“I generally avoid definitions, preferring to grow like a stain behind things, in dark corners, under beds…etc. One day a person might look up and notice me. Dressed as a clown or something ridiculous. I’ll simply be ‘there’ – loitering in the background – an undefined problem, something that should probably be dealt with. I’ve never been a ‘hi, this is me’ kind of person. I haven’t really been a person. More of an ‘invisible’, an imaginary friend.”
PHOTOGRAPHY: HAYDEN PHIPPS
INTERVIEW : RICK DE LA RAY
HOW WOULD YOU INTRODUCE YOURSELF, WHAT YOU DO AND WHAT DO YOU BELIEVE IN?
As far as belief’s go – I believe in many kaleidoscopic things. My investigations into the supernatural and uncanny have painted me into a few dark corners. I’ve been attacked by a succubus, invoked fairies and travelled to their realm, met the devil and peter pan (it’s complicated), had a problem with a poltergeist once (I had to move), been approached by more than a few witchdoctor types asking to take me on as their apprentice. All in all I prefer cartoons and weekends by the beach. I have too many plots to hatch to consider a life in the ‘secret service’. Many great secret shows. I do believe that their are forces at work on this planet that many would like to call ‘extraterrestrial’, but when you make a closer study and become involved you start to see these things as something ‘other’, more ancient, in fact NOT EXTRATERRESTRIAL AT ALL. They are a part of our ‘heritage’ and I have come to believe that we are more familiar with them than we would like to imagine.
That being said, I believe we have serious problems in the way we conduct ourselves as a species, simply in terms of resource management, etc. Veganism is something you can actually do to change your carbon footprint and impact on the environment. Whether it’s to your taste or not, it makes a difference. The argument that we are entitled to something simply because it’s delicious is really what got us into this mess in the first place. Nobody is saying your bacon isn’t tasty. We are just saying that you can’t afford it anymore. It’s part of the nature of sacrifice, to be able to give up something you love for the greater good. I believe that the responsibility is ours, to alter our lifestyles immediately to avoid completely annihilating ourselves.
If it DOES come to utter destruction, I really want to be healthy enough to have ringside seats and use the opportunity to stride around with a machete, blasting ‘Fields of the Nephilim’, decapitating ‘half crocodile, half human’ mutants or something (not that I listen to ‘Fields of the Nephilim’ anymore)
YOU RECENTLY WROTE AND FILMED A FULL-LENGTH FILM CALLED ‘TRILLZONE’ IN ABOUT A MONTH, WITHOUT A BUDGET. WHAT WAS THE IDEA BEHIND DOING THE FILM, WHAT MADE YOU DECIDE TO TAKE ON SUCH A MAMMOTH PROJECT AND TO DO IT IN SUCH A SHORT TIME?
Well, Trevor Steele-Taylor got hold of me two weeks before the Grahamstown Festival and mentioned that Lauren Beukes had dropped out of the JG Ballard symposium and would I like to take her place and give a talk on Ballard, etc? I was like, sure. He then mentioned that all the other participants were screening ‘Ballardian’ movies they had made and would I like to make one as well? I was like, sure. What turned into a plan for a twelve minute short, grew into an hour long ‘beginning of a feature’, which I screened at the festival. I finished editing in the car ride up to the symposium. Cedric Sundstrom (the director of the American Ninja movies) was driving like a bat out of hell and there was no sleep to be had. It was an adventure! After watching the picture, Cedric and Trevor suggested that I add more sex and make it into a full-length feature. I radioed my team (Justin Allart, Lise Slabber, Robert Scholz and Niklas Wittenberg) about it. They were super-keen. So I returned and we finished the whole movie (99mins) from scratch in July (2014). We started July 1 and had it up on Vimeo on the last day of July. So yeah, none of us really knew that we would be making a movie. It kind of just happened. Like catching a cold. Once you have the symptoms and it kicks in, you just have to deal with it. So we did. We had so much fun that we are planning another one as soon as my book deadline is out the way…
WATCH THE FILM HERE – TRILLZONE
I HAVE FOUND A NUMBER OF USES FOR THE WORD ‘TRILL’, LIKE COMPUTER TERMS WHERE TRILL MEANS “TRANSPARENT INTERCONNECTION OF LOTS OF LINKS”. IT ALSO HAS A MUSICAL CONNECTION, WHERE IT IS USED TO DESCRIBE RAPID ALTERNATION BETWEEN TWO ADJACENT NOTES THAT BIRDS OR INSECTS SING OR UTTER IN A SUCCESSION OF RAPIDLY ALTERNATING SOUNDS. WOULD YOU RELATE THE FLOW OF EVENTS IN THE FILM TO COINCIDE WITH THE TITLE OR WHERE DID THE TITLE ORIGINATE.
