Psychoplasmics – “Psychoplasmics” (2018)

I’m floating on an inner tube on a languidly flowing river of codeine-infused cough syrup, thick and purple and with the consistency of used motor oil, the cliffs on either side made up of massive, slowly melting gum drops in a wide range of vivid colors.  The sky is bright green with wisps of neon-blue clouds and I’m being circled by a rather bored looking vulture.  Everything is thick and sticky, the air taking on an almost physical form wrapping itself over everything like a thin layer of cellophane.  And I just keep drifting, slowly, towards nothing in particular.

That’s what Psychoplasmics feels like.


The collaboration between Lord Pusswhip and Alfreð Drexler is at times like a house version of the typical Pusswhip fare, as much as any of his highness’ music can be called typical, with tracks like “De Pijp” and “Dolphin’s Delight” putting the listener into a full-on groove trance.  Samples feel distorted, either slowed down or sped up or somehow magically both at the same time, laid over the top of the beats like a heavy blanket, the kind of thing that makes you wonder if something’s wrong with your turntable (tip –> there’s not) or maybe even your brain (there might be).  A number of guests join Psychoplasmics on their sticky journey ensuring the rapping comes to us in a range of styles, from the intentional seeming indifference of TY on “Kriminelt” to Birnir’s smooth flow on “Gullhamrar”.  Killer stuff from start to finish.

The vinyl was initially pressed (♠) in a hyper-limited edition of 20 copies, but subsequently the guys had some additional copies produced which is how I was able to get my hands on one.  I messaged them on Facebook to buy my copy, so if you’re interested that’s probably your best bet at the moment.  But have no fear my friends, because you can chill out to all ten tracks on Soundcloud HERE.  Just don’t operate heavy machinery while under the influence of Psychoplasmics.  Use only as directed.

(♠)  Technically not pressed, as I believe these are individually lathe cut one at a time.

Malneirophrenia – “M-Theory” (2017)

malneirophreniaI was lucky enough to get my hands on a copy of the 2017 Malneirophrenia remixes record M-Theory – only 35 copies of this lathe-cut 12″ were made, each individually numbered, so it’s not an easy one to track down.  The band has been around for a while, putting out their first release M back in 2011, but somehow I’ve completely missed them over the years – I’d never even heard of them until this arrived in the mail. They described their debut as “M is a mixture of metal, classical music and imaginary soundtracks. It is chamber punk.”  Chamber punk.  If if that doesn’t sound interesting, I don’t know what does.

My lack of familiarity with he originals means I have limited context for the remixes, with only what I know of the artists doing the remixes to go by.  Futuregrapher and Lord Pusswhip both make contributions, as does Sigtryggur Berg Sigmarsson, who is best known for his work as part of Stilluppsteypa.  Pusswhip in particular gives me what I’ve come to expect from his royal highness, something languidly trippy.  Sigmarsson’s track, “I Am The Cello”, runs 19+ minutes and consumes the entire B side and is a bit of a surprise, lacking the experimentalism I’ve come to associate with his music (OK, maybe there’s a bit on the second half of the song).  The overall feel of the base tracks is classical, with the remixes primarily adding nuance, though Pusswhip makes sure to keep things a bit weird on his.

The three A side songs can be heard on Bandcamp HERE if you want to give them a listen.

Lord Pusswhip – “The Hand of Glory” (2018)

pusswhiphandMan, Lord Pusswhip sure has been busy as of late.  Last year he gave us Lord Pusswhip Is Dead and in the first three months of 2018 we’ve already been treated to two more releases – the previously reviewed cassette Stationz Ov The Puss and this seven-song 12″ on bbbbbb Records, The Hand of Glory.

The Hand of Glory arrived in my mailbox the other day with a stack of other recent bbbbbb records courtesy of my friends over at Reykjavik’s Lucky Records, and this is the first of the batch that I dropped the needle on.  It’s a bit more uptempo than what I’m used to hearing from His Royal Pusswhipness, more suited to the dance floor than to drinking a whole bottle of codeine-infused cough medicine and drooling all over yourself on the couch.  As always, Pusswhip hits you with all kinds of weird breaks and transitions and samples, never allowing you to get entirely comfortable.  “Green House Living” is the most chill number, one more reminiscent of his work on Lord Pusswhip Is Dead.

You can digitally spin the title track on Soundcloud HERE if you like, but don’t say I didn’t warn you – it’s gonna get a little weird.

Lord Pusswhip – “Stationz Ov The Puss” Cassette (2018)

All rise for his majesty, the Count of Codeine-Infused Beats, the Earl of Electronica, the Duke of Downtempo.  All hail his royal highness, Lord Pusswhip.  Long live Lord Pusswhip.

Dilly dilly.


Iceland’s own electro hip hop royalty Lord Pusswhip is back at it again with another another new cassette release, this one on Reykjavik’s own Lady Boy Records label.  Stationz Ov The Puss offers a further evolution of Pusswhip’s signature liquid beats, languid sonic streams that sound like they’re coming to your ears underwater, or from a bubbling pool of thick codeine-infused cough syrup.  His highness blends the beats and samples seamlessly making each track feel like that sensation you have when you’re truly exhausted, just as you slip from consciousness into REM sleep, those transitional moments that seem like watching some bizarro movie that is a continuation of the last thing you saw just at the moment your eyelids closed.  Viscous and sticky and trippy like some smooth soul music floating in the air and punctuated by deep bass.  Some great headphone music.

