Post Tagged netlabels

Now Playing: Netlabels II

Saturday, 12 December 2011

As I described in this previous post, I am doing tiny little reviews – sometimes not so informative – linking to / promoting whatever netlabel thing I’m listening to when I’m around my computer at home. In that previous post I described them as a “skatter-brained bunch of not-reviews”. I’ve been posting these up on my Google+ account, and occasionally collecting them here, so that’s what this blog post is all about. Follow the links to listen to any of this stuff, most of it is free to download.

metaminaFNR : A Tasty Swarm of Small Signals
This isn’t a fixed release, it’s a continually evolving experimental internet radio broadcast.

The deal is that there’s this CD release of 91 “microcompositions” by various composers including Asmus Tietchens (one of my faves), James Webb, Lawrence English, Francisco López, Louis Dufort, Alan Courtis and Zbigniew Karkowski. The whole CD is two minutes long.

metaminaFNR is streaming this CD throughout the month of December, but not just playing the CD, they’re using it as source material for a month long self-generating sound stream, as they describe: “We wanted to stream it in a special way and work on the possibilities of the code and experiment with new broadcasts formats. For that we are developed a script in “Pure Data” which will mix up the 91 microcompositions “on the fly”, following different probability distributions (Markov Chains) assigned to each of the fragment, so we will listen different versions and structures of the mixer depending on the day and time. ”

The result is some incredible experimental sound being generated as you’re listening to it, never to be heard again. Unmissable.

It’s a weirdly layed out website, but streaming instructions are available in Spanish and English.

Gusev K.P. – Vb K
This is interesting, it’s minimal techno that threatens to erupt into a big beat and never does. It hovers there, all potential, unresolved – unresolvable. There’s no real beginning or ending, it occupies a limbo, a liminal state. The longer it goes along, the greater the tension, the greater the intensity, not because the piece builds to a crescendo – it never does – but because the enduring potential persists. The music does not repeat, and continually invents itself in interesting ways, but it refuses to progress… instead it hovers, intensely.

Out on +Olliver Wichmann ‘s excellent Petcord label.

Brownbear – Touching Scents
Positively massive hip-hop tinged techno with a heavy dose of weirding. Heavy stuff with a wide sound palette. Stands up against good pop IDM like Plaid.

Appalachian Falls – GrimGrimAntonym
Looping guitar tones that begin all smooth and calming, but then crescendo to a distorted roar with some piercing shards, and finally fall back again.

AODL – Wanted Valley
Harsh noise. Sure, that’ll turn off some potential listeners. Too bad for them.

Very layered noise with plenty of crunch, buzz and insistence… bassy wobbles and spasms of squelch. To me, there’s a followable narrative to this, rather than just a heaving wall of overwhelming wallop.

I saw this dude in concert at the Denver Noise Fest… He’s pretty good.

Cezary Gapik – 1998
Ridiculously good textural soundscapes, atmospheric and industrial… remind me of some of Eduard Artimyev’s soundtrack work. Cezary definitely knows what he’s up to.

I see that now this is a purchaseable album, it must have been free at some point, or I probably wouldn’t have it. You can stream it at the link for free, though.

Marax – The Weight of Insignificance
The normally screamin’ noise monster Marax takes an ultra minimal approach with this release, exploring the self-noise of a wah pedal. A droning, low-frequency oscillation with a mild static wash.

This reminds me, of course, of Nurse With Wound’s “Soliloquy for Lilith”, in which Steven Stapleton found that waving his hands around a certain effects set-up caused a seemingly magic sound response, creating an accidental, playable instrument.

The second track is the same source material as the first, taken in a more post-production / effected direction.

Both tracks are fascinating and yet extremely minimal.

N-qia, Sweet Sequence EP
Something like a Japanese electro-pop response to the Books or maybe Prefuse 73. I didn’t expect that. Female singer takes the cutesy-but-disaffected approach, something like Stereolab’s singers.

Actually, I think I might hate this. I can’t tell.
I think my primary beef with it is that its derivations are too obvious — there’s the danger with pop music. It’s well done, and pleasant, but derivative.

Fabio Keiner – Seagram Studies
A sonic transliteration of Rothko’s paintings.


Marax – Crawlspace Atrocities
This is kind of a heavily rumbling kind of disturbing and distorted noise music that’s mixed at low levels to set an atmosphere as opposed to the aural pummelling that could occur if all level faders were pushed to the top. You could call it “dark ambient”, I suppose. To me it feels like it draws more from industrial music and somewhat from black metal… especially when the gasping, pained vocalizations come in.

I really like the constant shifting of sound, like a frantic noise performance… but the calm, subdued context is a new way to hear this kind of movement.

Well done.

Shane Morris – Approaching Singularity
Burbling, skittering insect music. Sounds like a tape being ‘eaten’ again and again. Quite good, yeah.

I’ll probably download this one.

Gassyoh – Gets EP
It reminds me of Plaid, a bit more house-music flavored though.
I like the peculiar cover art.

Kirill Platonkin – Orogenesis
Ambient music. The first track just kinda slid by me. Some sustained tones and stuff.

The second track “Magmatism” is COMPLETELY AWESOME. Slowly passing string-like tones with a slowly-boiling/popping noise. Fucking effective. Tops.

Another great release from Petcord.

You are your own archive

Monday, 11 November 2011

You Are Your Own Archive

An informal response to David Grubbs’ presentation “Remove the Records from Texas: Parsing Online Archives”, given at the Sound Art Theories Symposium at the School of the Art Institute, Chicago, Illinois, November 6, 2011.
(quotations are taken from a transcript of Grubbs’ presentation at the symposium, not from the paper linked above)

Ubuweb’s Kenneth Goldsmith says “if it isn’t on the internet, it doesn’t exist”. Internet aside, can it exist if it hasn’t been described?

