to become a session musician. The demands of a job in the Fire Brigade, particularly when you’re a new recruit, don’t necessarily lend themselves to outside pursuits, though, and Ruthven switched his focus to work while also spending quality time with his young family.

“I said once the kids get to the age of about five I was gonna give it another ago,” he recalls. This renewed focus found Ruthven learning the basics of production and beatmaking during breaks between callouts on night shifts at the fire station, stashing his recording equipment in a spare locker and subsisting on a steady diet of Prince, Phil Collins and Peter Gabriel. It was right around this time that he heard the instant classic, era-defining ‘B.T.S.T.U.’. “It kind of woke me up,” he says, “and made me realise you could make music in a cultivated way.” When Jai Paul launched the Paul Institute alongside his brother A. K., Ruthven sent in a demo. Recognising him from a song he’d released on his SoundCloud, the Paul brothers caught the artist’s playful vibe and invited him to join the institute.

“Ruthven is a unique guy, with a unique pathway into the industry,” says A. K. Paul. “I’ve seen him come a long way in the past five years working with him for Paul Institute releases. We became friends in the process too – some deep discussions have gone down in the studio! With the production I tried to bring an extra layer of quality and self awareness to what was essentially a deep talent and musicality in his demos. I’m gassed to have been there at the start of his journey!”

“Everything I’ve recorded in these live sessions is going to be my voice,” says Ruthven. “Even if it’s raw, even if it’s brutally honest sometimes, it’s me.” Delivering an electric performance of his new single, ‘Don’t Keep It To Yourself’, as well as two new songs, ‘123 Days’ and ‘The Window’, this is not only a document of the artist’s raw talent but also a glimpse of Ruthven’s new chapter. With the prospect of more live shows and tours on the horizon, it’s clear that what the artist really wants is for people to sing along. “We don’t know how things will go,” he says, “but I hope that I’ve written some stuff that people can really sink their teeth into.”

For more information about Ruthven and his music you can follow him on Instagram and on Spotify. You can also find A. K. Paul on Instagram and SoundCloud. Enrol in the Paul Institute here.

Ruthven, Live at 180 Studios Credits:

Director – Jasper Brown
1st Assistant Director – Ben Kewsick
Director of Photography – Henry Gill
1st AC – Harry Coleman
2nd AC – James Huthwaite
Steadicam Operator – Gary Kent
Camera Operator – Jannick Fjeldsoe
Gaffer – Ryan Anderson
Spark – Brandon Quan
Spark – Emil Nolan
Lighting Assistant – Alex Tarrant
Production Assistant – Becks Brett
Stylist – Yves Alawe
Colourist – Adam Clarke
Vocals – Sean Ruthven Nelson
Keys – Avi Barath
Backing Vocals – Nicola Sipprell
Bass – Ben Reed
Guitar – Calum Duncan
Drums – Ellis Dupuy
Audio Engineer – Danny Thorpe
Audio Engineer – Josette Joseph
Backline Tech – Sam Hair
Commissioner – Aliyah Otchere
Commissioner – Scott Wright

Ruthven & A. K. Paul In Conversation Credits:

Cam Op – Gabriel Monk-Lane
Editor – Patrick Brown
Colourist – Jasper Brown

Watch next: Jack Jelfs traps a robot in Spaghetti Western purgatory in Billy Takes A Break

Jack Jelfs traps a robot in Spaghetti Western purgatory in Billy Takes A Break

Samuel Beckett meets Groundhog Day meets Pinocchio, set against a digital simulacra of the Tabernas Desert in Almería, Spain.

“Young Billy is standing, he is trying to remember. Standing so fine, all painted and shining, with his sailor’s cap. He should watch out for sunburn of course.” So begins Billy Takes A Break, a short from multidisciplinary artist Jack Jelfs that bundles together a miscellany of disparate references, including the infamously dense ideas of Deleuze & Guattari, the equally daunting novels of Samuel Beckett, Harold Ramis’s Groundhog Day and a formative Tarot reading, laying them out in a computer-generated approximation of the Tabernas Desert, located in the Spanish province of Almería. “The desert was used as a stand-in for the American southwest in a bunch of Spaghetti Western cowboy films made in the 60s and 70s, the term “spaghetti” refers to the Italian origin of many of the directors of the films, but most of the actual shooting locations were in Spain,” explains Jelfs. “There are even a few surviving film sets from that era that are now tourist attractions, with names like Fort Bravo and Western Leone. Something about the artificiality and incongruity of these fake towns, dry and dusty monuments to the illusion of cinema in the middle of the Spanish desert, really stuck with me.”

It’s this dichotomy between functional artifice and dysfunctional emptiness that the artist plays with throughout the course of the short. Billy, a gravity-defying contraption seemingly bolted together from rusted sheet metal, bent aerials and a satellite dish that does bear a passing resemblance to nautical headwear, is trapped in spatio-temporal loop by a disembodied narrator preoccupied with trying to define exactly what Billy is, oftentimes with complete disregard for Billy himself. “Billy is rotating,” says the voice, as Billy floats motionless. “Billy is covered in fog,” the voice attempts to claim, as a Spaghetti Western sun beats down on his metal exterior. In this way a tension develops between the narrator and the images we are presented with, as Jelfs zooms out and manipulates the digital topography of the piece, throwing the very parameters of the short into question. “I like works of fiction that knowingly point to the fact that what you’re experiencing is fiction,” he says. “I was thinking about Beckett’s trilogy of novels (Molloy, Malone Dies and The Unnameable) in which every character is a fictional creation of another, and all are ultimately trapped in their fictional condition. I’ve always loved the stories of Philip K. Dick too, which are never afraid to pick at the ontological boundaries of their worlds and characters.”

