Podcasts about Amnesia Scanner

The boundary between imagination and technology blurs in Lila Tirando a Violeta's mesmerizing sonic experiments. From her early DIY noise experiments in Uruguay to her current position as one of electronic music's most distinctive emerging voices, Lila's creativity has flourished despite—or perhaps because of—the challenges of living with a chronic condition.When health issues confined her to hospitals and home at age 23, Lila found herself transitioning from improvisational performance to structured composition. The internet became both her music school and lifeline, leading to collaborations with artists like Loraine James and Amnesia Scanner—relationships that began digitally before materializing in the physical world. This digital-first approach mirrors the themes in her work, particularly her fascination with David Cronenberg's Videodrome, which she references in her new album "Dream of Snakes."What makes Lila's creative process so compelling is her transformation of limitation into innovation. She samples her own pulsating tinnitus, captures field recordings from hospital rooms, and builds intricate sonic collages without formal training. Though her aesthetic suggests urban futurism, she's found her creative sanctuary in the quiet Irish countryside, where nature and technology intertwine in unexpected ways.Most striking is Lila's openness about navigating the music industry—from including special lighting requests in her rider to dealing with international promoters who expect her to play reggaeton simply because of her South American heritage.If you're enjoying Lost and Sound, please do subscribe and leave a rating or review on Apple, Spotify, Amazon, or wherever you listen. It really helps to spread the word and support Lost and Sound.Lila Tirando a Violeta on Instagram Listen/Buy Dream Of Snakes hereFollow me on Instagram at PaulhanfordLost and Sound is sponsored by Audio-TechnicaMy BBC World Service radio documentary “The man who smuggled punk rock across the Berlin Wall” is available now on BBC Sounds. Click here to listen.My book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culturet Capital is out now on Velocity Press. Click here to find out more. Lost and Sound title music by Thomas Giddins

This is a preview | Full episode released to subscribers: 13 Feb 2025 | Subscribe --> https://newmodels.io Part 2 of this NM Greenroom features Amnesia Scanner's Ville Haimala & French artist Freeka Tet discussing the work they do in parallel to their AS collaboration. For Ville, this includes developing scores and sound design with Anne Imhof for her monumental performance-installations; while Freeka discusses his recent music video for The Weeknd. In Part 1 (released 9 Feb 2025) AS's Ville Haimala & Martti Kalliala, together with regular collaborator Freeka Tet speak about their most recent release, AS HOAX (PAN, 2024) and the project's innovations within the post-streaming subcultural industrial complex. For more: 
@amensiascanner @freekatet @villehaimala (IG) https://p-a-n.org/product/amnesia-scanner-freeka-tet-hoax-pan-148/

This is a preview | Full episode released to subscribers: 9 Feb 2025 | Subscribe --> https://newmodels.io _ Ville Haimala & Martti Kalliala of the experimental music duo @amnesia-scanner & regular collaborator Freeka Tet join NM to discuss AS HOAX (@pan_hq 2024) — both the making-of and the world into which the dual record project was released.  This is Part 1 of 2. It focuses on the Amnesia + Freeka project and its innovations within the post-streaming subcultural industrial complex. Part 2 (coming soon) expands to Ville & Freeka's activity outside of Amnesia Scanner, including recent work with artists Anne Imhof and The Weekend. Recorded at the end of 2024, the conversation presciently channels the noise, distortion, and attentional overload that has quickly come to characterize the info-sphere of 2025. For more: HOAX (PAN, 2024) https://p-a-n.org/product/amnesia-scanner-freeka-tet-hoax-pan-148/ Related:
 Joshua Citarella, Doomscroll: Trevor Paglen: Mind Hacking, AI and Psyops Capitalism,” 2024
https://www.youtube.com/watch?v=--0kYOwOoDQ Joshua Citarella, Doomscroll: Matty Healy: Pop Culture in the 21st Century, 2024 https://www.youtube.com/watch?v=kdCdpnz0wDU&t=1732s

What can electronic music tell us about our past, present, and future? Today, we take a walk through the annals of electronic music history with Simon Reynolds, one of our music critic heroes and author of a new book called Futuromania: Electronic Dreams, Desiring Machines, and Tomorrow's Music Today. Encompassing over two dozen essays and interviews, Futuromania offers a chronological narrative of machine-music spanning the 1970s to the present—with a special focus on music that, in its moment, seemed to presage the future, from Autotune and Giorgio Moroder to Amnesia Scanner and Jlin. You can think of it as a future-focused counterpart to Simon's canonical 2011 book, Retromania, where he explored how pop culture and pop music had become addicted to its own past. We dig into the differences between retromania and Futuromania, the deeply human appeal of music that sounds distinctly inhuman and machine-like, and how music that sounds like “the future,” much like sci-fi, can help us process our complicated feelings about technology and the world. We also discuss the role of retrofuturism in the genre's history, the cycling back into fashion of decades-old electronic music styles like gabber and hardcore techno, and the changing meaning of musical “newness” in a world where electronic music itself is now nearly half a century old.Get access to bonus episodes and the CUJOPLEX Discord server by becoming a paid subscriber.Grab a copy of Futuromania.Keep up with Simon and his writing on blissblogFollow Simon on X This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit theculturejournalist.substack.com/subscribe

In dieser "elektro beats"-Ausgabe stellt Olaf Zimmermann viele spannende Neuveröffentlichungen vor. Dazu zählen die neuen Vinyls von Actress "Statik", das Debütalbum von Peggy Gou "I Hear You" und der Soundtrack zum Schaffen von Brian Eno. Will Gregory, die männliche Hälfte von Goldfrapp, hat Aufnahmen seines Moog Ensembles veröffentlicht. Außerdem gibt es ein Neues von der Gruppe Beak, Bicep, Anja Schneider, Nonkeen, Amnesia Scanner, Dr. Walker, Dapayk & Padberg und dem amerikanischen Komponisten Dustin O’Holloran, bislang Unveröffentlichtes von Aphex Twin und es ist eine 50th Anniversary Edition des legendären Cluster-Albums "Zuckerzeit" erschienen.

