Monday, October 26, 2020

Michael Mc Aloran, from “nothing ever” #3

 Untitled, Michael Mc Aloran 
(Acrylic on unprimed canvas/122 x 155cm)

from “nothing ever” #3



…zone vault erasure bloodshed cell shard of expels dead laughter a body broken stone efficacy blind repeater absence burn black sentience of elected to door slams shut in gait of which taken from distance echo of ever stone light burnish hollow oxide stillness were to breach vapours of which to collect in barren lights vertigo of shed pelts yet nothing ever as before where night to caress fallen obscure till of what signature silence ashen expect as to be what nothing of accord of final overture shadow-lock dried essence to peel away from striate of solace ever colours of which once known to fade into an extinct of obscure devour whereof exigent of what haven promise nothing of where recollect strip light it breatheth film to denude a corpse of final judgement what will done overture of nothing ever to collect where bones of certitude lay to rot in outstretch of landscape devoid of detail pulse spent shrapnel echos out from lack of which taken from what given of until strikes a match inglorious to follow exposed but for an instance final traceless of dim record birthed of never once ever flay wind turn of lapse obscure as meat violent reveal cold dice a tumult of frenzy light excise scar tissue breath dislodge colours of which in like what spasm collide opulent night long distance short snap shut abort it turns light insert reclaim utters none recede breath spoken lock unto foreign of dissolve it too bleeds out in it of lack echo night of accord as on it carrieth broke bone pissoir absenteeism shard white lack return unto where breath forsake all sung it know/ it forgotte(n) drag of corpsal wind to taste flay of which corridor waste breath wastage of shouldered the cross of breath hunger avarice collapse into what breathless gnarl extricate headless attrition meld colour of which die down echo repeat it fade of out whereby to unto nothing forage cold dice to flow aptitude for psychosial extent of which driven reflect expel of meat collision repertoire all what said unsaid ever of reflect of white cell bloodshed lapse it till of which repeats it nothing of what matter now it floweth an open sewer of scum division breathless tint of sun to illuminate where pageant frenzy can only never of to which fingers to outreach of to unto void nothing of in ever solace collapse weight forage furtive rescind steps never once colourless abandon breakage point what redress as to burn in black weight is to nocturne carnivale extend carousel music-box of nothing ever terse will winds to caress cataract blood-spill it speaketh laughter of an unsung pulse white light flash surface exposed tension to bite is to bleed of in rag & bone recoil from where passage from naught till obsolete is to beckon fragratory entity solace absence final gone ever of forgotte(n) tidal once less than was before of nothing ever shadow of breathe where tint of closure shadow nothing of where to absence bone warp of pulse bulb ideation to expel catacomb depth ever of to which what forth null & voidal burn black weightless dislocate in foreign laughter of where to of to of to/ 0/ concrete nullity breaketh spill of foreign speech embrace as words die out reclamation no film to pierce reveal of where lense smear across of which strung up bled dry from orificial wounds spectre of final to vibrate in so much of entity whispers of being to collect in gutters of ashen promise final as before whereby to sink into where scum erasure a pit of lapse until where lack breathe shadow collision is to reflect upon where gait absent as before to collage broken light crack frozen upon in sliver sound of claustrophobe where to of in which it out-spill of candelabra night extinguish all known properties as on it transpire lacking as before of what want of which nothing of matter if nor for comes to forth of collect spasm outspoke cold as of what dawn precede as outstretch ever-night to suffocate in blind outreach till obsolete claim upon where distance shatter it this flay from one nor other crack bone suck of marrow taste attrition tint in respoke dead traces to blossom in spoke from which haven to colour it in of which lapse of what will to terse as reclaim echo of once neither perhaps thrice ocular rove in of through which of some to dream of it non-fathom suck upon fragrant ash stretch out neither weight nor of before where flesh appears in dislocate in meat of substance never of to speech lack return of reclamation rotten fruit in gash of glint of where blade subside it to follow onward a listless extol of exigent fragrant nothing ever to return where to chemical utter blind no another as of which to collide with or which spasm crystalline nectar of whereby as if to spell it all out forget forgotte(n) from once which it came…