“Also in there somewhere is the story of Pinocchio,” Jack Jelfs continues, “the weird father-son relationship between Geppetto the puppet-maker and Pinocchio, the wooden boy he builds – who seeks an impossible transcendence from the limitations of his material condition.” A strange animosity develops between the narrator and Billy, with the disembodied voice describing “his little puppet head” and “his arms of string”, before sinisterly asserting: “he should watch out, if he knows what’s best.” It was from Jelfs’ dalliances with Tarot readings that the more menacing quality of Billy’s back and forth with the narrator became more developed. “I think the final influence came from doing a few tarot card readings early on in the process of developing the ideas,” the artist recalls. “From the Wheel of Fortune came the idea of being stuck in a Groundhog Day-like loop, the same situation repeating over and over.”

“The other important card was The Devil,” Jelfs explains. “I think that the voice, and maybe the landscape and computer-generated environment itself, are all aspects of some demonic force that keep Billy stuck there.” We bear witness to a kind of ontological torture that the narrator subjects Billy to when we are shown that Billy’s body is indeed hollow. “This house is empty,” asserts the narrator, thrusting functionality upon the negative space within the confines of Billy’s metal borders, before inserting said functionality into Billy-as-entity, “and here’s old Billy, standing so fine, all painted and shining,” before whipping Billy’s function and subjectivity out from under him, leaving him “an old, flattened ghost.” As the tension builds so too does Jack Jelfs’ score, which builds up speed as a galloping cowboy theme, tripping up over itself in rapid loops that glitch and stutter, continually deferring any euphoric release, leaving us trapped in built-up potential alongside poor Billy. “This is hopeless,” the narrator emphasises, “Billy looks sad.”

“From all of this came the figure of Billy,” concludes Jelfs. “A floating signifier (literally floating) and an empty, inanimate body, who’s stuck somewhere between a sci-fi film and a Spaghetti Western, jerked around like a puppet by an invisible agent, and inescapably trapped in both time and space. I’m not sure what he achieves at the end, if it’s death or transcendence or just a break. Whatever it is, it can be undone by just playing the film again.”

For more information about Jack Jelfs you can follow him on Instagram and visit his website.

Watch next: C2C Festival X Fundaciòn Marcelo Burlon Present: Arca & Weirdcore, Live From Ibiza

Maya Shenfeld and Pedro Maia explore ‘still movement’ in ‘Body, Electric’ visual

Shenfeld’s cycling arpeggios are set to a stunning black and white video directed by Maia, created with digital and analogue filming and processing techniques.

Berlin-based composer and sound artist Maya Shenfeld’s music draws from both a classical tradition and experimental electronic techniques, blurring the boundaries between digital synthesis and organic sounds. This contrasting approach is shared with filmmaker Pedro Maia, whose combination of analogue film processing and digital techniques have featured on ‘live cinema’ for artists including Vessel and Shapednoise.

Shenfeld and Maia collaborate for the first time on the video for Shenfeld’s track ‘Body, Electric’, a track that was written during the first Covid lockdown in spring 2020 following a 10-day silent meditation retreat. The track, which appears on her forthcoming Thrill Jockey-released album In Free Fall, is written in a classical sonata form, and combines a soaring romanticism with cycling arpeggios that reflect the physical experiences Shenfeld has had when meditating.

“The introduction came through Matt from Thrill Jockey, and as I discovered Pedro’s work I immediately became a fan and thought it’d be a perfect collaboration for In Free Fall,” Shenfeld says. “I found some parallels in his visual language to my own production process, experimenting with form, time, and especially analogue processing which adds this fine layer of noise and grain – also a key element in the production of the music.

“I love that collaborating with musicians is an integral part of his practice, and the way his work offers an expansion of sound works, making the listening experience, especially in the context of a live show, immersive, inviting the listener to get lost in time and space.”

“In this video we’re responding to some of the concepts Maya explores in In Free Fall, the idea of being on the edge of falling, still movement, three-dimensionality,” Maia says of the video, which features cinematography from Fact’s Pedro S. Küster. “The track has a somewhat romantic flare, a sort of playful reference to the Strum und Drang movement – and the dark forest echoes that. While the contrast, shades, and overexposure are responding to the track’s title: body, electric.

“The main idea was to explore some kind of physical restraint, an idea of movement without moving, a constant panning shot inspired by avatars in video games.” Maia wanted the video to “explore an idea of constant rotation” while being inspired by still photography. Maia used a darkroom technique called solarization, “where the analogue film manipulated in the darkroom while processing creates a partially reversed tone and becomes a game of light and shadows”.

In Free Fall is released on Thrill Jockey on January 28, 2022. Pre-order it from the Thrill Jockey website or Bandcamp.

