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Album of the Year #24: Run The Jewels - RTJ4

Artist: Run The Jewels
Album: RTJ4
Date Released: June 3rd, 2020
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Artist Background
The duo consisting of Atlanta rapper Killer Mike, and legendary underground produceMC El-P, known together as Run The Jewels, originally came together as a result of Adult Swim executive Jason DeMarco who introduced the two in 2011. After his 2011 album PL3DGE peaked at #115 on the US charts, Killer Mike told Jason that he wanted to make his own AmeriKKKa’s Most Wanted. Jason informed Mike, “If you want AmeriKKKa’s Most Wanted modernized, the only producer I know who comes close to the Bomb Squad-level of production is El-P”. The duo’s chemistry was immediate, as El-P went on to produce all of Killer Mike’s 2012 last solo album R.A.P. Music, and Mike featured on El-P’s final solo album Cancer 4 Cure. Mike and El’s respective albums released within a week of each other in May 2012, and the two embarked on a twenty-city US tour in the following months. After returning from tour, the pair had found a friendship growing between themselves, and made the decision to put other projects on hold and focus on the chemistry that had been sparked. Recording at an upstate NY studio beginning in April 2013, the duo re-appropriated the phrase “Run The Jewels” from the LL Cool J track “Cheesy Rat Blues", and released their self-titled collaborative album, for free via digital download, only a mere 2 months later in June 2013.
36” Chain vs. Pistol & Fist
Run The Jewels discography currently exists in a distinct pairing. With Run The Jewels as their debut, this record set the group's tone as a light-hearted, braggadocious duo with as much confidence in their abilities as swag in their punchlines. Just over a year later, the sequel Run The Jewels 2 took the foundation set from their freshman effort and dialed the insanity up to 11. RTJ2 pushed the boundaries of their aggression and flows to new heights; with incredible energy in their verses, and absolutely impeccable beats, blending El-P’s signature industrial sound with sharp synth arpeggios, chopped Zach De La Rocha vocals, and absolutely bonkers Travis Barker drums.
It was then nearly 3 years before Jamie and Mike followed up their breakout RTJ2, with Run The Jewels 3 being released again ahead of its scheduled release date via free digital download, this time on Christmas Eve 2016. Instead of these two attempting to outdo the pure insanity and in-your-face attitude found in their predecessor, Mike and El decide to evolve themselves as a group. The duo had noticeably pulled back on the swag and dick jokes which made such a splash on RTJ2, instead choosing a more subdued, electronic approach to their beats, as well as a clearly stronger political approach in their lyrics. This change in sound and style is demonstrated in the album cover’s artwork. The first two records featured the distinctive RTJ “Pistol and Fist”, with the fist tightly gripping a chain. The chain, in my opinion, represents the swag and braggadocio that drove the aggressive nature of their first two albums. In RTJ3 the chain is removed, leaving only hands that have transformed from bleeding and bandaged, to a pristine gold.
This brings us to early 2020. It’s been nearly 4 years of living in a post-Trump America, and El-P announces that Run The Jewels fourth record has been completed. Mike and El live-stream the first single “yankee and the brave” on Instagram on March 22nd, 2020. Lyrically and sonically, RTJ4 exists as the successor to Run The Jewels 3, with Mike and El again taking the good from their previous effort and launching it into the creative stratosphere. El-P’s beats are again leaning towards the synthetic, electronic side, this time with the intensity dialed all the way up to 11. From a lyrical perspective, RTJ takes the politically-charged lyrics from their predecessor, and again, up the ante, laying down some of the hardest hitting and politically poignant bars either of these two have ever spit.
Album Review
2020 was a year that none of us will soon forget. An unprecedented global health crisis kept the majority of us inside for months at a time. RTJ4 was announced on May 12th, 2020, with a release date slated for June 5th, 2020. However, with 2020 as the gift that won’t stop giving, the end of May was highlighted by the unjust killing of George Floyd. The phrase heard around the world, “I can’t breathe” instantly became a rally-cry for the oppressed to finally take to the streets to demand systemic police reform, as Floyd’s death was not the first time this phrase was uttered in an unjust police killing. In fact, a 2020 study by the New York Times showed that at least 70 people have died in police custody after using the same phrase over the past decade. As millions of American’s began organizing protests and demonstrations in the wake of Floyd’s death, Run The Jewels made the decision to release their latest chapter two days ahead of the scheduled release. El-P tweeted, just minutes ahead of the drop, “Fuck it, why wait. The world is infested with bullshit, so here’s something raw to listen to while you deal with it all. We hope it brings you some joy. Stay safe and hopeful out there and thank you for giving 2 friends the chance to be heard and do what they love”. In line with all past Run The Jewels releases, the album was made available for free digital download, two days ahead of its scheduled release date, on June 3rd, 2020.
THE RETURN (we don’t mean no harm but we truly mean all the disrespect)
RTJ4 opens with the first single, “yankee and the brave (ep. 4)”. Using the team names from their respective hometown baseball teams, Mike and El use the opening track to prove that they’re not just a hip-hop duo, they’re brothers, for better or worse. El-P kicks this installment off with rapid-fire, machine-gun esque snares, matching Killer Mike’s aggressive flow and tightly packed rhymes, before El jumps in to trade some dense rhymes as well. Mike and El depict themselves as outlaws, with Mike surrounded by cops with only one bullet remaining. He contemplates suicide instead of allowing the police to take him alive, until El-P jumps back in, offering Mike a way out, with a getaway car waiting outside. This tense situation is depicted lightheartedly in this song’s music video, which was released via Adult Swim and features the duo animated.
The trade-off between Mike and El’s short verses are reminiscent of late-80’s EPMD flows, while the production sounds like boom-bap that’s been sent to us from the future. This distinctive blend of old-school rap roots and forward thinking production is what continues to separate Run The Jewels from absolutely all of their contemporaries. While so many artists are continually playing catch-up with the latest trends, RTJ are side-stepping the trendy and moving forward with the mind-bending.
