Clint Anderson | 24 Oct 22:51 2014

ultrademon - .xvx files

sounds kind of like aphex but not
definitely in the same vein though

Clint Anderson
Systems Engineer
Clint Anderson | 24 Oct 22:08 2014

black dog - sound of sheffield vol 3

just fucking lovely EP from TBD

Clint Anderson
Systems Engineer
Clint Anderson | 24 Oct 21:29 2014

objekt - flatland

is really good
most interesting thing i have heard since SYRO :)

if i had to write a shitty techno magazine style review of it, i would say something like it reminds me of monolake but much more complex
all the sounds seem to be created from scratch (to my ears) and are not at all your familiar drum machines and samples
some amazing patches being used on there, and in general everything has a really fast, dense arrangement with a overall dark brooding atmosphere to it, tense
i like it!

Clint Anderson
Systems Engineer
Esa Ruoho | 23 Oct 08:36 2014

Re: waffles

ahh, i see what you mean John - build your own tracks by artist xyz, made to-order. 
like a subway sandwich.
"i'll have 909 claps and a 606 rimshot, and a walking acoustic bassline, hold the glitches"

On 23 October 2014 09:33, John D. <johndalton <at>> wrote:
Might work. Maybe an artist could have an individual app.

I like my idea though. "Want some claps here? Pay just $.09!"
nah, more like, you have an album, but to unlock extra bonus tracks, you have to pay 0.99€ or so. and then they'd be inside the app.

On 23 October 2014 05:19, John D. <johndalton <at>> wrote:
With sounds missing, like? It could be ambient maybe unless you purchased the beats.

there's that word "decent" right between "got" and "monetization".

i wonder if an album app with in-app-purchases would make a dime

On 22 Oct 2014, at 23:52, Esa Juhani Ruoho <esaruoho <at>> wrote:

so anyone think Best Fiends has got monetization or is it all an in-app-purchase rip-off?

On 22 Oct 2014, at 23:51, Jared Dunne <22tape <at>> wrote:

Be well, my friend, Jon.

On Oct 22, 2014 3:49 PM, "Jon Sands" <fohdeesha <at>> wrote:
On 10/22/2014 3:31 PM, Jared Dunne wrote:

Oh, the beautiful human trait of deflection.

Nah, I think I just speak for the majority of this list (and Zack summed it up well) that nobody is really interested in wasting any more effort responding to the extremely poor straw man you have repeatedly tried to make. We'd rather talk about something interesting. I think the moment you made the hilarious comparison of physical objects to copyright, most of the people here lost interest in you. It's ok though, I'm sure you'll get some poor sap here soon willing to argue with you

Jon Sands
Fohdeesha Media

Radio Web MACBA | 21 Oct 17:06 2014

New podcast: INTERRUPTIONS #18. Vox et repetitio, by Eduard Escoffet #soundpoetry

New podcast: INTERRUPTIONS #18. Vox et repetitio, by Eduard Escoffet #soundpoetry

In this new instalment, we capture some of the infinite instances of voice and repetition in
Eduard Escoffet's sound poetry collection.

‘Repetition is a form of change.’

Brian Eno and Peter Schmidt, Oblique Strategies


Repetition is one of the core elements of poetry; it is engraved into the DNA of what poetry is or what it has tried to be. The idea of repetition (and reproduction) can be traced back to its origins: poetry was born because of its capacity to capture and conserve a story or a thought –in the absence of writing, rhymed verse aids in the memorisation and reproduction of a text– and the capacity of the spoken word to transport both speaker and listener, to transcend the moment thanks to repetition, which is the foundation of trance rituals –the most spiritual aspect of poetry.


And from that point on, we can detect the idea of repetition in various aspects of poetry throughout history, from the most basic –rhyme, meter– to formal strategies such as refrains and rhyming words in sestinas. In the twentieh century repetition became more complex and pervasive –we shouldn’t forget that this period saw the birth of pop and of mass cultural communication: nothing requires repetition and variations on a single element as much as a message that aspires to spreading everywhere and reaching everybody–, and new experimental genres began to emerge, such as echoes, in which the poet’s voice is repeated. It was the start of a desire to push repetition further: to repeat the voice, the sound of the poet, and create a vocal canon with oneself.


