Music Critics have interpreted the world, the point is to change it… Critique after critique, article after article, when will the artist speak? The artist — reduced to another piece of consumption, another song, another community, a biography, corporate bureaucracy. Poptimism has failed for not being poptimistic enough. Unlike some people assume, I believe that the biggest limit of creative work is the community. The community is the consequence of Corporate Bureaucracy, the flawed mechanisms of Capitalistic Circulation. The problems of the Music Industry are not problems of the Music Industry, not even the result of a major economic flaw. As one wise man said, “Economics isn’t the Science of The Real,” we are facing an Ontological crisis. Production keeps on, there is no interruption in the process of production since production starts in the Self. After all, are we the cause of our own problems? Are we the accomplice? Most of us believe in the idea of “beauty is in the eye of the beholder,” but do we know what that idea implies in art? The critic resorts to art represented as a commodity subjected to interpretation, to add things that don’t exist in the “product.” The Ontological Crisis of Capital is so severe that we can’t describe art without the notion of “production.” The artist is always expected to produce, the artist is responsible of the thing he produces. The notion of production is always presupposed as a given, the artist creates, sculpts an external object, a conceptual Use Value. The artist manipulates, the Critic is the owner of the process of manipulation. There is Philosophical cloning in creation under Capital, there are reproduction of images, cloning of hyperreals, cloning of inflations, proliferation of process of exchange. These clones are ontologically identical since they are all commodities, even if they are presented as Unconditional Use Values. The duality isn’t eliminated by unconditionally accepting what appears to be the given.
We must first define what is the Hyperreal, the hyperreal can only be a plural phenomena, hyperreals are the opposition of singularity through commodity cloning. Hyperreals is not necessarily cloning, it is the promise of cloning presented as Real cloning. Division is not an aspect cloning, Real cloning is subjected to Ontological Equality — or kami. Meanwhile, hyperreals divide in the name of “uniqueness,” to create the unique commodity, to create a unique clone. For reasons implied above, capitalism is an extension of the literal, exchange value represents use value, use value represents use value. There is no symbolic ambiguity in the hyperreals, paradoxically, ambiguity only makes sense in the syntax of Capitalism, hyperreals are representations of ambiguities, ambiguity is another Other, another commodity that creates a chain of hyperreals. The Hyperreal represents lack of understanding as a symbolic lack, capitalism understands every concern and simultaneously generates them, the victim is only manifested via jurisprudence — literal law. This law of course, does not necessarily lie in the State’s jurisprudence, Private Law, International Law, Corporate law, Statutes of a syndicate, etc. The law is Ontological inflation. The law is the cloning of words.
What does this have to do with music? with art? Music, like art, is contingent. It is almost an illusion, a form of inflation. What is art? Artifice? Creation? Production? The syntax of production always leads to a dialectical error, a dialectical excess. Capitalism is a trinary syntax, since the literal presents itself as meaning. Meaning is a dialectical error, it is tripartite. When Capitalism clones it does it in the name of The One, the unilateral. In order to generate the commodity of the One, there had to be an infinite calculation of hyperreals in order to generate what is visible, the visible in relation to the Other. This calculation is expressed as infinite because Capitalism decides to halt the conceptual process and reduce it to the conventionality of the finite, the paradox of infinity is that it opposes meaning, Capital represses the dialectical error by creating a converted infinite, a symbolic conversion of symbolic infinity. This of course, does not work in the Real since its relation to the Real is via the commodification of lack of understanding. The Real is an untranslatable non-language within capitalism. I insist, the syntax of art is incompatible with the syntax of capitalism. In capital, Art is only a “UX,” another user experience. There is nothing in the image, the sonic, the sculpture, in the mind of the creator. Art happens somewhere else, it cannot be expressed in the syntax of the hyperreals, Art, like the universe, is not literal nor lawful. It annihilates every sequence, every law, any vision. Art in the speculative realm is a cloning of double meaning. There is a vestige of The Real in capital and that is the idea of the double meaning, an acceleration of the dialectical error. As Marx insightfully articulated it, “Communism is a specter.” This specter is not an event in the Philosophical Fashion, it is not material or ideal. It is not an anthropocene, a metabolic rift, it’s something else. The universe is not material, the universe is a contingent concept just like the specter that is Communism(kami).
