Just One Fix

Should have the cover up by the end of the night as well as compilation details. Check back in about 6 hours!

EDIT: Up and posted.

Music Up!

Script Kiddie & Evil Inside are up for download…I’ll have lyrics + more up soon.

EDIT: info for all primary releases + live @ club spirit and remixed for the revolution up…now just need to add the compilation info & lyrics.

Coming Updates:

Going to integrate a photo gallery as well as music downloads(rar + individual tracks) hopefully within the next week. Any suggestions? Also the link to the forum(default template for now) is on the right side, feel free to pop in(I swear, it works this time)!

New Setup

Alright…due to forum issues/lack of support and updates for MKPortal…I’ll be redesigning the site through wordpress and integrating BBpress in for forums.

JP’s reply to the open letter.

JP replied to Brian’s letter on his Facebook. JP – Just let me know if you don’t want this posted here.

My response to Brian’s open letter to Shizit fans
2/4/2010 at 7:39am

I want to thank Brian for writing his open letter. I wish I had seen it when it was first posted, but I only read for the first time last night. I found Brian’s letter pretty compelling and I would like to state that I think it was wrong of me to use the name “The Shizit”. Brian, I’m sorry. Sincerely.

I haven’t changed my story, I’ve been straight up about why I released the record under that name. But that doesn’t mean it was the right thing to do. I never had commercial intentions – I’ve been releasing free music for all my projects well before this last free record. It wasn’t an attempt to avoid liability. A few years ago I found that trying to exploit music for money was making me really unhappy. I needed to change my relationship with music. I came to terms with the fact that making music has always been primarily a tool for figuring myself out. Rabbit Junk surpassed The Shizit in commercial success a long time ago – but it didn’t make me happy. With albums being distributed by a major label and actual pay checks coming in from RJ sales, it really dawned on me that this wasn’t what I wanted. I still wanted to make music, but I wanted to be free to make what ever the hell I wanted, for my own reasons – not to sell records. When I started putting out free tracks, I found the peace I was looking for. Music is a beautiful thing, easily ruined by the pressure to be profitable. Music will always be a part of my life, I will always make new tracks, but I happily gave up any ambitions in the entertainment industry a long time ago. It was never me. I’ve met the sort of people that can navigate that world – I am very different from them. That realization was hard to swallow but eventually it liberated me.

So why release under “The Shizit” and cause all this strife? Well I think it was a bad idea, and again I’m sorry. You’re wrong though, if you had talked to me I would have listened. But the one or two times you have e-mailed me in the past you haven’t so much talked to me as talk down to me. Words like “authorized” and demanding compliance with this or that never rubs anybody the right way. I’m willing to listen, but not be ordered. I’m sure you feel the same way.

My intentions: I wasn’t moving on. Year after year I was still angry. It was ridiculous.7, 8 years later I could get all fired up over what happened. I started to ask myself what the hell I needed to do to close the book on this thing. I still felt hurt. On tour in the summer of ’09, the subject came up in the van and I thought that maybe I could get some peace if I released another album under The Shizit and told my story. I thought it would have a cathartic effect. Maybe I thought I was taking back something I had given away or let go. Anger fueled the recording and the conviction of the release. And I let my anger, I let it, tell me this was the right thing to do. I take full responsibility here, I’m not passing this off as the inevitable result of hurt feelings and being angry. I had lots of options. I chose this path, and it was a trespass.

The release didn’t have much cathartic effect. I’m proud of the way it sounds – I think it’s the most aggressive thing I’ve ever done. But life felt much the same after the recording as it had before it. Then the C&D letters hit and stress hit the roof. Deciding to let the name go finally relieved the burden I had been carrying around with me. The Shizit was two people, regardless of who wrote what. It was a time and a feeling that will never happen again. It was the tear gas at WTO, Fight Club, Chomsky, youth, naivete…

So I’ve moved on. Finally. It was a long road. I decided on “The Named” as the handle for the tracks I recorded in summer of ’09. They will continue to be free and future releases will be free as well (proceeds from any merch will be donated to wikileaks.org, as I’ve stated prior to this). I have a few interviews lined up and I will be stating that my use of The Shizit was the wrong thing to do. Hopefully the enmity between Brian and I can finally rest in peace with The Shizit.


