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Blam Lord

  • NN: What do you feel like saying first ?

    JJ Brine: Ask Africa. She always comes first & last. So ask me, myself, and my continent again when we begin and end.

    NN: How do you feel about the press you have received to date? You have been featured in Huffington Post (thrice), Vice, The Wallstreet Journal, New York Magazine by way of Bedford & Bowery half a dozen times, Hyperallergic, ArtFCity, Artnet, TMZ, The Fader, and the list goes winding on through Lebanese blogs and obscure internet pop-culturists and anti-counter cultists publications and Russian blogs and a Mexican art digest and even the twilight zone of American tabloids: People Magazine, Star, In Touch, and I won’t mention Perez Hilton. Nor will I mention the fact that VECTOR was recently featured in an episode of Real Housewives of New York on Bravo. This is all in a matter of a few years, right up to this very interview that is now in process, we are currently eventing. Is that in any way connected to your Vectorian timeline? This documentation of events, in a year you have decided upon, one depicting a piece of time as a PostHuman. Time works for you by your measure, and is this a manifested phenomenon that you’ve uncompressed by compression in your mental pathology {Post-Religion}?

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    JJ Brine: Indeed! If you decide what time it is and when is always now, you’ll always know when the time is right. The press is critical to the broadcasting of our dominant frequency. VECTOR is a radio tower.

    The Sorting of the SHAY from PostHumanity. It is a transmogrifying force, this frequency. For those who are equipped for the download, the potential is ALAN. As far as the quality of the press goes, there have been several interviewers who have asked some of the questions that Eye would ask myself if Eye were (Eye Am) an impartial alien entity observing JJ Brine in a laboratory setting. But there are still some unanswered questions that Eye must be asked — but Eye cannot ask to be asked them.

    Eye am still waiting for someone to violently hack into the system at length by means of advanced analysis and understanding. Hacking in this sense simply means catching the operating codes and liberating their meanings from all sides.

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    NN: How’s the Family / How’s Charlie ?

    JJ Brine: The Emperor Is In His Cage, Animating The World Beyond His Cell, Dwelling As He Wills It, So All Is Well And All Is One. There Comes To Now So Soon A Change That Eye Must Keep It(self) A Secret From Everyone — Thusly And Especially Eye Guard This Secret From My(self). Eye Speak Abstractly Of Physical Things So As Not To Change Their Shape.

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    NN: What will come from the death / liberation of Charles Manson, now 80 years old, and to what extent is VECTOR preparing for this eventuality?

    JJ Brine: The physical expiration of Manson will herald the Birth Of The Infinite Soul In The ALL. A certain allied faction is making logistical preparations for the fate of His flesh body and the containment and preservation thereof. We are pleased to have competent, reliable partners in this matter. But ultimately, the death of a body is simply a simulated spatial-temporal shift.

    “ALLAH BUDDHA MANSON”

    VECTOR will inherit The Infinite Soul. As you know, We have been carefully refining The Psychic Chamber for the receipt of this power. Think of the implications of MANSON in Son of Man Form. Post-WWII SHAY Society built its Regime on the back of His containment. They enshrined his captivity and made of it a sun to orbit.   We will flood your cities and schools and city halls and media malls with MANSON Energy In The ALL We have a sequential plan that is realized in degrees and by measurement of our gestures.

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    NN: What year is it by The Vectorian Calendar, and what can we expect from it?

    JJ Brine: It is 2025 AD. This year is the advent of the answer to the question of a global malaise; the creeping contagion of a stateless international polity. Israel being ex-chosen by Lord and State sends everything reeling for realignment. In 2025 AD, VECTOR is the frontline of World War III. Indeed, the myriad alliance-shifting parties to the conflict have designated VECTOR as the international platform for the “resolution” of the war, which is elsewhere being waged asymmetrically by use of drones, targeted missiles, viral programming codes, and labyrinthine networks of interlocking surveillance schemes.

