Frickin' Good Culture

2009-06-07T14:54:00.000-07:00

-THE NEW WOMAN-

2009-02-09T11:06:00.000-08:00

-THE NEW SCANS-

2009-02-09T10:42:00.001-08:00

-THE NEW PHOTOGRAPHY, PT. II-

larger

larger

larger

2009-02-09T08:13:00.000-08:00

-THE NEW PHOTOGRAPHY-

larger

larger

larger

2008-12-16T10:53:00.000-08:00

-THE HELVETICA PARTY-

larger

Coming soon...

2008-12-16T10:46:00.000-08:00

-THE NEW COLOR COLLAGE, CONT.-

larger

larger

larger

2008-12-10T14:07:00.000-08:00

-THE NEW COLOR COLLAGE-

larger

larger

larger

2008-09-16T12:02:00.000-07:00

-THE NEW COLLAGE, CONT.-

larger

larger

2008-07-12T22:47:00.000-07:00

-THE NEW COLLAGE-

larger

larger

larger

2008-07-01T11:16:00.000-07:00

-NEW CENTER FOR ART AND DESIGM-

First of the first. Autodidact graphic design. Desigm pour l'desigm.

in real size

2008-07-01T10:57:00.000-07:00

-A Crisis of Lawns-

larger

2008-03-17T22:21:00.000-07:00

-Clocks For Seeing-

So I was reading ye olde Beantown Globe the other day, excuse me, the New York Times Boston Edition, for you out of towners.... And I came across this interesting article. Notice the title, I guess the Philistine liberal elite is still looting the basics of the teachings of Aryan Prince Siddhārtha since his ideological descendants are beyond raising swords and empty gestures against a dying culture of Onanists perpetually gazing into the mirror. Just look at the way Buddhism is pimped by the overlords of MSM, totally kosher with corporate schmucks, what a pleasant "import", they don't get pissed over meaningless representations, and why should they? They don't put faith, (ha... what a weak idea), in some personification that is out dated by at least a century in terms of its intake-as-illusion purpose. But I digress....

Just as I get into something it dies in the world of commerce, ah well, here is my recent Polaroid series:

larger

"The Other Side"

larger

2007-11-26T12:30:00.000-08:00

-AUM 87/Casio Action Front split 'Get Ready for Yuppie Cleansing' Released!-

$6 USD

Clocking in at a blistering 19 minutes, this debut for AUM 87 and second release for Casio Action Front, features slices of dark ambient rubbing elbows with analog punk, fierce tones, machine noise, and sound collage. Drawing on the sonic energy and short song structure of rock&roll, and conceptually influenced by Nichiren's Final War, the unreality of things, the Bonnot gang, and prewar Japanese militarism, this CD is a must have for fans of noise, Nurse With Wound, synthetic crust and the musical equivalent of xerox graphic design. Copies are limited so act fast! Tracks include:

Casio Action Front

1. For Kita Ikki 30000
2. Smash N Grab
3. Crush

AUM 87

4. Satysiddhi
5. Saishu Senso
6. Shell Shock
7. Board Walk

For ordering information contact Ean Frick at Autonomania@yahoo.ca. To listen to some of the tracks listed above please visit these sites:

Casio Action Front

AUM 87

2007-11-20T09:06:00.000-08:00

-Architecture of the DDR-

Architecture of the DDR

Get up off your slick pleather couch up in your Stasi-bugged, Philip Johnson designed apartment and get ready for this blog exclusive, internet only release of 'Architecture of the DDR.' Brought to you by the good folks here at EFK Unlimited! Retro-modern authority has never sounded this good.

2007-11-05T11:18:00.000-08:00

-The Convenience Store and American Democracy-

What images come to mind when one utters that word so common to our cultural vocabulary: democracy? Poll booths, perhaps? Politicians engaging in a televised debate? Or how about an enthusiastic crowd of flag wavers celebrating the majoritarian spirit? Sure all these things would be correct, but only because there is no right or wrong when it comes to cultural signifiers. I guess the answer I was looking for would be my answer, for when I hear the word democracy I think of a 7-11.

Now the reader may think I am being facetious or droll. Cue liberal arrogance: “Oh, those stupid Americans, all they care about is crap food and don’t give one iota about politics! Hububububb...” But no, I am being entirely serious when I say this. For not only do I think of convenience stores when I hear the word democracy, I find them wholly representative of American democracy, in fact, I feel they are better examples of American democracy than the electoral process.

For one, they are entirely characteristic of the individualism which makes our country unique. One goes to a Store24 or Tedeschi’s to please one person and one person only: themselves. You don’t buy presents there for other people, if one of your friends asks you to get them something there you probably reply, “Why don’t you just fucking come along!?” I know I do. This is also where the convenience store is superior to electoral democracy. Given that America is such an individualistic society, a collective endeavor such as voting in a major election usually entails some degree of bullying towards minority opinions. Those who support unpopular or third party candidates are usually accused of “throwing their vote away”, while those who choose to abstain all together, either out of principle or apathy, have their Americanness questioned (something quite absurd given the innateness of such a quality) or are goaded for not making their voices heard. I have always found these badgering tactics to be quite at odds with the ideals of democracy, which is why I prefer the convenience store brand. The convenience store doesn’t care if you think you’re too good for a tray of Oreo’s at 2 AM or you would rather go to Spag’s if not for the fact that they closed years ago. The convenience store will continue to exist with or without your patronage. In this way convenience stores operate parallel to the political system, for no matter who you vote for, if you vote at all, the system will remain in tact.

Another way convenience stores exemplify American democracy is the manner in which they are all inclusive. One of the biggest criticisms of our political system is that average Americans aren’t fully represented or even at all. So you don’t make a quarter of a million dollars a year solely on the stock market, so you’re not an upper class minority with a trendy victim status that will send you right to the top of the academic establishment, so you don’t have a financial stake in the rebuilding of Iraq, so your one and only concern isn’t the survival of Israel by whatever means necessary, boo-fucking-hoo! That’s why the convenience store is there for the people, the American people. It doesn’t matter if you get up a 5 AM to go to work or you’re just getting home from an all-night shift, if you’re drunk or high, rich or poor, a nun or a prostitute. The convenience store is there to offer cheap comfort food, cigarettes, daily newspapers, soda and candy for you, you exclusively and anybody else that walks in with enough money.