In my time as a creative individual, I have been involved with three international underground art networks: the mail art network, the cassette underground and the netlabel underground, each with its own culture, each having received different responses from academia.

My discovery of the mail art network was a personal revelation and an inspiration for me as a poor, young, creative person. I stumbled onto this network as a ‘zine publisher in the late 1980s, and I continued to work in the mail art net throughout the early 1990s. Via the free and open networking facilitated by the network, I met an large number of enthusiastic creative people, by exchanging art and ideas in written letters. I made some good friends who expanded my worldview and pushed me into creative directions I wouldn’t have otherwise followed. I became a prolific mail artist, mailing out uncounted scads of original work to every name and address I came across. This culminated in my assisting the brilliant mail artist Julee Peezlee in her 1993 mail art exhibition “Cold Snap”, a raw and non-academic approach to art curation with a punk aesthetic.

I was involved in this network for a few years. There was a lot of written documentation floating around the network, and I read all of it that came my way. I noticed over time that almost every piece of documentation mentioned about 4 or 5 different artists exclusively, and never made note of any of my favorite artists, none of the ones I knew. I sought out a few of these “famous” mail artists, and found them incredibly devoted to the networking aesthetic, incredibly giving of their time to any mail artist who came their way. John Held Jr. & Crackerjack Kid were great guys and especially good contacts to have, even if they were so connected with the whole wide network that you couldn’t necessarily get the level of friendly intimacy with them that you could with a lesser-known mail artist.

Over time, this exclusive focus on these few artists began to wear on me, these very few artists who had been canonized were great folks, but they were not the be-all end-all of mail art. When would some of the people I knew get their due? They wouldn’t, of course, these were essentially mail art invisibles. It seemed they were the mail art peasants, just goofing around, not serious. Not able to discuss or defend their work on an academic level. Merely practitioners. I found this narrow historical representation offensive and in an angry response I made my last pieces of mail art, an artistamp which had a stark black and white text stating “Fashion: The Networker Look in Style”, and another stating “I am One of the Mail Art Elite”. With these minor works, distributed to a very few friends, I quit the mail art network for good. I lost contact with many of my mail art friends, but I hope they are doing very well, I have very fond memories of them.

In the meantime, I had found something more personally appealing… the cassette underground. I had been nursing a desire to make music, and I found a group of people using the same network and barter method as the mail art network, but instead of visual art, they traded tapes. I networked the same way I had in the mail art culture, trading with countless artists, making deeper connections with some, and otherwise enjoying single, non-repeated trades with others. My first contact was Terry Burke of Set Cassettes, and not long after I met Ian Stewart of Samarkand / Bizarre Depiction, possibly through Terry, since this was also Ian’s first contact in the network. Ian ended up becoming one of the key figures of the cassette underground by starting a review / interview ‘zine called AUTOreverse which focussed exclusively on the cassette underground, (in the process documenting a small section of the history of tape trading). AUTOreverse followed in the footsteps of Jim Santo’s Demorandom column in Alternative Press and Gajoob magazine’s spotlight on work from the cassette network.

The cassette underground seemed to know that it was a unique phenomenon in the world… when I interviewed the noise artist PBK, whose real name is Phil Klingler, for AUTOreverse issue 12, he said: “What you are getting here is a post-modern response to technology, disenfranchisement and the complications of our age as we move into the 21st century. The cassette underground has created an important body of work, diverse as it may be, that is informed by, and draws from a whole 100 years of modern music theory, and also responds to millenial issues in a profound way. Some of the underground are getting better known, but there are many who dropped-out and disappeared. There is a wealth of obscure material out there, ripe for rediscovery. Guys like Carl Howard, Al Margolis, Jon Booth, Chris Phinney, any of those who had big tape labels, they must have hundreds and hundreds of tape-only releases in their collections, one day the musicologists will come knocking.”

This final print issue of AUTOreverse was publised in the Spring of 2001, well into the decline of the so called “golden age” of cassette networking, and as yet, the musicologists are still sitting on their hands. The efforts of someone like Carl Howard, whose important and influential tape label audioFile tapes released a massive and diverse collection of weird jazz, rock and noise with attractive tape covers and a fully realized label “personality” has essentially disappeared to history. After a catastrophic computer crash destroyed Howard’s own personal archive in 1999, the label abruptly ceased operations. “Watch fifteen years of ones life vanish… before… your… very… eyes!” Howard emoted during an interview with AUTOreverse online magazine.

Where is the Wikipedia entry for audioFile records? At least there is one for a minor football personality sharing Howard’s name. Phew, we don’t want any of that important minor sports trivia to pass out of our collective memory!

Neither is there a Wikipedia entry for someone like Zan Hoffman, an extremely prolific artist active in the cassette underground, and still active today, whose thousand-plus releases on extremely limited release cassette and CDr have included uncounted thousands of collaborations with artists of both the ‘notable’ and the extremely obscure branches of the musical underground, somehow, his almost inconceivably vast body of work is just not important enough for Wikipedia, nor for academic research. Why not?

Well, why would anyone care? The cassette underground were just a bunch of failed rockstars, pretending they could actually make music, right? The cassette underground wasn’t serious. Not serious music, not serious people, it’s okay if this thing is skipped over, no one needs to write about it, it wasn’t serious, nothing can be learned from it, get it out of my face.

After the advent of the internet essentially destroyed the cassette underground network in the early 2000s, and after it began to reform itself in the early 2010s, Don Campau, himself a longtime participant in the cassette network, took it upon himself to document and archive the experiences of those involved in the cassette underground, I’m sure as a reaction to noticing the obvious lack of interest from academia, popular culture and pretty much everyone not thus far described. The cassette culture had to archive itself or else it would disappear to history. Campau’s “The Living Archive of Underground Music” began in November of 2009, and, as he notes in an email, was conceived “not as an academic history, but as a personal reflection.” The website contains brief interviews and essays from many of the personalities who had been involved in the cassette underground, each giving personal accounts of their experiences. As Campau describes in the mission statement of the Living Archive website: “Simply put, “Cassette Culture” was a group of individuals worldwide who recorded their own music at home and distributed it themselves. This all began at the beginning of the 1980’s when home recording devices became affordable and cassettes were plentiful and cheap. These were not “demos” but fully realized art projects primarily traded with other like minded artists around the world. This was a decentralized scene although there were publications that addressed it at the time.”