As a heads up – the Facebook and Myspace pages have been pulled down as a part of the cease and desist. I’ll do what I can to create archive pages over the next few weeks of any content that was up on the myspace page(including blogs, posts, and interviews by and with JP). I’ll have to gain permission to do so, but it’s part of the history. I’ll also be working to revamp the bio pages as well as other parts of the site.

Open Letter from Brian

January 1st, 2010

Open letter to all fans of The Shizit,

Here it is, the beginning of a new decade… The nostalgic look back is a bit cliché, but so was the demise of The Shizit, so maybe I can dispense with the nostalgia and get on with the looking back. I’ve tried to avoid writing this letter for a long time. I’m not even sure if or when I will send it, should I ever need to. I was happy to leave the past in its place, if only it would do me the favor of retiring itself. However, history is now being retold without the benefit of my account, and I can not remain silent any longer. Our story begins in the final months of 1998 when I first saw a “guitarist wanted” ad in the local weekly paper, The Stranger. The project described precisely the mix of metal and electronic music I was listening to and playing at the time. So on a rainy night in January 1999 I took the bus down to a dingy rehearsal space in the Queen Anne neighborhood of Seattle with my guitar and effects in hand. John Paul Anderson, aka “JP”, delivered on the promise of his ad; the songs he played were an impressive display of exactly the hybrid of genres I was looking to play. I plugged in my guitar and preamp into his PA, played a few songs, and self deprecatingly described myself as a “metalhead and computer geek”. I should have worn the titles with more confidence because JP said that was “exactly” what he was looking for too. It truly seemed fated. Everybody reading this probably knows the rest: we recorded some CDRs, put them up on mp3.com to much success, played a dozen increasingly larger shows around Seattle, pressed a full length CD with the help of our friend Jackson Presley, earned spots on several compilations for Cleopatra Records and DHR, and finally opened up for Alec Empire’s Intelligence and Sacrifice tour of the UK in 2002 before throwing it all away and splitting apart.

Many of you were not satisfied with the “personal differences” rationale given for the end of the band, and with good reason. It was not a very satisfying explanation for either of us to give. But the terms of our dissolution were not very friendly, and it seemed like the respectful thing for each of us to do was to not air our problems to the world and leave the legacy of The Shizit with us going out at the top. As far as I was concerned, this was the history of The Shizit and that is how it should have stayed. Everything presented above is a fact that is not in dispute. But a few facts alone are not truth, and there are a lot of details missing from this history. And here is where accounts of that history diverge.

JP is a talented songwriter. There is no disputing that, and I never denigrated his abilities, even after our falling out. He started a new band, and while it would be a stretch to say I wished him well – considering the enmity between us – I certainly didn’t wish to continue any conflict. The only thing I ever wanted was to move on and leave the legacy of The Shizit unmolested. To that extent, I hoped he found satisfaction in whatever new projects he pursued.

That, apparently, was not enough though. After a few years, it came to my attention that he was authorizing the use of tracks that we recorded together without my consent. While I didn’t object to the actual use for the projects in question, I was bothered by the violation of our shared copyrights and publishing rights without mutual consent. This actually happened twice, once in 2006 and once in 2008, despite having discussed the matter with JP on the first offense in 2006. I contacted JP, and everybody involved, including DTrash records, and made my concerns known. I still have all of the emails in question. JP claimed to no longer care about enforcing our copyrights. This surprised me, but I guess I had to take him at his word. I do care though, and I would not agree to making our works “public domain” as he described them, otherwise the works could be used for anything, potentially for something The Shizit was opposed to. It never bothered me that our tracks be free for all to listen to, or that they be remixed/reused, I only ever asked that I be consulted as was my right as co-creator. JP also said he didn’t have my contact information, but he agreed that now that he did, he would notify me about future requests. I had no contention with DTrash. I just told J. Schizoid (Jason Smith) that I didn’t enjoy being surprised by these things, and I let him know that JP doesn’t have sole authority to make such authorizations. I informed him that one of the tracks he had been “authorized” to release was a cover song, which we recorded as a work for hire, and neither JP or myself could give permission even if we both agreed to. I had no interest in the track anymore, but I thought Jason would want to know he was being exposed to liability. He also said he didn’t have my contact info, but he wanted to keep me in the loop and requested my address. We caught up a little, and I sent him all my information so he could keep me posted in the future.

