Aaron Warren and Bjorn Copeland have been playing music together since 1999: nine

years as FLACCID MOJO and twenty-six years as Black Dice. This partnership has been a

ramble, a supply run through the wasted landscape of contemporary music. Stacking up

the dumb, the muffled, and the used-up, the pair consistently create unbalanced,

breathtaking mutant constructions. The latest example is Loose Jacks, FLACCID MOJO's

second full-length. Made from free phone apps, fractured youtube videos, and

cracked-screen electronics-the scorched and crumpled sediment of the

streaming-industrial complex-Loose Jacks is the wide, hysterical grin of finding treasure

in the end days.

FLACCID MOJO's songs are built for live performance, with a modular arsenal of rhythms,

stabs, and payoffs all at the ready. It's their way of centering the physical; of ensuring the

bodily dictates of each song's composition reassert these commands on everyone in the

audience. The satisfaction of a loop that runs until it's in your blood, the bassline

sculpted into a shove, the snare hit as sharp as a stranger's elbow. You can feel like a

ghost passing through some other band's record, but Loose Jacks is all brick wall,

weighted blanket, strong hands launching you atop a pile of bodies. It's a liberatory,

unspiritual experience. A carnal one.

As with their debut LP, FLACCID MOJO (released 2022 by Castle Face), Loose Jacks was

recorded by Chris Coady, whose been at Black Dice shows since the nineties. It's good

to work with people who get it, who aren't going to argue about key or "the grid."

Similarly, Loose Jacks was mastered by Sarah Register, whose band Talk Normal shared

a wall with the Black Dice practice space.