HERE COMES THE BACKKLASH

ANTHRAX TRAXX:

the Next DJ POOLHOUSE Special Miniseries from BACKKLASH – COMING SOON!

What happens when DJ Poolhouse fuses the thematic essences of his most provocative work into one magnum opus—the biowarfare exposé of The Unsilencing, the sweeping geopolitical paranoia of Ultimate Eurodance Conspiracy Project, and the caustic, surgically precise critique of the military-industrial-media-trauma complex pioneered in Terror Tape Trilogy?

The answer is ANTHRAX TRAXX.

Most people know anthrax as a deadly germ—a specter haunting the public imagination since the rise of biowarfare research in the late 19th century. Some remember the mysterious Amerithrax attacks after 9/11, but few understand the bizarre, unsatisfying “official” conclusion. Fewer still know about AVIP—the U.S. military’s mandatory anthrax vaccination program of the late 1990s, created for “total force protection” by forcing experimental shots on all troops. And almost no one talks about the 500,000 soldiers quietly injected with expired anthrax vaccines during the 1990 Gulf War—just before tens of thousands developed mysterious, debilitating ailments. A topic treated as absolutely verboten.

But why does anthrax matter now?

Because you cannot fully grasp the staggering scale of corruption and social manipulation orchestrated by the high priesthood of The Science™ without penetrating its history—and the anthrax file overflows with stories that reveal how scientific institutions actually operate. You cannot understand the true nature of events like the Amerithrax attacks—or more recent controversies such as COVID-19 vaccine mandates and gain-of-function research—without first understanding AVIP, a lens into the hidden nexus between biowarfare and vaccines.

In ANTHRAX TRAXX, Poolhouse beams a hidden history of medical experimentation against the backdrop of a century of virology and vaccinology. At the center of this “heavy metal plague opera” stands Bacillus anthracis—the rod-shaped “prodigal son” of biowarfare, a dark beacon of the biological sciences and their ascent to global power.

And what exactly is The Science™? In the modern imagination, the words of men and women in white coats carry the kind of authority once reserved for popes and priests. We trust public health bureaucracies to act in our best interests. We assume clean lines exist between not-for-profit institutions, private funders, government scientists, transnational corporations, and federal regulators. We believe The Science™ seeks to solve crises, not instigate them.

Track by track, Poolhouse unspools a shocking remix of our collective faith in science and public health. With the research skills of a forensic investigator and the spiteful wit of a cultural saboteur, he charts the nexus of germs, elites, militaries, biolabs, plagues, and vaccines—an inoculation against the pharma-defense propaganda industrial complex.

All it takes is one prick to deliver the antidote.

And that prick is DJ POOLHOUSE.

Give us your arms.

It’s time for your………. ANTHRAX TRAXX

🦠 ☣️ 💉 ☣️ 💉 ☣️ 🦠

Coming soon from backklash.substack.com // backklash.org

~ 2025 ~ Splish Klash Studios .

___________________

ANTHRAX TRAXX – Music Sources “Medusa” (instrumental) and “Madhouse” by Anthrax

ANTHRAX TRAXX — Cinematic Sources

(Pandemic, Biowarfare & Medical-Experimentation Cinema):

Panic in the Streets (1950)

The Killer That Stalked New York (1950)

The Satan Bug (1965)

The Andromeda Strain (1971)

The Omega Man (1971)

Virus (a.k.a. Virus: The End) (1980)

The Stand (TV miniseries, 1994)

Outbreak (1995)

Carriers (2009)

Shutter Island (2010)

Contagion (2011)

archival news reports, including: Amerithrax, AVIP (1990s U.S. military anthrax vaccine program), biowarfare outbreaks, Anthrax attack preparation.

custom pop art gfx: bruisefi.ist for splish klash studios

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit backklash.substack.com

Poolhouse is BACKK—fully recharged from his summer sojourns and Eurodance deep dives—delivering the remote viewing audience a straight-up classic: two mics, no agenda, just pure free-associative anon-on-anon shmoozefest with a returning favorite: Heavy Body himself, aka Mac, aka Big Mac McCarthy (RIP), outlaw poster and indie rock survivor.

The boys get into the burdens of being an rocknroll exile and the cultural comeback of real swagger, the perilous state of being an “unvaccinated indie rocker” in 2025, and how the freewheeling, Western-chauvinist spirit of rock got hijacked by a corporately fueled virtue-signal sideshow.

The war on men, AI talk therapy, pop’s re-commodification of rock, what makes the perfect cover version, does Paramore suck, and the eternal question: does the aging parapolitard-indie rock millennial male deserve forgiveness—or the gulag?

But at its heart, it’s just two dudes (one normal, one Poolhouse) shooting the shit, having a laugh, and carving out space in that spectral zone beyond love and hate, war and peace. This is HERE COMES THE BACKKLASH at its most raw, rugged, effervescent, and irreverent.

*this episode was recorded on the morning of September 6, 2025.

**I do not know where the intermittent space hiss sounds near the beginning came from I tried to edit as many out as I could but wtf

Support Heavy Body on Bandcamp - https://heavybody.bandcamp.com/

Follow Mac on X - x.com/bigmac2mccarthy

Stream Heavy Body on Spotify

Episode Chapters

(0:00) - ‘love + hate’ (theme from here comes the backklash) feat. Heavy Body

(0:58) - 8-trakk intro

(5:35) - welcome backk, mac

(8:15) - I’ll cover u

(20:07) - do u like paramore?

