Basspistol TXT

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from 徒 /sɛto/ セット

The channels are infinite. The engagement is instant. Or it isn't. Binary like computer code. There is no escape from it. Even if you share it with your two closest friends, that music is out there. It has traveled the pipes of cyberspace. It now also exists in Someone else's computer. Unless it exists in a procedurally generated physical space, #forbiddenMusic can't be safely distributed.

Don't be the leak.

Insert a variable: if you taint the water at the source you know the upstream of the leak. For example: you give the same meme of a criminal cat to Rick and Morty, but one is green and the other is blue. If someone else later talks about the pink criminal cat, you know from where they heard it. Neither Rick nor Morty would snitch on you anyways. They know you would protect them too. Just like the correct black cat in the news paper would. The source for the Forbidden music needs to be protected.

 
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from 徒 /sɛto/ セット

It had become one of those generic answers when people would ask me what kind of music i make. Instead of hesitating, gauging what you might be able to relate to, and considering my incapacity to stick to one genre, why not just call it “Forbidden”?

It's catchy, intriguing and weird: how does one even forbid a Music? Is it even possible, i mean there is an Internet in all of us, right? Normaly I would play with those questions, and bend them to change the topic away from me. But this time, after a smirk, the Person says:

Cool. Where is your dead-drop?

Caught in my own game!?.. Lost it for a second, but like a blessing from the cybergods my hands bumps on my jacket's pocket: I still have my piratebox in it!

SSID: FragleBox

We laugh and They proceed to log the board and skim the index on their mobile.

I have nothing to deposit obviously. It would be against the rules.

At that point i knew i had to find a way to SocEng those rules. The flag had to be captured: the blueprint of #forbiddenMusic.

 
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from basspistol

Social media has made it clear that, without a community, advertisment efforts become a mere black hole for the marketing budget. There is an irony in that for the cynical. Or is it hope for the newspeak savy? Clearly the corporations recognize the value of social engagement whilst still opposing socialism. Community has become the aproved word to admit that society is larger than it's individuals, with or without fortunes.

“Community is definitely a buzz word. Even corporations use it!” Said the Communards twitching in their tombs.

Despite the social medias relative novelty, there is nothing new about community. In our domain it's actually been a key ingredient for very long: music has rallied people arround scenes, created, reinvented or reinforced identities and animated causes way before the Internet was born. And during it's infancy, Internet was a fine place to seek for the oddly familiar and the different. However something happened during the web's teenage. Complexity was broken down and its currents were consolidated, centralized and rallied in monolithic services offering convenience. This was perfect for the mainstream, but because the technical expertise of underground record labels was understandably low (record labels aren't Sys-admins, right?), the underground and the mainstream started to coexist on the same stage.

Have you heard the new /insert underground label/ release? I saw it in my Facecrook™ feed, the video is sick!

The internet is a highway of information that may technically still offer equal opportunity to everyone (although that's a debatable claim) but how about the meta-feeds thriving on it? By meta-feed, I mean the highways of information within THE highway of information: big tech as a service through which we get to reach whatever it is we are looking for. Either by search queries or recommendations. Attention-span is a raw material on mainstream socialmedia, and as a consequence organic reach is being throttled. We're told organicly viral content is dangerous because it makes us believe in things that aren't real. Or that since attention-span is the vital source of revenue to the companies operating the meta-feeds, then it is their right to profit from it.

I'm not sure either of those two assumptions are pertinent, but I know I've felt hurt the few times a respectable independent label reached me through sponsored content. Empathetically speaking. They spent money to reach me: Someone who would eventually have sought them out.

Maybe it's just a sign of my age: the vestiges of my past where novelties would reach my peers or I through word of mouth and/or excursions to physical hubs that were reknown for gathering fanzines, artefacts and records from foreign places and scenes. But what if it was another phenomenon?

