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.



rekombinacja: notoryczni wyznawcy ewidentnych uproszczeń

rekombinacja again: experimental breakcore from poland, released simultaneously on sociopath recordings and apogsasis.


citing joyce’s ulysses:

“when Leopold Bloom visits a museum, he secretly tries to see if the statues of women have any orifices – it is as if he is looking for the grotesque body in the classical one, but cannot find it. Bloom thinks,

Lovely forms of women sculpted Junonian, Immortal lovely. And we stuffing food in one hole and out behind: food, chyle, blood, dung, earth, food: have to feed it like stoking an engine. They have no. Never looked. I’ll look today. Keeper won’t see. Bend down let something fall see if she.

Bloom is unable to utter the grotesque word for what he is looking for; and he fails in his quest to find out whether or not these statues have any such attributes, because he is looking for the grotesque in the wrong place – a museum” (Vice 1997: 156-157).

Vice, Sue. 1997. Introducing Bakhtin. Manchester: Manchester University Press.

bloom should have looked up some grind albums.


a whole bunch of istari audio here.

just came back from this. and quite fancy going to this.

over at ars technica:

some band you've never heard of releases free album

actually, you probably have heard of them. i didn't even know they were still around, so i guess the free publicity works. i won't be downloading the album though. also: quite a nice look at the back story to the whole isp-bpi thing here.


what is 'cool'?

“What makes knowledge workers clutching a console in a cubicle think they are as cool as the jazz musicians, black British or African American youths, white greasers, and other such subcultures exiled from knowledge work during the early to mid-twentieth-century ‘birth of the cool’? Or, to refer to a different phylum in the generation of cool, what makes such workers feel as secretly ‘beat’ or ‘hip’ as the countercultures of the 1950s and 1960s that borrowed subcultural cool precisely to drop out of the knowledge work for which they were destined (school, business, the ‘military-industrial complex’)? Finally, how do all the phyles of cool mentioned so far – subcultural, countercultural, informational – relate to contemporary, mainstream consumer cool? Certainly, the technology that has been the necessary buzz of everything really cool (e.g., hot rods, reggae ‘sound systems,’ electric guitars, designer drugs, high-speed processors) plugs into the whole cargo cult of industrial age consumer leisure (stereos, DVD players, special-effects movies). How do cool graphics on the Web, then, differ from cool computer-animated dinosaurs in a mass-market movie like Jurassic Park?” (Liu 2004: 76-77).

good question man. and what is cool anyway?

cool is a “totalitarian aesthetic” (ibid.: 237).

“Cool is the techno-informatic vanishing point of contemporary aesthetics, psychology, morality, politics, spirituality, and everything. No more beauty, sublimity, tragedy, grace, or evil: only cool or not cool” (ibid.: 3).

“Cool is the aporia of information. In whatever form and on whatever scale … cool is information designed to resist information – not so much noise in the information theory sense as information fed back into its own signal to create a standing interference pattern, a paradox pattern” (ibid.: 179).

“knowledge work has no true recreational outside. Cool therefore arises inside the regime of knowledge work as what might be called an intraculture rather than a subculture or counterculture. Cool is an attitude or pose from within the belly of the beast, an effort to make one’s very mode of inhabiting a cubicle express what in the 1960s would have been an ‘alternative lifestyle’ but now in the postindustrial 2000s is an alternative workstyle.” (ibid.: 77-78).

