This here be a split release together with A Campbell Payne, where I’m doing skweee and he’s doing Nanoloop techno/beats. Now available for pre-order at Rhythmus Records (cassette/download). It will be a very limited run of the cassettes, so don’t be lazy if you want one. And here’s a taste of my share on the cassette:
And you thought that skweee was dead, huh?
Floptrik is an album with Commodore 64 electro/acid/funk songs available as normal recordings for download, and as executable C64-programs on a 3.5″ floppy. Everything can be downloaded from CPU Records. The floppy is available at bleep.com, but might disappear fast.
█ Stream and download at Bandcamp
█ Promo-mix at Soundcloud
█ YouTube playlist
– “Birds On Fire Note” captures what sets Carlsson apart from gimmicky chiptune artists. The heaving bassline on “Monday Night,” for instance, rivals any modern techno or dubstep track. Floptrik sounds like literal computer music. It’s not always easy listening, but it’s a fascinating extension of the CPU aesthetic.”
– Andrew Ryce, Resident Advisor
The programs are remixes and visuals, all contained in a 170 kilobyte disk image. They can be played on a Commodore 64 or in an emulator (instructions here). The remixes sound different every time they are played, by re-arranging the song and changing the instruments. The visuals are all in C64’s colourful ASCII-mode, PETSCII, and were made by Raquel Meyers, Linde, and Johan Kotlinski aka Mathman. See below. Originally released in the demoscene.
The audio recordings are in stereo, where the left channel uses the new SID-chip (8580), and the right uses the old one (6581). Both play the same 3 voices of the original song, but since the chips are different you get these cool hi-fi stereo lifestyle defects.
“Bet you didn’t know the Commodore64 could make dance floor jams like this.”
– Sedge808, including Floptrik in a Best of June list.
The second edition of dubCRT, produced by Shareware Plus with a new package design, is available now. This is a C-64 cartridge with songs and reactive PETSCII-visuals that can be tweaked, remixed, and destroyed. There’s also 11 fresh remixes! From the Facebook-post:
The first batch of 25 dubCRT’s are now ready to order!
Simply send £65 GBP to sales[at]sharewareplus[dot]com making sure you include your full name & address. For tracking please add £5 GBP.
We expect the first batch to sell out quickly over the weekend and a second batch will be available in two weeks.
Me and Pulselooper made this jam together when I was in Sao Paulo. He used a madly circuit bent TR-505 and I did the defMON on C-64. Enjoy the show!
80864 is my first 12″ solo vinyl, and is now open for pre-orders. This release presents the new partnership between C-64 and TR-808 that I’ve worked with for the past two years. As usual, there’s a bit of computer funk pop rock dub stuff all over the place, but it also delves deeper into a more solid techno/acid/electro field. Which I’m quite happy with.
The cover is shaped like a 5.25″ floppy disk, thanks to the magic of Data Airlines, with design by Dubmood. Apparently 40% of the vinyls are already pre-ordered, so you better hurry up and get one. Be part of history! Join the movement!
If you buy the vinyl you also get 7 bonus tracks as downloads, which means a total of 1 hour of music. In October, when 80864 hits the streets.
There are also 80 cassettes available in one of the four colours of the TR-808.
I’d like to thank my man Mats for making defMON, the C-64 software that I’m pretty much alone in the world to use. Also thanks to Scannerboy who built a few boxes that meant that I could synchronize the C-64 and the TR-808, which has been a dream ever since Kissdub gave/lent me his TR-808 many years ago.
Btw, it’s pretty crazy how well the 808 and the 64 fit together. I wonder what the 1980’s would have been like if there was defMON and Scannerboy back then. Maybe Afrika Bambaataa would’ve become a scener and Egyptian Lover would be the best BASIC coder on the block.
Oh look mom, a professional recording studio setup!
It’s finally out! DUBCRT is a music album, interactive light synthesizer and remix-gadget released as a Commodore 64 cartridge. It holds 8 songs with inter-reactive PETSCII-visuals coded by 4mat, with graphics made by iLKke. Get it on Bandcamp (very limited edition). The audio release has recordings of the songs (8580 and 6581 mixed together) and remixes by Datassette, Julien Mier, Mesak, Faderunner, ssaliva, Anomie, Sm0hm, Tim Koch, Jellica, Brännvall and Extraboy. Get it on Bandcamp too! 
A 19-minute jam with some of the songs from DUBCRT, performed in defMON on C64 together with a delay pedal.
My new album is out now on Data Airlines! 0407 is a collection of songs from 2004-2007, many of which are no longer available online due to defunct netlabels. Plenty of frantic pop-core, acidic C64-beats, catchy choruses, broken rhythms, and so on. Olden goldies and forgotten bottoms!
Get the cassette (and downloads) at Bandcamp and if you’re hardcore streampunk you can go for Spotify.
All the design was made with a typewriter by Robert Dörfler. Some of you might now him as the ASCII-artist Lord Nikon, but the future is all typewritten, as you can see. I mean, just check out dat hairdo!
Yeah, and here’s a turbomegamix with snippets of all the 29 songs in 4 minutes and 7 seconds:
Full tracklist:
A:
Killer Piller
Member
Exy
Ter4
Datahell Beta
Chasing Pop
Decibel Detective
Bullcactus
Semieasy
Soft Commando
Love Crime
Välkomstvisan (remix)
Nes Mes
Kingston Data Traveller 2
Alaska
B:
Comsten
La Gare de Mongo
Silly Sex
Rofon
Emanation Machine
Zambie (Remix)
phh
Phracking
Wombatman
Truth
Billy’s Boogie Beta
Spill
Datahell
Killer Piller (Dubmood’s Atari Jihad Remix)
My new album is a 90-minute expose of dubby and dreamy C64 electro beats, spiced up with plenty of delays and supersounds.
