#90s intelligent techno

[thisisrealy2kok]

Deep Space Network Meets Higher Intelligence Agency – Deep Space Network Meets Higher Intelligence Agency (1996)

[randomvarious]

Today's compilation:

Likethemes 1995 IDM / Ambient Techno

Dang, man, those fellas at Warp Records really unlocked something special in the early 90s when they and their peers figured out how fucking good it sounded when you took Eno-esque ambient synth textures and paired them with IDM and techno rhythms 🤩. This mid-90s 12-inch here called Likethemes wasn't a Warp release itself, but the small Likemind collective and label that released it still counted some of those Warpers among their very own ranks, like the duo of B12, who appear here as Redcell, and Andy Turner from Black Dog Productions and Plaid, who operates on this release as Tura.

And I know I've made reference to it before, but if you're familiar with the artwork from Warp's own landmark Artificial Intelligence comp—the 1992 album that was responsible for popularizing this whole IDM and ambient/listening techno phenomenon in the first place—this record falls along those same lines; basically, you're gonna be feeling like that totally blissed-out android in the armchair when you put this record on 😌.

I struggle mightily to pick a favorite among this excellent quartet of tunes, though, so the best thing I can say about it is that if you love the earlier days of Warp, before they started signing so many fucking indie bands 😅, there's no way you won't dig the shit out of this Likemind release too. Half an hour of deeply satisfying mid-90s IDM and ambient techno chill, with lush synth backdrops constructed to hit your feels and a cavalcade of rhythms and melodies to get your synapses firing. There's a tendency for the formula that's put on display here to be highly effective, and with this release, specifically, it happens to be enacted at a very elite level. Makes sense then why the average rating on Discogs for this one is so astronomically high at a 4.82/5, because this thing really is damn near spotless 👍.

Highlights:

Redcell - "The Silicon Garden" Stasis - "Monolife (Rebuild)" Tura - "Reishi" Nuron - "Minutes"

[possible-streetwear]

[disease]

POLYGON WINDOW THE DICE MAN (APHEX TWIN) [ARTIFICIAL INTELLIGENCE COMP, 1992]

[dankalbumart]

...I Care Because You Do by Aphex Twin Warp Records 1995 IDM / Ambient Techno / Experimental / Acid Techno

[savage-kult-of-gorthaur]

WHEN COMIC BOOK MOVIES GO DARK IN THE SCI-FI/BODY HORROR VEIN -- IT'S A.I. BUTCHERING HUMANKIND IN 1999.

NOTE: My best friend included this movie in a stack of DVD's he lent me earlier this week, and I thought it was a really brutal/gruesome take on the sci-fi/horror/action movie genre. The fact that it's based on a Dark Horse Comics property only enhances its appeal, personally.

FILM: "Virus" (1999)

DIRECTOR: John Bruno

SCREENPLAY: Dennis Feldman & Chuck Pfarrer (adapted from Pfarrer's Dark Horse comic book limited series)

CINEMATOGRAPHY: David Eggby

PRODUCER: Gale Ann Hurd

DISTRIBUTOR: Universal Pictures

PLOT SYNOPSIS: "A powerful electrical-based life form takes control of a Russian research vessel and kills the crew.

 Finding itself trapped at sea with no escape available for it to spread through worldwide electrical systems. The creature desperately begins seeking escape.

An American tugboat boards the abandoned Russian research vessel hoping to plunder it and make a fortune.

The life form quickly seeks to eliminate the intruders whom it has come to see as a virus and utilise them at the same time to allow it to reach the mainland."

-- BLOOD-SOAKED HORROR REVIEWS (blogspot), c. March 2014

Sources: Mutant Reviewers, IMDb, Moria Reviews, X (formerly known as Twitter), Movies Films, & Flix, Pinterest, http://blood-soaked-horror-reviews.blogspot.com/2014/03/virus-1999.html, various, etc...

