Blood Music is Simon Pomery: London-based, Irish-born producer, musician and maker of the ‘infinity-poem’. The name Blood Music is one English translation of the Japanese word ‘Kodo’: ‘mind-before-thought’, ‘children of the drum’, ‘music heard in the womb’, or rather, ‘blood music’. He has two 12”s on Diagonal Records – Blood Music EP (2013), and Chicks/Badgering (2015) – digis on dingn\dents and self-released works.

‘GPS Poetics’ is influenced by Pomery’s research into poetics and ethics: Fred Moten’s writings on poetry and improvisation from ‘In the Break: The Aesthetics of the Black Radical Tradition’, Joan Retallack on Gertrude Stein, John Cage and aleatoric composition in ‘The Poethical Wager’, and Édouard Glissant’s ‘Poetics of Relation’. The notion of ‘the centre’ is exploded in favour of fugitive research into the relational. The result here is a live mix of cross-genre blood musics, given to that most freely proliferating, streamable, downloadable, capitalist communication of consumer taste: the DJ mixtape. Pomery’s use of text and voice in Blood Music continues his investigation of text-sound compositions of the 60s and 70s. His ‘infinity poems’, which are algorithmically produced for print as well as for his a/v show ‘SPEED READING WITH BLOOD MUSIC’, provide the visual art and language for his relational poetics.

Blood Music has played Berlin Atonal (Germany), Elevate (Austria) Les Urbaines (Switzerland), Ochiai Soup (Tokyo), Club Stomp (Osaka), La Cheetah (Scotland), UH Fest (Hungary), Les Atelier Claus (Belgium), Incubate (Holland), a water tank in Lewisham and at Cafe Oto in London, where Pomery curates PRAXIS (2016-now), a series of events devoted to text-sound compositions.


“I might use GPS Poetics to help navigate a world: I use the indefinite article for ‘world’ here, since every relation to the immediate entity of experience that we name ‘the world’, through sensual or digital experience, is different and relational; infinitely plural rather than singular. Via GPS Poetics one can critique indifferent gazes in the age of the Anthropocene, latent voices that argue ‘There are only surfaces’ through the mouth of their screens: ‘we are the Great Data Collector. Our violence is off the screen we speak through.’ I would suggest that context cannot be separated from global positioning systems.”

Tags: electronic, acid, techno, post-punk, experimental rock, drone, spoken word, jungle, acousmatic.