Words

E+E - Love You Down (08 tape demo)

Daniel Keller
Lazy Ocean Drift
at New Galerie, Paris
Opening October 24th


IMAGINE A WORLD WHERE…. Labor, consumption, marketing, leisure and protest have all been hybridized, automated, outsourced and offshored into something both ubiquitous and unrecognizable. We still need a mass market to consume products and inspire entrepreneurs, but we don't expect much else. 90% of late 20th century jobs haven't existed for 50 years and humanity itself has become 'nonessential' for the continued maintenance and growth of the global economy.  

Formerly safe, high skilled professionals like lawyers and radiologists were the first to lose their jobs to the botnets. 
Much of the field of journalism has merged into automatically generated motion graphic holotagcloud visualizations of trending humanitarian crises. Participating in the Developmenture Creategies Economy means sipping on a spirulina smoothie from the promenade deck Pinkberry while interpassively selecting the most pointed mashup portmanteau on a splash resistant tablet, sending it to the cloud to be 3d printed from reclaimed Great Pacific Garbage Patch plastic and calling it an early day. This style of Prosumarkritique is about as productive and rebellious as the postcreative classes can afford to be.

The polar ice caps melted and sea levels rose dramatically as predicted. Of course, this was seen as more of an opportunity than a tragedy; a new frontier that was literally expanding! The technology to profitably colonize the oceans had been extensively developed, but after the sudden and unexpected collapse of vertebrate sea life, only a handful of Californian billionaire playboys, neozionist cults, militant genderqueer anarchocapitalists and a cosmopolitan assortment of poisonous jellyfish still seem to want to live there. 

None the less, these seasteaders did manage to force the governance services market open to private competition with a proliferation of subscription based quasi-sovereign multinational corporate offshore platforms, a few autonomous-zone Seapunk islets and other newly engineered legal-spatial anomalies. The basic legal distinctions between person, corporation, anchored ship and sovereign nation-state were finally erased.  

Some of the first comers to the new oceanic frontier made fortunes hosting darkweb data havens and corporate team-building retreats, producing gonzo pornography and exporting plankton based fuel and eye creams. But ultimately, this long heralded Cambrian Explosion in Governance did little to help the degrading standards of living for the landlocked majority who couldn't afford the best class SeatizenXperience subscripts nor AlgoLawyerswarms overwhelmingly litigious enough to ensure the acquisition of a family-size exit visa from the  raffle. 
Either way, these days you'd have to be crazy to live out on one of those things — considering all the jellyfish.

Daniel Keller-Lazy Ocean Drift Promo v1

Lazy Ocean Drift @ New Galerie Paris Opens Oct 24
IMAGINE A WORLD WHERE…. Labor, consumption, marketing, leisure and protest have all been hybridized, automated, outsourced and offshored into something both ubiquitous and unrecognizable. We still need a mass market to consume products and inspire entrepreneurs, but we don't expect much else. 90% of late 20th century jobs haven't existed for 50 years and humanity itself has become 'nonessential' for the continued maintenance and growth of the global economy.  

Formerly safe, high skilled professionals like lawyers and radiologists were the first to lose their jobs to the botnets. 
Much of the field of journalism has merged into automatically generated motion graphic holotagcloud visualizations of trending humanitarian crises. Participating in the Developmenture Creategies Economy means sipping on a spirulina smoothie from the promenade deck Pinkberry while interpassively selecting the most pointed mashup portmanteau on a splash resistant tablet, sending it to the cloud to be 3d printed from reclaimed Great Pacific Garbage Patch plastic and calling it an early day. This style of Prosumarkritique is about as productive and rebellious as the postcreative classes can afford to be.

The polar ice caps melted and sea levels rose dramatically as predicted. Of course, this was seen as more of an opportunity than a tragedy; a new frontier that was literally expanding! The technology to profitably colonize the oceans had been extensively developed, but after the sudden and unexpected collapse of vertebrate sea life, only a handful of Californian billionaire playboys, neozionist cults, militant genderqueer anarchocapitalists and a cosmopolitan assortment of poisonous jellyfish still seem to want to live there. 

None the less, these seasteaders did manage to force the governance services market open to private competition with a proliferation of subscription based quasi-sovereign multinational corporate offshore platforms, a few autonomous-zone Seapunk islets and other newly engineered legal-spatial anomalies. The basic legal distinctions between person, corporation, anchored ship and sovereign nation-state were finally erased.  

