@tyleretters/discography 0.0.9 → 0.0.11
This diff represents the content of publicly available package versions that have been released to one of the supported registries. The information contained in this diff is provided for informational purposes only and reflects changes between package versions as they appear in their respective public registries.
- package/dist/discography.d.ts +0 -1
- package/dist/discography.js +84 -90
- package/dist/discography.js.map +1 -1
- package/dist/index.js +84 -90
- package/dist/index.js.map +1 -1
- package/package.json +1 -1
- package/src/convert.py +13 -3
- package/src/discography.ts +84 -90
package/dist/index.js
CHANGED
|
@@ -16,53 +16,47 @@ var discography = [
|
|
|
16
16
|
"number": 1,
|
|
17
17
|
"title": "Tiresias",
|
|
18
18
|
"length": "00:01:49",
|
|
19
|
-
"
|
|
20
|
-
"mp3_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/in-darkness-radiant/tiresias.mp3",
|
|
19
|
+
"mp3_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/in-darkness-radiant/01-tiresias.mp3",
|
|
21
20
|
"id": "d8e190eb5c8a7c59a6bfe3a6cccd0b64"
|
|
22
21
|
},
|
|
23
22
|
{
|
|
24
23
|
"number": 2,
|
|
25
24
|
"title": "In Darkness Radiant",
|
|
26
25
|
"length": "00:01:54",
|
|
27
|
-
"
|
|
28
|
-
"mp3_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/in-darkness-radiant/in-darkness-radiant.mp3",
|
|
26
|
+
"mp3_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/in-darkness-radiant/02-in-darkness-radiant.mp3",
|
|
29
27
|
"id": "07431a76e3916159a229b4d77597dde1"
|
|
30
28
|
},
|
|
31
29
|
{
|
|
32
30
|
"number": 3,
|
|
33
31
|
"title": "Temporary Autonomous Zone",
|
|
34
32
|
"length": "00:04:16",
|
|
35
|
-
"
|
|
36
|
-
"mp3_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/in-darkness-radiant/temporary-autonomous-zone.mp3",
|
|
33
|
+
"mp3_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/in-darkness-radiant/03-temporary-autonomous-zone.mp3",
|
|
37
34
|
"id": "a8751056a8a9ebcbeec39a88b53ff2c8"
|
|
38
35
|
},
|
|
39
36
|
{
|
|
40
37
|
"number": 4,
|
|
41
38
|
"title": "Hell Money",
|
|
42
39
|
"length": "00:01:58",
|
|
43
|
-
"
|
|
44
|
-
"mp3_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/in-darkness-radiant/hell-money.mp3",
|
|
40
|
+
"mp3_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/in-darkness-radiant/04-hell-money.mp3",
|
|
45
41
|
"id": "166de9752fc6f68fabff27f1e4ec9164"
|
|
46
42
|
},
|
|
47
43
|
{
|
|
48
44
|
"number": 5,
|
|
49
45
|
"title": "Subsea Fiber Faults in the APAC Region",
|
|
50
46
|
"length": "00:05:43",
|
|
51
|
-
"
|
|
52
|
-
"mp3_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/in-darkness-radiant/subsea-fiber-faults-in-the-apac-region.mp3",
|
|
47
|
+
"mp3_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/in-darkness-radiant/05-subsea-fiber-faults-in-the-apac-region.mp3",
|
|
53
48
|
"id": "ddabb410b3b4e9692913d1aba064638f"
|
|
54
49
|
},
|
|
55
50
|
{
|
|
56
51
|
"number": 6,
|
|
57
52
|
"title": "Safe Passage (Non-Functional)",
|
|
58
53
|
"length": "00:02:51",
|
|
59
|
-
"
|
|
60
|
-
"mp3_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/in-darkness-radiant/safe-passage-non-functional.mp3",
|
|
54
|
+
"mp3_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/in-darkness-radiant/06-safe-passage-non-functional.mp3",
|
|
61
55
|
"id": "cb92de4cad418d150ca1a21b7544879c"
|
|
62
56
|
}
|
|
63
57
|
],
|
|
64
|
-
"notes": "After a harrowing border crossing out of the Special Economic Zone, Coyote lies low. His world is hardened, Metal Gear, long drag of cigarette, pushing limits of body to transport mind. Licking his wounds, drinking warm Modelo, watching cargo ships queue up for port, he contemplates getting out of the game for good
|
|
65
|
-
"credits": "Pr\u00e9cis by Cory Salveson. Music by Tyler Etters
|
|
58
|
+
"notes": "<p>After a harrowing border crossing out of the Special Economic Zone, Coyote lies low. His world is hardened, Metal Gear, long drag of cigarette, pushing limits of body to transport mind. Licking his wounds, drinking warm Modelo, watching cargo ships queue up for port, he contemplates getting out of the game for good.</p><p>But when money runs out (like it always does) he's forced to accept an impossible gig: US/APAC. The cargo is a Tiresias figure, some aged clairvoyant who, having struck their staff at two copulating serpents, was then blinded, given the gift of prophecy (visions), and transformed into a woman for seven years.</p><p>Who seeks a strange country by illegal means that can only place them perpetually outside while also inside? Coyote knows: someone who has a message... or someone who is one. What is the message now? What does Tiresias only know while blind and femme?</p><p>Coyote's reference gear attempts to help his line of thought with encyclopedic minutiae: \"Like with other oracles, how Tiresias obtained their information varied: sometimes, they would receive visions; other times they would listen for the songs of birds, or ask for a description of visions and pictures appearing within the smoke of burnt offerings or entrails, and so interpret them. Pliny the Elder credits Tiresias with the invention of augury. Tiresias has a daughter, Manto, who is also a prophetess and priestess.\"</p><p>Simple machine that cannot breathe or ache. Coyote dictates futile corrections to his gear. This Oracle of Zones is a mother, alright. The twin Zones - both Special Economic and Temporary Autonomous - symbolize invitations by their respective hosts to become changed; to be shown wrong. High on artificial fumes in virtual caves, Tiresias (pregnant with Manto?) are illegal yet invited; necessary; load-bearing. She sees and listens, assembles, then tells. And she's coming now, changing Self to change the flow of things, money, talk, data. She dies but goes on. A programming program, in darkness radiant.</p><p>A seagull lands on the railing.</p><p>Zip-tied to its tibia is a white USB drive.</p><p>It is branded with a familiar hexagon.</p>",
|
|
59
|
+
"credits": "<p>Pr\u00e9cis by Cory Salveson. Music by Tyler Etters.</p><p>Selected samples: Bauenrfeind, Beast Wars, Elden Ring, Cornell Lab of Ornithology, The Amity Affliction, Predator, True Detective, Cory's field recordings from China.</p><p>The musician would like to express his deepest thanks to @zbs for their deft consultation on the final mix and unwavering devotion to sub-bass.</p><p>Album art: screencap from \"Can't Get You Out of My Head\" by Adam Curtis.</p>",
|
|
66
60
|
"project_slug": "stuxnet",
|
|
67
61
|
"release_slug": "in-darkness-radiant",
|
|
68
62
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/in-darkness-radiant/in-darkness-radiant.jpg",
|
|
@@ -110,8 +104,8 @@ var discography = [
|
|
|
110
104
|
"id": "3425ce3d019d9a2b4486a5b677580273"
|
|
111
105
|
}
|
|
112
106
|
],
|
|
113
|
-
"notes": "Migrants are often between two worlds that do not really have a place for them: fleeing economic or political hardship and entering a place (ostensibly the U.S.) that fundamentally demands their labour yet officially outlaws them and treats them as sub-human. The coyote is doing a kind of extraordinary favor by rendering an extra-legal service, and putting themselves in harm's way to do so
|
|
114
|
-
"credits": "Pr\u00e9cis by Cory Salveson. Music by Tyler Etters
|
|
107
|
+
"notes": "<p>Migrants are often between two worlds that do not really have a place for them: fleeing economic or political hardship and entering a place (ostensibly the U.S.) that fundamentally demands their labour yet officially outlaws them and treats them as sub-human. The coyote is doing a kind of extraordinary favor by rendering an extra-legal service, and putting themselves in harm's way to do so.</p><p>Why choose this particular job?</p><p>Perhaps because the coyote is \"between,\" themselves. This casts them as a kind of archetypical shamanistic figure: a psychopomp, a guide of souls like Anubis, Charon, Hermes, Mercury, or Tarkovsky's Stalker. But, unlike this Jungian pantheon of tricksters, our coyote is not bound by divinity or magicks \u2014 they are a mercenary; they are bound by cash.</p><p>In Nomadology: The War Machine, Deleuze & Guattari \"redefine the relation between the state and its war machine. Far from being a part of the state, warriors (the army) are nomads who always come from the outside and keep threatening the authority of the state. In the same vein, nomadic science keeps infiltrating royal science, undermining its axioms and principles. Nomadology is a speedy, pocket-sized treatise that refuses to be pinned down. Theorizing a dynamic relationship between sedentary power and schizophrenic lines of flight, this volume is meant to be read in transit, smuggled into urban nightclubs, offices, and subways.\"</p><p>It then follows the special economic zone is a stage for our coyote, our trickster, to turn logics and fortunes of capitalism inside out and upside down. The interior shared-self which persists through ultra time flow is, yes: dancing in place to move forward... and the special economic zone suspends the rules to incentivize a certain dancing, a particular folding back into itself to realize commerce, competition, fucking, running, transgressing, renewing.</p><p>If the trickster makes this world, it follows the mercenary makes the state. </p>",
|
|
108
|
+
"credits": "<p>Pr\u00e9cis by Cory Salveson. Music by Tyler Etters.</p><p>Selected samples: Dark Souls III, Mission: Impossible 4 \u2014 Ghost Protocol, X-Files, Metal Gear Solid, Underoath, Fortnite \"Fracture\" Event, Black Hawk Down.</p><p>Inspired by a trip with my mother to Tijuana, Mexico, 2022.</p><p>Album art: Midjourney prompt by John von Seggern.</p><p>For Timm.</p>",
|
|
115
109
|
"project_slug": "stuxnet",
|
|
116
110
|
"release_slug": "fade-scatter-replicate",
|
|
117
111
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/fade-scatter-replicate/fade-scatter-replicate.jpg",
|
|
@@ -141,8 +135,8 @@ var discography = [
|
|
|
141
135
|
"id": "783052eebb0b68c10fbed5264de8721d"
|
|
142
136
|
}
|
|
143
137
|
],
|
|
144
|
-