Die Brainwashed - Radio Edition ist eine einstündige Show mit Musik von den Künstlern und Labels auf Brainwashed.com. 1. Film School, "Influencer" (Field) 2023 Felte 2. Colleen, "Subterranean - Movement III" (Le jour et la nuit du reel) 2023 Thrill Jockey 3. Code Industry, "Dead City" (Structure) 1991 Antler Subway / 2023 Dark Entries 4. Nevaris, "Dub Sol" (Reverberations) 2023 M.O.D. Reloaded 5. Jerome Noetinger, "Les attracteurs de particules (excerpt)" (Outside Supercolor) 2023 Room40 6. Audrey Carmes, "La fin du film" (Quelque chose s'est dissipe) 2023 Metron 7. Cory Hanson, "Housefly" (Western Cum) 2023 Drag City 8. Chris Corsano and Bill Orcutt, "Play at duke 1" (Play at Duke) 2023 Palilalia 9. Amnesia Scanner and Freeka Tet, "Scorpions, Bats and Spiders" (STROBE.RIP) 2023 PAN 10. jaimie branch, "take over the world" (Fly or Die Fly or Die Fly or Die ((world war))) 2023 International Anthem 11. O'o, "Moho" (Spells) 2023 InFine 12. An Moku and Stefan Schmidt, "RiR ° 7" (Raum Im Raum) 2023 Karlrecords # Brainwashed - Radio Edition Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening. * http://brainwashed.com

"It feels like every artist is presenting their work in the same way that a gallery or an art institution would." Seven artists share their thoughts on the genre-bending label and its legacy. Resident Advisor's April cover features Bill Kouligas, the singular curator at the helm of PAN. Now celebrating 15 years, the imprint's releases traverse a dizzying array of mediums and genres. As Whitney Wei writes in her article, PAN has long befuddled some people in electronic music. Its catalogue is a bricolage of musique concrete, improvisations, left-field club music, performance soundtracks and other strains of electronic-adjacent work that feel somewhat impossible to place. Amnesia Scanner's cyberpunk nu-metal and Eartheater's sweet singer-songwriter pop are some of the best examples of this immense range. But sitting in Bill's studio, she writes, everything makes sense in context. "I feel a lot of record labels tend to somehow fall under an umbrella of a sound, or a specific genre of music," reflect Amnesia Scanner in this episode of the Exchange. "With PAN, every artist is presenting their work as independent from the work of others, like in the same way that a gallery or an art institution would present work. Of course there are shared ideas and shared values and so on, but it's not built on a narrow idea of what kind of music PAN would represent." The label has garnered a devoted fanbase that recognises the vision uniting this seemingly far-reaching output. And as Kouligas has moved increasingly towards interdisciplinary interests such as fashion soundtracking and art directing, his audience has followed him. The music on the label has done the same, evolving from tracks for the dance floor to documentation of avant-garde visual art. This episode of the RA Exchange collects music and interviews from key individuals who have shaped PAN's trajectory and canon, including Anne Imhof, Objekt, M.E.S.H., Rashad Becker, Amnesia Scanner, Eartheater and Low Jack. Listen to the episode in full. If you're looking for more PAN content, be sure to tune into our live RA Exchange with fellow PAN artist Tzusing from Rewire Festival, which aired last week. Tracklist: Anne Imhof - Dark Times (Sex) Objekt - 35 (Cocoon Crush) M.E.S.H. - Search, Reveal (Hesaitix) Rashad Becker - Dances VII (Traditional Music of Notional Species Vol. II) Amnesia Scanner - Faceless (Another Life) Eartheater - Claustra (Irisiri) Low Jack - Rough Rider (Low Jack Remix) (STILL)

