ᴘʟᴇᴀꜱᴇ ꜰɪɴᴅ ᴀʙᴏᴠᴇ ᴀ ꜱᴜʙꜱᴛᴀᴄᴋ-ᴇxᴄʟᴜꜱɪᴠᴇ ᴅᴇᴍᴏ ᴄᴀʟʟᴇᴅ

   “ᴀʟɢᴏ ⧍ ᴘᴀʟᴀᴄᴇ (ꜱɴᴏᴡʙᴀʟʟ).”

     It’s about what the text that follows is about.

      (“POST TOO LONG FOR E-MAIL” just like always, read it on the web!)

 It’s unfinished, there are too many layers, the production’s 𝘀𝘁𝗿𝟴 𝗷𝗮𝗻𝗸.

       Still kinda goes though, huh?

           You’ll find good news enclosed.

The 𝐄𝐕𝐄𝐍 𝐁𝐄𝐓𝐓𝐄𝐑 𝐍𝐄𝐖𝐒 is — I’m back in the loop with a bevy of new producers and collaborators, so the slop and the slog of self-production should soon be but a side quest to my adventures in more capable hands.

         SPEAKING OF,

      ＩＮ ＳＩＭＵＬＡＴＥＤ ＳＵＭＭＯＮＩＮＧ：

  This morning saw me run into Crane Hawke✱,

   an able recordist who will be remixing/remastering the otherwise

 GODLESS  &  UNMASTERED  Speculative Music

                HIT: 

          “Ｍ．Ｍ．Ｔ．”

   NOW AVAILABLE ON SPOTIFY (ᴄʟɪᴄᴋ 2 ᴊᴀᴍ)

We’d met at a show in Northeast Los Angeles just the other day and we’re plotting like Forest Lawn.

                        (dig two)

            But it’s not clever to talk plans.  No.  Not here.

   So,

Let’s talk about

𝙒𝙃𝘼𝙏 𝙄𝙎 𝘿𝙊𝙉𝙀,

𝙏𝙃𝘼𝙏 𝙒𝙊𝙐𝙇𝘿𝙎𝙏 𝙏𝙃𝙊𝙐 𝙃𝙊𝙇𝙄𝙇𝙔:

        𝐖𝐈𝐋𝐓 𝐀𝐒 𝐓𝐇𝐎𝐔 𝐃𝐎.

                   ░⑹░░⑹░░⑹░

The music exists in service to seduction.

             (I shouldn’t be telling you these things . . .)

if     I’m     - - - ever - - -    selling you a course,

                          (there are many guns to my head) ///

     Through uploading music to Spotify,

I appear to have sufficiently fed the discovery algorithm to have given a

                                SONIC PRINT.

          Play me and tracks by other artists auto-play after.

                          I’m at the party, now. 

“Man, sometimes it takes you a long time to sound like yourself.”  

—MILES DAVIS

    Why not     have ourselves a     ♥ listening party ♥ ?

      What the hell kind of festival is being imagined here?

     I’ll discover new music by making music —

   I shall give myself to the algorithm as one might crowdsurf or trustfall or

         COME TO THE LORD.

Let’s run through 90 minutes or so . . .

    𝙵N𝙵 F𝚎𝚜𝚝 F𝚘𝚛 𝚝𝚑𝚎 404 𝙴𝚁𝙰:

          ᖴᑌᒪᒪ ᔕET (1-click)

【ＴＲＡＣＫ　ＢＲＥＡＫＤＯＷＮ】(many clicks)

Conway the Machine. F**k yes. I am so pleased.

The Alchemist is someone I’d love to work with at some point.

No idea what this is. Sounds like AFX got hold of “It Takes Two.”

Micro Machines banger. I’ll take one.

Apparently a “bedroom musician from Grand Rapids, MI.”

Always good to keep it flowing in the boudoir. Why I make music too.

Next:

EggNut. EggNut. EggNut.

Apparently this person (?) makes noir detective games about raccoons?

https://eggnut.net/

I don’t know.

I don’t know —

I don’t know what’s going on here, but it kind of reminds me of Ghostpoet, who I’d love to work with.

A Radiohead song I’ve never heard. “Ill Wind.” Played 2x.

I must have done something very similar.

I don’t know why but I stopped listening after Hail to the Thief.

Just seemed like I’d had enough I guess.

SUBSTACKXXXCLUSIVE:

                 Here, I sang “Knives Out” for you.

My goddamn beautiful goddamn beautiful goddamn beautiful goddamn beautiful dogs barked during the recording, but it’s still “O.K.” (Radiohead joke, you see . . .)

Hey I know this one.

Wish I could track these vocals again. Suppose there’s nothing stopping me.

I changed Buddy’s lyrics you know.

I wonder if he’d hate the s**t out of this.

This is the track that had pricked Crane’s ears.

“Scott Walker,” Crane said.

“I’m back.”

Big smile.

THE RESIDENTS. Never did care for this band. So much material.

