ripley's article about the blogger takedowns.

this is illustrative of the sort of activity which presumably gets them to delete your posts:

larvae: loss leader (2008). yadda. too idm? i'm ultimately ambivalent.

barbie puker: génie toxique des barbares (2007). it's a little hazy to me now, but if memory serves, barbie puker is maybe half of the tremendously banging les sécrétions romantiques (i think this is so but i am prepared to be wrong. maybe it's the other way round and les sécrétions romantiques is half of barbie puker? i'm pretty sure there is some connection). les sécrétions romantiques' fast and furious (also '07) is freely available as zip from sociopath. you can get some other great stuff of theirs from here. hail.

spl: the deaf (2008). dnb.

ewun - wun nation (2008). also dnb. i don't even like it i don't think. i can't tell. maybe it's boring?

broken note: fueling the fire (2008). bass.

abelcain and cdatakill: passage (2008). truly wicked complex dark.

dolphin / deathmachine / autopsy: pacemaker (2008). 3 tunes of banging of head from each. if a password is required it will be LKE.

hellfish: the anti-citizen (2008). nuff said.

tieum: ready to party rmx ep (2008). booom.

supply module: practitioner of selective simulacrum (2008). supply module, frankly, sounds pretty pissed off.

va - neurotic waste sampler 04: mundane impairment (2008):
a1 fracture 4 - re-motional turbulence
a2 supply module - mundane impairment
b1 robbers & stanez - a calf that sucks knowledge from the udders of authority
b2 ram - fuckem bitch ('07 rmx)
b3 dbn - open your mind for red-yellow-green mankind

the speed freak: freakwaves (2008). more 4/4 core.

sickboy: time to play (2008). no introduction needed.

cardopusher: milk thistle (2008).

cardopusher: unity means power one and two (2008). everyone should listen very carefully to cardopusher, i know i do, and it pays off.

bruno and michel are smiling and skipperrr: cmon (2008).

handbag/abba: first blood (2008). brilliantly demented mashing on the always excellent spb.

curses!: hungry 4 love (2007). curses is a pseudonym of drop the lime. further ambivalence on my part i think.

last step: 1961 (2008). last step is of course the snares man in a certain type of mood which warrants some kind of attention from somebody.

va: rus zud 10 (2008):

01 dj p-r-z a.k.a [pro-z] - termination of childhood (intro)
02 sah - waiting shrooms
03 noize - death (ruszud #10 anthem)
04 alex tune - dream that i saw
05 alex tune - listen to your hardcore
06 rivak - 1200 mashed pills
07 uoki-toki - opera space dog
08 arena - freestyler
09 uoki-toki - the small hadron collider
10 sa†an - all of you will burn in hell!
11 look-in-jah - meat grinder
12 distimia and uior - childhood
13 gabbenni amenassi - bad bwoy
14 frontcore - destroyer (remix)
15 dj belkin vs the second compressor - fly
16 dj belkin - soldat
17 klp 521 42 inc. - machine test
18 klp 521 42 inc. - sancta sanctorum
19 gnomcorps - death of jumper

comp from rus zud (it's actually the 82nd rus zud release). i will listen to anything that involves noize and gabbenni amenassi.

bong selecta: gangsta / guntest (2008). hardcore junglism.

lisbent: 2nd portrait (2008). the latest mayhem from lisbent on illphabetik.

some archival research produced the following noteworthies:

the electric noise twist: untitled. industrial jazz type thing from 1989.

the kaboogie livesets from various legends who came to dublin (bizzy b, remarc, bong-ra, dj c among others).

bomb 20 remains, in fact, the bomb:

bomb 20: female eq one & two (1997).

bomb 20: field manual (1998).

bomb 20: reality surpasses fiction (2003). an interview with bomb 20 from 1999.

and in the grind:

agoraphobic nosebleed / insect warfare split (2008).

spasm: lust for feculent orgasm (2005). chunky crusty grindy sound. they have a new album out this year called paraphilic elegies, i haven't heard it yet.

eviscerated: eviscerated (2008). it does exactly what it says on the tin!

probably one of my favourite discoveries of the year is the band ruth. they surfaced on my radar on a couple of '08 compilations, among them ivg vol.1 futur antérieur, france 75/85. also bippp - french synth wave 1979/85 from 2007. maybe it's overkill at this stage, but they were also on so young but so cold: underground french music 1977-1983 (2004). anyway, once i heard the album:

ruth: polaroïd/roman/photo (1985).

i was plunged into a kind of frenzy of synthpop / minimal-wave / whatever-this-stuff-is-called listening. it's even worse than the 60s girl group thing, which i've really only just started getting over. the ruth album is evidently out of print. i especially love the 6th track. if you can't be bothered to download it, it sounds like this:

why we are in 1930s ukraine for the video, i don't know. thierry müller from ruth is so completely legendary that his previous project, ilitch, is on the nww list. the album in question is called 10 suicides and was released in 1980.

merry new year.



music of our time 1

music of our time 2

i don't have much information on this amazing audio document. but if you are in any way interested in the history of electronic music and how electronic music was understood 40 years ago it will likely be engaging (there is a chance of neostalgia). i guess it was originally put out as a promotional freebie for the record label - columbia. not too sure what the copy i got of it was associated with, but it seems to be something to do with the creel pone reissues series.

i have a ton of links to post.

dnb tracks: lots of drum'n'bass for dl (requires registration), and some other stuff going on too.

also: harry and the potters, the pioneers of wizard rock. better check em fast though because they say they won't tour beyond 2008.



and i don't mean the country.


dancecult: the journal

Dancecult: Journal of Electronic Dance Music Culture (DJEDMC)

The journal is an extension of the international EDMC research network Dancecult (which has a home at www.dancecult.net). It uses the Open Journal Systems software developed by the Public Knowledge Project, and has an advisory board of international experts.