I was very influenced by Neil Jordan’s early movies: Angel, Mona Lisa, The Crying Game, The Company of Wolves, etc. With Trill I wanted to create a character STRAIGHT OUT OF an early Neil Jordan picture. Vaguely unreal, like a fairy or an elf that’s forced to live an everyday existence, androgynous, in a natural and almost delusional way. Trill becomes the key to the magical kingdom for Lise’s character, a sort of harbinger. It doesn’t really matter where Trill goes. I mean where was she/he anyway? I wanted to reference every aspect related to the word Trill. For example, the soundtrack is full of bird trills. In hip-hop culture it is a combination of the words ‘true’ and ‘real’. Also, The Trills from Star Trek were always my favourite aliens, in that they are kind of dual beings. So yeah – Trill. I think when Trill named his/her page ‘Trill Zone’ it was just because of the hip-hop music she had been listening to. She just thought it was cool because she is so ghetto. Lise’s character sees this name and mythologises it into a whole realm, which she then becomes lost in. However, Trill is also kind of a ‘dumb blonde’ because he/she is, in terms of the narrative, the ‘mystery woman’ in the film noir aspect: the strange, cigarette-smoking lady, who leads the protagonist (Lise) astray. Although, I obviously wanted to mix it up and have weird transferences between the two, like Lise has the cigarette-smoking mystery lady look, but is actually the drunk detective. So I wanted to get all this in with Trill. I interacted with many people in real life, as the character. I made a study of Stanislavsky-based acting at one point in my past (my old Playhouse days) and have been into ‘method’ techniques ever since. I see them as ‘Castaneda-esque’.
FROM WHAT I GATHERED, A LOT OF THE SCRIPT WAS ADAPTED AS YOU WENT ALONG WITH THE FILM. HOW MUCH OF THE ORIGINAL WAS LEFT OVER IN THE END AND WHERE DID YOU DRAW INSPIRATION FROM WHEN YOU STARTED THE WRITING PROCESS?
Well, it’s sort of how I work with everything. I like a very clear-cut foundation and then I like to riff off that and go in weird, unanticipated directions. My ‘shadow people’ (Justin, Lise and Niklas) are all multi-talented artists in their own right. We figured that we could ‘wing it’ with what we had and so we did. The story came out of what we imagined was a deeper layer of Cape Town, both oblique and familiar. Many people see Cape Town in a very specific light, particularly in Cape Town, we wanted to sort of draw back a veil and see the city anew and explore more taboo issues. We wanted to capture the mountain more as a constant, oppressive presence – stuff like that. We basically adapted everything to what we could do without too much effort. We are all good friends so everything was one massive party from start to finish. We decided, well fuck the prescribed ‘industry’ way of doing things. We love films, let’s make one as ‘mad artists’. No one was really in charge and we delineated tasks. Justin was the camera guy, but Lise filmed parts on her phone and by me on my laptop. I was the writer, but portions were improvised. We just kind of treated each scene/shoot as a separate thing and rewrote the rulebook every day, always keeping the narrative in mind. I found the film following the usual course of things I write, it sort of became like a dream, which events and people encrusted around like a coral reef. Once completed, it resembles ‘one holistic natural organism’, but it is really the process of thousands of moments of individual growth. I never went to university or art school. I never even finished high school. I don’t subscribe to any prescribed ‘way of doing things’. I basically detest the way people are forced to explain and categorise creative method in institutions of ‘higher burning’. I believe in chaos. I believe that the only good school is one that has been burned to the ground. Perhaps I am being melodramatic here because I do love old school buildings. They are so great as sets in horror movies. I really have no idea how I work, I just do. I always plan to have as much fun working as possible. I don’t believe a person should suffer for art. In fact, it should be quite the opposite. I also see it as a character flaw to live out fantasies through art. I believe fantasies should be acted out ‘with the safety off’, not explored safely through an artistic medium. The experience gleaned from a fantasy can be fertile soil for creative expression. To say something was ‘left over’ would be a fallacy. It was what it was from start to finish and never deviated from its natural course of gestation at any point.
YOU CHOSE A VERY RAW APPROACH TO MAKE THE FILM, DOING ONLY ONE TAKE ON MOST OF THE SCENES AND BASICALLY ADAPTING TO ALL THE SITUATIONS AND ENVIRONMENTS THAT YOU CHOSE TO PLACE THE ACTORS IN. CAN YOU ELABORATE ON THAT?