FLEXIN’ (ayo one for mayhem, two for mischief)
The second single “ooh la la” samples a Gang Star track "DWYCK (feat. Nice & Smooth)" as the basis for the chorus. I say “samples” as that’s how it is credited in the album’s liner notes, however it’s truly an interpolation of Greg Nice’s bar, slowed down slightly, and sung by El-P and Greg Nice himself. El-P is a true old-head at heart, and it’s abundantly obvious in his work, even going as far as to recruit legendary producer DJ Premiere to handle the scratching on the back end of this banger.
Out of key piano chords are looped to quickly create an unsettling aura surrounding the track, before El-P’s voice cuts through the infectious piano like a whip. Pounding, up-tempo drums are introduced after the chorus’ first iteration, creating what is possibly El-P’s first danceable beat. Lyrically, Mike and El-P initially seem scattered on this track, however the music video quickly makes their point very obvious.
”we imagined the world on the day that the age old struggle of class was finally over. a day that humanity, empathy and community were victorious over the forces that would separate us based on arbitrary systems created by man.
this video is a fantasy of waking up on a day that there is no monetary system, no dividing line, no false construct to tell our fellow man that they are less or more than anyone else. not that people are without but that the whole meaning of money has vanished. that we have somehow solved our self created caste system and can now start fresh with love, hope and celebration. its a dream of humanity’s V-DAY… and the party we know would pop off.”
The video envisions a society celebrating the fact that the class system we currently exist within has finally imploded. Money is worthless, and we have rejected the desire to bind ourselves to the constraints of capitalism. All creeds and colors unite to burn the system that has so effectively controlled us for over a century. It’s a party, and if there was a song to celebrate the end of the world as it is currently known, “ooh la la” is that song.
Mike’s last verse features a few metaphors and comparisons celebrating the destruction of capitalism, saving the most poignant for last:
I used to love Bruce, but livin' my vida loca
Helped me understand I'm probably more of a Joker
When we usher in chaos, just know that we did it smiling
Cannibals on this island, inmates run the asylum
Premo’s expertly cut scratches lead us into the equally hard hitting sample flip of “Misdemeanor”, by Foster Stevens as the basis for the beat to “out of sight”. Lending yet another nod to the old-school greats that laid the foundation for RTJ, “out of sight” samples the same track as The D.O.C.’s “It’s Funky Enough”, only adding a bouncy, electronic synth atop the inverted chord hits, and uptempo, industrial drums, to create an absolutely infectious groove for Mike and El’s dynamic chemistry to shine, rapidly jumping between each other’s two line flows in the first verse.
“out of sight” shows each MC providing insight into how each of them earned a living and achieved their current status. Mike and El’s opening verse each details themselves robbing people in order to eat. El alludes to the fact that he crossed his accomplices in crime for the whole bag, while Mike details the fact his assailant tells him it’s an “honor” to be robbed by his mother’s only son.
While El-P’s production is the obvious stand out on first listen, Killer Mike comes through with one of the most sonically pleasing and technically proficient verses of 2020.
We the motivating, devastating, captivating
Ghost and Rae relating product of the fuckin' '80s
Coke dealin' babies, never regulating, bag accumulating
It would not be overstating to say they are underrating
The pride of Brooklyn and the Grady, baby
We don't need no compliments or confidence
Our attitude and latitude is "fuck you, pay me"
The dense, intricate rhyme schemes smack you in the face, almost distracting you from Mike’s delivery and blistering flow on the verse; flexing his legendary status while paying homage to his drug-dealing past. This absolutely stunning display of technical skill, story telling, and complex rhyming illustrates how RTJ seamlessly integrates the best of both old school and new school hip-hop.
“out of sight” also features a guest verse from 2 Chainz, and he continues to lay the braggadocio on thick. Considering Tity Boi’s dedication to trap stylings, his verse feels right at home on the flex track, despite it’s late 80’s tribute sample, a considerable departure from his usual sound palette.
Up until this point, I haven’t mentioned any of the El-P’s lyrics specifically. El-P is a great rapper, but Killer Mike… Well, Killer Mike is an incredible rapper. He’s the guy who draws you in. El-P is the one who lays the foundation for greatness and Mike is the show stopper, and that’s generally the case for most RTJ tracks. But on “holy calamafuck”, El-P seems determined to make people stop and ask, “Who the fuck is this?!”.
A sharp, yet nearly minimalistic drum kit backing a heavily distorted synthesizer melody lays beneath rhymically knocking cow-bells. This aggressively set stage allows Mike and El to flex as the dynamic duo they are, until the beat suddenly takes a turn for the chaotic. A gnarled, ultra-menacing synth overtakes everything while Mike screams into the abyss, until a distorted snare, enormous 808s, and skeletal hi-hats cut through and launch the beat switch into another dimension. The minimal, yet incredibly dark soundscape allows El-P to snap in a way I have never heard from him previously. His rhymes schemes are reminiscent of an old MF DOOM lyric notebook, while his topics flawlessly combine flexing, psychedelic use, and his well-cemented legacy in the hip-hop community. Cutting and pasting a few of his bars into this review could not convey a fraction of how stunning El-P’s performance on “holy calamafuck” is.
Slightly later in the track list, making liberal use of the Ether song “Gang of Four”, “the ground below” samples and loops the sharp guitar riff and adds aggressive, pounding drums as the basis for the beat; this is finally reminiscent of the forward-thinking, stridulous production El-P has built his reputation on. Capitalising on the classic RTJ moment, Mike and El both flex in their own unique ways. Mike compares himself to Godzilla taking on Tokyo, and El-P demands respect for his name as the legend he is, threatening to smack dying children for mispronouncing his name with his middle finger to the world; his complete disregard for human life and confidence in his abilities are summed up at the end of his verse.
