The Wormhole presents…



WHO#13 – Blood Music – GPS Poetics

CD/DL – limited edition of 200 copies
Buy/Download from Bandcamp
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1: There Is No Centre And There Never Was
2: I Like To Enjoy Myself
3: What About The Punk Thing
4: Play From Your Fucking Heart
5: Glitz Mercury
6: Zero Hours
7: Banjul Taiko
8: Voice Voice Voice
9: Ipomoea Violacea
10: The Table The Table The Table

“Hit record and mixed tracks from 2017-2018. Turns out I made an album, by mistake. old school BM guitar-&-drum machine, a Linn-Drum & a Fred Moten sample, Serge drone, FM synth kicks & a YMO interview & a robot, ‘shut up and listen to him play’, 808 acid funk, 280bpm Gescom memories, a taiko ramen break rounded & a just intonation poem - abc, the whole alphabet: performance from within fugitive study. I like to enjoy myself.” – Simon Pomery, London, 28 December 2018.

Blood Music is Simon Pomery: London-based, Irish-born producer, musician and maker of the “infinity-poem”. The name Blood Music is one English translation of the Japanese word “Kodo”: “mind-before-thought”, “children of the drum”, “music heard in the womb”, or rather, “blood music”. He has two 12”s on Diagonal Records – “Blood Music EP” (2013), and “Chicks/Badgering” (2015) – digis on dingn\dents and self-released works.

“GPS Poetics” is influenced by Pomery’s research into poetics and ethics: Fred Moten’s writings on poetry and improvisation from “In the Break: The Aesthetics of the Black Radical Tradition”, Joan Retallack on Gertrude Stein, John Cage and aleatoric composition in “The Poethical Wager”, and Édouard Glissant’s “Poetics of Relation”. The notion of “the centre” is exploded in favour of fugitive research into the relational. The result here is a live mix of cross-genre blood musics, given to that most freely proliferating, streamable, downloadable, capitalist communication of consumer taste: the DJ mixtape. Pomery’s use of text and voice in Blood Music continues his investigation of text-sound compositions of the 60s and 70s. His “infinity poems”, which are algorithmically produced for print as well as for his a/v show “SPEED READING WITH BLOOD MUSIC”, provide the visual art and language for his relational poetics.

Blood Music has played Berlin Atonal (Germany), Elevate (Austria) Les Urbaines (Switzerland), Ochiai Soup (Tokyo), Club Stomp (Osaka), La Cheetah (Scotland), UH Fest (Hungary), Les Atelier Claus (Belgium), Incubate (Holland), a water tank in Lewisham and at Cafe Oto in London, where Pomery curates PRAXIS (2016-now), a series of events devoted to text-sound compositions.

“I might use GPS Poetics to help navigate a world: I use the indefinite article for ‘world’ here, since every relation to the immediate entity of experience that we name ‘the world’, through sensual or digital experience, is different and relational; infinitely plural rather than singular. Via GPS Poetics one can critique indifferent gazes in the age of the Anthropocene, latent voices that argue ‘There are only surfaces’ through the mouth of their screens: ‘we are the Great Data Collector. Our violence is off the screen we speak through.’ I would suggest that context cannot be separated from global positioning systems.”



Electronic Sound (UK):

The work of Irish sonic auteur Simone Pomery, Blood Music’s “GPS Poetics” operates on the frontier territories of improvisational text art and aggressive techno-informed electronics. It stitches together out-of-context vocal samples, wild synth sequences and beats that seem to accelerate of their own free will. Tracks like the opener “There Is No Centre And There Never Was” and the randomised, rapid switches of “Glitz Mercury” are urgent and persuasive, making for an unpredictable and vividly-executed album. [Mat Smith]


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