trailblazing eircom has just agreed a '3 strikes' policy with the big 4. read all about it:

big four music labels and eircom in landmark piracy settlement

isp capitulates to ifpi, agrees to disconnect pirates

interestingly, the torrentfreak article:

ifpi vs isp: piracy means less sex and drugs for rock stars

indicates that the big 4 were represented in court by the former justice minister, michael mcdowell. but hey, it's strictly business.
at our very own irish times:

internet users face shutdown over illegal music downloads

and perhaps most informative:

irish isp agrees to disconnect repeat p2p users

i like this phrase 'graduated response'.
as eff notes, an isp is not a court.


dj scotch egg, even better.


oxygenfad: dolemite

dj scotch egg at eamonn doran's, wednesday jan 28. more info here.


hot zombie action from lucio fulci's justly legendary zombi 2 (aka zombie flesh eaters), from 1979. it's just one of those movies.
featuring the incredible underwater zombie / shark fight, an iconic moment in zombie history:

(speaking of sea zombies: woah. anything to do with xela).

the movie also has a completely wicked soundtrack by fabio frizzi. i really don't know how i managed to have not seen it for as long as i did, what a dereliction of duty.


pictures from 7u? and maladroit's exhibition. if you didn't know, 7u? is also the deeply wonderful dj rainbow ejaculation, among others.


happy face: histoires sans paroles (2002)

happy face: tah !!! (2003)

happy face: le tigre (2005)

french brutal death / grind. heavy and complex with lots of tempo changes.


lol etc.

see also first life.

dert: talk strange (2009) - a beat tape inspired by bjork.

bjork, mashed up in dope styles, on another free release put out january 1st. here's what dert had to say about it.


carnivalesque grotesquerie

bush made of cut-up porn.

bakhtin had a whole spiel about how the lower bodily stratum, the grotesque, the erotic, the obscene, the scatological etc. has gotten squeezed out of political discourse over the course of history. people who are interested in the history of pornography sometimes take a similar line.

so long dubya, it's been emotional.


a coprophile obsessed virgin schoolgirl's underwear rubber: schoolgirl's suicide (2009). experimental grindcore from russia.
what a truly great name for a grind band.




Breakcore.NL Music and New Year's Day meet again! Another free online compilation has arrived! "Themeless" brings you 37 fucking great tracks from breakcore artists from all over the world!
released jan 1st by breakcore.nl. tracklist:
01 - Kodek - Teenage Mutant Breakcore Bastards Kickin Reetaards Into Stomachh And Feeling Prouud Of Itt
02 - Arena - Hectic
03 - Den Chaoot - The Fisherman's Wife (Keta Remix)
04 - Charly Linch - Pump Up The Sound
05 - Rott In Pieces - Down With The King
06 - Kamerat Tord - Moltebær
07 - Project Serendipity - Left Right Left Right (II)
08 - Microphyst - Disco Biscuits
09 - Main$tream - Shit Anymotha Fuckers Remix 2008
10 - Rubber Muffin - Blood Clat Dat
11 - Alex Tune - Listen To Your Hardcore
12 - Liar's Rosebush - Blowdarts And Burning Bridges
13 - Siphonaptera - Siphonaptera
14 - Crappymeal - B6
15 - Tha Fruitbat ft. Remy Gonzales - Noise Shaping
16 - Junglefever - Sensicore
17 - Mr Bad Monkey - Jungle-Sound-Clashin'-Core
18 - Nubbin - Just Forget What I Said
19 - The Untitled - My Miserable Days
20 - Producer Snafu - A Vigalante Of God
21 - Mothball Z - The Rise Of Emo
22 - Capslock - Life Is Beautiful
23 - Tha Fruitbat - Total Cunt Troll (Murdasloth Remix)
24 - Dysphemic - Army Of The Apocalypse
25 - Eraplee Noisewall Orchestra - Desperation Speaks
26 - Tex-nd vs. WSicko - Our Goal Is Crossing Lines (On Grass) Because Soccer Sucks Balls
27 - H.M.M.A.H.H.H. - Like Am'rous Birds Of Prey
28 - Slam52 - Frosd
29 - Nano.strike - Ecranoplane
30 - Onken - 8bitbombastic (Onkens Frustrated Mix)
31 - Poelvoorde - Hygiene Requise
32 - Weyheyhey!! - Allow
33 - The Incredible Hexadecibels - Devil Dogs Guarding The Altar
34 - Shanks Pony - All My Freinds R R Soles
35 - Solypsis vs. Hard Off - Beers, Steers and Queers For Fears
36 - Simon - August
37 - Mongreltek - Yours Tragically

rpaidshare dl one and two (due to general caining on the original link).