Find Maya Shenfeld on Instagram and Bandcamp, and follow Pedro Maia on Instagram.

Credits:

‘Body, Electric’ by Maya Shenfeld

Taken from the album “In Free Fall”

With Maya Shenfeld
Directed by Pedro Maia
Cinematography by Pedro S. Küster
Special thank you to Fact

(c) 2021 Maya Shenfeld
(p) 2021 Thrill Jockey Records

Watch next: Primary Optics: Pedro Maia on creating ‘live cinema’ for music from analogue film

Fact Mix 833: Sha Sha Kimbo

The LA-based artist takes us on a trip through underground bass, breakbeat and house.

California-born producer and DJ Sha Sha Kimbo’s music is a melting pot of Transatlantic influences. Her formative musical experiences included attending raves in Los Angeles in the ’90s and visiting DMZ in Brixton in 2008, with artists like Mala and Goldie influencing her bass-heavy sound. While Sha Sha Kimbo’s early tracks drew from classic dubstep, in recent years she has returned to her rave roots, combining low-end pressure with the influence of old school house, classic techno and early drum and bass – a sound showcased on her nostalgic debut album Mind Your Head, released last year on her own label, Planet Bliss Records.

Sha Sha Kimbo’s Fact Mix plays out like an entire night’s raving in one hour, hopping between jungle, dub and abstract bass experiments from producers including Kessler, aircode, Ehua and The Bug, via acid breakbeat from Fiesta Soundsystem and rolling techno from Norman Nodge, Michael Burkat and Doctor Jeep. The mix encapsulates the cathartic spirit of her latest EP, Total Chaos, released earlier this year on John Frusciante and Aura T-09’s Evar Records.

“On the heels of Total Chaos, I headed to Northern California to hide out from the pandemic, focus on self care and begin my next project,” Sha Sha Kimbo says. “Nestled deep in the Humboldt County redwoods, I recorded this mix staring at the never ending raindrops and dreaming of the club. Surrendering to the energy of my environment, I wanted to celebrate the different underground energies of techno, house, breaks and more with some of my favorite heaters.”

Follow Sha Sha Kimbo on Instagram and find her music at Bandcamp.

Tracklist:

Kessler – ‘Up The Lagan In A Bubble’
aircode – ‘Eye Roll’
Ehua – ‘3 Silica’
The Bug, Logan_olm – ‘Fuck Off’ (feat. Logan_olm)
Ryndin – ‘LFCSHD’ 
Star Eyes – ‘Brooklyn Pumps’
Trip Factor – ‘Praise Be 2 303’ 
Kessler – ‘Ard Crew’
AK Sports – ‘5AM No Hot Water’
Coco Bryce – ‘Luv Ain EZ’ (LMajor Remix)
Fiesta Soundsystem – ‘Acid Tool’ 
Ayesha (US) – ‘Ecstatic Descent’ 
Marco Parodi – ‘Ritualism’ 
Kamran – ‘Tombak Track’ 
JSPRV35 – ‘Pfand Warrior’ (SYEP003)
Skream – ‘Chesters Groove’ (Norman Nodge Yang Remix)
Michael Burkat – ‘100 Years’ 
Doctor Jeep – ‘Reflexing’
Brent Sadowick – ‘5 HTP’ 
Raito – ‘Ecstasy’ 
Chris Liberator, Sterling Moss – ‘The Cult’
DJ Boss – ‘1st Rendered’ 
??? – ‘Oxygen’
Barbuto – ‘Tiger Eye’ (Natalino Nunes Remix)
Franco Rossi – ‘Pasiphae’ 
Limewax – ‘Ushio’ 
Guhlee’s Hung Up Flip – ‘Every Little Thing’

Listen next: Fact Mix 332: Zozo

LUX: Carsten Nicolai – unicolor

How sonic frequencies and colour combine to create one of the German artist’s most immersive artworks.

Carsten Nicolai’s artistic output has taken many forms over the past three decades. After first studying landscape design for five years, Nicolai in 1996 founded Noton, a platform for conceptual and experimental projects in music, art and science. Since then he has explored music, film scores and sound design as Alva Noto, while developing large-scale audiovisual works that often treat sound as a sculptural material.

Nicolai’s 2014 piece unicolor – currently showing at LUX: New Wave of Contemporary Art, a new exhibition co-curated by Fact and SUUM Project – is one of the German artist’s most immersive works, unfolding against a long projection wall with two mirror walls on each side, creating the impression of extending into infinity. It operates with 16 modules that examine different forms of colour perception, utilising different visual effects to interfere with the viewer’s own individual perception of the work.

“When you read books about sound, most say our hearing ranges between 20 hertz and 20,000 hertz,” Nicolai tells Fact. “I don’t believe that. I think we can perceive a much higher frequency. We may not hear them, but they’re doing something to us. The name of the work already describes what it’s about. unicolor is a universal dictionary that tries to explain the phenomenon of colour, it’s not just purely about showing colour.”

In this film, Nicolai talks to Fact about the ideas behind unicolor and how the musical experimentation in Berlin that followed the fall of the wall in 1989 kickstarted an ongoing career of artistic innovation.