You see a future where Run the Jewels ain’t the shit
Cancel my Hitler-killing trip
Turn the time machine back around a century
SO¢IAL JU$T-ICE (until my voice go from a shriek to whisper...)
While the first few tracks aren’t without their social and political themes, the back-end of RTJ4 is where Mike and El start to bust out the heavy topics. “goonies vs. E.T.”. starts off light, with El-P pointing to the irony of how once he finally started to make it “big” in the industry, the world began to descend into chaos due to climate changes, increasingly obvious social injustice, and political madness. He culminates his frustration with our disregard for the Earth with a fantastic quotable.
Fuck y’all got, another planet on stash?
Far from the fact of the flames and our trash
That is not snow, it is ash, and you gotta know
The past got a wrath, it’s a lover gone mad
Mike’s verse takes the light-hearted frustration expressed by El-P, and turns the aggression to the next level. Aiming his sights against the ruling class and their society that’s been designed to oppress people for profit, who have very meticulously painted themselves as celebrities and idols to the American public. Mike accepts that he will be villainized by these people for speaking against them, but he welcomes the nefarious role, knowing that the working class will eventually eat the rich, no matter how much they are stomped into the dirt.
And this is just the warmup.
If it’s possible for a song to represent a moment in time that captures the absolute shit storm that has been 2020, “walking in the snow” is that song. It’s release coincided perfectly with the protests for George Floyd which were sweeping the nation. Killer Mike’s verse directly references the phrase “I can’t breathe”, the last words of Eric Garner, which also happened to be the last words of Floyd as well. The fact that this verse was reportedly written in November 2019 perpetually underscores the importance of the content and perfectly represents how persistent this problem is. “walking in the snow” is a true encapsulation of both a defining moment in time and an ever-persisting issue.
But he doesn’t just stop at the racial injustice. Mike goes on an absolute rant about the American education system; how it’s not designed to teach people, but to discriminate against poor populations, limiting their legitimate opportunities, and therefore disproportionately leading them into a criminal lifestyle. He calls out the media as fear-mongers, and the apathy of the American public in the face of indecency. Fortunately for Mike, by the time we finally had the chance to hear this masterpiece, we were already on our feet, using this album as a war cry to mobilize against a tyrannical government that militarized against its own citizens simply for asking that we recognize systemic racism and demanding change. Killer Mike has the best verse of the year, no doubt in my mind.
The only drawback is that Mike’s verse is so fucking good that it completely overshadows El-P’s, which is also amazing. A menacing guitar riff and haunting synths kick the track off into a bouncy groove, where El-P unleashes a flurry of internal rhymes that does not relent for about half his verse. Even adding layers of social commentary within the densely packed bars, El refuses to quit and continues on his political tirade; criticizing ICE’s detainment center practices and the “pseudo-Christians” who support them, with a bar that now lives in my head:
Pseudo-Christians, y’all indifferent, kids in prison ain’t a sin? Shit
if even one scrap of what Jesus taught connected you’d feel different
what a disingenuous way to piss away existence, I don’t get it
I’d say you lost your goddamn minds if y’all possessed one to begin with
The combination of two of the best verses spit by any rapper(s) this year and production help from El-P and long time RTJ collaborator Little Shalimar, create a bouncy, aggressive, deeply truthful banger. “walking in the snow” not only encapsulates the crux of 2020 with lyrics that will become more powerful as they age, but will also forever be associated with the Black Lives Matter movement and the determination to expose continuing racial and societal injustices.
The sonic palette of RTJ4 holds an extremely unique place in El-P’s discography. Jamie is the definition of a self-made 90’s hip-hop legend. This is the dude who put New York underground hip-hop on the map with Company Flow, and he did it with his unique flavor of dark, noisy, dense, boom-bap. Whether he was doing it with the help of Rawkus, or completely independently during his Definitive Jux run, El-P has never made music with the intention of becoming famous. Funcrusher Plus, Fantastic Damage,I’ll Sleep When You’re Dead, and Cancer 4 Cure are all highly revered as industrial, technical, abrasive, and completely unsuitable for the radio or a party. The fact that three songs on RTJ4 could easily be heard on the radio, at a party, or in a TV series credits scene is frankly, astounding. In a 2002 interview/documentary on El-P’s budding record label Def Jux, he stated that his friend bet him $500 that he could not make a beat that was “happy”. At the time of the interview, El-P said that he had not won that bet yet. While I might not qualify the beats on RTJ4 as “happy”, if you showed El-P the beat for “JU$T” in 2002, I believe he might have won that bet.
Pharell opens “JU$T” with the pre-chorus, spitting varied examples of how we’re all slaves to our current system throughout the track, over echoing snares and bouncy 808s before bright synth chords and up-tempo hi-hats burst in while Killer Mike delivers the chorus, pointing to the fact that the majority of the people featured on American currency owned slaves at one point in their lives. Mike’s verse touches on the fact that he has committed crimes to get where they are today. Mike is publicly open about his past as a drug dealer. So why is he a criminal, but Benjamin Franklin isn’t? These are the people who built our country, and they built it on the backs of slaves. He illustrates this theme with a more recent examples:
You believe corporations runnin marijuana? Ooh (how that happen?)
and your country gettin ran by a casino owner (ooh)
pedophiles sponsor all these fuckin’ racist bastards (they do)
When corporations are able to sell cannabis legally, but the government continually incarcerates people who trap, our president is a notoriously fraudulent businessman, and the people who helped put him in power run a pedophile ring, yet none of them face consequences and are allowed to continue to profit and remain in power while people suffer; well, we might be closer to slaves than previously imagined.
Rage Against The Machine frontman Zach de la Rocha also makes his mandatory feature appearance at the end of “JU$T”. As the only artist to feature on three Run The Jewels albums, Zach is essentially an unofficial member of the group at this point. His fiery verse is spit with the same “Rage” energy that set him apart in the mid-90’s, ending the track questioning his place in a capitalist society as a recipe for his inevitable demise, since his “breath”, or art, as his weapon to express himself is still being exploited for other’s profit.
