premier release on the newly resurrected united elements of hate netlabel:

kerberos: subverting the core

more info here.


oh noes


the ungrateful children: good mates
class tune.
or if you prefer: neo-mateship. that's life in australia! this seems to be too.



philip tagg's '"yes we can" chords' article, a semiotic musicological analysis of the obama campaign tune. worth a read to see how they do it. there's a fair bit of tagg stuff on youtube also.


The Hardcore Continuum? A discussion

Presented by the Centre for Cultural Studies Research, University of East London
In association with The Wire (www.thewire.co.uk)


April 29th 2009 2:00pm-6:00pm

UEL Docklands Campus (Cyprus DLR)

Room wb.1.01

For full travel details see:

Room wb.1.01is located on the first floor of the West Building (the building to the right upon entering the main square from Cyprus DLR)

Simon Reynolds'' commentary on the ''hardcore continuum'' - the mutating sequence of dancefloor music to have emerged from the breakbeat hardcore matrix of the early 1990s - has recently generated intense debate in the musical blogosphere.

What is the value of this concept? Does it still usefully describe the context from which dynamic new beat musics emerge? Can the conditions of creativity in the 1990s be replicated in the era of web 2.0? Should we even want them to be?

Speakers: Mark Fisher (K-Punk), Alex Williams (Splintering Bone Ashes), Steve Goodman (Kode 9), Lisa Blanning (The Wire), Dan Hancox (Guardian, New Statesman), Kodwo Eshun (Author of More Brilliant than the Sun), Joe Muggs (Mixmag, The Wire), Jeremy Gilbert (Co-author of Discographies)

Attendance is free but pre-registration is recommended. For info or to register contact J.Gilbert at uel.ac.uk

it's always fun when artists mention slsk in titles and things. like on nahc094 (which you can find here), dj redskeye has a tune called 'the slsk breakcore room as is'.

or this guy substance b has a release out on sociopath called soulseek warriors (2008).

(especially liking the 5th track there).

then there's the slsk noise room comps put out on non quality audio, specifically:

the slsk noise room comp

the good slsk noise room comp

the gooder slsk noise room comp

the most goodest slsk noise room comp

all from 2006. playlists through here.

slsk runs shit, as if you didn't know.


black hoe

genuinely excellent netlabel, specialising in breakcore and dark drum'n'bass. they put out the antichristus darkside forces ep and final world war ep. satanic drum'n'bass ftw! both peter kurten and antichristus have figured in these pages before.

also lorcscyric, unabomber, noize punishment, numek and many more. outstanding.


more info, home-made comps and other gems through here.

soon i'll be moving down under for my new job; i need to decide what to do with this blog - i don't know if i'll have time to maintain it. i leave in 10 days.


these two tunes, one of them is a 'cover' of the other one. here's something from mychael danna's - quite good - soundtrack to the atom egoyan movie exotica from 1994:

and here's something from the 1954 picture nagin (which music from the third floor informs us is the first hindi film to use a synth in the soundtrack - in 1954):

ravi and kalyanji: been music / lata mangeshkar: man dole mera tan dole

uhm, same melody right? so i'm wondering if this is a 'traditional arrangement', a sort of snake-charmer standard or what? what's the back-story?

the etymologically minded, incidentally, may recall that voldemort's snake is called nagini, following the sanskrit.



the proceedings of the 2003 iaspm international conference in montreal are now available. there are two versions, a small one (marked with "sm") and a large one:


the large one contains numerous visual and auditory examples and illustrations.


“Apart from the more obvious economic, technological and political changes that had brought our present circumstances into being, there were also two grand philosophical moments that had predicted their moral consequences. First the Enlightenment with its insistence on the ultimate perfectibility of human kind – a goal that was to be achieved by privileging calculative reason. And second, Nietzsche’s announcement that ‘God is dead’.
Now the Enlightenment ideal has meant three things: (i) that we have come to confuse change with progress; (ii) that we have experimented with human excellence through various flawed political policies; and (iii) that we have become intolerant, if not incredulous, towards excessive or transgressive behaviour. Nietzsche’s obituary for the Almighty, on the other hand, has given rise to three different but contributory processes: (i) it has removed certainty; (ii) it has mainstreamed the re-evaluation of values; and (iii) it has released control over infinity” (Jenks 1998: 2-3).

“… these kinds of questions have always been raised but in liminal zones within the culture such as the avant garde; radical political movements (anarchism and situationism); and counter cultural traditions in creative practice (surrealism). However, such questions have now moved from the liminal zones into the centre” (ibid: 3).

fightin talk from

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

and as timely now as ever. he elaborates at length in

Jenks, Chris. 2003. Transgression. London: Routledge.


Pyongyang Hardcore Resistance are a hardcore/speedcore/breakcore producing duo situated in Pyongyang/North-Korea.
The first person in the duo used to live in the western world where he came in touch with the hardcore scene. However, some years ago he decided to move to NK where his family is.
The second person has lived his whole life in NK and was influenced by the material his friend (the 1st person) had secretly smuggled with him. They decided to start producing their own hardcore with the message of unification of Koreas, saying a fuck you to South-Korean pop music, bringing down corrupted leaders (Kim Jong Il, Bush) and encourage peace over violence.. with violent music!
The PHR have contacts with North-Korean refugees who help in smuggling PHR music and message to the outside world. Due to the nature of the country's politics the PHR and associates such as the cover artist wish to remain anonymous.

pyongyang hardcore resistance: corea.

brought to you by dramacore - see also last.fm.


only in oxford.


oh, and if fag cop is interesting, bosse-de-nage might be too.


art of record production cfp

ARP 2009 Call For Papers

The Fifth Annual Art of Record Production Conference will be hosted by the Division of Music and Sound, The Atrium, University of Glamorgan, Cardiff, S. Wales on November 13th – 15th 2009.