Watched that documentary about them.

Watched a documentary about Scott Walker too.

Felt one more than the other.

I think this is twee.

Are the Residents canonically twee?

In my hearing am I committing layered heresy?

Some insane s**t called Beach Bums.

This sounds like the intro to Significant Other by Limp Bizkit.

This rules.

Oh I like this.

Runs a bit like a track of mine called “Colonial Manner.”

sir WAS. This is fine.

French I think? I used to play his? their? old s**t in my store if I recall correctly . . .

Meshell Ndegeocello!

Oh hell yes.

Alabaster DePlume. This makes sense.

Was just at the Lodge Room the other day. Hidden bangers like Carla del Forno.

Secretly acidic.

God I love Carla del Forno.

She didn’t come up in my artist radio but she’s gonna be here anyway:

Dream of Carlafornication.

What the f**k? Coldplay? What is this s**t?

This sounds like the World Economic Forum. This is Davos music.

This s**t is horrendous. What have I done to deserve this?

NO.

Cero Ismael.

Vapor lock “Come As You Are.”

COME TO THE LORD.

When Saints Go Machine.

Bong bong bong bong. Sitting with my drum in the lotus garden.

That warping is fun.

I’ve thought before about getting a handpan and disappearing from this world entirely.

Oh that’s some nice reverb comes in. Guess I’m still a Jaar-head.

Chartreuse.

Like these slippery drums.

Vimala Pons.

The broken rhythmic spoken-word element.

The chimes.

I should contact this person.

I am this person.

Dawuna. This is fun.

Microbanger again. ASMR scrape.

Sounds beaded.

⃝⃝⃝

Red Snapper.

Those backing vocals, yeah. I’d do that.

Saint Mela.

Real into this one.

King Krule. Into this one too!

Be fun to get on a track w/ this critter.

COUCOU CHLOE.

This is Extremely European.

David Sylvian.

( - :

Immediately pre-COVID I’d been working with an Italian producer who goes by Horrible Andy.

Amusingly, I’d been served one of his tracks on Spotify, where it’d been recommended to me due to his collaboration here with Deem Spencer:

I knew I could kill that production so I hit him up cold.

He was receptive.

As you may or may not be aware Italy was devastated by early COVID waves, and properly locked down.

Ultimately, this frustrated our collaborative efforts. Maybe we’ll pick it up again.

I can recall Andrea’s initial response to hearing me:

“Psychedelic Sylvian.”

Very pleased with the algorithmic feedback here.

Andre Ethier.

This is like if you took everything away from Alanis Morisette’s “Ironic.”

I hate this.

Owiny Sigoma Band. This is fun. This is properly bent.

DJ Tennis. High-steppin’ Bela Lugosi.

Then a rubberman starts wandering around.

Bilal. Damn. Honored by the algo. Give a f**k if it’s a skit. Bilal!

Saul Williams.

Oh my god. Yes.

I feel so seen.

The algorithm understands me better than most people do.

Yes, yes, yes.

Saul Williams is easily one of my primary artistic influences.

I saw him perform when I was all of 16, 17?

He unveiled an enormous scroll on-stage and proceeded to Rap His F*****g God Damn Ass Off for like 45 minutes straight, aether.

I am ecstatic.

J.Q.D.

💙💙

Thank you for allowing me to journey this far up my own ass.

               I hope the ride was smooth.. .

[BOOMING VOICE] get MORE 𝙣𝙤𝙬 𝙉𝙊𝙒 𝙣𝙤𝙬 𝙉𝙊𝙒 with the 𝚂𝚄𝙱𝚂𝙲𝚁𝙸𝙱𝙴𝚁 𝙰𝙳𝚅𝙰𝙽𝚃𝙰𝙶𝙴:

LOOK AT THIS DOG S**T:

                Now to write a bio:  

James Quentin Devine is a Stateless Californian Autonomist Post-American Speculative Transmedia Artist-Art Worker (Style Athlete) .

JQD has significant experiences of low vision and simultagnosia, has been diagnosed with multiple comorbid “mental illnesses,” and described as various expessions of “neurodivergent.”

JQD operates in open demedicalized rejection of these frameworks and all the “corrections” they conjure and entail.

JQD’s works are situated in unresolved frontiers and do not seek to definitively answer questions.

JQD trafficks in “𝙃𝙮𝙥𝙚𝙧𝙥𝙧𝙤𝙙𝙪𝙘𝙩𝙞𝙫𝙚 𝙞𝙣𝙚𝙫𝙞𝙩𝙖𝙗𝙞𝙡𝙞𝙩𝙞𝙚𝙨.”

▲⧍▲

WHAT ELSE? →

                        (help)

𝙆𝙉𝙊𝙒 𝙏𝙃𝙔𝙎𝙀𝙇𝙁

𝙆𝙉𝙊𝙒 𝙉𝙊𝙏𝙃𝙄𝙉𝙂

💙

ᴶQᴰ