breakcore sucks! listen to postmoderncore instead.

united elements of hate: check some serious parties in the netherlands.


rap music originated in medieval scottish pubs, claims american professor.

nice when someone acknowledges one of the numerous historical precedents for the ritual insults and boasts of hip-hop, not so nice when they seem to put their feet in their mouths by confusing precedent with causality.

l.i.a.r. 2


30 June - 2 July 2009
Linguistic Impoliteness And Rudeness II (LIAR II):
The 2009 International Conference of The Linguistic Politeness Research Group

Lancaster University, United Kingdom

Opening plenary:
Geoffrey Leech (University of Lancaster)

Plenary speakers:
Sara Mills (Sheffield Hallam University)
Marina Terkourafi (University of Illinois at Urbana-Champaign)
Karen Tracy (University of Colorado)

This three-day conference focuses is on language and communication that might be described as 'impolite', 'rude', 'aggressive', 'face-attacking', etc., building on the success of the first impoliteness conference (LIAR) at the University of Huddersfield. However, we also welcome any papers that are related to politeness theory, application or practice in any form.
Researchers and postgraduates working in fields such as linguistics, sociology, psychology, communication studies, business studies, organizational studies, conflict resolution studies, literature and philosophy are particularly welcomed, though the conference is open to all interested parties.

Please contact the organizers regarding any proposals for panels Papers and Posters abstracts deadline: 31 January 2009.

Organizers: Jonathan Culpeper (Lancaster University) and Derek Bousfield (University of Central Lancashire)
Email: impoliteness2009 at lancaster.ac.uk


martin cloonan and caspar melville talking about music and violence on radio 4 yesterday: listen.


luigi russolo and ugo piatti with their intonarumori (noise machines).
these devices have been replicated for a release on improvised music from japan.


according to imdb here, the plot for this movie the ruins can be summed up in the following way:

sounds like a typical saturday night out to me!

the only other movies i can think of with man-eating shrubbery are little shop of horrors, day of the triffids (is that technically only man-killing, as opposed to -eating?), and creepshow (and that's definitely technically only a segment in a movie). i have a possible explanation for why there are so few carnivorous plant movies: it's a kind of stupid idea.


obscure tape music of japan vol. 07 - joji yuasa: music for experimental films

i'm a total sucker for runs of albums like this, you can bet i'll be tracking down everything else in the series. more info here, found at killed in cars.


Andrew, tell us about yourself and your current activities.

I’m 34 and I live in Dublin, Ireland. I teach sociology part-time at Trinity. I took a roundabout route to get to where I am: I dropped out of school as soon as I could, but came back to education as a ‘mature student’. I did sociology at Ruskin, and then PPE at Somerville. From there I went to Trinity and did my PhD at the Sociology Department.
In each of these places I had the good fortune to be taught and mentored by some great people: Dr. Mavis Bayton (Ruskin), who writes on gender and rock music, and Dr. Lois McNay (Somerville), who writes on French theory – notably Foucault – and feminism. Without their inspiration I wouldn’t have had a hope of going down this road. Also my PhD supervisor at Trinity, Dr. Barbara Bradby, who has a wide-ranging academic interest in popular music in general.

Aside from teaching, I’m also currently involved in a project at Trinity called the Internet Research Group. We’re putting together a paper at the moment but it’s not about music, it’s about technology use and migration.

- Why did you choose ‘breakcore subculture’ and ‘interaction on soulseek’ for your scientific research?

There are a couple of reasons for this. Firstly, why breakcore:
There were some sort of intellectual reasons why I was interested in it: I started off thinking about a guy called Max Weber and his idea of rationalisation, and the rationalisation of music, and my first research questions were about whether or not technology is rationalising or democratising music – is it making music more boring, or more accessible? And breakcore seems like a pretty good genre with which to start thinking about these sorts of questions, given that it is so closely tied to technology, to sampling, to p2p and so on.

Also, when I was about 18 (around 1992) I started listening to a lot of techno and especially jungle, which was really kicking off in England around that time where I lived.
So I remember the free party / rave scene getting politicised, in 1994 that scene became criminal, it became illegal to attend a gathering at which music was played that was “wholly or predominantly characterised by the emission of a succession of repetitive beats”. A lot of people, including myself, found themselves in legal difficulties around this time as a result of this.
So anyway, not only was I always personally interested in this music, but it also always seemed to me that this music had some political potential: why else would the state respond to it in that way?

