"Resisting The Viral Self" is a rare circumstance of Realicide finally completing an extensive studio album of a highly collaborative nature. In contrast to the project's extensive output of live bootlegs and other very rough material, here is a very defined and focused collective energy from artists across the US throughout late 2007 until early 2009. This body of work includes the lyrics and voices of Robert Inhuman and Jim Swill; the hardware and software electronic music of Vankmen, Ryan Faris (of Capital Hemorrhage), Evolve, and Steven Cano (tik///tik); additional sampling by Simon Severe; and mastered by Mavis Concave. Sonically, "Resisting The Viral Self" ranges from Realicide's established style of very abrasive gabber punk, inspired by certain sects of harsh noise and classic digital hardcore, yet venturing into other means at times, such as dark ambient soundscapes facilitating spoken tracks and delicate sound collages. Lyrically, the album claims allegiance most strongly to the roots of Anarcho-punk and other combative, yet ultimately constructive, efforts in promoting a lifestyle based in equality and the courage to experiment regardless of social pressures (especially against these social pressures). The 12" vinyl holds the essentials of the album, at 17 minutes each side, but the CD format has allowed the material to be doubled, at 48 tracks and filling the disc with as much raw hardcore and industrial mania as possible. Both versions of the album are available in full-color printed jackets, featuring artwork by Robert Inhuman, and are accompanied by an extensive zine. Though a modest stack of xeroxed text and drawings, this zine is completely supplemental to the music of "Resisting The Viral Self". In addition to all technical credits and lyrics, essays elaborating on the content of almost every track are presented, along with essays regarding the ethical philosophies and policies surrounding Realicide in every aspect of its operation. Vinyl stickers are also included with both CD and LP versions. For anyone who has an interest in Realicide and has waited through years of many less coherent bootleg releases, or anyone who has been increasingly hungry for a band that can very directly utilize electronic hardcore as a vehicle for radical and socio-political propaganda, this is an album that can give you what you've been hunting for - with a terrifying vehemence yet an unwavering message of compassion and self-sacrifice. FIGHT THIS HELL. REDEFINE HARDCORE. 29 March 2009, for Realicide Youth Records (1st Edition: 500 LP & 1,000 CD)
released March 29, 2009
CIDE#55 LP / CD constructed November 2007 - March 2009
produced by Robert Inhuman for REALICIDE YOUTH RECORDS
read full credits within the zine that accompanies this album realicide.fromthegut.org/3resistlp.htm
Mission statement: Realicide, the collective band and publications label of the same name, is our endorsement of anti-hypothetical change, anti-narcissistic agenda, progressive anti-escapism, art as a catalyst for dialogue and interaction, art as a byproduct of a life lived, ethically sober compassion and self-sacrifice as an expression of love, against the hell of human institutions and wants. - Robert Inhuman, 2008
Realicide – Punk’s Not Comfort. The confrontational nature of Realicide is the confrontational nature of this reality itself. The experience of Realicide is not intended to be comfortable, but rather meaningful. This in and of itself is very important. Take any music radiated on the public airwaves lately; its intention is to seduce and comfort but it is never very meaningful. This could be elaborated by innumerable facets of our mind-washed American culture: lil debbies comfort death television video games circumstance burger king blockbuster oblivion. When we remove ourselves from these past realities we can begin to form new realities and the image of the false self can not be held constant. I remember seeing Realicide at a little shitty punk club early on and the people who ran the club and hung out there were, to say the least, not into it. It radiated deep inside me the essence of rebirth and change. Back then it seemed just as confrontational to be a member of the audience as it was to be performing. At this time people were so resistant of Realicide's energy, its refusal to pay homage to dead rituals, its total lack of boundaries, with no obedience to the cultural norm. They hate it. There is no separation between band and audience in the ordinary fabricated sense. Realicide has always been far outside these clinical distinctions. It can not be contained within a boxed reality of what certain people think punk is or what certain people think punk should be and partly what punk has become thanks to people who create these cliché worlds they can drink, grow old, and die in. A faded reality blue as Earth itself. Realicide has always been outside this dying image, this faded flame, this false reality, this wishful arrogance. Realicide was birthed from this death and thus is change incarnate. This is its beauty; its life. With the blood of sacrifice we wash our hands clean... - Evolve 2008
Robert Inhuman, MINIMALIZING THE MARGIN FOR MISINTERPRETATION...
This is the zine compiled specifically to accompany our album, with all its credits and lyrics, but also swarmed with essays describing the motivations and intentions of these songs and the people who've created them. Misinterpretation has been a difficult aspect of Realicide since it first began. I know we can never prevent misinterpretations altogether, but this zine is at least a solid effort to minimalize the margin for misinterpretation. It was inspired very rigorously by every comment we've received about "Hell yeah man, 666, stay evil forever!" or "Fuckin' brutal dude, totally sick!" - and especially by the baffling number of comments we've received regarding Swill's song "Absent Rapist" as an anthem endorsing domination and abuse... When a song with lyrics as clear as "Absent Rapist" gets misunderstood, I think any of our songs can. Nevertheless, if you really want to know what this whole record is "about", here are all its inner-workings spelled out as best we can, in this zine...
Note: As this zine is fairly long-winded at times, I wanted to point out that it is not meant to be read through in one sitting necessarily. It is simply a reference guide when questions come to mind. Likewise for the CD itself, I would actually recommend listening to it throughout 2, 3, or 4 times, so that you do not have to take in an overwhelming length of somewhat wrenching sound. Listening to the album in sections could help it seem less like an overload of mania, and let the ideas and nuances come through one by one. That’s just a suggestion I thought I should offer.