"notes": "Within the philosophies of time, three oppositional schools compete: Eternalism describes the phenomenon of time like a strip of film - the past and the future do exist, are real, but the present is merely a human concept. The growing block theory, maybe the most intuitive of the three, states that the present continually creates the past, but the future is unwritten. Presentism on the other hand argues that the only thing irrefutable is the present and that the past and the future are both unreal. By applying these three concepts to music, we may end up with a number of strategies to rethink what we consider as given
|
|
145
|
-
"credits": "Thanks to the person who sold me a faulty tape deck so I could not continue this project as intended because the original tape deck was in an airplane hanger because of the pandemic and everything stalled out for so long on both sides of the incident and then the project changed \u2014 like everything else did, that was closer to then and things are different now. Thanks to my dad for showing me Dancing Fantasy when I was a kid. Thanks to Sage for being infinitely patient and compassionate with me during the pandemic. Thanks to my two close friends who talked with me on the phone at length today, you know who you are. Thanks to Emily for finding this strange book and making me her audience of one. Thanks to the Adriance Memorial Library for first stocking the book and later stamping it with DISCARD. Thanks to Hippo Books who succeeded in diverting it from a landfill and otherwise help to fund library sustainability and provide meaningful solutions to the global problem of illiteracy
|
|
138
|
+
"notes": "<p>Within the philosophies of time, three oppositional schools compete: Eternalism describes the phenomenon of time like a strip of film - the past and the future do exist, are real, but the present is merely a human concept. The growing block theory, maybe the most intuitive of the three, states that the present continually creates the past, but the future is unwritten. Presentism on the other hand argues that the only thing irrefutable is the present and that the past and the future are both unreal. By applying these three concepts to music, we may end up with a number of strategies to rethink what we consider as given.</p><p>I would like to propose that there has been has been a slow shift in how music was perceived. Improvised music, prior to notation, can be considered as presentistic, manifesting itself only in the present, it\u2019s only traces of existence written in memory. With interpretation and notation, the perception shifts more to a growing block. The mind got a hold of the past, but the future still remained a very unstable realm - once the hand made a mistake with an instrument or the voice was interrupted to catch a breath. Obviously the advent of the recording introduced an absolute future and with it the concept of eternalism in music. Furthermore the introduction of the loop, applied in its most extreme way within techno, embeds the listener in a coherent body of past and future, even with a view of the timeline - first on the record, later on the waveform. A car, racing on the Autobahn, free to move in both directions. Of course, one could argue that the state of ecstasy in which techno is consumed compresses time into a perfect present, the psychological present, which is defined as 2-3 seconds with the equivalent of 1 bar by 120 bpm\u2026</p><p>But staying for the moment with the first thought, we can ask the questions: is the loop the defining property of techno? What happens if we remove the certainty of the next kick, eroding the temporal and structural integrity of the genre? Presentism is a project based on one temporal randomised pulse, denying our ability to foresee the next kick and obscuring the possibility to form loops. Yet it upholds timbres and instrument references common to the genre. The aleatoric function acts like an agent of presentism in an eternalist domain. Like improvisation, it has the ability to remove a stable future and at the same time blur the memory by forming insignificant patterns. Intensification usually benefits from a balance between control and the prospect of collapse. The temporal shuffle of techno is the attempted surrender of control of the past and future to the present.</p><p>\u2014 JAT, 2020</p>",
|
|
139
|
+
"credits": "<p>Thanks to the person who sold me a faulty tape deck so I could not continue this project as intended because the original tape deck was in an airplane hanger because of the pandemic and everything stalled out for so long on both sides of the incident and then the project changed \u2014 like everything else did, that was closer to then and things are different now. Thanks to my dad for showing me Dancing Fantasy when I was a kid. Thanks to Sage for being infinitely patient and compassionate with me during the pandemic. Thanks to my two close friends who talked with me on the phone at length today, you know who you are. Thanks to Emily for finding this strange book and making me her audience of one. Thanks to the Adriance Memorial Library for first stocking the book and later stamping it with DISCARD. Thanks to Hippo Books who succeeded in diverting it from a landfill and otherwise help to fund library sustainability and provide meaningful solutions to the global problem of illiteracy.</p><p>About text, icon, and name sourced from They Became What They Beheld written by Edmund Snow Carpenter, photographed by Ken Heyman, designed by Hess and/or Antupit, 1970.</p><p>Audio sourced from Shostakovich's Symphony No. 5, Op. 47 performed by Leonard Bernstein, New York Philharmonic, 1980.</p><p>Audio sourced from Dancing Fantasy's Op. Midnight Blvd. \"...double fantasy...a dream... ...within a dream...\" IC / Innovative Records, 1990.</p><p>Photographs from my trip to Petalying Jaya, Malaysia, 2017.</p><p>Engineered by Tyler Etters, 2019 \u2014 2022.</p>",
|
|
146
140
|
"project_slug": "they-became-what-they-beheld",
|
|
147
141
|
"release_slug": "ep2",
|
|
148
142
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/they-became-what-they-beheld/ep2/ep2.jpg",
|
|
@@ -166,8 +160,8 @@ var discography = [
|
|
|
166
160
|
"id": "22a8f72e86a38959ad6aa2a955eefae2"
|
|
167
161
|
}
|
|
168
162
|
],
|
|
169
|
-
"notes": "Over the course of their first journey (which started months before they realized they would become a band), the humans created many auditory things together and separately. Some of this was good but had found itself in a \u201cstuck\u201d state. Some things extended a bit earlier than the boundary of acquaintance but felt appropriate for inclusion. At any rate, both humans were in an exorcising mood. They decided it was time to release these peach fuzz laden demons. The exorcism exercise would be comprised of a continuous sort of mix tape or DJ mix containing these demons occupying the auditory plane
|
|
170
|
-
"credits": "Laws & Etters, mmxxi
|
|
163
|
+
"notes": "<p>Over the course of their first journey (which started months before they realized they would become a band), the humans created many auditory things together and separately. Some of this was good but had found itself in a \u201cstuck\u201d state. Some things extended a bit earlier than the boundary of acquaintance but felt appropriate for inclusion. At any rate, both humans were in an exorcising mood. They decided it was time to release these peach fuzz laden demons. The exorcism exercise would be comprised of a continuous sort of mix tape or DJ mix containing these demons occupying the auditory plane.</p><p>As is becoming their custom, the humans again took turns weaving the structures. This time the structures were on a somewhat larger scale. They pulled in beats, basslines, melodies, and scraps of texture. Both humans expected the final product to be quite rhythmic and beat-driven. To their credit, this does appear to accurately describe much of what the three of us arrived at. They did manage to sneak in some free-meter synth jams, which provided some loose [a]rhythmic accompaniment to the more musically adherent elements.</p><p>However, the real surprise came when the emotional impact of exorcising some demons in particular started to affect both humans. The beats in these instances decidedly needed to take a back seat to the so-called \u201cfeels\u201d: drones, sad arpeggio breakdowns, lolling refracted feedback melodies. As the iris of psychic transmorgification closed, the minds\u2019 eyes adjusted back to the new light level, the steam evaporated, the dust settled, and the humans incanted an old, familiar phrase to lighten these heaviest of demons:</p><p>... like tears in the rain ...</p><p>The final mix arrived at a total of 300 MB worth of uncompressed PCM audio. This size is above Bandcamp\u2019s 291MB track limit, so 9MB was cut down from the final waveform data. The human who spliced has assured myself and the other human that we will never know (and, one would hope, never miss) those 9MB.</p><p>My aunt, the Goddess SEO (that\u2019s just her name, I don\u2019t know what it stands for and I\u2019m afraid to ask her) demanded that I mention the following terms. I do not understand their context and feel uncertain of how to integrate them into the above, so I shall simply list them: mapcore, caveman.sh.</p><p>(SEO also mentioned something about \u201chashed tags\u201d. She took pity on me when she saw how terribly frightened I was of these strange, unfamiliar words, so she stopped short of asking me to use them. I hope this does not create any confusion.)</p>",
|
|
164
|
+
"credits": "<p>Laws & Etters, mmxxi</p>",
|
|
171
165
|
"project_slug": "sidereal-lobby",
|
|
172
166
|
"release_slug": "deep-state-music",
|
|
173
167
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/sidereal-lobby/deep-state-music/deep-state-music.jpg",
|
|
@@ -203,8 +197,8 @@ var discography = [
|
|
|
203
197
|
"id": "787697adcb5356df5c68c444d3a8b49e"
|
|
204
198
|
}
|
|
205
199
|
],
|
|
206
|
-
"notes": "Dub is a refraction of alien consciousness
|
|
207
|
-
"credits": "Laws & Etters, mmxxi
|
|
200
|
+