[bazedjunkiii]

get locked!

www.emsvechtewelle.de

[th3-0bjectivist]

Dear listener, if you’ve never heard of Aphex Twin before, cling fast to your genitals. Because, like a 2500-volt shock straight to the testes, you’re going to find this musical entry quite shocking! Before you smash play on the music video above, I will immediately attempt to dissuade you from viewing if 1. You are the faint-of-heart type 2. You have a medical condition that is triggered by strobe lights. I don’t want you to have a series of elaborate seizures. Go figure; you’re my fuckin’ audience. I don’t want to kill my audience on Tumblr just so it’s clear. At least, not this week. For the rest that remain; if you've never seen an AT video before, the time for your distressing and traumatic cult initiation is NOW. Smash play on the track above; it's Come to Daddy from the 1997 album of the same name.

OMFG… this guy is hot AF. I was personally introduced to AT about two decades ago through one of my stoner friends who went to basement raves to dance with glow sticks. At the time, I really didn’t understand what the hell I was listening to. A lot of it just sounded like disorganized and cobbled-together noises. However, my musical tastes have evolved, and in hindsight, I can fully acknowledge that the music of soloist and Ireland-born Richard David James was simply beyond my comprehensive grasp as a young adult. He is and was a true pioneer in the music industry, having the aptitude and talent to bring a brand-new type of music to bloom in the 90’s, that being IDM (intelligent dance music). IDM, by my understanding, is derivative of breakbeat, techno, and acid house… but pushed to the very edge of experimental extremes. It is dance music (you CAN’T dance to a lot of it unless you want to have spasmodic fits, it’s honestly more proper for exercise/home environment listening) that is custom-tailored for a very discerning and clever audience, and I find that a lot of IDM sounds itself like a living, breathing entity. What AT brought to the table was a uniquely charismatic, versatile, and in some cases downright emotionally impacting experience that I cannot in good conscience declare as useless. It is the polar opposite of generic modern melodies, as AT pushed and continues to push the envelope of modern music to its most illogical boundaries. Probably my favorite feature of AT’s overall sound is the asynchronous beats, which, while not in any way traditionally mathematical or ‘correct’ in timing, is a genuine example of that tonic path that Aphex Twin and IDM as a genre have to offer. AT does whatever others are afraid to try, and the overall discography runs the gamut from shy electronic ambient to full-on head-banging badassery. Enjoy, and there will be far more music to come this year!

If you care to pursue the actual emotional range of AT’s music, click just above for one of the most (if not THE most) emotive ambient tunes I’ve absorbed in my lifetime, Rhubarb from Selected Ambient Works Volume II (1994). And if you’re really, really in the mood to traumatize yourself, click here for one of the most disturbing music videos I’ve seen in my lifetime. I wanna make it clear, IF YOU CLICK ON THE IMMEDIATELY PREVIOUS LINK, I am in no way responsible for the mental damage it does to you as a result. YOU... are by your own free will and accord, willingly clicking on the link. I am merely providing you a path, in fact multiple paths, to explore Aphex Twin’s sound further. Image source: https://testpress.news/na-klassiku-aphex-twin-windowlicker-v-anglii-snyali-sotsialnuyu-reklamu-bezopasnoj-ezdy/

[mariacallous]

With U.S. aid to Ukraine stalled in Congress by an entrenched Republican Party and the Ukrainian counteroffensive stalled by entrenched Russian forces, Kyiv’s Western backers are grasping for ways to bolster its war effort. Since trained personnel and artillery are in short supply, their attention has turned to drones and artificial intelligence. However, overestimating the role such technologies can play in armed conflict risks solidifying the very stalemate that Ukraine needs to break.

In some ways, a focus on digital battlefield intelligence, automated targeting, and unmanned aerial vehicles by both the Russians and Ukrainians is unsurprising—neither side has many other options to work with at this point, as their respective presidents, Vladimir Putin and Volodymyr Zelensky, both appear reticent to order new troop mobilizations. But it is also puzzling, since a techno-centric strategy seems to have played a major role in turning what the Kremlin predicted would be a three-day war into a now two-year-old war of attrition.