Throughout the ages, poetry has ultimately always been a kind of voice recording machine. But actual recording was not an option until the twentieth century, when technology made it possible to record, play back, process and multiply the voice of the poet. One source, infinite layers. A machine for expressing the multiplicity that exists in every voice, in every person. This led to the birth of a new genre, a new path that is in reality simply a revival of the original poetry which existed before print: voice and repetition.


In my own case, the idea of repetition has always accompanied me to the point where I can say it almost obsessed me. I see repetition in the origins of poetry, and also in the melody that weaves over a constant loop during an endless dawn at a club, and in the infinite variations of baroque music –everything is already invented, there is only variation, as Baltasar Gracián said. And repetition is also the noise that makes it possible to climb the ladder of escape, and absence, and the death instinct, and a change, and the door that indicates that there is a way out of here. To me, all of this –sound poetry, repetition– maps out a zone of convergence between technological innovation, the return to original poetry and the avant-garde in the sense of the transformation of reading and writing systems. Repeating a word over and over strips it of its ordinary definition and reveals an unexpected sound and meaning, freed from the word’s accumulated history. And repeating the same voice over itself makes it possible to add layers of meaning that a univocal poem cannot transmit. That’s what poetry is: to speak again, to silence words, to rediscover, repeat and feel the variations.


Alan Lucas | 21 Oct 00:29 2014

Re: waffles

Seriously, Connor? Is our potential fan that much of a moron? Where does our potential fan buy his/her music? Bleep? You can listen to the entire album there. Bandcamp? You can listen to entire albums there, AND they don't even autopause you after a minute. Pretty much any other website on the internet that sells music? You can listen to clips of every track on the album there.

Let me see if I have this straight:

* Our potential fan is interested in Artist X.
* Artist X does not have any samples of their work anywhere on the internet.
* Artist X's works are only sold in a brick and mortar store that's on the other side of the world from our potential fan.
* Our potential fan has no choice but to steal Artist X's work because somehow it got leaked to an illegal piracy site but exists NOWHERE ELSE ON THE INTERNET where our potential fan might be able to hear it.

A few other things we need to understand about our potential fan:

* Our potential fan can't make informed decisions about a potential purchase without having an artist's entire discography on his hard drive.
* Our potential fan reads reviews of albums but still has to have an artist's entire discography on his hard drive before making decisions regarding purchase.

It almost sounds like you're trying to tell me that before YouTube, Spotify, and tracker sites, no one actually bought any albums because you couldn't necessarily have an entire artist's catalog on your hard drive (oh wait, those used to not exist, either!). I know this is not the case, because I bought plenty of music before the birth of the internet and before I had a computer. There were times when I would go into a record store, hear something playing on the overhead, and buy the entire album by that artist just because I was so excited about the track I had just heard. CAN YOU EVEN IMAGINE?!?!?

I stil buy lots of music. Lots of it without having heard it at all. Something new by Mika Vainio? Hell yes, I'm going to buy that. The new Aphex? I felt bad about listening to minipops before it was release because I DIDN'T want to hear it before it came out.

Anyway, I think what you're really trying to say, or convince people of, is that it's okay to steal. Some people are going to agree with you. Other people aren't. A lot of people have grown up with the notion that stealing is a crime, and a lot of people don't like having things stolen from them.

On Mon, Oct 20, 2014 at 4:48 PM, Connor Higgins <connor1higgins <at>> wrote:
Why should I even bother having this conversation when folks like Jared come in and smash the metaphorical house of cards we've already established. Yes, Jared: Piracy is a criminal act. What I'm asking is if piracy is currently aiding the promotion of new and upcoming artists. 

Someone above argued that youtube and spotify should be used instead of trackers, but I think everyone is aware of the limited scope that these services can provide. For one, they can barely attest to being better than pirating, as artists tend to receive little to no compensation per view. Furthermore, these services tend to omit certain groups, or only feature a specific subset of an artist's work. Consider someone that's just stumbled upon Autechre, but youtube or spotify only features Quaristice (Just a hypothetical). Most fans would agree there are better starting points in their discography, and having only found this one currently inaccessible album, our potential fan has written the duo off for good.