"notes": "<p>Dub is a refraction of alien consciousness</p><p>Flash Crash was approaching. The folks running the event wanted dub in their interstitial program. I complied.</p><p>It began with Mental Dub, constructed entirely in Ableton Live with stock samples and soft synths. The other human loaded its stems into his Octatrack for further mutation, which became Des Moines. The first human further mutated Des Moines within Ableton to create Null Lake. The humans had little hesitation about mix or levels.</p><p>One (and only one) of the humans does have a bit of regret that Mental Dub Lisbon was 100% created by them and not the other. In other words, the other did not have any samples, or audio, or melody at all, but both humans concurred it was OK because it all took place in the Sidereal Lobby.</p><p>Most of the above thoughts were originally transcribed via text-to-speech processing in a Taco Bell parking lot. The allure of Baja Blast is known to be irresistible to sidereal lobbyists.</p>",
|
|
201
|
+
"credits": "<p>Laws & Etters, mmxxi</p>",
|
|
208
202
|
"project_slug": "sidereal-lobby",
|
|
209
203
|
"release_slug": "fciv",
|
|
210
204
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/sidereal-lobby/fciv/fciv.jpg",
|
|
@@ -246,8 +240,8 @@ var discography = [
|
|
|
246
240
|
"id": "f83818db16c7392d55ac6d73b23940f7"
|
|
247
241
|
}
|
|
248
242
|
],
|
|
249
|
-
"notes": "It began with failure
|
|
250
|
-
"credits": "Laws & Etters, mmxxi
|
|
243
|
+
"notes": "<p>It began with failure.</p><p>Both humans had, at different times, come into ownership of the same model of a powered synthesizer enclosure. At different times, the power supply of either enclosure failed in identical fashion. The second time, the steward of the enclosure discovered that the power supply had, in fact, not completely failed. It could still deliver some power, albeit at an attenuated amperage. Perhaps as a test, perhaps enthused at the novelty of the small enclosure, perhaps simply to amuse himself, he assembled a nonsensical menagerie of modules.</p><p>The human then proceeded to record similarly nonsensical sounds. He doubted they were musical. They did contain rhythms, tones, things that repeat, but no more than household or industrial appliances. No logic or aesthetics he knew of applied. They were low-fidelity but not enough to be charming. These were adjacent to, but not quite the same as, what might be referred to as \u201cnoise music\u201d. At times something resembling a melody or a chord would appear, but short-lived and unsupported. He didn\u2019t know what to do with this, but he was having fun, so he forged ahead.</p><p>After indulging a compulsion to record, the first human decided to share a few minutes of this with the second human. The second human was not sure what to make of this. Out of mutual respect, he attempted to phrase a diplomatic and critically constructive suggestion. He introduced this suggestion. The first human sat in anticipation, waiting for second\u2019s transmission to complete. After a few more minutes, the first human became aware that not only was the second human\u2019s transmission taking some time to complete (and perhaps had been interrupted), but that he had an urge to record more bullshit. And so he did.</p><p>By the time the first human had another recording to share, the second human had completed his transmission, and in fact had a record of his own to share. It was a collage, a juxtaposition: the original recording with new layers. The first human was shocked and delighted. This was beginning to sound like music. Now he saw the pattern - a friendly back-and-forth volley.</p><p>This volley continued until the juxtapositions began to form a landscape with features. There were ugly, unexplainable crags and crannies, but also breathtaking vistas and soothing curves. The humans looked and listened upon this landscape with the awe and terror of a space traveler stranded on a remote beach, unsure of what it meant or where to go next, but grateful to be surrounded by grotesque beauty and eager to explore.</p>",
|
|
244
|
+
"credits": "<p>Laws & Etters, mmxxi</p>",
|
|
251
245
|
"project_slug": "sidereal-lobby",
|
|
252
246
|
"release_slug": "beaches",
|
|
253
247
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/sidereal-lobby/beaches/beaches.jpg",
|
|
@@ -283,8 +277,8 @@ var discography = [
|
|
|
283
277
|
"id": "4bdbc9918ce2a3623da3380ad3b44386"
|
|
284
278
|
}
|
|
285
279
|
],
|
|
286
|
-
"notes": "The Human Interference Task Force was a team of engineers, anthropologists, nuclear physicists, behavioral scientists and others convened on behalf of the U.S. Department of Energy and Bechtel Corp. to find a way to reduce the likelihood of future humans unintentionally intruding on radioactive waste isolation systems. Specifically, the task force was to research the use of long-time warning messages to prevent future access to the planned, but stalled, deep geological nuclear repository project of Yucca Mountain
|
|
287
|
-
"credits": "The musician would like to express his deepest thanks to @license for their critical ear and honest heart
|
|
280
|
+
"notes": "<p>The Human Interference Task Force was a team of engineers, anthropologists, nuclear physicists, behavioral scientists and others convened on behalf of the U.S. Department of Energy and Bechtel Corp. to find a way to reduce the likelihood of future humans unintentionally intruding on radioactive waste isolation systems. Specifically, the task force was to research the use of long-time warning messages to prevent future access to the planned, but stalled, deep geological nuclear repository project of Yucca Mountain.</p><p>PROBLEM</p><p>When atomic or fusion bombs are detonated in a war, or nuclear power plants are used in times of peace, an unnaturally high amount of radioactive waste is produced. This material will threaten human life and health for thousands of years. Consequently, nuclear technology necessitates the creation of a secure means of terminal storage for such materials for an unusually long time period.</p><p>However, there is no method available to continuously provide the necessary knowledge about the location of nuclear waste over thousands of years. The culture of earlier centuries becomes incomprehensible when it is not translated into new languages every few generations. National institutions do not exist longer than a few hundred years. Even religions are not older than a few millennia and do not typically hand down scientific knowledge.</p><p>Furthermore, the necessary length of storage is disputed among specialists. One work group in Germany concluded that nuclear waste must be separated from the biosphere up to one million years \u2014 about 30,000 human generations. Earlier assumptions were based on a period of 10,000 years, which seems to be too short given the half-life of certain radioactive isotopes (e.g. Plutonium-239 at 24,000 years).</p><p>The written historical tradition of humanity, in contrast, is only about 5,000 years. Warnings in cuneiform script could be interpreted by some specialists, but others, such as the writing of the Indus Valley civilization, are already illegible after a few thousand years.</p><p>REQUIREMENTS</p><p>Three parts of any communication about nuclear waste must be conveyed to posterity:</p><p>1. that it is a message at all</p><p>2. that dangerous material is stored in a given location</p><p>3. information about the type of dangerous substances</p><p>ANSWERS</p><p>To determine how to convey these three things, the \"Zeitschrift f\u00fcr Semiotik\" (T\u00fcbingen, Germany) issued a poll in 1982 and 1983 asking how a message might be communicated for a duration of 10,000 years. The poll asked the following question: \"How would it be possible to inform our descendants for the next 10,000 years about the storage locations and dangers of radioactive waste?\" leading to the following answers... </p>",
|
|
281
|
+
"credits": "<p>The musician would like to express his deepest thanks to @license for their critical ear and honest heart.</p>",
|
|
288
282
|
"project_slug": "stuxnet",
|
|
289
283
|
"release_slug": "human-interference-task-force",
|
|
290
284
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/human-interference-task-force/human-interference-task-force.jpg",
|
|
@@ -344,8 +338,8 @@ var discography = [
|
|
|
344
338
|
"id": "d9b1078aadc31f8feb907ca5aa3e74bd"
|
|
345
339
|
}
|
|
346
340
|
],
|
|
347
|
-
"notes": "Mapcore is a viable solution for surveying the world
|
|
348
|
-
"credits": "COUNTERINTELLIGENCE was written, recorded, designed, and released on the STUXNET: NIGHTLY STREAMS // UNREMEMBERED DREAMS Twitch channel. While recording some of the gear blew a fuse. STUXNET is Tyler Etters
|
|
341
|
+
"notes": "<p>Mapcore is a viable solution for surveying the world.</p>",
|
|
342
|
+
"credits": "<p>COUNTERINTELLIGENCE was written, recorded, designed, and released on the STUXNET: NIGHTLY STREAMS // UNREMEMBERED DREAMS Twitch channel. While recording some of the gear blew a fuse. STUXNET is Tyler Etters.</p><p>Album art: \"The Nobili-Pesavento self-replicator, with a daughter copy in the process of making a grand-daughter copy. The automaton uses the 32-state extended John von Neumann rules, based on his work on universal constructors and self-reproducing automata.\"</p>",
|
|
349
343
|
"project_slug": "stuxnet",
|
|
350
344
|
"release_slug": "countersurveillance",
|
|
351
345
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/countersurveillance/countersurveillance.jpg",
|
|
@@ -417,8 +411,8 @@ var discography = [
|
|
|
417
411
|
"id": "30f9acd6b2a5762977f27468d900eecd"
|
|
418
412
|
}
|
|
419
413
|
],
|
|
420
|
-
"notes": "Dear listener
|
|
421
|
-
"credits": "Album title by Cory Salveson, encryption key by Matthew Marx, distress signals by Dan Derks, music by Tyler Etters
|
|
414
|
+