Michael Mc Aloran

Monday, October 19, 2020

Ilker Artiran, Ice, Part #1

  Constructing Selection Pressure 
on Evolutionary Vestiges, image by Ilker Artiran 


Part #1

“To anywhere. To everywhere. I’m
the whole, the sum of all work
the entire show.”
they made a solid fluidity
the flesh grew up in a still pill shaped tank
brain’s familiar alchemy and broad pharmacy
- his hand filled with hate
night clubs of the hologram sky
to boil as living creatures of the dead reality
he develops a dark personality in a shell
smoke imprisoned in his fabric
ancient machines
abandoned to rust’s mineral rites
supersonic mosquitos by his neck
composed the smooth universe of the substance
and that is not the same thing with your mind
beyond the fragmented wreck
something moved in the core of events
in the shape of the explosion
of the remarkable silicon
pale light rivers were flowing
the mind he shared these perceptions
began to scratch with its feet
the bugs of babylon whore drawing eternal circles
and the symmetry of tribal street boy feelings
that has a steady jawbone
a messenger heralding the destruction of the matter
climbing to explosing point, erected
more than chaos and noise that lasts all night
hot core’s perfection in mutilation
nailed down to his cheek with pleasure waves
-he is a speedball artist
lots of bruises that turns to dust
he took an octagon without water
pill put on his circuits
EEG tight as a whip
the last pyramid of the structure
inner details melting here
echoing with screams
images of beyond perception of plastic poisoning
that intervening white forms of the units
extending colorless void
gives him a voice
a voice never shuts up, white, headless and perfect
your poison is a poison sac to him
a protection both for fear and isolation
follow the wall, the slope of concrete
a code is required
a voice of this that seperated from a word body
“come on, step inside”
cold and fast mechanism of his paranoia
sees a thing looks like a gigantic human sperm
in the sand depths of constructed beach
an experimental primitive beasty fear
aiming to reverse the schizophrenia
his route is a line with red dots
sibernetic memory hives
broad singular genetic material
of which DNA structures coded with silicon
and the hormones a complicated pseudo showcase
an expressionless mercury
they injected him the second part
it was small and dim
calm as an insect
silence all over the line, alarms
game explosions
dark web of crinkly flesh nest
intersecting plain tones
thinking of him as a data construction of trash dump
surrounded his muscle structure
a competence of vision
that carries a dead man’s skills
through sections of memory and time
a shadow fall the inner surface of
a world in which everything counts
upon an old concrete
bloomed to the platin face of terminal
which is fancy with pearl and lapis
drains ruby glances
his eyes were flat as a common glass
a dead metal of which lackluster is an uncertain tumefaction
talking with a bodiless voice with an accent
behind the layers of dark mirrors
an interacting mind making decisions
a video wrapt up in polycarbonate
fear of cold steel and ice trembling inside
the face that looks at him in the depths of neon jungle
a cold impact hits the cells of
poisoned silver sky
you watch your own orgasm
alarmed in the sunset
it’s like a small nova
in the extreme distances of the space
walls transmutates into pure steel here
around the caged lamps that lighten
stuck in the screen that encircled with
teeth that haven’t eluded from the dreams yet
the screen exploded awakening with exhibiting
its own dispersed wet ruin
a giant radio butterfly simstim unit
floating through very fragile record and enciphering blood
because your work began to spew out a yellow dust
a recorded cloud burning inside with its own representation
“You are always building models.
Stone circles. Cathedrals. Pipe organs. Adding machines.
You are looking for a paradise”
a dance that was thought with a compulsive manner
a tight color of pale blue neon of the spent void
eternal devil covered with coded spheres and bad luck
in the transparent plain of childhood symbols
covered with pink plastic, has seven functions
my climate is personality in a clinical tank
i form my backup personality
a device with the force feedback
the abandoned technology’s crystal essence
the gleam boss man was like a monk
blue in the yard
copied into an orgasm on fire
his euphoria folding disturbed
was softened with sleep and drugs
in different tailored worship forms
he trembled, bent double on the table
he is activating the primitive beauty mechanism
with his hands typing himself forward
insignificant kaleidoscopic dead neon, dusty window
it has its own dream circles in which
it became a part of a higher existence
a broadcasting system full off nothing but virus
scratched on your screen shining red
