ACID DLL
I put out a noisy acid choon for Acid December a few days ago. There’s lots of nice music there from people like Linde, Vim, Salkin, etc.
Hotlinkin’ like a bad boy: MP3
Also at Soundcloud
X-Ta Si, X-Ta No Live in Valencia
Last weekend at the Europe in 8 Bits Festival, I’m performed a cover of X-Ta Si, X-Ta No, originally made by Chimo Bayo in 1991. Just as the bakalao music genre exploded in the south of Spain with the Ruta Destroy.
This isn’t the first time I cover the song. I performed another version of it in Barcelona a few years ago. But now it’s in the original barrio de bakalaoz. Arriba!
Even better, I went to a bakalao party the day before this gig to get into the spirit. Great to hear some of the earlier more EBM-ish 80’s bakalao.
(Yeah so I performed with my brand new setup: C64 and Amiga600)
Ascii Graffiti
ASCII-graffiti! Using an Ascii Arena logo by Spot, I cut out stencils from pizza boxes for the characters / \ ( ) | _ and sprayed this. Character by character. In freezing cold Götlabörj City. Observed by sceptical writers with knives, yo.
Live in Valencia
I’ll perform at Festival 8 Bits on the 13th of December together with Meneo, Fela Borbone, Henry Homesweet, Ralp and others. Killer line-up!
Also, the documentary Europe in 8 Bits will be shown. So get your azz to bacalao country! Here’s the f***book-event.
Street Views Short Film
This is the trailer for Street Views – a short film set in Google Street View, made by Annie Berman. Winner: Best Experimental Short at Rome Independent Film Festival 2014. Made in 2013. The song is Thriller Iller from the Ferret Show.
Iron Maiden Amiga Javascript Sega Megadrive
Stuck somewhere in time is a music disk with Amiga-versions of Iron Maiden songs. It runs on HTML, Sega Megadrive and Amiga. I made a cover of Run to the Hills for it, mostly inspired by Anton Maiden’s version of it.
The HTML and Sega Megadrive versions were released at Compusphere, and the Amiga version is coming soon. Made by the demoscene groups Up Rough, Insane & Titan. Yeahä! \m/
8-Bit Reggae Book
8-Bit Reggae is a book by the Swiss professor and ethnographer, Nicolas Nova. The topic might seem strange at first, because there’s not really that much 8-bit reggae around. Or is there? Well, there’s more than you think. And interesting parallells.
The book includes plenty of quotes from my good ol’ chipmusic thesis, which is always a good idea, hehe. Actually, I’ve helped out a little bit with it. Among other things, I did a dub track as a case study and wrote some words about it. I was kind of surprised myself about how many tangents there are between dub and chip. One thing, the way I see it atleast, is that dub and chip are both sort of genre, production method, and attitude at the same time.
I’m no stranger to dub. Some of you may have heard Papaya Dub way back from 2001 or Ajvar Relish, for example. Maybe I should do some more. Some day. If you’d like some, you could always order some dub here!
Files in Space Cassette Re-Press
There’s a very limited repress of the Files in Space cassette available, starting today. This time in a flowery urin/gold colour! Get yours here.
Video for This Machine Thinks
Video by DJ Waterman. The song can be found at Free Music Archive.
My master thesis in Japanese
My master thesis Power Users and Retro Puppets – a critical study of the methods and motivations in chipmusic from 2010, is now available in Japanese. Thanks to Takashi Kawano for the mad effort!
The title pretty much says it all, but to clarify: it’s based on interviews with 10 people, and several years of research on the history of chipmusic. It’s, as far as I remember, a decent mix of critical theory, new materialism and even some discourse theory I suppose. While I wrote it, I basically made my living from doing chipmusic shows aswell. Pretty intense times…
Anyway. I might rewrite it into a more accessible and fun-to-read text some day. If you know a publisher who could be interested, let me know!
Btw, I like this thin that Takashi wrote in another blog post:
“I think that viznut, goto80, and others refuse to represent the scene, raise questions about such discourses, and also don’t let go of potentials of the scene and those prods in a consistent way. This is a quite difficult program, however, without it, they could not survive.”