Noting the near impossibility of archiving the cassette underground’s activities, especially so long after the fact, Campau’s mission statement is humble: “The Living Archive is not meant as a comprehensive history but more about my personal relationship with the people who participated in this home recorded music scene. That being said, there is a history to be gleaned from these memories and of the others who have helped me out here.” Campau is filling an important void in the archiving of the history of the huge output of this art network, but in some senses the cassette underground is being underserved by this single individual’s efforts. In asking Campau if he knew of other efforts to preserve the history of tape culture, he noted the online forum at and also the work of (curiously enough) mp3 blogs.

Academia has ignored this subcultural phenomenon for the most part, perhaps now that someone has begun to archive some of the personal histories of these tape traders, this will change. On the other hand, is it perhaps a good thing to be ignored? The danger exists of non-authorities who become authorities by dint of being the only one writing about a subject, this could lead to a focus on a select few artists who would then be described for posterity, and the remainder of artists would be alluded to in the vaguest possible way. “This important person did this, this important person did that… and other stuff happened (unimportant by implication)” Follow up academic research might echo this approach, citing the previous paper, naming the same names, and then an echo chamber effect would set in, elevating the work of a few, and ignoring the huge number of artists who poured their creative lives into this medium, and into this culture. Is this better than being forgotten?

This nightmare scenario is not what happened in the mail art network, each of the “famous” people in the network were doing very important work to document the movement from within, so they deserved all the credit they got. The problem existed that very few scholars delved any deeper, which is still an injustice.

In the late 1990s and early 2000s, the growing access to the internet, not to mention the affordable access to CD-r recording technology sent the cassette underground into a decline that all but destroyed it for a time. The letter writing and tape trading that people had engaged in for decades suddenly seemed hopelessly antiquated with the ease of email.

It was a confusing time for me, personally. I was still interested in the personal connection that could be had with a trade of a physical product, so I clung to the CDr media for a while. I set up my label, Vuzh Music, online with a catalogue of purchasable CDrs, and an open invitation to trade. I began a project called Vuzh Underground Editions, which re-released some of my favorite recordings from the cassette underground on CDr. Eventually I grew frustrated with the unreliability of the CDr medium, and felt guilty about selling and trading such a flawed product. I happily migrated my whole catalog into the netlabel underground when it began, and I haven’t regretted it a bit.

The netlabel underground sprang up organically, and curiously contained among its participants very few who had been involved in the cassette underground, certainly no one I had known. Home recording musicians who might at a different time have joined the cassette underground, instead saw the internet as an easy and quick way to transfer their work from composer to listener directly, without having to produce a solid object to mail off. From the earliest days of the netlabel phenomenon, artists gave their work away for free, primarily in the mp3 format. Netlabels rapidly adopted the Creative Commons as a new form of licensing upon its founding in 2001 by Lawrence Lessig, Hal Abelson and Eric Eldred. With its focus on attribution of authorship, in opposition to the tradeable ownership certificate of the copyright, the various Creative Commons licenses offered netlabels a working model for pridefully claiming authorship of a commercially-free product that nevertheless held value.

Where the cassette underground was based upon a barter system, a tape for a tape, or a CDr for a CDr, a letter accompanying each… the netlabel underground eschewed the barter system being that there was no physical object to trade. The best way to distribute your music, if you were an unknown artist, was to give it away for free, the fewer barriers the better. The standard American dream of the rock and roll musician: “submit a demo, get signed, record an album, get your promo photos done after teasing your hair up & wearing special clothing, tour, become famous, screw lotsa groupies, do drugs, get STDs, be interviewed by Rolling Stone magazine, live happily ever after” had been completely subverted in favor of the more straightforward model “record the music that you want to, no matter what it sounds like, release it for free, if someone digs it, then cool… if not then fuck ’em”, a sentiment originating in the cassette network.

Sadly however, by making music available over the internet, the one-on-one networking and letter exchange of the cassette underground -the human element- was lost. For me, though, it was better to have anonymous downloaders accessing my music without any comment than no one at all. Even if there wasn’t a community and there wasn’t much networking, the netlabel model was, I felt, the best there was at the time for an unknown experimental, electronic composer of abstract music.

With the rise in popularity of social networking tools Twitter and Facebook in the late Zeroes, however, the community aspect of the netlabel underground did finally begin to form. Having started with an “everyman for himself” attitude, netlabels and artists naturally gravitated toward connectivity, at first to grow the base to whom they could promote their own releases, and later to share experiences and thoughts with their colleagues on creative work in this new framework.

Netlabels took some of their form from the standard music label model, but at a more homegrown, DIY level: individuals curating collections of musical releases based on a set of highly personal aesthetic values. There are netlabels for ambient music, noise, dub, abstract experimental, pop music, and probably any other genre you can think of. Each label with its own personality, Just Not Normal, Earth Mantra, Modisti, BFW Recordings, Petcord (just to name a few at random that I personally have enjoyed) each have their own unique flavor based on the curatorial preferences of the label heads. While the promotional focus is always on the newest release, the older releases remain available in perpetuity for free download (in most cases). The netlabel list maintained by David Nemeth at the Acts of Silence blog lists over five hundred netlabels at the time of this writing.