Idea and Scope:

Dancecult is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). A platform for interdisciplinary scholarship on the shifting terrain of EDMCs worldwide, the journal houses research exploring the sites, technologies, and cultures of electronic music in historical and contemporary perspectives. Playing host to studies of emergent forms of electronic music production, performance, distribution, and reception, as a portal for cutting-edge research on the relation between bodies, technologies, and cyberspace, as a medium through which the cutural politics of dance is critically investigated, and as a venue for innovative multimedia projects, Dancecult is the forum for research on EDMCs.

From dancehall to raving, club cultures to sound systems, disco to techno, breakbeat to psytrance, hip hop to dub-step, IDM to noisecore, nortec to bloghouse, global EDMCs are a shifting spectrum of scenes, genres, and aesthetics. What is the role of ethnicity, gender, sexuality, class, religion and spirituality in these formations? How have technologies, mind alterants, and popular culture conditioned this proliferation, and how has electronic music filtered into cinema, literature and everyday life? How does existing critical theory enable understanding of EDMCs, and how might the latter challenge the assumptions of our inherited heuristics? What is the role of the DJ in diverse genres, scenes, subcultures, and/or neotribes? As the journal of the international EDMC research network, Dancecult welcomes submissions from scholars addressing these and related inquiries in the fields of anthropology, cultural studies, sociology, ethnomusicology, popular music studies, history, media and communications studies, politics, legal studies, criminology, studies in religion and other fields.


Besides editorials, featured articles (5000-8000 words), and book/ film reviews (1500 words), the journal will publish articles "from the floor", i.e. shorter peer-reviewed pieces, which include field reports, mini-ethnographies, and interviews (1000-3000 words). Solicited by the editors, Dancecult will also feature Conversations designed to provoke dialogue concerning contemporary issues in the field. DJEDMC will be published biannually.


This is an open call for content to the first edition of Dancecult.
The journal features a fully electronic submission and reviewing procedure. Once you have logged in and registered as an author you will be able to submit content to the journal by clicking on "Author" in your "User Home" column. Once submitted, you are able to track the status of your submission.
Dancecult uses the Open Journal Systems software developed by the Public Knowledge Project. http://pkp.sfu.ca/?q=ojs

Huge thanks to Managing Editor, Eliot Bates, who has been instrumental in the journal's technical development and web-hosting.

Graham St John (Chief Editor)

the journal will be hosted here.


out a while and already posted everywhere ever, but still worth the link (especially as the zshare link is down), and possibly also the hype; some stand-out moments and i should probably have posted it ages ago:
top ranking


'whispering grass (don't tell the trees)', by the ink spots (1940). scarily brilliant, and also, to me at least, plain scary in some kind of way.


the jungle preserve - oodles of hardcore and jungle mixes and pirate radio sets from back in the day:
The basic requirement for mixes included in the archive is being recorded in, or before, 1995 & essential for illustrating the growth & evolution of whats generally known as Jungle music.

Maximum boost & all credit due to the DJ’s, MC’s, Music Makers, Promoters, Radio Stations, Studios, tape rippers, file sharers, and original posters of these.


if you wondered where i got my ace flash label cloud to the right there, and coveted it and wanted one for your very own, well, it came from here.
lots of people have one you know. but just in case you were wondering.



while looking for a bibliography put together by paul hodkinson, i stumbled across this ma thesis available as pdf:

does nme even know what a music blog is?: the rhetoric and social meaning of mp3 blogs

it (mis)quotes my cybersounds chapter. but even cooler than this is the fact that it is out there in the first place: i haven't been looking all that hard, but i do not see much academic work on music blogs. plus i am not familiar with the theoretical references. it is evidently also available in print.


cdr: red ransel

cdr release from czech netlabel amenorea.

there's also a recent cdr on crd!

another japanese artist, who actually might or might not be cdr:
gunslinger-r: digital nerdcore

plenty more where that came from.

form 696

in the uk:

The 696 Form compels licensees who wish to hold live music events in 21 London Boroughs to report to the police the names, addresses, aliases and telephone numbers of performers, and most worryingly, the likely ethnicity of their audience. Failure to comply could result in fines or imprisonment. We believe this places unnecessary and frankly Orwellian powers in the hands of the Metropolitan Police, an institution which does not have the best record of racial fairness. The 696 form can only serve to deter the staging of live musical events - a positive form of activity in London and all cities - stifle free expression and quite possible penalise certain genres of music and ethnic audiences. It is an intrusion too far.
how do they justify wanting to know that kind of information?


originally self-released, on cassette, in 1994.

nasenbluten: i'll make them pay

indispensable classic, sourced you know where.


dst (skewer): noize parasite

an excellent 2008 hardcore mix from these folks (46 mins 38 secs).


