Iamamiwhoami – Clump


Your head rises out of the pillow, surrounded by golden locks.
They fall around it lightly like flickering golden flames that awaken at the first breezes of early morning.
Your little teeth smile out from your thin lips, like the milky opals in the glowing bracelet of the moon Goddess.


Clump1. – A thick grouping, as of trees or bushes; 2. – A clustered mass, a lump ; 3. – collection, considerable group. In biology, ‘clumping’ is a trait of plants and animals, describing a behavior in which individuals of a particular species group close to one another for beneficial purposes. Examples: coral reefs, ants working together, cells forming a body etc.

The fact that Clump has been released 10 days before the in concert on August 12th, at WOW, is a sign of clear communication from iam’s part. They have great plans with the telephone number on towhomitmayconcern.cc and they want to make it clear the concerned should call and leave a message. Also, judging by the lyrics, it is also a sign of warm invitation (Cannot wait until I see your smiling faces ) and… well… love.

It’s difficult to say exactly without the imagery a video would offer. However, with the possible meaning of the word ‘clump’ itself and the cover of the single, I can only assume this song is an invitation to be once again in harmony (in concert) on the 12th, at Goteborg. The bubble wrap has the aspect of a clumped formation of individuals, equal in intention and with the purpose of sustaining/supporting/protecting something. Fans supporting a performance. Clumps. People sharing the same interest (made of the same material – artistic wise) as iam.

I also assume that, if a video will appear this evening, we’ll also get some Alraune references as well. I have already spotted the dichotomy ice/cold versus fire which is rendered beautifully in the book, so I am really hoping.

While waiting for the Clump video to come, here are some approx. lyrics:

I never dreamed I’d need someone like you
All I want to fit is be the unity of you
But I like you
You see the overall of what we are
And see the sad sad sight of you from a fall

Why don’t you call?

Whatever made you into clump like you

The ice and cold that leaks out the cracks in you
Makes us as new
Whatever made you seem so very small
Like a tiny ant in life but large in thought

Who’s standing tall

Cannot wait until I get my hands on you
we can do the things we said we would
You never had a true friend like I
Someone to pick you up when you needed to
Beget it through
If my hands weren’t so very sharp
This broken glass that surrounds wherever we are

Wouldn’t do us part


Whatever made you into clump like you
The fiery warmth that reeks out from most of you
Is burning through
Whatever made you seem so very small
Like a tiny ant in life but large in thought
Come stand up tall

Cannot wait until I get my hands on you
we can do the things we said we would
Cannot wait until I see your smiling faces
And our love will be misunderstood

And as the video is up, let’s see what it has to offer:

First of all, I’m so glad that we’re somehow back to the old times, with the concept re-exploring some of the old imagery we’ve encountered in the pre-vids and bounty videos. Action takes place, again, in two worlds: MO’s bedroom – supposedly subjective reality and the foggy meadow (as we’ve called the beautiful place portrayed in those eerie images) – objective reality.

Subjective reality presents MO (or is she?) on the toilet paper bed we’ve encountered in ; John. These images are very suggestive as they come to represent the idea of viewer – artist interaction. Because, hidden under the act of close sexual act, stands the impression the viewer is part of it. The gross plan and the facial gestures of MO, as well as the lyrics, come to sustain this idea. She looks straight into our eyes, she lures us in with her look, she basically makes us imitate her moves by sliding up and down constantly, keeping pace with the beat of Clump and here we are, we’re getting to the point in which, along with her, we’re being introduced into the story. We close our eyes and, along with her, we go far away.

I’m going to be straight forward and say that, again, maybe we should stay away from the vulgarity of the sexual act and just take the symbolism behind it. As in, only by experiencing the true levels of the sexual act is one able to reach high levels of pleasure, imagination, etc and only by impregnation can reproduction take place. Sexuality is a big part of the Alraune myth and it is connected to fertility and to birth and to offspring.