November 5th & 6th, 2011 I attended the Sound Art Theories Symposium, hosted by the School of the Art Institute in Chicago, Illinois. I attended as part of my research into sound art with the goal of curating an exhibition in the Spring of 2012 as a student project, an independent study which grew out of the Museum Studies class taught by Jennie Kiessling at Front Range Community College in Fort Collins, Colorado.

Among the thirteen presentations at the symposium was one by David Grubbs, Associate Professor in the Conservatory of Music at Brooklyn College, CUNY, former member of the rock groups Gastr del Sol, Bastro and Squirrel Bait. Grubbs’ presentation was titled “Remove the Records from Texas: Parsing Online Archives”

Grubbs describes the concept of archive as being in flux with the advent of the internet, with websites like Ubuweb, and various mp3 blogs serving as new kinds of archives, making available otherwise rare or impossible to find experimental music, film and various documents. These online archives do not by any stretch offer the promise of eternal availability, as is usually expected with an archive. As Grubbs notes “Unlike online sources that stream only content, Ubu allows its users to download its files. Ubu makes no promises about its futurity, and the point, the unspoken point seems to be a desire that files should be downloaded and saved and not be presumed to float in the data cloud in perpetuity.”

Grubbs’ presentation included a description of online archives as reducible to three forms: “1.) Online archives, authorized or not, organized around a particular artist, an institution or the vision of one or more curators, 2.) Blogs that are usually the work of a single individual, that are more informal, but often substantial in terms of the amount of recordings hosted, and 3.) File sharing that occurs with little or no contextualizing apparatus.”

Where, I wondered, are the netlabels in this description?

If the definition of archive is fluid enough to contain mp3 blogs and Ubuweb, both of which are iffy when considering futurity, and both of which collect contemporary work from the ‘now’, if we’re considering online archives of experimental sound, then why are netlabels excluded?

Grubbs explains: “In the chapter entitled ‘The Historical A Priori and the Archive from the Archaeology of Knowlege’, Michel Foucault describes the archive as fundamentally separate from the discourse of the present. In Foucault’s words the archive is ‘a privileged region, at once close to us, and different from our present existence. It is the border of time that surrounds their presence which overhangs it and which indicates its otherness. It is that which outside ourselves delimits us. It is not possible for us to describe our own archive since it is from within these rules that we speak.’ Now, adhering to Foucault’s fundamental distinction, that the archive is separate from the present that the archive defines the discourse of the present through the separateness, it would seem inapt to speak of any of these examples as archives. They participate in the discourse of the present by circulating work made by living artists.” So obviously, some forgiving is being done to include Ubuweb, and mp3 blogs into the category of archives, but this same generousness isn’t expansive enough to include netlabels?

I had an emotional response upon hearing this presentation, and confronted Grubbs, ineloquently, with my concerns; however, in reflection, my beef is not really with him or his presentation at all. I suspect (although he did not explicitly admit this) that Grubbs may have simply been ignorant of the netlabel underground, and not, as I had concluded in the heat of the moment, that he excluded them because netlabels are not serious, are comprised of silly, goofy people pretending to be composers of experimental music, not in his purview, get it out of his face. Given my experience with academic documentation of the mail art underground, and the cassette underground, this highly suspicious and emotional response from me was to be expected, I suppose, perhaps overly earnest and undisciplined, but hey, that’s me.

In a brief discussion with Grubbs after the presentation, he defended his exclusion as primarily an instinctive place to draw the line for the purposes of his paper, and suggested that the difference may be that archives collect primarily work otherwise unavailable from the past and that netlabels don’t seem much different from standard labels in making available primarily new work, (never-minding that mp3 blogs sometimes collect and make available some work so new it hasn’t yet been officially released) He requested more info from me and feeling rather intimidated I kinda choked up. I feel like an idiot for stumbling all over my own words and not making a watertight case for netlabels when the perfect opportunity arose. Some ambassador for netlabels I am!

The fact remains that there is a level of perceived amateurism that excludes netlabels from “serious” consideration. Ubuweb, (from my perspective I find this strange), considers itself an amateur operation. Grubbs’ presentation quotes Ubuweb founder Kenneth Goldsmith: “We know that Ubuweb is not very good, in terms of films the selection is random and the quality is often poor, the accompanying texts to the films can be crummy, mostly poached from whatever is available on the net. Ubu is a provocation to your community to go ahead and do it right, do it better, to render Ubu obsolete.” I somehow doubt, however, that Ubuweb would deign to archive the work of any currently practicing netlabel artist… is it because netlabel music exists on an amateur stratum below its own? I suspect this may be partially the explanation, but the more important one is that Ubuweb probably recognizes that netlabels themselves are their own archive, and they don’t need Ubuweb to document their history. (Yet?)

Are netlabels archives?

Thomas Park, who records under the names Mystified and Mister Vapor, (to pick one good example from among very many who would just as easily fit the bill) has a mission for near total availability of his own prolific creative work. By his estimation about 80% of his entire body of work (no accurate discography exists online of Park’s prolific work, so it’s impossible to give a count) is currently available on some format, about 80% of that hosted on about two dozen netlabels. Of the work that’s not officially available, he says, the work is still accessible and can be sent out to interested listeners upon request in any format they desire. As anyone who is involved in the netlabel underground can attest, Park is a tireless artist, and even more tireless when it comes to assuring the availability and public awareness of his output. Is he merely a self-publishing artist, is he not the archivist of the work of Thomas Park? Who else is going to archive the work of this artist?

David Nemeth’s recently initiated blog “the Easy Pace” is essentially a monthly aggregator of new releases in the vast netlabel landscape, with artist, titles and cover art presented along with a link to the main release webpage. As long as this project continues, it provides a wealth of quantifiable historical data documenting the releasing activity of the scene. While only going back to August 2011, its intentions could be easily divided between alerting potential listeners to new music and archiving the information for the future. Other similar aggregators exist (although Nemeth’s is the most informative by including cover art) and hopefully in comments some people will list some of these others.

