Primary is the extensive multi-medium release effort of asystems. The multi-medium function serves to design a structural whole between music/audio, text, image, video, web, material, program and analysis. This whole allows for a relational model in which all Primary's can be subjected to interconnected communication. Through this a composition is created compounded of several parts and members. This is the primary objective of asystems.
Mastered For YouTube (MFYT) is the asystems digital white label series. Each MFYT contains an A side and B side in the tradition of white label releases. Both tracks are uploaded to YouTube with standardized A side/B side covers. By thru-putting the manufacturing of a commodity the aim is to participate in the acceleration of contemporary media. The medium of YouTube was chosen for their brand of neutral mass appeal; this inspires a freedom from the exactitude of music industry. Though discreet in approach the music of MFYT is intended for enigmas of the masses - Radio and Club. Through these constraints asystems provokes artists to interface with new popular music. All MFYTs are released on the first friday of every month and are free to download. MFYT welcomes submissions at email@example.com.
Echo Rush - 006
(accelerated and produced by Ariel Rechtshaid)
Dow One - 005
sohsie LAN - 004
Nick James - 003
Shenzen - 002
Aldi - 000
Issues is the asystems publishing initiative. The Issues publishing formats include pamphlets, books, tracts and digital only essays and articles. Works published through Issues observe and construct positions on particular cultural structures by means of critiquing the value degrees of history, ideology, commodity, social life and trends. Asystems believes the relationship between these will progress or expose dissonances in creative society. Issues are all available to view and download for free. Issues welcomes submissions at firstname.lastname@example.org.
"ACADEMY HYPERPRODUCT AA (FIREWALL1.0)"
as issue 002
“NJ designs an academic product. The result is equal parts cultural-critique,
phenomenological description, political implicator, or dialogue opener, BS/total gold.
More importantly, it analyzes cultural practices taken for granted within certain political contexts,
compares OPEN//CLOSED systems, and posits the potential aesthetic benefits of surveillance.”
as issue 001
“Keep Dreaming” is a dialogue of back-and-forth poetics,
happening in real-time, between Nick James and “TFD.”
The spontaneous micro-verses chronicle vague, abstracted “sweet-nothings”
alongside images of “divine love.”
"AFK or PURGING OCCURS WITH
THE PRESENTATION OF CHARACTERS
A Deconstruction of An Empty Body"
sohsie LAN / Dow One
an A&A production
as issue 000
sohsie LAN and Dow One present two communicating pieces.
The writings muse on specific forms of computation:
a) sohsie articulates pain between the IRL/AFK duality alongside technological fetishes and
b) Dow One systematizes mass organisms’ shakes, resonances and drills by deconstructing the body (in 1800-MANKIND).
Nick James' “propaganda piece,” The Hawk enforces a cultural vision of compositional, ideological and philosophical freedom aimed at challenging understandings of musical and cultural structures of power. Designed as “protest music,” the compositions embody resistance—resistance against creative coercion, oppression, or dogma—as the music takes liberties in freely presenting sounds with varying definitions of cultural value.
Resistance is embodied through the tactical, spatial arrangement of violent dynamics and memetic triggers within cinematic 3D/HD sound design. The result is a virtual, off-the-grid political space where crypto-currencies, conspiracy theories, libertarianism, and anonymous hack-raids represent compositional freedom (DIY). Such a personal call for “freedom” serves as psychological dissent against James' previous worlds by abruptly halting any subconscious will to further ulterior personalities, interior constraints, etc. The Hawk thus offers a bird’s-eye view of a cultural landscape, a view that self-effacingly calls attention to the volatility of virtualization and emerging markets…a narrative that presents tension between force and counter-force.
Challenging the experimental agenda of “Cow Call’s” previous installment, Echo Rush’s take on the corporate ideology is invested in lite/light music. Like the crystals on its cover, the record advocates the crystallization of vapor—a powerful suggestion that after historical disintegration and fragmentation, there is a need to solidify...
Here, there is careful attention being paid to authenticity, or at least, the belief that authenticity can be swiped at any moment with the right skill, or the right obsession in quality, “straight-up.”
The product is an un-manipulated statement either 1) stepping away from the hyper-realities altogether or 2) stepping into new levels of cultural embodiment by magnifying the source material, by being truly “real.”
@eBay—a relentless information feed chock-full of perpetual commentary, economics, pornography, Art.
The record spirit surfs on club beats, uploaded and forced to athletically groove with celebrity features and chatter (1). Any sonic cameo is another byte trapped in the feed, processed like a GIF, forced to repeat itself ad nauseum (2). Here, content is endlessly compressed, an exercise that proves that even the most complex concept can be expressed completely with the right emoji (2).
The zip-mix is colored with samples of sohsie’s personal conversations with chat-room surfers, where he coaxes netizens to say anything that might contribute the “right” sentiment for a beat (3). His invitation brings them into a password-protected club simulation, where vibrant-hype fulfills second-life fantasies.
The constant net-speak can express anything from the pain of being AWAY FROM KEYBOARD to the anxiety of an e-shopper watching an un-boxing video with soaked palms. Ultimately, these personalities aren’t docile; instead, @EBAY gathers handfuls of them at a time, making sure to accurately take aim at each one (4).
