Artists
Now Streaming Everywhere: Justin John Scheck’s Latest Album “Fascist Addict,” a Scathing Rebuke of Trump’s America, in the Time of “End Day’s Fascism”
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It is all a glimpse of the historical evolution of oppression in The U.S., and is an Avant-Garde Electronica and Classical Contemporary romp thru history and today.
Fascist Addict is a continuation of the love letter JJS is “writing” to the working class; and it is a spiritual look at today’s America.
JJS is a multi-instrumentalist and Producer who uses Logic Pro. He has been a musician and producer for 25 years.
Justin John Scheck was born and grew up in Cleveland, OH, and came of age in a small farming town in Illinois outside of Chicago.
He is a self taught multi-instrumentalist and Producer, using a MPC, keyboard, guitar and omputer exclusively. He uses Logic Pro to record his music, and tends to improvise everything, often using his first take. What JJS claims he swings for is “As if Tom Waits and Kurt Cobain went back to the 19th Century and taught Pirates about music and music production.”
He has bounced around the Midwest all his life, never having lived anywhere else. He is a former member of Crooks And Children and The Cordeliers out of Chicago, Il. He has created and self released 5 albums come August 1 in less than 3 years time.
He currently resides in Kansas City, Mo.
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The release continues a pattern in C’batch’s work: revisiting prior work and reimagining it across multiple versions instead of viewing recordings as standalone pieces. Multiple outlets covering the release have noted that this approach — returning to older ideas and giving them new context — has become something of a signature, with this track functioning as the fourth installment under the “Our Little Pooh Pea (The Last Light)” title.
The piece is instrumental, with the guitar serving as the primary voice throughout the piece rather than functioning as one element among vocals or other lead instruments. Coverage of the release has described the guitar as the connective thread of the piece, tying its texture and tone together in a way multiple reviewers have called cinematic — the arrangement building mood and movement without lyrics to guide it.
Studio CarryOnHarry finds the more interesting story here isn’t the track itself but the method: a musician who views archived material as material for reinterpretation across multiple versions, and building a numbered series out of revisiting it.
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