Released by the brand new Australian label DataDoor for my little tour of the country, with PETSCII-design by iLKke. Available at Bandcamp as cassette and MP3/FLAC/etc, and on iTunes and Spotify and all that. There is also a C64 music disk – four songs with reactive PETSCII-visuals in just 14 kilobytes!
Most of the songs are edited improvisations, a technique I have worked with a lot especially after 2SLEEP1. The last song, Postiljon, is actually my first defMON-experiment in this style, probably from 2008.
On this album the C64 is complemented by other sound sources like drum machines, broken mixers, keyboards and renoises. Enjoy!
Today, Custom8 is launched at Superbyte in Manchester. It’s a way for you to order a custom release, with songs specifically chosen from your order. I’ll dig through my archive of thousands of songs to find just the stuff you need.
Released songs, unreleased songs.. strange aliases.. in very obscure formats.. in holes.. in burgers.. super-limited edition.. broken links.. Now you can have it all!
The way I see it, you are not really paying for the songs. You are paying for me finding them for you. Which I think is a nice twist on the whole discussion of value, music, ownership, creativity, work, etc.
So – treat yourself! — Get your Custom8 today!
Big thanks to OJD for the photography, C-Men for the design, Kaneel for the code, and David Lindecrantz for the Goto80-logo. Thanks for making Custom8 possible. Much <3! Related:
> Dataslav performance at Dataslöjd
> Real-time Dataslav as a Groupees prize
> Musicians are spammers
This album is my return to the new Music Indiestry after a few years of under-the-radar music distribution. It features 12 songs on one 60-minute-cassette (and digital download) on Data Airlines. Megamix pop, turbo electro, FM swing, adventure funk, wonky beats, and much more! Great design by iLKke. Oh yeah, and there is a mysterious 13th track aswell..
Get it all at Bandcamp. The cassette was sold out after 9 days, but surprise solution coming soon! Also at Deezer & Spotify with lamer-versions of the song titles.
UNSEARCHABLE SONG TITLES!
SOFTWARE IN THE AUDIO!
POTENTIAL MAC OSX FILE SYSTEM CORRUPTOR!
SOURCE FILES HIDDEN INSIDE THE GRAPHICS!
For the last 5 years I’ve mostly stayed away from the control of new music platforms. I’ve made an album called * that was only available in a hole in the wall. I’ve cancelled my membership in the Swedish copyright collecting agency to release music (truly) in the public domain.
With Raquel Meyers I’ve mixed music and visuals together in Javascript, burgers, ASCII and live improvisation. I also made the Dataslav performance in an old police station, where people told me what music to make and I had 5-15 minutes to make it happen. No longer was I the contemplative artist, but more like a stressed worker who didn’t get paid enough. You know..
Well, now I’m back. And I couldn’t help myself trolling a bit. All the song titles have been camouflaged, and mangled with text noise. Even if a letter looks like an F, it is in fact another Unicode-character that just looks like an F. So the songs are pretty hard to search for, or even ungoogleable since Google don’t support Unicode very well. Or well, to be fair – neither do fonts, distribution platforms, social media, URLs, operating systems, and so on. An interesting test for me as a text-mode obsessed.
Secondly, I’ve played around with data formats, just like the corporations do. The last track of the release sounds like annoying beeps, but it is in fact a piece of software. You can run it by putting the cassette into a Commodore 64. It’s the music software that I use, with one of the songs from the album. Aaaand, last but not least – some of the images that are posted around the internet about this release, actually contain music. Yes, really! The cover art above contains three songs from the album. Can you figure out how to get them out of the image?
Photo: OJD
Composed in Sweden, Holland, Ireland and Spain. Pixelled in Australia. Printed in USA. Managed in France and the UK. And some language bots say it’s from Slovakia..
Side B (#7-#13 is mostly based on C64 while Side A is more diverse. Coding by Expander and Ravelli, hi-fi help from Maskinoperatör. Co-produced by defMON on C-64, Protracker on Amiga, Renoise on PC, TR-808, Casio MT-400v, Arp 2500, a gigantic semi-broken mixer and of course Remote Control Music Studio for teletext.
#2 pretty much only uses samples made by teenagers in the years around 1990. Only uses the Amiga super computer.
#4 was used for the PETSCII kids show Yeti Sound Machine with Raquel Meyers.
#8 might have been heard in a diskmag before.
#9 includes burning binary bird sounds by Frantic.
#10 is a jam based around the TR-808 that I got from Xavier, big <3!
#11 was taken from my new soundtrack to Son of Godzilla (out soon?) and was partly made at a residency at the CEM studio (Arp 2500 omg).
#13 is defMON and #8
Photo: 2080
“There are some hits on side A, and side B is just the best stuff ever” / Tero
“the new album ‘files in space’ by GOTO80 on a c60-tape is f***in’ BOSS! ” / remute
“Groovy!” / Max Tundra
“Is goto80 a genre? Because this is how goto80 becomes a genre.” / Stagediver
“Hahaha ! You Punk ! I hope they’ll mess everything up !” / 2080
“Space Bromance is hands down the song title of the year @goto80” / Boa Constructor
“Frikin love the new release dude!!” / Shirobon
“At least temporarily the best album ever made!” / Linde
“So what’s my favourite track on @goto80’s new album? I don’t know.” / @acdimalev
“3 @goto80 trax won’t open/rename in OSX as they break the filesystem: BRILL! Fortunately got it on cassette too \o/” / Syphus
@jpburstrom suggests this script for mac to asciify the file names.