luminiferous message
a hard climb without gravity
he turned back to his perception system
with a new symbol wave
to muscle and limber flood of sharp senses
in my narrow approaches
i have the ability to read the dance
an immune system that will certainly collapse anytime
moving in the furthest point of the consciousness
his laughter cuts like broken nail that is expanding and
transmuted into mercury
a drop of it sliding down
hidden behind the purposelessness mask of a maze
embroidered stripy on a microchip
a dark mirror plain
motifs began drafting in its border
dreams blossom like heavy ice
while pink heat waves rising
exploding bomb of the rising plastic
the symmetric stagnation
he has a personality like
a kind of unconscious waiting dress
you have tendencies made of software
a web consist of big flexible cable heap
and moving blood strings
trouble in certain upgraded genom models
that exposures skin patches and prosthesis
by the hours passed, his rusting flesh is embodying
the life flesh takes the place of the drug flesh
its little explosive core that reaching him
shivering in a microsecond relation did not die
everything appeared and disappeared in a second
he dressed the blood web black in the dark
silver music that flows in the edge of the void
was coming back
a nuke in the head in the hologram dances
a blue explosion in motifs the way you think
this motifs are real
its skin wet pinky light
was a section of a simple graphic program
talks about the biochemical in details
an interpretation with its own familiar solid solemnity
a silicon, heavy
riddled with maintenance channels
a murderer created by duplicating
that turns himself to a bad need
that felt down entirely
his duty is to move objects to the life
moving and ecstasizing the words separated
the sound balloon texture
hypnotic images
automatically the faces around
a fresh symbol wave
exploding like a simple mosquito wave
landed on his green wall
it is shining with alphanumerics
in his subsonic stomach
random surreal violence getting a web tissue
on a light game surface lying beneath them
the weight of the memory came over him
the sleep a photon darkness that
activating the existence amplifiers of
an alien thought became real
autopilot neural interruption
his octagon backed up his courage
getting permanent places by his mouth running out
with the melting of the ice
splattered with the move of
a wisdom program beyond knowledge and dreams
and in its buzzing tranquility
gets the highest hack skills of the software center
this terrible perspective is really mean
a fuzzy, decomposed visual information mandala
you were seeing its braids
that composes a dark and contaminated hole
images transmute the regular connections
into extra explosions
a tape, collection of the cells rises to
eternity’s broken microcircuit core
be a countdown on the corner of your life screen
a reduced to basis form of what you’re going to live
surrounded by the vegetable, humanity and ganja scent
rising from a seismic liquid has a decaying structure
"dub, man, flowed and bloomed"
an origami of the fluid neon
the dreams dreamed of a micro
that whispers codes of a live-tel voodoo spells and
the thousands of ad plates trembling
the tears that fell off from
eyeless creature’s nervous breakdown
growing up
his erection is a leaden ingot fixed
colorful angular silicon pieces
we see lots of frequences
the human DNA squirting in heaps
one more drop and he dies
pink artificial victorian doll
that has lens with provision
pulled the trigger
he poured down the already disappeared dream
on the life form under his foot
which is muddy constantly moving
he examined the broad void and all of the its surfaces
consists of forms
a chaos that is hard to open
while chewing the mirror he admires his own image
the gray area intensified within harmony
dissecting himself from the cube by turning it to a sphere
program a map that will project
the suspicious data trading density of
the monster and the white light on a screen
as a single pixel
your map can explode anytime
calm it down with raising the scale
every pixel represents a hundred billion terabyte
in the scale of a hundred quadrillion
certain dots in the center and
getting connections of a hundred year’s industrial keys
that surrounding his old core
he noticed the music that is wandering
through the structure in invisible lines
that connects to secret effect levels
this music called dub
digitized rasta
the sound coordinates of the prophecy of the babylon’s decay
was appearing in the desert while it was groaning
the white and hot name of its system
using alphanumerics
a curse in arabic that written with red spray bomb
on hieroglyphes in front of his eye and
on parasite’s perceptive equivalent
your dim neon molecules
arranged by the code
calm hands under his skin