The objective reality – what’s going on in her mind during up and down, up and down – draws us back to familiar settings. First I thought we were going to go back to T, with the tall grass, then to N, when she starts walking through the grass. Everything begins with her standing on her back on the ground and it’s through her eyes that we see the surroundings. Those images are simply beautiful and it is like a dream we’re into.

Actually, maybe we are. A projection of the future.  Of a child being alone, lost, trying to find his way through the tall grass. Of a woman looking for something in the grass, walking slowly, for fear she might step on that something, for fear she might scare it. Of an emotional encounter. Of limited, soft touch. Of love and caressing. Of loss. Of despair. Of letting go.

The child in Clump is a small version of MO during in concert during the dance scene. If so, the feminine character touching the child’s head cannot be MO, but her mother. I’m going directly into Ewers’ Alraune and say that the woman is Alma Raune, and the child is Alraune, her daughter, a lump of her mother’s cellsclump. It’s somewhat difficult to explain, but I am sure many have read the book by now and maybe understand.

In the story, Alma is the prostitute used by the professor to give birth to Alraune. The first scenes portraying Alma in the book are presenting her as:

dancing, throwing her hips around, bending forward and backward, pressing her body against her partner in constant contact. It was shameless, vulgar and brutally sensual. (p. 49)

Long story short, Alma is cheated into accepting the prof’s offer by being sold a fairytale. She’s supposedly having the child of a king. She’s being promised her child would be a prince and would have everything she didn’t have. Here are suggestive snippets:

‘Naturally the prince’s child, your child, must remain hidden after it comes into this world. He must remain hidden until he is fully-grown to protect him from the persecution and intrigue of his evil family–Naturally he would be a prince, just like his father.’

‘My child would be a prince?’

‘Yes, of course, but you will not be permitted to force yourself on him and compromise everything’

[...] That did it. Fat tears ran down her cheeks. She was already in her role, feeling the grief and sorrow of having to give up her beloved child. She was a prostitute, but her child would be a prince! She couldn’t be in his life. She would have to remain quiet, suffer and endure everything–for her child. It would never know who its mother was. [...]

“I promise you that I will never press myself on him. He will never hear me or see me, but–but–”

“What is it girl?” he asked softly.

She grabbed his arm, fell onto her knees in front of him and buried her head in his lap.

“Only once–only once!” she cried. “Can’t I see him just one time? From a distance– perhaps out of a window?”

Again, this is very difficult to explain, without many of you not knowing the story in detail. But I do see the grief she’s feeling in Clump and I explain her running away from this child in this manner. And the fact that she does not embrace the child, but simply touches the air around her head and then her hair and then she disappears. She dreams of this, she hopes all of these will happen. The encounter, the touch, and her keeping her promise to stay away. However, it won’t happen. In the story, she dies at birth.

Another possibility would be that both the woman and the child are Alraune/MO. And, just like in the case of Y, when she faces the little boy (or so we think), this is the moment in which Alraune finds out about her origins, how she was born, how her mother and her father died and so on. Ewers describes the moment as being very disturbing for MO (think of ‘Like Hell’ during in concert and how she felt during that sequence).

Many say that the child is us, the fans, the viewers. If we want, I don’t see why that wouldn’t be possible. Those lyrics can easily refer to us and the forthcoming concert. It’s the first thing that crossed our minds when the track appeared on iTunes and we didn’t have the video. And iamamiwhoami has always been about communicating on different levels. I am sure they are communicating with us. Videos and lyrics is the only way to do it. Of course our hearts melt when she caresses the child and looks into our eyes so softly singing Cannot wait until I see your smiling faces/ And our love will be misunderstood. That is intimate talk. That’s her telling us we have a special connection not many understand. It’s great. This is how they speak to us. And it works. And that’s just it. That’s the way they know how to combine everything into outstanding new concepts.