LUX: New Wave of Contemporary Art is open until December 18 at London’s 180 Studios, 180 The Strand. For opening times and tickets visit 180 The Strand’s website.

Watch next: LUX: Es Devlin – ‘BLUESKYWHITE’

C2C Festival X Fundaciòn Marcelo Burlon Present: Arca & Weirdcore, Live From Ibiza

For a limited time only, Fact, in association with C2C Festival, is proud to present a unique live concert film, directed by Weirdcore, curated by Arca, with special guest appearances from Total Freedom and Physical Therapy.

Over the summer, as part of its C0C “The Festival As A Performance” digital program, Turin’s C2C Festival and Fundaciòn Marcelo Burlon brought together experimental composer, artist and performer Alejandra Ghersi with multidisciplinary artist Weirdcore for a very special performance to launch fashion designer, Marcelo Burlon’s new charitable foundation. Featuring guest appearances from pioneering DJs and producers Total Freedom and Physical Therapy, Arca curated a unique concert exploring avant-garde composition, thrilling live performance and experimental turntablism, all of which took place amongst the installations, exhibitions and artworks of a sprawling villa in Ibiza, a venue owned by by the Fondaciòn Marcelo Burlon. The 53 minute broadcast attracted a global audience of 7,619 fans across 34 nations in support of the fundraising campaign for the trans and non-binary shelter Casa Rifugo Marcella, Ghersi not only delivered an overwhelming, virtuosic performance, but also acted as both and compère and conductor, orchestrating a vital cacophony of sonic gymnastics and glamorous theatricality.

Photos: Araceli Navarro

Weirdcore was tasked with capturing this unique show in an equally unique way. The audiovisual artist distributed cameras to each of the select few invited to experience the performance live and it was from the footage gathered from these cameras – the individual POVs of Arca’s intimate audience – that the final film was constructed. Stitching together a dizzying patchwork of video, Weirdcore follows the choppy currents and jagged landscape of the concert with glitched-out transitions and deft image manipulation, never shifting focus from Ghersi’s singular performance, but continuously providing a unique perspective. Every second of the film is imbued with the kind of sweaty intimacy it is almost impossible to capture, resulting in a truly immersive document of a very special event. “As I had a ton of cameras at my disposal, I went on a mission to capture every angle of Arca’s performance and simultaneously bombard the viewers with all the best bits,” explains Weirdcore. The performance was preceded by sets from Physical Therapy and Total Freedom, both of which you can listen to below.

You can follow Arca, Total Freedom and Physical Therapy on Instagram. For more information about Weirdcore and his work, you can visit his website and follow him on Instagram.

For more information about C2C festival you can visit the festival website and follow the festival Instagram.

Casa Rifugio Marcella is a temporary shelter for trans and non-binary people who are victims of discrimination and violence. Casa Rifugio Marcella is a project dedicated to the memory of the activist and trans politician, Marcella Di Folco. To find out more and support the project, you can follow Casa Rifugio Marcella on Instagram.

Watch next: Weirdcore adapts Trans-Aeon Express into a love letter to China’s electronic music scene

Fact Mix 832: Zozo

An atmospheric odyssey of weirdo club music that leans heavily towards the freaky, the weighty and the steamy.

Lurching into life with DJ Wolfi Bernreuther’s ‘ZYX Mini Mix 2018’, a frazzled and giddy snapshot of a time before COVID-19, Zozo’s Fact Mix charts the long and complex transition from tentative, socially distant interaction back to the freedom and intimacy of the night club dance floor or the music festival stage. Beloved for her omnivorous approach to selection and her loose, free-wheeling sets, the Istanbul-based DJ taps into a reliably eclectic vein here, embarking on atmospheric odyssey of weirdo club music that leans heavily towards the freaky, the weighty and the steamy. “The mix reflects emotions, celebration, getting together with friends and community again after that pandemic break,” explains Zozo, “a combination of futuristic sound designs, tribal and primitive dub steps, African and South American breeze and wilderness, dystopic and cinematic soundscapes with an extravagant, vagabondage spirit for those who want to bounce and get their groove on.”

A long-time lynchpin of of Turkey’s underground electronic scene, Zozo’s reach has expanded greatly in recent years. Between her ongoing residency at Berlin’s palace of strange Sameheads, her movements within the Lyonnaise Macadam Mambo crew, her involvement with the Zurich electronic music and art collective Les Belles De Nuit and her new multidisciplinary venture A Friend Of Mine, or AFOM, Zozo is exploring the possibilities of consolidating international regard during a time when the possibility and sustainability of the endless flights and tireless schedule of a touring DJ in Europe is called into question. The lively selection of new sounds, esoteric digs and experimental anthems that Zozo draws together are a glimpse of what the DJ has been playing for more local audiences and friends, including Istanbul’s Roots Radio and Peninsula Presents, a series of parties that take place along Turkey’s peninsulas.

You can follow Zozo on Instagram.