no clean feed!


oh noes.


the digital youth research project has released its findings, having conducted 3 years of ethnographic research costing $3.3 million, with 22 different case studies, 28 different researchers, 800 interviews and macarthur foundation funding. it is likely the largest study of its kind thus far, and certainly the largest study ever conducted on the technology use of young people in the united states.

here's the link to the summary of their findings.

here's where the full report is.

conveniently, this guy rendered the full report as a single pdf so it doesn't have to be read online.

you may also want to look at their bibliography.

the project has developed a taxonomy of 'hanging out', 'messing around', and 'geeking out'.
danah boyd furnishes more specific details as follows:


Over three years, Mizuko Ito and her 28-person research team interviewed over 800 youth and young adults and conducted over 5000 hours of online observations as part of the most extensive U.S. study of youth media use to date.

They found that social network sites, online games, video-sharing sites, and gadgets such as iPods and mobile phones are now fixtures of youth culture. The research finds today's youth may be coming of age and struggling for autonomy and identity amid new worlds for communication, friendship, play, and self-expression.

Many adults worry that children are wasting time online, texting, or playing video games. The researchers explain why youth find these activities compelling and important. The digital world is creating new opportunities for youth to grapple with social norms, explore interests, develop technical skills, and experiment with new forms of self-expression.
These activities have captured teens' attention because they provide avenues for extending social worlds, self-directed learning, and independence.


- Youth use online media to extend friendships and interests. -

Most youth use online networks to extend the friendships that they navigate in the familiar contexts of school, religious organizations, sports, and other local activities. They can be always "on," in constant contact with their friends through private communications like instant messaging or mobile phones, as well as in public ways through social network sitessuch as MySpace and Facebook. With these "friendship-driven" practices, youth are almost always associating with people they already know in their offline lives. The majority of youth use new media to "hang out" and extend existing friendships in these ways.

A smaller number of youth also use the online world to explore interests and find information that goes beyond what they have access to at school or in their local community. Online groups enable youth to connect to peers who share specialized and niche interests of various kinds, whether that is online gaming, creative writing, video editing, or other artistic endeavors. In these interest-driven networks, youth may find new peers outside the boundaries of their local community. They can also find opportunities to publicize and distribute their work to online audiences, and to gain new forms of visibility and reputation.

- Youth engage in peer-based, self-directed learning online. -

In both friendship-driven and interest-driven online activity, youth create and navigate new forms of expression and rules for social behavior. By exploring new interests, tinkering, and "messing around" with new forms of media, they acquire various forms of technical and media literacy. Through trial and error, youth add new media skills to their repertoire, such as how to create a video or game, or customize their MySpace page. Teens then share their creations and receive feedback from others online. By its immediacy and breadth of information, the digital world lowers barriers to self-directed learning.

Some youth "geek out" and dive into a topic or talent. Contrary to popular images, geeking out is highly social and engaged, although usually not driven primarily by local friendships. Youth turn instead to specialized knowledge groups of both teens and adults from around the country or world, with the goal of improving their craft and gaining reputation among expert peers. While adults participate, they are not automatically the resident experts by virtue of their age. Geeking out in many respects erases the traditional markers of status and authority.

New media allow for a degree of freedom and autonomy for youth that is less apparent in a classroom setting. Youth respect one another's authority online, and they are often more motivated to learn from peers than from adults. Their efforts are also largely self-directed, and the outcome emerges through exploration, in contrast to classroom learning that is oriented by set, predefined goals.


New media forms have altered how youth socialize and learn, and raise a new set of issues that educators, parents, and policymakers should consider.

-Adults should facilitate young people's engagement with digital media. Contrary to adult perceptions, while hanging out online, youth are picking up basic social and technical skills they need to fully participate in contemporary society. Erecting barriers to participation deprives teens of access to these forms of learning. Participation in the digital age means more than being able to access serious online information and culture. Youth could benefit from educators being more open to forms of experimentation and social exploration that are generally not characteristic of educational institutions.

Because of the diversity of digital media, it is problematic to develop a standardized set of benchmarks against which to measure young people's technical and new media literacy. Friendship-driven and interest-driven online participation have very different kinds of social connotations. For example, whereas friendship-driven activities centers upon peer culture, adult participation is more welcomed in the latter more "geeky" forms of learning. In addition, the content, behavior, and skills that youth value are highly variable depending on what kinds of social groups they associate with.

In interest-driven participation, adults have an important role to play. Youth using new media often learn from their peers, not teachers or adults. Yet adults can still have tremendous influence in setting learning goals, particularly on the interest-driven side where adult hobbyists function as role models and more experienced peers.

