Tuesday, September 13, 2016

late on this because of life things happening, but RIP Gene
WWWings’s music on the surface seems to tag itself to the nu-grime/experimental dancefloor scene associated with labels like Purple Tape Pedigree, HER, Crazylegs, and Gobstopper. Akin to those peers, WWWings ensnares the violence of power electronic into short staccato bursts and maneuvers the menacing dread of trap music into a neverending transition of varied contortions. To call it dehumanized is to exactly get to the point of it, but to call it inorganic would miss the raw, animalistic ways in which it grazes and attacks. Just as likeminded composers too artsy for the clubs like Arca, Amnesia Scanner, Chino Amobi, and Oneohtrix Point Never piecemeal a distantiated sense of culture from spectacle film trailers, video game segues, and obscure CD-ROM demos, WWWings at their best sounds like a sentient CPU struggling to be, ripping out orifices and snapping on limbs wherever it can. 

-Reviewed the new WWWings full-length 

Was thinking about Adam Harper's piece at 3hd Festival on Beethoven's Ode to Joy and its many uses, including as anthem to the EU and as a kind of metatext to Kubrick's A Clockwork Orange, a strange sort of ceremonial changing of the robes to go along with Brexitism/Trumpism as frightful new world order:

The dystopian future that the world has been dreaming of for decades is on the horizon, is already here; the thunderstorm is very loud and very close. The question is: is it exciting? Or is it too close and dangerous? Another way to put this: is it for art and music to play with? Underground music has been sarcastically adopting the warped subjectivity of the dystopian, anti-human citizen for a while now, in lots of different ways. And it's nothing new: UK punk rock did this archetypically when its awful patriotism exploded into the summer of 1976. But the excitement of sarcasm is a consequence of the privilege of safety, the way that experiencing a thunderstorm indoors generates a thrill as long as you're safe from harm. But more and more people are in harm's way. Some — minorities of many kinds — have always been in harm's way, have never lived through anything but the storm.Is sarcastically reproducing the dystopian thrill of the storm just too close to — or ultimately just as good as — voting for it (by 'mistake' or otherwise)?
The name for this I and others have used a lot recently has sometimes been 'accelerationism.' British left-wing figurehead Owen Jones recently used the word on Facebook to describe people who would vote for Trump if they couldn't get Bernie, to make things better by knowingly making things worse. There probably aren't that many people of colour in the US who would do the same. 
Who needs dehumanising machine music when you have Trump, when you have the rise of hatred the world over? 
It doesn't seem quite as cool as it did a few years ago, does it? Although in the bigger picture my own particular breaking point is basically arbitrary, for me it was the week of the shooting in Orlando and the murder of British MP and Remain campaigner Jo Cox by a man who shouted 'Britain First' as he killed her. My increasingly distanced interest in dystopian art and dystopian clubbing turned into something like outright sickness. Other people got to that point long before me (or were always there), and other people have still to get to that point.And yet the future cannot be avoided. Musically or otherwise, we are being constantly dragged into it with kicks and screams. 

I'm a bit disappointed in this stance, saying that dystopian, dehumanized music can't exist under the terms of the current environment.  Harper hits hard at privilege as the source of virtual culture's fascination with empire, but it's exactly from a place a privilege that one can set the terms for this only now not being okay now that the pitchforks have united in ways that threaten neoliberal stability.  The working class, black culture, queer culture, et al. have lived under the auspices of open oppression for some time and the rise of their jailers and persecutors comes as now surprise to them.

WWWings, cast across the pall of the Russian empire, living within the criminal state and choosing to make dystopian music that reflects it nonetheless is aware of the stakes.  Ghe20gothik or NON also fit this model, fluctuating between the distinct alienations that accompany both black and queer bodies at a time when both are being fundamentally undermined by the highest levels of institutional authority.

It in fact cheapens Harper's own sharp  and careful reporting on these disparate virtual scenes to dismiss them as mere sarcasm, cheap irony with nothing of substance behind it (for examples of where cold-shouldered irony truly dominated, throw a dart anywhere at 90s underground culture).  Perhaps, he's digging here at vaporwave, his coinage with a inexplicably postponed expiration date, but it'd be hard to say that vaporwave "sarcastically reproduc(es) the dystopian thrill of the storm" as vaporwave is principally un-thrilling. But per dystopian club music, could Harper have possibly missed that this was largely the appeal of the music, that the storm had already arrived for many of these bodies long ago?

That's not to say that there isn't a creeping dread of the storm getting a whole lot stronger as we brave into a culture slowly acquiescing to the slick appeal of new media totalitarianism.  I've always thought accelerationism was a shit sham, not worthy of the chin-scratching academic cryptography it all seemed to be encoded in, but its tied to dark, envelope-pushing music are thin at best.