On the other hand, if our potential fan uses a private tracker of sorts, he or she will find the duo's entire discography at their fingertips. Having read the reviews posted of albums, he or she can make an informed first-listening decision, which can potentially galvanize a long-term fandom, and therefore a monetary investment, be it through concert tickets or actually paying for the albums. The point is, a great deal of this process stops because of how incomprehensive youtube and spotify are as sources for musical exploration. And for the measly benefit of earning the artist fractions of a penny. 


Esa Ruoho | 20 Oct 23:57 2014

Maybe an article in the Irish Times can accomplish more than private torrent sites.

This here is the article, written by the one and only, the inimitable, Donald Dineen!

I don't have any stats to give, except that 3 mad-cap irelanders went and poured 5€, 12€ and 7€ to this here record. oh, and a 1€ that was swallowed by bandcamp.

I'm not against - it's nice that people care enough to share (my) stuff there. and the comments are interesting.

so there.

Radio Web MACBA | 14 Oct 13:55 2014

New podcast: RADIOACTIVITY #1. Radio Alice. Interview with Franco Berardi

New podcast: RADIOACTIVITY #1. Radio Alice. Interview with Franco Berardi

RADIOACTIVITY looks into two seminal free radio stations – Radio Alice in Bologna and Radio Tomate in Paris – as singular case studies in which self-management, decentralised organisation and DIY coincide. The mini-series is an introduction to the free radio movement that sprung up in several countries in the seventies as a way of giving voice to actors who were outside the media establishment: an alternative to the dominant narrative that can also be seen as precursor of the horizontal rhizome structure of digital networks.

Born in Bologna, Franco Berardi is an activist and Marxist theoretician. His work is a critical analysis of the media and its impact on capitalist structures. Bifo's curriculum is proof of this inexhaustible interest in the role of the media, not only because of the many works he has written, but also through his involvement in numerous alternative dissemination, education and communication projects, from the legendary Radio Alice, which he co-founded, to the more recent telestreet movement and Orfeo TV channel.

Radio Alice was a free radio project that was created in Bologna in the late seventies by a group that brought left-wing activists together with artists who worked with counterinformation, or what Franco ‘Bifo’ Berardi (one of the core members) called ‘the creation of divergent realities’. Perhaps to the surprise of the powers that be, the liberalisation of the radio airwaves that brought with it the country’s first free and non-commercial radio stations soon gave way to a local, short-range guerrilla movement that ruptured the long, tedious monopoly of the state media. Radio Alice was by no means the only free radio experiment in Italy, but in spite of its short lifespan – the station initially operated from 9 February 1976 to 12 March 1977 – it had a strong influence on the social and political life of the capital of the Emilia-Romagna region. Reflecting the opinions, obsessions, and stories of its listeners and organisers, and establishing itself as a creative platform in the new non-commercial radio space, this small neo-dada bastion was an important piece in the jigsaw puzzle of life in Bologna, eventually amplifying the voice of the popular uprising and the clashes between students and the police in early 1977 (the chain of events that eventually led the station to be shut down). The strong personality of Radio Alice was more than just the sum of the points of views of the original collective (Franco Berardi, Paolo Ricci, Filippo Scòzzari and Maurizio Torrealta, among others). Rather, it can be seen as a complex collage of the ideas of the autonomous movement (which emerged in Italy in the sixties) mixed with the influence of the Situationists, the pre-punk seed that was starting to spread in Europe, and the work of Gilles Deleuze and Félix Guattari.


00:49 The Italian situation in the seventies
02:41 Information as diverging reality
06:27 The spread of free radio in Italy
08:54 Desire, punk, DIY ethics
11:56 Technology as a facilitator of new movements
14:55 Coexistence and conflict in Radio Alice
16:44 Financial and organisational issues in Radio Alice
17:55 A chronology of the fall of Radio Alice
Jonathan | 13 Oct 19:40 2014

Thank you so much

For all the people who put the effort to share beautiful music. I've been lurking here for years, but the Arca
and whorl albums are so moving and incredible, I just finally had to bust out. 

Thank you, you crazy IDMers.
Esa Ruoho | 13 Oct 19:28 2014

Mark Bell of LFO R.I.P.

Sam Loschl | 13 Oct 04:59 2014


anybody on waffles? just got an invite, looking for friends or any advice you'd have for a novice. first private tracker i've had the opportunity to join