After all distribution of music, art or simply alternative narratives has changed radically and profoundly. Because of as much as thanks to the Internet. New record labels are born everyday! And the quality of their content hasn't degraded in anyway. At worst it has changed, which to me seems like a rather good thing. They are born pretty much the same way as always though: find a name, a symbol, build a brand, a reputation, an etiquette... But all of those brands or images circulate encapsulated in someone else's dream. Someone else's platform. Someone else's company. Someone else's profit.

For more original sweet content, follow me on Corporate-Douchebag®!

Almost all of them give up everything that forms their identity in exchange for a vague promise of an audience. Their colors, their banners, their shapes, their frames or lack thereof. They settle for services that supposedly provide them with an audience, an opportunity to place a catchy image in a square and a player that “should work on most devices”.

I dreamed Basspistol up. I wanted it to be the contrary of everything i despised in the music industry. To replace individualism with community. Shitty deals with DIY. Favoritism with cooperation. I wasn't alone. At first. At the time i was benefitting from some sort of momentum that I obviously didn't control. A collection of coincidences. I'm not sure I did things right. Or invested it wisely. But one thing i am certain i did well was to keep some sort of confidence. Trust in my own direction. Looking for the wheels wherever i was presented with convenience. The big tech narrative is strong, you can hear it comming from the fiercest and biggest influencers. The very essence and vital raw material said big tech needs to live: “Without big tech we cannot exist in cyberspace. It's like that old dilemma: “can a tree falling in an empty wood be heard?”. Those who answer “no” forget about the fauna.

Frankly speaking I still have no idea where this Basspistol adventure is heading. With a huge backlog of things to do and pretty much no one particularly interested in investing any energy in it. But i know the Fediverse has given me new juices. The Internet can be fun again. It can be open to the wide and curated at the same time. A community can own it's narrative, without shutting its doors to the world. The hubs might not be physical locations, but they can facilitate connections away from keyboard. And the expression of music can be more than a convenient player with a square image.

I might not be able to control it. Obviously. Who can? But I can set my own terms under which it influences my life. My consciousness' bandwidth. And I will find ways to include you.

The adventure has just restarted.

Warm regards from cold and so called Sweden. — setto

 
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from basspistol

Without the good services of Alsenet.com there would be no Basspistol. Not in it's current shape anyways. And today we're proud to announce that they have blessed the Outernational Music Syndicate with the infrastructure to receive donations in Bitcoins.

Bitcoin() is a cryptocurrency invented in 2008 by an unknown person or group of people using the name Satoshi Nakamoto and started in 2009 when its implementation was released as open-source software. It is a decentralized digital currency without a central bank or single administrator that can be sent from user to user on the peer-to-peer bitcoin network without the need for intermediaries. Transactions are verified by network nodesthrough cryptography and recorded in a public distributed ledger called a blockchain. Bitcoins are created as a reward for a process known as mining. They can be exchanged for other currencies, products, and services. – Wikipedia While this doesn't change our position as a non-profit foundation, enabling our community to support us financially in ways that align with our vision of self-governance, data-sovereignty and autonomy is a step we have long been waiting to take. Simply because non of the existing systems have met our ethical requirements. There are plenty of tools for Artists and Performers to ask for support, but these tools all leverage traditional banks and stake-holders that we consider on a path of obsolescence in the 21st century. Basspistol strives for societal change and decentralization. Nothing express these goals better than the concepts of Cryptocurrencies.

If you are curious about how this is expressed, why reforming the way money circulates is important and how the economical system could be reinvented, I invite you to delve into the knowledge repositories created by the Dyne community, particular their chapter called “Dyndy”.

“We can’t imagine to enter the Information Age without changing the fundamental and most used communication tool: Money” – Bernard Lietaer.

For now, tossing your Satoshies at us will not give you anything else than cosmic tokens of eternal gratitude from the entire Outernational Music Syndicate. (Basically just good old fashion thanks from a few passionate music-makers, if you like.) However, we are exploring ways of rewarding supporters and to effectively and automatically distribute the donations equally among the Artists members of the musical syndicate.

Watch this space!

 
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