    As the logistical failure of The UN became an international talking point, a metaphysical power vacuum resulted which produced a dizzying array of rivalrous aspirant power blocs with countervailing bids to succeed it, with many of these entities staking territorial claims.  The technology afforded to the citizenry of PostHumanity in 2017 AD — Mechanized Telepathy — has become exponentially more powerful and as a result, increasingly destabilized. All entrants to The Microcosm play a role in psychically determining and embodying the looming external actuation of this War, which will reach the outside world when the clock strikes 2025AD by SHAY Calendar.

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    NN : Is VECTOR still at war with the US? We remind our gracious readers that waging a psychic war on America was integral to the stated purpose of Vectorian National Interests at its hour of inception.

    JJ Brine: Yes, but in 2025 AD we control important factions of the US government.

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    NN: What made you decide to move vector from Chinatown NYC > LA ?

    JJ Brine: NYC remains attuned to our dominant frequency. Imperium demands new lands. We will project our intentions upon the collectivity through our influence on the local industry. Incidentally, Eye don’t really know what that word means, “decide.” Eye dwell in my Necessity — that is where Eye reside, preside, prevail and travail. It takes three items to make a list, and four if you’re playing match the proxies with the animal rights activists cum Salafists. Perhaps it is most useful to Us to remain in the hypnotically induced state of all-knowing ignorance that we imparted to ourselves as we departed from these somatic forms, a sort of safe for storage of evolutionarily programmatic functions that can only be politely fictionalized for mass-consumption as artistic or psychotic states. Fetishize it to the fringes first, then make it a staple of bodily function. If it’s not mandatory, it isn’t even an option Babies.

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    NN: Vectorian realm that we knew of does that still exist within what we know/knew of as NYC ?

    JJ Brine: Exactly as it were and will be. The Twelfth Imam does not see Himself as invisible, although he knows he has yet to reappear. Objects in the mirror may seem as far as they are near. Dare we logistically transgress against the charmed philanthropic pursuits of native Braille speakers? Yes We Can. Eye am what Eye am and Eye am what Eye will become. Eye am so good at playing dumb that it makes me feel stupid. The rhymes support the insertion of a sensory reprocessing of temporal-spatial simulation updates. Your minds are primed for primacy but that’s just my job, and my job is being Me. Murder doesn’t kill people, people kill people.

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    NN: You have an event coming up on the 8 of August, there must be some urgency finalizing the space, what can we expect ?

    JJ Brine: Jesus Christ is coming soon, coming soon, coming soon. This is my real answer and it’s a song. Everyone will begin to look more like themselves. Members of the Government of The Satanic State of VECTOR will ritualize their intentions and send them out into the world. Eight hundred and eighty eight candles will shine for The Alawite State. And the Autonomous Awareness System that has been growing out of its monitoring of its own surveillance schemes will be placed in a suitable home; we are fielding adoption candidates for an impersonal approximation of an omniscient state. A decontextualized, limitless knowledge assumes its place by limitation.

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    Eye will collect souls and souls will be given away. Just look at my art and for a night and Eye will have your essence for life, death, and happily forever thereafter. We will provide ballots to determine the fate of the Lebanese Presidency. And America will awaken to its internal Sunni-Shiite split — everyone who attends will be asked if they are attending as representatives of Sunnis or Shiites. They will be tallied and tagged. We will seal the deal for WWIII with the appropriate pageantry. Good morning comes with goodnight. Tomorrow is always an eternity away, even today. 2033 AD wholly contains The Prescription For The End Of The World. Eye am reciting lines and being rewarded for my playing my part (performance art) in another dimension.

     

    NN: The pathology of Vectorian culture seems to be changing ever so slightly can you explain ?

    JJ Brine: It is always changing. Such is the nature of living organisms. We grow and go and grow and reach deep into ourselves until we cannot recognize the things that come to us in dreams and inform us of our entrenched, entrancement schemes.  All communication is advertising. Everything is an ad. My love is uncompromising, but sometimes it “takes on the aesthetic concerns” of hate.

     

    NN: You recently did a collaboration with fashion brand NVR MND, how did that get started ?

    JJ Brine: A manic meeting of minds and material over pizza and paraphernalia.

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    NN: Are the La Bianca’s releasing new music soon, or will your next project be solo ?

    JJ Brine: My next project will be solo. Eye am in various nascent states of musical collaboration with several others. When it must be done, so it shall be.