I can explain the apparent simplicity of this video by the fact that it is meant to function as an introduction to the concert. I hope I am not going too far when I say those going to WOW are in for a special performance, something a la first in concert. That or we’re all in for another track and video in maximum one week. It’s also a link between ; john and whatever else is coming. An intermezzo, if you want.

I love the imagery in Clump a lot. I’m referring at the dream like images. They speak to me. They remind me of how EEH describes MO’s meadow in Alraune. Love the copper tones, they’re so… beautiful and peaceful. However, there’s also lots of gray and dark green which make me think of how a nightmare is portrayed. The texture of the vegetation plays an important role in rendering the idea of softness, surreal, eerie (the tops of those plants are very soft and move slowly in the wind, almost floating in fog) as well as the idea of coldness and humidity (dark, tall grass, impenetrable or difficult to make way trough and wet fog). We’re still on the realm of the dream, of the dual. Remember fog is the sign of another world.


Since it is somewhat clear that Clump is part of a bigger picture, and since it is clearly a continuation of ; john, I wonder if MO running away so suddenly is not connected with CU approaching. You know… because he was running, searching for something as well in ; john. This really makes me expect the next video like crazy.

I want you to pay attention to the last images in the video and at the sounds accompanying them. I see a sudden change in MO’s attitude.  She’s looking away and does not care anymore. Doesn’t make any effort. She’s on that bed only for a John to finish what he has to finish. She feels nothing. The realization that it was only a dream she was imagining. Can you guess what’s coming?

clump cover


A couple of words regarding the aspect of iam’s videos and strategy I have mentioned on the YT board:

Everything about this project is experimental to the bones. Hence, the main characteristic remains the fact that the author detaches himself from his project. The purpose of this act is to enable the viewer to become a participant, as in to ‘fill in the blanks’, think, compare, analyze etc. There’s a shift in perspective in the sense that this ‘product’ is acting upon us not from the outside to the inside (we’re not being fed theories, opinions), but from the inside of our mind, thus seeking to show how reality is reflected in it (we create these theories, we think about them, we filter everything). That is the purpose of iam’s visuals. To me, this is quite remarkable. The battlefield is in us and among us, we’re not being described a battle.

Thing is that they are definitely trying to enlarge the concept of ‘experience‘. That is why suts was chosen, that is why we feel we’re in clump, that is why they’re using all these cinematic devices (the multiple pov, the flashbacks, the slow ups and fade outs) etc. The human experience is never limited and never complete and this is where evolution stands in as well.

Last, but not least, always remember there are three conditions of art: the lyrical, the epical and the dramatic. We’re part of the dramatic.

Purchase Clump on iTunes and Amazon
2020k audio review of Clump
clump’d by eineinmeier

iamamiwhoami – ; john


The road to freedom goes through the sewer

Six months are worth the wait for this. Let’s see what ; john is all about.

Read these (approximate) lyrics:

Used to be clean
now I’m filthy as can be.
scrapping off
every spot

Used to be mean
now I’m good as can be.
Raise me up!
I’m your slut!

May that god of me protect my soul
as I stay a little while longer
in this dusty rabbit hole
to sing my song chained on to your bed

Used to be told
my silence is gold
Coughing up
every drop.
Used to kiss more
now I’m granting you all
stepping up,
I’m your slut

May that god of me protect my soul
as I stay a little while longer
in this dusty rabbit hole
to sing my song chained on to your bed

Used to be clean now I’m filthy as can be.

Not think of terry cloth. And of toilet paper.
Just kidding :)


a person who uses the services of a prostitute

slang for toilet

There’s you, there’s your dragon (evolution), there’s the evolution road (road to civilization – a road of continuous wandering and various choices – see the running CU choosing first the right side of this path, then jumping over it, on the left side), there’s your fear of evolution and, to be more specific, your fear of getting dirty in order to walk on this road.