To stay relevant in the 21st century, education institutions need to keep pace with the rapid changes introduced by digital media. Youths' participation in this networked world suggests new ways of thinking about the role of education. What, the authors ask, would it mean to really exploit the potential of the learning opportunities available through online resources and networks? What would it mean to reach beyond traditional education and civic institutions and enlist the help of others in young people's learning? Rather than assuming that education is primarily about preparing for jobs and careers, they question what it would mean to think of it as a process guiding youths' participation in public life more generally.


i am super excited about this gig. i've been waiting for it for months and it will undoubtedly be the dublin grind gig of the year. disgorge are legends and sarcosis, who are on the bill, are an incredible local band - i saw them play fibbers before. roll on friday.

dead infection: corpses of the universe

from białystok (poland).

drowning in phemaldehyde: blistering corpse abortion

out of south carolina.

flagitious idiosyncrasy in the dilapidation: flagitious idiosyncrasy in the dilapidation

from tokyo.

it wasn't until i looked up flagitious that i realised the name of this band actually has a (rather good) meaning. this is their first official album and they also have a split out with insect warfare this year.

links sourced i don't know where, but metalazo, who i thought was something to do with these guys, can seemingly be found here.
violent slamming guttural gore groove; stay brutal.


slsk is being taken to court in france.
we knew this was coming for a while, but we'll have to see now how it pans out.


what the hell was this movie about? i didn't get it. i know there wasn't much to get, but it just didn't make sense. maybe i should stop watching these things.




get your painslut on.


hip hop bootleggers!

too much.

'Fathme and Cock Rock Disco present:
"The Beast Within"

On the exact stoke of midnight a foul evil was unleashed upon the hapless world. 14 decaying flesh-eaters were asked to cannibalize their favorite 80's horror films and the result is a defamation to all that is holy. Fathme and Cock Rock Disco team up to give you this repellent mp3 compilation in hopes that all goodness will be drained from the world, one free download at a time...'



heavy metal & gender cfp

An international conference, held on Thursday 8th - Saturday 10th October 2009 at the University of Music Cologne / Hochschule für Musik Köln, Germany

Heavy metal is music of men and women. But even though it generally attracts as many female as male fans today, heavy metal often emphasizes sexual differences. According to stereotypes, heavy metal is rather masculine than feminine because of its power, aggressiveness, often even ugliness, and its transgressions of cultural norms. From this perspective the under-representation of female metal musicians seems natural as much as women’s interest in metal is often considered abnormal or even inappropriate. However, research on music and gender has increasingly shown that gender roles and differences are not natural laws but complex results of socialisation, cultural mediation, and discourses which change over time.

A wide range of questions

The 40 years old heavy metal genre offers a wide range of questions about gender constructions in musical culture. Obviously, heavy metal has always been dominated by representations of masculinity. This can be identified for instance in the virtuoso playing style of the electric guitar, which is mostly regarded as a masculine instrument, in macho stage shows, warrior images, or in the almost total exclusion of female musicians in the extreme subgenre of black metal. On the other hand, there is a minority of female musicians in heavy metal, including outstanding examples as Doro and Angela Gossow, and their number increased in the past years. Metal women have developed their own images, partly in strong contrast to their male counterparts and to mainstream female images. Women’s participation in heavy metal has recently become subject of discussions in magazines, internet forums and popular DVD documentations as Sam Dunn’s “Metal: A Headbanger’s Journey”. Further, queer positions evading common heterosexual dichotomies occur in metal, too, for instance in forms of gay metal communities.
The field is wide and the challenge is: How exactly are heavy metal and gender related?

The goal of the conference

The goal of the conference is to discuss issues of heavy metal and gender from an interdisciplinary and international perspective. It aims at examining a broad variety of periods, places and subgenres of heavy metal culture and any of its parts including song structures, lyrics, performance practices, visual representations, positions of musicians and fans, local and global scenes, critical and scholarly discourse.
Heavy metal studies as well as gender studies have improved their fields of research and methodology in recent years. Thus it is to be expected that an interdisciplinary discussion of heavy metal and gender today will lead to innovative impulses for research and bring forth new and unexpected results.
It will be the first scholarly conference on heavy metal in Germany and the first metal conference world-wide, which focuses on issues of gender.

Call for Papers: Deadline extended

We welcome contributions from the broadest spectrum: Musicology, Gender studies, Cultural studies, Sociology, Literary studies, Media studies etc.
The conference language is English.
We are happy to announce that we received many interesting proposals already before 31st October. Thanks to all who submitted an abstract!
Because of the huge interest in the issue at the Inter-Disciplinary.Net conference “Heavy Fundametalisms” 3rd - 5th November in Salzburg, we decided to keep the call open until 16th November.
Abstracts of no more than 300 words should be sent to:

Dr. Florian Heesch
History Herstory
University of Music Cologne
Email: heesch(at)mhs-koeln.de

We plan to publish the conference proceedings.

More info at http://www.metalandgender.de/


as keith kahn-harris points out, this will be (after the one that just took place in salzburg) the second ever international academic conference on metal, and the first on gender and metal.


the sixth full-length from the artbreaker, experimental breaks on the aforementioned more recordings. eyes peeled for the forthcoming debut release from bludclot.
anyone who does something different with paper planes is fine by me.


some of the rapidshare links doing the rounds:

cakebuilder: feeding the worms

va: ministry of shit 2

current value: deadly algorythm/you can't play god (removed by uploader)
you can't play god is an insane tune.
current value: the empowered peace

the teknoist & throttler: there's nothing here for you/i don't dance
the teknoist: like a hurricane made of zombies

venetian snares live in paris parts 1, 2, and 3 (if you like that sort of thing)

peter kurten: mr. death
peter kurten: the power
antichristus: the dark lord
single tracks released on evil beats.

spiral tribe: respect to the hardcore mother earth! one & two

easy when you know how. i guess that's part of the point.