“Cool is the protest of our contemporary ‘society without politics.’ It is the gesture that has no voice of its own and can only protest equivocally within the very voice of the new rationalization. It is the incest of information that secretly ‘nixes’ the exchange of information. Structured as information designed to resist information, cool is the paradoxical gesture by which the ethos of the unknown – of the archaically and stubbornly unknowable – struggles to stand in the midst of knowledge work” (ibid.: 294).

nice! so cool comes from inside 'the system'? yep, but as noted elsewhere (including here!), cool, unlike knowledge work for The Man, is useless in the terms set by The Man. at its best it cannot be recouped. and there is a useful coinage for this particular aspect of cool here: 'camo-tech'. camo-tech is

“the construction of a bodily and social pose that perfectly expressed the adjustment of technique to technology – but for unproductive purposes” (ibid.: 101).

liu’s example is the sound system as described in hebdige (as it happens, the soundsystem is of course productive, including economically, but that's for another day; we get the point).
so, the uselessness of cool, maybe unsurprisingly, has some consequences in terms of the political agency of cool people.

in particular, ‘netizens’ or ‘cool people’, liu writes,

“engage in a purely postmodern simulation of politics: a retro-politics of free speech, privacy, and so on enacted on old stage sets of antigovernment and anticonsumerist protest. They act up everywhere but in the workplace where such issues now make the most difference in tangible quality of life” (ibid.: 274).

that's the likes of us he's talking about there! we're in the ‘silicon cage’ these days (ibid.: 388)!
gizzajob then innit and i'll give out about it! lollol! cool!

ahem. seriously though.
jenks sees a similar problem but from a rather different vantage point:
“It is hard to be militant in a culture where there is no consolidated belief in any collective form of action or collective identity … instability and uncertainty are experienced today in peculiarly privatized forms that rarely extend beyond ourselves or our immediate circle. Far from a fear of freedom, we now appear to espouse a fear of collectivity, we have become wary of seeking out commonality with others … The contemporary rebel is left with neither utopianism nor nihilism, but rather loneliness” (Jenks 1998: 4).

and why is that? well, it might be related to the fact that we are
“living in a hyper-rational and fictitious world of non-people, non-services, non-places and non-things. For many people today, daily encounters are a series of scripted people, impersonal interactions, artificial environments, phone menus, lines, drive-thrus, fast-food meals, ‘fast-food’ situations and people, computer spam, self-service duties, commercial images and advertising – in a word, a series of encounters with what is unreal, unfulfilling and often the source of considerable frustration and anger” (Halnon 2005: 457).

so anyway, laws of cool is a great book, although slightly too long. liu also has a lovely prediction, already in play, of course, about cool politico-aesthetics (for want of a better word):

“Whether it is expressed as appropriation, sampling, defacement, or hacking, there will be nothing more cool – to use the term of the nascent, everyday aesthetics of knowledge work – than committing acts of destruction against what is most valued in knowledge work – the content, form or control of information. Instantaneous, simultaneous, and on-demand information is the engine of the post-industrial ‘now’ submitting history to creative destruction, and it is the destruction of this eternal ‘now’ or self-evident presence of information, therefore, that will have the most critical and aesthetic potential” (Liu 2004: 8).


Halnon, Karen. 2005. “Alienation Incorporated: ‘F*** the Mainstream Music’ in the Mainstream.” Current Sociology vol. 53, no. 3, pp. 441-464.

Jenks, Chris. 1998. Cultures of Excess: An Inaugural Lecture. London: Goldsmiths College.

Liu, Alan. 2004. The Laws of Cool: Knowledge Work and the Culture of Information. London: University of Chicago Press.

liu, incidentally, is involved in voice of the shuttle.


EMP cfp

Call for Proposals: 2009 Pop Conference at EMP|SFM
Dance Music Sex Romance: Pop and the Body Politic
April 16-19, 2009, Seattle, WA

Though Prince seems to have bowdlerized "D.M.S.R." in his concerts since becoming a Jehovah's Witness, the relationship of pop music to sex, love, physical movement, and the body rarely stays hidden very long. For this year's Pop Conference we invite presentations, addressing any period or style of music, that bring erotic and sensual issues to the forefront and connect them to political and aesthetic concerns. Rock and roll has long congratulated itself on riding the Big Beat over all sanctimonious opposition, but can we take our sense of these archetypal struggles somewhere beyond, say, Footloose?