a slow surgeon darkened the street again
he was carrying the death in silence
the only thing he left outside was the smoke of these
not a single move shining
as silver torn on him
was not a loss regenerating
there are strange communication lines that
composes of the thing that called as undefinable
on physically connected shell’s inner surface
beneath him behind the neon city
a darkness mass that shrink
he puts together the parts of his imaginary doll
that gives his face to the dead puppet
and the doll dismembers him with its hands
the rotten suffocating imaginary blood rivers
the plastic which was shiny once
the sexual brain glands imprisoned in his body
finally found their paradise
that eventually ends with murder
low level humming
an exaggerated sexual tension beasty joice
i think he lives in his frontal brains development
on a constant tension level
you could be a statistics animal
that smells burnt flesh as a kind of escape
through his wrist the dull octagon effect
pierce and inject into the heap of the cells
it was a wide formation beyond knowledge
an information sea
encoded with the spiral and pheromones
he was the eternal chaos itself
only resoluble by the body with its ways
confident but blind
he blinded the copy child of the vault
that has too few relations with
the individual consciousness
filling up his dreams drop by drop
a face twisted extended to its bone extensions
right at the center its position is perfected
by movements of a chin which is long and thin
moving with a icy glass cubic consciousness and feeling
involuntary hallucination, a mayhem
with incomprehensible graphical presentation
the data reflects from the spinals of the human system
lights in the spacelessness of mind
the lights of the city well calculated
in the form heaps and constellations
a shiny cursor on the decumbent grass sliding
occupying the street that became
the fiber clew of skyscraper canyon
shiny crabs living there
thanks to the scent of concrete moist and gloomy
the child beneath the lines
was looking at him through heat waves
risen from the fresh asphalt
cold blooded to the nucleus
he was selling biological stuff
of the dreaded autonom electronic darkness
the most expensive private service
right after the launching it inside
a massive heap blesses a little boom
the sound of tubes sucking things like cancer
the sudden trauma of dressing a new body
is moving with the subwater harmony of addiction
he was alone extending and integrating
a single mass of a iron block
under thin lines curved
he looks somber
with clarity and singularity of an inner death wish
was saying “flesh” an inner voice
“flesh itself speaking - do not listen”
in the stillness of a beach he left
sucking his wet hair tips on which
little insects and cortex bombs was dropped
the ghost laser lines
sudden images, retina projections
the sky outside of a record of the sunrise
his rectangular eyes sitting at the centers of gradients
consist of the polished smooth surfaces
calm and still
felt the node of anger inside
did a megaton sized hit
to his anger’s artificial blue
the hardening fat grumes
the tearing of greeny violet colored pain thunders
the power button’s knurled surface
a sea green artificial object
in one side a leather strip
in the other side a little bronze pyramid
swastikas, skull and bones
a pale faced wasted time machine gun
hanged curled like a snake with a shiny skin
you are cracking the ice dispersing
his flesh was a good ice that
covered with a thin black cloth
he knows the number of mind particules
each one of them idealised to his brain
viral subprograms dissolving in his mind
that carries the mathematical system in which
this number was encoded and filled with
the noise of the real combining with the door’s code tissue
countless light lancets
was cutting up his skull in different angles
neither the wide sun that covers her mirrored prosthesis
could survive the brain dead after the black ice
nor the old mutual core data
devoid of machined order and color
in a paralysing frequence
moving around in world’s dark circle
and calling out us in a ice heap
he immersed his eyes that turned to an unsteady crystal
to a limitless neuro-electronic void
to create such a terror
the tiredness of a white light accumulation formed equilateral
this neon chrysanthemum angles
on a blackgray gathering point
a pair of limbs smashing to bits with its merits
this was basically a flesh doll
just muscle a razorgirl who
forms the strong biological flow of the puppet house cell
when the fat cooled down filling in the brain folds
there is only one entrance here
as a split green round
faith to the dead man’s contribute to your trade
“Snake Man there?”
I created all of these and now i’m busy
different compositions on a natural wall
for not to stick to a point on a node 
the note high-pitched and pure
