________>>>>The Cults obsession with the RAMM:ΣLL:ZΣΣ (deceased 1980’s nasal rapper, graffi t i a r t i s t , philosopher and theoritician of Gothic Futurist Ikonoklast Panzerism, the Equation) is manifested through group rituals that sample elements of 1980’s Hip Hop culture;~ now receding fast into a subcultural graveyard. During rituals, Hip Hop phrases are broken down and chanted, pointing to an obsessional affiliation with branded sportswear (“My Adidas!, My Air Jordanz!”). Adidas becomes the remixed god ‘Zi-Dada’ and Robert Moses — master architect of the Cross Bronx Expressway (The road partly responsible for the dystopian backdrop of 1970’s South Bronx where Hip Hop began) — becomes creation/destrucition deity
The Cult perform express-praying, ghost breaking and break-spraying;~ forms of break dancing and devotional body movement that hint at the original form of break dancing combined with elements such as spray painting in a ritual expressive form on off-cut kitchen lino (a sur face reconfigured for head-spins in the 1980’s).
These elements are also echoed in the ritual garments and artefacts of the Cult. Discarded branded trainers are cut up (the soles removed) and used as talismanic sabres, salvaged shinguards and bulky sports pads are reconfigured into post-apocalyptic cult armour — reverberations of the exoskeletal samurai suits of the RAMM:ΣLL:ZΣΣ. In 2012 The Cult performed a ritual under the Westway in London paying homage to the first NY graffiti piece in London by FUTURA 2000. The Cult then travelled to Slough bus station at the site of a famous 1980’s b-boy battle and performed a break-spray ritual to
mark this event. In 2013 The Cults video performance installation piece YOUR EYES ARE DEAD was shown at The Rotterdam International Film Festival in conjunction with Joey Ramone Gallery. The Cult went on to developthe piece for The Hecklers exhibition at New Art Gallery Walsall in 2013 and then had a month long residency at The Barbican in August 2013 as part of Hack The Barbican, making large scale collaborative performances featuring all-girl gutter tribe Haus of Sequana, artist/rapper Infinite Livez, and electronica musicians Carbon Paycheque, Z I G T E K C R U and A r ti fici al A r m , ,
After hacking Hack the Barbican, The Cult led a Halloween walking ritual through the site of the Heygate Estate following the evicition of its final resident, and continued to initiate new members across Europe;~ in Berlin at The Ghost Yard, an abandoned train depo on the outskirts of the Autobahn, the geodesic cold war ‘Radome’ listening tower at Devils Hill, Teufelsberg, and a derelict chalk deposit in the Sorunda landskaap south of Stockholm. The growth of The Cult during this journey was captured in the 2014 film THE SUB NASAL CHAMBER— first screened at independent artist-driven project space D I G in Lewisham, then at PIGDOGANDMONKEYFESTOS, Airspace Gallery, Stoke-on-Trent. The Cult recently performed FERAL EXPRESSWAYS CLEANSE THE OVAL, a ritual at the Gasworks gallery involv-ing the ceremonial and symbolic destruction of a futuristic architectural model of the Oval area. Future plans include an album launch and a crustacean calamari feast to mark the departure of the plasmatic equation, the RAMM:ΣLL:ZΣΣ, from its hue-man body host, on the 27th of June, 2010. __’ 7 2 0 Z ’
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The Cult is primarily driven by Alexis Milne, Lu Ma Oi and Tex Extra X Royale Members of The Cult include Lu Ma Oi, Nuke Eden, Tex Extra X Royale, Dead Steppa (Alexis Milne), Meganski, Eve Fainke, Fink 2x, Jezza-Ho, Jasmin MikaelKronlof, Ooami, Harmony Knots, Tabe Hemmes, Chooc Ly Tan, Qvint On Rohden, Rogue1, Owski, Rad Rex, Brynski, and live soundscapes are provided by ³³mmJa¥ß³³ the Z I G T E K C R U and collaborations with B a d f o o d .
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