I think what Harper describes here more than anything is feeling burnt out, which I can empathize with to a large degree.  I'm not too big to admit that the world stage just depletes me sometimes.  It becomes hard to cope with the degree to which reality seems to be fundamentally aligned against what appears to be the logical, just, and mutually beneficial progression of the future, that humanity seems so cavalier about steering itself towards mass extinction.

Maybe art that engages with this tendency has run its course because there's not much left to teach.  The lessons now are simple when the fight seems centered against open hostility rather than polite neoliberal handwringing (much of which, btw, still going going on in the anti-Corbyn Labour wing and the Clinton caucus). Even if so, it's still valuable as an artifact since ours are short-order, obscure and rarely spotlighted, whereas the tentacles of actually-existing dystopia are potentially endless and brought to you with limited commercial interruptions.

I seriously hope Harper is not so burnt out though as to not approach the weird, wild realms that he wanders into because he's one of the only music journalists left out there doing real field work in the slums of Bandcamp and Soundcloud, where the real action is.  For this, he is an indispensable treasure

Dreams Always End-tomorrowdream

released on Remissive.  #1= courtesy Black Sabbath

Sunday, September 11, 2016

Living Inside the Speaker dir. Mike Madboy and Spermchaser (2006)

Documentary on Bristol Dubstep from its early days, released ten years ago:

Been taking some time to get my head straight, accomplish simple tasks.  Apologies.

In honor of the above, here's some rollercoasters:

↑both good versions↓ 

weirdly enough, theabove has the twin towers on its cover

Friday, September 9, 2016

Reckless Remissive Records Releases

Friday, August 12, 2016

The Remissive- Nonbinary

Saturday, July 30, 2016

The Remissive- Both Ways/Neu Day Rising

Friday, July 29, 2016

Remissive Singles

Friday, July 22, 2016

Home-Tracking is Killing Advertising

"Today we live in a Blade Runner world, with ad robots posing as people, and Deckard-like figures trying to expose them by digging ever deeper into our browsers, implementing Voight-Kampff machines in Javascript to decide who is human. We're the ones caught in the middle.

The ad networks' name for this robotic deception is 'ad fraud' or 'click fraud'. (Advertisers like to use moralizing language when their money starts to flow in the wrong direction. Tricking people into watching ads is good; being tricked into showing ads to automated traffic is evil.)

Ad fraud works because the market for ads is so highly automated. Like algorithmic trading, decisions happen in fractions of a second, and matchmaking between publishers and advertisers is outside human control. It's a confusing world of demand side platforms, supply-side platforms, retargeting, pre-targeting, behavioral modeling, real-time bidding, ad exchanges, ad agency trading desks and a thousand other bits of jargon.

Because the payment systems are also automated, it's easy to cash out of the game. And that's how the robots thrive.

It boils down to this: fake websites serving real ads to fake traffic for real money.

And it's costing advertisers a fortune.

Just how much money robot traffic absorbs is hard to track. The robots actually notice when they're being monitored and scale down their activity accordingly.

Depending on estimates, ad fraud consumes from 10-50% of your ad budget. In some documented cases, over 90% of the ad traffic being monitored was non-human.

So those profits to advertisers from mass surveillance—the fifteen to thirty percent boost in sales I mentioned—are an illusion. The gains are lost, like tears in the rain, to automated ad fraud.

Advertisers end up right back where they started,still not knowing which half of their advertising budget is being wasted. Except in the process they've destroyed our privacy.

The winners in this game are the ones running the casino: big advertising networks, surveillance companies, and the whole brand-new industry known as "adtech".

The losers are small publishers and small advertisers. Universal click fraud drives down the value of all advertising, making it harder for niche publishers to make ends meet. And it ensures that any advertiser who doesn't invest heavily in countermeasures and tracking will get eaten alive.

But the biggest losers are you and me.

Advertising-related surveillance has destroyed our privacy and made the web a much more dangerous place for everyone. The practice of serving unvetted third-party content chosen at the last minute, with no human oversight, creates ideal conditions for malware to spread. The need for robots that can emulate human web users drives a market for hacked home computers.

It's no accident how much the ad racket resembles high-frequency trading. A small number of sophisticated players are making a killing at the expense of everybody else. The biggest profits go to the most ruthless, encouraging a race to the bottom.

The ad companies' solution to click fraud is to increase tracking. And they're trying to convince browser vendors to play along. If they could get away with it, they would demand that you have webcam turned on, to make sure you are human. And to track your eye movements, and your facial expression, and round and round we go.

I don't believe there's a technology bubble, but there is absolutely an advertising bubble. When it bursts, companies are going to be more desperate and will unload all the personal data they have on us to absolutely any willing buyer. And then we'll see if all these dire warnings about the dangers of surveillance were right."

-Maciej Cegłowski, What Happens Next Will Amaze You, Idle Words/Lecture