Some of the first comers to the new oceanic frontier made fortunes hosting darkweb data havens and corporate team-building retreats, producing gonzo pornography and exporting plankton based fuel and eye creams. But ultimately, this long heralded Cambrian Explosion in Governance did little to help the degrading standards of living for the landlocked majority who couldn't afford the best class SeatizenXperience subscripts nor AlgoLawyerswarms overwhelmingly litigious enough to ensure the acquisition of a family-size exit visa from the  raffle. 
Either way, these days you'd have to be crazy to live out on one of those things — considering all the jellyfish.

Daniel Keller- Lazy Ocean Drift Promo v2

YOUR GF FAV ARTIST

Live and Direct from Kunstmuseum Liechtenstein its TEDxVaduz 2013
.....Radically Open......

TEDxVaduz 2013 Promo

Elysia Chuquimia Crampton - Selena Gundam E Edit

IMAGINA UN MUNDO EN DONDE… Labor, consumo, mercadotecnia, tiempo libre y protesta han sido hibridados, automatizados, externalizados y reubicados hasta que se vuelven ubicuos e irreconocibles. Claro, se puede discutir que aún necesitamos un mercado de masas para consumir productos y para inspirar a empresarios a ser grandiosos, pero claramente no esperan que la gente haga mucho más que eso. El 90% de los empleos de finales del siglo XX no han existido por 50 años y la humanidad se ha vuelto, absurdamente ‘inesencial’ para el mantenimiento y crecimiento continuo de la economía global.

Llamemos a ésta única línea de trabajo disponible prosumidomarquecrítica, y seamos sinceros, esto es lo más productivo y/o rebelde a lo que la clase creativa puede aspirar en este punto. El campo del Periodismo ha sido degradado a visualizaciones holotagcloud y animaciones en motion-graphics de #causashumanitarias. El participar en la Economía de Creategias de Produdesarrollo significa dar sorbitos a una malteada de spirulina desde la cubierta inferior pnkbry mientras seleccionas interpasivamente la mezcla de palabras/mashup más atinado desde una Tablet resistente al agua, lo envías a la ‘nube’ para que sea impreso en 3D (hecho de plástico regenerado proveniente de la Gran Mancha de Basura del Pacífico) y terminas tu día.

Las capas de hielo se han derretido y el nivel del mar ha aumentado dramáticamente. La tecnología para colonizar océanos ha sido desarrollada completamente pero debido al repentino e inesperado colapso de toda la vida marina vertebrada, solo unos cuantos billonarios mujeriegos Californianos, militantes anarcocapitalistas genderqueer y una variedad cosmopolita de medusas venenosas aún parecen querer vivir ahí. 

Sin embargo, estos colonizadores marítimos consiguieron que el Mercado de Servicios de Gobierno se abriera a la competencia privada con una proliferación de plataformas corporativas offshore multinacionales quasi-soberanas, unas cuantas zonas-autónomas isletas Océanopunk y otras recién creadas anomalías legales-espaciales. Algunos de los que llegaron primero hicieron una fortuna alojando refugios de datos de la darkweb y llevando acabo retiros corporativos de integración, produciendo pornografía amateur y exportando combustible y cremas para ojos hechos de plancton.

Pero al final, la tan anunciada Explosión Cambriana en la Gubernatura ayudó muy poco a los estándares de vida degradantes de la mayoría que aún se encuentran atrapados en la tierra y que no pueden costearse la XperienciaCiudadano de primera clase, ni tampoco pagarle a un SoftwareAbogado abrumadoramente litigioso, lo suficiente como para asegurar la adquisición de una visa de salida tamaño-familiar. De cualquier manera, en estos tiempos tendrías que estar loco para vivir en una de estas cosas – considerando todas las medusas.  

Lazy Ocean Drift Promo V3 (En Español)

Seeing Ghosts

Turn down the bed.
Turn down these voices
Inside my head.

Lay down with me;
Tell me no lies.
Just hold me close;
Don't patronize.

Don't patronize me.

'Cuz I can't make you love me
If you don't.
You can't make your heart feel
Something it won't.
Here in the dark
In these final hours,
I will lay down my heart
And I'll feel the power;
But you won't.
No, you won't.
'Cuz I can't make you love me
If you don't.

I'll close my eyes,
Then I won't see
The love you don't feel
When you're holding me.

Morning will come,
And I'll do what's right;
Just give me till then
To give up this fight.

And I will give up this fight.