Tracklist:

DJ Wolfi Bernreuther – ‘ZYX Mini Mix 2018’  
Ellen Zweig & John Di Stefano – ‘Mapping One Place Onto Another’ 
Mafou- ‘Warda’
Rayreck – ‘Ezoteric’ ft. IDHAZ 
8ULENTINA – ‘Upward Spiral’
Hassan Abou Alam – ‘Unkindled’
Benedek – ‘Lighten Up’
Dea – ‘Mesopotamia’
Will Hofbauer- ‘Where Did All The Hay Go?’
Jasmin – ‘Going Nowhere’
J-ZBEL- ‘Sebulba’ (Feat. Simo Cell)
Sequential Hill – ‘Jacqd Oscillateurs’
DJ Heure – ‘Intentions’
Peter Graf York – ‘LikeASucka’ 
Hassan Abou Alam – ‘All Used Up’
Maara – ‘Ultimate Reward’
Ayesha – ‘Dark Matter’
Papa Nugs – ‘Honey’
Qnete – ‘Exergy’  
Luke Hess – ‘Hidden Dimension’ (Patrick Russell Dub Version)
Kode9 & The Spaceape – ‘Victims’
Hekkla – ‘Damocles’
Quimico Ultra Mega X Yofrangel 911 – ‘Envidioso’ (Siu Mata Edit
DJ MP3 – ‘Get Dwon (Body Bang)’
Bitter Babe x Nick León – ‘SMS 229-305’
Jonas Friedlich – ‘No Delivery’
Stevie Whisper – ‘Obedial’
Cardi B – ‘I Like It’ (J Wax Remix)

Listen next: Fact Mix 831 – Clemency

Blackhaine stalks Saddleworth Moor in the ominous ‘Saddleworth’

A chilling glimpse of the multidisciplinary artist’s forthcoming EP, And Salford Falls Apart.

For multidisciplinary artist, MC and choreographer Tom Heyes, Blackhaine is both an artistic alias and a description of the dark, hateful place from where he draws much of his inspiration. Since Heyes featured as Fact’s first Resident for 2021 his singular vision of sound and movement has marked him as one of Manchester’s most exciting rising talents, seeing him teaming up with Space Afrika for the year’s most devastating collaboration and choreographing movement for the Chicago listening event for Kanye West’s DONDA. More recently, Heyes accompanied Space Afrika alongside collaborator Rainy Miller, HforSpirit, Guest, kinseyLoyd and filmmaker Tibyan Mahawah Sanoh to Berlin Atonal for an already legendary performance of Space Afrika’s exceptional new album Honest Labour, transporting his vicious delivery and pitch-black cadence to the haunted concrete of Berlin’s Kraftwerk.

Next up is the release of Heyes’ hotly-anticipated EP, And Salford Falls Apart, which arrives as the inaugural release on HEAD II, the record label arm of Manchester institution The White Hotel. Following on from the ambient OST meets minimal drill heater ‘Hotel’, Blackhaine and Rainy Miller join forces once again with Raw Tape for ‘Saddleworth’, a chilling marriage of foreboding composition, ice-cold spoken word and dystopian imagery. Both the track and the video find Heyes renewing his unflinching commitment to telling the bleak, liminal stories of those who have slipped through the cracks, small-time gangsters and Berghaus-clad spectres from Salford, Preston and the titular Saddleworth. “I was out here up North, they don’t give a fuck there,” Heyes spits. “I woke up in Saddleworth.”

Cycling through a series of eerie locations – a dark room filled with flickering TV monitors, the sparse expanse of the moor and the monolithic chimneys of a power station – Raw Tape captures Blackhaine inhabiting the spaces from which these ghost stories emerge, channeling low lit fables, constantly toeing the line between machismo and fragility, through his voice and his movement. With sinister flair Heyes builds cinematic grandeur from the people and places he has lived in and around, deploying Rainy Miller’s score and his own instinctual movements to amplify the sound and voices of his own lived experience.

‘Saddleworth is taken from the EP And Salford Falls Apart, which arrives via HEAD II on November 19. For more information about Blackhaine and his work you can follow him on Instagram. Blackhaine is coming to London on November 18, tickets are available now.

Saddleworth Credits:

Film by Rawtape
Grade by Elliot Holbrow
“Saddleworth” (From the EP, “And Salford Falls Apart”).
Track by Blackhaine
Lyrics written and performed by Blackhaine
Produced by Rainy Miller
Mixed by Rainy Miller
Mastered by Norman Nietzsche 

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Bandabardo – Mi Arrendo Lyrics

Mi arrendo come un soldato colto da spavento o come un terzino troppo lento (ammetto che non sono dei migliori, ammetto anche di sentirmi fuori!)
…ma l' aria, l' aria che respiro mi consola mi unisco al corso della storia…

TUTTI DI CREMA A DIMAGRIRE TUTTI BELLI DA MORIRE PRONTI ALLA CELEBRITÀ, PRONTI ALLA CHIMICA!!!!!

Mi pento in pubbliche sedute di lamento, ammetto pure qualche turbamento se penso che combatto contro il tempo (combatto l'unico pensiero?), come un soldato colto da pazienza come un terzino che usa l'esperienza

TUTTI DI CARTA AD INGIALLIRE E DI PLASTICA A MENTIRE PRONTI ALLA POSTERITÀ, E DI SESSO AD IMPAZZIRE PRONTI ALLA CHIMICA!!!!!!!!!!!!!!!!!!!!