And what of netlabels themselves, each housing their own unique catalogs stretching back to the beginning of the movement? The promotional focus may be on the newest work, but these sites continue to host the older works and assure their availability on the same terms of service as the new work. Who else is going to store this stuff for history but the labels that originally released it? Nemeth points out in an email “Very recently Abracadabra went silent and now all their releases are gone. They didn’t use or sonic squirrel etc. Meanwhile, look at Digitalbiotope (one of my favorite dead labels), all their stuff is still available.” When a netlabel goes dark, sometimes another will pick up their catalog and sometimes the label acknowledges itself as an archive and stays live, but unchanging, but sometimes the material is simply lost for good, because no other functioning archive exists.

I guess what I’m really shooting for with this blog post is a wake-up call to the netlabel underground, much more this than some demand of attention from the academy. Are you going to wait for the bearded men in the corduroy suits with elbow patches to describe your history? Are you going to wait until the fog of time clouds your own memories before bothering to document your history? Netlabels are a significant phenomenon, the music and culture are unique and important to this time in history, whether or not popular culture, or the academy notices it. This thing you are involved in matters, and it belongs to you.

Will a Don Campau of netlabels arise? Will scads of netlabel versions of Don Campau’s archive arise? Will we allow more netlabel catalogs to disappear with nothing more than a shrug of the shoulders? Will we begin to write our own history in such a way that it is less likely to be misrepresented? Where do we even start? Well, I can suggest one thing: what about that Wikipedia entry on “netlabels”, are we all happy with that description that someone else has written about our culture? If not, then what are we going to do about it?

And then, more importantly, what next? You tell me.

Postscript added 11/16/2011:
David Grubbs has responded in an email to the question of whether the exclusion of netlabels in his paper was intentional :

“Thanks so much for sending me the link to your post. I really enjoyed it and I learned a lot from it. You are absolutely correct that I didn’t understand the reference to netlabels. To be frank, it wasn’t even a term that I was familiar with — and you (and one of the folks in the comments section) are right that my not considering netlabels within the context of the category “archive” comes entirely from my unfamiliarity with the practice.”

This brings up another point that I don’t touch on in this essay, but have frequently stated in other forums, and that is that -as a community- it is needed for us to stop ONLY self-promoting, and begin to raise the overall awareness of the whole netlabel underground. Using all of your efforts only to promote yourself while ignoring the frame on which you hang your own work is a disservice to the whole community, and ultimately a disservice to yourself. Raise awareness of the netlabel underground and we ALL benefit.

Do you think you’re just some brilliant composer flying solo, or are you part of an international cultural movement? If you’re a bootstrapper then good for you hope you do well, but I’m probably not interested to follow your work anymore. I’m proud to benefit from the netlabel community, and I will do what I can to boost it whenever I can.

Formerly Sine Drones

Friday, 06 June 2011

Beginning with the humble sine drone, in frequencies chosen at random (by asking Twitter friends to choose a number between zero and twenty-thousand!) I have created probably my most austere & minimalist compositions yet. The sine drones were treated using only equalization & dynamic effects to synthesize the seven complex drones featured on this twenty minute long experimental pure-electronics recording.

Free to download from the Modisti netlabel here:

Best of 2010 PLUS: Gurdonark

Thursday, 01 January 2011

My post detailing my favorite netlabel releases of 2010 was quite popular, and led to a lot of people discovering some cool music, which is one of my main goals, aside from promoting my own music. It is my humble opinion that all netlabel artists ought to have the same goal: namely to promote the stuff in the netlabel underground that they think is really great at the same time as they promote their own stuff. That way ALL of us benefit, both listeners and producers. Right? Right.

With this in mind, I am going to be focusing on each artist (hopefully-this will depend on if they want to participate or not) whom I reviewed in the best of 2010 post, re-running the review I originally wrote, but I’m ALSO going to ask each of the artists reviewed to recommend a few completely FREE netlabel albums that THEY have enjoyed recently.

Previously we’ve had recommendations from:
1.) Mystified
2.) Marc Weidenbaum
3.) Christopher McFall
4.) Andreas Brandal
5.) Meteer

Gurdonark’s unassuming little record from 2010 made my best-of list, here was my appraisal:

Gurdonark – Butterflies of North Texas
Gurdonark’s unique brand of sampling-synth musical fancies takes a move into slightly darker territories than last year’s wonderful “Seven Virtues”. Don’t look for scary dark ambient or anything though! Self-described “kid music” with odd modes, interesting sounds and unexpected changes.

Robert Nunnally, a.k.a. Gurdonark has a few things to say, and a few recommendations to make, so let us make haste to LISTEN:

I’m a huge believer in Creative Commons music, and in a sharing culture in general. I find solace in netlabel and other free download music–a musical connection to my imagination and a sense of exploring new lanes on forgotten but welcoming highways. I see the netlabel movement less as a monolithic Tower of Babel, and more as thousands of rivulets of water which will grow into a redefining stream. Here are a few of the albums that inspired me.

Phillip Wilkerson – The Way Home
The releases at Earth Mantra, an ambient label, are quite regular and yet almost always quite inspiring. I’d like to single out one: Phillip Wilkerson’s “The Way Home”. Phillip works in both “dark” and “light” ambient music, often using vintage drones to explore new melodic hallways. “The Way Home” explores his lighter side–not the light of the new age, but the warmth of innovative sound in search of an innovative melodic sonic experience. I listen to this album when I want to find a little serenity. This album is not cheap grace, but costly discipline, in pursuit of an ambient pathway.