Stationz Ov The Puss is available as a limited edition (of 50) cassette or download from Lady Boy Records HERE.  You can also listen there for free -I particularly recommend “Fan of Yours”, “U Know We Like 2 Swang”, and “ÆSINGUR”.

Lord Pusswhip – “Lord Pusswhip Is Dead” Cassette (2017)

Lord Pusswhip is dead.  Long live Lord Pusswhip.

Lord Pusswhip is dead.  He was 22 standard years old.  This information was communicated today to FALK world headquarters in Reykjavik, Iceland, first through telepathic communication with a cat named Stalin and later validated via electronic communication, using the overload oppressors’ own thought-controlling medium, also known as the internet, against them.  The uncoded transmission was a shot across the bow of those in power, communicating out in the open and letting the entire world know that Lord Pusswhip has moved beyond the real and into the realm where magic and digital meet, where he will continue to wage his war against the false construct that we have all been bred and numbed to believe is reality.  Lord Pusswhip is dead.  Long live Lord Pusswhip.

I first encountered Lord Pusswhip via his masterful 2015 release Lord Pusswhip Is Wack, 18 tracks of downtempo hip hop featuring a host of other artists, a sometimes poppy, sometimes groovy, and always modulated album that feels custom made for chilling and imbibing.  Little did I realize at the time, however, that this was a feint to convince those in power that his Lordship wasn’t subversive, an artist outside the mainstream certainly but not dangerously so.  It was the slow fuse Pusswhip lit to exposure himself to a wider audience while at the same time hiding himself in plain sight.


The fuse hit Pusswhip’s combustable core on Lord Pusswhip Is Dead.  And things will never be the same.

His birth name is Þórður Ingi Jónsson, the name his parents gave him to help him blend in undetected.  Because you see they too were subversives, infiltrating society’s power structures to learn and corrupt, skills they imparted to their son, recognizing that the future lay within him.  Pusswhip’s transmission to FALK included a manifesto aimed at opening the eyes of the sheep, awakening them from the television-and-YouTubecat-video-induced haze created to control them.


If you are reading this then LORD PUSSWHIP is dead. Of rather I have decided to draw a closing line between this period of my life in order to protect the ones that I love and hold dear to me, so that I may prepare for the next stage in what is an interdimensional war against what Burroughs calls ‘The One God Universe’ and its brutal regime of order that harks the slow death of love and freedom.

People may not realise but my whole life has been one of time sorcery and reality hacking. My parents, unbeknownst to even their closest friends, were occultic anarcho communists who were waging a low level but persistent war against the archons who preside over the global security deep state. Taking on the bourgeois cloaks of holding positions in art and televisual media, they hid in plain sight while conducting various guerrilla sorties against the capitalist deploying all manner of esoteric weaponry: Enochian Hexes; Lemurian Deep Time IEDs: Psychic Assassinations; Lovecraftian Sorcery to induce ‘paranoid-chronomaniac hallucinations’ with targeted businessmen and politicians.

My Parents trained my brother and I to carry on their good work when age and circumstance made it unable for them to do so. And since 2010, I have been using the powers inherent in the occultic sample, splicing it with abnormal sonics and the corrupted nature of the time manipulating software to generate abnormal cultural velocities, personal magic that can break past the walls of unknowing and generate weaponised hyperstitions. Against what I call the “Black Order”, those mysterious cloaked and diseased entities of the One God Universe who use regimes of capital boosted by tectonic stack AI systems, I have been building my own subjectivity engine, spinning a different web of music designed to disrupt and disturb those who have been blinded or numbed by the overstimulation of capital and machine generated affect that rules our lives. The tracks I have given you are a systems map, a concept of technics to achieve perceptual freedom from the darkness that envelops us 24/7.


Lord Pusswhip is dead.  Long live Lord Pusswhip.

It doesn’t take long for you to realize that Lord Pusswhip Is Dead is different, coated in a thick, gooey layer of codeine cough syrup, sticky and slow.  You move through the tracks like they were a physical purple haze hindering your movements and making you feel like you’re both stuck and floating at the same time.  It reminds me of the sensations I felt when jacked up on pain meds after hand surgery many years ago, like having a warm, heavy blanket draped over you, feeling both enlightened and stupid at the same time.

The beats are slow and intoxicating, the vocals run through every kind of electronic apparatus imaginable to distort and conceal them from the overlords.  If you told me there were subliminal communications from the newly evolved Lord Pusswhip hidden within the competing beats and sometimes slurred rapping on “Á Nornasveim” I wouldn’t doubt you, the sonics cutting through the brain’s defense mechanisms and right into the medulla oblongata in an effort to free you.

Lord Pusswhip Is Dead is a compilation of material, some of dating back as far as 2012, so there are a handful of songs like “Siggi Sýra Ft. Svarti Laxness” that harken back to the approachable vibe of Lord Pusswhip Is Wack.  The earlier material is the most syrup-coated, and it’s almost hard to believe that there were only a couple of years between the recording of the sludgy “Seljandi Krakk Sleitulaust” (2013) and the aforementioned “Siggi Sýra Ft. Svarti Laxness” (2015), which is certainly mainstream enough to warrant radio play.

The limited edition (of 44) cassette release consists of 20 tracks, while the digital version offers an extra half dozen.  Both are still available on FALK’s website HERE, where you can also sample Pusswhip’s transmissions for free.  And maybe, just maybe, Lord Pusswhip paying the ultimate sacrifice will open your perceptions just a little so that you too can forward the aims of his underground subversive resistance.  Will you heed the call?