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    NN: Anything in the works w/ Bruce La Bruce ?

    JJ Brine: We are on track for our target of debuting the film at Art Basel Miami 2016, ““Beyond The Planet Of The Chelsea Girls.”

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    NN: If you look back on science fiction and how the future is depicted it is usually portrayed in two dynamics : utopian or dystopian. These seem to be extremist mentalities, whereas VECTOR Gallery presents another. A hybrid of the two. Can you explain this?

    JJ Brine: The absolute utopia is dystopian, and vice-versa. Every value or state is minted in the terms of its antithetical primary. But there is nothing that is mutually exclusive in LEMNIVERSE and therefore we coexist with our own nonexistence. The Devil is The Lord. Fiction is made factual by power of suggestion. Yes Eye Am Satan. But who is He as I Am in the Other Eye? Let’s see, shall we. Eye am what Eye am and Eye am what Eye will become. Jesus Christ has been burning in an interminable lake of fire for quite some time now. The surprises never cease when you keep on doing the same thing over and over again and nothing ever changes.

     

    NN: Lastly, what do you feel like saying first ?

    JJ Brine:  No Matter, No Form — Metomphysics is the discipline charting the transversing of the physical into the metaphysical and vice-versa, twice as obscure and thus about twenty seven and three-fifths more popular. The selves that are subordinate to their institutional responder codes can busily bee about in their makeshift beehives. Eye am courteously installing A Stunt Queen for the safety of Her Majesty — But It Works As Well And To Identical Effect. Maybe She Is Indeed The Queen But Security Details Restrain Our Awareness?

    We want the bitch, we insist, but haven’t we already (more or less) stated this? BUT EYE DIGRESS. This Is Not A Contestable Contest.

    The Empty Set & The Lemniscate /*\ One World All Mynd

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    vectorgallery.com

    VECTOR Gallery

    154 EAST BROADWAY

    NYC, NY 10002

    PH: 213-509-4101

    † NVRMNDUS †


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  • The release of this album marks 4 months since I’ve returned to Gotham Forest, PA. The transition from city life back into country life reminded me how close I am to nature and the earth. The isolation caused me to devote all my time towards a new project. Gold and Earth, the 3rd album in the “Golden Element Quadrilogy”.

     

    Featuring Slug Christ, Noah23, Blam Lord, Joey Shinobi, Shady Blaze and Iko the Rainman (In Order of Appearance)
    All tracks are produced and engineered by AJ Suede. Lords of the Forest includes an additional bass line and engineering from Bugz Ronin.
    Artwork by AJ Suede, Omar Jones and Joe Capon for Freeminds Collective.


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  • Art created by The Ceremonial Dagger

    Miraculous. When we find ourselves in these instances listening to musicians or even watching visual artists defy what we we generically understand – or take as fact, strictly concerning how we see “the world” – or “our world”. When we recognize an artist has created a world we can’t quite remembering being apart of – yet still, it unlocks a certain spiritually-oceanic feeling, when we recognize an artist as someone whom created & endowed us, with their own world as the gift that it is – granting you a heightened sensory; another experience gained, & an ultimately more well rounded understanding of that artist. Enjoy these spells in which The Ceremonial Dagger has conjured for you, bless TCD! 

    The Ceremonial Dagger, is a magick artist. A curator of phenomenal frequency, massive in spectrum, and immersive. Long since passed the birth of Witch House – A Father & A Son, a new time, & a new sound encompasses this master audio/video production wizard.  #SLOGOTH #CRYPTOWAVE

    NN: I heard you were voiced on Mike Textbeaks’ radio show CHVRCH XV BRXK3N 7ANGVAG3 that’s exciting!

    The Ceremonial Dagger: Yeah totally. Mike has been a huge supporter of mine since we met & since have discussed several projects. I have never felt I had enough material to support an entire show, but by the end of 2014 I felt pretty comfortable. I have never really been a DJ. I have done a few mixes, but that is about it. Mike suggested i could just play my material. Although – honestly it just felt right. I think it got a great response and was thrilled!