I should also give a shout-out, while I am on this topic, to Stillstream, the ambient netradio station which is affiliated with Earth Mantra
whose playlist, shows, live performances and even live chat show what incredible vistas Creative Commons music can achieve, if a dedictated group of listeners believe in it. I offer special thanks to Palancar, the ambient artist who operates both Earth Mantra and

Altus – Black Trees Among Amber Skies
The Canadian artist Altus has released a fine body of work. His 2010 release “Black Trees Among Amber Skies” is meditative without being sterotypic meditation music. When I seek to collect my wits, I find them assorted easily on the spindles of this sound. I like the way his songs subtly shift from sound to sound, creating a whole that is more than the drone of the parts.

I love ambient and chill music, but I am not the captive of those genres. I think that netlabel music is wonderful in a world of niches, and not just two. Here are a few releases in other genres:

Cagey House – B is for Breakfast
I love contemporary classical music and novelty songs. An artist who shares my love for each is Cagey House. His songs tend to run Ramones length, and always show a strong sense of fun. Yet the fun is only the handle on the mirror. The real fun-house is contained within the glassine core of his music, where he explores ideas from modernist music and free jazz like a
serious academic dressed as Pierrot at a costume party. Cagey House’s “B is for Breakfast” is BP 055 on the Bypass netlabel. The Bypass Netlabel wins a special prize for its DOS-style graphical user interface on its website. This album features manic melodies, absurdist spoken word sampling, and contemporary classical nods with a wink from a left eye, a right eye, and a third eye. Cagey House is netlabel music at its best–unconcerned with fashion, unafraid of fun. My music sounds nothing like Cagey House music, yet I consider him a huge influence.

Lucas Gonze – Ghost Solos
Netlabel music seems too young to me to inspire urban legends, but already it has its now small-town myths. One such myth is the notion that only electronica and lo-fi experimental music emanates from the Creative Commons scene. Lucas Gonze approaches music from another place altogether. Using his guitar and a vintage mandolin, he makes recordings of public domain sheet music from the 19th and early 20th Centuries. the vibe here is not “virtuoso”, but “insightful sharer”. Those who, as I do, both completely love and to some extent nonetheless reject pop music, will be delighted to find these melodies neither as safe nor filled with sentimentality as the brochures say. In the same way that John Fahey may have been the first truly ambient artist, Lucas Gonze may define truly experimental music in our era–by way of the time machine.

Adam and Alma – Back to the Sea
When we rush to the ramparts to resist pop music, let’s be sure and lose to the invasions by the
stylish songwriters who are Scandinavian at heart. The wonderful 23 seconds netlabel out of Sweden, provides unapologetic pop electronica.
Adam and Alma’s EP “Back to the Sea” mines pop and electro to create a sound that is buoyant but not drowning in pop sentimentality. The track “Smile for Me, Sun”, an upbeat, seductive flirtation with the star around which our planet orbits, may qualify as the official soundtrack to the brighter sides of 2010. Ellen Arkbro and Johan Graden, who comprise this electro duo, leave me wanting more–more vim, more vigour, and more Adam and Alma.

These are but a few of the wonderful releases that caught my eye this year–and space permits only the merest mention of German artist Entertainment for the Braindead’s
banjo madness on her EP “Roadkill” on, or Josh Woodward’s continued conquest of American pop modes on his “Ashes” release on his site I cannot let the moment go by without a mention of Mark Stolk (Mystahr’s) amazing experimental label, Just Not Normal. There are so many fun releases available. I could go on, but I’ve gone on and on.

I agree with you, C. Reider–one way we can help spread the word about Creative Commons music is to discuss the music we love. My own tastes run a wide gamut-and I am delighted that Creative Commons music fulfills so many of my hopes and daydreams for what a new music culture will be.

Thanks Robert!

Best of 2010 PLUS: Christopher McFall

Saturday, 01 January 2011

My post detailing my favorite netlabel releases of 2010 was quite popular, and led to a lot of people discovering some cool music, which is one of my main goals, aside from promoting my own music. It is my humble opinion that all netlabel artists ought to have the same goal: namely to promote the stuff in the netlabel underground that they think is really great at the same time as they promote their own stuff. That way ALL of us benefit, both listeners and producers. Right? Right.

With this in mind, I am going to be focusing on each artist (hopefully-this will depend on if they want to participate or not) whom I reviewed in the best of 2010 post, re-running the review I originally wrote, but I’m ALSO going to ask each of the artists reviewed to recommend a few completely FREE netlabel albums that THEY have enjoyed recently.

Previously we’ve had recommendations from 1.) Mystified and 2.) Marc Weidenbaum.

This time we’ll get Christopher McFall’s recommendations. Here’s what I had to say about his new release:

Christopher McFall – A Long Time Running for the Suicide Strays
Sepia loops of tones & textures clustering and spreading apart. Unmissable.

Now then, here’s Christopher’s recommendations:

I’ve a few recommendations that I’ve listed below:

1. Coeval – Distante 3: This is my favorite release of 2010, period. Coeval is even more stunning with this release than in previous releases in the series. The rendered field recordings/music composition on Distante 3 convey an amazing sense of dark cinema. It’s hard to believe how under exposed Coeval’s music is because Coeval one of the best things happening out there on the field recording/ambient music circuit.

2. Alessio Ballerini – Blanc: It’s my understanding that this music was created for a video installation. The music for this release is lush with layered textures of sound and music. Static and distortion characterizes some instances and then parts emerge exhibiting ambient soundscapes coupled with guitar, piano played in a modern classical style and field recordings. It’s an exceptional release and one not to be missed.

Those are the two big ones that I have for 2010. Great stuff to be found with both of these.

Best regards,

Thanks Christopher!

Best of 2010 PLUS: Marc Weidenbaum

Friday, 01 January 2011

My post detailing my favorite netlabel releases of 2010 was quite popular, and led to a lot of people discovering some cool music, which is one of my main goals, aside from promoting my own music. It is my humble opinion that all netlabel artists ought to have the same goal: namely to promote the stuff in the netlabel underground that they think is really great at the same time as they promote their own stuff. That way ALL of us benefit, both listeners and producers. Right? Right.