This is episode #002 of the FuturePerfect Podcast where we talk with compelling people breaking new ground in art, media, and entertainment. This podcast is produced by FuturePerfect Studio, an extended reality studio creating immersive experiences for global audiences. Episodes are released every two weeks, visit our website futureperfect.studio for more details.The text version of this interview has been edited for length and clarity. Find the full audio version above or in your favorite podcast app.This week we interview Team Rolfes, a digital performance and image studio led by Sam and Andy Rolfes. The studio specializes in figurative animation, VR puppetry, and mixed reality collage. They create works across multiple formats, including livestream improvisational comedy, live motion capture animation on large festival stages and in underground rave bunkers, print design for fashion collections, album covers and music videos. They have collaborated with Lady Gaga, Danny Elfman, Danny L Harle, Nike, Netflix, Adult Swim and performed at music festivals across the world. On June 4th, 2022, they will premiere their live 3D musical 3-2-1 RULE at Carriageworks in Sydney, Australia. The work is being developed together with writer and net artist Jacob Bakkila and artist songwriter Lil Mariko.I first encountered your work as an online video in 2020 as a part of the Lunchmeat Festival of electronic music and art based in Prague. I think it was called Sam Rolfes 360° AV experience. I watched it on my Oculus headset and the work was so exhilarating, but also disconcerting and humorous at the same time. It was like a fever dream complete with moving walls, objects melting, spaces constantly changing sizes, and yet was extremely beautiful. For me, the work exemplified this intriguing in-betweenness that you embrace: part puppet show, theme park ride, sculpture, live performance, gaming, and installation. And this makes absolute sense because you've been making experiences across media and genres for a very long time.You were both originally trained in painting and fine art. How did you get from there to the work that you're doing now?Sam Rolfes: Yes, Andy and I both come from a painting background. Our mom was a painter. She ran a little 3D studio when we were kids. She had these big huge books on Blender and 3ds Max laying around.Andy Rolfes: It was a long path back to 3D. We played around with 2D a lot more. We read about musculature systems in the 3D books and wondered how in the world people can even set this stuff up.SR: There was also a lot about wireframes. When we were kids 3D was just kind of boring. It felt like math and I didn't want to do math I just wanted to make a cool race car. AR: Yeah a lot of math. I remember making a sword in Blender when I was 12. It's a pretty linear shape, but it was the most taxing process. So I went back to 2D. I could just play with a plane and an abstraction and it was more fun.These 3D tools, along with game engines and other design software, have become some of the most significant toolsets for conceptualizing and building your work. What happened in terms of your training where you suddenly realized you needed to leave painting and watercolor and shift into 3D?SR: I don't remember how I came across it, but I came across ZBrush, a 3D sculpting program where you can mash things around like digital clay. That was the big aha moment for me. A lot times it hides (honestly oftentimes to its detriment) the mathy elements and we found that it was actually in keeping with our painting background where it allows for semi-improvisation, but with an impressionistic sculptural object. Andy started playing more with Maya and Blender as well. And we both slowly got into it just because it was fun.AR: I went through the whole watercolor track and was doing semi-pro photography and developing an interest in photogrammetry. As I was seeing Sam play around with ZBrush, I got into it and jumped back into 3D. I actually went back to 3ds Max. I was putting photogrammetry scans in there and throwing grass around and rendering that out and realized it had gotten way better. And I started bringing in my 2D stuff and playing with ways to collage that in. I played around with that and Cinema 4D before I ended up going back to ZBrush.SR: This was in tandem with the 2012 to 2016 era of internet art and post internet art. There were a lot of people doing 3D art. They would kind of kludge something together in Maya and make it shiny and spin around. And that stuff still exists to some extent these days, but was increasingly present in Chicago where I was living at the time. I had just moved back from Austin after being there for a year after graduating art school. I was starting to do more show flyers and stuff like that and I was trying to find whatever scene existed in Chicago. You wouldn't know it because none of the people would actually hang out in person, but a lot of interesting things in the glitch scene and post internet scene were coming out of Chicago. I was trying to engage with this new community and was finding our perspective within that. I realized we could take a different approach because of our painting background. All these other people were coming more from a digital art or computer science background. They had an art game program at SAIC where I went to school, but I was so turned off by it because everybody was making these white box gallery experiences and they were all the same. That was one reason why it took me a while to get into Unreal Engine. I was still traumatized by having to virtually walk through all these terribly designed spaces. And then I started doing music videos. Our first one was for this group Amnesia Scanner. And I started using ZBrush as a live visual performance tool and did visuals for shows. I would make characters for every musician performing. There's no real rigging in ZBrush, but I managed to make the characters bounce around like marionettes. From there I got a bit of an understanding of realtime performance.And then Amnesia Scanner kind of blew up on the internet. We don't reach out to musicians like this, but I just like sent them an email. They're very mysterious and I didn't know where they were based. I sent them an email that was in four different languages that was like, please let's work together. And they responded to me. So I spent two months with an initial dev trying out both Unity and Unreal. And Unreal ended up being better.I got in contact through a friend of a friend with this guy Eric Anderson, who was running a three-story punk venue in Chicago called The Keep. We met and he had a prototype Oculus Rift. This was back in 2015 or something like that. And I went to this DIY spot and then stayed there for a week and we just banged out this crazy video. I just palmed the prototype Oculus headset to do the camera. There was no sequencer and there was nothing rendered in Unreal. This was all recorded. I exported it all and took it to my painting mentor's place and uploaded it to his 12 year old daughter's gaming computer. And it took like 24 hours for it to load on that computer and then we performed it there and just recorded it straight from the screen. It felt good enough that we kind of just kept running with it for everything after that.So in terms of music, your past works have a long dialogue with rave culture, hyperpop, and new forms of media that circulate on the internet. Tell us more about that dialogue and how it informs some of your current work.AR: I was kind of plugged into, or at least aware of, both vaporwave and glitch and everything in between that, like the acerbic visuals and everyone realizing 3D is a lot more approachable. The communities I've engaged with have definitely been varied and scattered. It's a lot of pulling things together and trying to figure out what works. Up until recently not many friends or people I've know have directly engaged with 3D. But I show them what I'm working on and try to connect different communities together and see how we can work together.SR: And more recently you've been more active in the visual artist communities than I have. I've been more interested in those rave cultures. I have a long career of DJing and producing. I've been in the turntable scene, the glitch hop scene, the witch house scene, and now it's hyperpop. It all ends up being the same. The through line is just experimentalism basically. It's just like a certain amount of interest in a new sound.Hyperpop is an interesting illustration of this to talk about because it's this weird thing where underground culture was made mainstream and at the same time, at least initially, was not diluted upon becoming mainstream. I guess this has happened all the time, but it's the most recent occurrence that I participated in. Hyperpop is this weird sound that somehow a ton of people know about and it became a meme and a joke because of course it was gonna be. But watching that dynamic was very interesting. We've had a long history with different music scenes. Both me performing as a DJ, but also us doing stage performances with musicians on big festival stages with mocap (motion capture) VR performances that are kind of accompaniments to their music. We've got an opera and a kind of a 3D musical in the works right now. But where it all started was album covers and then music videos. It was about participating in those communities and finding a way to, as visual artists, be a part if it more than just fans, but actually help shape the ideas and shape where everything is going. What are the ideas you're shaping? What's the content and the substance of what you're trying to shape right now?SR: Generally we try and get in and maybe expand the visual dynamic range. With a lot of experimental approaches, especially in the music scenes, it ends up being a lot about vibe or the nerdy tech or kind of esoteric stuff. For us, we can use all these esoteric tech tools, but use them hopefully for a compelling overarching narrative.And I'm sure we'll talk more about the performative aspects of our work with using digital tools. But in these electronic scenes it ends up losing a certain humanity. A lot of it for us has been trying to reconnect to this live, in-the-moment feeling. Our work is trying to hit the same subconscious feeling of being in the moment and having all these things happening rather than have some kind of contrived tech demo construction or something.AR: Especially nowadays where people are like—oh yeah I need to touch grass. We want to somehow bring that back to the digital and think how can we make this more physical? We're combining that with strong motivations and guiding lights in theater, performance, athletics, heavy physicality. And we're thinking what can we really do with having our bodies fling around, often literally, and have that cascade and become a deeper narrative that also has its own motivations of speaking to the community or wherever our eyes are fixated at the moment.Performance in front of a live audience is super central to you guys. Give us a sense of the infrastructure you need to build in order to create one of your dynamic realtime performances. How does it work compositionally, dramaturgically and technically? What does it take to put together and create a realtime dynamic performance in front of a live audience.SR: Right now, one of our projects is this stage adaptation for this short film, this bigger thing 3-2-1 RULE that's going to debut in Australia in a month. That one is going to be significantly more structured and quality controlled beforehand rather than being a crazy thing where it's incredibly improvisational. Often times each show is purpose built to a certain extent. Most of our projects inherit worlds and characters and assets from previous projects, but they they build on each other. We'll have a collection of scenes that are modular and existing in the same world. Each one is setup for a specific type of camera shot and a specific type of motion capture or VR mechanic.AR: Before we get into designing the motion, we also have to figure what the arc of the performance is. What's the energy, what modes want to fit where? Is this going to be a soft moment or is it going to be more excitable? We chart the long arc and mini arcs of the scene.SR: Oftentimes we're not able to meet with the musicians until we get to whatever country we're going to. Prior to meeting them we set up these modular scenes, each with their arc in terms of mechanics and scene dynamic. We have a whole collection of things and plug them together to an extent. Because the performances are so improvisational, it's kind of like acting the part of a good DJ who's watching the audience, watching the musicians, listening, and deciding what's right in the moment.We work this way when we're making music videos as well. Where we build the environment in VR and then kind of feel out where the choreography of a scene is supposed to go. This big Australian debut of 3-2-1 RULE is going to be pretty regimented. We're going to have everything planned, but there's still going to be a fair amount of improvisation since it's all realtime. I would never want to cut out the potential for those kind of magical moments to happen.It sounds like 3-2-1 RULE is a very important transitional project for you where you're in control of the narrative and you're not in service of some other musicians. Tell me where the title 3-2-1 RULE comes from and give me a sense of what you're producing.SR: The name comes from this backup strategy in tech where you're supposed to have three backups. I'm gonna get this wrong, but one is local, one is on the cloud, and one is offsite. The staged work is an adaptation of a short film and will eventually be either a feature film or a playable game. It's one of the major projects for us this year. It's kind of a parody of both the metaverse stuff and the contemporary moment. But also a way to talk about memory and people's relationships and history together on the internet and what happens when you use the cloud platforms as a prosthetic brain or a prosthetic memory where you're offloading moments together. The work follows these gig economy workers who respond to listings posted on an app that gathers memories for people in a metaverse space. If someone wants to remember the best day they ever had or the way their dad danced around when he made breakfast they would use this app and the gig economy workers dive in and play these genre parody games to unlock the memory for them. The conceit is that AI can obviously go in and scan your brain or scan the internet and grab this stuff, but it could never recreate the senses that really make up the core of what the memory is. So you have these gig economy workers who kind of chemically collage and assemble these things together for their clients.The stage adaptation served the dual function of giving us an excuse to start building out everything for this broader narrative project really fast. And to start developing this format that's closer to a musical. The debut in Australia will be with the musician Lil Mariko, but the idea is that we would put this on all over the world, and it could be any musician friend that would star in this role. It might be customized for each musician a bit. There are moments where there's narrative and there are moments were they could just perform their songs. This is kind of our pitch for a new performance format that could be replicated elsewhere and could really bring variety to the music performance world. Because I mean I love music shows. I love venues. I love playing them. I love going to them. I'm at them all the time. But I'm sick of music shows and the format has hardly changed. There exists this potential to unite all these different formats including visuals, sound, music, and narrative. And it takes a little more work. But I think we might be good people to try it out.You're working with writer and social network artist Jacob Bakkila. What is he bringing to the work?SR: We initially brought Jacob in on our now defunct Netflix project we were developing. He has a whole career of performing as bots on the internet or doing genre parody things and all these satirical things that are really brilliant. The project was going really well, but there was too much red tape and it got canceled. But we were talking afterward about working together and we had a kernel of the idea for 3-2-1 RULE. He said, okay I think I can do this and went away for a few days and came back with the base concept for 3-2-1 RULE. And it just threaded the needle between stuff that our team had already been working on for our game and other projects. I work directly with Jacob on the broader concepts and the story and where it goes, but he can churn out hilarious writing very quickly. It's a mishmash of different online references from every generation and he's so conversant in that kind of dialogue that he can make it feel genuinely realistic. He's able to sit in this incredibly online space that I feel is very essential to this story. He just generally knows how to fit everything together in a very nice way and was able to bring the emotion to the project.Do you have a sense of what you want the audience to experience? What do you want them to come away with? What kind of impact do you want to have on them?SR: Maybe it varies a bit between the live show, the eventual short, and then whatever the final big project is. I want it to be jarring, but funny. I want it to reflect upon our online relationships and what we've given up in terms of community, interpersonal dialogue, memory and moments together. How much are we sacrificing for platforms?Would it be safe to say that you obviously have a fraught relationship with these platforms? You've experimented in these spaces, you draw inspiration from these spaces, you post in these spaces, and simultaneously, you're frustrated and critical of these spaces. SR: We're participating in them because there really is no alternative. I have friends who are making their own distributed web3 based platforms like people doing Channel and people doing other projects, like more horizontal lefty things here and there. But they still have to promote it on platforms because that is just where all this stuff exists. So much of our stuff, especially if it has any narrative, does have a platform critical element to it because I can't think of anything else to comment on. It feels so absurd to be forced to fit this art that we do, that could take so many different forms, into a box that's 1080 by 1080 pixels and lasts a minute. There's always been constraints to art, but with platforms it's not a meritocracy, and the best stuff does not rise to the surface. The platforms themselves do not promote things that are in keeping with the value system of anybody within their right minds. It promotes things that will do well on the platform for its own good. I don't think that's a healthy thing for an artistic community, or for an artist, or for anything. I think most people recognize this to an extent. In a sense, critiquing it and putting it in my little skits is just coping. It's like acknowledging it, but I only have so much ability to actually do anything about it. It's also just generally frustrating with the moment we're in. The trick is speaking to that moment and then not getting too trapped in the Twitter style riffing on the discourse of the day. That stuff will do better, it is incentivized because you will get better metrics and the platforms want that kind of momentary ephemeral thing. But then if you go back a week later, it doesn't hit the same. So that's also a trap. Having things be somehow engaging with the contemporary moment, acknowledging where we are right now, and what our relation is to these platforms and to the economy and to how they have basically become the air we breath. Doing that and then also figuring out how you have it be something that lasts longer than 10 minutes is always a struggle artistically.In all of our discussion we haven't touched on the literal politics of the day. I mean, we haven't talked about Ukraine, we haven't talked about Russia. We haven't talked about the elections. We haven't talked about any of that. What's your relationship to these events and the work you're doing? Is it something you avoid, something you engage with, or something you don't wanna participate in?SR: All the political discourse, at least between the conservative and liberal sphere, I don't give a s**t about. My interest is in the working class relation to their power, and collective bargaining and what we can do about it. I have opinions about imperialism and being against it and what the US should be doing abroad. But a much more tangible thing to engage with is union and platform issues.AR: It feels more actionable. Stuff that doesn't feel like beating the same drum. We're not trying to be Beeple where we just do modern day political cartoons.SR: That's that momentary discourse thing I'm talking about where it's like oh, I'm going to make an Elon thing. Like who cares?AR: It feels far too ephemeral. And there's a time in place for that, the political art.SR: And I have done some stuff like that, I mean I've thrown Zuckerberg into some s**t, but I don't know.AR: But that's also trying to keep things contemporary and keeping with a sense of immediacy. I feel like we usually try to tie things down to more. Not really universal, well sort of universal because working class issues are fairly universal outside of maybe the top 1%. But try to speak to the broader issues, and try to speak more to the individual themselves rather than trying to talk to political issues that will come and go all the time. Even if they don't seem like they ever go away.SR: Talking about the news of the day and making art about the news of the day is both a symptom of a broader issue that is very much not the discourse in the mainstream media or however you wanna phrase it. Not to sound like too much like a post-left guy, but it's a liberal trap to make your art about an issue that is being discussed by the media that you have no control over. It's a liberal trap in that it is a culture war fabrication that art can change the world. Like if we make the most moral Disney movie, then everybody will be good. It ignores people's relation to their labor and all these other things. It's like, if we have no more bad villains who do problematic things on TV, then everybody's gonna be okay. And I think a lot of artists end up in that trap, feeling the push to have to make work about things like this. Both because it's incentivized by the platform, and because again it's the churn of the daily discourse you're supposed to plug into. And just morally they feel like oh, I have to be saying something. And I'm not saying that my stuff is not cope because there's a left version of this that is just cope too. But it's just like posting on Twitter. It's not doing anything. We've all been trained to be cultural commentators. All we are doing is quote tweeting people endlessly while the same structural system continues. And I just have no interest in participating in that. It's entertainment at the end of the day and it's entertainment for some people and my stuff is entertainment for lefty types and I'm not necessarily accomplishing anything more, but I at least think that the topics that I'm interested in maybe are more realistically accomplished.AR: I usually just look to the actual items. I just made an artwork for the Queer Museum of Digital Art, which is part of the whole web3 sphere. They're trying to fundraise.SR: Just to clarify, I was not talking about that kind of stuff. I'm not saying that fundraising's bad or anything like that.AR: I know. I know. For Ukraine or other huge issues, I'm just going to donate or help however I can. If sharing something might help connect one or two other people, I'm aware of my presence as a node within this whole network. If i'm one of a thousand other people sharing this, but there are three other people in my network who didn't see this it's cool if it's actionable. Not if it's just hot takes.SR: That community building is also way more important than making art about it. Communities can make art and have that steer people in a certain direction. Just to self roast a little bit, if I made the most perfectly leftist take down of whatever, that doesn't accomplish anything either. So making these alternative structures, not to get into dual power talk, but building community structures that exist outside of these platform capital dependent things, I think is the most important thing.What communities are you working with specifically?SR: I have yet to start helping them really in a way that I can give myself credit for, but Jaded is a new organization. It's some people from the Black Socialists in America, Zack Fox, and a bunch of comedians have started this artist co-op and community. They're building a venue, they're going to be funding scripts, they just debuted this podcast they're doing. Black Socialists in America also have all these other projects like The Dual Power App, which helps give people tools for building co-ops and horizontal things and community structures that don't rely on basic finance capital. They are a great example.And then Channel, I did some work for them. They're a web3 venture. I don't want to over explain their thing because I will probably do a bad job. They've done a lot of platform critical work, podcasts, and they're a bunch of lefty artists. But from time to time they would get shadowbanned. And they are still, regardless of how critical they are, dependent on these platforms to a certain extent. They're working to untether that. In the same way that people are tethered to their jobs because they can't get universal healthcare, they have to stay at the job for healthcare. To give themselves a life raft or a way to untether from that toxic situation, the idea is that basically their followers are on the chain so that they can move to whatever platform. You don't lose followers when you jump somewhere else. It's a first step towards an alternative platform structure or an alternative community structure that does not rely on passing through AWS and Google and relying on this huge stack from just a couple companies. Both of them, Channel and Jaded are awesome examples, and we help where we can.That's great. This really helps fill in a whole other part of your practice that I'm learning more and more about all the time. So I'm super excited to hear you talk about that.We have so many things in common and we have some really interesting overlapping happening between Team Rolfes and FuturePerfect Studio. It's very exciting and I can't wait to see more of your work and have more conversations with both of you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit futureperfect.substack.com