"notes": "<p>Dear listener,</p><p>During the turn of the century in Chicago there was a radio station called WNRG Energy 92.7/5 . I was 12 or so and would always fall asleep listening to the likes of DJ Sammy, DJ Encore, PPK, D-Devils, Armin van Buuren, Sylver, ATC, and countless others. I pictured the radio waves blanketing Chicagoland's orange phosphorous haze from Kenosha to Kankakee; euphoric FM signals in an adjacent dimension. Compressed audio. The crackle of static. It was spiritual.</p><p>How many others were listening along with me?</p><p>How many others allowed themselves to be moved to tears in the music's rapture?</p><p>One night all the DJs were there. They kept talking and laughing and telling stories. Being a trance radio station, this was quite irregular. They were sad. Then I realized: this was the final broadcast.</p><p>LONG LIVE THE LOST ONES is a very special album for me, as the track titles may (or may not) reveal.</p><p>The melodies were mostly written while flying back and forth between Los Angeles and Chicago during that brief season Sage and I were commuter spouses. Winter 2019/2020. At the end of the old world and the threshold of the new.</p><p>With LONG LIVE THE LOST ONES, we find my nightly streams, my deep tryst for unabashedly earnest trance, and my endless experiments with lo-fi and distortion finally in conjunction. A constellation of energy, euphoria, and catharsis.</p><p>I've started having visions of people dancing together again. These visions haunt and inspire me. Perhaps one day sooner than we think, DJs will return to the decks and revelers will return to the floors.</p><p>None of us were ready for 2020. It is only now becoming clear what cultural trauma the pandemic has wrought. Scorched earths, decimated families, and shattered cultures. There is so much mourning to do.</p><p>Everything is going to be different from here out.</p><p>Once again, we must learn to dance.</p><p>Yours,</p><p>Tyler </p>",
|
|
415
|
+
"credits": "<p>Album title by Cory Salveson, encryption key by Matthew Marx, distress signals by Dan Derks, music by Tyler Etters.</p><p>Album art: \"Kuwaiti oil wells set on fire by retreating Iraqi forces during Operation Desert Storm darken the sky with smoke, March 25, 1991. This image could have imperfections as it\u2019s either historical or reportage.\"</p>",
|
|
422
416
|
"project_slug": "stuxnet",
|
|
423
417
|
"release_slug": "long-live-the-lost-ones",
|
|
424
418
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/long-live-the-lost-ones/long-live-the-lost-ones.jpg",
|
|
@@ -448,8 +442,8 @@ var discography = [
|
|
|
448
442
|
"id": "23d10f8f4768e913d7c0fe955cc16b04"
|
|
449
443
|
}
|
|
450
444
|
],
|
|
451
|
-
"notes": "At the behest of an anonymous agent, the Northern Information Applied Sciences & Phantasms Working Division agreed to the impossible: rationalize the numogram for the post-pandemic age
|
|
452
|
-
"credits": "STUXNET is Tyler Etters
|
|
445
|
+
"notes": "<p>At the behest of an anonymous agent, the Northern Information Applied Sciences & Phantasms Working Division agreed to the impossible: rationalize the numogram for the post-pandemic age.</p><p>It is accepted that the numogram first manifested in the 90s via research from the CCRU. However, newly unearthed forensic evidence from The tf.nist.gov Timeserver Incident has cast a shadow of doubt on the true provenance.</p><p>After the NIAS&PWD design scientist rationalized the numogram into a mathematically pure vector format, new sonic pathways were unlocked for STUXNET. The dossier was delivered and lead to yet more revelations: the existence of what can only be described as a time firewall. And, perhaps more unsettling, \"fractal edges\" thereby calling into question the very foundations of topology, Euclidean space, and recursion dynamics.</p><p>Intertext formally published a request for support in understanding the implications of these twin entities on April 18, 2021.</p><p>Operator instructions: `mv numogram.txt numogram.ai`</p>",
|
|
446
|
+
"credits": "<p>STUXNET is Tyler Etters.</p>",
|
|
453
447
|
"project_slug": "stuxnet",
|
|
454
448
|
"release_slug": "times-firewall-demo",
|
|
455
449
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/times-firewall-demo/times-firewall-demo.jpg",
|
|
@@ -533,8 +527,8 @@ var discography = [
|
|
|
533
527
|
"id": "b9202085559832f47a042d7eabca7243"
|
|
534
528
|
}
|
|
535
529
|
],
|
|
536
|
-
"notes": "
|
|
537
|
-
"credits": "STUXNET is Tyler Etters
|
|
530
|
+
"notes": "<p>\ud83e\ude86\ud83e\ude86\ud83e\ude86\ud83e\ude86\ud83e\ude86\ud83e\ude86\ud83e\ude86\ud83e\ude86\ud83e\ude86\ud83e\ude86\ud83e\ude86</p><p>Download includes \"64chain-3.3.wav\" to use with your own sampler. This sample is an assemblage of all the samples synthesized for this release.</p>",
|
|
531
|
+
"credits": "<p>STUXNET is Tyler Etters.</p>",
|
|
538
532
|
"project_slug": "stuxnet",
|
|
539
533
|
"release_slug": "matryoshka-demo",
|
|
540
534
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/matryoshka-demo/matryoshka-demo.jpg",
|
|
@@ -600,8 +594,8 @@ var discography = [
|
|
|
600
594
|
"id": "c791ffc28c2b9337919f730df6899e77"
|
|
601
595
|
}
|
|
602
596
|
],
|
|
603
|
-
"notes": "
|
|
604
|
-
"credits": "STUXNET is Tyler Etters
|
|
597
|
+
"notes": "<p>% ssh-keygen -t ed25519</p><p>Generating public/private ed25519 key pair.</p><p>Enter file in which to save the key (/Users/mbp/.ssh/id_ed25519):</p><p>Enter passphrase (empty for no passphrase):</p><p>Enter same passphrase again:</p><p>Your identification has been saved in /Users/mbp/.ssh/id_ed25519.</p><p>Your public key has been saved in /Users/mbp/.ssh/id_ed25519.pub.</p><p>The key fingerprint is:</p><p>SHA256:0kv7znEhupmnDG+eyQAwWNgt8kwKzosGi4hpAmtf7HY mbp@mbp</p><p>The key's randomart image is:</p><p>+--[ED25519 256]--+</p><p>| o.. |</p><p>|+o+ . |</p><p>|=*o. |</p><p>|+ooo . |</p><p>|B+. o . S . . |</p><p>|X= + o + . . |</p><p>|= . o o + . . |</p><p>| . o E.O.o |</p><p>| . .o%++ |</p><p>+----[SHA256]-----+</p><p>% cat /Users/mbp/.ssh/id_ed25519</p><p>-----BEGIN OPENSSH PRIVATE KEY-----</p><p>b3BlbnNzaC1rZXktdjEAAAAABG5vbmUAAAAEbm9uZQAAAAAAAAABAAAAMwAAAAtzc2gtZW</p><p>QyNTUxOQAAACDIR6QeH9ppP9f9xexpPOx0xAmGzWcU3SwBjSl7OZh1zgAAAJB79qzIe/as</p><p>yAAAAAtzc2gtZWQyNTUxOQAAACDIR6QeH9ppP9f9xexpPOx0xAmGzWcU3SwBjSl7OZh1zg</p><p>AAAEA1ic72mxJXRvpnU74JYkpnyQ+RhVHBnNLmuSpq4YcQY8hHpB4f2mk/1/3F7Gk87HTE</p><p>CYbNZxTdLAGNKXs5mHXOAAAAB21icEBtYnABAgMEBQY=</p><p>-----END OPENSSH PRIVATE KEY-----</p><p>watch the recording of CIPHER SUITE (demo) at: https://www.twitch.tv/videos/964445530</p>",
|
|
598
|
+
"credits": "<p>STUXNET is Tyler Etters.</p>",
|
|
605
599
|
"project_slug": "stuxnet",
|
|
606
600
|
"release_slug": "cipher-suite-demo",
|
|
607
601
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/cipher-suite-demo/cipher-suite-demo.jpg",
|
|
@@ -667,8 +661,8 @@ var discography = [
|
|
|
667
661
|
"id": "245d5a39e4a966bd7a7368253beaf668"
|
|
668
662
|
}
|
|
669
663
|
],
|
|
670
|
-
"notes": "made after they sieged the capitol
|
|
671
|
-
"credits": "STUXNET is Tyler Etters
|
|
664
|
+
"notes": "<p>made after they sieged the capitol</p><p>made with elektron, make noise, mannequins, monome, others</p><p>made before i knew how to use it all</p>",
|
|
665
|
+
"credits": "<p>STUXNET is Tyler Etters.</p>",
|
|
672
666
|
"project_slug": "stuxnet",
|
|
673
667
|
"release_slug": "carrier-demo",
|
|
674
668
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/stuxnet/carrier-demo/carrier-demo.jpg",
|
|
@@ -740,8 +734,8 @@ var discography = [
|
|
|
740
734
|
"id": "19f67fefb3a7720a8875b563311e187d"
|
|
741
735
|
}
|
|
742
736
|
],
|
|
743
|
-
"notes": "
|
|
744
|
-
"credits": "Thanks to Dan Derks, Brian Crabtree, Ryan Laws, Zack Scholl, Cory Salveson, Sage Etters, & Pasha Petrosyan
|
|
737
|
+
"notes": "<p>-13,800,000,000: the universe forms.</p><p>-4,500,000,000: the moon forms.</p><p>-66,000,000: the Chicxulub impactor kills 75% of everything.</p><p>01945: the first nuclear device is detonated at the Trinity Site.</p><p>01960: construction of the Arecibo Observatory begins.</p><p>01963: construction of the Arecibo Observatory ends.</p><p>01974: the Arecibo message is broadcast.</p><p>01985: Carl Sagan's novel, Contact, is published.</p><p>02020: the Arecibo Observatory collapses.</p><p>03000: the 10,000 Year Clock chimes thrice.</p><p>+26,974: the Arecibo message arrives at M13.</p><p>+10^14: star formation ceases.</p><p>+10^40: black holes dominate the universe.</p><p>+10^100: if protons decay, the universe suffers heat death.</p><p>*All above dates and events are inaccurate.</p><p>Any proceeds from the sale of this album will be donated to the Arecibo Observatory: www.naic.edu/ao/donations</p>",
|
|
738
|
+
"credits": "<p>Thanks to Dan Derks, Brian Crabtree, Ryan Laws, Zack Scholl, Cory Salveson, Sage Etters, & Pasha Petrosyan.</p><p>Augured, coded, patched, written, performed, lamented, and engineered by Tyler Etters in 2020.</p>",
|
|
745
739
|
"project_slug": "northern-information",
|
|
746
740
|
"release_slug": "the-arecibo-lamentations",
|
|
747
741
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/northern-information/the-arecibo-lamentations/the-arecibo-lamentations.jpg",
|
|
@@ -771,8 +765,8 @@ var discography = [
|
|
|
771
765
|
"id": "da62d9c2b17d61f7dbbb2cb8714ea63e"
|
|
772
766
|
}
|
|
773
767
|
],
|
|
774
|
-
"notes": "I recently came across the following rules of communication, posted in a School of Journalism
|
|
775
|
-
"credits": "Thanks to Emily for finding this strange book and making me her audience of one. Thanks to the Adriance Memorial Library for first stocking the book and later stamping it with DISCARD. Thanks to Hippo Books who succeeded in diverting it from a landfill and otherwise help to fund library sustainability and provide meaningful solutions to the global problem of illiteracy
|
|
768
|
+