The most important aspect of convenient store democracy, however, is the abundance of choices. If you look at the upcoming presidential election what are the choices? A black guy, a woman, that guy from Law&Order, a Mormon, that guy that likes 9/11, and that midget with the hot wife (you know, for the porn fanatics). But go to a convenience store for, say, salt and vinegar potato chips and you have a wide variety of choices between Cape Cod, Utz, Lays, Pringles, and Wachusett. If you want a soda to wash those down with you get another great array of choices. Now while I find that there are greater and better choices, and thus more pluralism, in convenience store democracy than there is in electoral democracy, I still find that they provide useful analogies for one another. Take for instance the recent fad of energy drinks. One can find at any convenience store a whole section in the beverage aisle devoted to them. But whether you buy a Red Bull or an Amp or a Monster, you’re still getting an energy drink. The same is true with the upcoming election. Whether you vote for that black guy who danced with Ellen DeGeneres or that lady who spoke at Wellesley or that guy who said freedom is about authority, you’re still just getting a professional politician. In other words, someone whose job it is to make you feel like they will represent your interests, no matter how contradictory, while upholding the same police state, the same cultural nihilism, and the same war in Iraq (with the probable addition of some new ones) that you’ve all seen before.

Now I’m not writing this for the sake of contributing another essay to the “Voting Sucks” genre, in fact, I may actually vote in this upcoming election, a first for me. See I’m a Ron Paul guy and if we’re going to continue using the energy drink analogy, he’s the TaB Energy of presidential candidates. He comes from the big, bad GOP just as TaB Energy comes from the Coca Cola Corporation. What he has to say, though, is entirely unique for someone running for president (especially these days) just as TaB Energy has an exquisitely unique taste, somewhere between pink jelly beans and synthetic star fruit, and both are more than refreshing. TaB Energy may be new to the market but it is an update on the old TaB cola, the original diet soda, just as Ron Paul’s platform is an update on old school Constitutionalism, or in other words, the ideas on which this country was founded. But sadly, Ron Paul will also go the way of TaB Energy which has already been discontinued. And so years down the line, just as people will be milling about with their friends saying things like, “Hey, do you remember a few years ago that TaB Energy stuff or even before that, OK Soda!?”, people will also be saying, “Do you remember Ron Paul? He was that doctor from Texas that ran for president, had a lot of good things to say, simple and to the point, but still great things, much like common sense.”

So what is my point? Merely that if next November 4th you find yourself in a Store24 rather than a voting booth feel content that you are practicing a more authentic form of American democracy than the one we normally hear about.

2007-05-08T13:50:00.000-07:00

-A Select Montage-

'Halloween'

'A Fury of Graphix'

'Good Luck(Attain)'

'Don'tcha Got No Fuckin' Homes Of Your Own?'

'Agriculture'

'Cowboy'

'Marvel Posicore'

'Dinner Time on the Farm'

'Impressionist & Modern Art Part 1'

'Debbie Arry'

'Design for New US Flag[Large]'

2006-11-26T16:39:00.000-08:00

-Yorek.com Reviews Casio Action Front and 'Assault the Mainframe'-

Recently, I was contacted by the Israeli webzine Yorek.com who wanted to review both 'People's War Hardcore' as well as the 'Assault the Mainframe' anthology. Despite the fact that they were briefly interrupted by months of Hizballah and the IDF lobbing missles at each other, they still managed to finish it up and send me an English translation. Now that's was I call professionalism! The original reviews can be read in Hebrew by accessing the links below.

CAF Review

'Assault' Review

Casio Action Front- People's War Hardcore

At first sight, this CD of Casio Action Front looks amateur. But this sort of amateurism, together with an agenda, automatically receives an added value that makes it more interesting then just another demo CD of a lazy ass band. The cover art of the CD is xeroxed and the CD itself was probably burned on a personal computer. Everything was done in the most direct and amateur way, and not amateur in a bad way, but amateur as the opposite of professional.

On the CD there's a sticker that says "Industrial culture for Industrial people", a new version of the famous Monte Cazazza slogan. This sticker exposes the agenda behind the album and behind its so-called amateurism. The music on the album is constructed the same way as the CD itself. It's a lo-fi industrial, chaotic and un-produced. The music is an eclectic collage of electronic noises, weird beats, psychedelic sounds and sound manipulations. The tempo changes, the pitch changes, everything is being distorted. For a second you have distorted guitars and then synth ambient. Everything is basic and straightforward, hardcore like the good old industrial, chaotic and experimental like the origins of this good ol' industrial: mail art, cut & paste and D.I.Y.

Industrial music has been through so much shit in the last decades. Since the first masterpieces of the pioneers (SPK, Cabaret Voltaire, Throbbing Gristle and others) this style of music got bigger, arrived into different places and mixed with other musical genres until it became hard to find in it the core of the real original industrial music. All of a sudden there were glossy invitations for parties that ain't got anything in common with the old school cut&paste pages that used to be fliers for old industrial shows. The direct amateurism became over-polished and professional, the anger and rebellious curiosity turned into impotence covered in latex and other idiotic clothing. The same thing that happened to punk, or metal, happened to industrial music. Obviously, there are other small sources for industrial wrath (especially in the sub genres of power electronics and noise) but the fact is that today the word 'industrial' isn't directly referring to uncompromising quality like it used to be. This change isn't supposed to evoke bitterness at those who understand how the historical movement of art goes, but still, an album like Casio Action Front's can definitely evoke some nostalgic feelings among those who actually experienced the heroic past of industrial culture.

As we said, in the amateurism of this creation engraved is the simple, direct and basic ideology of the early industrial culture. Another exciting thing about it is that it's backed up by ambiguousness and disinformation about its creator, which is just another reference to the ontological guerilla of early industrial culture. The Casio Action Front is just another front in a vogue collective by the name of Ean Frick, a collective name for multiple usage, just like the Neoists’ Monty Cantsin (a name that Monte Cazazza from the first paragraph used), or Luther Blissett that other radical communities use.

Among other things, this collective is responsible for a book by the name of ‘Assault the Mainframe’, a book that deals with 70's and 80's urban guerrilla movements. Studying and dealing with the issue of world terror is another characteristic of the early industrial music (SPK are the best example for that) and when the book joins the CD, there's a feeling that the whole package came back in time from the early 80's, and I say that as a compliment.

I want to make clear that I don't think that the whole contemporary industrial culture became a putrid swamp of goth clubs, latex girls and shitty techno beats. I know that there are tons more artists who experiment with cut&paste sounds and mix it with radical ideologies, but this CD made me feel really good, even if it's not offering something new concerning sound, production or polished layout.

New Yoreker,

Assault the Mainframe

This book is a collection of articles and interviews that deal with terrorist groups who worked during the 1970's and 80's. The book is designed in a very simple and direct way. It's a collection of texts all Xeroxed and it reminds me of propaganda leaflets or underground fanzines from the days when subversive information was distributed on paper through the mail and not by the internet.