a real name
looks like a very weak explosion
we will erase the lips
touched by a spark color sparkled
when neon jungle hits hot pavement
with a vibration gun
on simulated voice
a kind of expensive riddle was cracking ice
“Stimulants. Central nervous system stimulants.
Extremely powerful central nervous system stimulants.”
sky effects
changing with the chemical interventions
a feeling of the speed beyond what he ever lived
wet voices in the face
buzzing clouds of microscopic explosions
with his extra fast radio receiver accent
he is a parasite structure
wheels instead of digitized voices
two arms with robe tendons
a cybernetic spider spinning its web
when sleeping on the continuity of its timing sense
whispers its death simplicity
reminding a high complexity
this device is a liturgical terminal
a detailed model of his escape
from broken body that has serious drug issues
the surliness of giving up with impatience
he opened his mouth to speak
in company with the same
dispersed fear tears
an old dance
germinating in his defeating of whom attacked him
i was flattened my line that was my first experience
transparent lines of the symbols
a white image chaos
written texts are still important here
a subsonic sand kind collage
on its black bonelike charger
with an internal silencer
be filled with tearing apart the other image
and make a domestic picture of the essence
when we were moving around like a gas tank
the glittering logic extending through colorless void
it was a slow country
this word to a elegant terminal standing in his room
and then the others my brain
under the same rain surface
inserted its data structure
imitating japanese and connected
a simple beginning betrayal descending
in a surgical boutique’s showcase
when the enzyme your brain needs overcoming the ice
that comprehension spark it’s been living
you got it
the template effect emerging at the end
he was on alert to a sabotage
in a gap on his shell
sudden need, a flesh field riddled with
the pleasure and and its whirlpools
a schizophrenic mask, the disease, out of control
it was a reversed symmetry there
afterwards when he turned himself with a fluid metamorphosing
to a tape that connects to decompose his properties
he can feel the forming of nervous lightless
subconscious play of the machine,
the system, the main organism
its forming of the words
this self destruction tour
a sudden image of the knowledge
ends with these frozen frames
we invented you in cyberia
implanted to your liver
this melting little pink octagonal shit
its metallic eyelids a gray disc
under the weight of the downfall
the ice tissue, a perfect copy of your face
there was the snow mixture of blue and gray
he want to see the logic structures in vicious circle
and the ugliness in the beauty
with a hole in its face
on the custom darkened ground’s sand is not sand
that produced by the machine made synthetics
the music’s bass rhythm loading
bad dreams. the worst.
one night climbing on a plastic cage
he settled down on markless and hard doors
each one of them was stoned
with the blue explosion of orgasm
there if it was like an operation table
slipped through his dark secret hands
a fragmented head image
he was a word abstractor and
the image that will domine the sense of speed
in every part belongs to his inner order
is dark poor and bad
complex vacuum electron tubes of
messy heap of the repeat
the choreography of the old television
mouths with small and round burnts
and his over rehearsed expression
half open blue lips in details
the writer that still vomits
his paper tongue that shattered by
the hits under the moonlight
could not figure out what it is about
“It’s like my body’s developed
this massive drug deficiency.”
with his teeth a mixture of the bruise
the cage coordinates made up of the statistics
think of the main plan dressing in flesh
in a frequence called rain and train sound
an ice breaker, one dose cassette
a product of the debris circles
that surrounds the radioactive core
the suntanned mask hard to remind
changing his phase blurring
organ transplant nerve attach and
hit a wall of microbionic primitive ice
through the amphetamin wave
the lust light cluster has ejaculated
the broken lines and the hallucinations
a language, a bee hive began to fall fried
bull’s eye. killer virus.
a line and a dead brain.
zen spiders.
mimetic polycarbonate skeletal structures
they think they exist in that context
with their mouth and throat
the slits turned to the sky
you see lots of brain parts and blood
clamp together with the impact absorber 
graceful than the wet concrete
all of them, flesh
he watched him looking out for the next hit
stood up, pulled his own teeth
his eyes’ extending acne heap
scattered his insipidity and his lack of emotions
his harmony a piece of the surgery
you, a hungry ghost
