Braintree

1.

Never eat from the Braintree
never listen to the hissing serpent
Dancing tongues, flickering tongues
poisoned fruit let it stay hung

2.

You’re not permitted to feed your head
grown-ups all thrown-up say
you should be burning books instead
tear a leaf from the book
Leaves from the Braintree

3.

Yonder down the meadow
rests The Crying Tree
where the lonely virgins dream in sad repose
right by the Scarlet Women
in their barely covered midnight clothes

4.

Persian vestal virgins lie by The Crying Tree
Babylonian whores lie by the other side
sap of murky burgundy blood trickles down
and the whores just laugh while the virgins cry

5.

Stay away from the strychnine orchard
stay away for heaven’s sake
Partake not the juice from the tattooed fruit
Despite the exhortations of the seething snake

6.

Jackals dance in the darkened forest
Ring around the Celtic Cross
never forget to drop 100 yards of sourdough breadcrumbs
perchance you realize that you’re lost

Andy Seven Ltd. · Braintree

Copyright 2026, Scuzzbuster Music (BMI). All rights reserved.

Oldboy - New Poetry Album OUT NOW!

Spring is here, and a young man’s fancy turns to poetry, indie poetry, punk poetry slam, darkwave poetry, a dying rose by any other name and all that. Two years after my last audiobook I’m here with the new opus, Oldboy. And as Sir Humphrey Pengallan (Charles Laughton) defiantly sneers, “What are you waiting for? A spectacle? You shall have it!!!” So polish up your spectacles, Andy Seven Ltd. has returned.

Oldboy is my fourth audiobook of poetry, fifteen prose poems that up the ante from previous efforts. While past audiobooks featured poems with more traditional soundscapes, the new work features dark ambient, industrial neofolk mixes and drum and bass rhythm tracks.

All music mixes aside, Oldboy is a wild mosaic of sonnets dedicated to horror films (Sadako, Succubus), Robert Williams-inspired sports sleaze (Demolition Derby, Bantamweight Vs. Flyweight), and a triptych of Southern California gothic (Bougainvillea, California Boyfriend, The LA River).

The title, aside from the movie, comes from my theory that some males are men from the day they were born and always remain men, while others will always be boys, even when they’re pushing their Seventies. Some boys always inhabit an adult form. The same goes for females. Some women will always be young girls no matter how old they age.

Making the transition from punk singing to poetry recital wasn’t a Herculean task. When I sang with my band Trash Can School the most common remark I heard was that my vocals were “monotonous”. Whether I was aware of it or not, the monotony of my vocals probably meant that I chose to recite my lyrics as poetry.

I could make a case for it by saying that singing was never the objective but just reciting my prose. So, in a very loose sense I’ve always performed poetry recitals back in the days of my band and I’ve continued to this day.

Islington High Street was about my all-nighter at Islington Screen on The Green spent fifty years ago watching The Sex Pistols, Buzzcocks and other future superstars like Billy Idol and Siouxsie Sioux. Slumgullion is a piss-take on Willy the Shake’s classic plays, some of my favorites. I love the surrealism of A Midsummer Night’s Dream.

Saints and Sinners was about a real saloon in the heart of sleepy Culver City. Transfigured Night is my surreal take on a dream where I walked through a forest accompanied by mutilated lab test animals. The dream world continues with Succubus, nocturnal eroticism let loose upon the bedroom walls.

Those expecting sermons from the mount taking a political stand will be disappointed, as the only track that shows a political angle at all would be Carrot in The Donkey’s Eye, which criticizes the punishing exploitation of the average worker, the most offensive culprit being factory and warehouse environments. I suppose Smog lies somewhere in social commentary, too.

While I’m on the subject of poetry, what are your favorite movies about poets? We don’t get a lot of cinema space, I see movies about Bukowski, Kerouac, Sylvia Plath, but I’d like to see a film about Anne Sexton or Rod McKuen. Rod McKuen was an awful poet but his life story is utterly fascinating.

