Friday, September 4, 2015
Posted by Timh Gabriele at 10:57 AM
Yesterday, I discovered this amazing one-two punch of a single on Konfrontation Record posted to Soundcloud. Today, I see that they're a major influence on Oneohtrix Point Never's new album, whose lead single I posted a few days ago. Angular and messy, proggy and junked out. The other single, "Looking Glass" is all cartoon threats made to sound actually threatening, like sounds coming from deep in the matrix before the McAfee sirens start ringing
Posted by Timh Gabriele at 10:18 AM
Thursday, September 3, 2015
So it turns out that Mr. Robot's premise was ontological, after all. The notion that capitalism has so fractured our sense of reality that those left to reconstruct a new ontology have no conception of what a model of base reality could even look like. That we will be living with its memory, its parents who persist by our side, for some time to come, and the new world will not be born in the vernix of hope and joy, but in a mix of loss, trepidation, and reluctant relief.
"But what do we do tomorrow?", one of the characters asks.
It'll be interesting to see a show about hackers, who do have some degree of investment in technology- tech made possible by capitalism, speculate on how this next phase plays out.
An excellent use of this one over the opening credits too:
If Hannibal hadn't had such mind-blowingly incredible music too this year (its best ever-which is saying a deal), Mac Quayle would definitely get the nod for the knockout television score of the year.
Posted by Timh Gabriele at 11:22 PM
Wednesday, September 2, 2015
Friday, August 28, 2015
Angels Dust is the name of the band, who are pretty great on their own. Not sure what song is being remixed, but this remix is massive
UPDATE; Walter Gross has contacted me on Twitter to inform me that it's actually three song- "Shivers", "Slow Tapes", and "Haunted" remixed together
Posted by Timh Gabriele at 10:32 PM
On the once revolutionary art of VHS and Yale's quest to digitize thousands of exploitation titles in its Beinecke Rare Books library:
"Today, a variety of video content is readily available via YouTube, streaming services, and BitTorrent downloads, but in the late ’70s and ’80s, the idea that someone could control what they watched was revolutionary. Studios tightly managed their content and essentially charged for every viewing. The VCR, however, tapped into a popular desire to consume culture at will. In response to huge demand, distribution companies dug deep into their inventories to fill shelves in rental stores, and amateur moviemakers emerged to satisfy the market. “Shot on video” movies like Sledgehammer, Video Violence, and Blood Cult could be produced on low budgets with relative ease thanks to camcorder technology, and could still find shelf space next to Hollywood blockbusters. Like the steam presses that produced the dime novels and yellow journalism of the late-19th century, videotape allowed a popular culture to emerge.
"The cheap print of the 19th century required its own distribution networks, including small stands on railway platforms, traveling salesmen who crossed the nation, and retail shops. Similarly, so-called mom-and-pop video stores emerged in the early 1980s to fill a distribution need, as Daniel Herbert explains in his new book, Videoland. With tapes costing a staggering $60-$100 in the early ’80s, the average person couldn’t build a personal video library. Instead people paid a flat membership fee to join a store and spend a few dollars every week to rent a tape. This meant choosing wisely, and often chatting with the clerk for advice or picking up a tape with engaging box art. A large contingent of young people who loved movies became nodes in a social network that brought the local community into the video store out of economic necessity. In this way, the video-rental store brought some movies back to life by creating new audiences for them—a novel phenomenon that contributed to the creation of some “cult classics.” Box art, recommendations, and repeat viewing of tapes offered audiences the ability to judge movies under new circumstances, allowing theatrical flops like The Thing, Big Trouble in Little China, and Clue to eventually take off.
-David Gary, Saving the Scream Queens, The Atlantic
On a related note, the giphy page for "VHS" is an experience unto itself
Posted by Timh Gabriele at 8:09 PM
Thursday, August 27, 2015
A crucial thread about women's experiences in the music industry in response to a question posed by Jessica Hopper on twitter. Some harrowing, some seemingly minor but impactful, some from deep in the the locales of the biz, some from virtual encounters.
I haven't had much of these experiences. You can probably chock this up to me being oblivious, riding the pleasant crest of male privilege, although girlfriends and female friends I've gone to shows with have definitely felt not welcome/not wanted/not cool enough/ before and I've certainly seen guys at shows treat the rock concert like a sexual free-for-all.
I'd like to share on story though: One of my initial experiences with online harassment was also the birth of my disenchantment with the cult of cool. As a shy, alienated young suburban kid, you find solace and connection in notions of taste, and the assumption is that those with similar but not popular musical taste are just like you. They too latch on to the underground because they feel like outsiders and/or feel rejected from the outside world. And it's easy too, particularly at a naive age, to be mistaken that everyone interested in progressive communities or artforms share progressive values.
In my first year of college, I spent February 14th alone in my dorm room downloading music from Napster. Browsing a user's collection, I found an impressive selection of krautrock, ambient, IDM, shoegaze and other material that aligned pretty perfectly with my wheelhouse. In the process, I received a message from said user looking to chat about music. In the course of the conversation, it soon became clear that he thought I was a woman. Rather than correct him, I rolled with it. Maybe because I was bored. Maybe because it was Valentine's Day and I chose to stay indoors at a computer screen. Maybe he'd be into guys too. Who knows.
Extremely abruptly and without warning, the user demanded topless pics. I tried to politely decline, but he didn't seem to care. After threatening to ban me from the site, the tenor the conversation grew aggressive and violent as I watched with stunned amazement as he threw out a torrent of vitriolic, misogynistic taunts and threats. Even after I attempted to end the conversation, he did not relent. Because he "wasn't done" with me. It was important that I walked away with unsolicited certainty about exactly where my place in the world was.
I'd known women who had been abused/assaulted before this and who had had nasty things said about them, but this encounter was probably the first time when I got a real taste of what the danger of being of a woman felt like, a woman whose only crime was liking music and seeking companionship. I don't go to shows much and my social awkwardness has never made me one for conducting interviews, but there's plenty that we can do to stop bad behavior in music as it happens rather than be forced to relive it in the comments section years later.
Posted by Timh Gabriele at 10:52 AM