One image I found very interesting when it comes to rendering the idea of the I in iamamiwhoami is the one at 01:27 – 01:43. The director did an amazing job of identifying the I with this particular CU. Fortunately, this is not the only CU, therefore, this time, CU clearly stands for any and every ONE. The ‘replacement’ is done beautifully lovely idea: I stands for any of you. The fact that the CU drifts away from this pillar only comes to sustain it.



Never forget ; john is still based on the Alraune myth and this is the loveless child at the end of 20101104:

A scientist, Professor Jakob ten Brinken, interested in the laws of heredity, impregnates a prostitute in a laboratory with the semen of a hanged murderer. The prostitute conceives a female child who has no concept of love, whom the professor adopts. The girl, Alraune, suffers from obsessive sexuality and perverse relationships throughout her life. She learns of her unnatural origins and she avenges herself against the professor. (Wikipedia)

Hence the lyrics, which definitely show how MO detaches herself from feelings that come close to what love implies (purity of love – clean, kisses). She’s not a lover, she’s a slut. I am now waiting for the revenge.

Maybe the most relevant source of inspiration for me is Hanns Heinz Ewers’ – Alraune (translation by Joe Bandel). It is amazing and I recommend it to whoever is interested in seeing where this project might be going, plot wise and meaning wise. I am going to post just an excerpt, regarding ; john:

And Mother Earth?–What is her symbol? What does she represent? She is fertility, uncle. The earth is the feminine, the woman. She takes the semen, takes it into her womb, nourishes it, lets it germinate, grow, bloom and bear fruit. So you take what is fertile like the earth herself–take a woman.

But Mother Earth is the eternal prostitute, she serves all. She is the eternal mother, is always for sale, the prostitute of billions. She refuses her lascivious love to none, offers herself gladly to anyone that will take her. Everything that lives has been fertilized in her glorious womb and she has given birth to it. It has always been this way throughout the
(above mentioned, pp 32-33)

You be the judge. Out of respect for this project, I shall go no further with quoting Heinz Ewers’ text. Search for it and read for yourself.

All I can tell you is this: after reading the book, I now understand:

- what the dogs stand for (apart from the myth)
- the meanings of: the T and Y cover, the envelope and the hair piece MTV James got (this one is really good and… mean, lol, SMART JOB, YOU GUYS!) and the hair pieces above the cradle
- why the men in the mirrors quarreled (in 6th previd)
- why 5 shades of men in the 6th previd and why 6 masks in O
- why the scene of MO on the house at the end of the 6th previd
- why ‘disciple’
- why the llama spit
- why the snail at the beginning of T
- why the hunt theme
- why those sequences of numbers
- what ‘why?‘ is actually all about
- why the forest was silver
- why the laughter during ‘in concert’
- who the golden hair boy filming in N is and also the bottle man
- whom SUTS portrayed and why he got burned
- where the dancing scenes from ‘in concert’ came from and their meaning
- the purpose of the mirror symbol
- why: ‘dress the part, it’s story telling’, ‘tell me how the story ends now’
- where the king/queen/priest/knight references come from
- who ‘u-1′ is dedicated to and why on earth ‘you can’t be the knight’
- CUs real name, possibly

…and so, so many other things. I swear to you, you will have all the answers and you will be amazed at how this JL has managed to write those wonderful lyrics in such a way that no one would ever guess. Enjoy reading! Now back to blabbing.

Alright, the video oozes sex, I have to agree. However, with iam, I believe that when sex screams right in your face (both lyrics and images simply go there, they’re as explicit as they can be), it might be about something else. I mean this video is somewhat opposite to a classical video in which the idea of sex is rendered. With the classical, concepts are suggested, with John, they’re visible and even explained. So I am 110% sure the team is actually trying to suggest other meanings and just hide them under this form. Maybe in order to prove that this type of ‘prostitution’ (selling sex via images in all media for example) is going way too far.

