a message from anonymous to australia:

for the lulz.


heavy fundametalisms is out!
there's actually a ton of other interesting-looking e-books through there too.


partikal katastr: needless to say (2010)
united elements of hate going from strength to strength:

Partikal Katastr brings you some hard hitting atmospheric industrial breakcore. After the ominous discomforting sounds of the prelude follow 3 very well produced break-beat laden tracks that showcases the true elements of the genre. A release worth listening to over and over again…


new strog!

a 43 min mix. i am psyched to hear this.

owoc zrycia mego techno means something like 'fruits of my techno poaching'.
from blotklaat rave crew.



interesting papers from the centre for internet research at aarhus, like this one by Henrik Bødker.


take back the horns: \m/
includes examples of inappropriate use.


control freak (myface): desert fox (2009)

from the very good people at heavy 7.


"Bigger than Words, Wider than Pictures": Noise, Affect, Politics cfp

cfp reads:

"Bigger than Words, Wider than Pictures": Noise, Affect, Politics

University of Salford and Islington Mill, July 1-3 2010

Organising Committee:

Dr Michael Goddard, Dr Benjamin Halligan and Professor David Sanjek

Noise Annoys. Is it not a banal fact of modern, urban existence that one person's preferred sonic environment is another's irritating, unwelcome noise - whether in the high-rise apartment, on public transport or the street, or almost anywhere else? The contingent soundscape of jack-hammers and pneumatic drills, mobile phone chatter, car sirens and alarms, sound leakage from nightclubs and bars and - moving into the suburbs - lawn-mowers and amateur renovation projects, neighbouring kids and dogs, represents a near-constant aural assault. As a pollutant, noise can legally attain noxious levels; it is both potentially biologically harmful and psychologically detrimental.

But what exactly is noise and what conditions these relative thresholds in which sound crosses over into noise? Or are these more organised and polite sonic phenomena merely varieties of noise that have been tamed and civilised, and yet still contain kernels of the chaotic, anomalous disturbance of primordial noise? As a radical free agent, how is noise channelled, neutralised or enhanced in emergent cityscapes? As a consumable, how is noise - or lack of noise - commodified?

Such questions are particularly applicable to contemporary forms of music which, based as they are on a variety of noise-making technical machines, necessarily exist in the interface between chaotic, unpredictable noise and the organised and blended sounds of music and speech. Does modern noise seek to lead us to new, post-secular inscapes (as with psychedelia and shoegazer), or defy the lulling noisescapes of processed background muzak with punitive blasts of disorientating, disorderly noise? And why the cult of noise - in term of both volume and dissonance - in which low cultural practices (metal, moshing) meet those of the avant-garde (atonalism, transcendentalism)?

This conference seeks to address the contemporary phenomenon of noise in all its dimensions: cultural, political, territorial, philosophical, physiological, subversive and military, and as anomalous to sound, speech, musicality and information. Possible topics include but are not limited to:

* Psychedelic and Neo-Psychedelic Musics

* Punk and Post-Punk Musics

* Experimental Musics from Avant-Classical to Digital Noise / Raw Data

* Industrial Musics and Cultures

* Krautrock and German Noise

* Shoegazer, Nu-Gaze and Post-Rock

* Noise as Cultural Anomaly

* Noise, Chaos and Order

* Noise and architectural planning

* Noise and digital compression

* Noise Scenes from No Wave to Japan-Noise

* Noise and electronic music pioneers (Delia Derbyshire, Varèse, Stockhausen)

* Noise and Territory

* Sonic Warfare

* Noise and Urban Environments / "Noise pollution"

* Noise and Subjectivation

* Sonic Ecologies

* "White Noise"

* Noise and Political Subversion

* Noise and hearing impairment / deafness

* Psychic / silent noise

* Noise and mixing, particularly in nightclub environments

* Noise in Cinema, Video and Sound Art

* Noise, Appropriation and Recombination

* Noise and Affect

The conference will be organised by the Communication, Cultural & Media Studies Research Centre at the University of Salford: http://www.ccm.salford.ac.uk/ in cooperation with Islington Mill, Salford, will take place from the 1-3rd of July and will include both an academic conference and noise gigs featuring amongst other groups, The Telescopes and Factory Star. Confirmed keynote speakers include rock historian Clinton Heylin, author of From the Velvets to the Voidoids and numerous other works on (post)punk and popular music, Stephen Lawrie of The Telescopes, and Paul Hegarty, author of the recent Noise/Music.

Recently confirmed guests include Cosey Fanni Tutti from Throbbing Gristle and Chris and Cosey, as well as Stephen Mallinder from Cabaret Voltaire.

In addition to conventional papers, noise, sound and video art proposals are also welcome.

To participate in the conference please send a 400 word abstract and biographical note to Michael Goddard, m.n.goddard at salford.ac.uk and Benjamin Halligan, b.halligan at salford.ac.uk by 28 February 2010.

looks completely awesome, bit far away for me though and clashes with popcanz.