I like being immersed in another world when I watch a film. I favour a slower pace. I also feel that it is possible to convey plot shifts in more elliptical ways. I don’t like over-explaining anything. I believe that emotional changes can be evoked through atmospheric devices. For example, in the couch scene the one-angle shot and slow pacing reveals the banality (and security/charm) of their domestic existence, life in a gilded cage, you begin to feel how trapped Lise’s character is in there. The fast cuts to the phone text show a hint of another world and prompt her to rise and shout (which is cut to hint that the rebellion of her action is carried through to the next scene). We then shift to dramatic gliding movement into town (another world) and an emerging soundtrack to open up the new world. Basically, this area is actually narrative driven and provides a major plot shift, although it is delivered subconsciously and ‘felt’ rather than discussed.
DID YOU CHOOSE YOUR CHARACTERS AND ACTORS IN THE SAME SPONTANEOUS WAY?
Well, no. The characters came out of the story, which was crafted around the people I knew who could carry it. It’s a sort of testimony to a facet of Cape Town, which I think people generally ignore, avoid or have never seen. Fortunately, I was lucky enough to be friends with people like Lise, Niklas, Bingo and Rob Scholz (whom I last directed in a school play). For example, Lise is a uniquely gifted actress. She manages to balance the technical necessities of acting whilst at the same time maintaining a fresh, completely naturalistic live quality and it’s on tap with her. Once she understands a concept, and she is remarkably quick, then she just does it and usually does so perfectly. She works in a casting agency as well (along with her regular stint on Black Sails) and is also very mindful of the technical side of performances. I would say that I actually built most of the film on her performances rather than the other way around. In the same way that I edited to the haunting piano score that Niklas produced. Rather than trying to fit sound to the visuals, I let the music establish a pace and let the plot encrust around it (like a coral reef). It affects the entire pacing of the film and gives it a sort of dreamy, introspective air. Events also tend to circulate in dream logic, coming out of random details and spiraling into harshness and then back to buoyancy very quickly.
WHAT HAS THE REACTION TO THE FILM BEEN SO FAR AND ARE YOU PLANNING ON TAKING ON ANOTHER PROJECT IN A SIMILAR VEIN ANY TIME SOON?
It was received well at Grahamstown and showed at the Celludroid Sci-Fi Fest at Labia, alongside an early screening of Jeff Paltrow’s ‘The Young Ones’. Now it has been accepted into the Bangladesh International Independent Film Festival. I’ve sent it out to some other festivals too, the day before yesterday actually. I’ve been busy. We’ll see what happens. The idea is not to focus on promotion too much, but to do more films. As many more as we can. Right now we have a couple of ideas we are developing and would like to shoot in summer. The same team with the same budget (nil).
WHERE ARE YOU FROM AND WHAT WOULD YOU SAY HAS SHAPED THE WAY YOU THINK AND REACT TOWARDS HUMANITY AND THE WAY YOU CHOOSE TO LIVE YOUR LIFE?
I’m from Venus. As you know, it is the most dangerous planet in the solar system. You get simultaneously squashed, poisoned and incinerated there. In this way, it is possible to understand, without any doubt whatsoever, that it is the planet of love. I am an envoy of that love.
RUMOUR HAS IT THAT YOU FIRST CAME TO CAPE TOWN TO COLLABORATE WITH WADDY JONES (NINJA FROM DIE ANTWOORD) AND APPARENTLY EVEN DID A FEW SHOWS WITH HIM BACK THEN?