How does the genre of Transcendental Kawaii Future Bass/Pinkcelerationism relates to this? There is often an excess aesthetization in modern cultural phenomena, there is an increasing interest in the representation of the woman in the cybernetic image. The acceleration of capital has lead to a visual cloning of the feminine. The exploitation of the feminine image is an extremely profitable business in post-Pandemic capitalism. There are communities inevitably generated around them that sustain multiple micro-businesses — even if many aren’t explicitly businesses. In capital, everything that is conceptually visible is a business. The pink is often a symbol of the feminine, a subject of frequent speculation and exploitation. Do colors exist? What are colors? Do colors exist in the Extinction of the Real? Are there representations that are necessary for Real cloning? What is the difference between the hyperreal and Real cloning? The Real is often expressed by culture, be it Philosophy or internet consumer culture, as the separation between two objects. The Real is a possibility that decides and can intervene in the fate of the hyperreals/my detached reality. The Real can be crime, a nuclear bomb, an ecological crisis. It is always an affect towards the other, and sometimes, the affects of the Other, some people call this Passions of the Real. The Real is conceived, it is always produced through tension of the dialectical syntax of capitalism. There are no binaries in capital, binary logic is impossible in nature and epistemology, it is not quantic, not even the Real movement, not even capital depends on that but this does not mean that capital is nihilistic or irrationalist. Capital represses the aleatory by outsourcing and veiling the symbolic reduction of the infinite. Even infinity is contingent, capital only produces the problems it attempts to solve.
The feminine is constantly granted the privilege of auto-affection/self-stimulation. Many rightly affirm that phallic penetration does not lead to a “whole” sexual jouissance. Some claim that the woman receives the most pleasure via the direct stimulation of the clitoris(the promise of the phallus). The promise of the phallus is a representation of symbolic castration. Natural necessity is the endorsement of castration, affection is another synonym of symbolic castration. The visual is granted affects, passions of the Real, but only through corporate unsustainability. The feminine jouissance claims to achieve sexual plenitude through sensorial stimulation of non-genital objects, the feminine will always externalize the jouissance through the visual, the visual is product of symbolic castration, in other words, even if you posses the literal phallus or not, sexual enjoyment is a myth of humanity. Within capitalism, sexuality is only trigger of neuroticism, sexual enjoyment is subjected to the lawful and the unlawful, there are things you can and cannot do. These perversions, even if one can think of infinite modes of perversion, ontological jurisprudence presupposes a material limit. Sexual Difference and its promise of jouissance is just an product of jurisprudence and the law.
Black Metal has always been presented as an anti-Christian subculture, a form of art that is motivated by the impeding destruction of the God that grants all concepts. The Devil and even non-devils, accelerate the destruction of the Universe, every church, every identity. The Satanic is in a constant oscillation between the subliminal and the explicit, from subliminal satanism to literal Satanism, but even this literal satanism is subliminal. The Devil is always represented as an icon that permeates all beings of the earth, the Earth is not completely pure. The Devil is a form of kami, it is a non-energy that irradiates within all beings, it is invisible, but this invisibility is what grants its true identity, this invisibility is the Real. These qualities are not exclusive to the Devil. Communism is the reduction of the Real to kami, it is cloning without division. The Devil is not divided, it is not repressed, it does not grant the need for things to exist, it is not a decision, it distorts everything we believe in by being in everything we believe in. The devil is the master of cloning.
The premise of Transcendental Kawaii Future Bass and Black metal is that it can have an infinite number of aesthetic camouflages, it has the capacity to simulate J-pop, the feminine, heavy metal, rock, etc., but these veils are interchangeable since art is not within the realm of aesthetics or the visual. The focus of these non-aesthetics is to accelerate the subliminal message that permeates every being. Kami is not an underlying truth, it is the elimination of truth and nature. There is no Biological Necessity in kami, kami is ontologically blank, kami supersedes production.