(23:30) - The Night Big Mac McCarthy Died

(30:35) - Less Rockk More Talkk Therapy

(41:31) - Monsters of Unvaccinated Indie Rock

(1:00:33) - Rock the Vaxx II

(51:33) - No CBGB for Bold Men

(1:09:33) - Woke Rock Demon Hunters

(1:23:33) - The Pop Art Stoicism of Heavy Body

(1:26:28) - Searching for a Quest of Our Own

(1:30:25) - Ultimix Ultimode w/ Big Mac McCarthy

(1:38:04) - Theme from backklash reprise + Outro feat. Heavy Body

Episode Mixtape

Heavy Body - “Love + hate” (backklash theme cover)

Heavy Body - Shirt (from “B”)

Hayley Williams - Mirtazapine

STP - Trippin’ on a Hole in a Paper Heart

Decius - Look Like a Man (Poolhouse Dub Edit)

White Zombie - More Human Than Human (Meet Bambi In The King's Harem Mix)

Doja Cat - Jealous Type (Instrumental Bumper Edit)

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit backklash.substack.com

ULTIMATE EURODANCE CONSPIRACY PROJECT (featuring DJ POOLHOUSE), Volume 2: The Power plunges deeper into the secret history of ’90s Eurodance. Picking up where the cult-classic first volume left off—yet also operating as a prequel—DJ Poolhouse revisits the original thesis: Eurodance wasn’t just a genre, it was a project of statecraft.

From the Cold War to the Marshall Plan, from the Office of Radio Research to covert cultural operations like the CIA’s amplification of Doctor Zhivago, this volume uncovers the hidden infrastructures that fused sound with power.

Music as propaganda, sound as weapon, and pop as alchemy form the basis for a Poolhousean deep dive into the long arc of sonic control.

At the same time, The Power traces the musical genealogy of Eurodance itself: the German electronic experiments of the ’70s colliding with Black urban American sounds, the birth of techno and house, and the transatlantic feedback loops that gave rise to a truly global pop marketplace. ULTIMATE EURODANCE CONSPIRACY PROJECT functions as pop documentary and esoteric analysis, as myth and material history, as conspiracy theory and nonstop mixtape—all in one immersive experience. Whether you were with Volume 1 from the beginning or are diving in fresh, Volume 2 stands alone as a startling exploration of how songs and statecraft collide.

written and produced by DJ POOLHOUSE for Splish Klash / BACKKLASH © 2025

THIS IS THE MEGAMIX EDITION! FOR SINGLE TRACK EPISODES, AND VOLUME 1 OF THE EURODANCE CONSPIRACY, PLEASE VISIT:

ULTIMATE EURODANCE CONSPIRACY PROJECT HQ: https://backklash.substack.com/s/ultimate-eurodance-conspiracy-project

ULTIMATE EURODANCE CONSPIRACY PROJECT VOL 1 - begins here

TRANSCRIPT: THE CRYPTOPHONIC CONFESSIONS OF COUNT OTTO VON DIALEKTIK:

this is what the ultimate eurodance conspiracy project is about

I. Ordo Oktolektikos

Picture this: the octolectic. A system of systems, a college of corporations, a chaotic cybernetic organism, which the rulers of the world struggle to control. Within the innermost ranks of this OCTOLECTIC, there exist a tier of those who know and understand its workings, its protocols, its secrets. These are the elite, who take up many names and appearances. They dwell atop all key institutions of law, finance, commerce, and military.

What I am proposing is a world system not unlike that which George Orwell sketched in his selections from The Theory and Practice of Oligarchical Collectivism in 1984. That text, along with its notes on Newspeak, provides incredible esoteric insight into the true nature of statecraft as systems-control. Orwell and Poolhouse are both constructing portraits of the world machine as a hierarchical, occult synarchistic tripartite system, powered not merely through material dialectics, but by a cubik-dialektik—a matrix of control that goes beyond rules and regulations, and works through neuro-linguistic programming, ritual statecraft, and mystical semiotics. Perhaps it is itself a continuation of an ages-long struggle to impose order on chaos.

This requires a form of hidden statecraft beyond the familiar propaganda and population management of empires. It is an occult administration of commerce: agreed-upon notions of time, of weights and measures, of contracts, of circulation routes, of terms and conditions. The deep octolectical class of elite administrators has long been in the process of externalizing itself, of unveiling planetary methodology under the whispered banner of a “New World Order.” The rise of this so-called order is not the invention of a new reality but the codification of one already in motion.

The post–World War II period accelerated this unveiling of what Poolhousean octolectics calls the Synarchy—the hidden regents of the planet. The terms of Yalta, both explicit and implicit, nurtured the Cold War, which functioned less as a struggle of ideological opposition than as a business plan for ensuring global dependence on finance capital and military-industrial markets. Out of this framework emerged the consolidation of commerce, the expansion of American influence, the fracturing and reorganization of nation-states, and the steady convergence of Capitalist, Socialist, Fascist, and Communist modalities into a single hyper-financialized consumer order.

"Pump up the jam, pump it up, while your feet are stomping…”

II. Militarized Music Machines

By the 1980s, the postwar program had led to the expansion of intelligence-linked “public-private” operations, disguised as legitimate business under the aegis of Executive Order 12333. Iran-Contra was a symptom of this — a glimpse behind the curtain — but its implications pointed to far broader covert operations linking state and corporate power.

The West’s Defense-Tech State remained ascendant. Silicon Valley gave it a friendly, goofy face, but the same cartels Eisenhower had warned of in his farewell address were now putting their Geeks on the showroom floor. Computer technology created jobs and manufacturing booms, building chips, sensors, transistors, and tubes for devices that defense contractors would reconfigure into weapons, surveillance tools, and systems requested by the Pentagon, CIA, and NATO. Rapid advances in these technologies became the cornerstone of market expansion for the American foreign policy machine, whose primary business as “world police” was an international program of destabilization and reconstruction in the form of US or NATO-backed intervention..