Topics might include, but are not limited to:

* Languages of desire and union in pop: the relationship of ballads, tenderness, and couplehood to carnality and the commerce of bodies.
* Dancing and dance crazes as forces in pop history and the dancefloor as a particularly charged space of friction, play, and unsettling possibility.
* Pop passion as a conduit for capitalism, modernization, and transnational flows, but also local scenes, community formation, and religion.
* How the pop body is marked by, and marks out, race, gender, nationality, class, and region; music as a means for bodies sharing space.
* Music and the negotiation of sexual norms: sonic fetishism, erotics of pain and disorder, representations of beauty and ugliness.
* Social media and D.M.S.R. A YouTube answer video as a kind of love letter; the libidinal economy of music-sharing communities and Web 2.0 culture.
* Scandal and excess: the pop urge to take it to the limit; celebrity culture and indie puritanism; humor and hyperbole.
* Voice, gesture, and other modalities of embodiment and disembodiment.
* The diva figure, with all the complexity/trouble/pleasure that term carries.
* The many musical iterations of what a German Jewish immigrant, arrived at the dawn of modern pop, called "Makin' Whoopee."

Send proposals of up to 250 words and a 50 word bio to Eric Weisbard at EricW at empsfm.org and Eric.Weisbard at gmail.com by December 16, 2008. Panel proposals (short collective statement and full individual proposals/bios) and roundtable proposals (full collective statement, bios for all panelists) are welcome. Lively writing and unorthodox approaches are particularly welcome. For questions, contact the organizer or program committee members: Garnette Cadogan, Kyra Gaunt (Baruch College), David Grubbs (Brooklyn College), Margie Maynard (EMP|SFM), Michele Myers (KEXP), Diane Pecknold (University of Louisville), Ann Powers (Los Angeles Times), Sonnet Retman (University of Washington), Carlo Rotella (Boston College), Alexandra Vazquez (Princeton University), and Carl Wilson (The Globe and Mail).

The Pop Conference at EMP|SFM, now in its eighth year, joins academics, critics, performers, and writers of all kinds in a rare common discussion. Our second collection, Listen Again: A Momentary History of Pop Music, was recently published by Duke University Press. The conference is sponsored by the American Music Partnership of Seattle (Experience Music Project, the University of Washington School of Music, and KEXP 90.3 FM), through a grant from the Allen Foundation for Music.

more info through here.


dev/null: necrobestial sadobreaks.

proper, with lots of metal samples.

'bowie bonds'. big money.

buying-in opportunities for fans here.


va: the fastest compilation remix in the world

The fastest compilation remix in the world. Real time 00:00, current time 00:01 seconds. 133 files in 00:00 seconds exact time.
Co-released with Kif Recording which also released the original The Second Compilation 3 sometime!
Released: 14.Aug.2008.

Swamps Up Nostrils, Toilet Tantalizer, Mundkrach, John Pussy, Dr. Zero, Animal Machine, V.I.K.I., Enviromental Testing Device, DrunkMonkey, Nanohex, Los Canales Del Televisor, Fossil, Meltdown, I Will Guillotine Your Chihuahua, Machinesaw, Aatmaa, Truthaboutfrank, Kangoora, Lezet, Gen26, Krak, Mystified, Scandinavian Noize Syndicate, Origami Chupacabras, God Pollutes, Das Loch, Kjetil Hanssen, Death Worship, Origami Hairy, T- Rex, Adash SP, Abraxas_apparatus, Mixturizer, Instagon, xm2901cw, Fiorella 16, AXBX (Abercrombie & Bitch), Cygore, Vernaggelkramp, Pichismo, Monika W., Gomoxitron, Katsa .theo, LodemidiQuail, Origami Boe, A55UHF, Christian Galarreta, (MAO) Melodic Abortion Orchestra.


that's pretty funny.


rotator & cardopusher: jump da fuck up/fighters unite.
wicked raggacore split released in january, on the peace off sublabel brothers in blood.