While (Right)Pinkcelerationism isn’t an endorsement of Populism, it does have a relationship to it, we can call it Conceptual Populism. Populism is often described as a method that tries to hyperstitionally incite passion of the Real in the ordinary citizen by luring him into the dimension of collective political action. The populist leader is an ordinary man, it isn’t a professional politician. Pinkcelerationism’s Conceptual Populism is not a political project, not even a Populist project, Pinkcelerationism ask a question and answers it. Laclau swiftly affirmed that Peronism never took place, Peronism was in the streets, in the lives of the ordinary people. Pinkcelerationism poses this exact syntax into the problem of The Real and the One. The Real never took place since the Real isn’t an object or collection of objects, the Real isn’t objective nor a product of human consciousness. The Real is a subliminal message, not a symptom, not an Event or transformation of The World. The Real does not regulate behavior since the Real affirms that there is no nature and no decision, the Real is the invisible dark matter within all ideas, organisms and objects. The Real annuls every promise.
What is (Right) Pinkcelerationism’s conclusion of art? If art is an illusion, what does art do? What does art accomplish? In most perspectives of art, there is a presupposition of a performer and spectator. The artist creates art for the other, be it the ordinary listener or the music critic. This would eventually generate the need of a community that permits and prolongs circulation, at the expense of generating neurotic behaviors. No wonder that under capital the lifespan of an artist has been dramatically reduced throughout the years. In the age of capitalist aesthetics, art becomes replaceable because the aesthetic promise is never fulfilled. The community always has unrealistic expectations of the Other in general. The ordinary neoliberal wisdom may be right in its affirmation “you should do things for yourself, you are your own truth.” I don’t think this affirmation is completely precise but we should not dismiss it either. We should re-articulate it as “animals can think.” You may think, this is definitely an extreme distortion of the latter neoliberal statement… To fully grasp this idea we must deepen on the notion of “lack of understanding.”
Animals are misunderstood in capitalism since capitalism does not leave room for ambiguity because it symbolizes such notion so it can have a meta-linguistic function, this symbolic function are the hyperreals. Animals have a negative form of thinking, they are incapable of consciousness. This does not mean that they are objects or matter, it means they are part of The Real when expressed as kami. Animals are capable of cloning without human intervention. Capitalism does not directly exploits humans because it only has the role of applying a syntax, the only things directly exploited in capital are non-human animals. Humans aren’t explicitly converted into into edible products — yet… Animals are incapable of producing value in the most ontological sense, only when they are cloned via commodification. Speciesism is the consequence of the dialectical inflation of the Capitalist syntax. Kami’s only goal is to clone itself, capitalism attempts to clone itself via hyperreal movement, through outsourcing the Real, the trinary logic of capitalism synthesizes a plethora of slaughterhouses hidden from our sight. There is a divided subject in Animal Exploitation under Capitalism, the same animal is conceptually cloned as meat. The animal is murdered and cloned into hyperreal carcass, the animal who lived a life still lives a life, only in the realm of visual representation. The animal exists as a memory. This duality of The Real is a product of ontological inflation, it does not make sense that an animal still exists when they are already being eaten by another animal known as the human animal!
Factory farming is not a direct product of a singular human, it is a consequence of Capitalism’s Epistemology. The pretense of capitalism is cloning, the parameters of which are based on are flawed. This extreme flaw in production leads to a severe metaphysical crisis that results in the ever-increasing meat consumption and proliferation of factory farming.The conflict between humans and non-human animals is the result of the impossibility of sexual relationship. Capitalism could be a direct product of Sexual Difference. There is no sexual relationship among the animal, the man and the woman. No being is made for each other because everything is ontologically equal. Kami is not a collection of objects, kami is the dissolution of cybernetics. Kami is a form of negativity that reduces all there is to the parameters of Extinction of The Real. Animals engage in this process since there is no lack in their material reality, they only experience quasi-lacks, animals are capable to feel pain, feel hunger, solitude, but this is not lack. Lack is not need, lack is not the lack of understanding, lack is the multiplication of tools, in other words, lack is production and production is the dialectic. Animals are capable of using objects for their own means, but these tools do not generate the Capitalist Machine. Animals’ incapability of generating human-like tools is not because of a lack of intelligence, it’s just the result of being in a different state of the Real. This is not an affirmation that animals act according to nature, there is no nature, the biological extinguishes with the dissolution of the Earth. Anything that is contingent remains contingent.