Après avoir exploré les connexions naturelles entre l'électricité et les musiques électroniques que nous aimons tant, nous avons décidé de repousser les limites de nos interrogations et de nos réflexions philosophiques (et on s'en excuse d'avance (pas vraiment en fait)) en abordant le thème du transhumanisme, et son corollaire de l'intelligence artificielle. On en profite donc pour avoir de longues discussions sur les liens entre les artistes et leurs machines, sur les traductions créatives et sonores de ces relations, et on n'hésite bien sûr pas à broder sur un sujet passionnant et à donner nos avis qui n'intéressent potentiellement personne. On a même joué involontairement nos rôles à fond, augmentant artificiellement en post-production la vitesse de nos reprises de parole de 10 % parce qu'on n'a aucun sens du timing et de l'anticipation. En bonus, le piratage du micro-casque de Thomas par un Puppet Master du pauvre, une sombre histoire de civet de lapin, et une démonstration hallucinante de l'effet Doppler. Bonne écoute. Tracklist : Kenji Kawai - Making of Cyborg (Ghost in the Shell (Original Soundtrack), 1995) Dopplereffekt - Sterilization (Gesamtkunstwerk, 1999) Kraftwerk - Die Mensch · Maschine (Die Mensch·Maschine, 1978, Remaster 2009) Broken Note - Machine Dreams (Exit the Void, 2019) Christoph de Babalon - What You Call a Life (If You're Into It, I'm Out of It, 1997, Remaster 2018) Alva Noto - Xerrox Isola (Xerrox Vol.3, 2015) Holly Herndon - Frontier (Proto, 2019) Amnesia Scanner feat. Oracle - AS Spectacult (Another Life, 2018) SoapetSkin - Turbine Womb (Lovetune for Vacuum, 2009) Emptyset - Bloom (Blossoms, 2019) Daniel M Karlsson - I Set You (Expanding and Overwriting, 2017) Daft Punk - Alive (Homework, 1996) Carl Stone - The Jugged Hare (Stolen Car, 2020) Hecq - III (Mare Nostrum, 2015) Photo : Ghost in the Shell, Mamoru Oshii (1995)