Producing Recorded Performances: Capture or Design?
The conference organizers invite submissions for papers on the following themes and any other related topics:

1. Performance and Record Production.
The evolving process of record production has altered performance practice in a variety of ways and across the whole range of musical styles. In turn these new developments have themselves driven the development of new musical styles. This stream will examine these issues and also how changes in the creative decision making process have affected the traditional roles of performer, composer, arranger and producer. Leiber and Stoller are often quoted as having said “we don’t write songs, we write records” and this recording based approach to creativity has many implications for the role of performers. How do performers and producers negotiate this creative balancing act? Indeed, how do all the participants in the production process communicate and interact? The stream invites submissions dealing with all aspects of performance in the recording studio.

2. Capturing Environments, Designing Space.
For many recording professionals the idea of ‘capturing’ the character of a specific space is central to their practice. For others the artificial construction of perceived ambience is equally crucial. The ‘sonic environment’ of recorded music can strongly affect the perceived meaning for a listener but the sound the performer hears during the recording process is also an important factor. This stream seeks to examine both how the artificial design of space has been incorporated into the production and compositional process as well as how techniques that are specific to the recording of classical, jazz, acoustic, folk and traditional music forms utilise the sound of recorded space. Phrases such as hyper realism and “electronic fakery” illustrate the increased public awareness of the creative impact of technological mediation. We would therefore also like to encourage studies and discussions of related issues such as the aesthetics and psychoacoustics of place and proximity, the perception of technological mediation, authenticity and transparency.

3. Independent Production and Distribution
There is a long history of independent and entrepreneurial producers stretching from pioneers such as Sam Phillips and Joe Meek to contemporary artists such as Linda Perry and Steve Albini. There are also a variety of business models and working practices through which independent record producers and independent forms of distribution can be connected. Record production on the small scale impacts on the final sound in a variety of ways but particular business models and audience preferences in niche markets can also influence creative decisions in the production process. How might the model of ‘pay per listen’ as opposed to the ‘traditional’ product / ownership forms of income stream affect the production of recorded music? There are also perceptions amongst both audiences and artists about the relationship of independence and creativity and independence and credibility. This stream invites submissions relating to any of the above points and also those dealing with emerging business models related to independent and / or small scale production and the way they fit into the wider market place.

4. Five Years On: The Musicology of Record Production
Five years after the ‘Towards a Musicology of Record Production’ stream at the first ARP conference, how has this field of study moved on? At that conference Professor Allan Moore argued “that the major context for production decisions is the other musical decisions which go into the making of a track” and that, as such, a musicology of record production only makes sense as a component in the wider study of music. A growing number of academics are seeking ways in which the study of recording practice can be integrated into the study of music. What difference does it make when that study is in the western art tradition of musicology, ethnomusicology or popular music studies? What are the methodologies and approaches being utilised in this area and how do they fit together? What should a musicology of record production study and why?

We welcome work from any relevant academic perspective, including but not limited to popular music studies, ethnomusicology, the study of performance practice, communication studies, historical musicology, the history of technology, ergonomics, acoustics and psychoacoustics, music theory, music cognition, music and music technology education, and the philosophies of music, mediation and technology. Please include a note on methodology where appropriate.

Papers or demonstrations that require recording / studio / 5.1 playback facilities are also encouraged but selection will be subject to a feasibility study by the hosts at Glamorgan.

Proposals for individual papers and poster presentations should not exceed 500 words and should be in Word Document, Rich Text File or Text file formats (doc, docx, rtf or txt files). Submissions by email to simonzt at artofrecordproduction.com

Papers will be accepted in either English or Welsh.

The deadline for proposals is the Monday 20th April 2009

va: musik parano mentale 4 (2009)

a comp on the netlabel of the same name. artist links through here.


taken out of context

danah boyd's dissertation:

taken out of context: american teen sociality in networked publics
the abstract reads:
As social network sites like MySpace and Facebook emerged, American teenagers began adopting them as spaces to mark identity and socialize with peers. Teens leveraged these sites for a wide array of everyday social practices - gossiping, flirting, joking around, sharing information, and simply hanging out. While social network sites were predominantly used by teens as a peer-based social outlet, the unchartered nature of these sites generated fear among adults. This dissertation documents my 2.5-year ethnographic study of American teens' engagement with social network sites and the ways in which their participation supported and complicated three practices - self-presentation, peer sociality, and negotiating adult society.

My analysis centers on how social network sites can be understood as networked publics which are simultaneously (1) the space constructed through networked technologies and (2) the imagined community that emerges as a result of the intersection of people, technology, and practice. Networked publics support many of the same practices as unmediated publics, but their structural differences often inflect practices in unique ways. Four properties - persistence, searchability, replicability, and scalability - and three dynamics - invisible audiences, collapsed contexts, and the blurring of public and private - are examined and woven throughout the discussion.

While teenagers primarily leverage social network sites to engage in common practices, the properties of these sites configured their practices and teens were forced to contend with the resultant dynamics. Often, in doing so, they reworked the technology for their purposes. As teenagers learned to navigate social network sites, they developed potent strategies for managing the complexities of and social awkwardness incurred by these sites. Their strategies reveal how new forms of social media are incorporated into everyday life, complicating some practices and reinforcing others. New technologies reshape public life, but teens' engagement also reconfigures the technology itself.

more info here.