it was a simple white light cube
dancing shadows, the music
watching the explosion of the high stuff
which is wrapped up with shrapneled steel wire
an image resembling the intersections of
dark cage lines in the core of the program
a kind of database belongs to him
filled up the screens
meaningful as an insect’s antenna’s twitch
tormenter cassettes of which tasks are never changed
pale printer outputs
flesh the dark terminal watched him
as he adds another dot to the broken mirror
which is bending and stretching as it dropping
while your industrial programs pulling him under
with the pavement’s texture and stain
“give us that goddamn code”
it was a symbol of the silence that flowing
as the eternal nothingness abyss
except some simple command
hanged in a package
that he did with the poor harmonics
with the hardware channel
he was marked with a digital optical indicator
connected to the flesh colored chip under his skin
it looks like a very weak explosion
clenching tension and grief waves
the image of the maze structures made of the rainbow pixels
that has internal hydraulic units
was ended on a faded and sandy white screen
he moved beyond the ego, beyond the personality
beyond the consciousness
so we cannot break their ice
and that is where this ice came from
the biological equivalent of a machine gun
when he was slowing down with a light sound
putting on his ghost and eating him
bend a man enough who follows his signs
of which desire ends in fetish
in the wind of the creation dance
that has circuit schema patterns
holds on on his shell
with a splendid artificial gravity
using the dark template he becomes nothing
the deep explosion sound of the alphanumerics
with a light pink halo
a shadow arm is pulling itself together
cascading to the end of a chaotic, amorphous inner peace
deeper mirrors
little white geometric forms cubes spheres
when his eyes exactly looks at ground zero
my parts which is me will be there
the blind moment that is reached
when going through the infinite data space
his incisor teeth that plain pink octagonally
leek to his memory’s sections
twisted in the flesh sharply
Terror. The spiral birth factory, the steps
the cracking egg layers
chin of unborn children
shaking unconsciously
the gradual process of turning
egg to larvae, to halfbee and finally a bee
combining countless transparent layers
this unsteady giant structure is rising
creates a volume
extraordinary trade dance that could climb over
the shiny walls of his system into the rich data field
the eternal face flood of the black market
reflecting the breaking the street’s neon light
the babylon is mother of the eternal devil
marked with the raw seal of i’n’i
its horde is complicated the eight cylinders wrapped
identical with each other
what was the name you gave me
it disappeared too
when swung like a swinging stick
he comprehended the object
expanding to the secret laughters
it’s like working with a man
after lots of octagon
connects to the wave background of adrenaline
gloomy about his face’s narrow features
a man whose internal organs are simplified
and everything is countable here
as the mushroom explosion is filling
the hall with the white noise
the memory is holographic for you
when a bright fireball caressing
the hologram’s perfect node
he saw his naked need
the hungry armor of the addiction
a state extension leading the software traffic
murmuring in the ears of
a thousand year old ruins of his bronze shell
the clocks, the manriki chains with inserted weight
steel stars has sharp tips as shuriken
with razor sharp lights
your flight reflexes will accelerate
him with a code name
the laser features of which faces are constantly changing
were reduced to a code every time
military systems and artificial intelligences
exist to a deep cleft to bottom of a canyon
teeth from variable light planes
and wide gums appeared
his mouth filled with a painful blue
on a screen with ice motifs
cyberspace created by
the monotony of his physical cassette of the being
describing him began to dissolve
“i am the light that cut by plastic
nothing but a bunch of ROM”
the pattern of an enlarged circuit schema
a surreal logic of flesh and bone of him own
Zion offered this. The movement.
to him platin terminal permanent memory
was marked with top level command symbols
i saw the void waiting for me under the ice
turquoise rectangles belongs to the furthest shore
turning into a black singing octagon
a line’s getting old extending
the silence covering the small faces
cooked under the pressure of the time
that changes all the codes
his eyes hit the stop light’s red to the wall
words, roaring static sounds
gliding complex plaid structure
his eyes were a ticket to the home drawing circles
with coming of written texts sliding through induction tape
the first true virus occurred and recurred again