Right, we’re in MO’s room. White all around, walls draped bedroom style, a king size bed in the middle. Materials used? Plastic foil for the walls and toilet paper for this bed. MO’s outfit is made of what it looks like terry cloth and we can definitely see what she is trying to portray: a dominatrix. The way they use antithesis, I swear! This is not an outfit built to subdue, but to… well… clean.

Speaking of which, perfect timing for those lyrics. And for the bed. The sole purpose of toilet paper is to clean. And a bed made of toilet paper only has one purpose: to clean. What? Whatever lays on it. Bodies.

Getting back to the first stanza, I have to admit again someone is a genius of lyrics.

Used to be clean, now I’m filthy as can be, scrapping off every spot
Used to be mean, now I’m good as can be.

Having these two phrases placed one after another, their parallelism actually brings out a paradox: in the end, we understand that clean is mean and filthy is good.

To me, this remains a problem of good vs. evil, an issue of who and what exactly decides something is good or bad. Naturally, clean represents a positive trait. It means tidy, immaculate, pure, however it also means inexperienced, immature, blank, and sterile. In the same extent, filthy has a natural negative vibe, it means dirty, untidy, vulgar, obscene, even corrupted. However, to me, in this context, it also means sexy, stimulating, experienced, hence mature. It’s related to the sewer I was talking about. Maturity implies getting dirty (being aware that you have to get dirty in order to gain your freedom as an individual). That is taking matters into one’s hand and doing something with yourself, constantly changing, constantly seeking to escape boundaries, prisons (of bodies, minds, etc).

Moving forward, mean is negatively charged, however it is often used to render a positive trait (that’s mean car etc), and, in this context, again sends to the experienced part (being extremely good at sex). Then good, even though it is charged positively, in this context, and compared to mean, could be just average.

After I’ve watched the video, it was clear to me that John refers to a person who uses the services of a prostitute. Notice I have said ‘person’, not man. Reason is obvious. But is MO a denotative prostitute, or are there various connotations the concept of ‘prostitution’ can take?

I don’t believe in denotation with iam.

Prostitution is the act or practice of providing sexual services to another person in return for payment. Now leave the sex aside and replace some terms in this definition. Prostitution is the act of providing certain services to another person in return for something else.

Seller? MO. Buyer? Men and women (anyone, including you). Means of payment: jizz/milk (well, hm, your seed/innocence). Provided services? Change, in my views. Change through cleanse. Purification. Re-birth. All well hidden inside an explicit metaphor of (mean LOL) sexual intercourse.

Back to the prostitute. There’s nothing clean about a prostitute, at least in the concept itself and how it has been regarded over the years. Yet MO is not only clean, but also cleans other individuals. She’s a visual oxymoron. She’s dressed in towel material and her action completes the action of the toilet paper bed. Body is trapped between the two and is purified. I know you cannot get away from the actual sex scene, but try, lol.

Why do men and women seek for the services of prostitutes? To try new things, to fulfill hidden desires, to make the first time happen, in one phrase, to get what they lack (love, experience, rush etc). These are things which, if they’re not fulfilled, prevent these persons from their evolution. Lack of courage. The act of going to a prostitute is closely connected to feeling the shame of it. This is something one wants, yet one does not want others to know one wants. MO is playful and joyful, she draws you in, she makes you want her, she’s… ready to burst. Prostitute MO stands for hidden desire, fear, obstacle. She knows those poor souls are afraid to take the leap, she’s fierce, she looks for the camera in the waiting room, to meet their eyes and make their spines freeze. Check them out, covering their faces, sitting down, crouched, waiting for their turn. Yet she’ll be the one to ‘release’ whatever lies inside them. The sexual act, the cleansing act, it enables change, re-birth. When she opens the door to take another in, the way she reaches for his hand (palm right up, waiting for his) is actually very mild. This is an invitation and the man is only to make a choice. Notice how his posture is changed when he enters her room. He becomes more relaxed. That’d be Claes, the first one, btw, haha. Aaaaaaand he takes a left. Is that the right way?