//ELYSIA CRAMPTON - FIRE GUT

Mixes

[T-T]- elysia crampton

Kamixlo - DEATHWORK
Label: PAN
Cat.No.: PAN 144
Release Date: 26 July 2024
Purchase: pan.lnk.to/DEATHWORK

A peppery smorgasbord of industrial rhythms, razor-sharp stabs and provocative vocals, 'Deathwork' is Brixton-based Kamixlo's strongest statement yet, sandwiching earworm-laced pop between refried layers of euphoric back-room ambience and visceral hard dance distortion. It's been four years since Kamixlo poured his heart out on his acclaimed debut album 'Cicatriz', and he's been experimenting incessantly since then, figuring out how to integrate bold, memorable hooks into his signature alloy of burnished synths and mangled samples. And if its predecessor represented catharsis after a discomfiting period of loss, 'Deathwork' finds Kamixlo's emotional load lightened, freeing him to survey and tighten his formula by traversing club music's most eccentric, genre-agnostic fringes.

The young DJ and producer cut his teeth in the early 2010s, forming the iconic Bala Club party and label before deploying a series of EPs that accurately captured the era's voracious zeitgeist. Muddling references to nu-metal and emo classics with nervy dembow and bass deconstructions and dissociated SoundCloud rap thuds, Kamixlo characterized a new type of inclusive artist, unprejudiced by preconceptions of the underground or mainstream. 'Deathwork' builds on this legacy and widens his outlook substantially, urging listeners to step towards the dancefloor no matter how they might engage with music. And for the first time, Kamixlo seamlessly amalgamates his delirious bass-heavy atmospheres and kinetic beats with vocals, incorporating compelling performances from reggaetón sensation Isabella Lovestory, avant-pop outsider Puzzle, and Drain Gang's infamous Bladee. There's even an appearance from Berlin's Mechatok, who shows out with a production assist on the album's syrupy closing track 'Insect'.

From the ecstatic opening breaths of 'Ketamine Fields', it's clear that Kamixlo's in a fresh headspace. Weightless angelic voices curve gracefully around overdriven rave-ready bass twangs, while muffled, blown-out drums echo somewhere in the distance. It's the perfect pre-game to an endless, messy night, leaving Isabella Lovestory to lurch towards the mass of sweaty bodies on 'Pitch Black', rhyming sensually over Kamixlo's provocative metallic plucks and slow-motion dembow pulse. And by 'Combe', the peak time energy is palpable, with carnivalesque percussion and eardrum-popping high pitched squeals that grind against the pummeling gabber kicks. Puzzle brings the album back down to earth on 'Chaos', casually free associating and providing a light-hearted counter to the fog of machine crunches and deranged laughter.

On 'One More Night At The Line', Kamixlo carves the house blueprint into a neurotic chatter of helium voices and cocky slams, and when Bladee arrives in a wisp of smoke on 'Death Forever', the noise has calmed a little. Here, Kamixlo flexes his most exploratory muscles, nesting Bladee's grungy voice in an erratic tangle of muted, almost pacifying, black metal screams and nursery rhyme chimes. It's a paradox that perfectly encapsulates the scope of 'Deathwork', an album that continually flips expectations, turning in on itself and questioning its own logic without ever losing its momentum.

Written and produced by Kamixlo
Mixed by Felix Lee
Mastered by Enyang Urbiks
Artwork by Daniel Swan

Deathwork

Kamixlo (feat. Mechatok) - Insect

i wish i was a yellow data

Mix by Endless & Ecco2k
This Friday, in London

ENDLESS PRESENTS

★ ECCO2K ★ 

+ CROWW 
+ 5TARB01
+ NKISI

Cop Ya Ticket now! 
https://www.residentadvisor.net/event.aspx?894321

★ E-X MEGAMIX  ★ FT ECCO2K

https://www.youtube.com/watch?v=MnOVBrCtEdY

SHUT UP YB RMX - DIAMOND BLACK HEARTED BOY

Elysia Crampton - ORCORARA 2010
Format: 2LP (July 10) / DL
Cat.No. PAN 101
Release Date: 1 May 2020 
Purchase: https://bit.ly/2WeCpPj

This album follows intergenerational trauma, fugitives of Christian violence in a twilight called Puruma, returning to Mama Cocha, the sea that theorists call Nowhere.

Dedicated to the life of Paul Sousa, who while incarcerated, worked years as an inmate firefighter across the Sierra Nevada of California. Also dedicated to the work of Sage LaPena and Dr. Gretel Mendizabal Nolte. (Includes misreadings of Jimenez, Saenz, Claudel, & Wright).

Not one, not world, not body, not god, not salvation, not zero; only a ceaseless approaching toward, with, and as the great mystery, by Grace, Tatamama. Jallalla.

ORCORARA 2010 was comissioned and released in 2018 by Centre d’Art Contemporain, Geneva, CH for the first floor at the Biennale de l’Image en Mouvement 2018 ‘The sound of screens imploding’.

The album is mastered by Jeremy Cox.

All proceeds go to the American Indian Movement West/ AIM SoCal chapters.

TEDxVaduz 2013 Promo

aids-3d

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