My favorite movie about a poet is Orpheus by Jean Cocteau about a popular poet despised by the hipster cognoscenti because his work is too successful. His best friend is a poet so jaded with writing that his next book will be a volume of nothing but empty pages. Doesn't get more existential than that!

But back to Oldboy, ahem: Some poems have been published in the past, i.e. Bantamweight Vs. Flyweight, Succubus, and California Boyfriend were featured in Horror Sleaze Trash. Other poems like Slumgullion, Transfigured Night, and Sadako were included in several Dawn of Darkness witch house compilations, available for listening at The Internet Archive.

Oldboy can be streamed on You Tube, Spotify, Pandora, Apple Music, Amazon Music, or Deezer. Hard media CDs can be purchased at Bandcamp. I’ll merch a few on eBay, too. Friends, Hollywood Babylonians, and countrymen, lend me your ears.

So You Want To Be A Rock And Roll Bot

I never planned on returning to music. At this late stage of my life the last thing I wanted to do was harbor fantasies of being a big rock star. I deliberated with myself about presenting my poetry in the best way possible, and I knew that producing poetry books was falling down a black hole of obscurity. The success of a Bukowski or Rollins is a one in a million possibility.

Poetry books unfortunately don't attract people, and poets are generally laughed at in the United States, a country that amuses in literary shaming. If Stephen King is the national bard of choice then we're in deep shit.

Poetry readings with music have always fared well, though, from Patti Smith to Gil Scott-Heron to John Cooper Clarke to The Last Poets. I created sonic landscapes to go with my poems, and I enjoyed these crude, primitive recordings. The best testing ground for my work was to post it on SoundCloud, a sort of aural You Tube where you can just check in and listen to anyone's music for free. Like it or not, SoundCloud is one of the best because it doesn't have that Bandcamp "You reading or you buying" vibe about it.

But, but but....SoundCloud has its set of stalkers and sharks like any other site, too. Which brings me to my story (sorry it took so long). Two months ago I posted a poetry track called Smog. It got a few hits and likes, and then I got a message from someone who claimed he was an A and R (Artists and Repertoire) aka talent scout.

The DM went something like this: "Hi Andy, this is John from R****E Records. I stumbled upon your work and was blown away by your talent. We're currently seeking artists to join our roster, and I think you'd be a great fit. Let's explore possibilities. Please share your email address so we can send over more information on our offer".

Okay, I gave him my email, and his response was, "Thank you for your response! The Chairman will reach out to you with additional details about this exciting opportunity. Please check your inbox and kindly respond at your earliest convenience. Also, make sure to follow my SoundCloud page so you can stay updated on our latest opportunities and releases".

So, I got an email from the Chairman at R***E Records, and the first thing I did was look up the label, and lo and behold, this was not only a real label, but one that had serious cutting edge artists on their roster, in fact, I even owned some of these records! Now I was getting excited. If I recorded for these folks I'd be in serious company.

I even did a Wikipedia search on the label and the label CEO listed was the "Chairman".

Okay, here's his email: "Hello, This is L*** M***, CEO of R***e Records. We had a chance to check out your sound, and to be honest there’s a spark there that’s hard to ignore. The rawness, the energy, the originality, it’s the kind of foundation that can go far with the right push.
Our label was built for artists like you: creators who are ready to take what they’ve started and elevate it. We don’t just sign artists, we invest in them, making sure they’ve got the team, the guidance, and the creative freedom to break through in today’s industry.
I’d love to connect and talk about where your music can go from here, and how R****e can be part of that journey". Cool.

I gave him my phone number, but he didn't call. His response went like this: "Hello Andy. Thanks for your interest. I’m excited to connect with you!
To dive deeper into the deal we’re offering, I’d like to arrange a brief meeting via Microsoft Teams. This will give us a chance to review the details, address any questions you might have, and map out the next steps".