I really like how they portray the change by slipping in two images, first  showing weakness of one’s initial state (shame of one’s body, fear – psychological weakness) and then strength after re-birth (physical strength, right posture of body and relaxed attitude):



Since I was talking about the ‘waiting room’, that room is made of polystyrene. I’m going to leave aside the fact that it reminds me of the ‘white pearls’ in u-2. The purpose of polystyrene is to prevent things from breaking. Valuable things. I’m thinking minds, in our context. We do not want the core to be affected by the cleanse, do we? We just want the mind to be deflowered. Penetrated. That is to be opened. Mindfucking, I know.

Another interesting thing about polystyrene is that it takes the shape of the objects they protect. I can see some intriguing patterns, yet I haven’t tried to find out anything, it’s just the idea I was interested in.

LE:Polystyrene can be recycled, and has the number “6″ as its recycling symbol” (Unplugged70)

A prostitute to open our minds. Art sold for the purpose of making change happen, hence evolution happen. (May that god of me protect my soul /as I stay a little while longer/in this dusty rabbit hole/to sing my song to your bed – ok, fine, I’ll take the wrath of my god, I’ll sing/sell another song for/to you, if that’d help you become aware of the things I have said in the past). Possibly.

Ah, about minds… I think the gesture of unwinding one’s hair (02:37) is a synonym of opening one’s mind, letting thought flow. Sensuality connotation left aside, again :)

One’s body is the epitome of one’s limits. While mind can travel and cannot be touched by the action of certain factors (time and space, for example), body needs help to be able to survive. Art has always taught us we cannot have limits. The change these androgynous CUs are taking is just for that. To break boundaries. To me, what is hidden in those plastic bags is what needs to be protected from the somewhat violent change. That would be one’s core, one’s self, one’s I. In the process of escaping our limits, our reason must be protected, for example. Selves, identities cannot get dirty. Dirt is corruption and corrupted identities cannot be I’s, but ‘others’. If you look at 07:41, that’s our old Y shape of a vagina, which now really resembles a human shape, head, shoulders and trunk. You can clearly see that, after the CUs have changed their clothes/skins, they put them in plastic bags and they place them in what I make the head of the shape, while they move forward trough what I would consider the body of the shape. Both CUs and their plastic bags will meet later on, after experiencing the filth in the ‘sewer’ (difficulty of the change – death, for example).

The end of the human shaped tunnel is equivalent to making a choice. Notice the first man going through. He first looks to the left and then he turns right and takes that path. Shame we cannot see what choice the woman makes, she seems to be lingering for a long time inside the tunnel.

Lovely way to render the idea of equal bodies. After the ‘skins’ are off, CUs are wearing what I would call a ‘uniform’ (white undies and socks nothing else), hence they are unified signifiers. They stop representing men and women, they are just individuals. Androgens. Heck… maybe after resurrection, suts will come back as sutsella! Kidding, I just like how they portrayed that. The difference between man and woman is that plastic bag.

I wonder if I’d go too far to call these CUs the heroes I was talking about in my previous articles. After all, they are undergoing a process of rebirth, they are going through hell (prostitute, as filth), meeting their darkest selves (their own prostituted selves), facing themselves (shedding their skins and cleansing themselves) in order to come out changed and ready to produce changes.

Re-occurring themes and motifs:

I absolutely love the sequences involving the dog. The fact that the dog is filmed running makes me think it is somewhat connected to CU in the beginning. As if it’d run to meet him.

However, the more interesting thing about it is the fact that the director chose to portray it in six different scenes, with six different backgrounds, which I am pretty sure could mean a thing or two. I mean I have been given the impression that this run is actually a metaphorical recollection of the six BOUNTY videos:


That would be the house in B. I say this because someone opens the door so the dog comes out. Also, the fence screams domesticity. Screams ‘home’. LE: that’d rather be the door at the end of 20101104.