Continuing with RTJ4’s heavily synthetic sonic palette, “never look back” features wavering synth leads resting above the slow-jams snappy snares and thumping bass, while a haunting voice echoes in the background. This unsettling aura provides additional gravity for Jamie and Mike to continue self-reflecting on defining moments in their childhood, and as well as how far they’ve come from those moments. Mike and El are both self-made men, and while they have a certain fondness for those gritty moments that defined them, moving forward in life is undoubtedly more important.
Skeletal drums reminiscent of a slowly pounding heart opens “pulling the pin”, before rhythmic hi-hats and textured, watery synths fluttering in the upper register resting above a bouncy synth lead, and punchy 808s, burst in. The track digs itself into a slower, marching groove and shows the duo figuratively doing exactly what the title implies. Painting a portrait of a society that has turned on itself, Mike and El are ready to pull the pin and start over.
The duo both detail their despise for the ruling class, pointing out multiple examples of how the elite have designed our society to keep poor people in their class. Simultaneously recognizing their own hypocrisy for profiting in a system that inherently discriminates; Mike reflects on his own success, knowing that living the lifestyle he enjoys is one built on oppression, and expresses the guilt that has caused him. El-P opens with a brutal metaphor for police, implying that they’re the root cause of the “wretched state of danger” our society exists within, and that the only effective corrective action is to numb yourself with drugs. Despite his advice, Jamie knows this is not a permanent solution, but one that causes more self-inflicted wounds.
The final piece of the puzzle that is RTJ4, “a few words for the firing squad” begins to close the album with ever crescending strings, and loud, thunderous drums which never seem to resolve, continuing throughout their verses. While the drums that lead to nowhere can be sonically unpleasant, the unresolved melodies are intentionally representative of their current mindsets. Their verses are reflective and grim, but simultaneously optimistic and envisions a world where tragedy is a less common occurrence.
El is grateful for what he has now but recognizes his entire life has been skewed by traumas, so out of place feels normal for him. He reflects on his current success, noting that the worst people tend to end up with the most, which makes becoming “rich” something not as desirable as it once was.
Mike opens up about the death of his mother who died while he was on an airplane, admitting his struggles to not cope with his trauma with opioids. However, his wife provides him the most important reason to stay clean “but my queen/say she need a king/not another junkie rapper fiend” while a heartbreaking saxophone solo highlights the gravity of his lyrics.
The track ends with what sounds the like wrap-up voiceover to a TV show, a conceptually satisfying ending, as the opening track “yankee and brave (ep.4)” began with El-P stating:
”This week, on Yankee and The Brave”
This voiceover paints the duo as brothers on the run from the law and crooked cops, and while this does close this “episode” out as intended, the critic in me is bothered by the slightly kitschy outro to such a spectacular album. The voices singing over and over, “Brave, brave, braaaaaave, Yankee and the Brave” would be, simply put, better left on the cutting room floor. The ending of this track alone is what knocks my score of this album down a few points. Despite its stellar lyrical content, with drums that never seem to reach that “holy shit!” moment, and the easily skippable outro, it’s upsetting to me that an album this great ends on such a low note.
Overview
RTJ4 is by far my favorite album of the year. El-P’s cutting edge approach to their sound, blended with lyrical content that continues to be more relevant by the day, the duo have come together with what is objectively their most accessible album to date. RTJ4 is the natural evolution of sound and subject matter for the duo; taking the foundation set by Run The Jewels 3 and evolving it into a more concise, more accessible, and more conceptual album. While I still personally prefer the “fuck the world” intensity and experimental nature of Run The Jewels 2, RTJ4 opens themselves up to a whole new world of exposure, and when you’re as talented as these two, you know they’re going to capitalize on it. RTJ is currently at their apex, and they’ve created an album that will make many new life-long fans going forward.
9.2/10
Discussion Points
  • How does this compare to other RTJ releases? How about in comparison to the member’s solo works?
  • Does the overwhelmingly positive critical reception of this album surprise you?
  • How will this be looked back on in 5 years?
  • What are your favorite lyrics?
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Slaughter Theatre

Listen, mate. Something is rotten in the State of Victoria, Australia.
From the muddy banks of the Yarra, up and beyond Sydney Road, to the Dandenong mountain ranges….down to the borders of Port Phillip Bay where the fibreglass Luna Park clown, old Mr Moon, grins contemptuously over the brothels and slums of St Kilda. Fuck me sideways. Pernicious humidity followed by a spell of rain, and a sky perpetually overcast with moral decay. Something is wrong, and it rhymes with girder.
Yeah, see....in St Kilda, in July of 2017 a dead body was found in the Triangle construction Site near the Bay, adjacent to where the Palais theatre once stood —before it burnt to cinders. Body had also been burnt, and was unidentifiable, charcoaled as it was. Funnily enough...Nobody seems to know who is to blame. As daily race riots and brawls break out on St Kilda streets, and the cops impose tougher alcohol restrictions, this gaping wound remains untended.
J D Williams and the three Phillips brothers from Seattle had their part;— left their American legacy in Australia, no doubt about it— the Coney Island style theme park of vices, a carnival of underground crimes which led to that precise moment —a swamp of intertwined histories beyond my capabilities to research thoroughly or summarise accurately. Nevertheless, I swear to you old chum, like a moth to a flame, I was drawn into the tangled investigation of that mangled female corpse near Luna Park,... an investigation which would near drive me insane.
My name is Pharlap Dronefire, a Private Investigator based in South Yarra.
I’m not normally inclined to investigate murder cases, but this particular private client had a list of seemingly unrelated things he wanted me to research, the St Kilda murder being just one of them. As I didn’t have access myself to the police files, I resolved to meet up with my police contact, Andrew Barrington, and get the facts surrounding the case.