So, I met him on MS Teams and he began the conversation with this: "Hello Andy. Welcome to this exciting opportunity! I’m truly looking forward to collaborating with you and supporting your growth with the R***e Records family.
Before we dive in, I want to set clear expectations for how we’ll work together. Due to the high demands of my current schedule, I won’t be available for in-person meetings or calls at this time. For security and documentation purposes, all communication will be conducted here via instant messaging. This allows us to keep everything organized and professional while ensuring we stay focused on your success. I trust that works for you, and I appreciate your flexibility".

If there were no in-person meetings or calls how will anything get done, and where's the personal contact an artist requires? This was getting weird.

So, the CEO ran down the history of the label and offered the following perks for me as an artist, and frankly it sounded incredibly far flung for an avant-garde independent. Dig this:

"What We Offer
• Publishing + Distribution – Seamless global distribution across Spotify, Apple Music, Amazon, and more.
• Financial Support – Funding for equipment, software, studio sessions, and other essentials so you can focus on the art.
• Marketing + Promotion – Strategic campaigns including playlist pitching, digital ads, media exposure, and content creation.
• Creative Freedom – We respect your vision. Our role is to elevate, not control.
• Professional Network Access – Connection with respected producers, engineers, and brand partners to accelerate your career.

Why R***e?
We’re not just a label, we’re a partner. Our focus is authenticity, long-term development, and real relationships. We tailor our approach to your unique goals and sound, making sure your career remains true to your vision".

Now look, I've made records for a lot of indies and none of them can or even want to provide all this shit. "Financial Support"? Bullshit. And don't even talk to me about publishing, the bread and butter of all composers. Once they own your publishing they can do whatever they like with your work. And...by the way, did he even mention my track Smog at all? Or any of the other tracks I posted on SoundCloud.

Quite frankly, this entire rap didn't even sound like a real person, but some AI-generated hustle that no artist would even find believeable. Here's my response to all this fairy tale spininng:

"I see, I already have publishing, so I'm fine there. What I'd like to do is to submit my next album to your label and you can distribute it if you're interested.
I currently have three albums that are available on all streaming services out there, but it would be cool to have my next release on your label". No response.

"Your label attracted me because you lean towards the avant garde - Medeski Martin + Wood, Sex Mob, etc. It's great company. All my records are spoken word with music landscapes, so it's a little off the beaten path for some". No response.

I addressed all the pie in the sky perks he had promsied by saying, "I would probably just hand you an album to release and not ask for any kind of financial advance, so it wouldn't be a huge investment". So I had responded to the Financial Support, Publishing and Recording features I was supposed to be dazzled by. No response.

THE CEO HAD VANISHED

And then returned the next day on MS Teams without contacting me in advance with this strange message:

"Good morning, Andy. For my questions:
Section 1: Introduction + Background
1. Where were you born and raised?
2. What are your hobbies or interests outside of music?
3. What’s the highest level of education you’ve completed? (Include your field of study if applicable.)
4. What typically sparks your creativity or inspires your music?
5. What’s your current employment status?
6. Have you received any music-related education or training (formal or informal)?"

WTF, this guy is insane. What is this ridiculous AI-written shit? Imagine sending this horseshit to PJ Harvey or Bud Powell. Do you really see yourself doing business with an AI-communicating dunce." My hobbies. Employment status"...Poet? Isn't that enough? Ya think? Thank God recording my poetry is just my pastime.

*************

In addition to appearing on poetry compilations it's incredible to participate on some avant-garde music compilations where my poetry can reach a wider audience. Dawn of Darkness from Chile have added my tracks Slumgullion and Transfigured Night to their latest comp, The October Experimental Compilation. You can find the compilation on both ReverbNation or The Internet Archive for free doewnloading. Here's my poem Transfigured Night for your poetry listening.

Scorpio Rising poetry album OUT NOW

Spring is here, and a young man’s fancy turns to poetry, whether it be in the form of a chapbook or a full-blown poetry album, like my new release Scorpio Rising. Named after the Kenneth Anger film (as well as dedicated to his memory), Scorpio Rising is my third poetry release and is out now for your listening pleasure.