With this in mind, I am going to be focusing on each artist (hopefully-this will depend on if they want to participate or not) whom I reviewed in the best of 2010 post, re-running the review I originally wrote, but I’m ALSO going to ask each of the artists reviewed to recommend a few completely FREE netlabel albums that THEY have enjoyed recently.

Previously we’ve had recommendations from 1.) Mystified.

This time we’ll get Marc Weidenbaum’s recommendations. His indispensable website Disquiet is one of the netlabel underground’s most important resources. He curated a compilation which was one of my favorites from 2010.

V/A – Despite the Downturn: An Answer Album
Marc Weidenbaum’s sonic activism compilation reacting to an article by Megan McArdle in the Atlantic Monthly, in which artists used the article’s accompanying illustration as a graphic score. Nice concept, and lots of cool music on here, including one piece by yours truly.

Here are his comments and recommendations:

I’d like to add one comment by way of introduction. I entirely agree with your statement that it’s “important for the netlabel underground to actually talk about netlabel music,” and not just “promote” it. I do, though, want to propose that not all talking is verbal or written. A lot of the best netlabel communication occurs in the form of remixes and collaborative projects. However, that is musicians talking to musicians, and I agree it is necessary to communicate in a more broadly accessible language — e.g., the best-of list. So, here goes. Three of these five are on netlabels, one is a podcast, and one is a project housed on a musician’s website. The latter, two, though, being freely available, strike me as being netlabel in spirit.

For a Touch Radio podcast entry, saxophonist Thomas Ankersmit did a spell of Deep Listening inside an echo-heavy Estonian hanger:

Elisa Luu’s The Time of Waiting emphasizes variety: playful beats, quasi-orchestral extravagance, and a real keeper that artfully employs processed vocals:

The music on Diego Bernal’s Besides… is the like some secret side-project team-up between Ennio Morricone and DJ Premiere, mixing atmospheric melodrama and rough beats:

The track “Homage to Jack Vanarsky,” featuring viola and motorized gadget, on the album Solo Viola d’Amore by Garth Knox, sounds more and more like a duet the more you listen to it:

Tim Prebble’s Synaesthesia project invites musicians to respond in sound to photos that he posts. In this case, one from Bali. Gamelans not required:

Full list of 2010 favorites at:

Happy new year.

Thanks Marc!

Best of Netlabel Releases 2010

Sunday, 12 December 2010

It was a good year for netlabel releases, and that is for certain!
I mean it: download everything on this page. You had better.

We’ll start with a brief roundup of my releases this year and then move on to my favorite releases by other artists.

It was a bit of a sparse go-round for Vuzh Music this year, but I did put out a really great remix of a split tape from 1991 by PBK and Vidna Obmana which I hope you didn’t miss:

C. Reider – Fragment Three Re-Works

Dark Winter netlabel also put out a collaboration between me & Desohll of a longform guitar darkambient piece. Quite dark, somewhat ambient as well.

C. Reider / Desohll – Falling into Disrepair

I’m pretty sure 2011 is going to see a whole lot more activity at Vuzh Music, so watch out!

Now on to my favorite netreleases this year. All but one are free to download. They are presented here in alphabetical order, because I could not rate them, they’re all too good.

Andreas Brandal – Breaking a Mirror
Calm cinematic soundtrack-ish atmospheres and scenarios. It is constructed like a kind of collage music, but breaks into intimate little musical themes with real instruments. Quite lovely. I will need some more of this composer’s work.

Das, Jeph Jerman, John Hudak, PBK – Chain Mail Collab June 28, 1988
Old school looping industrial noise. This sound never gets old for me.

Christian Doil – Eis
A chilly collection of pinging synth tones, plucky percussives and arctic belltones working through fluctuating musical themes while accompanied by icy, ghostly drones. The crystal cathedral, indeed.

The Euphoric Hum – A Circle of Equal Altitude
Churning noisy ambience that intensifies and dissipates in dramatic ways. New sounds continually enter the mix, keeping things interesting. A sort of diffuse industrial/minimal techno throb emerges from the ambient noise.

Fosel – Problem of Universals (C. Reider Remixes)
Is it bad form to nominate this as a best of 2010 when it’s a remix of my own music? Well, for me it honestly is a great album. Ambient beat music done beautifully.

Gurdonark – Butterflies of North Texas
Gurdonark’s unique brand of sampling-synth musical fancies takes a move into slightly darker territories than last year’s wonderful “Seven Virtues”. Don’t look for scary dark ambient or anything though! Self-described “kid music” with odd modes, interesting sounds and unexpected changes.

The Implicit Order – s/t
I’ve been a full-throated advocate for the music of Anthony Washburn for years. This new effort does not disappoint. His haunting blend of looping samples alternate between creepy and jarring, and is always intriguing. “Dumb Generation” = great song title!

Miquel Parera Jaques – nx004_Automatic
Tinnitus drones moving along algorithmic flight paths. Computer music for hypnotizing organic life forms.

John Kannenberg – Oculus
The basis of this album is a set of site recordings of various video projection mechanisms in art museums. High strength of concept and execution. Those gorgeous ultra high frequencies in “Television Monitor”, jeez, how did he do that so beautifully?

Christopher McFall – A Long Time Running for the Suicide Strays
Sepia loops of tones & textures clustering and spreading apart. Unmissable.

Meteer – Unless
Blocks of odd samples move in rhythmic patterns a la Biosphere or Taylor Deupree. Somehow, even with all the ring modulation and lo-fidelity and occasional distortion, (not to mention lack of overt beats) it still feels like a lush ambient techno piece.

Mutamassik – That Which Death Cannot Destroy
Messed up hip-hop instrumental music with middle Eastern samples, the beats start off totally mutant and then they go and mutate some more. Fans of Muslimgauze will enjoy this.

