Cotton Ferox, Copenhagen Nov 22

Deform Project: Outside the Center of Myself

This album, re-released on February 13th 2014, was originally issued on CD in a limited edition of 300 copies. It was issued together with Carl Abrahamsson's art fanzine BULT in the year 2000.

Outside the Center of Myself is the second proper solo recording by Carl Abrahamsson. The first, initially called Trip Tease and recorded in 1994, was never issued on record but saw the light of day in digital form in 2006, then with some recent tracks added as a bonus under the title No Longer Longer. This album will also be re-issued by Highbrow Lowlife in February 2014.

Outside the Center of Myself is a depressive journey through appropriation and misappropriation, apathy and melancholia, anemia and amnesia, psychopathic criminality and extensive escapism. The tracks were all recorded in a live mix (all first takes) in the summer of 1999, and were then superbly mixed/produced by Krister Linder.

Shortly after this, Abrahamsson teamed up with White Stains member Thomas Tibert again after an eight year hiatus, and the Cotton Ferox saga commenced.

Outside the Center of Myself is now available in the digisphere for sale and streaming!

HIGHBROW LOWLIFE greetings!

First Time Hurts re-released

Today, Highbrow Lowlife re-releases Cotton Ferox' debut album from 2002, First Time Hurts. After Thomas Tibert and myself had decided in the year 2000 to make some more music after an almost ten year hiatus, this first album became a longed for, eclectic and truly weird record.

To balance my own acute logorrhea in this attempt at spoken-wordism, we made sure to include some better and more competent figures: Genesis Breyer P-Orridge on the tracks Snake Hiss and Amenema and Michael Moynihan reading his own translation of one of Ernst Jünger's early and highly poetic war texts. Not forgetting the finishing pièce de résistance Phantasmoplasm, written together with and sung by our dear friend and musical genius Krister Linder.

In all, the album is an ambitious attempt to leave the primitive but still powerful experimentalism of White Stains (1987-1994) and delve into more traditional musical structures. I think we succeeded quite well and I still enjoy listening to this album some 12 years down the road. We hope you will too, of course.

Carl Abrahamsson, Stockholm, December 1st 2013.

WORDSHIP re-released

When Cotton Ferox began as an active project in the glorious year of 2000, Thomas Tibert and me had made the decision that we would work together with a diverse bouquet of talents when it came to the vocal contributions. As the first album grew, this also became the case. For First Time Hurts (originally released on CD in 2002), we collaborated with Krister Linder, Michael Moynihan and Genesis Breyer P-Orridge. A powerful mix, to say the least!

The sessions with Genesis turned into seductive lyrics and performances on the tracks Snake Hiss and Amenema. These were, however, basically recordings that were left over from material for our album number 2, Wordship, then already in progress. Not left over in a qualitative sense of course, but definitely in a quantitative one.

Wordship is an album that was made entirely together with Genesis in Stockholm in 2002 (originally released on CD in 2004). There was also a DJ set at Kulturhuset and a sold out lecture at experimental haven/venue Fylkingen, about a legendary career spanning from Coum Transmissions, Throbbing Gristle, Psychick TV and to the then active Thee Majesty. Genesis showed some rare archival footage and I think almost all those present were mind blown to some extent during what turned out to be an amazing evening...

Neil Megson was the person that I was born and named as by my parents, and in 1965 Neil Megson invented a game. He invented a character, Genesis P-Orridge, and he let him loose into the world. In the beginning Neil was being Genesis, and Genesis was responsible for what the Art was and for the creativity, but Neil was the puppet master of this alter ego and he was in control. But then, as Genesis took himself more and more seriously, or as Neil did, he changed his name, and people would meet him and it was only Genesis they were speaking to. And there was no Neil any more. There was a point then when Neil was actually forgotten by Genesis. It’s a strange question that puzzles me now: does Neil still exist? (from the 2002 Stockholm lecture)

Genesis at Studio Konst & Ramar, Stockholm 2002.

Of course we had the previous similar project in memory and mind: At Stockholm, by Genesis Breyer P-Orridge & White Stains (originally released 1990, now available through Highbrow Lowlife). But we wanted it to be different and more modern. If we succeeded or not I leave for today's discerning listeners to decide. But we were happy with the album. We still are.

What made me proud was when someone told me that the album was like nothing she had ever heard before. To me, that's the finest review one can get. Although distinctly in the spoken word-vein, Wordship does manage to transcend the definition and I, at least, feel compelled to just shut down that kind of simplistic genre-jockeying. The long pieces Soul Searching and A Debris Ov Murder are like two very throbbing and hard working gristles, flanked by recurring organic themes and twists, yet always with distinctly different poetries and paces. Genesis' lyrics and the overall performance on this album are still among the finest I've ever heard.

So it is with pride and joy I announce that the album is now available in the digisphere. Listen on Spotify and/or buy where you buy. Please buy from the Highbrow Lowlife web shop if you like (this would make us happy). No matter what, tune in, stay focused, and you will be immersed in a lovely, emotional, haunting, sad, desperate and disparate soul searching megatrip unlike any other. Safe journeys!

Carl Abrahamsson, Stockholm, Oct 4, 2013