Today’s episode cracks open my latest art exhibit, now live on sekdek.com — a photographic series titled Sekdek Legal. This body of work is my unflinching attempt to dissect the legal caste system through the medium of portraiture, drawing deeply from the sterile psychosis of Bret Easton Ellis’s world — particularly American Psycho, where charm and violence are sold in the same suit.

The photos hold their subjects in an eerie stasis: stiff or messed collars, cold eyes, a staged sanity on the verge of rupture. Think Cindy Sherman meets Philip-Lorca diCorcia, with the performative plasticity of the subject intentionally overlit, overly perfect — dead behind the smile. There's also a nod to Diane Arbus, whose fascination with the grotesque inside the everyday is channeled here not through freakshow imagery, but through corporate polish and soulless ambition. 

Their crimes are contracts. Their weapons are language.

We’ll touch on the broken system they represent, the way legal mythology launders mayhem into virtue, and how this series fits into my broader Sekdek mythology. Monsters seeking light, even when they are still monsters.

And to close it out, I’ll be debuting a new track off my upcoming album Raids, the sonic sequel to Galion — my 2024 album that explored redemption through distortion and drone. This track rides in like scorched cavalry, fuzzed-out and defiant. It’s called King Azrael  — and like the portraits, it stares down the lie.