well, i've been back for a while. but here's what's left of why i haven't been posting:

my laptop died suddenly the week i returned from serbia, and i was loathe to post from the ropey old pc here or indeed from any other computer. i don't know why that was, but that's just the way it was. it didn't help that there was a fair amount of stuff on the old laptop (which thankfully got salvaged), including some of the pics in this post, but that wasn't the whole reason, it was more like some kind of superstition. anyway, here's why i'm posting now:

(not the cat dammit!). a new (to me) laptop: bigger, better, faster, sourced here. i'm still finding my way around it.

so here we are and i guess there is a fair bit of stuff to catch up on. i won't give it the large one about novi sad at this stage except to say that we had a great time, our hosts, ivana, dušan, and all of the volunteers, were very kind to us, and we met tons of very cool people. i gave a paper with these notes and this powerpoint (whether or not the audio clips will work i don't know, but you might be pleasantly surprised), and it got recorded for serbian radio! actually that made me a bit nervous but the paper seemed to go well. there's some video and pictures of me giving it somewhere but i haven't seen them yet. on the same day at the festival, notes on breakcore was screened, a nice tie-in for which props are due to eiterherd.

it was also a bit hectic in the run-up to interzone, because as well as preparing material for that talk i also had to finish this paper on the amen, which has now been submitted for a forthcoming anthology by the dichotonies crew, if you remember that. it'll go out on winter verlag but i don't know anything else about it yet. anyway, see what you think; it's quite a nice paper and i'm fairly pleased with it, basically a gendered reading of amenizm. comments received with gratitude :)

as for the round up:

well, the username chairmal lmao finally turned up at this democratic/totalitarian it girl celebutante lit crit lolocaust.

should i know that this exists?

i hope you had a doo wop halloween!

i don't know why this is still happening, i thought it was verboten by bruxelles. maybe it still is, what the hell do i know.

this story is a lot like one of the subplots in 'turn of the century', a rather bloated but nonetheless comparatively tolerable book by this guy.

a cool bibliography on livejournal.

final girl: my new favourite horror movie blogger, is funnier, subtler, and far better at it than i'd ever be. we are not worthy.

dit were the first people i saw on the streets. there have been a series of protests by a variety of different groups in dublin, these can only be expected to continue.

speed up your firefox.

i would have very much liked to attend this.

dmca ten years after.

a link for the torrent to break it down, a new documentary about breakcore and copyright which i haven't yet had a chance to see.

encode adorn.
i'm due to speak at the opening of this exhibition.

so then there is some rapidsharing and linkage and such to do, i'll get to that in the next few posts.

a timely tune to link, i thought, given the ubiquity of everyone's favourite irish-american du jour:

george perkins & the silver stars: cryin in the streets parts 1 & 2

despite how it sometimes seems, change is possible.


if anyone asks, i'll be here:






the new usedtobecool album, only insert if you get a definite yes, is out on bitcrusher records.
dl as zip.
their previous album, the reason why i recommend them, is on the same label, and is called i can't believe i used to like those guys:



special request

carlton 'kilowatt' valley: special request
obscene genius, which has to be heard to be believed. also a good tune.
evidently something to do with chris morris, and if you approve of this sort of thing, more of his comedy and other stuff is archived here. there is supposed to be more 'reggae' from him but i have only found the release this tune is on.


keepin' it real

a thesis based on research conducted and written up on trinity's mphil in ethnic and racial studies last year, downloadable as pdf:
keepin' it real: constructions of whiteness and expressions of irishness in the dublin hip-hop scene
hosted at archive.org, written by dave zeliff, and to our knowledge the only piece of empirical, theoretically informed, postgraduate research on the contemporary irish hip-hop scene.



migrating music cfp

Migrating Music: Media, Politics and Style
An international conference
Venue: School of Oriental and African Studies, University of London
Date: 10 - 11 July, 2009

Over the last twenty years or so there has been much interest in music and diaspora, that is in migrating music. No doubt this interest is historically grounded. Movement of peoples and their music across the world has been occurring to an unprecedented extent and in novel ways.

Researchers in a variety of disciplines have then responded by studying musical flows and the formation of hybrid styles, but also the way in which apparently similar music can mean quite different things in different contexts. We might sum up the overarching framework as one in which researchers focus on the (largely benign) diversification and pluralisation of musical meaning and experience.

We do not seek to overturn this framework. Quite simply, it taps an important part of the reality of migrating music in the contemporary period. But we do want to bring up a number of problems and issues, and call on colleagues to think about what these might mean.

Media. Mediation has been crucial to the global movement of musics, from the hymnal to the Web 2.0. Diasporas take recordings with them when they move; broadcasters and record companies cater for them in new lands; 'World Music' was launched as a marketing and media category. What, then, is the impact of mediation on migrating music, and are diasporas and host communities mere recipients, or rather active shapers of their musical diets?

Politics. The orthodoxy of today is that musical migration is predominantly a Good Thing, and that hybridity always has a progressive dimension. By the same token authenticity has become a straw target. But can the authentic be a significant value for musical cultures as they are relocated around the world? And were early commentators entirely wrong to worry about 'Americanisation' or 'Westernisation'? Indeed are there new models that take into account 'Bollywoodisation' and the effects of other international culture industries? Should there be more concern about globalising musical vernaculars? Does a focus on hybridisation sometimes obscure larger relations of economic, cultural, and aesthetic domination?