Mystified – A Pale But Lasting Hope
Mystified puts out a lot of good stuff, and then he puts out some fucking great stuff. This release falls into the latter category. Rattling percussion elements and zigzagging synthetics form imaginary sonic structures. Loops that fall out of sync. Among my top favorite things I’ve ever heard from this artist. Please note that this release is on Magnatune, and so it streams freely, but you need to pay a $15 fee before you can download (but then you can also download everything else in their catalog).

Kurt Nimmo (Fosel) – Complex Silence 8
No fair, Mr. Fosel made it to the list twice this year! This guy puts out some great damned percussive ambient music. Includes a remix of Phillip Wilkerson and two remixes of C. Reider. Bonus points for the Kurt Vonnegut reference. Not sure whom to credit, because the cover says Fosel and the ID3 tags say Kurt Nimmo. Ah well.

Olifaunt – Innocent of the Smoke and Noise
Olifaunt just keeps improving and improving. I think this is the best outing yet from this composer. Extremely minimal, quiet, calming string work with elements of drone/trance and musical progression. Very pretty ambient album.

PBK – Appeal
A newly remastered digital re-release of a cassette from 1989. Early PBK tapes were pretty heavily loved by me, so it’s great to hear them again all cleaned up! Industrial quality machine noise that accumulates a calmed atmosphere better than most ambient music… pricks at your imagination.

V/A – Despite the Downturn: An Answer Album
Marc Weidenbaum’s sonic activism compilation reacting to an article by Megan McArdle in the Atlantic Monthly, in which artists used the article’s accompanying illustration as a graphic score. Nice concept, and lots of cool music on here, including one piece by yours truly.

V/A – No-R-Mal II
The only person that can out-do Mark Stolk, it appears, is Mark Motherfucking Stolk! His five hour long compilation of netlabel artists from last year was followed up by a SEVEN hour long compilation this year… seven fucking hours of cool underground music, as good an overview of the netlabel underground as you can get, period.

BoingBoing on Netlabels

Monday, 12 December 2010

One of the netlabel under-world’s resident saints, Marc Weidenbaum of Disquiet, is writing for Boingboing for a short while — and he’s used the opportunity to post about netlabels with a very nicely done, surface-scratching, invite-you-to-discover-more-for-yourself overview:

Netlabels: Release, Remix, Repeat

Response to Silent World of Netlabels

Wednesday, 11 November 2010

There is, in this mini essay by Mixgalaxy Records, a discussion we should be having in the netlabel underground.

Clearly, yes, there is very little intracommunication between netlabel artists who do not already know each other… there is very, very little community-wide feedback. This is something I’ve been saying for years. I had the great pleasure of having participated in the final ‘golden years’ of the cassette underground. With each tape trade there was an exchange of letters, and often there was a follow up once both traders had a chance to listen to the other’s work. Sometimes this led to a friendly connection. Other times just a polite comaradery, or in some cases a dismissive ‘nice try, just not my kinda thing’. For what it was, there was at least some feedback, even if brief.

The author of the Mixgalaxy essay is correct to accuse the netlabel underground of ‘silence’. It’s shameful the total vacuum that people’s efforts disappear into. I may not necessarily be composing my own music for an audience, but I do feel it’s part of the experience to occasionally have someone contact me and say “Hey, really weird stuff… I dig it.” As Gurdonark says in the comments to the Mixgalaxy post “A listener need not spend 16 dollars on a CD to download a netlabel album, but spending 30 seconds on an e mail or 5 seconds on a tweet is a form of ‘payment’ netlabel owners crave.

My biggest beef with the netlabel underworld has long been that although I myself am constantly listening to netlabel releases by artists that I frequently know little about, and recommending them via email or Twitter or through this blog (check out this post, or this one, or this one, this, this, this, or this one for example), I see only a small minority of other netlabel supporters doing the same. Most of the time the only interaction some netlabels/artists have with anyone is a promo blurb about some new release — or ten new releases. There may as well be a mechanoid behind some of these labels. Do they listen to their peers? Do they even know their peers exist? Who knows? But hey, they have several new releases this month. Why even participate in a community if you don’t want to communicate?

Where I disagree with the author is the false dichotomy of netlabel with commercial music. I don’t see that the average artist in the net underground is at all ‘hoping for that big break’ that’ll help them cross that supposed thin line that separates the two worlds, and they’ll suddenly be rich and famous. Net artists have embraced obscurity, and why not? Obscurity is a virtue. Yes; we all want more listeners, yes; we even want fans, but the kind of music most of us make is just never going to have a hope of being popular, and we all know it. I for one am happy to reach more and more listeners, but I am happy with a slow and small accumulation of appreciative listeners. I feel like I can be honest to my own creative direction (which is something I take very seriously), with this approach. I may be misreading the essay, but I simply don’t agree with the diagnosis that netlabels’ problems have to do with money not being involved. I think the free aesthetic is one of the strongest bonding elements we all have.

I want a more inclusive and supportive community of netlabel artists than there is currently. Perhaps this can change. I have seen signs lately that point to ‘scene boosting’ activity… the Mixgalaxy Records blog post itself is a pretty good sign of this.

It occurs to me, perhaps, that what the community might have a need for is a more centralized method of communication. Mail art had some central hubs… Ashley Parker Owens’ Global Mail filled that role for a while. The cassette underground had Gajoob, and later Autoreverse (among others)… the net underground is completely de-centralized, which can be a strength, but it definitely doesn’t lead to a sense of community. Right now, it’s every man/label for himself. I may not be the chummiest guy in the whole wide world, but I sure as shit reject that kind of isolationism.

Review “Falling into Disrepair”

Saturday, 10 October 2010

The Disruptive Platypus blog has offered up a brief, but positive review of my recent collaboration with Desohll “Falling into Disrepair” out on the Dark Winter netlabel.

Read the review here

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