I hitchhiked to Cape Town in the 90s to go to raves and sleep on wine farms. I was very into ‘Crime and the City Solution’ at the time, those were the first cape times for me I think. The second run was in 2001 as a ‘psychic detective’. I was working as a fortune-teller, here and in Europe. I was basically wandering the earth in a white suit. That time around I stayed in a huge and weird old red house in Bo Kaap. I got locked in the museum overnight, which was interesting. Then sometime in 2003, after being in Europe for about a year, my fiend Claire Angelique suggested I move in with Waddy because his girlfriend at the time had left and he needed a room-mate to make rent. Waddy and I lived together for a bit and I met Anri (now Yo-Landi), becoming quite good friends with her flat-mate Melani. At that time Waddy asked me to make some music for him and Anri to sing over, but I had just escaped from London and basically only had an acoustic guitar. We decided to collaborate on a comic type of thing instead, for the Constructus book. Anri used to come over a lot and I had no idea they were hooking up until I did a tarot reading for her and all these relationship cards started coming up for them. Strangely, I had a dream about her at that time, where I dreamt she was queen of this massive underground city of mutants and had this weird baby, with her face and a strange haircut. She was ‘freaked out’ by the mutants but the baby was in charge and barking commands at everyone, her included. I told her the next day, “wow you were like the queen of the dog people.” But I had forgotten details, like the haircut, etc. I forgot about it all for years and went back to Europe. When ‘Die Antwoord’ broke I saw a pic of them online and was like, “whoa, she has the same haircut as that baby in the dream.” Then it was like, “ok, so she finally became queen of the mutant dog people.” I did go on stage with them once, at the Bijou, but I was on mushrooms and I didn’t do much except vomit fake blood everywhere and sing “all you need is blood” over and over, with Waddy. It was a disaster, but a fun one. I remember Waddy being quite nervous in tennis gear and that I dragged Anri under the stage halfway through the performance because no one ever did a show from UNDER a stage. Luckily, she wasn’t on drugs and could get away easily. I was unfortunately irretrievably lost at sea from then on. So yeah, I wouldn’t exactly say I even did ONE show with them haha, more like I ran around like a chicken without a head or something.
YOU FRONTED ONE OF SOUTH AFRICA’S MOST UNIQUE ALTERNATIVE BANDS CALLED ‘THE WILD EYES’. YOU GUYS MADE ONE GREAT ALBUM CALLED ‘OUR LOVE HAS A SPECIAL VIOLENCE’ IN 2007 – WHAT IS YOUR VERSION OF WHAT HAPPENED TO THE WILD EYES?
I have no idea what happened. I emailed them in February 2012 to ask when we were practicing? They still haven’t replied. I’m as confused as you are.
I KNOW A SECOND ALBUM WAS RECORDED BUT WAS NEVER RELEASED – DO YOU THINK THIS ALBUM WILL EVER BE RELEASED AND WOULD YOU BE PREPARED TO PLAY SOME SHOWS AGAIN?
They kicked me out the band. I mean the ball is not exactly in my court. Actually, I have been trying to hook up this deal to release a Witchboy album with each copy of Taty Went West (UK/US edition). If it goes through there’s a chance of touring Witchboy stuff alongside the book tour in Europe and the US. I started thinking about putting together a live act and thought it could be a good chance to do something ‘old school-ish’ with Gareth and Len again (with Bat Blackk from Hi Spider drumming and Carmen doing vocals/synth). It would also give them a free/paid Tannhauser Gate tour as incentive. I messaged each of them saying I had a proposition but both were a bit weird. Len said, “you’re playing some game with me.” Gareth was like, “I don’t come into town much.” So…I don’t know if anything will happen. I really just want to make and do stuff and have very little patience for badly written soap operas.
DURING YOUR FIRST HIATUS FROM THE WILD EYES YOU LIVED IN LONDON FOR A WHILE AND WORKED ON YOUR FIRST GRAPHIC NOVEL ‘SALEM BROWNSTONE’ WHICH WAS PUBLISHED BY WALKER BOOKS IN 2009. WERE YOU PLANNING ON DOING A GRAPHIC NOVEL AT THE TIME?
Actually, your timeline is a bit off. I started working on Salem long before The Wild Eyes even formed. We just took so many breaks from it (John and I) that it became a seven-year itch. I have been on and off to London since I was two weeks old, so collectively I’ve lived in London more than I have actually lived in Cape Town. But yeah, with Salem it was very much a tribute to an old style of children’s book that I kind of dreamed about when I was a kid. Haunted houses, spooks and carny freaks, etc.
YOU WORKED WITH THE AUTHOR JOHN HARRIS DUNNING, HOW DID YOU END UP COLLABORATING WITH HIM IN THE UK?
We met via Simon Davis (Andy Davis’ brother), a mutual fiend who suggested we work together. John and I share a love for pulpy horror and retro comics, and ended up collaborating quite well. Indulging our obsessions with circuses and necromancy. In the end, we were living on the same street in Hampstead and much of that part of town crept into, and indeed overwhelmed, the universe of Salem Brownstone. So I would say we ended up collaborating through black magic, mostly.
SALEM BROWNSTONE – ‘ALL ALONG THE WATCHTOWERS’
THE BOOK RECEIVED ACCOLADES FROM HARMONY KORINE, ALAN MOORE AND THE LATE ANTHONY MINGHELLA. HOW MANY OF THE BOOKS WERE PRINTED AND ARE THERE STILL ANY AVAILABLE OUT THERE.