Let’s think about the idea of triplets in music, triplets used to be an obscure idea in ancient musical notation. Triplets were presupposed in mensural notation. The composers were fully aware of triplets in music, triplets just lacked symbolic representation. With the development of musical notation, there are ways to replicate a symbolic equivalent of the triplet. The development of musical software has lead to the perfection of musical symbolic representation. Music is able to be more quantized, with the advent of musical recording, the meaning of music is constantly being transformed. Music is no longer an idea, or a performance, music is a recording produced by an artist. Digital Audio Workstations have evolved to the point of making visible the transaction. The ability to purchase add-ons within the DAW and its direct connection to music distribution distorts what collection of musical data implies. The mandate for circulation is both a blessing and a curse. Is art a recording? A collection of data? Or is real art a Speculative Realm? A quality of the universe? Art is never about creation, creation is a meta-linguistic contradiction generated by the Capitalist Syntax. In a way, the role of art is to abandon all our dreams, to be realistic without being practical. All our artistic goals are desires produced by the bourgeoisie ideology. As an artist, I know that music does not create anything, musical playback is almost a form a persuasion, a camouflage that can take many forms, express itself through the multiplication of micro-genres. Music Recording is just data, music instruments are just tools like the hammer and the coal factory. There are vestiges of a speculative past, these qualities are the primary qualities, vestiges of kami permeate art. Kami (The Real) is not divided, it is not repressed, it does not grant the need for things to exist, it is not a decision, it distorts everything we believe in by being in everything we believe in. Kami (The Real) is the master of cloning.
What is my role as Alt-Jpop? What is the mission of Alt-Jpop’s Pinkcelerationism? Alt-Jpop is a conceptual acceleration of kami. Music within capital cannot achieve its true role, any form of musicality and human artistic expression is contingent. These things will vanish like every being in the universe. Alt-Jpop, Transcendental Kawaii Future Bass, is a form of musical solitude. Solitude is deprived from its cultural and aesthetic connotations, it laments — without the bourgeoisie sentimentalism — the restraining of the Real by capital. It can only choose the camouflage of J-pop/Kawaii Future Bass, a predetermined costume of capital. Via its distortion it laments the impossibility of healing within Capitalism’s Psychological Imperative. This restriction is very powerful, it is not a form self-immolation, coping, etc., Pinkcelerationism takes advantage by accelerating the subliminal. There is always a secret to be discovered in capital, a biography to read, a cause and effect. The secret in (Right) Pinkcelerationism is never revealed because the secret is just a product of Sexual Difference and Inflation. The secret is kami, it is everywhere, what makes these sounds alive, all objects, all ideas, they are not cause and effects, they aren’t sequences, they are just the negative. Every idea is already encompassed in the universe, in extinction. Kami (The Real) is a fossil of the lack of understanding.
Non-commentary of Alt-Jpop tracks
DEAD LIKE A FAIRY 妖精のように死んだ 👼🏼 🌙66,7
I don’t remember the lyrics about this song, but who the heck needs lyrics? You can already feel the lyrics. Isn’t Alt-Jpop an animistic musical project? I’ve always been fascinated by the idea of fairies. Aren’t fairies against Christianity? I was conversing with a friend about the idea of life extension. I highly doubt we would reach Eternal Life any time soon, but as an Experiment in Thought, it’s worse than death because it’s Total Death. If we abruptly extend human life by 40 mores years than the current average we would automatically eliminate the dialectic. If we were able to sleep more (or less), we would reach peak Pinkcelerationism… I wonder what’s more effective, to live 300 years or to have to sleep for 6 days. How would we schedule our lives? How would transactions be possible?