"notes": "<p>I recently came across the following rules of communication, posted in a School of Journalism:</p><p>1. Know your audience and address yourself directly to it.</p><p>2. Know what you want to say and say it clearly and fully.</p><p>3. Reach the maximum audience by utilizing existing channels.</p><p>Whatever sense this may have made in a world of print, it makes no sense today. In fact, the reverse of each rule applies.</p><p>If you address yourself to an audience, you accept at the outset basic premises that unite the audience. You put on the audience, repeating clich\u00e9s familiar to it. But artists don't address themselves to audiences; they create audiences. The artist talks to themself out loud. If what they say is significant, others hear and are affected.</p><p>The trouble with knowing what to say and saying it clearly and fully is that clear speaking is generally obsolete thinking. Clear statement is like an art object: it is the afterlife of the process which called it into being. The process itself is the significant step and, especially at the beginning, is often incomplete & uncertain. Columbus's maps were vague & sketchy, but showed the right continent.</p><p>The problem with full statement is that it doesn't involve: it leaves no room for participation; it's addressed to consumer, not co-producer. Allan Kaprow posted a few small posters about Berkeley: \"SUPPOSE you were interested in designing a primer, in mixed media, etc. . . . Allan Kaprow will be in Berkeley in July & August.\" No phone, address, dates, terms. He found, however, that those who wanted to work with him, and those he wanted to work with, located him without difficulty.</p><p>Reaching the maximum audience may be the last thing one wants to achieve. George Segal says, \"I don't give myself to everybody. I give myself very intensely to my work, my wife, my kids, my few friends. I can't begin to give myself indiscriminately to all. It's the only thing that makes me pause about, say, Ginsberg's preachings of universal love or even California ideas about Esalen and touching.\"</p><p>Utilizing existing channels can wipe out a statement. There is a widely accepted misconception that media merely serve as neutral packages for the dissemination of raw facts. Photographers once thought that by getting their photographs published in Life, they would thereby reach large audiences. Gradually they discovered that the only message that came through was Life magazine itself and that their pictures had become but bits and pieces of that message. Unwittingly they contributed to a message far removed from the one they intended.</p><p>The same thing occurs on TV guest shows. Guests accept invitations to appear on programs in the hopes their messages will reach new and wider audiences, but even when they are treated in a friendly manner, they generally come away with a sense of failure. Somehow the message transmitted is far removed from the message intended. The original message has been declassified by an alien medium. \"Oh, what a blow that phantom gave me!\" cries Don Quixote.</p><p>The young today shun the hardware of the past. Marx thought the big question was: Who owns the presses? Software makes hardware obsolete, an encumbrance, creating a false sense of power and security. The young package their messages in media that fit their messages, that is, they create new media to fit their messages. In so doing, they create their own audiences. Some of these audiences may be very small at the beginning. In Houston I met film makers producing films for audiences of no more than six. The point was that they would reach the right people in the right way with the right message.</p><p>It is one of the curiosities of a new medium, a new format, that at the moment it first appears, it's never valued, but it is believed. What it offers, I believe, is a sudden insight, an unexpected glimpse into a reality that, at most, was merely suspected but never before seen with such clarity.</p><p>Like guerrillas, the young are in a favored position; they don't need or want the hardware and audiences of yesterday.</p><p>\u2014 Edmund Snow Carpenter, 1970 </p>",
|
|
769
|
+
"credits": "<p>Thanks to Emily for finding this strange book and making me her audience of one. Thanks to the Adriance Memorial Library for first stocking the book and later stamping it with DISCARD. Thanks to Hippo Books who succeeded in diverting it from a landfill and otherwise help to fund library sustainability and provide meaningful solutions to the global problem of illiteracy.</p><p>About text, icon, and name sourced from They Became What They Beheld written by Edmund Snow Carpenter, photographed by Ken Heyman, designed by Hess and/or Antupit, 1970.</p><p>Audio sourced from Shostakovich's Symphony No. 5, Op. 47 performed by Leonard Bernstein, New York Philharmonic, 1980.</p><p>Photographs from my trip to Petalying Jaya, Malaysia, 2017.</p><p>Engineered by Tyler Etters, 2019.</p>",
|
|
776
770
|
"project_slug": "they-became-what-they-beheld",
|
|
777
771
|
"release_slug": "ep1",
|
|
778
772
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/they-became-what-they-beheld/ep1/ep1.jpg",
|
|
@@ -856,8 +850,8 @@ var discography = [
|
|
|
856
850
|
"id": "688324cd8182b77da8097a91a8fa4cf1"
|
|
857
851
|
}
|
|
858
852
|
],
|
|
859
|
-
"notes": "
|
|
860
|
-
"credits": "released the day after the winter solstice, when the light begins her steady march to summer
|
|
853
|
+
"notes": "<p>- - - - - - - - - -</p><p>chapter ix</p><p>- - - - - - - - - -</p><p>summer. morning. warmth and green. saturday. children meet at the end of the street to play. nature preserve. silent agreement. no games today. just be. creeks. white oaks. a crayfish somehow. power lines on the horizon. cumulus clouds and prairies forever. then one of them finds it beneath a domed castle of dark briar. the snail shell graveyard. calls to the others. huddled around the edge in silence. dozens of bone-white spirals encrusted in black mud. today they can only stare but the questions will come decades later: what force caused it to happen? was the ossuary exclusive to a single family? did some apex predator hunt each snail and return them to her voracious brood? did the snails all migrate together on their own volition? only to die in some great cataclysm? the annual prairie burn? the children know better than to take any shells. dusk. winter. the ice breaks. yelling for help. they scramble to get long branches. he is ok but his boot is claimed by the mud. summer again. they age. they don't play anymore. they hang out now. they go back the forest preserve past curfew. instead of running from imaginary monsters they run from the police. they still know all the hiding places and it is almost unfair. they keep aging. they lose touch. they sometimes remember. before it is over, each returns to the forest preserve in turn. always alone. always unknown by the others. not secret. just private. none of them can ever find it again.</p><p>- - - - - - - - - -</p><p>1. the snail shell graveyard (w/ david)</p><p>2. fiddler\u2019s green</p><p>3. yes, these paths were promised</p><p>4. cometary</p><p>5. unnamed seasons (w/ sage)</p><p>6. this is hallowed ground</p><p>7. hope on the western sky</p><p>8. in standstill destiny</p><p>9. fireflies & fields</p><p>10. beacons of light</p><p>11. where the grass is uncut by blades of men</p><p>- - - - - - - - - - </p>",
|
|
854
|
+
"credits": "<p>released the day after the winter solstice, when the light begins her steady march to summer.</p><p>written and recorded by tyler etters from an indeterminate point in the past through december 2017. featuring guitar by david kvistad on the snail shell graveyard and field recordings by sage etters on unnamed seasons. painting of cornfields in illinois (1994) by lynda wallis (tyler etters\u2019s mom) with additional treatment by tyler etters.</p>",
|
|
861
855
|
"project_slug": "tyler-etters-and-the-northern-information-movement",
|
|
862
856
|
"release_slug": "reverence",
|
|
863
857
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/tyler-etters-and-the-northern-information-movement/reverence/reverence.jpg",
|
|
@@ -929,8 +923,8 @@ var discography = [
|
|
|
929
923
|
"id": "71ec5270c5ce9efd50213085cbaeddf4"
|
|
930
924
|
}
|
|
931
925
|
],
|
|
932
|
-
"notes": "
|
|
933
|
-
"credits": "released on the winter solstice, when both darkness and light hang in a wary balance
|
|
926
|
+
"notes": "<p>- - - - - - - - - -</p><p>chapter viii</p><p>- - - - - - - - - -</p><p>winter - city - neon dusk - service economies - capitalist realism - the hinge upon which the world turns - unexpected password reset - borrowed anxiety medication - ritual scarification of the mind - ego death - a thousand faces - monomyth - megalith - emergency motorcycle repair - sargasso sea - aggregate browser histories - anonymous cookies - london bridge is falling down - traffic rerouted through eastern europe - all roads lead to rome - the empire never ended - golgothan solstice - eclipse - ellipsism - algorithm - the flash crash of 2010 - the jackpot - universal coordinated time - quick response code - boarding pass - light pollution - the people's republic of the great pacific garbage patch - skeleton music - voodoo technology - hypothetical histories - satellites - orbital sovereignty - metalaws - the singularity already happened - death is the only way out of the information age - metadata reincarnation - the second unix epoch - as above so below - as below so beyond - at dusk there is no wind</p><p>- - - - - - - - - -</p><p>1. surveillance industrial complex</p><p>2. twilight in shape</p><p>3. a cyan destiny</p><p>4. some more dreams from the hive</p><p>5. apophenia</p><p>6. later heaven</p><p>7. future shock</p><p>8. olympus mons</p><p>9. the path of many returns</p><p>- - - - - - - - - - </p>",
|
|
927
|
+
"credits": "<p>released on the winter solstice, when both darkness and light hang in a wary balance.</p><p>written and recorded by tyler etters from an indeterminate point in the past through december 2017. featuring pasha petrosyan on surveillance industrial complex, later heaven, and the path of many returns. numerous samples, videos, storyline components and album title by cory salveson. album cover polaroid of stone henge on the summer solstice (2017) by cory salveson with additional treatment by tyler etters.</p>",
|
|
934
928
|
"project_slug": "tyler-etters-and-the-northern-information-movement",
|
|
935
929
|
"release_slug": "dispatches-from-the-prime-meridian",
|
|
936
930
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/tyler-etters-and-the-northern-information-movement/dispatches-from-the-prime-meridian/dispatches-from-the-prime-meridian.jpg",
|
|
@@ -1002,8 +996,8 @@ var discography = [
|
|
|
1002
996
|
"id": "81ef786d7f6c2b8d460fe6461e79cb7e"
|
|
1003
997
|
}
|
|
1004
998
|
],
|
|
1005
|
-
"notes": "
|
|
1006
|
-
"credits": "written & recorded by tyler etters from an indeterminate point in the past through december 2016 at endless field studios. featuring adam j. moore on full steam, holy mountain hymn, and reaver, yggdsrasil, the thing at the end of the woods. featuring arthur zdrinc on holy mountain hymn. featuring cory salveson on videos, images, and storyline