Russia has ceded nearly half of the territory it once occupied in Ukraine at a cost of roughly 90 percent of its prewar standing forces. Yet on paper, it had Ukraine easily outnumbered and outgunned—without even mentioning the billions of rubles and years of investment into novel capabilities such as cyber operations, AI, robotics, drones, and electronic warfare. Perhaps this is why it was all too easy to discount the less quantifiable and less attention-grabbing—but ultimately more decisive—facets of war, such as planning, logistics, coordination, morale, and leadership.

Technology’s most alluring quality for militaries is the promise that it might somehow make the physical demands of seizing territory somehow less expensive in terms of blood, treasure, time, and labor. But no matter how much granular insight, safe distance, and speed that technology provides, it simply cannot substitute for the kinds of traditional capabilities that characterized 20th-century conflicts.

Since kicking off a military modernization program in 2008, Putin and his circle have sought to create a “modern high-technology army,” envisioning a war in which technological superiority would prove decisive. In the ensuing years, a host of advanced weapons systems filled out its arsenal, spurred its arms sales, and flooded battlefields in Syria. Meanwhile, Russian military and intelligence agencies—and proxies such as the late Wagner Group chief Yevgeny Prigozhin—posed increasingly sophisticated and brazen threats in cyberspace.

By late 2021, these factors led some Western observers to conclude that Russia would easily prevail over Ukraine, including by dint of its technical prowess.

Instead, Russia’s underwhelming conventional battlefield performance over the past two years showed that its reliance on high-tech weaponry came at the cost of focus on other key aspects of a functioning military—its defense-industrial base and supply lines became plagued by corruption while its threadbare officer corps were saddled with poor force structure and ineptitude.

In turn, according to the former U.S. principal deputy director of national intelligence, Western analysts relied too much on cataloguing Russia’s inventory of gadgetry and cyber tools and failed to account for the context, planning, and quality of the forces using them. More fundamentally, Moscow and Western observers alike failed to account for the specific ways in which advanced technology would assist in taking, retaking, or holding territory. The hard truth, immutable since before the Trojans, is that doing so is an unavoidably human endeavor.

Much of my professional research has been dedicated to understanding how Russian leaders think about conflict in cyberspace. Drawing distorted lessons from the U.S. military’s performance in the 1990s, Moscow’s warfighting doctrines link technology and psychology together in tenuous ways, with its goals often bordering on pseudoscientific mind control.

For example, the Soviet theory of “reflexive control” aimed to induce adversaries into self-defeating behaviors by carefully placing “information packets” into various media channels. Psychological factors gradually dislodged even troops and materiel as the focal points of Russian military theorizing. Moreover, enemy forces were gradually replaced as the ultimate target; the digital age prompted an unending struggle over the perceptions of entire societies.

In Ukraine, this has led Moscow to dedicate many of its high-tech capabilities, particularly cyber operations, less toward beating the Ukrainian armed forces and more toward immiserating Ukraine’s civilian population. Predictably, that strategy has yielded little territorial gain over the past year. Since at least 2014, the Russian military and intelligence services have attempted to sow havoc with cyberattacks in Ukraine, including those designed to cut off heat and electricity, as well as Internet and mobile connectivity.

But what Moscow discounts is that its victims also get a vote: to rally round the flag, as Ukrainians have, rather than become demoralized. However costly and disruptive the cyberattacks may have proved, as part of a broader project to subjugate its neighbor politically and geographically, Moscow’s so-called information war has been a failure.

Kyiv, for its part, has employed several novel technological approaches to beating back Russian invaders since early 2022. It democratized battlefield intelligence collection, enabling Ukrainian citizens to track and report Russian movements, collecting data on factors ranging from materiel to missiles. It galvanized a global volunteer corps working in cyberspace to target Russian organizations. It drew on commercially available communications and software to make an expansive arsenal of autonomous vehicles and drones increasingly lethal by air and sea.

Ukraine’s technological ingenuity in this war will be the subject of study for generations. By comparison, and notwithstanding these feats, the Ukrainian military is both exhausted and stretched thin. More concerted focus on a strategy to demobilize long-serving troops, and to conscript and train new ones to replace them, is critically overdue.