The same defense-tech infrastructure that produced advanced weapons and trafficked in worldwide criminal operations in the name of national security had also birthed a shadow double on the surface world: the consumer electronics industry. DARPA contracts and RCA laboratories had driven transistor miniaturization for military purposes, and the unintended result was civilian access to compact, affordable machines. The Roland 808 drum machine and the Akai sampler were direct heirs of this defense research. By the late 1980s, these hypnotic devices had become the electric pulse of rave culture across Western Europe and the UK.

Rave and club culture would only continue to grow in the West — a cultural movement indebted not only to consumer electronics but also to emerging internet culture, both of which were technologies downstream of military investment in Silicon Valley.

As the West soared to new commercial heights with their global war machine, the East slowly ground its sickle and hammer to halt. This decline culminated with the collapse of the Berlin Wall: a media spectacle in every sense. The fall of the Wall and USSR were moments powered by breathtaking made-for-TV imagery, powerful narratives about liberation and freedom, which came wrapped up in a NATO-meets MTV culture visage, masquerading as revolution.

By the late ’80s, the First World had become a commercial juggernaut to such an extent that the floor finally gave way on the Soviet variation of octolectical programming. The increasing collaboration between the Soviet commercial-left and the Allied center-left orders gradually led to greater and greater Western market penetration of the Eastern bloc, and finally, to Perestroika.

This culminated with the worldwide media spectacle that was the fall of the Berlin Wall. The U.S. State Department organized a series of concerts along the Wall featuring music industry titans – Roger Waters, David Hasselhoff. The Scorpions’ “Wind of Change” became a sonic emblem of this transformation, amplifying the musical spirit of Western freedom. The Scorpions headlined East German festivals organized by Western diplomats, including the infamous Leipzig 1990 festival on a U.S. military airstrip. Also on the bill, representing the new European style of electronic dance music, was SNAP!

Between 1990 and 1992, the outlines of a One World Culture crystallized: NATO, WHO, UN, WTO, NAFTA — the multinational chorus of global order began to harmonize. The 1992 UN Conference on Environment and Development established the groundwork for so-called sustainable development strategies, to be implemented worldwide through international NGOs. These policies were said to balance economic, social, and environmental concerns, producing healthier, more equitable, and sustainable populations — a planetary policy framework.

On 7 February 1992, the Maastricht Treaty codified the parameters the “European Union,” fully enforced by 1 November 1993. The centuries-long shift from princely states to modern nations was now complete. Europe marched toward a consolidated economic zone: the old dream of Napoleon, of Hitler, of Stalin — a Central European economy — now struggling to be born.

New cultural products were needed to facilitate a cohesive European spirit, and to grease the wheels of commerce for this nascent global marketplace. And at that very moment, Eurodance arrived: the perfect soundtrack to this breathtaking moment of history — and the perfect way to sell it.

"Like 007, I’m on a mission…”

III. Aces and Bases

Why were the Eurodance stars so anonymous? For years I assumed it was because of language — maybe they couldn’t speak English, maybe that’s why they did so little press. But the deeper I looked, the stranger it became. The anonymity wasn’t accidental. It was a veil.

And once you start lifting that veil, the picture gets clearer. These weren’t obscure Europeans avoiding interviews — many of them were Americans. Stranger still, many were G.I.s.

Captain Hollywood had already been visible on West German TV as a breakdancer while still stationed in Frankfurt with the U.S. Army, long before “More and More” broke worldwide. SNAP! went through rappers like interchangeable parts — one serviceman swapped for another. La Bouche’s Melanie Thornton left home to live on a military base with her sister, where she joined up with a pop project staffed by ex-military. Both her rappers — in La Bouche and later in Le Click — were also servicemen. Culture Beat’s Jay Supreme was still in uniform when the group began charting across Europe.

And Haddaway? Doctor Haddaway (Ph.D.) admitted in a paperback interview that he was in the Navy when he came to Germany. That detail has been systematically downplayed, scrubbed from the pop histories. But it’s there.

Then there’s Ace of Base. In the tabloids, they were painted as a “fake far-right band,” due to founding member Uff Ekberg’s past political associations and their Nordic , i daresay hyperborean, aesthetic. And it’s true: with no Black rapper fronting them, their blonde, the ultra-scandanavian image left space for audiences to project a white nationalist fantasy onto them. But the content of their music was the opposite: mystical, new age, drenched in imagery of tarot, the East, and esoteric spirituality. They appeared aligned with the far-right, but in practice, they were pulling that projection toward deradicalization, repositioning even those energies into the broader current of the New World Order. under the ultraviolet glow of our eurodance conspiracy, Ace of Base looks less like a pop band with a scandal and more like the first experiment in managed deradicalization by way of mass culture.

What emerges isn’t the story of plucky artists hustling their way into the charts, but a closed loop of NATO-linked personnel: military G.I.s moonlighting as rappers, cultural operatives shuttling between bases, labels, and state-backed exchange programs. Eurodance was more than a genre. It had all the hallmarks of a state-sponsored cultural operation.

"This is the rhythm of the night, the night, oh yeah…”

IV. This is What The Ultimate Eurodance Conspiracy Project is About

It all began with nostalgia. I was watching the videos, reliving the soundtrack of the ’90s, when the question hit me: Who are these people? I kept asking it over and over. No but really, WHO are these people?

That’s when the cracks started to show. The first revelation came with Captain Hollywood. I realized he wasn’t just a stage name — he was literally a captain, an American G.I. stationed in Frankfurt, already appearing on German television in the 1980s as a cultural ambassador of sorts, introducing breakdancing and Black American culture to a Germany still under the U.S. shadow.