Salem actually received a pretty good deal, brokered by my incredibly sharp agent, Sarah Such. It came out in hardcover in the UK, Europe, parts of Scandinavia and Asia, by Walker Books. Then picked up by Candlewick in the US. It subsequently went into paperback in America in 2011. At that time, publisher’s weekly was calling Candlewick “the fastest growing children’s publisher in the US”, so Salem had a fantastic reach. There’s a copy of Salem in every major library in America! It had quite a massive run and was tipped as the first in a series. The folks at the publishing house were negotiating a second book when I had to leave the UK unexpectedly, because the visa laws changed. I missed my own book launch and mini-exhibition at the Institute of Contemporary Art. Toby Litt was the guest speaker. I was in Umhlanga at the time so I just sulked on the beach or something.
YOU’RE CURRENTLY FINISHING UP YOUR SECOND GRAPHIC NOVEL TITLED ‘TATY WENT WEST’, WHICH IS BEING PUBLISHED BY KWANI. WHAT MADE YOU DECIDE TO TAKE ON BOTH THE WRITING AND ILLUSTRATION SIDE OF THE JOB THIS TIME?
Actually, Taty is not a graphic novel and Kwani is not a publisher per se. Taty is the first book in a trilogy prose cycle and Kwani is a literary foundation spearheaded by the rather legendary Ellah Allfrey, the former senior editor at Jonothan Cape, Random house and 2013 chair of the Commonwealth Writer’s Prize. Ellah is also the editor I am working closely with on Taty. Kwani was started as an initiative to draw literature from all over Africa by running a manuscript project dedicated to publishing new African voices. Taty was listed and selected for publication in their Pan-African series and I am the only South African in the series. The publication in Kwani is more a matter of literary prestige. A larger scale UK/US release will follow but I can’t really discuss that in print yet. Taty is also heavily illustrated, perhaps leading to confusion about it being a graphic novel.
WILL ‘TATY WENT WEST’ BE TAKING ON THE SAME GOTHIC WORLD OF ‘SALEM BROWNSTONE’ OR WHAT CAN BE EXPECTED OF THE NEW BOOK AND WHEN WILL IT BE AVAILABLE?
It comes out in 2015. I’ve written quite a few novels and ‘screamplays’ over the years, some are related. Taty is most certainly unrelated to Salem, which John wrote and I saw more as a kind of luxury pulpy item than a ‘novel’.
TATY WENT WEST
Taty, a teenage runaway, embarks upon an adventure in the dinosaur-infested jungles of ‘The Outzone’. A necrotic wonderland of otherworldly mansions, robotic helpers, crumbling coastal cities and extraterrestrial vice quickly engulfs her. Aided and hindered in turns by the sociopathic imp, Alphonse Guava, Taty develops formidable telepathic powers. An invasion by inter-dimensional parasites throws the Outzone into chaos. Taty washes up at Paradise Discoteque – a mazy temple, overrun by colourful psychopaths. Here all her paranormal training finds its purpose in an ancient prophecy. She unlocks the hidden power of the mysterious floating pyramids and ascends into orbit…
YOU’RE STILL VERY ACTIVE WITH QUITE A FEW OTHER MUSICAL SIDE PROJECTS, THERE IS ‘WITCHBOY’ THAT STEERS MORE TOWARDS A DARKER ELECTRONIC SIDE AND THEN ‘HI SPIDER’ WHICH IS VERY HEAVILY GUITAR DRIVEN. BOTH OF THESE PROJECTS ARE AT OPPOSITE ENDS OF THE MUSICAL SPECTRUM. DO YOU FIND IT DIFFICULT TO SWITCH FROM ONE TO THE OTHER?