The publisher of this book, a group/man by the name of Ean Frick, set himself a goal and the book title reveals it. It is obvious that the main arch-enemy, at least of those who rule the intersections of control and economics, is global terrorism. The battle is between "the free world" and "the axis of evil"- some sort of multi-tentacle octopus that uses terror in order to crash that "free world" that is based, obviously, in the United States of America.

Actually, the book isn't offering any new critical viewpoint or fresh analysis of the subject but just serves as an anthology that exposes some of the terrorist groups that worked during those bloody decades against the global mainframe while exchanging militaristic knowledge, fighting supplies and money. Even if Ean Frick is not suggesting his own viewpoint on the histriosophic value of those movements, it is obvious that he sees the importance of this publication in the exposure and distribution of those texts. Frick calls the common discourse by the name Terror Market, it has the same characteristics of any other market, an economy of blood, ideology and control, and to this market Ean Frick is aiming with his own merchandise while recognizing an important front of this global terror market: the information front.

It's hard to say that this collection of text is unique and hard to find in other places, I assume that a serious search can provide results, even online, but again, the main purpose for Ean Frick is to offer something that will add to the attacks on the mainframes, and he mentions it in the introductory that he wants to offer texts that will talk for themselves, without academic analysis or other bourgeois agents.

Ean Frick defines urban guerilla movements as movements who were inspired by the Minimanual of the Urban Guerilla, some sort of guidebook to the urban terrorist that was composed by Carlos Maringhella in 1969. This text influenced South American guerilla movements and later was adopted by European movements who worked with the methods of direct action, more or less violently. They were to be described as left wing, yet most of them also added elements of libertarianism, anarchism, radical feminism and militant ecology.

The first text in the anthology deals with the RAF, the Red Army Faction (or like the bourgeois media likes to call them: the Baader-Meinhof gang). Later comes a historic summary of the radical movements in 1970's Italy, a text by the well known Red Brigade Tony Negri. Also introduced to the reader are other radical texts that deal with less known urban guerilla movements like the Cellulues Communistes Combattantes, the FLQ and the radical red feminism of the Rote Zora.

It's important to mention that the Ean Frick collective is itself some sort of an ontological guerilla front, which is also one of the enemies of the mainframe in the level of information, visuals and senses.

New Yoreker,

2006-11-18T23:11:00.000-08:00

-Guerrilla Art Hits the Shelves: Banned Books in Boston-

I was perusing the shelves at the Morton R. Godine Library when I came across a book that struck my fancy: 'Radicalism and the Revolt Against Reason: The Social Theories of Georges Sorel' by Irving L. Horowitz. As I went up to the front desk to check it out a piece of paper fell from the pages of the book. The text on it read: "If you're taking this book out you may be a terrorist in which case you should consider turning yourself in" it then provided the phone number for Operation TIPS and was signed Attorney General John Ashcroft. The librarian then informed me that an unknown person had been taking books and personally censoring them by marking out the text with sharpie and then putting them back on the shelves. Now the purpose of this clever sabotage is pretty obvious given the current political climate. However, since titles chosen had all been previously banned at some point in history, it also speaks to our region's Puritan history of censorship, one which gave birth to the once popular phrase "Banned in Boston."

Since the Godine Library is located within Massachusetts College of Art, the library administrators were looking for some sort of outlet in which to exhibit these self-censored books. Since no galleries were biting, I decided to showcase them myself.

'The Catcher in the Rye'

'Franny and Zooey'

'Animal Farm'

'The Stranger'

'Lord of the Flies'

'1984'

'The Wind in the Willows'

'Journey to the Center of the Earth'

2006-09-17T17:50:00.000-07:00

-Review: Oneiric Imperium 'Service the Target'-

Straight out of the gritty streets of Philadelphia, home of Man Ray and Hellfire Club member Benjamin Franklin, is the debut album of Oneiric Imperium, 'Service the Target'. This eclectic multimedia work is the brain child of Bood Samel and features the stylings of Justin Duerr, Bryan Babylon, Nick Carbuto, Robin Hoode, Gary Steinour, KUR, Abby Miller and Karen Ciorciani, whose instruments range from guitar to a fan with cardboard sticking in it. The album comes in a DVD case which gives it a certain story book quality. This feeling is further validated by a lightning bolt symbol intersecting with a key on the cover, as if to state that some esoteric knowledge will be revealed to the listener. In the liner notes, each song is accompanied by a work of art by Bood which often bare a resemblance to sigils.

The first track, ‘HexHexHex’, starts with a descending synth line over a sample of what sounds like a radio dial being moved back and forth. Enter a sample of Roy Orbison crooning “Go to sleep everything is all right” while an unknown voice whispers the title. Given that the band’s name roughly translates to Dream Empire, we can view this track as an aural translation of a nightmare. For if “the sleep of reason produces monsters”(Goya), then Oneiric Imperium are bound to record it.

The next track is titled ‘Carrion Culture’ and starts with menacing strings over a wall of dissonance. Bood then begins with a mantra which includes such lines as “Politics are impossible. Desire is not a social statement. You are an alienated fragment. The social body is dead.” This is clearly a comment on the current state of late capitalist society, the further decline of the Kali Yuga. In the liner notes for this song Bood writes: “This is the Oneiric Imperium apoletia anthem. It’s a nod to Evola, Yockey and Spengler. We are living in their no future. It is not that the West is dying it is that it is that it is already dead... One must learn to thrive in isolation on the ruin of the world. Tactics such as dumpster diving, squatting, graffiti, and street art are testaments to such a notion.” Linking the aural with the visual, Bood and co. seek to go the distance with their art. Creating a multifaceted body of work that looks to fully replicate all aspects of lived experience.

Bringing us out of the harsh reality of the previous track, ‘The Angelic Host’ is a boisterous neofolk ditty a la Sol Invictus. Accompanied by a drawing of a fleur de lys in front of a Tower of Babel-like structure with a UFO flying over head, Bood sings of angelic beings which seek to steer our souls off course.

‘Service the Target’ returns to the land of the automated with light static humming over what could be Muslims praying. Then a marching drum beat enters and the title is howled against a harsher layer of noise. This piece could easily be the byproduct of a slightly less discordant Whitehouse fused with early Joy Division.

‘Cherico’ starts minimally enough with the amplified sound of a fly against some industrial ambiance before going into a recording of a story told to Bood by one of Phily’s more offbeat derelicts. This fades out to a cacophony of symbol crashes and synth loops while a robotic voice utters a indecipherable word hear earlier in the track. This soon fades too and the listener is presented with the second half of the derelict’s story. The use of this woman’s story is not to garner pity for the homeless or some other related liberal gimmick, but to exhibit to the listener the environment from which this music comes. An environment of social decay inhabited by alienated individuals coping with the failed project of modernity.