Officer Barrington consented to meet at Luigi’s; a video game themed bar on Acland Street. It was a hot Saturday, and the St Kilda crowds were wild and varied; thousands of English, Irish and American tourists flocked to the beach, whilst teenagers vomited on the rickety roller-coasters of the seaside theme Park. The scenes were impressionistic, with Bosch-like crowds, bollards lined with palm trees. Myriad junkies asked for change and cigarettes of passers by— on the street, whilst bips and boops sang out from customers playing the vintage arcade machines behind me.
I sat at the outside tables, drunks brushed by me on the cramped and cracked sidewalk, car pollution and smog slept thinly at knee level over the scene, as the green and orange blur of a passing tram flashed by.
I saw officer Barrington approaching from a distance and waved as he crossed the road, shortly he sat down at the table and we ordered two Pale Ales.
‘Thanks for comin’ Bazza’ I said with genuine appreciation. Barrington scratched his face, and muttered a kind of ‘no wukkers ’ through his chin.....he seemed to have a lot on his mind. ‘So what have you got on this St Kilda killing?’ I asked directly, ‘There’s almost nothing online about it, barely made a dent in the press.’ ‘Jesus Pharlap.’ Barrington sighed, ‘Haven’t you got anything better to do than dig up old corpses?’ ‘You know me Baz—’ I said, ‘I’m determined to end up a chalk outline myself. But this corpse is still pretty fresh i’d say. Why are the cops choking on this chicken anyway? What’s the unseen bone?’ ‘Look…’ Officer Barrington sighed, as our beers arrived and I took a big swig of lager; ‘The murder made the papers when it happened, toured the news for a week or so...but because the body has never been identified there hasn’t been much for the press to chew on. There’s no suspects, no motive or cause. We’ve only been barely able to piece together what actually happened.’ Barrington took a sip of beer, as I jotted down some notes. The officer looked down at my ex—left-hand for a moment, noticing the bandaged stub from the accident that had happened to me recently. ‘What happened to your hand?’ He asked. ‘My own bones have been chewed…You and I...’ I replied, ‘....Work in a dangerous line of work.....sometimes the danger of your profession leaks over to mine in unexpected ways ....probably best leave it at that. So what exactly DO the police know about this barbecued girl?’.
I noticed an extraordinary amount of discomfort in Barrington’s face as he discussed the girl. Being partially involved in the murder investigation, it seemed to have particularly disturbed him. He struggled uncomfortably in his seat, Barrington was a large muscular man with thick, black-rimmed glasses and layered, thin hair. His eyes seemed permanently tinged with paranoia.
‘Officially?’ Barrington replied nervously, ‘Nothing...... But unofficially....’ ‘You’ve got your own theories about who did this, don’t you?’ I asked making my own deductions. Bazza sighed and massaged the back of his neck; ‘Look’ he said, ‘Whatever I tell you here is completely off the record. You understand?’ I made an affirmative gesture.
‘You know well— I’ve been investigating various unsolved gangland killings for a long time.’ Said Officer Barrington, ‘We’ve discussed previously my unofficial research and interests.’ I nodded, motioning him to continue. ‘Well. Hexton Police Station is full of officer’s hunches. We’ve always known of these criminal families running things, and what not, but sometimes you don’t have the evidence to put the bastards away. This case goes back years....’
Another tram chimed past in the street as Bazza continued his story; ‘There was the Walsh Street Massacre in 1988; that set a wave of anxiety through the ranks. You’ve head of it?’ ‘Sounds familiar. That’s what ‘Animal Kingdom’ was about, right?’ I said. ‘Right. Before Howard took the guns away, you had the crime families, bank robbers, strings of crimes done with sawn-off shotguns in broader Hexton. Cops shot Greame Jensen, and Victor Pierce promised two cops would die in revenge attacks. After those two young coppers were murdered in Walsh Street, the cops fought back. Executed a bunch of the gang leaders. Then there were the trials of the Walsh Street killers, that bitch Wendy Pierce didn’t testify. Half the buggers never done time. I was trying to nail Peter McEvoy for a long time in the nineties. He moved up to NSW after he was freed.’ I furiously recorded notes as the officer spoke.
‘After the gangland killings of the nineties, and the Purana task force, it took years to catch up on who was doing what. Well that’s when I really went down a rabbit hole in my research. Started trailing these rich crime families who’d been running tricks over the NSW/Victorian border for over a century unchecked. I’m not talking about Gangitano, Gatto or the Manillas. Used to be all the crime was comin’ in from the docks, you know? The Painter and Dockers union, that’s where Victor Pierce worked, the Walsh Street murderer, the Moran family and the Carlton Crew, they were all running drugs through Port Melbourne. The Calabrian mafia, AKA the honoured society, the Ndrangheta—now they also got their claws into Australian society way back then too, they come down from Queensland, had their racketeering going through the fruit and vegetable markets. Everyone remembers the key events— Frank Benvenuto was killed in 2000, but even without their leader the ’Ndrangheta was obviously still operating —because in 2008 the cops seized 15 million ecstacy pills hidden in tomato cans from Calabria. Now, Frank Benvenuto rang Victor Peirce the day he died. You want my opinion— That’s because the thugs that organised Walsh Street, weren’t just acting on some petty revenge motive. The whole thing was planned from higher up, maybe Frank was fronting up to Peirce before he was shot, and maybe Peirce knew too much when he was blown away in 2002. You catch my drift?’
‘’Im trying my best to follow—’ I replied, still anxiously scribbling notes.