Resta il profumo antico e puro
Il mattino mi illuminerà stretto tra le braccia di Nanà
Feste su feste danze e carezze…

Itchy Poopzkid – And I’ll Walk Away Lyrics

i feel so extraordinarily right
my mind was black but now it turns to light

hey hey hey
come on baby, better listen up
say say say
say what you want, but i don’t need give a f*ck
hey hey hey
i’ll shut shut shut you up and i’ll walk away…up and away

i made it unquestionably clear
no more late night i have to fear
my time is done i walk away
my time is done i rum
coz i am better off without you – i will walk away
because i am better off without you, so much better off…

Teejayx6 – In A Min Lyrics (feat. Drego & Beno)

[Intro]
(Antt did the track)
(I got exotic pack)

[Verse 1: Beno]
In a minute, I’ma send it (I’ma send that shit)
Have we met? No, we didn’t (No, we didn’t)
I’m back on the road, uh, I’m back in that kitchen
This bitch out of control, she all in my business
Baby, let me know what you want for Christmas
I just caught the load, gave it to my niggas
This thirty thousand whole, let’s throw it on them bitches
In a minute, I’ma send it

[Verse 2: Teejayx6]
I can’t hit the road, I got cases pending
All my bitches cold, got they makeup finished
Hit the corner store, bitches want some liquor
She wanna blow my dome ’cause that Perc’ up in her
I just f*cked a nigga bitch, all it took was some liquor
Seen some shit on the dark web, a nigga tried to sell his liver
Used a fake credit card, I didn’t pay for my dinner
Swiped my bitch some makeup, it was made by Kylie Jenner
I’ll scam anybody, don’t really care about your gender
Really active in them stores, I’m tryna hide from all the cameras
Scammed a Young Thug wannabe, he from Atlanta

[Verse 3: Beno]
Pour that drank up, goddamn, I miss that Fanta
I might whip me up a Patek, buy an Aston
She from overseas, yeah, she speaking Spanish
But she can’t hit my scene ’cause she dramatic

[Chorus: Drego]
Oh, you really wanna ride? Wanna slide with me?
I’m too high up off the lean, can you drive for me?
Ooh, I’m cookin’ ****, wanna ride with me?
I’m too high up off the drink, can you drive for me? Ooh

[Verse 4: Teejayx6]
I just f*cked a bitch named Christine
Then I sold a nigga some green lean
Left a p*ssy-ass nigga dead on the scene
I heard you got kicked out, you late on your bills
You shop at Forman Mills, flexin’ fake bills
I sold him fake pills, a comment got him killed
Punchin’ online with credit cards, I just caught a steal
At the liquor store gettin’ some ‘Woods, I just caught an opp

[Verse 5: Drego]
My bitch got China white, lean lean
Ain’t no beatin’ us, the dream team
Yeah, I’m king status, supreme me
Welcome to the rewards of bein’ me
Uh, this shit, it get so serious, it get so berious
Don’t call me Vin Diesel when you get me furious
VVS straight from Africa, it’s from Siberia
Put that work up in the Acura, yeah

[Chorus: Drego]
Oh, you really wanna ride? Wanna slide with me?
I’m too high up off the lean, can you drive for me?
Ooh, I’m cookin’ ****, wanna ride with me?
I’m too high up off the drink, can you drive for me? Ooh

[Outro]
(Beatgang)

Gino Vannelli – The Long Arm Of Justice Lyrics

It was a high summer night along the Ouachita
Where in a town named Mammoth Hill
A boy was found at Times Picayune said
Left headless by the cotton gin mill
John Law was slow so the road ran free
From the swamps of Louisiana to the hills of Tennessee
Then on to the Carolines where it brought hard times
To many a family

One Otis Ray Stone weren’t nobody’s fool
He had the look of a righteous man
By day he plied his trade as a teacher
While by night getting blood on his hands
For thirty five years running high on the loose
Two steps ahead of the hangman’s noose
Indeed, it seemed Otis Ray Stone would never atone
For what he done to many a poor youth

Yet the long arm of justice reaches far
From the banks of the Ouachita to the highest star
Like the hour hand on the wall
Like a snail creeping at a dead crawl
One fine day in some mysterious way
Justice finds us all

It finds us all

Many years hence on a Death Valley Road
While jackin’ up his broke-down car
Came hell on wheels that left Otis Ray
Lying flat on the hot burnin’ tar
For three long days, not a drop on his tongue
Suffering every crawler ‘neath the desert sun
And old Otis Ray screamed while a crow picked his eyes clean
Before his dying was done

The long arm of justice reaches far
From the banks of the Ouachita to the highest star
Like the hour hand on the wall
Like a snail creeping at a dead crawl
One fine day in some mysterious way
Justice finds us all

Now, the mortal remains of Otis Ray Stone
Were never made manifest
‘Cause what a crow had done to both his eyes
Ten buzzards did to the rest
And all that was, was a blot on the land
A heap of grey dust in the shape of a man
And the last of Otis Ray was finally swept away
By the blowing sand

Akira The Don – Trees Come Out Of The Air Lyrics (feat. Richard Feynman)