Emerging with a sample from the 1979 movie Caligula, ‘Star Hinged Abyss(Hessian Mercenary Version)’ launches into an all out frontal assault of thrash metal. This is then superseded by a thick bass line of electronic distortion. After this brief chance to headbang, the listener is greeted with one of the best tracks on the album.

‘Dream Train to the Secret Lair’ starts with a Middle Eastern flute solo courtesy of Bryan Babylon over the sounds of indecipherable yelling and low cc motorbikes passing. The vocals consist of a cut up of one of Bood’s dreams which includes descriptions of a group of cannibal people who can control other people’s bodies. The picture in the liner notes for this song features train tracks leading up to an ancient Egyptian style building with sigils inscribed on it. This pictorial representation reminding me very much of the story H.P. Lovecraft penned with Harry Houdini, 'Imprisoned with the Pharaohs'. As the song continues, a guitar and flute solo intertwine with Bood’s words and the background noise creating a swirling effect on the listener in which visions of Hollywood savages from old Three Stooges episodes intermingle with Osiris and Thoth. Like most of Oneiric Imperium’s work, it is very self-referential, both musically and in terms of subject matter. As such it lets the listener into the world of Bood Samel and his cohorts. But unlike the personal posturing of rock stars who seek to make themselves seem as just ordinary people to get more record sales, the inwardness of Oneiric’s work is utilized to show that this music is born of a certain experience, one dependent on a particular geographic location and subjectivity.

‘The Harpy Text’ begins with a fragment of Bood’s mom telling a story and then launches into a psychedelic romp in the style of the Stones’ circa 'Their Satanic Majesties Request'. A marching drum beat combines with an organ while Bood an co. sing of winged women who will dissolve them in flame. A clever slice of old school Luciferian rock n roll which could have provided the soundtrack for the moonlight antics of the townspeople in Hawthorne’s 'Young Goodman Brown'.

Meanwhile, ‘Compassion is not Compulsory’ embarks with a ‘Greensleves’-eque tune played through a low analog fuzz. Then enter a sample of street people talking and more of Babylon’s signature flute harmonies. The piece ends as the analog melody fades out and the listener is treated to some intergalactic noises.

‘Strike Down Your Fellow Man!’ begins with a sample from 'Fight Club' with Brad Pitt discussing the purgatory of our age. This is then intersected by a sample of a young woman screaming “warfare, warfare, warfare” from what could be an old Crass LP. As this sample fades out, an erratic, martial drum beat collides with an imperial flourish of brass instruments. The songs ends on a return of the “warfare” chant. One gem on an already first-rate album, ‘Strike Down...’ speaks to the warrior spirit inside those of us suffocating in an age of simulated servitude. Hinting that the ferocity of battle might serve as a substitute for the pangs of mediocrity.

‘Doppleganger’ provides us with a soundtrack for the back alleys of turn of the century factories. Moved along by a more free form, yet bellicose beat and a computer voice speaking the title in appropriate monotone. This particular track also has a collaged representation which can be viewed on various telephone poles throughout Philadelphia. Cryptic symbols and mischievous women peer out of the face of an otherwise stoic portrait.

The final track, ‘Body and Blood’, continues with the theme of Oneiric’s signature style. A chugging typewriter beat keeps the listener afloat as the triumphal posturings of the Lost Generation weave one in and out of a dream state between the past and the present. ‘Greensleeves’ enters in the mix for a second time on the album, this time played on a church organ, bringing the album to a close with the sensation of a pastoral idyll.

While ‘Service the Target’ works wonderfully on the sole level of a musical album, it really cannot be separated from Bood Samel’s gestamtkunstwerk. A quick look at his website reveals a plethora of creative outpourings. This includes essays on the application of antinomianism in consumer society to the problem of parasitic dogmas within ‘underground’ social circles, amateur Polaroid™ pornography, and arcane ink drawings. As mentioned before, much of Bood’s artwork graces the brick walls and buzzing electrical boxes of his fine city, acting as psychogeographical markers. Chaotic, cut up esoteric fragments of image and sound derived from the very materiality of our soulless, vacant urban centers. As such, Bood’s taps into that eccentric tradition in Philadelphia which includes Benjamin Franklin, MOVE , Freeman B. Dowd and the hip-hop act Jedi Mind Tricks. Equal parts Austin Osman Spare, Ray Johnson and Negativland, Oneiric Imperium offers up a fine multimedia work for those who seek to commune with the ghosts of meaning behind a surface of decay.

‘Service the Target’ can be purchased through World Eater Records(http://www.worldeaterrecords.org/). For more on Bood Samel’s art, music and writings please consult www.boodsamel.com.

2006-06-20T10:46:00.000-07:00

-Troy Southgate Reviews The Casio Action Front-

[Mr. Southgate is an important post-spectrum radical theorist who is one of the main ideological founders of National Anarchism as well as an organizer for the New Right in England. He is also the vocalist for the neoclassical/martial outfit HERR and has also recorded with Survival Unit and Erich Zahn. His review will appear in issue #3 of New Imperium Magazine.]

‘People’s War Hardcore’ by Casio Action Front [self-released]
Available from Autonomania@yahoo.ca