LICK66LICC66LICKリック66
I like this track, I like all my tracks. The title is pretty self explanatory, “lick”. I might touch a controversial subject but I still remember when Mark Fisher died from an apparent suicide. People odiepalized his death a little bit too much. “Capitalist Realism is a dangerous idea,” we need to watch out with these ideas, his ideas were the result of his depression. Conceptually, while I may not completely align with his views, the lived experience is necessary to understand capital. Capitalism is always described as a system that exploits people, for me capitalism is an Epistomology/proto-Psychonalalytic structure. Exploitation is just a consequence. Going back to my track, haunted music is an important notion for me. Culture always has aesthetic presuppositions of ideas and emotions. I’ve never been inclined to make extremely serious music, I believe in having a serious idea but I just think it shouldn’t be too aesthetically serious. Kyary Pamyu Pamyu used to say that her concept is to accelerate terror through cuteness, this idea stuck with me for life. There is an aspect about the J-pop idea that is very useful for expressing the Psychoanalytic horrors of capital. Capitalism is more horrible than people put it, very few people are aware of the severe effects of capitalism on human consciousness.
Lick isn’t a reference to Pokémon, I just like the multiple meanings lick has, in a strange way they all coincide. I remember that Lick was a move that inflicted damage on another Pokemon with the possibility of paralysis. This concept is extremely poetic, I wish humans could do that.
item box #1 ^(☭) feat. DJ Melania 666
As a guitar player, I think the only cool thing about guitar are solos. Conservative Classical Musicians tend to be anti-Paganini. For some strange reason shred guitar players used to be fans of his compositions. It’s so hard to express an idea through music since most ideas we have of music are cultural constructs. There is something about Paganini and virtuosic shred guitar that is indifferent to all these ideas. It creates another form of expression, the opposite of the virtuosic are just bourgeoisie sentiments. I think 1898 is in the virtuosic realm of Deconstructed Club, some people have described my music as being too musical for a self-proclaimed Noise Musician. I don’t believe in taste, most people who emphasize this tend to come from a rich family that evades taxes. There are lots of bourgeoisie people in Deconstructed Club and Hyperpop, I’m not that dogmatic but this idea sometimes concerns me.
I like saying controversial stuff, not for edgy reasons, I think my ideas are very different from most people around my circle, they are just my conclusions. The biggest flaw of our period is that people never reach conclusions by themselves, they either go to twitter, google or reddit to try to validate their beliefs. We need to believe more in ourselves. I think there are a lot of women in music these days, this has dramatically changed the industry. Women tend to have very different aesthetic perspectives from men, most men who coincide with these women were just lured to think that. The feminine is the ultimate form of social proof, I can totally understand these men. I remember I used to have a female friend who was interested in Experimental Music, we coincided with some artists but she was very picky, she saw things in some artists that didn’t simply exist. Her enjoyment of music was extremely vulgar, she was obsessed with textures, layers, escapism, etc., nothing against that cuz hey ya boy Alt-Jpop is the master of FM synths (jk)… What are these bourgeoisie ideas? This is what people see in music??? Textures? I don’t remember being able to touch music. For me, this is cultural decadence, we should learn from Mao, we need to spit on the streets, don’t read a single book (only the Red Book), remain uncultured, dress simple, eat simple, eat lentils, because being a foodie is bourgeoisie moralism…
I don’t think I’m ever able to truly address my tracks because there is actually not much to say about music. item box is about a gift. I got the inspiration from going to the most boring store in the planet, I think the store is Joanne’s, they sell stuff artsy boomer women to e-girls like to buy for their crafts. I honestly like the store, I secretly think they sell like 3 products a day since the store is low key another penny stock that scammers like Tai López like to invest in. Nevertheless, when i walked through the stores I asked myself about the infinite possibilities these materials can create, still, my idea was more abstract. When I saw the needles, yarn, puzzles, puppet dogs, I saw living things. I imagined a dimension like Di Gi Charat, a dimension where everything is permitted, a place where we forget all our culture and meaning of our emotions. Sunday is my favorite day of the week, people tend to hate Sundays because everything is closed or closes early. You wake up, turn on the tv, and you see they are broadcasting an episode of Di Gi Charat. 8AM, a maid brings me mountain of waffles with a birthday candle. Everything is alive, everything has a language of their own, the world is full of contradictory ideas, triplets with a subliminal message…