Après avoir exploré les connexions naturelles entre l'électricité et les musiques électroniques que nous aimons tant, nous avons décidé de repousser les limites de nos interrogations et de nos réflexions philosophiques (et on s'en excuse d'avance (pas vraiment en fait)) en abordant le thème du transhumanisme, et son corollaire de l'intelligence artificielle. On en profite donc pour avoir de longues discussions sur les liens entre les artistes et leurs machines, sur les traductions créatives et sonores de ces relations, et on n'hésite bien sûr pas à broder sur un sujet passionnant et à donner nos avis qui n'intéressent potentiellement personne. On a même joué involontairement nos rôles à fond, augmentant artificiellement en post-production la vitesse de nos reprises de parole de 10 % parce qu'on n'a aucun sens du timing et de l'anticipation. En bonus, le piratage du micro-casque de Thomas par un Puppet Master du pauvre, une sombre histoire de civet de lapin, et une démonstration hallucinante de l'effet Doppler. Bonne écoute. Tracklist : Kenji Kawai - Making of Cyborg (Ghost in the Shell (Original Soundtrack), 1995) Dopplereffekt - Sterilization (Gesamtkunstwerk, 1999) Kraftwerk - Die Mensch · Maschine (Die Mensch·Maschine, 1978, Remaster 2009) Broken Note - Machine Dreams (Exit the Void, 2019) Christoph de Babalon - What You Call a Life (If You're Into It, I'm Out of It, 1997, Remaster 2018) Alva Noto - Xerrox Isola (Xerrox Vol.3, 2015) Holly Herndon - Frontier (Proto, 2019) Amnesia Scanner feat. Oracle - AS Spectacult (Another Life, 2018) Soap&Skin - Turbine Womb (Lovetune for Vacuum, 2009) Emptyset - Bloom (Blossoms, 2019) Daniel M Karlsson - I Set You (Expanding and Overwriting, 2017) Daft Punk - Alive (Homework, 1996) Carl Stone - The Jugged Hare (Stolen Car, 2020) Hecq - III (Mare Nostrum, 2015) Photo : Ghost in the Shell, Mamoru Oshii (1995)