—Ilker Artiran

Monday, October 12, 2020


“A powerful work of fierce music, poetry and feminist critique
that creates a space for the embodiment of female desire.”
— Peter Valente, Boundary2 (Duke University Press)

Together with spoken word virtuoso Adeena Karasick, 
Frank London's debut self-release is a music+poetry tour-de-force:


Set for release Tuesday, October 13 on NuJu Music

Music by Frank London
Libretto by Adeena Karasick

A work of new feminist Jewish art that deconstructs the myth of Salomé
through Karasick's ecstatic word play and sound poetry 
and London's lush jazz-electronica-Klezmer-Arabic-Indian score 

FRANK LONDON, trumpet, shofar
DEEP SINGH, tabla, dhol, percussion & programming
SHAI BACHAR, keyboards, electronics & programming
TONY TORN, vocals

Visit the Salomé website for album streaming/art/booklet

Watch music videos to Tracks 3 & 6


Album cover 
From Adeena Karasick and Frank London:
Salomé: Woman of Valor addresses the social and political necessity to speak the unspoken, resist outdated notions of identity and ethnicity. It critiques a received narrative, historically accepted as truth, and opens up a space where difference and otherness can be celebrated. All set to a hypnotically ecstatic, electric bhangra trance/dance score.” 

Over the last three decades, the celebrated East Village-based Canadian poet/performer Adeena Karasick and Grammy Award-winning composer/trumpeter Frank London have each transformed the worlds of poetry and music with work that is sensual and political, steeped in Jewish mysticism, exploding notions of high and low culture.

Their first collaboration together is Salomé: Woman of Valor, heard now in its debut recording on London's NuJu Music label. Karasick and London's Salomé takes its inspiration from the historical figure who has become typecast as a lurid femme fatale, especially via Oscar Wilde's play and Richard Strauss's opera which depict Salomé as the seductress who danced the infamous ‘Dance of the Seven Veils’ for her stepfather Herod, and had John the Baptist beheaded. 

Karasick’s libretto explores, exalts, and reclaims the figure of Salomé in a feminist light—using references to Hebrew texts and Kabbalistic practices, popular music, Sound Poetry, and neo-Fluxus performatics—to reveal an apocryphal figure who refuses to be locked into a world of subjegation and misrepresentation.

London, a lover of poetry/music collaborations, has transformed poems into opera (Hatuey Memory of Fire), oratorio (A Night in the Old Marketplace), and pop song (the Grammy-winning Wonder Wheel Lyrics by Woody Guthrie). His Salomé score is drawn from many musical traditions—Klezmer, Bhangra, Arabic, and Jazz (with a big nod to Miles Davis’ electric work and to trumpet innovator Jon Hassell).

Featured on the recording are Punjabi percussion virtuoso Deep Singh and Middle-Eastern jazz electronica guru Shai Bachar, with guest appearances by world renowned actor, director and ubu god, Tony Torn (renowned actor in the companies of Richard Foreman and Reza Abdoh, featured in Chasing Amy30 RockThe Good WifeUbu Sings Ubu), and singer Manu Narayan (Bombay DreamsMy Fair LadyThe Love Guru.)

Salomé: Woman of Valor is the culmination of seven years work. Karasick's text was published in 2017 in English (click here to download the book from Gap Riot Press, Toronto) and Italian (University of Padua Press, trans. Pina Piccolo, Serena Piccoli); and sections have been published in Bengali, Arabic, Czech, and Malayalam. In 2018, Salomé: Woman of Valor was performed internationally, a live immersive art experience described as “groundbreaking in its interplay of poetry, music, video and dance” (SeeTorontoNow) and “a brain-teasing mix of semiotic play, pop-culture references, and erudite historic-religious touchstones… a mix of high academia and high camp” (Georgia Straight).

Ironically, the global pandemic gave Karasick and London—two of the busiest touring artists—the gift of time together in New York to complete this recording. 


Music video "Gardens of Eros" (track 3 from Salomé: Woman of Valor)
Music video "Dance of Desire" (track 6 from Salomé: Woman of Valor)

Salomé: Woman of Valor
Frank London & Adeena Karasick
October 13, 2020, NuJuMusic

Text composed by Adeena Karasick
Music composed by Frank London

Adeena Karasick, vocals
Frank London, trumpet, shofar
Deep Singh, tabla, dhol, percussion & programming
Shai Bachar, keyboards, electronics & programming
Tony Torn, vocals (13), Manu Narayan, vocals (12)

Recorded 2016-2020, in New York by Bachar/London/Singh
Mix: Hugo Dwyer
Cover Image Anya Roz
Art Direction: Safia Southey

Video: Dance of Desire Elizabeth Mak
Video: Gardens of Eros Safia Southey (featuring Abigail Child’s Salomé
based on Charles Bryant’s 1923 film, Salomé)