It’s all the same thing to me – Channeling. Hi Spider is actually more about complex rhythms. Bat Blackk (Alain Lotter) and I worked out a kind of musical relationship that allowed us to explore ‘handbrake’ speed changes. That is to say, once we were synched we could switch pacing almost telepathically and create very chaotic, though tight, grooves between drum/guitar and vocals, which shifted at a moment’s notice because it was just the two of us. Alain is one of the most gifted drummers I’ve ever worked with. He is able to balance technical ability with a supremely crazy edge. He had been drumming in a band called Seven Samurai, which toured with Radiohead when I met him. The band had him on a click for a whole gig, like a robot or something. He was like, “if we do this I need to cut loose!” So he invented a whole new style of drumming for himself, leading with his left hand and getting more chaotic and free. His signature sound, inspired by Mitch Mitchell, kind of paved the way for Hi Spider. We played a lot in London around 07/08. We even gigged with Charli XCX! Witchboy on the other hand is like a sort of lo-fi symphonic thing. Lo-fi because all Witchboy stuff is made on GarageBand and using keyboard shortcuts, no instruments except for the occasional guitar piece. I am generally against high-end equipment. I usually use only my laptop mic to capture voice and guitar and inbuilt patches and fx. Symphonic because it’s all about layering tracks in an orchestral fashion that is compositionally oriented for listening pleasure, as opposed to commercial enterprise. I wanted to create very complex arrangements and break as many rules as possible, while still referencing styles as diverse as post-rave and prog rock. I wanted to be as far away as possible from anything that would have the acronym EDM (Electronic Dance Music) attached. I guess I just became sick of EDM after living in Cape Town. That’s all people seem to produce here.
WHAT IS YOUR INVOLVEMENT WITH COCO CARBOMB?
Coco Carbomb is the nom de plume of Carmen Incarnadine. She has collaborated with almost everyone in the witch house scene at one time or another and has been a kind of witch house ‘it girl’ since 2010, when she was playing London with Neurotic Mass Movement. Since then she has appeared in the films of Mater Suspiria Vision, gigged alongside CRIMES, recorded with Curt Crackrach, Andrew Means of 3teeth, the Blam Lord, Party Trash, etc. We worked together on an alien jungle album called ‘SIAMESE INSIDE’, which was released on BLACK BVS records in 2013.
ARE ANY OF THESE ALBUMS SIGNED TO A LABEL AND WHERE SHOULD OUR READERS GO TO GET MORE INFORMATION ABOUT THEM?
All witchboy stuff is through AURAL SECTS (album titles are: HOLLYMODE, APOCALIPSTICK, LE UNIVERSE PERVERSE, HAMPSTEAD TAPES, VENUSIAN NIGHTS). One album called ‘NARCOTIA’ was released on Phantasma Disques. As I mentioned previously, I may be re-releasing music recorded whilst writing with the Taty books, this will include re-mastered Witchboy and Coco Carbomb tracks. There’s also PRESSED UP BLACK and ROCK TOCK TICK, which I released on One Minute Trolley Dash and is floating around online. My SoundClown has all the stuff in-between and you can just search ‘Witchboy’. Songs will pop up like bodies in a river.
CAN WE EXPECT ANY LIVE PERFORMANCES OF EITHER OF THESE PROJECTS HAPPENING IN CAPE TOWN SOON?
If anything happens, it will happen in 2015 and tie in with Taty Went West. It will probably be overseas. If local, it will be in Joburg.
THERE IS A SAYING THAT GOES “JACK OF ALL TRADES, MASTER OF NONE” – DO YOU SEE ALL YOUR CREATIVITY MOVING ALONG THEIR OWN SEPARATE PATHS OR DO YOU SEE THEM ALL COMING TOGETHER AS ONE BIG PROJECT IN THE FUTURE?
For me it’s all the same thing: Channeling. Going down into the ‘dreamworld’, like a pearl diver, and bringing back junk from the ocean floor. I don’t make any distinction on the type of treasure. A black pearl pleases me just as much as a rose-tinted seashell.
YOUR FACEBOOK PAGE IS FILLED WITH CONSPIRACY AND ALIEN FOCUSSED ARTICLES. I THINK FOR SOME OF US THESE ARTICLES REPRESENT THE TRUTH, DO YOU THINK ONCE THE TRUTH IS EXPOSED IT WILL BE USED TO INCARCERATE US EVEN MORE?
The truth is always exposed. Whether we choose to recognise the truth or not, it’s a matter of personal choice. The only cages are the ones we make ourselves.
IS THERE ANY HOPE LEFT FOR THE HUMAN RACE?
Hope was the last creature out of Pandora’s box, arriving after a flood of demons, each more hideous and catastrophic than the next. Some choose to see this last creature as a final salvation. Others view hope as the most devastating monster of all. It’s a matter of perspective I guess
ALBUMS BY WITCHBOY
Le Universe Perverse
COCO CARBOMB / WITCHBOY
In with the Outzone
“TATTY WENT WEST” – VIDEO CREDITS
All rights reserved. © Nikhil Singh 2015
Nikhil Singh is represented by Sarah Such Literary Agency, London, UK
Published by Kwani Trust April 2015