…THE FOLLOWING IS A TRANSMISSION FROM THE UNITED STATES OF AMURDERCA ALREADY IN

PROGRESS…

…POST LANGUAGE. WE TALK WITH GUNS. GUNS KEEP US SAFE.

WE DONT IMAGINE PAST THE IMAGE. PLEASE. YOU KNOW US.

WE KILLED LOVE WE KILLED MONEY WE KILLED PRINCE WE KILLED SHAME

WE KILLED HOPE WE KILLED SEX WE KILLED PRIDE WE KILLED STYLE

WE KILLED IMAGINATION WE KILLED FRESH WE KILLED THE GAME

WE KILLED AIR WE KILLED DOPE WE KILLED DEATH

————————————TRANSMISSION INTERRUPTED————————————

Quazarz came to the Earth from somewhere else, a musical ambassador from his place to ours. Somehow,

through fire or through fury, the Palaceer of Shabazz Palaces caught wind of the tale, and it is through his

prism that we hear the story.

The beach was there, and Atlaantiis, and chemical alterations and cell memories and Andre Norton, Richard K.

Morgan, and always Octavia Butler. There were killings and there were votes, and brutality in both. There was

sound and there were other worlds, and there was a vastness so participation sometimes came only at the

edges. And the Palaceer coasted down with the alien notion, like Quazarz, and so became.

On Quazarz when they look at this place here they see the inhabitants, the humans, but they don’t assess as

we do. And so when Quazarz was sent he was sent to meet a cat with vibration, a creative and courageous,

caring, compassionate dude that stood out. The dude was a drug dealer, but that was neither here nor there,

until his dealings squashed the rendezvous, leaving our alien alone to figure out what this place is really all

about.

Coming from, as we all used to, a simpler less complicated more essential innocent place, the hero could not

make heads nor tails of most advancements. From an aerial view, he saw that a good percentage of earthly

vibrations were on very small squares and it became his belief that this world was very disposable and the

spans short. His opinion was not of anything good nor bad but simply the truth.

The machines—he noted—though at the behest of their master’s voice, are scorned, and jealous as all hell.

And so the tale is told while surfing on the board of Shabazz Palaces, with its sturdy sort of base angled for

takeoff on a new trajectory. There is new blood and space and room to be different and have different assets

and different art and different ways to talk and also open up some space inside to do something new. There are

pages and there are drawings, and color and faces and inked dialogues written in ancient futuristic hieroglyph.

There are scales and there is melody and there are Sunny days and there is Darkness, but that—it should be

noted—to the Palaceer is not a lack of illumination or brightness. Maybe it is dark, but in it is always optimism

and joy, a bright darkness and a full, hopeful one as well.

It comes in gold, and it comes for the night. And so Quazarz sang the Jealous Machines. And so too did the

Jealous Machines sing the Gangster Star.

—————————————TRANSMISSION RESUMED—————————————

…speaking of air and darkness, Born on a Gangster Star came into the world in a big damn hurry, like nightfall

on an island. You can see it happening, but then again it’s so gradual that the next thing you know—it’s dark.

Imbued with the energy and ideas from all the creative embers floating in the atmosphere like fireflies, Shabazz

Palaces recorded this entire album over the course of two weeks with Blood in Seattle. New gear and new

equipment disintegrated comfort zones into dust and a new path appeared in the ashes.

Herein the Palaceer continues the tale of Quazars, a sentient being from somewhere else, an observer sent

here to Amurderca to chronicle and explore as a musical emissary. What he finds in our world is a cutthroat

place, a landscape where someone like him could never quite feel comfortable amidst all the brutality and

alternative facts and death masquerading as connectivity.

Inspired by days on end spent in the waves—water and light, both—of Southern California, the work came to

the Palaceer in a flash, like being picked up by something and carried. Always dribbling with his head up, he

can see what’s going on around him and react to it, rather than starting in a certain direction and hoping to

achieve something upon arrival.

What’s good?—the kids ask. What does it even mean, and what does it even matter? Who is behind these

choices? We are all of us sitting under a waterfall of all. this. shit. but it’s the excess that is casting us into ruts.

The Palaceer stays away from the fleeting and the superficial nonessential. Stay away from your device—your

phantom limb—and stay away from your image—your phantom self; that is his decree. Considering the

motions behind the things you like to consume artistically, rather than just the way something looks or sounds,

and thinking in layers, and trying to be more considerate and not so self-oriented—this is his medicine for

combat.

Born on a Gangster Star flirts with a pop sensibility, but through the prism of Shabazz Palaces’s fire and fury.

For the Palaceer, that sense is all about how the groove is moving, and the supernatural telepathy that occurs

amongst his cohort. Appearing here, in body or in spirit, are Julian Casablancas, Thundercat, Darrius

Willrich, Gamble and Huff, Loud Eyes Lou, Fly Guy Dai, Stu Levine & The Jennings Sisters, Thaddillac, Ahmir,

Jon Kirby, Sunny Levine, and Blood. The story belongs to Quazarz, but the air and darkness belong to us.

And so we shine a light on the fake.