‘Keep up mate… Anyway listen, after the terrorist attacks on September 11, people have been too hung up on Islamic extremism to pay attention to what’s really happening with the Mafia and these other organisations, these crime families. Now there was way more knowledge of this in the police force, the internal corruption was proven to go right to the top….in the end — we know the Wood Royal Commission only really exposed the affairs of the Kings Cross Police in Sydney, barely scratched the surface of mafia interception and corruption within the government. Yeah, they brought in some regulations, hell… even that snake Roger Rogerson got done eventually,…the Labour party dealing with Mokbel was partially revealed… but all the while, secret meetings of the same groups were happening; members of corporations, corrupt police, board members, Australian politicians. I was still trailing them, I had addresses of mansions where these figures lived and hung out. Just waiting to catch a lucky break. This wasn’t just a few career criminals. It was like an underground cult.’
I polished off my beer and motioned with my hand to the waitress to bring out another one. ‘So you think this St Kilda killing was perpetrated by these underground crime families?’ I asked intrigued.
Bazza grew more paranoid still, almost sweating and glancing about him as if he was afraid of being watched. ‘There’s this urban legend among ...those interested in crime ....in this city. Have you ever heard of the the ‘Slaughter Theatre’ trilogy?’ ‘The what?’ I asked cluelessly. Barrington seemed peculiarly begrudging to keep telling me information about what he knew, nonetheless he obligingly indulged me;
‘Back in the days of Walsh Street there were rumours of these VHS tapes existing, you know?… It was rumoured that Peter McEvoy, Victor Pierce and other murderers involved in the police killings— used to film their crimes. Snuff videos —which would prove their identities in various murders —nail the Walsh Street killers, and hundreds of other crime figures….. these VHS were alleged to have been seen by multiple witnesses. The stickers on the old video tapes were supposed to be labelled ‘Slaughter Theatre’ in red permanent marker, creepy handwriting. That’s what all the legends say anyway. I know officers who claim to have seen some of this footage. I’m talking sadistic brutal shit. You remember Dennis Allen?’ ‘Sure’ I said. ‘Mr Death they used to call him, well— there’s apparently a snuff video of Allen cutting up one of his biker adversaries with a chainsaw, he’s covered in blood, films the whole thing as he approaches a bunch of slaughterhouse workers in their white gear. They’re all covered in blood and laughing their asses off, saying ‘What floor you working’ on then Dennis?’. Another guy I know claims he’s seen these tapes, proof of all kinds of things we just suspected… Mad Charlie being massacred at his home in Caulfield. Girls being raped and tortured and mutilated. One of the pieces of footage is allegedly of a group of about 30 members of the Comanchero Motorcycle club, and they’re standing around with a group of these government guys in suits, who pay them a bunch of money, then what follows is a sadistic orgy which ends in bloodshed and bizarre ritual.’
I sweated, my hand starting to cramp from the overload of information. I held my hand up for a moment, indicating Bazza to give me a second to catch up. Finally, after a deep breath, and massaging my wrist, I waved; ‘Go on’. Barrington continued;
‘In the nineties and noughties —more rumours popped up about these secret videos. Apparently rich perverts we’re paying criminals for these snuff films, this Slaughter Theatre….. some of them were even getting top notch production values with members of the Melbourne creative industry being involved. At least that’s how the rumours go. The legends are constantly embellished. In the 90’s it was burnt DVD’s which the files were allegedly being copied to. Press dubbed it ‘Slaughter Theatre part Two’. Then downloaded files, and well, you can imagine how the rumours escalated in the modern age of social media.’
I tried to absorb what Barrington was telling me, but had to admit it sounded suspiciously like an urban conspiracy theory. I tapped at my pad with the nib of my pen. ‘So how exactly does this relate to the burnt female corpse that was dumped here in St Kilda?’.
‘Listen,’ Barrington said adjusting his thick, black glasses nervously and preparing to stand; ‘I’m afraid there’s only so much I can tell you without compromising my job. That girl was burnt alive, with a can of gasoline. Autopsy confirms that much. If I tell you that urban legends suggesting that her murder was filmed— are prominent in police circles, would you even believe me? What if I told you I had proof that this murder was filmed as part of a third instalment in this snuff trilogy? Slaughter Theatre - Part Three. That these murders are having a resurgence ——that its all part of this conspiracy?’ ‘I’d say you were either crazy, or had something that would make the biggest news story in Australian history.’ I replied bluntly. Officer Barrington stood up and handed me a business card; ‘That’s all I can do, mate—to tip you off. Listen Pharlap… If you want to learn more I suggest you dig around about this snuff video, I think you’ll find more than you had imagined in your worst daydreams. The.... You’re going to want to speak to the guy —on this card’— (Barrington handed me a business card)— ‘…about a murder that happened at the Three Vertice construction site in Footscray in July 2016. Sorry I can’t be of more help...’ Officer Barrington then shook my hand firmly, and I thanked him before he disappeared into the St Kilda crowds.
So that was how it started. How my innocence was tainted, and I was dragged into this most unnerving and unusual investigation. The business card Barrington gave me belonged to somebody called ‘Drendyl Pex. Three Vertice Construction Company. Owner. Manager.’
For a moment I sat back, and tried to get the tangled mess out of my brain, sipping at the last of my beer. Surely Barrington had gone a bit nuts— reeked of classic Police conspiracy stuff. The idea that the whole criminal underworld is linked through some kind of satanic cult— it was absurd. Satanic Panic. And as for this snuff film? Well… I just had trouble believing that something that could’ve appeared on a /4chan creepy pasta/ could exist in any tangible reality. Nonetheless, right now, it was my only lead. If Barrington believed that the murder of the girl at St Kilda… could somehow be linked to another murder in Footscray, i’d have to investigate it, any other solution would be neglectful.