West Germany, after all, was not just an ally but a subject of U.S. influence. Its record industry, its cultural circuits, all tightly entangled with American power. And here was Captain Hollywood, bridging the gap — a soldier and a pop star. Eurodance wasn’t just music. It had the fingerprints of a military project.

The second moment broke my brain completely. While watching the dazzling me music video for SNAP!’s “Rhythm Is a Dancer,” I discovered the whole thing was filmed on not a soundstage, but on a NASA set. Literally at NASA. Like, in Cape Canaveral. The machinery, the rockets, the scaffolding — the icons of the U.S. (Paperclip-sponsored) space program serving as the backdrop to Eurodance’s most iconic hymn.

It wasn’t subtle. It had been right there, hiding in plain sight.

In that flash, I saw the sign. The harmonies, the symbols, the structures all snapped into place. Eurodance revealed itself as something more than just chart fodder — it was a perfectly synthesized global product.

Eurodance had wanted us to not take it seriously. To treat it like a cheap, disposable product. Eurodance did not want you asking too many questions about who those people were.

Because then you might start to wonder why so many of them were American, and why so many of them were GI’s.

The soaring Teutonic synths woven into the booming rhythms of Detroit and Chicago, the black-and-white vocal pairings, the visuals of space, progress, unity: in Eurodance, I see the tantalizing soundtrack of the New World Order: a genre in perfect alignment with the post-1992 objectives of the UN, NATO, and the European Union — racial harmony, multicultural exchange, planetary consciousness.

That revelation was the birth of the ULTIMATE EURODANCE CONSPIRACY PROJECT FEATURING DJ POOLHOUSE. Both testimony and investigation. On the surface, the program is a secret history of eurodance music. Underneath, it’s the story of NATO psyops, military pipelines, and geo-cultural engineering at the dawn of the 1990s.

This project is my attempt to tell that hidden history — data-driven yet mythologically framed, an excavation of how Eurodance functioned as propaganda, as ritual, and as octolectical machinery. The Eurodance Conspiracy does not ask you to fear the “New World Order,” but instead challenges you to recognize how this elusive superstructure has already surrounded us for decades. UEDCP invites the audience to perceive cultural spectacle in new ways: to pierce the veneer of synth melodies and four-on-the-floor rhythms, and to recognize these artifacts as parts of a grander, more intricate choreography of power.

The inner party of the octolectic had one final, essential command: DANCE.

ULTIMATE EURODANCE CONSPIRACY PROJECT VOL. 2: THE POWER

written & produced by DJ POOLHOUSE for Splish Klash / BACKKLASH

Chapters

(0:00) - Prologue: The Cryptophonic Confessions of Count Otto Von Dialektik (c.1593)

(5:04) - Captain Hollywood Project: Impossible - Theme From the Eurodance Conspiracy

(5:33) - Pt. 1: THIS IS WHAT THE ULTIMATE EURODANCE CONSPIRACY PROJECT IS ABOUT

(6:39) - 1a: Ordo Oktolektikos

(11:02) - 1b: Militarized Music Machines

(18:08) - 1c: Aces and Bases

(22:48) - 1d: This is What the Ultimate Eurodance Conspiracy Project is About

(28:10) - Pt. 2: ULTIMIX MODE (Electronic Supersonic Dub)

(29:55) - 2a: The Electronics Music Biz

(32:32) - 2b: The Radio Research Project

(37:55) - 2c: Do You Hear the People Sing

(41:30) - 2d: Even Reds Get the Blues

(44:52) - 2e: Did David Hasselhoff End the Cold War?

(48:52) - INTERLUDE: I DIDN’T CHOOSE THE CONSPIRACY, IT CHOSE ME by ULTIMATE EURODANCE CONSPIRACY PROJECT FEAT. DJ POOLHOUSE + BRUISEFIIST

(52:05) - Pt. 3: THE SECRET PRE-HISTORY OF THE EURODANCE CONSPIRACY

(53: 43) - 3a: The (Alleged) Cold War Roots of the Eurodance Conspiracy

(1:08:39) - Proto-Eurodance Dossier #1: Donna Summer

(1:16:00) - Proto-Eurodance Dossier #2: Kraftwerk

(1:21:14) - Proto-Eurodance Dossier #3: Frank Farian/Boney M

(1:24:35) - Proto-Eurodance Dossier #4: ABBA/Eurovision

(1:24:25) - Proto-Eurodance Dossier #5: Marshall Plan/Marshall Fund & West Germany

(1:31:00) - 3b: Euro by way of Detroit

(1:34:54) - The BodyRock Connection #1: Captain Hollywood

(1:37:09) - The BodyRock Connection #2: DJ Rico Sparx/We Wear the Crown

(1:44:00) - 3c: The West German Pop Crossovers

(2:07:45) - 3d: Eurodance as the Commercial Product of Military History

(2:09:43) - Pt. 4: STATE OF THE EURODANCE CONSPIRACY

(2:11:04) - Voicemail #1: Milli Vanilli

(2:14:33) - Voicemail #2: Planet of Bass

A Message From Commander Poolhouse: Eurodance State of the Union

VOL 2: THE POWER - SERIES MIXTAPE:

Captain Hollywood Project - Impossible (Red Jerry Dub) / Impossible (DJ POOLHOUSE Edit)

The KLF - What Time Is Love (1988 Pure Trance Original)

Kraftwerk - Europe Endless / Trans Europe Express

BG The Prince of Rap - This Beat is Hot (Extended Mix)

Kraftwerk - Computerwelt

SNAP! - The Power (Jungle Fever Mix)

David Hasselhoff - Looking for Freedom

Technotronic - Pump Up the Jam (Hugo Cantarra Mix)