To ring in the new year Dan and Erik compile a list of albums that they discovered in 2020 but predates the year when it was released! Sometimes the music picked date back to the 60's, other times as recent as 2018. Enjoy!

Deep fried new pod with Covid survivor Martti Kalliala, co-founder of nemesis.global and 1/2 of Amnesia Scanner. He told us about his descent into the spiky fuzz-ball world and we discuss two of Nemesis's most recent memos: The Umami Theory of Value and their GPT-3-laden: The DOOM! Report. https://nemesis.global/memos/umami https://nemesis.global/memos/the-doom-report

Tearless je velkým rozchodem s planetou, temnou vizí budoucnosti, která se ještě před vydáním přehoupla vlivem globálního dění do soundtracku současnosti. Finské producentské duo usazené v Berlíně Amnesia Scanner, pro mnohé nejotravnější hudební projekt na světě, přišlo se svou druhou nahrávkou.

Tearless je velkým rozchodem s planetou, temnou vizí budoucnosti, která se ještě před vydáním přehoupla vlivem globálního dění do soundtracku současnosti. Finské producentské duo usazené v Berlíně Amnesia Scanner, pro mnohé nejotravnější hudební projekt na světě, přišlo se svou druhou nahrávkou.

¿Quién está detrás de SAULT? El nuevo disco del misterioso colectivo británico, "Untitled (Black Is)", es una de las paradas obligadas en el programa de hoy. Además, nos fijamos en el regreso cinco años después de Darkstar, el álbum hecho en cuarentena (y repleto de invitados) de City Girls o la mezcla imposible que proponen los finlandeses Amnesia Scanner en su último trabajo.

Andreras Müller und seine Gäste Nadine Lange, Jens Balzer und Christoph Möller diskutierten über die neuen Alben von Bob Dylan, Someone, Norah Jones und Amnesia Scanner.

Zatímco lokální kapely spojené s labelem Stoned To Death využily karantény a vydaly singly, které mají podpořit některé z malých klubů, ohrožených současným nařízeným pozastavením aktivit, Britové Modern Nature se snažili z domova vytvořit aspoň klip k avizované desce. Své druhé album ohlásili i mistři politického komentáře i prapodivného techna Amnesia Scanner, kteří se rozhodli celou desku Tearless věnovat klimatické krizi.

To commemorate day seventwentyeleventeen of isolation, we present an hour of atypical beats and bender bangers. Stay at home with Lyra Pramuk, Amnesia Scanner, Lido Pimienta, Joey LaBeija, Raveena and more, and broaden your mind to avant-queer art and music with Adam Kershaw.