It was about a twenty five minute drive out to Footscray in my Valiant Charger. I had the air conditioning up to full blast, and my tinted windows down. The radio was blaring FURY FM, some poncy hipster DJ raving on about his succulent garden, and his batch of home-brewed beer. I was about to turn it off when a killer track came on, Head On by The Jesus and Mary Chain, so I cranked the volume and hit the gas. The DJ may have been an arsehole… but he did have decent taste in music, the next tracks were also great; King Gizzard and the Lizard Wizard, MGMT -Little Dark Age, ORB -Man in the Sand, Nap Eyes -Don’t be Right. The synthetic pulses of the Chromatics cover of Kate Bush’s ’Running up that Hill’ was playing as I pulled into the car park of the Three Vertice construction company.
It was a busy location, with an adjacent yard; many workers in their flouro orange high vis neons and yellow hard hats coming and going. I stumbled over a poorly concreted patch of turf, up a flight of roughly hewn stairs, through a mesh steel fence, until I came into a sheltered office, and temporary reception desk. The lady at the desk gave me a funny look, and I realised I was still wearing my aviators and tennis visor, and I removed them for politeness. ‘Pharlap Dronefire. I’m here to speak to Drendyl Pex’, I said flatly. The blonde woman with dark wirey eyebrows still had an aggravated look on her face, she scowled and said, barely curteously; ‘I’m afraid Mr Pex is quite busy, do you have an appointment?’ I thought cunningly for a few split seconds; ‘No. But this is of a very private and urgent nature. Mr Pex will see it in his interest that we speak as soon as possible—’ ‘Im sorry sir, but Mr Pex….’— ‘—You can tell him it’s in relation to something that happened last year—at this site— he may want to keep confidential…’ The woman sighed, looking fearfully at her computer, ‘Ill try his office, if you just want to take a seat Mr….?’ ‘Dronefire’ I repeated, casually taking a seat on the old, tattered couch.
It was about a seven minute wait —before a well dressed man, with shoulder length, greased-back hair, purple waist coat, cravat, dark velvet jacket and long boots walked into the room. The woman stood up to introduce us, but before she had a chance the man lunged forward and stood before me with his right hand held straight. The man commanded a strange authority, so that I found I quickly leapt to my feet in his presence, and before I knew it we were in the middle of a firm handshake. ‘Mr Dronefire I believe? Drendyl Pex.’ ‘It’s a pleasure, sir, Is there somewhere we can talk a little more privately?’ ‘Of course, please… Come to my onsite office.’ I followed Mr Pex outside of the temporary unit, and we walked up a hazardous mud slide mountain to a— 3 metre square— white cubicle or trailer. Pex opened a door, and we entered into the luxurious space, decked out with a bar and expensive furniture and entertainment system. ‘Can I fix you a rum, Mr Dronefire?’ Pex asked. ‘I’ve never said no to a rum before.’ I replied truthfully. Pex pulled down a bottle from his packed shelves, dropped ice machine cubes into two glasses and poured. ‘On the rocks suit?’ ‘Yeah…that…uh…that….suits perfectly’ I replied. Drendyl handed me a three quarter full glass of pale liquid; ‘Have you tried it?’ He asked ‘Australian brand, from Adelaide, Gunnery, white spiced. Best this country has to offer.’ I took a sip of the drink, and was surprised by the earthy taste, it was dirty but delicious.
‘Mr Pex’ I said, ‘May I be upfront?’ ‘You want to know about the death that occurred last year.’ Pex replied; ‘I’m guessing you’re a Private Investigator or amateur sleuth of some kind.’ ‘Your receptionist passed on the hint, I suppose?’ I asked. ’I must apologise for our quote-unquote reception. It’s a temporary head office, we’re building a new office space here. Miss Weabley is actually our occupational health and safety manager, just filling the desk whilst we get a new temp in—’ ‘I’m not here representing anyone in a legal capacity Mr Pex’… I said, sensing Pex’s defenses, ‘…you guessed it right, I am a P.I-——— my client is interested in a murder that occurred in St Kilda recently, however other trails of research have led me to a you. Did the death last year occur at this location?’ ‘Aha!’ said Pex, seeming to have figured me out, ‘You’re following the urban legend surrounding a certain snuff film.’ I tried not to act surprised. ‘I can provide you some information about that. But follow me, I want to show you something first.’
Pex swigged the rest of his drink, and placed down the empty glass, I followed his lead, and we exited the white building, trudging around a muddy path on the outer rim of the construction zone. My head was warm from liquor and smog, the sprawling horizon bore the haphazard scattering of Footscray industry. ‘Just up here…i’ll show you…. is where the death happened Mr Dronefire. Alice Goddard. Up over the hill there. I’ll show you the place alright…but….. Are you familiar with Footscray at all?’ ‘Not really…Not a bulldogs fan….I…uh…I barrack for Essendon.’ I joked. ‘Blasphemy’ Pex smiled with formulaic small talk, ‘This was Wurundjeri land, where we are standing. Some time ago it was an immense lagoon where the Koories went fishing. There was a factory here at the turn of the century when the industrial revolution hit. They bulldozed it in the seventies, and it’s been nothing much more than landfill up until 2007 when the Three Vertice construction company purchased it. It’s been a sort of base for some time, although our head office used to be in Fitzroy. We are an equal opportunity employer Mr Dronefire. In the last 20 years, over 50 thousand employees; South Vietnamese, Sudanese, Ethiopian, Somalian, Bangladeshi, Sri Lankan, Indonesian —they have all come through here.’ ‘I’m not quite sure why you are telling me this Mr Pex’ I confessed. ‘I know you’re not a fool Mr Dronefire. We’ve been through our trials and tribulations, pleaded our side in court cases. I don’t particularly enjoy going through the ordeal of recounting the horrific tragedy that happened here last year over and over again. But if I can be plain with you, off the record…’ I nodded. ‘There’s no doubt that girl Alice Goddard was murdered out here, and if you ask me, the likelihood that someone under the employ of the Three Vertice Construction company committing that murder— it’s more than just a likelihood. Of course, you can understand…. why, as leader of this company I would be cautious about publicity over this, i’m not a monster. My pity for the girl is endless. I’ve been very frank with the police about giving them all our employee files.’