    Recorded on CHVRCH XV BRXK3N 7ANGVAG3

    NN: You tend to compile you’re music throughout the year, & release it at very strategized points in time, all of your releases are curated to your soundcloud ?

    The Ceremonial Dagger: Pretty much everything I’m currently satisfied with. Sure there are a few I’ve held back but not much. There are things i might develop further and release, and i have a ton of abandoned things i will revisit someday but mainly i have everything on soundcloud. I pay for the pro account so fuck it, i put it to use. If there is finished stuff missing, its just a track or two…

     

    NN: Was there anything you still decided to leave unreleased by the end of 2K14 ? (Will we see certain things reach the dark of night, like “Ice Magick I”?) 

    The Ceremonial Dagger: Ice Magick 1 was essentially 3 tracks i wrote freezing my ass off in the winter of 2013. Those tracks are actually on soundcloud. I might add to them in the winter of 2015 and release it all together then. I spent a lot of 2014 editing, refixing, & remixing older witch house tracks of mine. 

    NN: What do you have coming in 2K15 ?

    The Ceremonial Dagger: I never know. I made up #crypto-wave as a personal genre in my head, & now i will try to make what i think it should sound like. I do that, make up an aesthetic then try to put sound to it Mainly I will just roll with whatever comes out. Most of what i make is a mystery to me. I kinda go into a trance, & wake up with some music or art.

    NN: I have been listening to the 5 Track Ep XXXIV Ice Magick2 on repeat it truly shows you’re a veteran. I can hear that in your work. Such amass of variation you have is unlike the scrambled glop, listeners of Witch House often find ourselves with. Each of your sounds tends to compliment another. The audible relationship(s) are simply fresh and uphold such a consistent energy. This is a occurrence we can find repeating in a lot of your music; How’d you develop your sound ?

    The Ceremonial Dagger: Years and years of being a failure and self loathing. I still question myself, still my hardest critic, but i am much happier than I’ve ever dreamed i could be. after 10000 attempts you start to kinda believe in what you make i think.

    NN: Might there be some very sick collaborations coming in the future, please spill open the can of worms

    I wish i had something. Nobody has approached me yet. I would like to work with the Blam Lord someday, that will happen. Radio Vril is another person i want to work with. Id love to collaborate with I†† on something someday. But all in all nobody has approached me with anything concrete. of course nobody had last year until late and then suddenly i worked with VALHALLA and D/SIR so you just never know!

    NN: Your design work is impeccable, it’s rare to see such perfect cult imagery bonded together; how long have you been a designer & videographer ? 

    The Ceremonial Dagger: Well I am definitely self-taught at both; I got into video in the late 90’s. Digital design I started learning around 2006 – really I did not make much that was interesting to me till I got involved with the “WH” scene in 2010. By 2011, I think I was really starting to develop a style I was proud of. I’d stand behind anything in 2011 & beyond.

    Some of my past projects are embarrassing. I††’s – Azoth & Aimon’s – Mirrors Fade are by far the best examples of me doing video at a level that I felt pushed into territory that was at new levels. Both of those visual projects were mashed up video in Video Vegas, then opened in Photoshop extended and edited frame-by-frame.

    I have no doubts I could do much better these days, but
    both of those were made out of love and respect for the artists and were
    extremely tedious to produce. I had a surge of people requesting videos after that, but I
    had to just step back and say I just could not do them. I wanted to but physically and mentally I just could not. Not
    enough time, computer was always glitching from those sort of projects, etc.

    Hopefully someday I will make at least one more. Design and
    graphics are something I love and can do rather quickly. It took me a long time
    to learn Photoshop (I am not a quick learner) Although, I feel pretty confident
    I can pretty much make whatever I want. When I was younger I was intensely
    interested in mixed media art, with Photoshop I feel like it’s a dream come
    true creating images from practically anything and mashing them together,
    tweaking. Regardless of sound, image or video…for me the magic is all in the
    layering, and layering all of those mediums has just become magic over the
    years, easier every day with the technology.

    See More From The Ceremonial Dagger 

    http://ceremonialdaggerart.tumblr.com/

    http://theceremonialdagger.com/

    https://soundcloud.com/ceremonial-dagger


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