SNAP! - Rhythm is a Dancer (Purple Hazed 12” Mix)

Corona - Rhythm of the Night

Haddaway - What is Love? (DJ Poolhouse Get a Clue to Love / Supersonic Dub)*

- *featuring sample of Electronic Supersonic

Newcleus - Jam On It (Dub)

Kraftwerk - Radioactivity / Radioactivity (Francois Kevorkian Mix)

France Mon Amour - La Marseilles (Techno Mix)

Eiffel65 - Blue (Poolhouse Dub)

DJ Rasputin - Here We Go Again (Johnny Came Marching Home Again)

Genos - Looking for Freedom (Cover)

Luca-Dante Spadafora x David Hasselhoff - Looking for Freedom (Hardtechno Remake)

ULTIMATE EURODANCE CONSPIRACY PROJECT feat. DJ POOLHOUSE & BRUISEFIIST - I DIDN’T CHOOSE THE CONSPIRACY, IT CHOSE ME

- sample: Binary Finary - 1999

Justified Ancients of Mu Mu - Porpoise Song

Lady Gaga - ARTPOP (Dub)

Gigi D’Agostino - Tojours L’Amores (Slowed)

Donna Summer - I Feel Love

Boney M - Rasputin

ABBA - Gimme Gimme Gimme

A Number of Names - Shari Vari (Ectomorph Remix)

Nena - 99 Luftballoons (Special Club Mix)

Newcleus - Computer Age (Push the Button)

Newcleus - Automan x SNAP! - Rhythm is a Dancer (Poolhouse Sees the Sign Edit)

Kraftwerk - The Telephone Call

LaBouche - Be My Lover (Poolhouse State of the Eurodance Dub)

Comic - I Surrender to Your Love

Captain Hollywood Project - More & More / Impossible (Radio Edit)

Playlist series on Spotify

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit backklash.substack.com

“I want new personnel” – Slayyyter (DJ POOLHOUSE’s treasured mutual)

HERE COMES THE BACKKLASH: On The Optics of Authenticity and The State of the Art of Pop

Poolhouse is delighted to welcome his ultra-charming Canadian homie and HERE COMES THE BACKKLASH Christmas Secretary (2024–2025), Kellock [@Kellockx], for another typically hyperkinetic edition of the show. In this pop spectacular, a product-theory–driven unspooling of the quantum secrets behind the mechanics of modern songcraft, the two go deep on everything from Slayyyter’s dark-trance white-trash inferno to Lady Gaga’s comeback calculus to freshman MVP Addison Rae’s clever reinvention of reinvention itself. Beneath the surface, there’s a lot percolating—and it all gets crystallized through Poolhouse and Kellock’s cutting-edge analysis. Plus: is monoculture officially dead? Has Kellock pivoted from sidekick to main character? Is Lorde the queen of klunk? Are Poolhouse and Demi Lovato cool for the summer? And what vision of the future emerges when we sift the shimmer detritus of the 2025 pop landscape?

Follow Kellock on X: https://x.com/kellockx

Complete show notes: https://backklash.substack.com/p/episode-82

Playlist: [link]

Australian Party Boy Interview (2018)

Kellock is on fire lately (prob due to the space lasers)

Stefani Germanotta Band - Live at the Cutting Room (2006)

ok, fine, she was thereTM … but this is a long ways from Club Luxx, hunny

Poolhouse & Cobalt Farmer on Gaga’s (allegedly) bloody backstory

I’m not Jamaican, but I know Jah’s plan: Ice Reggae’s something you will never understand

The Queen of Krunk on her new album:

She invented the remix:

HERE COMES THE BACKKLASH OFFICIAL SONG(S) OF THE SUMMER 2025: THE DARK TRANCE TRILOGY

* Slayyyter- BEAT UP CHANEL$

* Demi Lovato - Fast

* Kim Petras - Freak It

(I mean, sure, I guess)

PROGRAM NOTES

Episode Mixtape

KLF - Backklash Theme + Ace of Base - Dancer in a Daydream (DJ POOLHOUSE Edit)

Dr. Luke - Head Head Honcho (Bumper)

Miss Kittin + The Hacker - Life on MTV

Slayyyter – Beat up Chanel$ (DJ POOLHOUSE Dub)

Lorde - What Was That (DJ POOLHOUSE Dub)

Vitalic – Pony Pt. 2

Demi Lovato - Fast (DJ POOLHOUSE Dub) + Cool for the Summer (Rock Mix)

CHAPTERS

(0:00) - chill open

(1:44) - welcome backk, kellock

(15:19) - On The Optics of Authenticity and The State of the Art of Pop

(27:44) - Poppin Addie

(40:23) - Icy 90s Electronica Sunsplash

(51:05) - Methods of Mayhem

(1:01:55) - Polar Sour & the Queen of Klunk

(1:14:14) - You Want a Song of the Summer, I Want New Personnel

(1:27:07) - Kellock Quick Mix + Outro

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit backklash.substack.com

Poolhouse takes us on a live, stream-of-consciousness walk through cybernetics, DARVO thermodynamics, the illusion of community, and the nature of self vs. Identity™ in the digital age. Drawing unexpected lines from Kraftwerk to biblical scripture, he explores how inversion, projection, and spiritual fragmentation define our modern crises—not as psychological ailments, but as soul disorders. It’s vulnerable, provocative, and grounding—an invocation to know thyself in a world programmed to self-delusion.

Episode Mixtape

Kraftwerk - Tour de France

BEP - Meet Me Halfway (8 Bit Remix)

Lorde - The Path (Poolhouse Dub)

Massive Attack - Unfinished Sympathy (Paul Oakenfold Mix)

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit backklash.substack.com

All edging, no money shot means 2025 has been the year of Poolhouse versus the Goon Squad.