THIS do-it-yourself slab of aural samisdat is the work of Ean Frick, a self-confessed 'multiple-personality' with a keen grasp of revolutionary American politics. He and his various incarnations first began life at the Massachusetts College of Art, where he/they became influenced by Dadaism, Mail Art, Neoism and the Fantômas stories. More significantly, perhaps, he and his friends also have a penchant for both National-Anarchism and the New Right. Emblazened with a masked quartet of comic superheroes, the deliberately crude CD-R insert is about as authentically raw and home-made as a molotov cocktail. And just as effective. 'Gotham Asylum' - another reference to the graphic novel genre - is the first of eighteen killer tracks, its rhymic slams and erratic drumbeats colliding at various levels with rattling chains and celluloid-induced musak. It's a post-industrial collage, stitched together like a heap of Frankensteinian flesh. 'Dragged Kicking Screaming' resembles a Red Army Choir being drowned in a bathful of acid. Experimental shuffles and a chugging Hornby trainset dally with high-pitched synths and the occasional disco whoop. The sudden upbeat shift of 'OPP Tech 9' dies out after several seconds, making way for 'Acid Acid Acid', its watery lapping filled with echoed sneezes, stereophonic squeaks and alternating bursts of harsh Noise. 'Casio Terreur' is like listening to Kraftwerk when they were knee-high to a grasshopper. Sustained swirls of primitive electronics that seem tempted to become a tinny alternative to Psychedelia. It's very endearing in an odd kind of way. The similarly-titled 'Casiocore Horror', on the other hand, is a buzzing flurry of metalesque riffs and fairground-style organ with a nice dose of spatial Ambience thrown in for good measure. It's amost like a tuneful version of TenHornedBeast or Sunn0))) and would even fit in very nicely with the laid-back driving music of Psychic TV's 'Pagan Day'. Meanwhile, 'Russolo's Orchestral Maneuvers' is a direct reference to Luigi Rossolo, a Futurist artist and composer. His 1913 manifesto, 'Art of Noises', announced the birth of 'classical modernism' and the arrival of musical experimentation. Frick's own work reflects those early twentieth-century efforts, in this case with a racy combination of twisted vocal samples and distorted sound. The whole thing is like a cross between the Magick Roundabout theme and an energetic ballet of wasps. Towards the end the artist inserts a dramatic 80s-style soundtrack, complete with grinding guitars and a finale of tinkering bells. 'Einsatzgruppe', which refers to the highly-feared Nazi killing units of the Special Task Forces during the Second World War, opens with a Fairy Queen solo lurking beneath a steady plink-plonk beat. Innocence and purity are juxtaposed with menace and the constant threat of impending venom. It's like going to the theatre with shell-shock. Later on, we hear space-age effects that have been sliced-through with static interference and then substituted completely by peeling churchbells and a hollow ambience. 'Inside' follows almost immediately, assuming the distant strains of a Walt Disney cosy-moment or perhaps even a choratic peak from one of Western culture's infinitely more superior reference-points. Radiophonic crackles disturb the warm glow like a less-than-friendly wolf crouching in a forest idyll. 'Razzamatazz', on the other hand, is like trying to listen to Augustus Pablo playing his melodica in the heart of an LCD-induced landscape. Or at least, that is, until the track becomes more discordant and eclectic. However, some of the imaginative electronic work is outstanding and it's far more layered and textured than the previous efforts. But the secret here is to compliment and tease out, rather than to obscure or swamp completely, and from military marching songs to rough forms of telecommunication and repetitive tones, it's all here in great abundance. 'Hunter' is comparatively minimalist at first, its metallic sweeps of pure Drone sounding like a whining man in a dustbin. But it then combines additional swathes of atmospheric interference with the chugging trainset that made its debut on 'Dragged Kicking Screaming', before losing all inhibitions towards the end and degenerating into a light battery of steel upon steel. 'Let It All Come Down' is slightly Doomy in places and, like the name suggests, tends to specialise in a series of descendent tones that charge imperviously towards the abyss. A briefly-rolled snare drum, some hardcore Noise and slowed effects soon take up the strain. Ean must have dropped something on his/their foot/feet at this point, because the following track is entited 'Oh Fuck'. But we'll let him/them off just this once, especially when this track is one of the best on the album. The stuttering vocal samples are snipped and rearranged throughout, never quite getting off the ground and inevitably being forced to play second fiddle to the accompanying chimes and twangs. There are various influences at work here, but the track is so diverse and complex that you never have enough time to put your finger on it all. At one point I'm reminded of a spaghetti western soundtrack, although it has more to do with a segmented Pink Floyd than with Ennio Morricone. 'Soft Lilly Finger' is just as complex. Not as tangled and inexplicable as the previous offering, but certainly very diversified and variegated. The fruit machine effects at the beginning are smothered by a blur of musical acceleration and then a calm Orientalist interlude. 'Razzamatazz (Core Remix)' promises to elaborate upon what I consider to be the most outstanding track on the whole album, but there are few similarities with the earlier rendition and after slightly more than one minute of unulating chaos it comes to an abrupt halt. The not-quite Techno rhythm of 'Do What Thou Wilt' - another brief excursion and an obvious Crowley reference - seems permeated with falling shards of metal, whilst 'At The Supermarket' is an amusing foray into the zombified environs of your local shopping mall. This is obviously the work of someone who would, just for the sheer hell of it, like to disrupt the safe monotony of an afternoon spent browsing the sheleves and stacks of Goyim Centraal. But when the initial mischievousness subsides, however, the acoustic strumming and liberated synthesiser of this Tangerine Dream-like lull provide a happy ending. 'Nothing To Stop It', the final track, continues in much the same vein, with its beautiful synth-scapes infused with the voice of a young American girl repeating the title over and over again with a sense of certainly and inevitability. Erratic drumbeats and an acoustic guitar turn everything into a jangling folk tune, which, you never can tell, may be a sign of things to come. Somebody find this schitzoid a label. And fast.

For more information, go to http://frickmeistereckhardt.blogspot.com/

2006-05-04T16:37:00.000-07:00

-Casio Action Front Debut Released-

$10 USD

We here at Frick & Co. are proud to announce the release of Casio Action Front's debut album: People's War Hardcore. With 77 minutes of pure sonic, lofi Casio dissonance, this is something any fan on lofi electronics or post-industrial music cannot afford to miss. A swirling collage of samples, organic sounds and preprogrammed Casiocore, the schizophrenic compositions bring to mind a battle between the increasing monolith of technototalitarian society and the whispers of resistance using the discarded technology of a civilization based on immediate material gratification. While others hint at the serene beauty of a post-apocalyptic paradise. Flora and fauna popping up among the rubble of superhighways and Burger King Modern architecture. So don't be shy, join the neo-Futurist resistance and listen to this at full volume for training against PsyOps tactics. Tracks include:

1.Gotham Asylum
2. Dragged Kicking Screaming
3. OPP Tech Nine
4. Acid Acid Acid
5. Casio Terreur
6. Casiocore Horror
7. Russolo's Orchestral Maneuvers
8. Einsatzgruppe
9. Inside
10. Razzamatazz
11. Hunter
12. Let It All Come Down
13. Oh Fuck
14. Soft Lilly Finger
15. Razzamatazz(core remix)
16. Do What Thou Wilt
17. At The Supermarket
18. Nothing to Stop It

For ordering information email me at Autonomania@yahoo.ca. To listen to some samples please visit the Casio Action Front site conveniently located in the links section.

