ANTS VI—THE EMPIRE OF THE ANTS

But what was to prevent the ants evolving also?

These are intelligent ants. Just think what that means!

There can be little doubt that they are far more reasonable and with a far better social organisation than any previously known ant species 

—Herbert G. Wells

K21 (ANTS)

  A(n un)certain entity looks like Leonard Nimmoy—clutching hyper to its instrument of Electronic perversion. This is undeniably a serious business. Beautifully crafted to befit dance music with coruscating breaks and corresponding hollowness in dimension.

  The man's craft supersedes deification. K21 is an expulse to intelligent dance where his frets and devotions are exhilarating occupations of preceptive drums and perfusions that simulate the effects of—if amid samples—annihilating the organic reach of vocals. The present vocal samples are as alien and fiendish as a morose Klingon—with blood-thirst and war-lust. Rune prevents the music from engraving and etching the auditory preference with inadequately descriptive pounding. The airy ride shuttles from concoction to decantation. Hurtling forth into battle of cymeks.

  As a rhythm of articulation, it freights convening formulations. Preamble openings that play along sotto voce. This is grand and mighty. It is not enough trouble preventing other activities getting in its way. Every sound delicacy  is birthed in a bleeding permeation. Holy shit!—the death march—the storm—the Ajax. Where art thou Industrial freaks. Discretion hath now faced unearthing. Inundated by a linear finish—punish and taper. Inferior ants got no indemnity against the militial—nullify and eschew. This cover art is freaking superb. Close-up and blur. Ajax run the world.

  Confined to a Synthpop furnish is closure Voicesback, and it's not much of a stretch. Parallaxed by echoing overwolds of sounds. An Industrial rafting appraise that whiffs into synth corruscations. Into submission thou shalt descend. No smarmy.

A GAGGLE OF PANELOUXX (ANTS)

  Where Harsh Noise offers bleaker and even terminating permeations, a different spectrum broods liquefied chapters seething forth to project a charismatic storyline. 

  Acromyrmex reanimates the scenario of Simon in The Double. Fitfully quite, the album's sleeve renders the same uncolourful hues of gloom as he mundanely cogs his way regularly in the machine. It is in a certain consistency with the tapering tensions similar to a workplace typewriter, only to shift out excruciatingly as time ticks away. 

  These subterranean wavelengths take a jab at the upper world incomprehensibly. To ponder on the frequencies of Hive Mind Transmissions may offer a sequential explanation to the unity and hardwired leanings on which disgusting humanity is a slave to. James happens to transform from Simon. The mutualism sets in from a one sided symbiosis, down to James' replication of Kleptoparasites.

  Simon's dismantling never gets undone. A semblance relating to the zombie ants, fungi infected with infested brains, starting with bunged up community, ending with individual explosion. The sad suddenness captured in an iota of Anti-Fungus Mutualism. One must pave way for the other. Exit Simon.

ANTS (ANTS)

  Alternative can be a place to hide bad musicianship, justified by tag. Or to imply one is different when basically it's nothing compelling or incorporating very left-hand shit to a genre. It can be a place to be pretentious and get away with it. Mostly. Ants' release Ants for ant lovers and their ant lovers. The Mad Mane Machine came here for the mandibles. Goddamn it this could well be another garage band. In that light, this could grant a half regarded return. Is it called antrock . . .

ANTS

  Description: A physicist and a mathematician doing nothing special—not to insinuate its more than one person. What follows is a discography of experimental, Electronic and Noise emanations. Very well wrought out instrumental stuff regardless of bio. Ants is a one man unit. Applicable to endless scenarios other than the final christenings rendered. Noise up and hail the fucking ants.

—The Antcamp—

 

ANTS VI—WHO'S AFRAID OF VIRGINIA WOOLF?

Cultures and races will vanish.
The ants will take over the world.

—Edward Albee

ANTS V—LEININGEN VERSUS THE ANTS

This was destined to be the scene of the outbreak of war between Leiningen's brain and twenty square miles of life-destroying ants.

He did not need to be told that ants are intelligent, that certain species even use others as milch cows, watchdogs and slaves.

—Carl Stephenson

ANTS IV—THE FIRST IN THE MOON

By contrast with the mooncalves he seemed a trivial being, a mere ant, scarcely five feet high.

They are much more like ants on their hind legs than human beings, and who ever got any sort of understanding with ants?

Cavor, as we learnt, was not only alive but free, in the midst of an almost inconceivable community of these ant-like beings, these ant-men in the blue darkness of lunar caves.

Of course, they are not only colossally greater in size than ants, but also, in Cavor's opinion at least, in intelligence, morality, and social wisdom are they colossally greater than men.

 —Herbert G. Wells

ANTS III—THE WAR OF THE WORLDS

In twenty-four hours they did twenty-four hours of work, as even on earth is perhaps the case with the ants.

 —Herbert G. Wells

ANTS II—THE CITY OF FORCE

"Would we notice a particular ant on the ground if it tried to communicate with us?" 

"Let's go back to the example of the make-believe ant. It's chances would be pretty slim if it tried to communicate with just any human."

 —Daniel F. Galouye

STRAIGHT TO A POINT—ARTICLE DEFINITELY DISPOSABLE (ANT-MAN)

  Along the genial/mad scientist trope—The ADD part of the title—hindsight comes a little too late in the draft. And many a times, self-actualization sets in with haste to disentangle escalating thirst for power from discovery's leaps; if with an ominous aid of foresight—a feature careening from many Marvel productions; but less as in-your-face as in the second Amazing Spider-Man. Whichever its form be—from underhanded conspiracies to corporate espionage: a case whose grips clench Dr. Hank Pym with DETERMINATION (AMPERS)AND / ANIMATED STREAM DRONE (PIN).

  It is at Pym Tech where founder Pym is conducting researches, his protégé gets word about Hank's particle that could change the atomic distance between atoms while increasing density and strength: A formula with shrinking abilities; An enchantment to brain activity; The Pym particle—a substance that could change the texture of reality (the incomprehensible quantum side of things).

  The assistant prodigy, Darren Cross, manages to retrieve the formula for replication, and the trope spirals to a climax—showcasing a pursuit inherent since time. In contrast to the liquid Pym particle, Cross manages to create an erastz formula, contained in a laser. It gets  modified to enable it shrink organic tissue. This tech is sold to Pym's enemies, even right at his face—mean mugged HYDRA reps and S.H.I.E.L.D.'s ex-defence position holder.

Ant-Man; the new Quicksilver

  With control as the centre-piece to the setting, ants and their organizational structure mirrored what it entails, but not without a leader, and neither a queen this time. Whereas Empire of the Ants magnified ants against sugar-hills to manly heights, both formulas alter atomic relative distance to shrink man to antistic dimensions. Going sub-atomic flares micro-zoom-in, where the psychedelic experience tampers with the overwhelming quantum world. Space-time becomes irrelevant in this realm, and . . . uncanny void is forever.

ANTS—METROPOLITAN NIGHTMARE

 The Times ran an adequate story,
 But nobody reads those stories but science-cranks.

 —Stephen Vincent Benét