More time went by, and then I was surprised again to learn that JP was releasing new material, on DTrash, and calling it “The Shizit”. If that weren’t problematic enough, he has rationalized this with an angry, self serving, one sided, public account of “The Shizit”, falsely minimizing my contributions, as if that somehow excuses him from the contracts we both signed prohibiting such action.

JP seems very concerned with claiming credit for everything The Shizit accomplished. He writes as if he’s been unfairly credited, even though I have never once tried to deny his contributions to the band. He, on the other hand, wants the world to believe that my sole contribution to The Shizit was a website and a guitar riff. Since we are making an account of credit where credit is due, let’s be clear about the course of events. After that first meeting in January 1999 we began frequent rehearsals. JP would come in with some songs on his keyboard and ideas for guitar parts. I would play the guitar parts, sometimes verbatim, sometimes improvising my own take on them, sometimes creating new harmony or accompanying parts altogether.

Then we would rehearse and he would add vocals. In May of 1999 JP suggested we formalize the band by giving it a name and signing a Band Partnership Agreement. We had yet to play a show or make a recording, but he had been in several bands before in which he had been denied credit for his work and he was very concerned that we make clear our intentions early on. We pulled the agreement from a music law book that he owned. JP was insistent that we make the partnership 50/50. Let me make this point unmistakably clear. He was the primary songwriter, and I asked him if he wanted to come up with some other division of the band in terms of copyright and publishing vs. business activity and ownership, but he was emphatic that we be equal partners in every way. Whatever he may claim to the contrary, he had every opportunity to form the partnership in the way he wanted. His feelings about this were so unchanged over the course of several years, that when we made copyright filings in 2001 and when we formed The Shizit as a legal entity in Washington State in 2002, he still insisted that we be 50/50 partners. Now, just because he was the primary songwriter doesn’t mean I didn’t bring my 50% contribution to the band. JP sought my feedback on every song. Many songs didn’t make it out of that rehearsal space. We were in there for hours every week making music and talking about politics. The first few songs that we recorded were of a very personal nature for JP lyrically, but over time we formed a political identity that came out of those discussions and dominated the lyrical content of The Shizit. I brought a technical sensibility to the table given my experience and work in computing which informed songs like 32-bit Whore. I titled several of our songs, including the track and album “Soundtrack For The Revolution”. I made key changes and contributions to parts of Point Click Kill, Audio Jihad and Econobeing. I developed several signature guitar tones that made our sound unique. I even collaborated on open source software specifically designed to program guitar effects, adding modules that made it work with my processor. I hooked a sampler up to my effects foot controller and programmed it to use live and on recordings. Again, I will never dispute JP’s talent as a songwriter or deny that he brought the majority of the material to the band that we then recorded and performed together. But I dispute any contention that the sum of my musical contribution was a single guitar riff. We created that music together. The Shizit had a sound that was more than the sum of its parts and uniquely different than JP’s future musical attempts. If my sole contribution was a riff, then why would the sound change so much in my absence? The fact that our sound was a collaboration does not take away from JP’s contributions, it only serves as a testament to the power of cooperative effort, which was not just technically, but ideologically what The Shizit was supposedly all about.

If all we had was this musical collaboration, even as good as JP’s songwriting was, The Shizit would have never been more than a local Seattle band if we did not work together on many other levels. Industrial metal was extremely underground in the Seattle scene (quite literally, at The Catwalk and The Fenix Underground). JP had digital recording gear, but he didn’t really know how to use it. I had some recording experience and since I was the “computer geek” I figured out how the Roland V-Studio worked. I grabbed updated firmware off the internet which was required to enable the virtual track features, and to allow connection of the CD burner with which it was supposed to work. Making backups with that burner proved vital when the VStudio crashed a few times, and the virtual tracking became an integral part of the multilayer guitar and vocal parts that distinguished our sound. We each brought our own influences and production techniques to the table and were involved in every aspect of recording together. The experience each partner had was a catalyst for growth and the quality of our recordings improved rapidly due to this dynamic interaction. After we had our first recordings, I got them up on mp3.com and promoted us there just as that site was taking off. Even JP will admit that he didn’t know what an mp3 was at that time. It was there that we met Jackson and Schizoid who among many others promoted and cross-promoted us on the nascent mp3.com forums. By the spring of 2000 we had climbed the mp3.com charts and reached the Top 10 across the entire site… not just our genre or sub-genre. Top 10 of the hundreds of thousands of tracks in every genre on the whole site with thousands of unique plays per day! It was then that we actually started making a small income from the ad sharing revenue mp3.com gave to artists. Before we met, he was writing songs on his keyboard in his bedroom and I was practicing guitar in my dorm… within a year of creating The Shizit together we reached the top of the charts on one of the most popular music websites on the internet.