2006-03-30T15:42:00.000-08:00

-Assault the Mainframe: Texts from the Urban Guerrilla Movement-

$25 USD

Keeping with the spirit of Terror that is now encompassing our global culture, I decided to add something to the Terror market. And what better a commodity than a book, especially when given that the book was the first successful commodity. 'Assault The Mainframe' is an anthology of communiques, histories and essays by various terrorist outfits of the 70s and 80s. Historically this marks the beginning of the era of the Terror War where radicals organized themselves in autonomous cells and waged a clandestine campaign of violence against the State. What differentiates a Terror war from a conventional war is the fact that it is waged by members inside the society of the declared enemy(in this case the capitalist State) and is under the guise of peacetime. Though martial law has been declared in certain situations, the FLQ's campaign in Canada comes to mind, the Terror War has not yet approached anything on the scale of a war between nations. Though the American war on Afghanistan comes close, a more concrete example of a Terror War would be the Years of Lead in 1970s Italy.

'Assault the Mainframe' features a history of the Red Army Faction, the Red Brigade, a rare essay by Toni Negri and an interview with the Belgian Communist Combatant Cells among many other great works. The purpose of this anthology is to give a voice to those whose message was subject to much disinformation. It is also to add something to the newly created Terror market that has been opened up in the discourse of the current crisis.

Table of Contents:
-Introduction
-22 Years of Armed Struggle by the RAF in Germany
-Between 'Historic Compromise' and Terrorism: Reviewing the Experience of Italy in the 1970s by Toni Negri
-The Brigatte Rosse: Politics of Protracted War In the Imperialist Metropolis
-Interview with Cellulues Communistes Combattantes
-Manifesto of the Front de Libération du Quebec
-A Herstory of the Revolutionary Cells and Rote Zora
-"Resistance Is Possible" Interview with Two Members of Rote Zora

I accept checks from American banks, cash and money orders. For ordering information contact me at Autonomania@yahoo.ca

2006-03-15T14:26:00.000-08:00

-Terror Chic and Department of Soviet Kitsch Prints for Sale or Trade-

The following prints are about the aesthetization of power, especially in the relation to politics. With 'Terror Chic' we have art to accompany those of on the side of terror in the current War on Terror. Given that the leaders of the New World Order have created a false dualism with this war by creating an imaginary enemy and then defining themselves against it, its high time we took this definition to its logical conculsion and start creating some cultural products for this historical period. Given that the Terror side of the current war is conveniently loose on definition we here at Frick, Frick & Frick did some research but all the ideology stuff that came up was pretty flimsy and didn't realy give a concrete difference between those on the side of Terror and those on the side of Freedom(with a capital F). So all we were left with was the image of terror and it seems that that is all there is to differentiate it from the its detractors. So in short, this war is really between competing images. Freedom and Democracy on one side are armed with bald eagles, American flags, and a multicultural cast of talking heads who bark at us viewers of this newly digitized spectacle about the need for legitimacy and other farces. Terror pretty much has dudes with ski masks and submachine guns. With both those for Democracy and those for Terror, the gun is symbolic of the phallus and thus Man's source of power. Like a phallus, a gun can get all hot and bothered and needs to let it all out and so sprays those unlucky enough to be in the way. Unlike a phallus, however, the spray causes the (potential) loss of life instead of its (potential) creation. This is because in its symbolic form the phallus has been reversed. The face of Terror is contrary to change. So I chose the loveable, Belushi-like mug of Carlos the Jackal who, for those who don't know, was the Osama bin Laden of the 1980s. He entertained the masses with plane hijackings, bombings and other dastardly deeds(such as kidnapping high ranking Opec oil ministers). Everything about him was reflective of pop culture and its obessesion with images. The son of a Marxist-Leninist millionaire he grew up thinking proletarian revolution was a sharing fine wine with buxom beauties on the Riviera. Born Ilich Ramirez Sanchez, he recieved the moniker Carlos the Jackal from the media when they found Frederick Forsyth's mass market spy novel, The Jackal, among his things in a hotel room. It seems the simulacra of the terror image is never ending. And so he is emblazoned here in the following prints as the epitome of the dark chicness that Terror exudes. The unfiltered cigarette smoking, airplane hijacking, car bombing, everywhere and nowhere constitutive Other to Western Democracy that is Terror with a capital T.

The Department of Soviet Kitsch works are about the cultural crisis of Russia since the fall of the Soviet Union. While the Western 'free' press remarked that democracy was coming to the land of babushkas and Daniil Kharms, they really meant massive privatization of industry at the hands of multinationals and thus the chipping away of a culture that is uniquely Russian. Down with statues of Lenin, up with the new reign of the Golden Arches. Now you won't hear any drunken calls for a return to food lines, Khrushchev lovin' bureaucrats and the Comintern from me, but the Soviet Union reflects the outcome of what happens when a culture that has always been between East and West has a go with 20th century Jacobinism. Whatever one can say about the USSR, it was a Russian project and so it was the duty of Russians to fix. The current state of things do not constitute as such and seem much more like a waiting period for Mother Russia to collect her senses. The following prints reflect this cultural confusion.

*Terror Chic*

Carlos Yellow
$15 USD or Trade

Carlos Blue
$15 USD or Trade

Carlos/Carlos red
$25 USD or Trade

Carlos Side Up
$25 USD or Trade

Carlos/Carlos black
$25 USD or Trade

A Conflict of Interest
$25 USD or Trade

*Dept. of Soviet Kitsch*

It's the Real Thing blue
$15 USD or Trade

It's the Real Thing green
$15 USD or Trade

Limonka Girls set
$25 USD or Trade

Lenin Coca Cola Wheel set
$50 USD or Trade

(Note: I'm more interested in trading than monetary transactions. I'm interested in books, music, flags and other art in terms of trade. Oh, and all that gun/penis stuff was just some obligatory Lacan. We are dealing with Art here people! ;- )

email: Autonomania@yahoo.ca

2006-02-24T20:24:00.000-08:00

-The Allston Beat-

I have the pleasure to announce that Boston's premier hip, free newspaper, the Dig, has decided to carry an article I wrote about the Allston-Brighton neighborhood and its cultural decline since the 90s. The editors edited it a bit and took out my rantings against the realty companies in the area as well as my own descrption of the ska scene that Allston was famous for in the 90s. Below I have reproduced the original article in all its unedited glory. Below that is a link to the article as it appears in the Dig.

---------------------------------------------------------------------------------------------------------

When I was a boy growing up in the metroBoston area, the lure of the city and its many happening neighborhoods attracted some interest. Harvard Square was a well known hang out for out of town youth who wanted to get away from the drabness of the suburbs and see something, anything out of the ordinary. The freaks and pit rats attracted many but there were also alot of great used records stores to browse. While Revolution Books is both a brilliant throw back, decent bookstore and a nod to the People’s Republic of Cambridge. But by far the neighborhood to held the most sway with metro youth was Allston. During the mid 90s there was a thriving ska and punk scene there. Of the many bands that came out what was known as the Allston Beat(1), the Allstonians epitomized the homegrown energy that scene produced.