Dow One’s Cow Call renders the spiritual experience as a corporate path from the lobby or wait-room to the top of pyramids.
Cow Call contains heavily abstracted sonics which express a new form of spiritual capital that give access to hidden office rooms, off-the-grid building floors where branded mystics plug into global secrets. These are stock, reproduced devotions that warp ritual—from yoga to commerce—and access the gaps between the thousands of screens which spawn the world-wide-immanent-network.
As Crystal-clear as it is cryptic, the record appropriates sounds from institutionalized new age music as an exercise in artificial meditation. The result is a digital slot machine
of meta-theories and accelerated moments—an album that spills out bit-coins that purchase the weighty secrets hidden in the cloud.
Lucy originates in night music, in situations where the car becomes the stage for sin and feelings of invincibility—where the music bumps enough to impose further boldness and further recklessness. “Lucy” becomes the put-on muse which allows the standardized “feelings” of a relationship dialogue to become an adulterated soundtrack for flawed power dynamics.
Each concept-banger is packed with enough referential content to connote cultural anarchy, supported by equal doses of melodrama and ruthless vocal delivery. This lawlessness prompts the record to mock anything and everything from faux bad-boy angst to cheap introspection. There is also the “crew album” approach, as Lucy brings on the gamut of asystems artists only to appropriate their sounds, signatures, and ideas to the point where “the joke” might as well be on everyone, James included. The result is a digital-graffiti style act of desecration that spares no concept and no feeling.
Lucy presents the hedonism of the club, “the night gone wrong”—where there is no choice but to drive off after having h8ted on the whole vibe.
CE$$E introduces the virtual composer, an artist equally comfortable with both avant-chamber music and gorgeous cultural throw-up. This debut work from the CPI catalogue provokes audience by affirming twentieth century classical premises and gently dispatching them into the stream.
This composer outruns physical limitations of performer and instrument through the hyperreal use of Sibelius (link) midi playback. This pragmatic ‘ensemble’ offers an irreverent description of traditional Minimalist idioms and how they simultaneously support and oppress modern compositional practices. However, CPI avoids mere cultural commentary by aligning such idioms with a more holistic goal: to study ‘nature’ by enacting the role of conductor for rootless mechanisms in an organic counterpoint of environments and attitudes.
The compositions confront simulacra while focusing on new techniques, meditative processes, and human voice.
Materially, Internet and software-based audio trash coexist with constrained improvisations of players interacting IRL. Ultimately, CE$$E is a dualistic amalgam of attempts at critical discourse in the form of mantras: a positive Silence.
Here are two modes of intuitive, algorithmic composition chilled, served chic. Both explorations apply a crisp tactile gloss over Paciens’ improvisatory wild-hood and special abandonments. Although the generative rhythms construct wide theoretical spaces—glass gymnasiums, global digiterias—they hint at high functioning dance floors which field efforts to quit context, or even excess meaningfulnesses “cold turkey.”
It might be best to consider Shenzen’s WORRI3D as the duo’s initial tech-start up—a kickoff meeting launching an ethos of immensity, alienated struggle and/or concern. From the get-go the listener is confronted with aggressive, clanging sonic tendencies and a disembodied voice that seems to out-to-kill. These accents reveal a progression, a power struggle “going down” in which Shenzen becomes obsessed with winning, acquiring, and monopolizing concepts for market.
These were the sorts of vices V.I.Ps sohsie LAN and Nick James initially sought to combat, or, shield themselves against. Yet, after tasting luxury the album starts coveting the capital-darkness, and begins to invest in larger power structures and grander high-rises where both characters can throw stronger shade.
Colamo’s single, Capsule, hones in on template music where real instruments and lyrical sentiments are being “played” by an abstracted band trapped in software. Deep listening unveils stock emotional wealth, made both obsolete and essential, by being locked in the inaccessibility of a floppy-disk.
These initial premises explore club nihilism, kitsch, and desire, presenting them as formative ground for modern work. The misty atmospheres accompany sharp percussion and synth stabs matched with deformed vocal samples—and render them as exact essentials for presenting the content of referential hedonism and relational aesthetics.
Presenting a three-fold fusion of unstable-analog hypnogogia, lucid corporate background muzak, and a nearly yacht-like commitment to strong musicality—Echo Rush is ambitious in its attempt to consolidate plural philosophies into what sounds like musical obsession. Having as much to do with the Doobie Brothers as it does Plunderphonics, the product requires a dedicated ear for “prime” melodic sensibilities and textures. When blended, Echo Rush’s “audio piracy as a compositional prerogative” designs a three-dimensional structure of powerful song-craft, nostalgic historicism, and new hi-fi futures.
_side is a confession of “going public (IRL).” The record voices the evolution of individuality from private vulnerability into the elevated socialite—confident w/ clout.
As sonically recognizable as it is esoteric, the product couples Dow One’s virtuosic melodic craftsmanship with sohsie LAN’s rhythmic hype. Together, they show how one might find//lose themselves in the force of commodity, a force as undeniable as the “right kind of party” where everyone is plugged into the universal feeling, sing-a-long style.
Yet, inevitably the duo articulates the side effects of “everywhere fabulous,” and vandalize, appropriate and abuse the fetishized experience where “everything was so magical, so beautiful that it felt like it would never end...” The morning-after leaves the aftermath, raw.