I felt like I had just taken in a whiff of pure Drendyl heroine, and had to take a minute to contemplate it. ‘I’m not here to accuse you or your company of anything untoward Mr Pex. Just to seek out the truth. To be honest, I have absolutely nothing in my research which even suggests that the murder which occurred in St Kilda is in any way related to the death of Alice Goddard.’ ‘Well… if you’d done your research, you’d know that she—Alice— was burnt alive.’ Pex stated plainly, ‘Similar autopsy results as your St Kilda murder. I read the newspapers too Mr Dronefire. If I was a police man, i’d definitely be looking at the murders as a double homicide, or possibly two murders in a repeat serial killing. Mind you, this country’s never been well equipped to deal with the serial killer phenomenon, the AFP has a history of bungled investigations in that regard.’ ‘This snuff film?’ I asked increasingly intrigued, but distracted—’You said you were aware of——‘ ‘Everyone in Melbourne is aware of Slaughter Theatre, Mr Dronefire. It’s a legend that’s been spreading around parties in the Northern suburbs for as long as Venereal disease.’ I tried to hold back a chortle, given the morose aspect of the subject matter.
Mr Pex began to walk again, and I followed him up over the last dirt pile which led to the alleged murder site. We were quite high up on the elevation now and had a good view of the Melbourne CBD. Pex stared outwards towards the skyscrapers looming over the Yarra on the horizon. ‘Do you know much about the Crown Casino?’ Pex asked, looking in the general direction of the deluxe crown towers on the horizon. ‘Only that it’s putting a lot of cash in Andrew Packer’s pocket’ I replied. ‘Pfa haha… Packer’s barely here, he’s too busy in Sydney building his 60 million dollar pad at Barangaroo, when he’s not brushing gently against his Scientologist buddies. Good mates with Tom Cruise our James, they’ve all stayed out here at Crown towers too; prominent Scientologists, the Kardashians, the Bush’s, the Rumsfields. Kerry Packer was much more interesting than his son, you know Dronefire. Back in the days of VHS, back when him and Rupert Murdoch were fighting their cold war over who was to be the king pin of the Australian media.’ I took a moment to absorb the serene, pale view of the spires of Hexton CBD, and the dark crown towers silhouetted by the glare of the sun. ‘I’m waiting for the day when the full history of Consolidated press broadcasting comes out,’ Pex continued, ‘…there’s a dark past there the public may never know about. But ol’ Kerry, he knew how to separate recorded history into public and private.’ ‘How do you mean exactly?’ I asked ‘I’m not going to spill all the dirt on Kerry—Mr Dronefire. My father and he had some shared acquaintances. We’d be here all year, and besides, what’s the point. The old cunts dead. You’re a younger bloke, aren’t you Dronefire? I’m guessing 34?’ Pex continued without waiting for an answer, ‘My generation will always remember the day— ha— when Nine Network over stepped Packer’s rule book….’ We reached the top of the hill and stared down into a junkyard of scrap material where the body of the girl had allegedly been dumped. ‘During the shortly lived ‘Australia’s Naughtiest Home Videos’ hosted by the Triple M yobbo Doug Mulray, do you remember? Grown men all over the country were loosening their belts with joy, but Kerry knew there was a time and a place for pornography, and Network television wasn’t it… Haha…. ‘Get that shit off the air!’ That’s what he told the Nine execs when he called them. You should have seen Doug Mulray’s face. Now young James, he’s much more interested in chasing girls, much more interested spending his time in Casino’s than policing the media-boundaries of public and private.’
‘Forgive me Mr Pex’ I interrupted, ‘Maybe i’m misunderstanding all of this. But what exactly does this have to do with the snuff film? Slaughter Theatre?’
Pex seemed satisfied he had given me enough time to look at the scrapyard the body had allegedly been dumped, his body language suddenly changed, and suggested I had overstayed my welcome, and he authoritatively began to escort me back down the dirt hilltop. ‘I can tell you everything I know about the snuff film Mr Dronefire. I’ve heard plenty of rumours about these murders being connected. About them being filmed, and what not. The rumours are everywhere out West and up North in Victoria. They have been for the last 50 years— every time a body shows up, theres a new trail of gossip. Melbourne IS the murder capital of Australia, Mr Dronefire. But unfortunately, I can attest to the truth of those claims no more than I can—the millions of claims about the Loch Ness monster. For all intents and purposes, those of us who are sane rightly dismiss such conspiracies as absurd. Right wing nuts who can’t handle disorder in everything, want everything to be part of some master plan. Then you’ve got the left wing vultures, media types who love a scandal, any fad you can write an article about, or make an indy film inspired by. That’s all this is. Now I have to apologise Dronefire, but I am a busy man. Always happy to help out any investigation, and i’d just as soon see whoever is behind these horrendous crimes behind bars, as much as you, the police— and the girls parents. Now—‘ I could see Pex was wrapping up, but I wasn’t a hundred percent satisfied with the information I had been given, and needed a few more points; ‘Do you mind if stick around here for another ten minutes, just to get some quick interviews with the staff?’ Pex looked mildly disgruntled but not resistant; ‘I can give you ten minutes. Longer than that and you’d be interfering with our productivity i’m afraid. You can speak to our onsite supervisor, he works with most of the staff here.’
Drendyl whistled, and an ocker looking fellow with a mullet, safety vest and a hairy arms made his way over. ‘Fortyn Kildare, this is Private Investigator Dronefire. He’d like to ask you a few questions about the death of Alice Goddard.’ Pex excused himself and disappeared, as I shook Mr Kildare’s hand. ‘You’re a little late aren’t ya?’ asked the gruff man in a thick Aussie accent; ‘Press was all over this ten months ago. What are you hoping to dig up now—eh??’
Continued in Part Two: https://www.reddit.com/libraryofshadows/comments/7new6s/slaughter_theatre_part_two/
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