That to me would be the pot house in O. Because of the air conditioning system and the need of a ventilated industrial space. Mh… might be a little bit forced though.


This might sound far fetched as well, but the huge fence blocking our view reminds me of the break of u-1 and u-2 and of the time when duality became clearer and clearer.


The only thing I can say to relate this to N is the presence of this tree trunk tree as the representation of Nature taking over or taking its rightful place inside the city walls. If anyone could find a better analogy, be my guest.


That is definitely the forest in T.


And those would be the great white walls of Y. Notice the presence of number 6 once more.

Water remains a very important motif with iamamiwhoami. Strongly connected to the idea of birth, water is now present in the process of rebirth/change. This time, under the form of a small river. The main purpose of water in John is to give guidance and to flow the new bodies out. It might be filthy water, but it is water still. And it’s even better if it’s filthy, because it conceals the body, keeps it hidden during the great escape. This resembles the amniotic liquid, of course. Connect it to the second ‘urban’ meaning of John and there you have it: bodies flushed into new life.

Believe it or not, the mirror is also present in John, this time under the form of a TV screen. Hence image travels only one way and does not reflect anything back, nor does it let anything go back through it. This means the message is meant to go in one direction only. Message is just transmitted, no feedback requested.

I absolutely love how MO is portrayed in all videos and I’m referring to her… should I say dressing code? Damn right. It’s IS a code!!! Those jumpsuits speak more about who/what she embodies than thousands of words! Big congratulations to whoever makes those costumes, I bet JL has tons of ideas, I cannot wait for more. The concept of functional removable skin is absolutely amazing and it is a great way of rendering the idea of identity switch/ multiple identity. I said it before and I’ll say it again: hope the jumpsuits become a MO trademark.

; John cover


The cover is typical for iam. It’s wonderful they’re continuing on the palpable texture thing. This time, terry cloth. Direct connection to cleaning/cleansing. Writing code is similar, which can only make me happy. John appears to be the first item in an enumeration of more, hence there seem to be more videos to come. If we’re to follow the pattern, at least 5 in this bunch.

If you like, I consider the ringing phone in the end to be anther assurance that this goes on. Speaking of which, at first I thought the damn phone is going to ring around six times and be answered, but it rings more than that and it stops right in the middle of the ringing sound. Also, there are actually two sounds which are repeated. They gave me the impression the CUs are called for this ‘mission’ (suts style) and counted.

I keep playing this track, it’s on repeat, and it definitely gives me a feeling of freedom. I’m happy when I listen to it.

PS: I just made the greatest mistake when I started to write this post today: I wrote ‘; John’ instead of ‘; john’. There’s no capital J in iam’s ; john. That is not a name. It’s a signifier.

If you take a close look at the ‘hangers room’, that appears to be some sort of ‘black skin’ on the left side. I immediately thought of the black mandragora and of the lyrics used to be clean, now i’m filthy. If that’s what the CUs place in their bags, I can only think that their evil selves is what they’re flushing away.


Dots (holes) and lines (tubes) seem to play an important part in this video. To me, they make tunnels and they are closely related to the idea of change/cleanse.


As a new means of punctuation, I would mention the presence of the ellipsis – ‘…’ – which mark an intentional omission of a word (in writing)/something, often indicating a pause in thought/concept, an unfinished thought or, placed at the end of a discourse, a trailing off into silence. Of course, with iam, I could easily assume it means ‘and so forth’ or simply ‘no comment’. I guess we shall see.

Purchase ; John on iTunes.

I purchased Joe Bandel’s version of ‘Alraune’ here.

A very well written review of the track from 2020k. I love it when dudes know about sounds.
First ;john remix by eineinmeier
Unplugged70’s lovely collage – Give me to drink Mandragora – man, I love this!

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