Josh and Juan – we – are back and we MUST talk new singles by Grimes, Amnesia Scanner, Dawn Richard, Jessie Ware, Dua Lipa, Billie Eilish and more... plus albums by FKA Twigs, Tinashe, Doja Cat, LIZ, and Hannah Diamond too.Next episode we'll do best of the decade (both music and Azealia Banks quotes) but in the meantime leave us a message with your thoughts 647-847-8904 or a voice note at hotlocalfeedback@gmail.com.

Kan man lave spoken word punk? Har Anderson .Paak kun lavet grimme album covers? Og hvem af drengene var sulten, da de valgte numre til playlisten? Det bliver diskuteret i dette afsnit af OK OK Boys, hvor vi anmelder New Yorker-punkerne Show Me The Bodys album ‘Dog Whistle’ og Jenny Wilson meget personlige album ‘TRAUMA’ om et seksuelt overgreb. Og så snakker vi de bedste og værste album covers. Fra playlisten anbefaler vi Naxatras, Talk Talk, Scott Walker, Loyle Carner, Your Old Droog, Rian Treanor, Amnesia Scanner, Bob Dylan, Death Grips, INTET ALTID og Rodrigo Gallardo. I studiet er Magnus Krog, Lars Andersen og Oliver Aabo. Musik af Anders Belling.

Mysteries of the Deep Podcast, Chapter CII by @mark-van-hoen (Locust, Seefeel, Autocreation) Cover photo courtesy of Candace Price. Tracklist: 1. NHK yx Koyxen - 1038 Lo Oct Short 2. Pye Corner Audio - Core Sample 3. Beak> - Teisco 4. The Human League - The Path of Least Resistance (Early Version) 5. Chris & Cosey - Send the Magick Down 6. Delroy Edwards & Dean Blunt - Audio Track 01 7. Evan Caminiti - Refraction Praxis 8. Celer - Rains Lit By Neon 9. Black Sabbath - Planet Caravan 10. Dr. John - Gris-Gris Gumbo Ya Ya 11. Cocteau Twins - When Mama Was Moth 12. Jon Hassell - Dreaming 13. Low - Quorum 14. Fennesz - We Trigger The Sun 15. Craig Pruess & Ananda - Devi Prayer 16. JD Emmanuel - Expanding into the Universe 17. Kelly Moran - Autowave 18. Scala - Thirst 19. De Leon - A1 20. Ariel Kalma - Echorgan 21. Jako Maron - Batbaté Maloya 22. Amnesia Scanner & Bill Kouligas - Lexachast II 23. Ennio Morricone - Arrivo alla stazione 24. The Future - Cairo 25. Soliman Gamil - The New Nubia 26. Erik Wøllo - Under Water 27. Fun Boy Three - Sanctuary 28. Mark Van Hoen - No-One Leave https://soundcloud.com/mark-van-hoen

The usual blend of abstract noises coming from across the globe this week. There's Lebanese belly dance music punctuated with Polish breakcore, experimentation from the magnificent Amnesia Scanner, amongst pleasant indie rock, video game music, and abrasive noise. Tracklisting Scalping - Satan II (Council Records, UK) Amnesia Scanner & Bill Kouligas - Lexachast VIII (PAN Records, Germany) Jan St. Werner - Glottal Wolpertinger (Thrill Jockey, USA) Lena Raine -Tsukuyomi (Local Action Records, UK) Orchestra of Constant Distress - Discomfort (Riot Season Records, UK) Ziad Rahbani - Taksim Organ & Tabla (Fortuna Records, Israel) Bogdan Raczynski - 318 22t7 (Disciples, UK) Demolition Honey - Relaxin’ At Mayhem Hotel (Ohub Records, Argentina) My Disco - An Intimate Conflict (Downwards, UK) Van Goose - Wildstar (self-release, USA)   Produced and Edited by Nick McCorriston. Hit him up for any and all audio work at nickamc.com and follow him on Twitter @nickamc  

Трек-лист: 1. Weekend Affair – ‘J’ai Chaud’ 2. Vendredi Sur Mer – ‘Encore’ 3. Psychemagik – ‘El Modelo’ (2019 Re-edit of a Cover Version of Kraftwerk – Das Model) 4. Legowelt – ‘Star Simulator II’ 5. Housewives – ‘Speak To Me’ 6. W.H. Lung – ‘Want’ 7. Prins Thomas – ‘Sakral’ 8. Mana – ‘Leverage For Survival’ 9. Amnesia Scanner & Bill Kouligas – ‘Lexachast IV’ 10. Mark De Clive-Lowe – ‘The Silk Road’ 11. Toby Gale – ‘Sapphire’ 12. IVVVO – ‘Blade’ 13. Arnaud Rebotini – ‘Le Miroir’ 14. Son Lux – ‘Enough Of Our Disease’

Ach&Krach – Gespräche über Lärmmusik #14 FUNEREAL PRESENCE, ATHEIST, AMNESIA SCANNER, AZUSA Hier ist der Link zur Spotify-Playlist zur dieser Folge: Spotify Hier die vier besprochen Alben: FUNEREAL PRESENCE Youtube Bandcamp ATHEIST Spotify Youtube Bandcamp AMNESIA SCANNER Spotify Youtube Bandcamp AZUSA Spotify Youtube Und hier die drei blindgehörten Songs. Wenn ihr den Link direkt ins Suchfeld der Spotify-App eingebt, startet das Lied sofort. Weggucken und mitraten! erster Song zweiter Song dritter Song Weitere Musik, die ausführlichere Erwähnung fand: EA80 EXTOL METALLICA AC/DC LED ZEPPELIN NEGATIVE PLANE DARKTHRONE MERCYFUL FATE MASTER`S HAMMER IMPALED NAZARENE DEATH CYNIC PESTILENCE EVAPORATERS DESTROYER ZUMPANO BLACK DAHLIA MURDER CARCASS EXTOL DILLINGER ESCAPE PLAN SEA+AIR VOIVOD