Given that I now reside in Allston, I’ve listened to a few songs by The Allstonians and compared them with contemporary, post-ska Allston. In the appropriately titled ‘Allston Beat’, singer Nigel tells the story of a student coed who is distracted by the parties in Allston. “Came to school to study hard/ Now she's distracted by the parties down in her backyard/ She never wanted to, but now she's moved right in/ And now she knows exactly what's been happening” Note the strange emphasis on moving in. He then goes on to describe a typical Allstonian: “His brain is shaved, Doc Martin kickers on his feet/ He couldn't live anywhere else in town/ Without a dirty look or nasty word from someone trying to put him down.” While I can’t speak for Allston ten years ago, this certainly isn’t the case now. Most of the residents are students from primarily BU and BC, so if we want to get into fashion terms we have alot of white hats, jock types, more Gap than Doc Marten. An iPod is an accessory for both sexes. Generally, the Allston students typify the new yindie or yupster trend. Young and hip, but professional, too square for the tattoos and tight pants of the scenesters, too uptight for the relaxed fit and of the B-Boys and bedside DJs. Though Re:Generation, a throw back to the scene of the 90s, attracts punkers with its shows and cheap and varied selection of records, they are not a common sight.

In ‘Brighton Memories’, Nigel muses “Brighton memories never change from year to year/ So I'll never have to look to find a home.” Again, a reference to the ubiquity of housing. What gives? Allston has mainly two things, alot of cheap housing for students and various immigrant communities and places that sell cheap housing to the previously mentioned groups. Cruise the craigslist.com job listings in Allston and one will get the impression that real estate is the only job in town. Anybody who has ever lived in Allston can attest to the fact that they are constantly bombarded with realtors wanting to show your place to wide eyed college kids impressed by all the stories they’ve heard about the notorious neighborhood. But what is so great about Allston? The punk and ska scene that attracted so many of us in our youth has been dead for years. Where are “all the things you can do and all the freaks you can meet” that the Allstonians sang about? Okay, so the ninja cup guy and the King are still keeping it real for all us on Harvard ave. but is that it? A host of greasy spoons is good for the munchies, but come on! The lights may be on all night in All-Bright but no one’s home. If you are a student who is ready for that big step of calling themselves upwardly mobile(cringe) or just like mozzarella sticks a little too much then by all means move there. But if you want to live in a cool neighborhood stick with Mission Hill.

(1) which musically was a cross between the 2Tone bands of England in the early 80s and the newer third wave of ska which was Popier though there was the occasional band which would infuse ska with hardcore punk which always showed the most originality. While the 2Tone scene across the pond was often about racial unity and antifascism, the third wave scene of which the Allston phenomenon belonged, was much more apolitical and demographically white. The third wave was also more mainstream and easily susceptible to being corporatized. Though despite pop bands like No Doubt and Catch 22 maintaining some chart presence alot of the bands that the local scenes produced stayed truer to the roots of rocksteady and bluebeat.

http://tinyurl.com/n3m8z

2006-02-09T09:46:00.000-08:00

-Postmodern Primitive/Primitive Postmodern-

2/10/6 - 2/18/6

Opening: Monday 2/13/05 7pm-9pm

Godine Family Gallery

MassArt

A collection of paintings, collages, wood assemblages,

and drawings that seek to show the similarities

between the

art of pre-modern 'primitive' cultures and

contemporary pop and low cultural elements such as

cartoons and outsider art.

The inverse of this, Primitive Postmodern, refers to

art of the contemporary era that reflects the shallow,

material values of Western, modernist culture but

through a primitive aesthetic. These include

readymades and wood assemblage.

Contemporary culture bases itself on the idea of

acceptability and legitimation which, by default,

defines itself against a created Otherness. It is the

intention of the artists to high light this Otherness

in the many mediums in which we find it exists in

current society. For without this Otherness, the

image of legitimate culture lacks definiton.

featuring the work of:
Conor Morey-Barrett
Jesse Neumann
&
Ean Frick

2006-02-02T23:59:00.000-08:00

-A Letter of Criticism-

F Laros wrote:

Is 'Ean Frick' the work of one person...or several? And do you all share the shame political proclivities? One minute your a reformed commie or sorts and not really 'into national anarchy at all', and now your simply regurgitate their stuff and the latest eco-fascist/Intergralist garbage one find at anus.com. Haha, is fascism really where burnout leftoids go to die, or have you just moved on to the next thing for is radical cache?

A Response:

Dear F Laros,

First off, I am pleased to see that you are aware of the Ean Frick persona. Ean Frick is a identity that can be used by anyone for artistic, literary, "activist" or whatever else purpose they may want to. But in regard to the political opinions you refer to, this is one Ean Frick.

The fact that you seem to follow my opinions, or what you perceive to be my opinions, also interests me as your reasons for such are unknown at this time. Nevertheless, I feel your simplistic characterization of my thoughts needs some clarification.

When I was younger I was a Trotskyist, during this time I was member of the International Socialist Organization. After a little over a year with this organization, I grew tired of work disguised as social activism as well as the continual ideological surrender of the radical fringe to the liberals, Democrats(both social and Party related), and 'progressives' on the Left. During this time I was also somewhat involved with organizations such as Solidarity and the World Socialist Party(the old utopians not the Trots). After tiring of the leftist 'classics' like Marx, Engels, Lenin and Trotsky, I got into ultralefts such as Pannekoek, Bordiga and Castoriadis as well as other thinkers from Sartre to Toni Negri to J. F. Lyotard and Guy Debord. I came to seek work as a bigger threat to humanity than not getting paid enough or being socially accepted by the liberal capitalist state. May '68 had always interested me since my ISO days and I began to think that 'All Power to the Imagination' was a better place to start than 'Workers of the World Unite.'