We took it to the next level by launching our own website, which is the one thing JP is apparently willing to give me credit for, although I doubt he recognizes the countless hours I spent designing, coding and moderating the forums while he was behind the keyboard writing new songs. Similarly to the way I provided collaborative feedback during songwriting, JP had some input for our graphic design, but I was primarily responsible for designing and coordinating for print our stickers, t-shirts, and CD covers. I designed posters, booked and promoted our shows, and put together video projection content for our live set. I authored the inside text of the album artwork for “Soundtrack For The Revolution”, including the quote that would later appear on the back of of the DHR compilation “Don’t F**k With US”. I prepared promo packs, press releases, legal documents and taxes. I still have original documents and artwork all backed up in my archive. When you ordered a CD or t-shirt, I was the one who packed it up, applied the custom designed labels, and took it down to the post office to ship it to you.

Of course, we didn’t do everything ourselves, we were extremely lucky to have contributors like 3d animator Jeremy Ray who provided the inside cover art for SoFTeR and even made a prototype video game featuring JP and myself. Artists all over the world contributed to remixes that we organized, as well as to a tribute remix that was organized by DTrash after we broke up. Jackson helped us put out our CD, and of course our street team promoted us all over the world.

Every band owes its success or failure to more than just song writing. In addition to good songs, you also need to put in a lot of hard work and usually find a little luck to be successful. I also think that hard work tends to generate “lucky” opportunities. A lot of people helped us out over the years, and we were lucky for it, but nobody worked harder than I did to generate the success we had. The Shizit embodied DIY in every way, not just songwriting, and without my contributions that would never have been possible. These are mundane details to have to take credit for, and I don’t recount this to say that I did this or that more than JP. Like all of the work we did, this work was attributed simply to The Shizit. I did this work unpaid (and apparently unappreciated) because I was building equity in project I believed in and hoped I could make a sustainable living at. We had complementary skills that truly made for an equal partnership. We each had strengths that balanced the other person, but we were both involved in every aspect of that band for just under 4 years. More than that, we had what I thought was a friendship born of a common bond of shared values and interests. We talked about politics, books and films, we were at N30 to protest the WTO together, we played video games and shot the hell out of each other in the woods with paintball guns, and of course we created a revolutionary sound together. We talked about conducting a different kind of business in the music industry, striving for a more ethical and sustainable culture in the scene and the world in general. Looking back, it is still hard to understand how a brotherhood so powerful could be destroyed and values betrayed so easily. I thought The Shizit was supposed to be a cooperation… cooperation between two partners… cooperation between the music and the community of fans who gave their vital energy back to us and who became a part of a public discourse that we didn’t own but rather fostered. It is clear now that JP did not see it as a cooperation, but rather a corporation, a resource to be exploited, whose constituent parts were to be divided up, made assets of, given arbitrary value and credit taken for each bit.

In 2002 we legally formed ourselves as a Limited Liability Company to accurately and legally account for the income we were starting to make. I managed the regulatory and tax work, JP managed the bank account. We added a DJ, Jason Alberts, to our lineup. We got onto the DHR compilation and played a showcase that Jason and I booked at the EMP in Seattle, which to this day was one of my favorite memories of the band. After that show I decided we should just make our way onto an opening spot for Alec Empire’s UK tour. While our fans in Seattle were comprised of a core group of street team members, we had a much larger following in both London and Glasgow due to some DJ’s spinning our tracks there and a more compatible music scene for digital hardcore and industrial metal. I was confident that if we invested on our own up front to open for a huge act like Alec, we could return to the UK later and make our dream of being in The Shizit full time a reality. We called DHR on the phone, talked to their lawyer and to Alec, and told them we would take all the risk, buy our own tickets and rent our own transport if they’d let us open, and they agreed. I quit my job and organized every aspect of that tour, with the exception of the carnet list (an important piece of customs regulation for gear) which JP arranged.