But despite 2025’s best efforts to kill the brand, Poolhouse ain’t dead yet. Although he does got something to say about the type of culture that thinks it could ever TRY.

Please enjoy this inspired Poolhouse update for the backklashistas, coming at you live from the midst of all this dog days LIMINAL REFRACTION.

It’s not the heat, its the humidity of your psychic temperament thats gonna get you.

Episode Mixtape:

Electric Mind - Zwei (Dub)

Miss Kittin - Kittin is High

Whitney - Thinking About You (Bruce Forester Dub Mix)

Lana - Say Yes to Heaven (Sped Up)

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit backklash.substack.com

WINS OF CHANGE

Or, THANK GOD I'M A BOREAN BOY – In which Old Man Pool yells at The Wind

Poolhouse isn’t afraid to be an old man screaming at the wind. In fact, he invites you to listen to him doing it…

….and by the time he’s done, you’ll probably be screaming at the wind right alongside him. And that, remote viewers, is exactly why he’s such a threat to the present administrators of the World System—what he calls THE OCTOLECTIC.

Each BACKKLASH transmission is an ultrahigh lightbeam of pure Poolhousean spirit: a sonic antidote to the psychic syndromes of Mardukian Madness that plague our hyper-commercialized hallucination of reality. Tonight is no exception.

Ostensibly a rant about wind, WINS OF CHANGE becomes a full-blown meteorological mystical monolgue of operatic proportions, as Poolhouse plunders the mysteries of the recent climatological assault on San Francisco and beyond:

* Poolhousean Electromagnetic Climatology & Polar Wind Theory

* The esoteric truth behind “winds of change” and the merchants of culture

* On Being Gangstalked by the Weather

* How the weather apps are now PR goons for Big Climate

* Is the planet falling faster through space? .. the truth will shock you!

Also: how Poolhouse became the literal third rail of American politics, HAARP, the biggest con out of Chicago since Jussie Smollett, the secret military connection that ties eurodance to the wind, and the path to total vibes supremacy via handcrafted artisanal media creation.

HERE COMES THE BACKKLASH…a radio ritual in transfigured time.

Follow Poolhouse on X dot on at DJPOOLHOUSE.

If you enjoy being a part of the backklash extended universe, consider telling a friend. DJ POOLHOUSE possesses an unlimited capacity for love, there’s no need to be stingy with him!

PROGRAM NOTES

CHAPTERS

(0:00) - DJ POOLHOUSE clocks in

(01:52) - Poolhouse Stands on Business

(18:29) - Poolhouse Yells at The Wind

EPISODE MIXTAPE

KLF - Backklash Theme vs. Op:l Bastards - Don’t Bring Me Down

Acid Klaus - Blow Your Speakers (feat. Soft Focus) (W. H. Lung Remix)

Wide Awake - Slang Teacher (Poolhouse 7” Dub Edit)

Jefferson Starship - Winds of Change

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit backklash.substack.com

THE MESSAGE featuring Rocks (@TreesEnjoyer)

Brother Rocks came to Poolhouse, having recently been moved by the Holy Spirit, with a commandment from the LORD:

“We are to create an episode together, Reverend Pool,” spaketh Rocks, “for it is the will of Heaven that it is so.

And this episode bears the name: THE MESSAGE, for our recording is marked with the indelible codes of the Holy Spirit. So mote it be, Amen.”

Poolhouse nodded, and thrice stomped his white tourmaline staff upon the studio floor. “In Christos lux – so mote it be, Amen!” (2 Bethesdans)

**SCHIZO-DRIP MODE ACTIVATED** Open Your Heart, Free Your Mind, and Ready Your Soul…THE MESSAGE is an invigorating, affirming, and truly inspired conversation that is super-charged Love with the essence of the Holy Spirit.

Poolhouse is joined by Brother Rocks, a right-wing conservative anon, devout traditional Catholic Zoomer, and photographic-memory savant with an encyclopedic recall of 1980s pop culture. Rocks and Poolhouse coming together is like two rabid street-corner preachers—one from a weird Jesus-UFO cult and the other from a militant Latin Mass order—trying to out-schizo each other with escalating prophetic download speed, before suddenly locking arms and going full tag-team oracle mode in a joint holy-rolling slayfest for the ages.

Poolhouse and Rocks are two Hi-Functional Heroes, here to fraternize, harmonize, and sermonize in epic radio covenant. The spiritual backbone of this episode is THE MESSAGE, an ultralight high-beam sermon delivered by Brother Rocks: a bold and moving testimony rooted in divine communion, ecclesiastical study, autistic clarity, and musical revelation

Brother Rocks’ sermon prompts Poolhouse to go full TV evangelist, offering up his own prophecy for our Times, and makes a stunning case for what he calls a “historically agnostic Christology.” The two explore themes of spiritual realignment, linguistic sorcery, the vertical/horizontal cross as cosmic schematic, and the divine martyrdom of Whitney Houston.

Plus: the righteous fat-shaming of rwbbs, the mathematical holiness of Pet Sounds, and the dangerous beauty of pop as sacred transmission.

This is some next level, octolectical “8D” theology. The paranoid political style has never been more all-American.

You are now entering the neuro-divergent zone…

Follow Rocks

https://x.com/TreesEnjoyer

PROGRAM NOTES

Johnny 5, the robotic star of SHORT CIRCUIT (1986):

The B-52’s - Whammy LP (1983) - vintage American pop art cannon:

my apologies to treasured mutual / internet hottie blakes_online if I’m the one who introduced Rocks to your page. but….at least now you know his cyberbullying comes from are loving and righteous place.