|
|
999
|
+
"notes": "<p>- - - - - - - - - -</p><p>chapter vii</p><p>- - - - - - - - - -</p><p>we built the forest acropolis in a single day. that night we reveled at our achievement. we drank wine and played flutes and made merry. drunk and giddy with the possibility of the future, we fell asleep long after the sun rose. when we finally awoke, kudzu had inexplicably grown over everything. the columns began to crumble. confused, we cut it down and repaired what we could. the next day, the vines were back. again we cut them down, but again they grew back. our leaders proclaimed the land cursed. no one could remember why we built here in the first place anyway. so we left to build a new acropolis by the sea. some of our children remained. they climbed the vines and went on adventures in the woods, heirs of a ghost kingdom.</p><p>- - - - - - - - - -</p><p>1. arcadian nights</p><p>2. leaving home</p><p>3. the emptiness will always follow you</p><p>4. shanzhai (gueriila fortress)</p><p>5. full steam</p><p>6. holy mountain hymn</p><p>7. reaver, yggdrasil, the thing at the end of the woods</p><p>8. bridges of terabithia</p><p>9. unscarred land</p><p>- - - - - - - - - - </p>",
|
|
1000
|
+
"credits": "<p>written & recorded by tyler etters from an indeterminate point in the past through december 2016 at endless field studios. featuring adam j. moore on full steam, holy mountain hymn, and reaver, yggdsrasil, the thing at the end of the woods. featuring arthur zdrinc on holy mountain hymn. featuring cory salveson on videos, images, and storyline.</p>",
|
|
1007
1001
|
"project_slug": "tyler-etters-and-the-northern-information-movement",
|
|
1008
1002
|
"release_slug": "the-legacy-of-our-lost-cause",
|
|
1009
1003
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/tyler-etters-and-the-northern-information-movement/the-legacy-of-our-lost-cause/the-legacy-of-our-lost-cause.jpg",
|
|
@@ -1105,8 +1099,8 @@ var discography = [
|
|
|
1105
1099
|
"id": "8462abe4c9ac439d9ef424a805f06681"
|
|
1106
1100
|
}
|
|
1107
1101
|
],
|
|
1108
|
-
"notes": "
|
|
1109
|
-
"credits": "written & recorded by tyler etters from january 2015 through june 2015 at endless field studios. featuring adam j. moore on palm beach and suburban gutter trash
|
|
1102
|
+
"notes": "<p>- - - - - - - - - -</p><p>chapter vi</p><p>- - - - - - - - - -</p><p>i have been having dreams about the apocalypse lately. firefighters swarming like ants on a smoldering sears tower, lake michigan simply exploding, the laws of physics deteriorating, heat death, psychological collapses. ever since i was a little boy the topic of eschatology intrigued me. i have always found the the snafus and close calls to be especially interesting: y2k, 12-21-2012, the return of nibiru... these overly hyped events stir up the fears and emotions of certain circles and then awkwardly fizzle out. contrast these to real-world atrocities, cold wars, personal and familial crises, and you realize the apocalypse is happening everyday for someone. ours is an age of false prophets and fear mongering. we make the apocalypse real in our minds. between the actual and perceived doomsdays there is enough to keep anyone worried and anxious for the rest of their lives. this album is about living in a world where anything can happen, where the soft apocalypse may yet overtake at any momemnt. it is a collage; a story; a sonic journey of found sounds and field recordings. it's rawer and rougher than anything i've released before. from anonymous protests in chicago to some particularly terrifying flood sirens, from emergency broadcasts to gin-drunk conversations with old timers about the wars of the 20th century. the singularity already happened. it is not yet over. be kind and generous, always. create something beautiful today and we'll be just fine.</p><p>- - - - - - - - - -</p><p>1. and though the soft apocalypse may yet overtake</p><p>2. unreliable narrator</p><p>3. entropy</p><p>4. palm beach</p><p>5. owl</p><p>6. boodle man</p><p>7. steady progress (deeper into the dark tangent)</p><p>8. in this spiraling darkness</p><p>9. heat death</p><p>10. armageddon rager</p><p>11. suburban gutter trash</p><p>12. flood sirens</p><p>13. requiem, tunnels between worlds</p><p>14. and then the crickets came</p><p>- - - - - - - - - - </p>",
|
|
1103
|
+
"credits": "<p>written & recorded by tyler etters from january 2015 through june 2015 at endless field studios. featuring adam j. moore on palm beach and suburban gutter trash.</p>",
|
|
1110
1104
|
"project_slug": "tyler-etters-and-the-northern-information-movement",
|
|
1111
1105
|
"release_slug": "and-though-the-soft-apocalypse-may-yet-overtake",
|
|
1112
1106
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/tyler-etters-and-the-northern-information-movement/and-though-the-soft-apocalypse-may-yet-overtake/and-though-the-soft-apocalypse-may-yet-overtake.jpg",
|
|
@@ -1148,8 +1142,8 @@ var discography = [
|
|
|
1148
1142
|
"id": "8c9ce93a6646e77e0e252cc27a7ed824"
|
|
1149
1143
|
}
|
|
1150
1144
|
],
|
|
1151
|
-
"notes": "
|
|
1152
|
-
"credits": "written & recorded by tyler etters and adam j. moore on march 28 2015 at endless field studios. album cover artwork by adam j. moore with additional treatment by tyler etters
|
|
1145
|
+
"notes": "<p>- - - - - - - - - -</p><p>chapter v</p><p>- - - - - - - - - -</p><p>1. OS1</p><p>2. OS2</p><p>3. OS3</p><p>4. OS4</p><p>- - - - - - - - - -</p>",
|
|
1146
|
+
"credits": "<p>written & recorded by tyler etters and adam j. moore on march 28 2015 at endless field studios. album cover artwork by adam j. moore with additional treatment by tyler etters.</p>",
|
|
1153
1147
|
"project_slug": "tyler-etters-and-the-northern-information-movement",
|
|
1154
1148
|
"release_slug": "zulu",
|
|
1155
1149
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/tyler-etters-and-the-northern-information-movement/zulu/zulu.jpg",
|
|
@@ -1245,8 +1239,8 @@ var discography = [
|
|
|
1245
1239
|
"id": "1160e90e2541dcf7cc311f1892a3c963"
|
|
1246
1240
|
}
|
|
1247
1241
|
],
|
|
1248
|
-
"notes": "
|
|
1249
|
-
"credits": "written & recorded by tyler etters from an indeterminate point in the past through december 2014 at endless field studios. featuring adam moore on samsara. album cover artwork by paul petrosyan with additional treatment by tyler etters
|
|
1242
|
+
"notes": "<p>- - - - - - - - - -</p><p>chapter iv</p><p>- - - - - - - - - -</p><p>these are the phantoms of our lost cause. this album is my shroud of ghosts, the remnants, the lingering possibilities from timelines tangential. but make no mistake, dear listener: this is no album of b-sides. writing 'the geometrie of our lost cause' was something of a creative renaissance for me. more wavs, samples, beats and guitar drones filled my drives than i knew what to do with (and certainly more than would be appropriate for 'immemorial'). much of that remaining phantasmal material is now presented here. but there are songs from other times, too. 'there is no death, only reorganization' dates back to the 'terraforms' age; 'the secret symmetries of oakwood hills' was almost released on 'blue, the most celestial color'; 'nausica\u00e4' holds the seeds of 'northern illinois'; the 'mainframe' movement in 'getageese' emerged from the 'serial index of unclaimed memories' sessions. once all of this music was sourced, exhumed, and resampled i loaded it up into my rig and rehearsed the album as though i were performing live. later, one of those hazey sessions would be promoted to the final mix in a largely unedited form. and thus begins the second trilogy...</p><p>- - - - - - - - - -</p><p>1. the secret symmetries of oakwood hills</p><p>2. there is no death, only reorganization</p><p>3. second chance</p><p>4. ch((e)i)m(er)ical</p><p>5. forest (R1-07348-0017.jpg)</p><p>6. 2am, rte 53, northbound</p><p>7. jacurutu</p><p>8. radio haces arrib{a} tu cowboy espacio</p><p>9. getageese</p><p>i. we're going to getageese</p><p>ii. mainframe (salvaged from failing ecicefis computer)</p><p>iii. getageese is gone</p><p>10. samsara (w/ adam)</p><p>11. the sound of her wings</p><p>12. infinite return of the same</p><p>13. nausica\u00e4</p><p>- - - - - - - - - - </p>",
|
|
1243
|
+
"credits": "<p>written & recorded by tyler etters from an indeterminate point in the past through december 2014 at endless field studios. featuring adam moore on samsara. album cover artwork by paul petrosyan with additional treatment by tyler etters.</p>",
|
|
1250
1244
|
"project_slug": "tyler-etters-and-the-northern-information-movement",
|
|
1251
1245
|
"release_slug": "the-phantoms-of-our-lost-cause",
|
|
1252
1246
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/tyler-etters-and-the-northern-information-movement/the-phantoms-of-our-lost-cause/the-phantoms-of-our-lost-cause.jpg",
|
|
@@ -1282,8 +1276,8 @@ var discography = [
|
|
|
1282
1276
|
"id": "1062f9765aaed497888b4036af0fc485"
|
|
1283
1277
|
}
|
|
1284
1278
|
],
|
|
1285
|
-
"notes": "
|
|
1286
|
-
"credits": "written & recorded by tyler etters from june 2013 through september 2013 at endless field studios except for 'tears of the space cowboy' which was also written by kevin clark, dorian zdrinc and arthur zdrinc sometime back in 2011
|
|
1279
|
+
"notes": "<p>- - - - - - - - - -</p><p>chapter iii</p><p>- - - - - - - - - -</p><p>there was a time before these experiences shaped us. do you remember? years before we scaled all those unforgiving mountain ranges, before the codes were counted, and before the firmament fell. melting. wavering. corporeal. now our minds are increasingly augmented by technology and time's passage becomes difficult for our hearts to feel. do you remember! before your phone vibrated in your pocket every fifteen minutes to remind you of minutia that is neither here nor there? do you remember! before we lived in fear of the police ticketing us for being at the park after sunset? do you remember!!! here i am again. alone late at night and drowning in drones. i have finished the last songs, bounced them to cassette to engineer some lo-fi glory, and i now present them to you, dear listener, in the utmost humility - for i walked away from too many projects and i have turned down too many friends to fold now.</p><p>- - - - - - - - - -</p><p>1. northern illinois</p><p>i. wastes of the north</p><p>ii. procession of the hauntologists</p><p>iii. deed of the drones</p><p>iv. tears of the space cowboy (w/ kevin, dorian & arthur)</p><p>v. song of the cicada</p><p>2. we failed</p><p>3. january 1st, 1970 + zero gmt</p><p>- - - - - - - - - - </p>",