Style. Hybridity is rarely used in verb form. But arguably the processes of stylistic transformation wrought by musical migration are very much about action - making change. What are these 'trans' processes? Do they always depend on mixing, or can new migrant styles emerge from endogenous reference 'back' to home styles? And how far are music makers and audiences consciously pushing to create the new?

We invite proposals for papers which address these and related questions from across the disciplines: (ethno)musicology, cultural and media studies, sociology, anthropology, history and performance studies. The conference emerges from the AHRC research project based at the Open University, Tuning In: Diasporic Contact Zones @ BBC World Service. So contributions which concern international broadcasting and/or the BBC are particularly welcome. We are also keen to receive proposals from practitioners - music makers, journalists and broadcasters.

Proposals should be between 150 and 200 words in length. Please send to Karen Ho at K.D.Ho at open.ac.uk. Closing date for submission is Friday, 22nd February, 2009.

Keynote and plenary speakers already confirmed include:

Timothy Taylor - Professor of Ethnomusicology and Musicology, UCLA
Charlie Gillett - journalist and award winning presenter of 'Charlie
Gillett's World of Music', BBC World Service

Conference convenors are Jason Toynbee and Byron Dueck, Open University Conference administrators are Karen Ho and Josine Opmeer, CRESC (Open and Manchester Universities)

it's just before the iaspm conference in liverpool.


the new blaerg is out here, 4 tracks: auspices and vagaries.
2 things about the release:

1 - you actually gotta send them your email addy to dl it, so they can spam you later i guess. this is maybe a smart policy, and if i knew more about netlabel practice i would know how common it is. it is not common among the few netlabels i follow closely. i would have entered my email regardless because i have been listening to blaerg for a long time, he is worth hearing, and each release so far is better than the previous one (to my mind at least; i haven't heard this one yet), but it shows how far we have come that we expect zero inconvenience (let alone zero $) in getting hold of tunes, and it seems out of the ordinary when we can't just have it at a click.

2 - the 'paratextual' material around the release signals it as neostalgic:
Ever watch a 60’s movie set in the future? The kind where the sets are stark white with oddly shaped chairs in bright colors that don’t look the least bit comfortable, where the cars fly but are roughly the size of pontoons, where people get their meals by speaking into little boxes and out pops a plate with a small, unnaturally colored cube on it? Yes, it all looks futuristic and ultra-modern but it still, without a doubt, is stamped with the impression of an era long past – and it’s still really cool.

BLÆRG’s latest release, a 3″ CD by the name of “Auspices and Vagaries” is the perfect score to a meal of Soylent Orange or for a drink at the milk bar. It stirs together bits of futuristic rhythms, strains of jazzy flavor and a splash of retro flair into a wonderful little breakcore appetizer that leaves the palate whetted and the appetite craving more.

neostalgia is nostalgia for an imagined future that we never had, it's a kind of cultural grief for a future that never became present. it's in similar territory to the way the term hauntology is used in describing dubstep. neostalgic sentiment is also of course related to the fact that the present is in fact a sort of dystopia, this isn't the future we were hoping for or expecting at all. there is quite a lot to say about how electronic music orients to our imaginings of the past, the present, and the future, and about the historical role electronic music has played in these kinds of imaginings.

does it help us to understand these blaerg tunes? i dunno.

but it is tantalising to think about, and if you wanted to do that some more you could do worse than read this. another intriguing site in this regard is the brilliant dead media project, which seems, appropriately, to be dead itself. their manifesto is here.


last week was a bummer for team mafiaa:

the 'civil enforcement' provisions were ditched from the enforcement of intellectual property rights act, following correspondence from the department of justice.
the verdict in the capitol vs. thomas case was overturned, meaning, among other things, that the 'making available' theory of copyright infringement won't stick.
and the european parliament has voted to pre-empt individual member states adopting 3-strikes legislation.
bad luck chaps.


look at the playlist on this:

01_00:00 Deadbeat - Lost Luggage // Indonesia - Spring Water
02_03:20 itoa - Sgt. Peppers Lonely Heart's Dub Band D1 // Indonesia - Morning Sun
03_05:50 The Mahotella Queens - Muntu Wesilisa // Wiley - Bang Bang Instrumental
04_08:12 African Headcharge - Belinda // Blir - 19_4_04
05_09:28 IndonesiaTraditional - Sanda Kandung // Unknown Grime instrumental
06_11:24 Benga - Half Ounce // [Burundi: Music from the Heart of Africa] bernadette ii
07_14:52 Indonesia Traditional - Ngantosan // Mark One - Slang
08_17:28 Danny Weed - Dirty Den // Huseyin Ali Riza Albayrak - Ey Zahid
09_19:02 Ragga Twins - Spliffhead
10_20:35 Burial - Unite
11_22:14 Dub Terror [ft. Echo Ranks] - Technology
12_25:07 Hiripsime - ces femmes qui me ressemblent // Cyrus - Random Trio - Bounty
13_28:33 African Headcharge - Run Come Saw // DQ1 - Wear The Crown
14_32:00 Indonesia Traditional - Padang Magek // Omen - Rebellion
15_35:05 L-Wiz - Sub // Armenia Traditional - Boulbouli Hid (Le Chant du Rossignol)
16_38:54 Vex'd - Destruction // from 2046 soundtrack
17_40:05 Hijak - Nightmares // ø - Toisaalia
18_41:54 Shackleton - Blood On My Hands / I Want to Eat You // Dashti - Abdoinaghi Afsharnia
19_47:54 Kode 9 - Magnetic City // Akhenation - 361 Degrees
20_50:24 Mulatu Astatge - Kulunmanqueleshi // Dj Hatcha - Just a Rift
21_52:53 Loka - Fire Shepherds - Freda Mae // Dubwoofa - Devoliz
22_56:00 The Mahotella Queens - Ndodana Yolahleko // Skream - Skunkstep