And you know what? I think this is actually heading for a happy ending…we all just want the best for OUR Blake! 😤

CHAPTERS

(0:00) - schizo drip mode activated

(2:46) - vox cybernetica

(5:40) - welcome Rocks

(11:33) - Karen Carpenter nationalism

(15:24) - A Hagiography of Brother Rocks

(22:45) - World War 3 culture (the sacred value of pop art)

(28:22) - Rocks on sacred memory (the well of souls)

(36:22) - Poolhouse on the calling of the Spirit

(39:06) - The Message: a Brother Rocks sermon

(1:02:51) - Whitney’s Ascension

(1:09:51) - Z-Axis (4D Chest)

(1:14:31) - Poolhousean syncretic christology

(1:20:56) - The Message II (and a Poolhouse prophecy)

(1:28:27) - Rocks Lobster / Outro

DJ POOLHOUSE - EPISODE MIXTAPE

Backklash Theme - KLF / Nina Sky - Move Ya Body (Poolhouse Edit)

The Who - See Me, Feel Me

Dr. Luke - HH Honcho (Poolhouse Edit)(bumper)

Whitney Houston - I Wanna Dance With Somebody (12” Dub Mix) / How Will I Know (12” Dub Mix)

Hall & Oates - I Can’t Go For That (Black Market Dub)

Madonna - Open Your Heart (Ciao Italia 1988 Version)

Mr. Mister - Kyrie

The B-52’s - Song for a Future Generation

Mylon LeFevre & Broken Heart - Crack the Sky

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit backklash.substack.com

DJ POOLHOUSE IS JAH KK FRÖSZT, AND THIS IS ICE REGGAE ONE

PRODUCT DESCRIPTION: Ice Reggae is not just a genre—it’s a way of life. Revealed to DJ POOLHOUSE (known here by his Icestafari name, Jah KK Frözst) one cold northern night at the bottom of a frozen gravity bong, through divine intervention by Jah the Most Chill, ICE REGGAE ONE is a continuous deejay mixtape that blends dub, dancehall, Eurodance, white rasta punk, 2-Tone, drum & bass, and '90s club cultures into a sound both icy and warm, white and Black, Arctic and tropical.

It’s frozen disco dub meets sunlit trip hop and bass-heavy indie dance. Frosted steel drums. Sweaty melodica riffs. Pop house soaked in echo. Ice Reggae is the sun on a snow-covered beach—a Revelation of the soulsonic force and the next chapter in the Plan of the Mega Jam.

Rooted in dub’s versioning tradition, Ice Reggae toasts, remixes, and reinvents itself with every frozen pulse, ICE REGGAE ONE is an icy hot arcto-tropical transmission, blessed by the Borean breath of Jah the Most Chill.

[Backklash Communications, 2025.]

Listen on Mixcloud

PRESS RELEASE:

Hi! Thanks for listening to my inaugural ICE REGGAE set! This was truly inspired by a vision one night last winter, after my gravity bong froze over inside my in-laws’ garage. I was touched by the Borean Breath of Jah the Most Chill, and given an Icestafari name: JAH "KK" FRÖSZT, Prince of Ice Reggae.

ICE REGGAE ONE is ultimately my way of expressing joyous gratitude to our Creator and sharing the blessed revelation of Ice Reggae with anyone willing to receive it—through these delightful dub plates, expertly selected and mixed with the love and care of a painter or a nuclear scientist.

Musically, dub culture and Jamaican music are the foundation of my vision. I enjoy tracing the recursive influence of dub techniques through popular music and celebrating this aspect of the Afro-Euro musical language, which has enriched countless lives and cultures around the world. Ice Reggae is not merely a celebration of “white meets Black,” but a restoration of the Hyperborean spirit that is sparked when men come together and reshape the culture through creative partnership.

As an artist, I view Ice Reggae as a highly refined creative thoughtform for the culture to consume. It is a retroactively constructed musical genre, a fashion style, an attitude, a gnostic faith. Ice Reggae is conceptually built on music, history, mysticism, syncretic creativity, and a future-forward embrace of tradition: the Jamaican music tradition, the pop and club traditions, the tradition of the obscure priests of Dub science and the apocryphal texts of the electrical wizards and gadgeteers of the radio age, and the companion tradition of the brotherhood of Anglo and American fanboys who revered and preserved the glory of dub’s beauty.

This brings me to another inspiration for this mix: '90s compilation CD culture, which brought the millennial generation under the spellbinding influence of dub. Specifically, the treasured Soul Jazz Records (where my fellow 300% Dynamite! uncs at??) that collected rare Jamaican classics.

2 Many DJ’s seminal “As Heard on Radio Soulwax Vol. 2” is the ultimate touchstone for all of my mixes; I could only dream of ever capturing a sliver of their mixtape magic. Finally, the third source of inspiration in this late 90s/Y2K electronica triumvirate is this sick series of downtempo comps called The Chill Out Album (specifically volumes 1 & 2) from Telstar TV, who I feel are sort of like the pop-archivists at Rhino Records but for the UK. The 90s were the golden age of the (very very expensive) imported genre compilation disk and the learned geeks & archivist, who were its champions.

The treasure trove of esoteric and leftfield downtempo gems found on Chill Out Album Vol. 1 first sparked my love for dub and electronica in the '90s. I picked up a copy of the slim blue double-disc CD (with the deep blue lava lamp cover art) at the Virgin Megastore in Union Square on a visit to downtown San Francisco. This was when I was probably a freshman in high school. It blew my mind. I didn’t do drugs as a teen, so hard techno and pure underground dance music revered by my raver peers didn’t interest me back then. Too raw, underground.