|
|
1280
|
+
"credits": "<p>written & recorded by tyler etters from june 2013 through september 2013 at endless field studios except for 'tears of the space cowboy' which was also written by kevin clark, dorian zdrinc and arthur zdrinc sometime back in 2011.</p>",
|
|
1287
1281
|
"project_slug": "tyler-etters-and-the-northern-information-movement",
|
|
1288
1282
|
"release_slug": "senescence",
|
|
1289
1283
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/tyler-etters-and-the-northern-information-movement/senescence/senescence.jpg",
|
|
@@ -1349,8 +1343,8 @@ var discography = [
|
|
|
1349
1343
|
"id": "242b05fcfc8f25e3ed56615e1be314a2"
|
|
1350
1344
|
}
|
|
1351
1345
|
],
|
|
1352
|
-
"notes": "
|
|
1353
|
-
"credits": "written & recorded by tyler etters from december 2012 through june 2013 at endless field studios. featuring arthur zdrinc on rainbow table
|
|
1346
|
+
"notes": "<p>- - - - - - - - - -</p><p>chapter ii</p><p>- - - - - - - - - -</p><p>you are in medias res - i know your time is brief so here is what you need to know: i have just released a new album entitled 'blue, the most celestial color'. you can listen and download it above.</p><p>- - - - - - - - - -</p><p>1. music for forests of childhood</p><p>2. rainbow table</p><p>i. textbook sql injection</p><p>ii. don quixote</p><p>iii. icebreaker / rave</p><p>3. \u0391\u0399\u0393\u0391\u0399\u0399\u03a3</p><p>4. zombie poison</p><p>5. intermission</p><p>6. the cicada must sing (sleepy brit)</p><p>7. four mile crib</p><p>8. ICD-10 Z73.0</p><p>- - - - - - - - - -</p>",
|
|
1347
|
+
"credits": "<p>written & recorded by tyler etters from december 2012 through june 2013 at endless field studios. featuring arthur zdrinc on rainbow table.</p>",
|
|
1354
1348
|
"project_slug": "tyler-etters-and-the-northern-information-movement",
|
|
1355
1349
|
"release_slug": "blue-the-most-celestial-color",
|
|
1356
1350
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/tyler-etters-and-the-northern-information-movement/blue-the-most-celestial-color/blue-the-most-celestial-color.jpg",
|
|
@@ -1380,8 +1374,8 @@ var discography = [
|
|
|
1380
1374
|
"id": "cc4bdc3448778ebd3a2bd2cd9fe1800d"
|
|
1381
1375
|
}
|
|
1382
1376
|
],
|
|
1383
|
-
"notes": "
|
|
1384
|
-
"credits": "written & recorded by tyler etters from october 2012 through december 2012 at endless field studios
|
|
1377
|
+
"notes": "<p>- - - - - - - - - -</p><p>chapter i</p><p>- - - - - - - - - -</p><p>1. immemorial</p><p>i. the forgotten distance</p><p>ii. time slopes</p><p>iii. by the train tracks (w/ arthur)</p><p>iv. hazey power plant, 1001 drones (for paul)</p><p>v. at another working gate</p><p>2. generative</p><p>- - - - - - - - - -</p>",
|
|
1378
|
+
"credits": "<p>written & recorded by tyler etters from october 2012 through december 2012 at endless field studios.</p>",
|
|
1385
1379
|
"project_slug": "tyler-etters-and-the-northern-information-movement",
|
|
1386
1380
|
"release_slug": "the-geometrie-of-our-lost-cause",
|
|
1387
1381
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/tyler-etters-and-the-northern-information-movement/the-geometrie-of-our-lost-cause/the-geometrie-of-our-lost-cause.jpg",
|
|
@@ -1423,8 +1417,8 @@ var discography = [
|
|
|
1423
1417
|
"id": "4e450e5627319d3a7d5f9fd8115b6c8c"
|
|
1424
1418
|
}
|
|
1425
1419
|
],
|
|
1426
|
-
"notes": "
|
|
1427
|
-
"credits": "Connectedness Locus is Tyler Etters
|
|
1420
|
+
"notes": "<p>...and the world forces you out once again, return to the highways, return to the endless fields; that word, prolegomenon, appeared in my dreams some time ago, immemorial, i didn't even know what the word was or what it meant, or even how to spell or pronounce it; 'prolegomenon,'; i knew only the feeling of it upon my tounge, the sound of it reflecting off the walls, the feeling it would impress upon me while reading it, i tried writing it down but failed many times, i couldn't triangulate the syllables but all evidence pointed towards it's existence... and then one night i stumbled accross it, wikipedia again, probably, just like connectedness locus, an anonymous entry that may or may not be credible and accurate - whatever the case, the word is correct, a descendent perhaps of some greek warlord but this time transposed three centuries forward into a neon dusk where houses are constructed with html, the past continues to be reframed by the present, history is writen by the victors while our dreams steadily wind down and we fall apart, our social network spreads thin as we flee, to the dissident corners of this fallen world, in my battered attempt to fix this battered language, we bum each other our entire lives, and my father entered rem sleep; and i forgot my closest friend\u2019s name; and my mother flew to the afar north; to dance where the sumacs still grow. let us sing that truth whispered is truth betrayed, for an elephant never forgets: to arms! to arms! and we still fall apart. replication - repeating days - we are bloated and weak here in the states. tidal synths. royal timbral waves. a series of events leading up to a cataclysmic demise, microburst dreams, echoes from a standstill destiny, there is no death, only reorganization... </p>",
|
|
1421
|
+
"credits": "<p>Connectedness Locus is Tyler Etters.</p>",
|
|
1428
1422
|
"project_slug": "connectedness-locus",
|
|
1429
1423
|
"release_slug": "prolegomenon",
|
|
1430
1424
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/connectedness-locus/prolegomenon/prolegomenon.jpg",
|
|
@@ -1502,8 +1496,8 @@ var discography = [
|
|
|
1502
1496
|
"id": "c2e38201a8d56d8443d930b3fe00bc95"
|
|
1503
1497
|
}
|
|
1504
1498
|
],
|
|
1505
|
-
"notes": "Beyond the northern wastelands where dreams go to be forgotten, where the legendary high tension power lines march into tangled heaps of wreckage, where rusty salt barges sputter about and dissolve away, where billboards vomit dusky portents of express oil changes, where steadfast location engineering generates an inadvertent legacy, where lonely stands of pines filter incandescent and nuclear light, where time mirages dot the coast line, where we don poisonous armor to ward off strange flying creatures, where a crisis of destinies pulls us away and into the darkness yet again, where our hand made dream catchers from childhood clink-clank into one another and crumble apart, where words and worlds whisper, where owls still gather in schools and sing in 7/4 to an embryonic moon, where the past and the future, both forever ungrasped, are forfeited to the bigwigs and their brokers, where great oak trees are chainsawed into heaps of hallucinating sawdust, where hacking the akashic records is the only option to escape the crucible, where you awaken on warm and sparsely populated shores to find your initials carved into each piece of driftwood, where the violinist of the moon vanishes before the final note is bowed, where the cicada must sing before you can return home, where a truer form unfurls as the great wings of metamorphosis engulf the emerald skies, the dreams of Connectedness Locus are spun and Terraforms can be heard
|
|
1506
|
-
"credits": "Connectedness Locus is Tyler Etters
|
|
1499
|
+
"notes": "<p>Beyond the northern wastelands where dreams go to be forgotten, where the legendary high tension power lines march into tangled heaps of wreckage, where rusty salt barges sputter about and dissolve away, where billboards vomit dusky portents of express oil changes, where steadfast location engineering generates an inadvertent legacy, where lonely stands of pines filter incandescent and nuclear light, where time mirages dot the coast line, where we don poisonous armor to ward off strange flying creatures, where a crisis of destinies pulls us away and into the darkness yet again, where our hand made dream catchers from childhood clink-clank into one another and crumble apart, where words and worlds whisper, where owls still gather in schools and sing in 7/4 to an embryonic moon, where the past and the future, both forever ungrasped, are forfeited to the bigwigs and their brokers, where great oak trees are chainsawed into heaps of hallucinating sawdust, where hacking the akashic records is the only option to escape the crucible, where you awaken on warm and sparsely populated shores to find your initials carved into each piece of driftwood, where the violinist of the moon vanishes before the final note is bowed, where the cicada must sing before you can return home, where a truer form unfurls as the great wings of metamorphosis engulf the emerald skies, the dreams of Connectedness Locus are spun and Terraforms can be heard.</p>",
|
|
1500
|
+
"credits": "<p>Connectedness Locus is Tyler Etters.</p>",
|
|
1507
1501
|
"project_slug": "connectedness-locus",
|
|
1508
1502
|
"release_slug": "terraforms",
|
|
1509
1503
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/connectedness-locus/terraforms/terraforms.jpg",
|
|
@@ -1527,8 +1521,8 @@ var discography = [
|
|
|
1527
1521
|
"id": "6ede0aa90253d96ad4ebe32cb1175415"
|
|
1528
1522
|
}
|
|
1529
1523
|
],
|
|
1530
|
-
"notes": "
|
|
1531
|
-
"credits": "Written & performed by Tyler Etters of Connectedness Locus. Produced & engineered by Isaac Pierce of The Block of Wood Recordings. Mastered by Arthur Zdrinc of Endless Field Studios
|
|
1524
|
+
"notes": "<p>...was recorded on a rainy January afternoon in one of the back rooms of Swing State, a small art & music venue in the northern wastes of Illinois. The entire operation was executed on an analog reel-to-reel device.</p><p>\"It makes you listen with your ears, rather than your eyes,\" Isaac said as he loaded the magnetic tapes. My jaw hit the floor. Somewhere, miles away, my computer was steadily collecting a fine layer of dust.</p>",