With both sides now scrambling to acquire and produce lower-cost, more expendable unmanned aerial vehicles—while simultaneously racing to improve their own electronic jamming capabilities—the near-term future of technology in this war could be characterized as innovation in service of attrition. Russia is drawing upon friends in Beijing and Tehran to augment its arsenal of unmanned vehicles, while Ukraine has become a hotbed for Western defense and technology firms fielding drone warfare capabilities.

But had it been possible for either party in this war to achieve real battlefield progress from a safe remove through such high-tech tools and intelligence-gathering alone, conventional counteroffensives would not have been necessary in the first place. An influx of more tech into the war may therefore provide each side more distance from, and better insight into, the other’s troop movements. It is unlikely, however, to dislodge or drive them back—and may even risk Ukrainian forces getting goaded into costly battles, like that for the city of Bakhmut, that do little to change the status quo.

That said, modeling itself after Western militaries may also not be Kyiv’s best bet for this conflict, not least the uniquely U.S. impulse to quantify all aspects of war into a digital problem to be solved through computation. Since U.S. Army Gen. William Westmoreland predicted the rise of automated warfare from Vietnam in 1969, the technologically enabled, supposedly “easier war” has always seemed imminent in theory, but somehow elusive in practice.

As political scientist Stephanie Carvin writes, science and technology have “delivered some of the fastest ground invasions in the history of warfare, but have not been able to solve the difficult and complex” problems that inevitably follow. Focus on what Carvin calls the “shiny objects” themselves—like drones, cyber, and AI—often distracts from addressing how they might be integrated and adopted in service of concrete goals.

None of this is to suggest that Kyiv’s motivations are anything other than existential. Given the headwinds that it faces, the Ukrainian military must doubtlessly maximize every possible advantage it can find. Particularly amid intensifying shell- hunger, Kyiv urgently needs inexpensive and rapidly scalable ways to minimize casualties on the front lines and keep Russian forces at bay.

However, if Ukraine’s ultimate goal is to eject the occupying forces from its territory, there is reason to be cautious of a techno-solutionist approach, particularly one isolated from the broader organizational context of the Ukrainian military.

An escalating arms race between Ukrainian drones and Russian electronic warfare may capture the imagination—and capital—of futurists, but it must not become conceptually untethered from the demands of combined arms in land wars past. While tactical systems such as drones can deny mobility at the front lines, they are far less likely to enable it. They are certainly no substitute for recruiting, training, and equipping a capable fighting force over the longer term. Doing so will demand hard decisions from Kyiv and its Western backers—particularly European capitals—none of whom should harbor, nor cultivate, any illusions about a technological panacea.

No amount of technological wizardry can substitute for the arms, equipment, and training that the United States and a handful of allies  can exclusively provide—nor for the personnel that Kyiv must recruit and mobilize. And if Kyiv fails to do so, the result may turn out to be less the “future of war” and more the marketing of stalemate.

[ey-there-little-guy]

So I have questions for your Lulled by Waves Au!!!! It’s so very good and Mers my beloveds!!!!

1. So Ranboo must be quite old (I can’t remember how decades work) does this mean that mers and Leviathans age differently to humans?

2. Language barriers are soooooo annoying and soooo good! Do Ranboo and Tubbo eventually work out a way to communicate?

3. Is there any kind of mer/leviathan magic that exists in this universe? Like you mentioned that humans think that Mers created Leviathans as a means of protection. If yes what kind of magic and could it be linked to breaking language barriers :3

4. Telllllll meeeeee abouttttt Tommmmyyyyyyyyyy!!!!! How does he come into play in the au????

5. Do you plan to add more characters in the future (even if this is just rambles, I still wanna know 👉👈)

6. Does anyone ever find out about Ranboo and Tubbo’s meetings???

As you can see, I like this Au very much :3 Thanks for your time and have a lollipop 🍭

I'm glad you like it :DD ty for the questions!