pretty impressive right?
we're told it's:
"an attempt to communicate new conceptions of hybridity by fusing sounds from disparate locations and eras into new musical entities, with focus on traditional and regional music framed by urban bass and beats, or is it the other way around? ...
Mashups: a cheap one liner trend collapsing all narratives into a heap of meaningless garish post modern rubbish, or a new way of interacting with cultures, of thinking about the world, of experiencing and creating music? of course they can be both, but i've always been excited, if not by most of what i have heard, by what i imagined was possible. and what i imagined was Digital Gamelan, Ethiopian Grime, Afro-Arabian Dubstep -- sounds from far away and/or long ago fused in ways that are both surprising but also intuitive... i wanted to make a particular kind of mashup, producing results that people would want to listen to, maybe over and over. is it possible to make the fusion, the bastard frankenstein assemblage, sound better than the original sources? a tall order for sure, especially when the original sources sometimes are master musicians, but one that i nonetheless hope to have achieved in some of the mashups included in this mix. judge for yourself -- admittedly a little difficult since you can not hear the originals next to them -- so i suppose just go by how well the hybrids work... i am always hearing the same beat patterns, the same compositional devices, the same dynamics, the same arrangements, in music made both spatially and temporally far apart from eachother: ultimately i absolutely believe that all music have the same roots, and the newest electronic music is, perhaps indirectly, but absolutely, deeply connected to old music from other places."
dl the mp3.
sourced at different waters.


pretty funny thing to say about nu-rave!

the mighty boosh, also featured on youtomb.


this links to a great article in the ny times about contemporary trolling and the political philosophy thereof, or at least, the closest there is to such a thing that a couple of prominent trolls espouse.
if malwebolence is a word, then so is cewebrity, and that's what these guys are, cewebrities.
there is a follow-up article with the man like weev here, and more here too. weev's lj. the responses from the protagonists in the article, rfjason:
what greater betrayal is there than to discover your views have been condensed and marginalized in favor of someone else's agenda? I admit: I was a little disappointed that many of the finer points of trolling that Matt and I talked about didn't make in to (sic) the article

and weev:
I feel I didn't really get what I want out of this exchange, as the important philosophy I conveyed to him was only conveyed in short bits that I think were taken out of context

lulz huh.
something about the shoe on the other foot, casting the first stone, thine own eye offending thee, if you can't stand the heat, oh never mind.


more u.s. copyright legislation

specifically, the 'enforcement of intellectual property rights act' and the 'international intellectual property protection and enforcement act'. the former renders it so that the state, rather than rights owners, goes after the thieving vermin who download blah blah blah, and the latter is so the u.s. can threaten and frighten other countries who seem not to be doing enough to stop their own thieving vermin who etc..
on cnet concerning the first bill:
One of the more controversial sections of the latest version would permit the Justice Department to file a civil lawsuit against "any person" committing a copyright violation--which would include thousands, or perhaps millions, of piratical peer-to-peer users.

americans might be indifferent to the idea of their government going after citizens on the behalf of the riaa and the mpaa, but it's doubtful. the public knowledge action alert suggests that:
By allowing the federal government to sue infringers in civil court, the DOJ would be asking a court for monetary damages on behalf of content owners. In a civil suit brought by the government, the defendant loses many of the protections he possesses in a criminal action—including his right to free legal representation. What’s more, the government’s legal burden of proof is lower: the government only needs to prove infringement with a “preponderance of the evidence,” meaning that it’s more likely than not that infringement occurred, as opposed to the usual criminal standard of “beyond a reasonable doubt.”

Does the content industry need this help from the Department of Justice? Absolutely not! In the last five years, the RIAA filed or threatened more than 30,000 suits against alleged infringers. If the Enforcement bill passes, not only will the number of such suits increase—they’ll also be paid for with your tax dollars.

the legislation is on its way to the senate.


today is onewebday, a day to celebrate teh interwebz and the changes it has wrought, and to highlight the potentials and dangers our internet faces. you can read and contribute stories about how the internet has changed things here, and there are other things you can do to get involved too. big up our interwebz!

at this blog onewebday is being celebrated by linking to a shit-ton of audio as follows:

enduser & line 47: machine girl - the original sonic terror ep remastered for ad noiseam. if you don't remember it from the first time round, and also if you do.

bong-ra: vitus blister - bong-ra's latest, fast and intricate work.

va: puzzling vs. in vitro - out on puzzling/invitro records. playlist:

A1. A.L.F. - Buzz In Vino
A2. Etschaberry - Teufdekeumchelou
A3. Brainsucked - Untrustworthy
B1. Subjex - Manneken Acid
B2. Krumble - Hotwerpen
B3. TEP - De Keukelaire

va: statement of intent - out on noizetek. playlist:

A1. Hypnoskull - Advanced Bionic Muthafuckaz Hate Using Guns (But Make An Exception In Your Case)
A2. Spitting Vitriol - Still Born
B1. Ebola - Burke And Hare
B2. John Pooley - Armour Plated
B3. Dirty Husband - Mangina

matt u & cardopusher: mute soul/parrilla - dubstep manoeuvres.

i:gor: sparta - the legendary i:gor on strike records 48.

the berzerker: the reawakening - reaches those metal parts other gabber styles can't.

and last but not least, out on death$ucker and cock rock disco:
dj rainbow ejaculation: lp - expect explicit homoerotic hardcore excellence.

it is also being celebrated by linking to a few incredible music blogs, stuffed full of wonderful obscurities, that i only recently discovered and that i really like:

a closet of curiosities

different waters

killed in cars

mutant sounds

sobame la gaita (en espagnol)

the thing on the doorstep

used bin forever

what fucked you?

what's in my ipod?

i also have my eye/ear on andomorph, a new and very promising blog which is posting some great, forgotten and rare experimental techno releases and the like.

and don't forget the mega super mammoth mp3 blog list, which seems as good a place to start as any if you are interested in the strange and curious world of mp3 blogs.

a happy onewebday to one and all!


easily distracted

this blog here is written by one timothy burke and is decidedly impressive. i especially liked this post, about intellectual nerdity and the social and moral situation it operates in, and this one, which resonates with me, speaking as it does to the whole idea of intellectual work, positioning, jostling and career hustling in 'academe', and the types of transferability cultural capital does or doesn't have; how it relates to other sorts of capital. in fact the blog is more eloquent, wide-ranging, and subtle than i can do justice to here and now.
i'd like to have a blog like that when i grow up.


tykal: 94 jungle mix
rare and obscure old-school jungle.

commercial break: plague of the zombies

is google good for geography? cfp

Call for papers - 2009 Association of American Geographers Annual Conference. 22-27 March 2009, Las Vegas, USA.

Is Google Good for Geography? Web2.0 and the Political Economy of User Generated Geographical Knowledge

Session organisers:

Matthew Zook
Department of Geography, University of Kentucky

Martin Dodge
Geography, School of Environment and Development, University of Manchester

The dramatic rise of Web2.0 applications and practices have facilitated the creativity and voluntary collaboration of masses of Internet users, e.g., wikis, folksonomies, mash-ups, tagging, social networking, etc. Of particular interest to Geographers are the evolving forms, functions and scope of spatial referenced information such as local news, reviews, commentaries, recommendations, photographs and maps. Perhaps the highest profile example is GoogleMaps which allows for user generated placemarks and geotagged images, ground-truthing, spatial reviews, etc. and is changing the amount and granularity of information readily available about vernacular places. But widespread user generated data and notations need not translate into valuable knowledge nor is this process neutrally distributed across all places or among all peoples. In short, this session explores where, by whom, about what and how the introduction of Web2.0 applications is producing knowledge about places.

Suggested themes:
We invite theoretically informed analyses questioning the social effects, cultural meanings and political economy of Web2.0 innovations for geography, with particular consideration of the following themes:

# Assessing the real potential of Web2.0 geographical knowledge to encompass alternative voices and richer descriptions of place.

# The perils of Web2.0 geographical knowledge to further the commodification of local places and the marketisation of personal feelings and ideas.

# The politics of the Web2.0 socio-technical infrastructures and corporate structures underpinning the collection and distribution of user generated geographical knowledge.

# The economies of who owns, indexes, aggregates and repackages user generated knowledge about places.

# Consideration of the risks that flow from people's unwitting trust in the truth of Web2.0 geographical knowledge.

# The embodied practices of user generated geographical knowledge and the ways in which these may be associated with social power, e.g. gendered, classed, aged, etc. to create the cultural meanings attached to Web2.0.

# The efficacy of Web2.0 geographical knowledge. How do we evaluate the accuracy and fidelity of new geographical databases, taxonomies and wiki maps?

# The artistic, playful, or subversive potential of the Web2.0 geographical knowledge.

# The ethics of web2.0, particularly relating to individual privacy and community rights. The geo-surveillance potential of Web2.0 for states and corporations.


Proposed papers in the form of a title and short abstract (250 words maximum) should be submitted to Martin Dodge (m.dodge at manchester.ac.uk) by 8th October 2009. Further details on the paper requirements and cost of registration for the AAG meeting are at

pdf here.

mendelayev: diagonal tunnels

mendelayev, who is very fast, technically accomplished, and excellent, has previously been released on acidsamovar. this release is seemingly something to do with plainaudio.



disthroned agony

on the basis of this, perhaps ever so slightly too long, but nonetheless outstanding noise track:

disthroned agony: zombie sperm is sacred

i downloaded everything i could find that disthroned agony has released under that name, either from here or by trawling northamericanhardcore. if i wasn't so allergic to myspace, i then discovered, i could've gotten it all from there!
the track above has a certain dirty groove and is certainly more 'accessible' than that accompanying this video, which is just plain harsh:

according to the discogs page disthroned agony is also lovechoad, and the abortionist, among others. figures. i think i read somewhere that he actually runs northamericanhardcore too but i could be wrong about that.