As for why ‘interaction on Soulseek’: there are a couple of reasons for this also! The most important is that it generated tons of good data. Soulseek is really uniquely placed in relation to all sorts of genres, but especially genres of electronic music. Also, I was completely broke, so going to a lot of gigs or travelling to interview people was not an option to me. And finally, there was an interest in my department on research involving computer-mediated communication, once I had started with that kind of material, they wanted me to go as far as I could with analysing it, and so I did.

- Your book is based generally on your thesis “Coprolalia and Shibboleths”, am I right? When did you start your research and how long did you work on thesis and book?

That’s right, yeah. It took me 4 years basically to do the PhD; I started in 2002 and submitted it in 2006. It took about a year for the thesis to be examined (one of my examiners lives in Chicago and it was difficult to organise) and for me to complete the corrections. So it was finally accepted in 2007. It took me another year to develop and revise it for publication and find a publisher I was happy with.

- What are the fundamental findings you made working on your book? How did the ‘bedroom producers’ evolve in the meantime?

There are a few linked things which the book is basically about.
In a nutshell, the argument is that in order to participate in an online scene like breakcore on p2p, you need to be familiar with certain interactional styles, certain ways of doing interaction. And these ways of doing interaction draw on gendered uses of language. A consequence of this is that not everyone can participate equally, if you don’t know how to do it, you don’t get to participate fully. This is common to any community, that it has a set of linguistic and discursive norms, this is one of the ways you actually identify a community.
What I’m saying, though is that we can’t just assume breakcore is democratic - as you might think it would be, given that anyone can download the music and the software to make it for nothing - where these particular norms are in play. And in some ways this could be a problem for breakcore insofar as it is supposed to be a politically 'conscious' scene.

My approach was that to understand anything, you have to understand how the people involved produce it and define it and negotiate it, and I spent a lot of time thinking about how this is done in chatroom dialogue.
We know about the debates in the genre and relating to the genre, about authenticity and selling out, about copyright, sampling, and the (over)use of Jamaican dancehall samples, and should we use the amen or not, all these debates, but as a sociologist my approach was that we have to come to these debates through considering how the people involved actually talk about them, and I was lucky enough to find a place where I could document how these debates are engaged in.
In some kinds of cultural studies approaches, it is enough to say ‘oh, I listened to these tunes and now I know something about what this music “means” or what is going on here’, in sociology this is not enough, we need to know how the people involved approach it and deal with it.

So really I’m working with the idea that interaction can be thought of as a struggle over language and within language.
For instance, every time I tag an artist on last.fm, I am engaging in a fight to determine a certain definition for that type of music, trying to fix a word for that type of music. And we’re all doing it all the time in our interaction. The idea really is that language and communication are the central areas where, individually and collectively, we produce social meaning, produce a collective meaning that makes life comprehensible and valuable for us.

At another level, I’m using this kind of idea of speech genres to criticise sociology and academic writing, which is another discourse with another set of norms, and with another set of problems coming out of that.

This stuff about language and interaction is for me at the centre of the book.
But I also gave quite a lot of space to the kinds of identities we can understand as emerging from breakcore and from the talk around it, to ‘bedroom producerness’. I think of that as being related to large-scale systems, there is a massive cultural context for that, and so some of the book is dedicated to that, the contemporary situation for copyright and creativity, the changing cultural context which breakcore can be thought of as responding to and emerging from.

As for bedroom producers, well, I kind of feel like the scene moves very quickly and very slowly at the same time. Also, people move in and out of it all the time. I think there is some stability there in that it is quite well established, but also because everyone is connected in the way they are, the scene is very flexible and can change and develop very quickly. And maybe it is actually speeding up in this way, that everyone can know now very quickly what is going on, if there is some new artist people are interested in or whatever.
We have also, I think, seen some changes in where the exciting music seems to be coming from, and I think there are now some really quality netlabels up and running that weren’t around when I started my research. Also, I think we are now much more used to really very complex and sophisticated music, some of the stuff we are hearing now is just nuts, and that raises the bar for everyone.

- What did the ‘bedroom producers’ think about your book? Did you get feedback from them?