1- Leviathans do age a bit differently from humans and other mer! they age faster as babies but drastically slow as they almost reach adolescence to prepare for all the growing they're gonna do, I'm gonna say that takes 10 years, then from there they keep steadily growing and aging at a slower pace.

I haven't figured out anything exact yet, but Ranboo is probably in his 90s yeah, and about 18-20 maturity wise. so maybe 4-5 years for 1 leviathan year?

2- It's a one-sided language barrier too so it's extra annoying for Ranboo lol, and even though Tubbo's looking past the history he was taught he hasn't thought of Ranboo as more intelligent than a crow or smart dog yet. He starts to suspect when Ranboo responds so accurately to what he says, but that gets sped up when Tommy slaps Tubbo with 'yeah the leviathan is a person' and helps Ranboo figure out how to actually speak english.

3- there is some magic! I haven't thought it out fully but suggestions are open. And that story of leviathan origins is actually exclusive to mers, humans have no idea, they just think leviathans are a case of deep-sea gigantism of a less evolved species of mer. No magic with language barriers for Ranboo bc I have more fun that way but it gives me an idea!

-I'm gonna give some merfolk/leviathans the ability to bond with another person that forms a mental link of sorts, a way to easily communicate over distance and sense if there's trouble. Ranboo and Tubbo don't have this but maybe some day.

-The little sprite guys can be magical too. say, if enough of them are gathered around a mer that mer can be transformed into a leviathan. I like that. it'd be more complicated but it's a start :)

-something with breathing underwater

4- Tommyyyy, Tommy my boy, he has it rough! He's a mer that got fished up and put in a tank a few years ago. He's seen the sights, been on display, made some friends, lost 'em, he's got stories man. Eventually was bought by some guys who figured they can gain infinite scales to get rich off of as long as they keep him alive.

They stop in Tubbo's town for business, everyone knows seaside towns are a hotspot for scale buyers. Tubbo catches on that there's a live mer being held captive and well, people know mers are sapient, scale buying is dying out with newer generations, so since he has a chance to do something about it this time he breaks Tommy out and carts him off to Ranboo for help, bc where else could he go?

Tommy really fixes the communication problem here, MVP. Turns out Ranboo couldn't speak english because they usually practiced underwater and not enough above water to actually figure out how to use their vocal cords the right way, and of course Tommy knows, so he helps Ranboo and Ranboo re-familiarizes him with merfolk language in return. :D It's a silly mistake but tbf to Ranboo they try not to breach the surface if they can help it bc of old fear of hunters.

5- I do!! Wilbur, Techno, Kristin, Philza, Michael, and Puffy so far!

Wilbur is a human, he busts mer poachers. he mistakes Tubbo for one at first bc he was following Tommy's trail and learned he was taken from the guys. Nearly passes out when meeting Ranboo.

Techno is a mer! Very standoffish to humans, but tolerates Tubbo bc Tommy vouched for him. He's just traveling and looking for humans to mess up.

Kristin is a leviathan and Philza is her mer husband :], they're friends of Techno! Phil and Techno have that magic mental link so they can keep in touch despite long distances. Techno kinda calls them over after meeting benchtrio.

Michael is a leviathan, just a little baby guy Ranboo finds after meeting Techno but before meeting Kristin and Phil. No one knows where his parents are, presumably they're gone by more natural causes. Ranboo adopts immediately.

Puffy is a human! I haven't figured out a lot of her role yet besides being a sailor that Tubbo talks to. Maybe a neighbor or guardian? Someone to notice how much Tubbo stays out at the beach.

6- which leads to this I guess :D So besides Wilbur, I haven't planned who find out very well. Someone else def will find out though. Tubbo has kinda been documenting what he learns about leviathans, so one day he can try and change people's minds about them.

And I have this little spinoff idea where Tubbo makes internet posts and videos with Ranboo or the other mers, so either they do the reveal themselves and cause shenanigans, or get found out and have some drama before the shenanigans. ^_^ The first one would give Tubbo more anonymity, but the latter would make people believe him quicker.

