Femtanyl Tryptych

KATAMARI

Bitcrushed rave stabs stutter into my eardrums bleeding remnants of gated reverb into Coleman snares and twitch quick hi-hats, grating like the bruised edges of PlayStation polygons forming a Burroughs cut-up of LSD Dream Emulator and Speak and Spell syllables. Drums march in, jackbooted and quantized to the rhythms of a teenage girl acting as their bored drill sergeant, commanding her personal army of all of Toronto's malaise like little toy soldiers. Roll the Katamari.

PUSH UR T3MPRR

Rhythms refract in my field of vision like the neon red mirrored walls of the Jarre de Thé. If there's a place to die, this is it. You've got exactly what you want: sampler undeath. Our violence is organized according to machinic precision, abandoning pretences of the human faster than you can scream Kaneda on your tweaked motorbike. Where we're going, we need neither roads nor organs. Here, snare drums slam with the force of bricks against windows during a riot, vocal cuts rise amongst all the surrounding smoke along with all the red spray paint contaminating the air.

GIRL HELL 1999

The chords begin deceptively, pulled reluctant into a flat bed of fast drumming that sounds like preset rhythms from some long forgotten Roland groovebox. Kick drums shatter any complacency on the part of the listener. It's as if a scream had finally found its mouth. Tracker babble learned to yell in its own idiolect of derelict hex codes, and the chords, much thicker, now glide alongside the kick next to screams that remind you of old Nails records. She screams the Absolute Spirit and you hear it whether you'd like to or not, as if it's spittle from a white hole in some dark part of the universe. If k-insurgency ever had its soundtrack, it's Femtanyl blaring from the speakers of renegade bands of post-apocalyptic sound systems, exhuming her songs from files they found saved on the SD cards of old handheld game consoles and MP3 players before the planet choked half to death in fumes of burning plastic.

333 words.

Special thanks to K.