The themes on the album run the gamut from inner city ghetto stories (Killed For His Clothes, Skyscraper Soul, Sidewalk Camp) to the occult (Bottle Tree Garden, Smudge, Sun In Scorpio) to my favorite standby, noir (Drugs And The Woman, High Speed Chase, Cocktails Cigarettes Birth Control). Yes, the femmes fatales get their due…and then some.

My noir poems continue the thread started from my previously published noir novels, these tracks can even be heard as tiny noir plot outlines.

The occult poetry is influenced by my long-lived fascination with Hollywood jazz age gothic dalliances in cults, rituals, and fetish items. Many remaining art deco homes in Pasadena and the Hollywood Hills still court the legend of being haunted by spirits. Even The Angelus Temple, a Christian showplace for Aimee Semple McPherson is known for harboring its share of ghosts.

What distinguishes this release from the others is the introduction of the Irish bouzouki on several tracks, it being a folk instrument normally used as backup accompaniment to guitars, but here used as a lead instrument.

It’s an instrument with four sets of double strings like a mandolin and tuned to a G-D-A-D, not the accustomed G-D-A-E setting. Because of this tuning one gets a droney, exotic Eastern sound. I call the tuning Gee, Dad…hoho.

I also went for a bit of drum and bass/jungle music rhythm on Cockfight and to a lesser degree on High Speed Chase, charging up the BPMs (Beats Per Minute) into the 275-300 setting, giving both tracks a manic, frantic pace to match my prose.

Here is the track listing:
1. Dogs Keep Barking
2. Killed For His Clothes
3. Skyscraper Soul
4. Cockfight
5. Drugs And The Woman
6. Cocktails Cigarettes Birth Control
7. Smudge
8. The Butcher’s Beautiful Daughter
9. Sidewalk Camp
10. Bottle Tree Garden
11. Angel Feathers
12. Sun In Scorpio
13. High Speed Chase

As usual there’s the dichotomy between electronic and folk music tracks, and in neofolk style they even converge more than a few times. If you like Current 93 or Death In June then this will strike a familiar vibe.

I’m very proud of my new collection of sonnets – sonic sonnets, if you will. Scorpio Rising is highly accessible in CD, download or streaming formats. If you want the CD it can be bought at CD Baby, Discogs, Amazon, or you can DM me for a personal copy.

Downloads can be bought at Apple Music or Amazon Music, where they can also be streamed. If you’d rather hear streams you can check it out at You Tube, Spotify, Pandora, or Deezer, where you can also stream my previous albums, Minstrels Anonymous and Sea Level Drive.

In Bed With The Bomb

I recently watched my DVD of the great documentary The Atomic Café, a stunning compilation of newsreels, television broadcasts and other mixed media about the birth of the atomic bomb and tests conducted in the West Coast desert for its development.

The soundtrack to the film is a fascinating combination of country swing and folk songs all concerning the threat of communism, the bomb, and the threat of an impending nuclear war. I normally sandwich this film in between viewings of Kiss Me Deadly and A Boy and His Dog, but that’s another story.

I wrote a poem about the film and while it’s not as contemplative as I’d liked it to be, it’s close to expressing the anxiety that ran through every American at the time. I call it In Bed With The Bomb.

In Bed With The Bomb

I was just a gleam in a physicist’s eye
the final solution from a 12 o’clock high
blowing to bits to a teeny weenie
no people atoll in my radioactive bikini

I’m in bed with the bomb
I’m about to kingdom come
drop it now, stop it how?
duck and cover, my atomic lover

Then I lost my nuclear virginity
on a hot summer’s day in a place called Trinity
caught the atomic dose
in Los Alamos
a sleepy hollow
like Castle Bravo

Got the Manhattan Project in my pocket
hydrogen, neutron, can you fuel this rocket?
shield your eyes and drop the bomb
radiation bath fries in the napalm

Waving it around like a loaded gun
take a look around now everybody’s got one
you think the answer to it all is a mushroom cloud
I’d rather see your corpse wrapped up in a shroud