The substance of the tree is carbon, where did that come from?
It comes from the air
It’s carbon dioxide from the air
People look at trees and they think it comes out of the ground
That plants grow out of the ground
But if you ask, where the substance comes from?
You find out, where did it come from?
Trees come out of the air?
They surely come out of the ground
No, they come out of the air
No, they come out of the air

The carbon dioxide in the air goes into the tree and it changes it
Kicking out the oxygen
And then pushing the oxygen away from the carbon and leaving the carbon substance with water
Water comes out of the ground
Only it came out of the air, didn’t it?
Came down from the sky
So most of it, almost all of the tree is out of the ground
I’m sorry, it’s out of the air!
Now, of course I told you the oxygen and carbon stick together very tight
How is it that the tree is so smart to manage to take the carbon dioxide, which is the carbon oxygen nicely combined and undo that so easy?
Ah, life. Life has some mysterious quirks
No, the sun is shining
And it’s the sunlight that comes down and locks this oxygen away from the carbon
So it takes sunlight to get the plant to work
And so the sun, all the time, is doing the work of separating the oxygen away from the carbon, the oxygen is some kind of terrible byproduct, which it spits back into the air and leaving the carbon and water and stuff to make the substance of the tree

And then when we take the substance in the tree, and stick it in the fireplace
It is the only oxygen made by these trees
And all the carbon would much prefer to be close together again
And once you’ve let the heat to get it started, it continues and makes an awful lot of activity while it’s going back together again
And all this nice light and everything comes out and everything is being undone, you’re going back to carbon and oxygen, back to carbon dioxide
And the light and the heat that’s coming out. That’s the light and heat of the sun that went in
The sun that went in

[Pre-Chorus]
So it’s sort of stored sun that’s coming out when you burn a log
So it’s sort of stored sun that’s coming out when you burn a log

[Chorus]
So it’s sort of stored sun that’s coming out
When you burn a log
So it’s sort of stored sun that’s coming out
When you burn a log
So it’s sort of stored sun that’s coming out
When you burn a log
So it’s sort of stored sun that’s coming out
When you burn a log

Bandabardo – Negli Occhi Guardo Poco Lyrics

Negli occhi guardo poco solo per sentimento perché lo sguardo è bello usarlo contento nemmeno per errore o per essere fiero potrei guardare il mondo privo dei desideri, privo di desiderio

Mi faccio cullare da questi pensieri mentre improvviso un fuoco con le foto di ieri… e aspetto mattina ho molta nostalgia del colore delle chiavi di casa mia

Sono fuori casa
Sono fuori casa
Sono fuori casa
Sono fuori casa

Gino Vannelli – Yet Something Beautiful Lyrics

His eyes roamed skyward
As she wheeled him in his chair
He twithced and he trembled
While his fingers clawed at the air
He spoke in bits and pieces
His words in disarray
Yet she listened carefully
To all that he had to say
To all that he had to say

He must have been
Her beau from way back when
Someone who she swore
To honor till the end
Life is cruel
There ain’t no denying
At times too heavy a cross to bear
Yet something beautiful
When love is there

And the crowds did their damnest
To hide away their eyes
But people being people
They did otherwise
Still she tended to the needs
Of a man all bent and curled

As if God was in his heaven
And all was right with the world

She reached deep down
Inside his living hell
And touched the light
Bound by a broken shell
Life is cruel
There ain’t no denying
In the end no one is spared
Yet something beautiful
When love is there

Some wear bright stars or medals on their chest
Some heroes go
Seldom being noticed
Life is cruel
There ain’t no denying
At times too heavy to cross the dam
Yet something beautiful
When love is there

She stood him from his wheelchair
Sat him in the van
Kissed his cheek and whispered
You’re still my man

Akira The Don – Using Machines Lyrics

Um, I was talking about that this weekend, thinking a lot about it
I think the two basic types of music indigenous to this country are
Um, the Black music blues
And the kind of folk music that was brought over from Europe
And I guess they call it country music or the kind of West Virginia high and lonesome sound
Those are the two mainstreams of the root American music
It looks like, uh 10 years ago what they call rock ‘n’ roll was kind of a blending of those two forms
Uh… I guess what’s happening now is rock is kind of dying out
And everyone’s going back to their roots again
Some are going back into country and some are going back into basic blues
I guess in four or five years the new generation’s music will be, it’ll have a synthesis of those two elements and some third thing
Some third thing
Maybe it will be, uh… it might rely heavily on electronics, tapes
I can kind of envision
I can, I can kind of envision, maybe, uh

One person with a lot of machines
One person with a lot of machines
One, one person with a lot of machines
Singing or speaking and using machines
One person with a lot of machines
One person with a lot of machines
One, one person with a lot of machines
Singing or speaking and using machines
Singing or speaking and using machines
Singing or speaking and using machines
Singing or speaking and using machines
Tapes or electronic set ups, uh
Using machines
Using machines
Using machines
Singing or speaking and using machines
Using machines

[Instrumental Bridge]

Singing or speaking and using machines
Singing or speaking and using machines
Singing or speaking and using machines
Singing or speaking and using machines
Using machines
Using machines
Using machines
Singing or speaking and using machines
Using machines