With Marxism in my past, I began to see anarchism as a more open ideology, by this I am not talking about the petty dogmatism of, what I would term, Leftarchism which merely replaces such revolutionary gods as Marx and Lenin with Bakunin or Kropotkin. Granted Bakunin, Kropotkin, and especially Proudhon are all fine figures, but I began to see anarchism as a way of exploring metaphysics and life, a kind of libertarian methodology and ontology. At this point, I guess I should mention I was very much into Hakim Bey/PLW as well as people like Stewart Home and Bob Black. Culture now seemed like something which people resonated with and shared bonds over more than the fact that they shared the same crappy jobs. Gramsci understood this when he stated that revolutionaries should work to build a counter-hegemonic culture that is socialist and anti-capitalist. Also, ever since I was a Marxist I had been a strong supporter of the rights of people to national/ethnic/regional self-determination. Despite my interest in left communism, which was mainly centered around their stanch calls for autogestion as well as their strict critiques of capitalism which were far more in depth than any Leninists, I always disagreed with their opposition to national self-determination, though it should be added that certain Italian thinkers, like Gramsci, of this persuasion supported it. I didn't see why, for example, Blacks in America should have to read the works of a German or a Russian which were born of a uniquely European experience to liberate themselves when they had their own unique revolutionary history. I also felt that the critique that it was solely class instead of race discrimination that oppressed people was a bit reductionist. People each have their own culture which is often based on ethnicity, as long as they are liberating themselves from the yokes of international capitalism and living autonomous and free lifestyles I don't see why the way they got there to be so important. Here I found methodology rather than ideology to be a more important factor in securing a libertarian socialist now. In other words, the how is more important than the why. Marxism and, by extension, Leftarchism stem their effectiveness off the basis that very large numbers of people in the world, a majority I guess, would adhere to their ideas. That this is utterly unrealistic doesn't seem to dawn on many intelligent people who are involved in such debates and struggles. American Indians lived in 'primitive' communist societies far before Marx or Bakunin entered the scene. This leads me to explain my interest in National Anarchism.

When I first discovered it I was greatly interested by the seemingly contradictory idea of combining anarchist with nationalist, specifically european nationalist, ideas. The anarchists and the Left were calling it fascism, saying that the far right was trying to recruit from the left by making themselves out to be anarchists. For one, if anyone has dealt with the contemporary Left they would soon see that it is a bit presumptuous of them to assume that anyone, even the far right, would want anything to do with a group of social inepts who have very little power to change the current situation. It seemed like their critics in the Left and anarchist circles were merely writing out of an ingrained rightphobia, though not without warrant, is not the kind of unfounded bias one wants to read if one wants to actually find out about something. Thus I decided to do my own research and see exactly what these National Anarchists were all about. My conclusion on them is as follows. But first I must state some ‘truths’ about our world: reality isn’t an objective thing, each person sees it in their own manner which is reflective of many different cultural signs, thus people’s ideas are hardly ‘wrong’ but merely based off a different subjective experience than their detractor. Despite this relativism, there are certain things that span subjective experience and affect many different people, this is consensus reality. The power structures of political systems being a good example of this. If we take the most reactionary aspects of national anarchism, basically white separatism, which is based off of many ignorant racist ideas, we still see that it is of no harm to other races since it anti-authoritarian, it doesn’t seek to impose any will over others but merely wants to be left alone and autonomous. Here we can see that while it may not be ideologically anarchist, it is certainly such methodologically. So rather than the far right trying to recruit anarchists and the far left, it seems as if certain anarchist and far left ideas have influenced the far right. I also don’t see why people of similar political persuasions shouldn't ally themselves in this time of severe political crisis. The far left and anarchists would have much more in common with many true conservatives(i.e. paleo, populist, nationalist) who are opposed to imperialism, Zionism, global capitalism and consumer culture than many liberals in the movement whose globalism and wishy washy humanism are at the very philosophical root to capitalism. If these conservatives happen to be anti-authoritarian and don’t wish to impose their beliefs on anyone else, I don’t see why such an alliance hasn’t happened already. This goes into the theory that there is no objective reality but merely many subjectivities interpreting consensus reality. Modernist ideologies are based on the idea that someone will interpret reality in a certain manner. As I have mentioned previously this is not only unrealistic but authoritarian. People are different, that is what defines us, not similarities. People are always going to see things differently, I wouldn’t want it any other way. The question is how do we live with such differences, the answer is pluralism, anarcho-pluralism. This is where National Anarchy comes into play. They are certainly anarchists in the sense that the system they want to live under is a Proudhon derived federalism, they are anti-capitalist and anti-authoritarian, where they differ is not in the anarchism but in the social leftism that the contemporary anarchist movement has adopted. While their ideas on other ethnic groups may make us cringe, their desire to be left alone and not impose anything on anyone else shows that they are cut from a different cloth than most ‘white’ nationalists. If anything this is ‘white’ nationalism declawed. Many National Anarchists , such as Troy Southgate, actually recognize the ridiculousness of ‘white power‘ and are very hostile towards it. These National Anarchists seek to revive a pagan, European culture, and who says they don’t have the right to do so? Judeo-Christianty, modernity and American cultural imperialism has certainly decimated many organic cultures, Europe being one of them. Therefore my verdict on the National Anarchists is they are merely a form of the new anarcho-pluralism that is emerging from all sectors of the globe, those who want to retain their culture, whatever it may be(i.e. ethnic, sexual, artistic, ecetera.) through an anarchist framework. If anything, this is a victory for libertarian methodology and ontology.

2006-02-02T09:02:00.000-08:00

-The Fuck is Frick?-

Ean Frick is a multiple identity, a nom de plume that anyone is welcome to use for activist and artistic endeavour. Other multiple identities in use include Monty Cantsin, Karen Eliot, Michael K and Luther Blissett. These multiple names were first developed and popularized in artistic subcultures of the 1970s to 1990 like Mail Art, Neoism and post-situationist discourse, with the pseudonym Rrose Sélavy jointly used by Dada artist Marcel Duchamp and the surrealist poet Robert Desnos forming a historical pretext.

Okay, now that the introduction and defintion is out of the way lets get down to the meat and potatoes. The Ean Frick project was started by a Massachusetts College of Art student a few years ago with hopes that others would soon join in and produce essays, prose, collage and other works all under the umbrella of this mass indentity. However, do to a lack of the Frick namesake and its purpose getting 'out there', the written works have all been produced by one Frick(the O.G. Frick) while some actions have been carried out in association with other part time Fricks who also ally with related metaesthetic groups such as the Boner Party, Fantomas Brigade, and the Color Action Front. It is the intention of this blog to further the publicity of Ean Frick so that others will sign in, get silly and help end serious culture. The only thing that Ean Frick stands for is All Power to the Imagination, the revolt of subjectivities, whose related methodolgy is one of anarcho-pluralism, which is why (a) Ean Frick has worked along side the National Anarchists and the Nouvelle Droite. This blog will feature the latest outpourings of Ean Frick. If anybody 'out there' wants to submit work please email me at Autonomania@yahoo.ca

Previous works by Ean Frick can be found here:

http://www.rosenoire.org/

http://ean-frick.livejournal.com/

http://www.illegalvoices.org/knowledge/writings_on_anarchism/iso_the_leninist_mary_kay.html