Some people thought it was a really funny idea, some people thought it was a waste of time, some people totally didn’t get it, some people thought it was great. Mostly people’s responses were pretty positive, although I think it wasn’t quite what they were expecting when they actually had a look at it. As I say, lot of it is concerned with chatroom text and what it could tell us about social identity, about gender, about masculinities. I was quite interested, for instance, in what exactly is going on when someone dismisses something by saying it is ‘gay’.

Nobody who was actually quoted in the book asked to be removed from it, but a couple of people wanted their usernames changed. It was up on archive.org from the time the thesis was accepted to the time that the final version of the book was sent to print. When you’re doing this kind of research, research ethics is important, and it was important to me that everyone in it knew about it and was ok with it.

I’m pleased to say, basically, the book has had more or less zero effect on the online places it is about.

- For whom do you recommend your book? Btw there ain’t so many books on breakcore. I know only of yours and PencilBreak. It’s a kind of art book with artworks of different breakcore artists. What do you think about it?

I’ve heard about this book PencilBreak but I haven’t seen it yet. I think it’s interesting and indicative that the two books we know about so far that are ‘about’ breakcore address kind of odd aspects of the ‘scene’: the visual elements around it, and the backstage online chat around it. It is useful to compare Notes on Breakcore in this regard, it’s like slowly people are assembling a documentary history of breakcore, but it will always be partial this history. There’s a great review and critique of PencilBreak at Datacide, which probably does the book more justice than I could do even if I had seen it.
The one thing I would say about it is that addressing the visual culture of the ‘scene’ with reference to the artwork associated with commercial releases tends to exaggerate the sense in which the ‘scene’ is mediated by commodities. A lot of people, of course, do not buy these releases, and may only ever see this artwork, if at all, when they are looking something up online. How do we decide what is and isn’t breakcore artwork? Are producers’ MySpace pages ‘breakcore artwork’?

This is related to the old argument that by defining the ‘scene’ with examples, we artificially restrict it by saying some things are to be included (and others, by omission, aren’t). The hardcore line for this argument is that by trying to define the scene, we actually kill it. Once we know exactly what it is (and isn’t), it’s already formulaic and therefore dead (some people might say this about ragga jungle for instance).

But to get back to PencilBreak and the visual artwork around breakcore: it seems to me that the visual element, like the music, is actually incredibly eclectic, it doesn’t seem to me that breakcore has a particularly unified style in terms of visuals, sound, or style of dress; this is one of the things that makes it so appealing, the diversity. It is really more of an approach and an aesthetic than a ‘genre’ as genre is usually thought of.

As for who I would recommend my book for? If you know breakcore and breakcore online, it is probably a fun read, though some of it might seem like it is stating the obvious. The book is written with a certain audience in mind: people who are interested in ‘popular’ music, interested in sociological perspectives, and interested in the impact the internet is having on music and musical aesthetics. Also people who are interested in how people communicate online about something like music, where this can be extended to thinking in general about how a chatroom can be like a ‘community’. As I say, it is also useful to people who are interested in how gender relates to music, and how gender relates to language, how gender is manifested in the ways in which people communicate.

So there are a few people working right now on similar stuff. If you were interested, there’s the likes of danah boyd on youth and social networking sites, there’s Wayne Marshall and Larissa Mann on music, copyright, and related issues, Keith Kahn-Harris’ stuff on metal, there’s Nancy Baym, Lori Kendall’s book, some of the people on Dancecult, or an older book called The Language of Youth Subcultures. Actually, that book is not so exciting to read, but it is at least an empirical book about subcultural language and how young people talk about their scenes!

- Are you going to continue your research about the ‘breakcore subculture’? What are you working on at this moment?

I will always have a personal and an academic interest in electronic music, and particularly the ‘heavier’ sounds I guess. Having spent about 6 years thinking about breakcore, peer-to-peer, sampling, how they’re related and things like that, I think I need to think about something else for a while!
Words like ‘breakcore’ come and go, but there will always be certain types of kicking sound which get people thinking, and there will always be developments in the way music is produced, socially organised, and distributed.

At the moment I’m working on this pretty ‘straight’ sociological project about migration and technology use, it’s a collaborative project and it’s pretty cool, we’ll hopefully have a paper in press in a couple of months. As far as my own stuff on music goes, I’ve been reading, talking to people, and listening for a while to put together a paper on grindcore and the grotesque and abjection. This kind of follows the interest in how masculinities are performed in breakcore, how music relates to or expresses gender; it’s also about how music produces meaning, and actually whether it does, whether it ‘means’ what it ‘says’.