Bandabardo – Macrame Les Doigts Lyrics

C'était un garçon bien élevé, issu d'une famille de skinhead
Mais il avait bien mal tourné au grand désespoir de son père
Il avait jeté sa matraque, vendu ses Docs et puis son cran
Et même ses superbes nunchacks qu'il avait eu pour ses 15 ans

Skinhead aux cheveux longs
C'est l'émancipation
Sous son cuir chevelu
La tendresse a vaincu
Son bomber a poussé
Ses tatouages aussi
Les fleurs ont remplacé
Le serpent et l'épée

Il était parti au Népal ou les skins ne sont pas légion
Avec son tatouage "Mort aux vaches", les indiens l'ont pris pour un con
Il est revenu au grand air en plein Ardèche il prend son pied
Avec le seul truc qu'il sache faire; des croix gammées en macramé

Skinhead aux cheveux longs
C'est l'émancipation
Sous son cuir chevelu
La tendresse a vaincu
Son bomber a pousse
Ses tatouages aussi
Les fleurs ont remplace
Le serpent et l'épée
Le drapeau tricolore qu'il avait dans sa chambre
A perdu d'son éclat à grands coups d'eau d'Javel
Il fait pleurer sa mère et ne veut plus entendre

Que du Ravi-Shankar ou du Alan Stivell

Era un ragazzo ben educato, rampollo di una famiglia di skinheads. Ma presto, prese una brutta strada, per la grande disperazione di suo padre: ha gettato il suo manganello, venduto le sue Docmartins, il suo coraggio e perfino le sue superbe mazze giapponesi che aveva ricevuto per I suoi quindici anni!
Skinhead con I capelli lunghi è l'emancipazione! sotto il suo cuoio capelluto, la tenerezza ha vinto, il bomber è fiorito e anche I suoi tatuaggi: I fiori hanno rimpiazzato il serpente e la spada!!!!

È partito per il Nepal dove gli skins non sono legioni e col suo tatuaggio "morte agli sbirri" gli indiani l'hanno preso per un coglione. È tornato all'aria aperta fermandosi in Ardèche, con l'unica cosa che sa fare: croci uncinate all' uncinetto!!
Skinhead con I capelli lunghi la bandiera tricolore che pendeva in camera sua ha perso il suo smalto a gran colpi di varechina… fa piangere sua madre e non vuol più ascoltare che del Ravi Shankar o del Alan Stivell

Gino Vannelli – It Ain’t Up To You Lyrics

You had me right where you wanted
Under your spell
Until you turned my high heaven
Into a living hell
Now you come crawling back
Tryna whip up something new
Sorry baby, it ain’t up to you

Well you can floss them weepy eyes
Show me some skin
Hit me with your charms
Fool if I give in
You can do a little sundance
And pray for a [?]
Heaven knows, it ain’t up to you

And you can cry bloody murder
But it’s a case you never can win
You let the genie out of bottle
Good luck in putting him back in

You know the one who’d been wronged
He got the natural right
To be a little bit cold
And rightly impolite
Go on, cry me a river
Walk a mile in my shoes
That my baby, is entirely up to you

You let the genie out of bottle
Good luck in putting him back in

You had me right where you wanted
Bought it and sold
Until you tore out my heart
And shot it full of holes
Yeah the world keeps on turning
And this much I know is true
It ain’t up to you
It ain’t up to you

Akira The Don – The Prize Is The Soul Lyrics

One thing I wanted to say is, um…
One thing I wanted to say is, um…
Don’t be fooled by the internet
Don’t be fooled by the internet
It’s cool, it’s cool to get on the computer
But don’t let the computer get on you
It’s cool, it’s cool to use the computer
Don’t let the computer use you, y’all saw “The Matrix.”
Y’all saw “The Matrix.”

[Chorus]
There’s a war going on
The battlefield’s in the mind, and the prize is the soul
The prize is the soul
Thе prize is the soul
Therе’s a war going on

The battlefield’s in the mind, and the prize is the soul
The prize is the soul
The prize is the soul

[Instrumental Bridge]

[Chorus]
There’s a war going on
The battlefield’s in the mind, and the prize is the soul
The prize is the soul
The prize is the soul
There’s a war going on
The battlefield’s in the mind, and the prize is the soul
The prize is the soul
The prize is the soul

So, be careful
Be careful
Be careful
Be careful

Alicia Keys – Songs In A Minor Lyrics

I keep on fallin’ in love with you
Sometimes I love you
Sometimes you make me blue

Sometimes I feel good
And at times I feel used
Lovin’ you, darlin’ makes me so confused

I keep on fallin’
In and out of love with you
I never loved someone
The way that I love you

Oh, oh, I never felt this way
How do you give me so much pleasure
And cause me so much pain

Just when I think
I’ve taken more than would a fool
I start fallin’ back in love with you

I keep on fallin’
In and out of love with you
I never loved someone
The way that I love you

Oh, baby
I, I, I, I’m fallin’
I, I, I, I’m fallin’
Fall

I keep on fallin’
In and out of love with you
I never loved someone
The way that I love you

I’m fallin’
In and out of love with you
I never loved someone
The way that I loved you

I’m fallin’
In and out of love with you
I never loved someone
The way that I loved you