Craig Thompson: "A Carnivalesque Approach to the Politics of Consumption (or) Grotesque Realism and the Analytics of the Excretory Economy"

great paper i got off these guys. also the powerpoint of the same paper:

"The Carnivalesque Dimensions of Contemporary Consumer Culture and their Implications for the Politics of Consumption"

also, want! but cannot right now get :(
i don't have access to a library that subscribes to si. but i might hassle a librarian and see what happens.


aaron dilloway: chain shot lp 2008

aaron dilloway: mousetrap c20 2008 (100 copies only)

emeralds & dilloway: under pressure c60 2008


prurient: shield 5" 2008

because it's noise.

the person who sent me these links seemed to think they had come from deleted scenes, forgotten dreams, but i couldn't see them linked there when i checked, so who knows.


look at this hilarious comic, i found it here. that'll learn those pesky kids the differ between right and wrong!

nice headline for this article:

reformatting freetard fubars riaa fight


producer snafu: promo bedroom mix

tagged with amen, because snafu doesn't like the amen.


if you have 5 minutes spare fill out this survey on ipod culture:
"The survey data will be used for my PhD on iPod culture within the musicology department at the University of Edinburgh. It's short, unobtrusive and easy to fill out. And it's not just for people who use iPods/MP3 players as I'm trying to determine any differences between those who use them and those that don't. All results will remain anonymous. Thanks for your time, and if you've got a few extra minutes to spare, please consider forwarding the address onto others."

scottish movie breaks world cinematic swearing record.


polish grindcore.
ass to mouth: kiss ass

everything i heard off the album so far i liked.
i think the band name qualifies them as pornogrind rather than goregrind - it's a subtle distinction but an important one nonetheless. as is often the case round these parts, we're in coprolalic, 'grotesque realism'-type territory here, or so we would seem to be.
and as it happens, there's a rather nice post here, on music in a completely different area ('exotica'), concerning that old chestnut of the relationship between 'the music' and the paratextual material around it. i quote in summary fashion:
exoticism doesn't happen only when the music sounds weird, alien, non-western, etc. Against this "exotic style only" paradigm he posits an “all the music in full context” paradigm, in which an audience's understanding of exoticism takes place within the music's larger narrative frame
In the "exotic style only" paradigm we wouldn't look at the album cover or liner notes, but would insist that whatever the album means is to be found in its musical style only. But popular music just doesn't work that way. You never pay attention to the music exclusively-- otherwise it wouldn't matter if KISS performed in business suits or full kabuki drag.

the point i am hurtling towards is that we might want to think, off the top of our heads, that grind in general, and a band with a name like ass to mouth as an example, is misogynistic, patriarchal or fratriarchal or phallocratic. and maybe it is. but i'm not sure to what extent we can say that this happens at an exclusively musical level, and i'm also not sure to what extent we can say it happens at all, if we can argue - and it might be so - that basically the paratextual discourse around grind, with its grotesque realism and its lower bodily stratum and its unspeakable speech, is actually hyperstylised and isn't really about anything but itself.

but i'm digressing (it's about the tunes, man!). it's a good grind album, you should download it, see what you think it's 'about' or what it 'means'.


ethnography in the performing arts: a student guide

by simone krüger:

In order to understand the individual and group creativity, expression and experience that lies at the heart of the performing arts, ethnography is a particularly suitable tool, allowing us both to study and reach our own understandings while gathering those of the people involved and situating them within their broader social and cultural contexts. Yet what is ethnography, and how do we approach ethnography in a performing arts culture, be it in music, dance or drama? This is the concern of the student guide here, which illustrates the multiple, complex steps of ethnographic research and writing, and presents them one-by-one in simple, reader-friendly language. Written with the novice fieldworker in mind, the content is informed by the multifaceted experiences of university students when conducting their own ethnographic research project in music, dance and drama. Their ethnographies, as well as fieldnotes and other collected materials serve as illustrative matter and case studies. Hopefully you will find the student guide useful and meaningful for the conduct of your own ethnographic project in the performing arts.

from here. download the pdf.