“Peachfish” is one of the album’s erotic re-entry points: a compact ritual song built from gasp, pulse, hunger, shimmer, and surrender. Within KILLSWITCH, it functions as a bodily counterforce to fatigue, outrage, and procedural deadness—less a love song than a private liturgy offered out loud. The lyric turns on touch, appetite, and undoing, while the larger project frames KILLSWITCH as self-help pop for people who do not trust self-help.

A Time Before Thumbs is a black-and-white comic-tract video work from MC Debris’s Kill Switch, a project about platforms, attention economies, outrage loops, and the strange human machinery built around the phone. The piece imagines a world where thumbs are no longer just body parts but signals, weapons, votes, metrics, and devotional tools. In its visual language, crowds, brokers, algorithms, and witnesses become trapped inside a system that turns feeling into data and data into control. Funny, bleak, handmade, and ritualistic, A Time Before Thumbs sits at the intersection of experimental music video, political cartoon, digital folklore, and platform-era horror.

Orange Julius Caesar: The Abrego Gambit™ is a 101-second mixed-media satire about deportation, spectacle, and bureaucratic cruelty. Set entirely inside a fictional U.S. Embassy gift shop in San Salvador, the short recasts wrongful removal as Deportocracy™: a consumer-friendly system of mugs, shirts, slogans, and press-room evasions. OJC turns legal harm into collectible branding, but the cartoon world briefly breaks open into a stark cell cutaway, making clear that the joke is about the machinery, not the person trapped inside it. The project combines writing, voice performance, AI-assisted visual development, editing, music, and sound design into a compact “narrative stress test” for the Orange Julius

AL-LA-LOGO! AL-LA-LOGO! — from the forthcoming album Year of the Beat

SoundCloud:

“AL-LA-LOGO! AL-LA-LOGO!” is a sample from MC Debris’s forthcoming album Year of the Beat, a project rooted in a 2014 research trip to Wuhan University and shaped by Chinese visual culture, shanzhai aesthetics, translation, commercial mythology, and surreal pop collage.

The song represents the logo/commodity/copy side of the album world. It treats imitation not simply as theft or cheapness, but as a strange form of reverence: the copy as prayer, the brand as idol, the duplicate as a new truth. In the visual and lyrical universe of the track, fake export labels, commercial slogans, product seals, masks, video-game imagery, and knockoff pop icons become part of a handmade mythology of mass production.

As a portfolio piece, the track shows composition, lyric writing, AI-assisted production direction, vocal design, visual concepting, and album-world development working together. It is not just a song, but a designed artifact from the larger Year of the Beat system: funny, overloaded, mystical, synthetic, and sincere about the beauty that can survive inside copies, mistranslations, and commercial noise.

Nüshu (Ten Feet Tall)（女书：十尺高） — from the forthcoming album Year of the Beat

“Nüshu (Ten Feet Tall)” is a forthcoming track from Year of the Beat, an album project built around China, translation, shanzhai aesthetics, hidden language, feminine ascent, and the strange afterlife of old songs.

The piece draws on Nüshu, the women’s script associated with Hunan, as a symbol for speech that was never absent, only unread. Musically, it moves between eerie minor synth verses and bright Western grand-piano choruses, turning hidden writing, shoes, thread, bread, kitchen, fire, and memory into a clean, strange art-pop ritual of belated recognition.

This sample project presents the song as a compact portfolio example: composition, lyric writing, AI-assisted production direction, vocal design, visual concepting, and album-world development for a larger body of work.