I wish I could only remember the great things about that tour: Traveling to London for the first time, driving around the country in our rented RV, meeting some awesome street team members, working with an amazingly professional tour crew and manager (who saved our asses by repairing our voltage converter on the spot), touring and hanging out with Alec, playing in front of sold out shows of thousands of people who knew our songs and were thrilled to see us play. I would do it all over again, despite the fact that it ended the band.

As I always do, I kept an extremely detailed travel journal and could make a lot of accusations about the events of that tour, but it would be hard to talk about fairly since we obviously didn’t get along and were unable to resolve whatever disputes we had. It really is better left in the past. I will reserve my account and say only that when we returned to Seattle we were both unhappy with the other person. We returned to our rehearsal space to discuss our disagreement, but that only served to release the pressure valve which allowed tempers to flare. Words of anger were said by both sides. We took our dispute to mediation as our partnership agreement dictated. My hope was that we could work through our differences, understand what was bothering the other person, regain our friendship, and continue our ass kicking rise to a self sustaining musical career. But there was to be no understanding. He had no interest in working with me or continuing The Shizit. He apparently had extracted all the use out of me that he could and decided to call it quits. Despite my hopes that we could rise above the petty differences that ended so many other bands and forge that new ethos and sustainability we had talked about, The Shizit ended in a very clichéd way.

At no time in the four year existence of The Shizit, nor during our falling out, or during our mediation, did the issue of contribution and attribution come up. The 50/50 nature of our partnership was never in question. JP never once claimed that he felt our arrangement was unfair, not until now. We fought about many things during that mediation, but this was simply not one of them. That was the forum and opportunity to air all grievances, and the only issues that came up were specifically related to disputes that arose on the tour. Just because we had a personal dispute, that does not change what happened in the past. That we are no longer on good terms does not mean we should lie about each other now and twist the truth to malign the other person. What could be more of a cliché than for a former band member to make their claim to the name and work that was produced together? Do not take his word for it, nor mine. The record should speak for itself. Fortunately I have all the documentation archived to back up my claims.

The terms of the agreement that came out of our mediation were very clear on two points.
1) Neither party can claim sole ownership of the previously recorded songs.
2) Neither party could claim sole ownership of the name and trademark “The Shizit” for their own use.
These are pretty standard agreements when a band breaks up, unless the formation of the band gives one person a majority stake. The language of these provisions came straight out of the band partnership agreement that JP was so insistent we use, and carried over to the mediation agreement. This language is meant to prevent exactly the situation we are in now and to eliminate any ambiguity about who “The Shizit” was. The agreement is eminently fair to both parties. It respects the work of both parties equally after dissolution, just as the shares were equal during the partnership. It is meant to prevent one party from trading on the reputation that the other party helped build. I am certain that if I authorized the use of tracks without consulting JP, or if I were using the name “The Shizit” for my own purpose, he would take great issue with such a violation.

There is no legitimate purpose for reviving the name of The Shizit. After choosing to put an end to the band, and claiming not to care about enforcing copyrights, now seems a strange time to decide that the name itself has some unique significance to which only JP is privileged. If my contributions to the band were really so small, then surely he should be able to make any new project he puts his efforts toward just as successful. If however the name itself holds the kind of power that JP feels he must exploit to promote himself (and to benefit his other projects), then I must have added something to give it value. Either way, logic and our signed contracts both dictate that my rights not be violated, and the name of The Shizit be left to its legacy. Left unchecked, I can only imagine that he would continue to exploit the name, release recordings and perhaps even play live shows illegitimately using the name. For all I know this release was testing the waters to pave the way for just such future action.

So here I am at the beginning of this new year with the undesirable task of having to have my attorney send cease and desist letters to all of the parties involved. This letter, along with copies of all contracts, communications, accusations and violations will serve as a historical record to archive these events in their entirety. I don’t look forward to rehashing this old conflict, but JP has really left me no option. I do not know what the reaction to these letters will be. I truly do not wish to prolong any conflict. I just want my contributions to be respected, our contracts to be honored, and the legacy of The Shizit to reflect the hard work and creativity we both put into it. The Shizit could not have existed and cannot exist as one person without the other. The Shizit does not belong to JP. Conceptually it belonged to all of you and to us during a specific period of time. Legally it can only be managed by mutual agreement between JP and myself.