I’m in bed with the bomb
I’m about to kingdom come
drop it now, stop it how?
duck and cover, my atomic lover

Well, it’s not Phil Ochs but it’s not The Weirdos, either (“we don’t really want it but we got it anyway”). Since there was so much bluegrass in the movie I decided to play my mandolin hardcore punk style to give it an urgent, bluegrass tempo. Here’s the link to the “chune”:

Andy Seven Ltd. · In Bed With The Bomb

Minstrels Anonymous Spoken Word Album Available Now on Bandcamp

Today marks the release of my first full-length spoken word CD, Minstrels Anonymous. Tracks can be bought individually for download, or it can be purchased as a CD On Demand. There will be no vinyl or cassette releases (I can't believe people are making and buying cassettes again, but whatever!).

Minstrels Anonymous is my first solo album after several decades of making noise in the trashed-out back alleys of Hollywood. Years spent haunting clubs like The Masque, The Roxy Theater, The Gaslight, The Shamrock, The Hollywood Palladium, The Whiskey A Go-Go, and a million dead ballrooms.

After years of playing ear-splitting noise punk I've settled down to playing neofolk music on my mandolin and free jazz on my pocket trumpet and tenor saxophone. Neofolk is folk music with heavy goth and industrial influences, artists like Death In June, Emily Jane White and David Eugene Edwards, formerly of 16 Horsepower and now Wovenhand, just to name a few.

What prompted a writer who swore off a music career into making a spoken word record? When the pandemic hit and I went into lockdown I released a long-shelved novel, Red Coffee, and then proceeded to work on my poetry compilation, Year Of The Bat.

After editing, re-editing and rewriting Year of The Bat to my satisfaction I sent it off to the DIY publishing house for formatting. What they sent back was a nightmare.

It looked like a drunk five-year old got ahold of the manuscript and formatted the whole thing. Titles in tiny font running into the opening lines of the poem, pages not aligned properly, fonts changing up and down for no rhyme or reason - and not bad enough to even be deemed avant garde, for Christ's sake! It was like they hated the whole project and threw it back in my face.

After a week of nagging me constantly DO YOU APPROVE? PLEASE APPROVE? and then the annoying TELL US HOW WE DID begging, I sent back a message saying KILL IT and I WANT A REFUND.

Instead of crying in my beer about the savaging of my poetry book, I sat in front of my synthesizer. Then I played with my drum machine. Then I turned on my mp3 player in dictation mode and started reading these very same poems. I've since bought a Tascam 4-track recorder, but the earlier recordings have a weird metallic vocal sound to them. That's the mp3 player.

The first recording was Hollywood Is Killing Me, which I posted on SoundCloud. Ideas for new recordings started pouring out of my brain like a leaky faucet. I made the most of my lockdown by staying in and recording constantly, until the album you're holding represents the majority of my aural output for 2020.

As spoken word artists go, my main influences are monologists like Joe Frank, Ken Nordine, Lord Buckley, and the great Gary McFarlane. The Kenneth Patchen album with the Canadian Jazz Quartet was also a major influence on my album.

I made every effort to make each and every track sound unique and separate from each other to avoid any kind of monotony, which can often mar many spoken word recordings. Some tracks have folk backing. whereas others are heavily influenced by early Seventies electronic artists like Ruth White, Delia Derbyshire's White Noise, and Jean-Jacques Perrey.

Track listing:

1. PKW
2. Hollywood Is Killing Me
3. Stainless Steel Trees
4. Disney Superstar
5. The Scenester
6. Tomboys
7. Nerdy Girl
8. Rorer 714
9. Power Trio
10. Dreams That Money Can Buy
11. Action Painter
12. Suburban Adam & Eve
13. Halloween Birthday

Minstrels Anonymous is available for download or CD format via Bandcamp.com. You can find it at: https://andysevenltd.bandcamp.com/album/minstrels-anonymous

Newer tracks can be heard at: Soundcloud.com/andysevenltd