canadian view http://www.poemproducer.com/any.php?id=35
	AGF Westernization Completed Orthlorng Musork With samurai intelligence, AGF carves strokes of the mind in a conflict of cut-ups as boolean word strings cavort with encoded rhythm. This is not IDM nor the scripted abstraction of Head Slash Bauch. AGF in English. For once ‘rhythm science’ makes all the sense. AGF opens, a lover’s voice, urging production, film production, filming, seeing things, from sound, in sound, filming sound. Reorder: to think of the film as a metaphorical experience of sound is to redefine and shape film in sound’s image. And we are invited to make our own movies. To move sound and move with sound—to listen to rhythms slide and pitch, abruptly end and begin, melodies shifting like discarded snakeskin left glittering in sunlight. When AGF talks of growing up in Communist East Berlin, the experiential gained is unspeakable in its enunciation and articulation of the cut-up political, the geopolitical fragment, the wall torn down to reveal both freedom and consumerism, drugs and distance... This should be called ‘beat poetry’ but of the disorder of the surrealist, or, of total art: cover, booklet, photographs, the entirey of the package from Orthlorng Musork is testament. To what? To the interplay of language and rhythm that flows past the addiction to flow in hip-hop. Where hip-hop shies from the glaring sun and impenetrable darkness of speaking that undertakes revealing, the coldness of baring skin, of exposing. AGF in all honesty. Without ego sudden squalls and soundbites. The snake bites naked without its skin, shivering in the heat. AGF naked—see it in your ears. AGF in all nonrepresentational language yet signifying narrative and personal meaning. An exchange of beats for words at every bar delayed by memory. AGF more brilliant than the sun. AGF, without genre, smiling. TOBIAS C. VAN VEEN http://www.quadrantcrossing.org http://www.thisistheonlyart.com