Chill Out Album revealed a colorful, mysterious world of dub, trip hop, glossy electronica and obscure ancient funk and exotica. That Saint Etienne record changed my life. Suddenly it was like, wtf I love electronic music and Neil Young now! It was at least a decade old when I discovered it, but its magnificent allure and spacey dubwise house still entices new listeners to this day.

Just hearing those breezy synth riffs as it plays back on my monitor, I can practically smell the hot wet dance floor at one of my old haunts, Popscene, where this record would delight the crowd at 330 Ritch in SOMA, where pop geeks with skinny ties and pencil skirts and other assorted dub-inflected mod larpers gathered to simulate 1989 Manchester once a week.

But now I’m starting to geezer out, so I’ll wrap this press release up before I start bitching about how that Virgin Megastore is now just another empty big-box husk downtown!

–DJ POOLHOUSE, JUNE 2025

ICE REGGAE ONE | TRACKLIST:

1 - Lee "Scratch" Perry Secret Laboratory (Scientific Dancehall) - 2 - Beats International Dub Be Good to Me (Smith & Mighty Remix) - 3 - A Tribe Called Quest I Left My Wallet in El Segundo (Vampire Mix) - 4 - Ace of Base The Sign (Dub Mix) - 5 - St. Etienne Only Love Can Break Your Heart (Andrew Weatherall Mix) - 6 - Snow Informer (Drum Mix) - 7 - Nelly Furtado Turn Off the Lights (Timbaland Mix / Reggae Mix) - 8 - Nostalgia 77 feat. Alice Russell 7 Nation Army - 9 - J. Period feat. Buju Banton & General Steele Killing a Soundboy - 10 - The English Beat / Rankin Roger Mirror in the Bathroom (Dub version) -11- Banana Man Dance Hall Murder -12 - Sneaker Pimps 6 Underground (2 Lone Swordsmen Mix) - 13 - Dr. Octagon Blue Flowers (DJ Hype Mix) Dubplate Version - 14 - Roni Size/Reprazent Railing -15 - DJ Aphrodite My Dub Is Your Dub / Whitney Houston Dubplate - 16 - Technimatic feat. Zara Kershaw Parallel (LSB Mix) -17 - Cornell Campbell Just My Imagination - 18 - Junior Murvin Police + Thieves (Grumbling Dub)

DJ POOLHOUSE: KLUB KLASSIXX - EXCLUSIVE DEEJAY MIXES FROM BACKKLASH

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit backklash.substack.com

Poolhouse is under siege—psychically, spiritually, and creatively. It’a a LOT: from the relentless psychic attacks by his haters inside the Octolectic, to the daily daemonic commands from his pet art-official Intelligence, bruisefi.ist, to the crushing weight of his creative and professional duties.

But Poolhouse knows when he needs backup—and that it’s time to start bringing in the stuntmen, hype men, and guest/producer hybrids to help him push HERE COMES THE BACKKLASH to the limits of its hyper-kinetic potential.

Enter Monty Carlo: golden boy, beloved guest, and spiritual ride-or-die. The Speed Racer to Poolie’s racer X. Purveyor of boytalk and good vibes. Together, they kick off this breakout episode, igniting a full-throttle, interstellar stream of consciousness where no one is safe—but everything is sacred.

Tonight’s topics include: how Addison Rae manifests her metaphysics of pop art, the priesthood of Palantir Summer and the shadow surveillance state, the “safe horny” vibe plague, whether musicals are actually Not Gay, the high heresies of Glenn Greenwald, Homo Americanus, and the rise of T.A.N. (Total Aryan N***as).

Oh, and yes, a classic Poolhousean sitcom pitch makes its canon debut on the air.

Monty takes the wheel of the good ship BACKKLASH for an episode that veers, screeches, and slides through the discourse like a rogue Waymo on too much ketamine—yet somehow holds together with the seamless precision and uncanny cosmic connectivity of a nonstop acid synth mixtape.

Some day, a rain is gonna come and wash all the scum off the streets—until then, you’re riding shotgun with the FIISTDRIVER.

Crank up the radio, and don’t ask where we’re going.

Poolhouse is… BRUISEFIST.BRUISEFIST is… FIISTDRIVER.And FIISTDRIVER is… MONTY CARLO.

Headphones *optional.*

Follow Monty: https://x.com/Monty___Carlo

Monty x Poolhouse (summer 2024)

Pilleater on Safe Sleazy:

https://www.pilleater.com/p/safe-sleazy

a P.o.C. for Married to the M.O.B. - paging Harvey Weinstein!

Semion Mogilevich: A Most Wanted Man

What is your favorite new Addison Rae? I think this my favorite album cut:

and I am hoping to find time in my hectic schedule to write 10,000 words on the brilliant Fame is Gun mv":

EPISODE NOTES

CHAPTERS

(0:00) - headphones OFF

(1:26) - replyguy divorce

(5:17) - THEME FROM ‘FIISTDRIVER’

(11:15) - Married to the M.O.B.

(16:44) - Palantir Summer

(31:55) - Safe Horny

(44:05) - In thee mix

(47:10) - TAN (Total Aryan N***a)

(56:22) - Homo Americanus

(1:06:44) - Are musicals Not Gay?

(1:11:18) - Shadows of Fight

(1:24:02) - Pop Art Rae-actionary

(1:38:37) - FIISTDRIVER OUTRO

MIXTAPE

Elley Duhé & Whethan - MONEY ON THE DASH - SPED UP

Kreayshawn - Go Hard (Poolhouse Dub)

Siouxsie Sioux - The Passenger

Addison - Money is Everything (Dub)

DJ POOLHOUSE Plays “Taxi” by Charli xcx

Edit: Yes, I know that its a summer solstice, not the equinox. this is like sativa vs salvia all over again.

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit backklash.substack.com