Am Not – Extraterritoriality MC Unrest Productions 2019
This new Am Not release comes in relative quick succession to other two other limited cassette releases issued in 2018. Those being the Unpunished : Appendix tape (reviewed here) and the Incursions tape (reviewed here). Extraterritoriality is a six track / 24 minute, pro-pressed and labeled tape is also limited to 102 copies, and according to the liner notes was recorded in ‘Grand Brexia’ which clearly alludes to thematic preoccupations.
Speaking of theme, Side A addresses ‘Brexit’ and the current turmoil on both sides of the stay / leave divide, while also juxtaposing this against earlier debates over such matters as Commonwealth immigration. But like all good post-industrial music no clear stance or easy answer is provided either (cleverly Side A of the tape is noted to be labelled as ‘exit’). Cleansing Violence opens the tape a straight down the line Am Not track with pulsing bass tone, jagged noise and aggressive processed vocals, which could have easily been lifted from any of the main albums. In other words an excellent track, but when lyrical phrase “rivers of blood” is used it would no doubt be a direct reference to Enoch Powell’s infamous and controversial political speech from 1968, and perhaps within the context of this release is referring to the extreme right views of fringe Brexiters. Things then take a decided left turn with Better Together chats quite an experimental angle with simplistic rhythmic pulse, distant noise and cleanly spoken vocals. The sonic approach then gets even weirder on Ever Get The Feeling You’ve Been Cheated?, which features a sample of Kirsty MacColl’s song A New England, but slowed down to a crawling pace which then generates a euphorically maudlin tone. Added to this are 1970’s interview samples which decry the loss of ‘England’ to mismanagement of immigration, while the track is concluded with Johnny Rotten sneeringly asking the question of the track’s title. Conceptually this track is extremely strong and certainly effective in a pitch-black humor sort of way.
Flipping over to Side B, it thematically it returns to focusing on Hong Kong returning to China (this side is labeled ‘entry’), which was previously addressed by the track Home from The Developing World album (reviewed here). In fact the track Homecoming plays out as an alternate instrumental version of Home, given the same rolling militant rhythmic structure is employed with crowd babble and protest singing overlaid. The following track Red Emperor, White Forces arc back to a directly punishing power electronics track, with wailing crowd chatter, incessant pounding / grinding structures and flange processed vocals. Great stuff. I Will Not Be Reborn In The People’s Republic Of China is the last on offer siting within more of an ambient frame of reference with intertwining synth drones and central interview sample talking of reincarnation being a spiritual matter and not a political concern.
By now Am Not’s name and status in the underground is well established. Extraterritoriality is equally high quality as the balance of Tamon’s output, but also slanted towards a more playfully experiential expression. Evidently this is explained by the fact that for this release Tamon applied a methodology to work faster than typical and within a limited space to time. But regardless of how this came about, I am pleased a secured a copy of this quite limited release.