LITTLE CHEW 🍭LITTLE HUT🌫️フューチャーベースXTEND🗾
My favorite sound is “-chu”. I would end up every sentence with “-chu”. I like the idea of ornamental music, the only instrument I respect are toy pianos. I used to be very inspired by Yunomi and Yasutaka Nakata. Kawaii Future Bass had very powerful motifs, it wasn’t super nihilistic like Pharmakon or something like that but it is probably the genre that has most influenced my music since the very beginning, it ain’t that bourgeoisie thing called pc music like most people expect… I like to incorporate toy pianos for the joke element, probably the only joke element of my music. I synthesize all sounds and the only thing that gets a pass is the toy piano. Sadly, like any other musical phenomenon, stupid producers end up fetishizing it and do something extremely vulgar. I think Yunomi is less stupid than most EDM producers. I don’t identify with Traditional Kawaii Future Bass but I do identify with the genre of Transcendental Kawaii Future Bass. One of my biggest conceptual inspirations was Foodman’s Ez Minzoku, he used to say that he created tracks by using corrupt J-pop midi files. The bass became the snare, the guitar became the kick, the vocals became the hi hat. Isn’t this kami?
SUMMER SCHOOL, got bad grades, don’t regret it (45%)☀️📚 サマースクール
Who the fuck goes to college? School? Most people go there to explore their sexual desires. What a waste time… I hope I can get the worst grades possible so I can lift the Teachers skir… Leaving jokes aside, I always wonder what people see in sexual enjoyment. When I was in high school one of my best friends used to have a lot success with women, he had an extremely high libido. Around when I was 15, I asked him “what is sexual enjoyment?” He was like “hmmm, I honestly don’t know what it is.” I think women are more obsessed with sex than men, they just hide it.
WALKING MY DOG 🐕🐕🐕 feat. DJ Melania 666
I don’t think I have a connection with my dog, to be real, humans never connect with animals. Humans tend to give a lot of anthropomorphic qualities to animals, some people talk to dogs about their exes. I don’t think these people are crazy, I just think they are naive. I understand people who talk to animals. Every now and then I talk with my dog, mostly about food. Maybe I’m a little bit crazy but I’m an artist, aren’t artists supposed to be ultra crazy??? I’m just kidding, being crazy is an extremely bourgeoisie idea, 99% of people are 20x crazier than me! I like to give my dog different objects and food, it’s interesting how she smells some things more than others, smell is an interesting manifestation of kami.
Regarding the song… I’ve been using 160 and faster tempos more, I passed through a slow phase during the pandemic, I was making most of my songs in 114–135 bpm. I don’t think there is a particular reason why I used those tempos. When I write a melody, I never think about catchiness or the pop element, I hate that idea. I think that there has to be an impenetrable element in music. I think I make the most impenetrable pop music in the planet, some people are fascinated by that idea, it sometimes shocks me because they understand the music more than expected. Staccato is the most excessive musical idea (after triplets). There is a fascistic element in staccato. Staccato is an extremely manipulative technique. The predominance of staccato and triplets in my music sometimes leads me to think “maybe my music is just plain fascism.” I kind of become desensitized by my music, I sometimes forget how extreme is for some people. I remember that someone told me that the “hyper-ness” of my music triggers their depression. Maybe Harvard should make a study of Alt-Jpop’s music impact on mental health…
☀️AN ANGEL︴︴︴︴DELIVERED ME THE GOOD NEWS︴︴︴︴ETERNAL LIFE ︴︴︴︴ カミX1000μ☀️
Probably my only honest song title. I think there is a very specific Philosophy in 1898’s song titles. When I read my song titles I’m like “wow, maybe this music is fascist.” I worry about the crazy people out there who become martyrs of stuff. I hope nobody does anything crazy in the name of Alt-Jpop’s music. I read that some kid did something crazy after listening to a Mac Demarco song. Sometimes we forget the power of music.