"DJ Cultures": special issue for Dancecult: Journal of Electronic Dance Music Culture

the cfp reads:

We are guest editing a special issue on DJ culture for Dancecult (http://dj.dancecult.net) scheduled for possible publication in 2011. This is a call for submissions for an interdisciplinary collection of original articles, “from the floor” essays, artwork, and electronic multimedia on DJ culture. The issue addresses itself specifically to the relations of pleasure and power that intersect in the space between the DJ, the dance floor and the rest of the club world. Multimedia submissions are encouraged, including copyright permitted photographs, links on Youtube, Soundcloud, etc.

Our special issue collects reflections from DJ perspectives on the visionary and social dimensions of DJ culture in Electronic Dance Music (EDM). Electronic dance music, and its DJs, producers and promoters have become increasingly central to popular culture in its various spatial configurations; translocally, glocally, as well as transnationally. The DJ has been a key figure in popular music since the 1970s, as the superstars and gatekeepers of today's music and club industry. As artists and specialized guides to musical worlds, DJs are uniquely positioned in today's music scenes, but they usually tell their stories through soundscapes, weaving together auditory elements and influencing the bodies, moods and emotions of dance crowds. This issue offers creative and intellectual accounts from DJ perspectives, featuring contributions from established DJs/writers situated in various kinds of spatial and cultural configurations. Submissions may address the legal, technological, commercial and social developments and conditions that constrain and liberate DJs, the power dynamics of the music scene, and its position in wider socio-historical processes. Contributors may investigate situated “behind the scenes” experiences of DJs, producers and club promoters in EDM. In addition, they explore conditions for belonging and recognition across various genres. Based on lived experiences, the issue discusses the ways the media and music industries package and categorize DJs and their scenes, as well as their strategies to negotiate and exit such limitations. For instance, contributors raise issues around gendering, sexualization and ethnification. Please do consult author´s guidelines: http://dj.dancecult.net/index.php/journal/about/submissions#authorGuidelines
and previous issues: http://dj.dancecult.net.

Please consider making your contribution as either a featured article (5000-8000 words) or a “From the Floor” essay (1500-3000 words) and send a 150 word abstract to the guest editors below by May 1st 2010. The deadline for first drafts is December 1st 2010. The contributions will initially be reviewed by the guest editors and subsequently be peer reviewed by the journal.

Please send submissions to both guest editors via electronic mail:

Bernardo Attias: bernardo.attias at csun.edu
Anna Gavanas: anna.gavanas at framtidsstudier.se

About the Guest Editors

Bernardo Alexander Attias (DJ Professor Ben)
Dr. Attias is Professor and Chair of the Department of Communication Studies, part of the Mike Curb College of Arts, Media, and Communication at California State University, Northridge. His research is in the areas of cultural studies, performance studies, and freedom of speech; his current research focuses on the legal, aesthetic, and cultural implications of the turntable. He has also been active as a DJ and performance artist for over twenty years; he is known for his eclectic blending of various elements of global urban dance music, including house, hip-hop, techno, and drum and bass, with sloppy funk, old jazz, lounge, and swing.

Anna Gavanas (DJ Gavana aka DJplaneten)
Dr. Gavanas is Associate Professor at the Institute for Futures Studies in Stockholm/ Sweden. As a social anthropologist she has published on a number of international policy topics. She has also explored popular culture issues around European DJ culture, technology and gender. Her latest publications include the book “Feedback Loop; gender and popular music” (published in Swedish 2009 at Makadam publishers). Gavanas has been active as a DJ in Sweden, as well as in the U.S., the U.K. and Germany, for over 10 years (spanning over genres like UK steppas dub, dubstep, techno and electronica) and is also producing various forms of electronic music as Gavana as well as DJplaneten (see www.soundcloud.com/gavana and www.soundcloud.com/djplaneten).


elephant patch: elephant patch (1979)

folk-psych what i think first resurfaced on mutant sounds?



01. Realicide - I Will Punch You In The Face!
02. Mental D-struction - They Don't Want Your Well Being
03. meep - D.L.S. 2009
04. Thee Crumb - Mouthwash Of The Gods
05. Beytah - Boxxy Arpeggio
06. Junkshop Coyote - Argh, A Commercial!
07. Big In Albania - Kajagoogoo Recruitment Drive
08. Fishwod - ooh what a life
09. fRaTeR hAtEr - Vortextual Intercourse
10. Shanks Pony - Than Before All Else
11. Mockstar - Jimmy's Shotgun Rave
12. Alien Hand - Gordon's Games
13. Raw Gash - Henry My Son (Bray Bac Bar Mix)
14. Pulver - 299 792 458 Metres Per Second
15. rev777 - right PUJ obstructional maneuvers in the dark
16. ANE - Intermittently Dead From Cold
17. Maxipad - Hold Your Breath
18. n.sound - Scratch Acid
19. Jansky Noise - I had nothing to do with it them us or you
20. Solypsis - Arpeggiorgy
21. Allen, I Hate Myself - Pop Idol
22. Asshole In A Wheelchair - Spontaneous Premature Ejaculation

coming to you, or probably at you or even for you, from digital vomit, on some 2009 tip or other.

the attention of the wandering but attuned ear should perhaps be drawn to track 5, which is the first tune i have ever encountered which mentions 4chan.
not to distract from the many other treasures contained therein, e.g. raw gash - new wave of rhythmic speedcore plunderphonic horror of what? i think so. apparently it came from the same somewhere as drugzilla.