Трек-лист: 1. Weekend Affair – ‘J’ai Chaud’ 2. Vendredi Sur Mer – ‘Encore’ 3. Psychemagik – ‘El Modelo’ (2019 Re-edit of a Cover Version of Kraftwerk – Das Model) 4. Legowelt – ‘Star Simulator II’ 5. Housewives – ‘Speak To Me’ 6. W.H. Lung – ‘Want’ 7. Prins Thomas – ‘Sakral’ 8. Mana – ‘Leverage For Survival’ 9. Amnesia Scanner & Bill Kouligas – ‘Lexachast IV’ 10. Mark De Clive-Lowe – ‘The Silk Road’ 11. Toby Gale – ‘Sapphire’ 12. IVVVO – ‘Blade’ 13. Arnaud Rebotini – ‘Le Miroir’ 14. Son Lux – ‘Enough Of Our Disease’

On a causé du label PAN. On a cherché des trucs biens à en dire, mais il y avait quand même beaucoup de fiel lors de cette émission. Une ambiance délétère pourrait-on dire. Alors que bon, il y a quand même des choses plus que recommandables sur PAN. On a essayé de sélectionner le meilleur, du coup. Tracklist :  M.E.S.H. - Optimate (Piteous Gate, 2015) Objekt - Dogma (Flatland, 2014) Lee Gamble - Kuang Shaped Prowla (Dutch Tvashar Plumes, 2012) Eli Keszler - Cold Pin 2 (Cold Pin, 2011) Rashad Becker - Themes I (Traditional Music of Notional Species vol. 1, 2013) Amnesia Scanner - AS A.W.O.L. (Another Life, 2018) Mohammad - Sakrifi (Som Sakrifis, 2013) Valerio Tricoli - Stromkirche or Terminale (Clonic Earth, 2016) ADR - Shortcuts (Deceptionista, 2015) Mika Vainio / Kevin Drumm / Alex Dörner / Lucio Capece - II (Venexia, 2012) Puce Mary - The Transformation (The Drought, 2018) Oren Ambarchi - Tokyo Knots (Live Knots, 2015)

Harm van den Dorpel is a Berlin-based dutch conceptual artist regarded a key figure in post-internet art movement. Alongside with other contemporaries, they developed a new way of exploring technology, digital footprints and social networks. He was at Unsound Krakow 2016 bringing the visual element to Lexachast, a project by Bill Kouligas and Amnesia Scanner which started as a website with generative visuals from Harm. These were programmed to live stream pictures uploaded in real time on Flickr and DeviantArt, algorithmically filtered to show Not Safe For Work images. The project expanded into a live premiere for Unsound, combining uneasy imagery with the dystopian music. With a background in Computer Science and Artificial intelligence Harm´s work investigates how algorithms can analyse digital archives and guide the artist in aesthetic decision making, leading to a symbiosis of man-machine art creation. He uses algorithms and data to explore how things online relate and mutate in what is called “unstable media; away from the rather rigid classical notion of the work of art as immutable entity compared to the fluidity of contemporary software production, continuously updated and improving. As a sort of a philosopher of the digital era, Harm’s systems (exhibited as computer animations on screens, and as printed framed wall pieces) try to expose more people to reflect on questions about meaning life online. How does the Internet influence culture and our daily lives offline? Language and cognition also play a central role in Harm’s art. The internet is primarily based on written language, and everything that you can find is done by using words. He also uses complex computing and biology concepts like DNA algorithms and inheritance and applies them in a virtual gallery setup where the artist and machine mould the aesthetic of the projects, like in his project Death Imitates Language, series of works exploring the development of meaning in generative aesthetics using micro feedback and a genetic algorithm, consisting of a website and a series of printed and boxed collage works. We also chat about the debate on the commercial aspects of the post-internet art business. In 2015, Harm became the first artist to sell an artwork authenticated through blockchain to a museum. The MAK (Austrian Museum of Applied Arts) in Vienna purchased his Event Listeners, a screensaver created in a limited edition, using bitcoin. The museum saw the intervention as a new form of collecting in the digital age. For the artist blockchain presents a solution to the issues related to creating and dealing in digital and net art, which by its very nature can be easily copied and transferred. “Blockchain creates a fingerprint, something that identifies the owner. Through blockchain, you can see who owns it now, who owned it before and who created it.” Premonitory, he stated last year: “They say that 2016 is the year of blockchain and I do think we will see huge changes in the coming year”, and it certainly has been. This podcast was produced by CLOT Magazine editorial team and Stephen Mclaughlin for Unsound Festival in Collaboration with OFF Radio Krakow.

With tracks from King Midas Sound and Fennesz, Amnesia Scanner, Absolutely Wino, Bill Shakes, Golden Bug feat. Diego Hdez, N1L, Floating Points, Ishmael, Isolee, LAARS, Rio Rhythm Band, It's a Fine Line, Steel An' Skin, Pigbag... For more info visit http://billshakes.com

"Truth in Reverse" by The Oscillation from Monographic; "Animal Farm" by nonkeen from The Gamble; "Her Blues" by Dommengang from Everybody's Boogie; "Thru Evry Cell" by Purple Pilgrims from Eternal Delight; "The Man Who Stole the Last Big Impezzo (Nseven Remix)" by Port Royal from You Ware Nowhere (Remixes); "The Sheboygan Left" by RJD2 from Dame Fortune; "4th Dimension" by Air Protection Office from Black; "AS Atlas" by Amnesia Scanner from AS; "Fear" by Co La from No No; "C" by Prins Thomas from Principe Del Norte.

"Truth in Reverse" by The Oscillation from Monographic; "Animal Farm" by nonkeen from The Gamble; "Her Blues" by Dommengang from Everybody's Boogie; "Thru Evry Cell" by Purple Pilgrims from Eternal Delight; "The Man Who Stole the Last Big Impezzo (Nseven Remix)" by Port Royal from You Ware Nowhere (Remixes); "The Sheboygan Left" by RJD2 from Dame Fortune; "4th Dimension" by Air Protection Office from Black; "AS Atlas" by Amnesia Scanner from AS; "Fear" by Co La from No No; "C" by Prins Thomas from Principe Del Norte.