Produced by Frank London
Published by Nuju Music, BMI

©2020 Frank London & Adeena Karasick

Frank London

Photo by Adrian Buckmaster

Called the “mystic high priest of avant klez-jazz” by All About JazzSir Frank London is a Grammy-award winning trumpeter-composer and co-founder of the Klezmatics, the world’s leading Yiddish music group. He composed and performed Freylekhs - Klezmer Fantasy for Trumpet & Orchestra at Central Park SummerStage. His Yiddish-Cuban opera Hatuey Memory of Fire (with Elise Thoron) premiered in Havana and at Montclair’s Peak Performances. He composed the poetry/dance/video/music work Salomé: Woman of Valor (with Adeena Karasick) which performed internationally. In 2019 alone, he premiered the song cycle Ghetto Songs at Hamburg’s Elbephilharmonie; co-created and music directed Carnegie Hall’s From Shtetl to Stage; presented Weill in New York at Dessau’s Kurt Weill Festival; and created the spectacle In Dreams Begin Responsibilities for the New York Public Library. In April 2020, he composed the NYC-wide pandemic symphonic fanfare For Our Courageous Workers.

Frank has worked with John Zorn, Karen O, Itzhak Perlman, Pink Floyd, LL Cool J, Mel Tormé, Lester Bowie, LaMonte Young, They Might Be Giants, David Byrne, Jane Siberry, Ben Folds 5; is on over 500 CDs and was featured on Sex And The City. He created, composed, performed and music directed From Moses to Mostel, the history of Jews in musical theater starring Steve Martin at NY’s Town Hall; the folk-opera A Night In The Old Marketplace (with Alex Aron and Glen Berger), Green Violin (with Elise Thoron & Rebecca Taichman), Davenen for Pilobolus Dance Theater; 1001 Voices: Symphony for a New America (with Judith Sloan & Warren Lehrer); music for Tony Kushner’s A Dybbuk, John Sayles' The Brother From Another Planet, Karin Coonrod’s Merchant of Venice, and the Czech-American Marionette Theater's Golem.

He leads Glass House Orchestra, Frank London’s Klezmer Brass Allstars, Shekhina Big Band, Sharabi with Deep Singh, Ahava Raba with Yanky Lemmer & Michael Winograd, and Vilde mekhaye with Eleanor Reissa. He has published 2 books: ‘Klezmer Trumpet Duets” & “Patterns for Klez.” London was Artistic Director of KlezKanada. In 2016, he was knighted "Sir Frank" by Hungary for his work advancing Jewish and multicultural Hungarian music and culture, and given the Honourable title by the city of Krakow.

Adeena Karasick

Photo by P. Romo
Adeena Karasick, Ph.D, is a New York based Canadian poet, performer, cultural theorist and media artist and the author of ten books of poetry and poetics. From Lollapalooza and Burning Man to clubs, classrooms, and concert halls, her Kabbalistically inflected, urban, Jewish feminist mashups have been described as “electricity in language” (Nicole Brossard); “proto-ecstatic jet-propulsive word torsion” (George Quasha); "a twined virtuosity of mind and ear which leaves the reader deliciously lost in Karasick's signature ‘syllabic labyrinth’” (Craig Dworkin); and “demonstrating how desire flows through language, an unstoppable flood of allusion (both literary and pop-cultural), word-play, and extravagant and outrageous sound-work” (Mark Scroggins).

Most recently is Checking In (Talonbooks, 2018) and Salomé: Woman of Valor (University of Padova Press, Italy, 2017), the libretto for her Spoken Word opera co-created with Grammy Award-winning composer, Sir Frank London.
Karasick teaches Literature and Critical Theory for the Humanities and Media Studies Dept. at Pratt Institute, is Poetry Editor for Explorations in Media Ecology, Associate International Editor of New Explorations: Studies in Culture and Communication, 2019 Andrew W. Mellon Foundation Award recipient and winner of the 2016 Voce Donna Italia award for her contributions to feminist thinking and 2018 winner of the Albert Nelson Marquis Lifetime Achievement Award. The “Adeena Karasick Archive” is established at Special Collections, Simon Fraser University. 

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