In The Sub-Nasal Chamber an elite sect of Cult members receive a trans-real tarot reading. They are faced with sub cultural paralysis in the minor groove of RAM:ELL:ZEE’s nasal cavities or next level cult status in the major nasal grooves. The Cult perform rituals at sites of gentrified dereliction to highlight the alchemic power of Hip Hop. Starting out under the Westway in London, The Cult take on Terminus 5 in Slough and then traverse the Ghost Yard, an abandoned train depo on the outskirts of the Autobahn in Berlin. Finally the Cult end up at the cold war listening post at Teufelsberg (Devils Hill) looking for the perfect beat.
The Cult’s obsession with recently deceased rapper/graffiti philosopher RAMM:ΣLL:ZΣΣ is manifested through performing group rituals that sample elements of 1980’s Hip Hop culture, now fast receding into a subcultural graveyard. Hip Hop phrases are broken down and chanted, pointing to an obsessional affiliation with branded sportswear (“My Adidas!, My Air Jordanz!”). Adidas becomes the remixed god ‘Zi-Dada’ and Robert Moses — master architect of the Cross Bronx Expressway (The road partly responsible for the dystopian backdrop of 1970’s South Bronx where Hip Hop began) — becomes the god ‘Mozizizm’.
The Cult perform express-praying, ghost breaking and break-spraying;~ forms of breakdancing and devotional body movements that hint at the original form of breakdancing combined with elements such as spray painting in a ritual expressive form on off-cut kitchen lino (A surface reconfigured for head-spinning in the 1980’s). These elements are also echoed in the outfits and objects of the Cult. Discarded branded trainers are cut up (the soles removed) and used as talismans, futuristic shinguards and bulky sports padding are reconfigured into post-apocalyptic cult armour — reverberations of the exoskeletal samurai suits of the RAMM:ΣLL:ZΣΣ.