I knew that contacting JP or DTrash myself would be fruitless because we had already covered this ground, most recently in 2008, and here they were less than a year later putting this work out. If either party were interested in my opinion they both had my contact information before putting the new work out on the internet. In fact they had not only the opportunity but the obligation to do so. It is because they chose not to contact me first that this action is necessary. This was strike three after my previous attempts to handle the violation of our contracts personally between us. I wish this was something that could be handled with a phone call or an email, but I needed to detach myself emotionally and logistically from the execution of these requests since my previous attempts over the past several years to contact them directly were basically ignored. I don’t seek to stifle anybody’s creative pursuits, as long as those pursuits do not violate my rights. In fact I don’t seek anything from either party other than they stop using “The Shizit” in this way and that they retract these illegitimate uses of the name. The contracts are unambiguous, The Shizit was purposely disbanded and everybody involved is explicitly prohibited from unilaterally exploiting it for their own purposes. It is time for everybody to move on.

It is unfortunate that these measures are necessary. As I stated, I wish only that the legacy of The Shizit be left untouched. It is sad that the last chapter of The Shizit has to dredge up the past and add more dispute instead of honoring the values and ethics we trumpeted. I’ve tried to present this as fairly as possible, and I don’t ask for people to take sides, but I felt it necessary to present my side of the story and get this off my chest.


Brian Shrader – formerly of The Shizit

PS: Several weeks have passed, and the necessity of this letter is ever more compelling. DTrash and JP have both responded with less than pleasant personal attacks. They are obviously angry that they’ve been caught trying to fly this under the radar and are now forced to publicly retract their distribution of the illegitimate use of “The Shizit”. They feel that they need to ridicule me to excuse their behavior. The personal aspersions are unfortunate. They are also laughably and demonstrably false, and while I will not engage in tit for tat rebuttal I will say that each claim can be judged against the history I have presented as dispassionately as possible here. You all deserve more from The Shizit than petty personal arguments.

I am actually quite surprised at this response given that I ask for very little, despite the repeated transgressions that have been made. I have not sought any compensation. Quite the opposite, I undertake this at my personal expense with nothing to gain other than restoration of my rights. This whole affair should not be personal, it should be business. As I wrote originally, I don’t wish to stifle anybody’s creativity. There is no reason that new works need to trample over the legacy of The Shizit. They are free to release whatever works they want, for free if they choose, so long as a new original name be used. For all I care, make it public domain, release it anonymously and let the music speak for itself if you want to. In fact, it was I who suggested that we make The Shizit tracks available as free mp3 downloads back in the day, and argued for making available source tracks for remix projects. JP was always skeptical about freely releasing tracks for download, arguing that we release fewer free tracks from SoFTeR. He only now offers new material for “free” because he knows that trying to sell tracks as “The Shizit” would expose him to liability. His story has now changed several times since releasing this material and receiving the request to cease and desist. Maybe he regrets it now because it has limited his ability exploit The Shizit for his own purposes, but JP always insisted on the contracts, repeatedly, over the course of several years, both the ones we signed, and the ones we had remix artists sign. Our contracts were well designed, professional documents that we both carefully considered before signing. Being angry at the other person does not excuse either of us from the obligations we made in our contract. That is the entire point of having a contract in the first place. Use of the name now belies any other intent besides naked exploitation for publicity. That is not what The Shizit was about. It is ironic that as this is all happening, the world has just lost J.D. Salinger, who despised fame and phoniness, and Howard Zinn, whose assessment of history illustrates that power seekers manipulate dissident people with shared goals into false conflict with each other in order to weaken them and maintain control. It’s as if integrity everywhere has died just a little bit more.

I only ask people to judge the truth of claims for themselves: who sought to gain from their actions? I seek nothing but the restoration of my rights and the true history of The Shizit.


Alright…some changes are due soon: Brian has sent a cease and desist letter concerning several issues, which is the reason JP has changed the name. I’ll be including relevant info on both, their side projects, as well as some more background info on the band. Some changes may be changing of recent cover art/track names/links.

Name Change

Looks like there was some dispute over the shizit trademark and JP is changing the name of his solo effort….will keep everyone posted.


Released free from D-trash records: http://www.archive.org/details/Dtrash138-TheShizit-TheShizit

Released originally as a shizit album…JP has now named his new project No Category for now.

11 tracks of amazing music. Get it now!

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