I’m not sure how much you know about these types of metal, but if you look at a site like Brutal Death Metal or Brutal Zone, you’ll get a pretty good idea pretty quickly that grind seem to be basically ‘about’ murder, sexual violence, these kinds of things. This has made some people want to describe this kind of music by drawing on abjection, and on Kristeva. This has been done a couple of times, it happens in the book The Sex Revolts, and also in Kahn-Harris’ chapter in Policing Pop.
So what I want to do is push this line as far as possible, ‘reading’ grind in this way, and using Bakhtin also. These are some great resources for talking about that music, or that music is a great way to get to talk about those resources :)
Also, it’d be nice to emphasise the history of the grotesque, and how grind really uses very longstanding critical conventions for talking about life and talking about the human body.

But then I’m also interested in just totally demolishing this whole line of argument. Maybe there are good reasons to argue that this is really just a formality of the genre, that it seems to be about that stuff. I’m not certain it’s about anything. And probably it is the same in other genres, I mean, is gangsta rap really about being a hustler or whatever? What is gabber ‘about’? These are old questions but they come up in new ways in relation to different genres. One of the things I’ve been thinking about for a while is, where we don’t necessarily have lyrics to guide an interpretation, and even where we do, how is it that music signifies, why do we think it signifies what it does? It kind of melts your brain to think about that sort of thing for a long time, but it’s also a lot of fun.

At some stage, I’d also like to research power electronics / harsh noise or whatever you want to call it (people like Mutant Ape, Prurient, Macronympha, that kind of thing if you know it). There’s not a lot in print about that scene that I know of, and if you’re interested in how music ‘means’ things, it seems the logical thing to do, to go and listen to the most deliberately nonmusical music, and think about what it means or how it does it. But this will be something I get round to in the future.

- One of your articles covers a famous amen break. Can you say something about it? What is the main idea of this article?

Yeah, it’s pretty straightforward. I talked a bit in the book about the amen, but for that article I tried to do something different, to talk about the amen in relation to different theoretical perspectives, and to try to underline the kind of social meanings the amen has, how the amen acts as a social cohesive if you like. So for the article I used Durkheim and Lévi-Strauss and a few other references, to basically argue that the amen is like a totem, it is an example of the sort of thing that ties ‘the tribe’ together. The article is actually called “The Amen Breakbeat as Fratriarchal Totem”. The idea is, that in breakcore, the amen is one of the principal ways for us to decide what is and isn’t breakcore, and who is and isn’t breakcore. One of the things I’m emphasising about the amen, though, is that it has associations with certain forms of masculinity, that it signfies masculinities in a certain way. I don’t want to give it away (there’s a sort of a punchline), and probably I’m not explaining it very well right now anyway, but there’s a link to the article on my blog, see for yourself. It’ll be out this spring in an anthology on gender and music.

- Are you watching over breakcore scene? What kind of breakcore sound (labels and artists) do you prefer?

I sure am; this is my favourite part but I’ll try to keep it brief!

Some netlabels:
Sociopath Recordings
Black Hoe Recordings
Rus Zud

I’ll listen to anything put out by Sozialistischer Plattenbau (Istari Lasterfahrer’s label), Death$ucker (Parasite’s label), Peace Off and sublabels (Rotator), Acid Samovar, and Deathchant (Hellfish).

Some artists:

In the UK
Ely Muff - banging stuff
Stivs, Ed Cox (life4land)

Epsilon is a fucking legend. Same with
Passenger of Shit and
DJ Rainbow Ejaculation

I also like the Control Freak stuff put out on Heavy 7 (Chaos Royale’s label)

PZG / Depizgator

Les Sécrétions Romantiques
and in a more experimental style:

Russian Federation:
Gabbenni Amenassi
Noize – I think the stuff these three people are doing is wicked.

I’ve always thought Abelcain was amazing.

And of course I love the Cardopusher stuff!

- And finally, tell a few words to Ukrainian breakcore massive =)

Nolite te bastardes carborundorum.
Respect to all breakcore people, and last but not least Brutallo for inviting and translating me!


more odd, obscure, and just plain unhinged album covers from the before time, selected in a haphazard fashion from the brilliant lp cover lover:

i don't know if i've heard this record, but i've definitely heard the band.

florence foster jenkins was an appallingly and endearingly talentless singer. it's actually a good listen.

^ scary. ^

i have a feeling i might know what the answer to this question is.

i'd never seen this one: great cover. ^^