AUTOcratic Forcefeed- Driving Me In Sin (2005)

A recording planned for a compilation on Pasteroom Records that never came out. The compilation was called "Get in the Car" and was to contain all songs recorded inside of cars (where we felt safest of all

Autocratic Forcefeed- The Politics of Failure Have Failed (2007)

Released on the FDH compilation The Spirit of 73 (FDH 073), a free sampler given away to a bunch of folks. The last release as Autocratic Forcefeed

Autocratic Forcefeed- Glanost Was Fun While It Lasted (2005)

Released on the compilation V1 (2005):
http://www.discogs.com/Various-V-1/release/540681

1 Neeb - 413
2 Dick Motorola - Fresh Pocky Bits
3 Hnatiw - Real
4 Linda Lamb - Cold House
5 m0dnAr - We Are Friends
6 Punk Bunny - Felcher
7 Houston Bernard - Str8 Actin'
8 Stochastic - Robot Rock
9 Clone Françoise - Nautilus (Acid Dub)
10 Android - A Remix Of A Nonexistant Song
11 Autocratic Forcefeed - Glasnost Was Fun While It Lasted
12 Beltonesuicide - Cremation Was The Least
13 Tintintio - Injured Making Love

Autocratic Forcefeed- Wait to Die (2005)

This track was originally be released on a compilation on the Forcefieldsforever label run by Simon Thrasher. To my knowledge, it was never released. It also had a short story that was to be released in a companion book of prose, along with the release. The entire compilation was music inspired by or otherwise about dreams.

Piece inspired by dream in which an abstract and omnipresent spirit guides us through a house with impossible dimensions where the dim lights and coagulated air obscure our vision. The house unfolds into secret passageways and hidden architectural fronts. A Narrator goads us with small clues leading us to each subsequent destination. In the various rooms, we learn a moralistic lesson or are exposed to what is just beyond our eyes. We are guided not necessarily by faith, but by the immutably human need to go further, to discover, to find out where this is going.

When we arrive, the world beyond the entrance explodes in a dazzling array of deceptively golden light. We are still within the house, but the dilapidated walls and rotted wood have transformed into heavily fortified, polished, and painted enclosings, not unlike the interior walls of a museum corridor. We pass by fine art and elegant furniture and the signs of opulence bemuse and delight my fellow travelers, though I remain skeptical of the journey.

The general consensus is that this is heaven and my fellow travelers are quick to jump to this conclusion. Certainly, the spirits moving through us have made our journey seem cataclysmic, but I refuse to let my anticipation give way to rash conclusions. I wait for the evidence to pile in.

We encounter a number of ghosts, who inform us that our suspension of disbelief thus far has served us well, but in order to go even further we will have to kill someone. Someone whose name starts with a K. Kerrigan, possibly?

“Why do we have to kill Kerrigan?” I ask.

“Because we miss the old bastard.” One ghost says, laughing lightheartedly.

“Man, I haven’t seen Kerrigan in forever,” another exclaims.

I wonder why Kerrigan hasn’t joined them in the afterlife yet. After all, though he may not be dead yet in our reality, surely the afterlife does not operate in the same temporal plane of existence as us mortals. I ask the ghosts if this means that Time as a measurement still exists and haunts us after we die. Are we are still bound by the same relativistic chains that constrict us on this mortal coil after we’ve superceded our fleshy shells, I wonder?

The ghosts become confused and appear almost contemptuous of any philosophical inquiry or intellectual debate. It is at this point that I feel like I may have been manipulated. I feel like I might be being led into a trap. Why would I be required to kill in order to get into heaven? Why would enlightened sentient creatures forbid human ponderance, even riddled as it were with the limitations of man’s imagination?

I say nothing further and we proceed.

We continue through the museum corridors into larger spaces, no less cultured or elegant, and begin to see other bodies. Human bodies. Animated, lively, happy, interacting with one another. The faces are flawlessly jubilant. The décor is astounding. The air is fresher. Stepping back into the world of humanity comforts any ills begotten by the frightening memories of what had just transpired. Our final room is a gigantic spherical ballroom with a sunroof and a 360 degree perimeter of windows overlooking a thriving city. The doors to the outside world are open and a gust of wind from the bustling metropolis sails in as we adjust to the warm ambience.

In the ballroom and on the adjacent deck, people are dining, discussing, and dancing, each looking fanciful and dapper.

“Oh my God. This IS heaven!” Chris, who is still dressed in civilian clothes like the rest of us, says.

I begin to believe him as I bask in the spectacle of harmonious being that surrounds us. I overlook the fact that none of these cheerful faces seem to have noticed us, until one starts walking towards us. It is Professor Hanley, whom I instantly recognize as our narrator.

“Sorry for all the spooky stuff back there,” he says.

He explains to us how we will soon see why it was necessary and leads us to a table outside of the ballroom in the crisp, spring air. The travelers and I are slightly perturbed by Hanley’s presence, but follow him anyway. Well, all of us are pertubed except Chris, who, before we could sit down literally grabbed Hanley and proclaimed:
“I don’t ever want to leave. I just can’t wait to die!”

Hanley calms him down and starts to fumble through his justification over the murder of Kerrigan. I begin to lose faith quickly, but Chris is hanging by his every word.

As Hanley stutters, I go along with it, helping him by mentioning Kierkegaard’s theory on the teleological suspension of the ethical. He incorporates my point into his argument and my attention wanders to the tables next to me. Their conversations are too faint to make out and I begin to wonder if they are real. They move with such ease, but are so impenetrable, like a life-size game of The Sims.
I hone in on one couple, watching as they move their lips, play with the umbrellas in their martini glasses, and cross their legs in stereotypical sexual anxiety. The gentleman’s whispers slow down and I drown out everything but his voice. He moves his lips meticulously and precise so that I can make out what he says next, which I am completely unprepared for.

“Please. Get me out of here.”

Autocratic Forcefeed- Free Market Economics (2006)

This was a track that was originally set to be released on a compilation called "99 Trax and a Bitch Ain't One". To my knowledge, this never came out, but it was going to be an album of 99 tracks by 99 different artists all made using elements of Jay-Z songs to be compiled by Belltonesuicide

Autocratic Forcefeed- Live on WVKR/ Tiny Red Dragons (2005)

Recorded Live on the Tiny Red Dragons radio show. This was at one time set for an FDH release, but it never happened. Overall, it was a pretty decent set and mostly improv, which was rare for this time period.

(Live)
1. Wire in Tandem
2. Blixfeld4
3. Laptop Danceless
4. Some People Like Birds

This one wasn't played on the radio, like the other tunes included in this series, but it was intended to be released on FDH with those tunes. Samples come from an old tape of Reading Rainbow, I believe and some loops from a compilation of collected carnie music and ice cream truck jingles called Sounds for Little Ones, I believe.

5. L'Avventura DVD Menu Screen Theme

Like the previous tune in this series, this was not recorded live on Tiny Red Dragons, but was to be included on the FDH release of that performance.

Autocratic Forcefeed- The Suicide Party Tapes 3.18 (2005) (FDH 027)

Recorded Live on 03/18/05, this is a live capture of some intriguing combinations of loops, most of which were made with skipping CDs.

Released on FDH Records 027

Autocratic Forcefeed- Suicide 10 (2005)

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An unreleased mix of all 10 songs from The Suicide Party Tapes Vol 1 layered atop each other (sometimes referred to as the Police Cops mix after the FDH side project with Jeff Bumiller).