|
|
1525
|
+
"credits": "<p>Written & performed by Tyler Etters of Connectedness Locus. Produced & engineered by Isaac Pierce of The Block of Wood Recordings. Mastered by Arthur Zdrinc of Endless Field Studios.</p>",
|
|
1532
1526
|
"project_slug": "connectedness-locus",
|
|
1533
1527
|
"release_slug": "when-the-paint-peels",
|
|
1534
1528
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/connectedness-locus/when-the-paint-peels/when-the-paint-peels.jpg",
|
|
@@ -1600,8 +1594,8 @@ var discography = [
|
|
|
1600
1594
|
"id": "f52c29adc4fc3976992821d2d4c376db"
|
|
1601
1595
|
}
|
|
1602
1596
|
],
|
|
1603
|
-
"notes": "Serial Index of Unclaimed Memories File 1 is a spiraling nine track safari into the chaotic and serene realms of post-electronica. Astral, delay-riddled guitars, trip-hop/IDM drums, orchestrated ambience, lo-fi cassette deck samples, distorted bass, and psychosis inducing drones are just a few of the cards brought to the table
|
|
1604
|
-
"credits": "Composed, produced, and engineered by Paul Petrosyan and Tyler Etters
|
|
1597
|
+
"notes": "<p>Serial Index of Unclaimed Memories File 1 is a spiraling nine track safari into the chaotic and serene realms of post-electronica. Astral, delay-riddled guitars, trip-hop/IDM drums, orchestrated ambience, lo-fi cassette deck samples, distorted bass, and psychosis inducing drones are just a few of the cards brought to the table.</p>",
|
|
1598
|
+
"credits": "<p>Composed, produced, and engineered by Paul Petrosyan and Tyler Etters.</p>",
|
|
1605
1599
|
"project_slug": "everything-comes-in-cycles-everything-fades-in-shades",
|
|
1606
1600
|
"release_slug": "serial-index-of-unclaimed-memories-file-1",
|
|
1607
1601
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/everything-comes-in-cycles-everything-fades-in-shades/serial-index-of-unclaimed-memories-file-1/serial-index-of-unclaimed-memories-file-1.jpg",
|
|
@@ -1673,8 +1667,8 @@ var discography = [
|
|
|
1673
1667
|
"id": "e219964d8c637be84b9e022c6e943ad2"
|
|
1674
1668
|
}
|
|
1675
1669
|
],
|
|
1676
|
-
"notes": "Serial Index of Unclaimed Memories File 2, is comprised of nine seperate tracks (here called 'Movements'), and is akin to a stream of consciousness dialouge between failing super-computer systems. Almost enitrely ambient, File 2 explores an entirely different realm than File 1
|
|
1677
|
-
"credits": "Composed, produced, and engineered by Paul Petrosyan and Tyler Etters
|
|
1670
|
+
"notes": "<p>Serial Index of Unclaimed Memories File 2, is comprised of nine seperate tracks (here called 'Movements'), and is akin to a stream of consciousness dialouge between failing super-computer systems. Almost enitrely ambient, File 2 explores an entirely different realm than File 1.</p>",
|
|
1671
|
+
"credits": "<p>Composed, produced, and engineered by Paul Petrosyan and Tyler Etters.</p>",
|
|
1678
1672
|
"project_slug": "everything-comes-in-cycles-everything-fades-in-shades",
|
|
1679
1673
|
"release_slug": "serial-index-of-unclaimed-memories-file-2",
|
|
1680
1674
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/everything-comes-in-cycles-everything-fades-in-shades/serial-index-of-unclaimed-memories-file-2/serial-index-of-unclaimed-memories-file-2.jpg",
|
|
@@ -1776,8 +1770,8 @@ var discography = [
|
|
|
1776
1770
|
"id": "78b5fcae9f4417ac7a003b8d11aabf42"
|
|
1777
1771
|
}
|
|
1778
1772
|
],
|
|
1779
|
-
"notes": "As Quippolous Codes Quietly Count is a journey through prismatic mists of somnolence and destiny, gates of shimmering keyboard harmonics, mold-emblazoned percussives, and delerious, sludge-filled wastelands where only the foolish and the brave trek. Recorded over the course of 2 years, the album could easily be mistaken for an impressionistic account of a journey through space amidst a fleet of ghost ships
|
|
1780
|
-
"credits": "Connectedness Locus is Tyler Etters
|
|
1773
|
+
"notes": "<p>As Quippolous Codes Quietly Count is a journey through prismatic mists of somnolence and destiny, gates of shimmering keyboard harmonics, mold-emblazoned percussives, and delerious, sludge-filled wastelands where only the foolish and the brave trek. Recorded over the course of 2 years, the album could easily be mistaken for an impressionistic account of a journey through space amidst a fleet of ghost ships.</p>",
|
|
1774
|
+
"credits": "<p>Connectedness Locus is Tyler Etters.</p>",
|
|
1781
1775
|
"project_slug": "connectedness-locus",
|
|
1782
1776
|
"release_slug": "as-quippolous-codes-quietly-count",
|
|
1783
1777
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/connectedness-locus/as-quippolous-codes-quietly-count/as-quippolous-codes-quietly-count.jpg",
|
|
@@ -1831,8 +1825,8 @@ var discography = [
|
|
|
1831
1825
|
"id": "dde369e33e18972db547433462ff72f6"
|
|
1832
1826
|
}
|
|
1833
1827
|
],
|
|
1834
|
-
"notes": "None
|
|
1835
|
-
"credits": "Composed, produced, and engineered by Paul Petrosyan and Tyler Etters
|
|
1828
|
+
"notes": "<p>None.</p>",
|
|
1829
|
+
"credits": "<p>Composed, produced, and engineered by Paul Petrosyan and Tyler Etters.</p>",
|
|
1836
1830
|
"project_slug": "everything-comes-in-cycles-everything-fades-in-shades",
|
|
1837
1831
|
"release_slug": "gates-ep",
|
|
1838
1832
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/everything-comes-in-cycles-everything-fades-in-shades/gates-ep/gates-ep.jpg",
|
|
@@ -1922,8 +1916,8 @@ var discography = [
|
|
|
1922
1916
|
"id": "6b6ed89766683bf999b3cf43dea23376"
|
|
1923
1917
|
}
|
|
1924
1918
|
],
|
|
1925
|
-
"notes": "None
|
|
1926
|
-
"credits": "All music written and performed by Inocula
|
|
1919
|
+
"notes": "<p>None.</p>",
|
|
1920
|
+
"credits": "<p>All music written and performed by Inocula.</p><p>Aaron Krause - Drums</p><p>AJ Sugg - Vocals</p><p>Browneye - Guitar</p><p>Daniel Massey - Guitar</p><p>Paul Petrosyan - Bass</p><p>Tyler Etters - Keybards/Samples</p>",
|
|
1927
1921
|
"project_slug": "inocula",
|
|
1928
1922
|
"release_slug": "suntelia-aeon",
|
|
1929
1923
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/inocula/suntelia-aeon/suntelia-aeon.jpg",
|
|
@@ -1947,8 +1941,8 @@ var discography = [
|
|
|
1947
1941
|
"id": "3112131b9dcd065037cade65f050e219"
|
|
1948
1942
|
}
|
|
1949
1943
|
],
|
|
1950
|
-
"notes": "None
|
|
1951
|
-
"credits": "Lucid End is Tyler Etters
|
|
1944
|
+
"notes": "<p>None.</p>",
|
|
1945
|
+
"credits": "<p>Lucid End is Tyler Etters.</p>",
|
|
1952
1946
|
"project_slug": "lucid-end",
|
|
1953
1947
|
"release_slug": "organica-lensing",
|
|
1954
1948
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/lucid-end/organica-lensing/organica-lensing.jpg",
|
|
@@ -1972,8 +1966,8 @@ var discography = [
|
|
|
1972
1966
|
"id": "b156dbb5d1e678c148b7b8f8aca1372e"
|
|
1973
1967
|
}
|
|
1974
1968
|
],
|
|
1975
|
-
"notes": "None
|
|
1976
|
-
"credits": "Lucid End is Tyler Etters
|
|
1969
|
+
"notes": "<p>None.</p>",
|
|
1970
|
+
"credits": "<p>Lucid End is Tyler Etters.</p>",
|
|
1977
1971
|
"project_slug": "lucid-end",
|
|
1978
1972
|
"release_slug": "the-killing-tree",
|
|
1979
1973
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/lucid-end/the-killing-tree/the-killing-tree.jpg",
|
|
@@ -2057,8 +2051,8 @@ var discography = [
|
|
|
2057
2051
|
"id": "fabfde6062f03fc2654a2314770ec06b"
|
|
2058
2052
|
}
|
|
2059
2053
|
],
|
|
2060
|
-
"notes": "None
|
|
2061
|
-
"credits": "Lucid End is Tyler Etters
|
|
2054
|
+
"notes": "<p>None.</p>",
|
|
2055
|
+
"credits": "<p>Lucid End is Tyler Etters.</p>",
|
|
2062
2056
|
"project_slug": "lucid-end",
|
|
2063
2057
|
"release_slug": "time-to-breathe-time-to-think",
|
|
2064
2058
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/lucid-end/time-to-breathe-time-to-think/time-to-breathe-time-to-think.jpg",
|
|
@@ -2160,8 +2154,8 @@ var discography = [
|
|
|
2160
2154
|
"id": "09f9d96047755f362c5301d970e5844e"
|
|
2161
2155
|
}
|
|
2162
2156
|
],
|
|
2163
|
-
"notes": "None
|
|
2164
|
-
"credits": "Ix is Paul Petrosyan and Tyler Etters. All music written, performed, and engineered by Ix at Endless Field Studios
|
|
2157
|
+
"notes": "<p>None.</p>",
|
|
2158
|
+
"credits": "<p>Ix is Paul Petrosyan and Tyler Etters. All music written, performed, and engineered by Ix at Endless Field Studios.</p>",
|
|
2165
2159
|
"project_slug": "ix",
|
|
2166
2160
|
"release_slug": "descent-into-dreams",
|
|
2167
2161
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/ix/descent-into-dreams/descent-into-dreams.jpg",
|
|
@@ -2197,8 +2191,8 @@ var discography = [
|
|
|
2197
2191
|
"id": "682dff661ed2f618774cee4870d87695"
|
|
2198
2192
|
}
|
|
2199
2193
|
],
|
|
2200
|
-
"notes": "None
|
|
2201
|
-
"credits": "Ix is Paul Petrosyan and Tyler Etters. All music written, performed, and engineered by Ix at Endless Field Studios
|
|
2194
|
+
"notes": "<p>None.</p>",
|
|
2195
|
+
"credits": "<p>Ix is Paul Petrosyan and Tyler Etters. All music written, performed, and engineered by Ix at Endless Field Studios.</p>",
|
|
2202
2196
|
"project_slug": "ix",
|
|
2203
2197
|
"release_slug": "yet-these-memories-isolated-us",
|
|
2204
2198
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/ix/yet-these-memories-isolated-us/yet-these-memories-isolated-us.jpg",
|
|
@@ -2258,8 +2252,8 @@ var discography = [
|
|
|
2258
2252
|
"id": "cd6f8f9e4b51fa1eee5911e28bdb20c3"
|
|
2259
2253
|
}
|
|
2260
2254
|
],
|
|
2261
|
-
"notes": "None
|
|
2262
|
-
"credits": "Lucid End is Tyler Etters
|
|
2255
|
+
"notes": "<p>None.</p>",
|
|
2256
|
+
"credits": "<p>Lucid End is Tyler Etters.</p>",
|
|
2263
2257
|
"project_slug": "lucid-end",
|
|
2264
2258
|
"release_slug": "files",
|
|
2265
2259
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/lucid-end/files/files.jpg",
|
|
@@ -2325,8 +2319,8 @@ var discography = [
|
|
|
2325
2319
|
"id": "9db6f7bb98289b2f58123db424faf3a9"
|
|
2326
2320
|
}
|
|
2327
2321
|
],
|
|
2328
|
-
"notes": "None
|
|
2329
|
-
"credits": "Ix is Paul Petrosyan and Tyler Etters
|
|
2322
|
+
"notes": "<p>None.</p>",
|
|
2323
|
+
"credits": "<p>Ix is Paul Petrosyan and Tyler Etters.</p>",
|
|
2330
2324
|
"project_slug": "ix",
|
|
2331
2325
|
"release_slug": "ix-ep",
|
|
2332
2326
|
"cover_url": "https://intertext.s3.us-west-1.amazonaws.com/ix/ix-ep/ix-ep.jpg",
|