TY for the lollipop :D it was very fun to answer these! <3

[gayamulet]

Listen/purchase: Polar Sequences by Higher Intelligence Agency & Biosphere

I’ve been revisiting a lot of ambient/techno/new age albums I loved from the 90′s and man, this one is still fantastic. Countdown To Darkness still a favorite.

[randomvarious]

1997 London Playlist

Back with another little update to a London underground playlist, this time for the year of 1997. This week we've got a trip hop beaut' from the one and only DJ Vadim, an electronic and alt hip hop stalwart who is originally from Russia but was raised in London. In May of '97, Vadim dropped an EP called Conquest of the Irrational, which was then followed up in Japan that same year with his third LP, U.S.S.R. Reconstruction (Theories Explained). '98 would then see the release of this album more widely.

On U.S.S.R. Reconstruction, you won't find an original version of "Conquest of the Irrational" itself, but what you will find instead is a similarly-titled song that was remixed by Copenhagen hip hop production trio The Prunes called "Theme from Conquest of the Irrational." This is a track with a lurking, sort-of cinematic 60s spy thriller vibe to it, which was a sound that definitely came back en vogue in the late 90s, as nostalgia for a retrofuturist cocktail lounge aesthetic became a little bit of a thing. And it has a pretty similar sonic palette to a song like Mos Def’s Yasiin Bey’s “Auditorium,” feat. Slick Rick too, which came out more than a decade after this tune, and was produced by Madlib. This remix also appeared on Parisian Kid Loco's excellent DJ-Kicks mix in 1999, and it currently has over 68.5K plays on Spotify.

DJ Vadim - "Theme from Conquest of the Irrational (Remix by The Prunes)"

And then for the YouTube update, we've got that song, plus one more that really can't be found on Spotify at all: a remix of Indiana alt rock/dream pop darling Lisa Germano's "Lovesick," done by London's own Trevor Jackson. Now, you may be more acquainted with Jackson under his Playgroup moniker, but before he ever donned that name, another one he used was Underdog.

And *the official version* of this Underdog remix is of way more of a trip hop bent than it is breakbeat, but the version that I’m supplying you all with this week is the one that appeared on that Kid Loco DJ-Kicks mix. This one appears to be blended with the beat from the preceding song in that mix, whose official version I can’t even find on YouTube, called “Culture Consumers,” by a short-lived duo called Tongue. Like much of the rest of that mix, this song makes for some truly heady and totally stoned trippery, but it also comes with some pretty dissonant guitar noise too! Currently hovering at around 72K YouTube plays.

Lisa Germano - "Lovesick (Underdog Rmx)"

And this playlist is also on YouTube Music.

So this update now brings us up to 13 songs on Spotify that clock in at a total of 84 minutes, and then on YouTube we've got 22 songs that run for a total of 147 minutes. And if you really want some of those underground London '97 goodies, you'll give that YouTube one a listen, because in addition to the Underdog remix of Lisa Germano, what you'll also find on there are a couple gems from incredible IDM artist Freeform; a version of Groove Armada's all-time chillout classic, "At the River," that appeared on a 2000 Fatboy Slim mix with it mashed-up with the drums from Underworld's "Born Slippy;" a hard-to-find house remix by Dimitri From Paris of acid jazz group The Brand New Heavies; and an excellently bouncy house remix of the gone-way-too-soon Wildchild's "Renegade Master" that was done by duo Stretch & Vern. All highly terrific stuff! 👍👍👍

And here's some more 90s London playlists for you too!:

1995 London: YouTube / YouTube Music 1996 London: Spotify / YouTube / YouTube Music 1998 London: YouTube / YouTube Music 1999 London: YouTube / YouTube Music

Next week, some future jazz!

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!

[possible-streetwear]

[falsebooles123]

Confessions of a Recovering Genrephobic 5/4/2024

Hey Whores;

not much to say this week so lets get into it. Kinda hitting an enniu patch.

Evolve (2017) - Imagine Dragons

Genre: Pop Rock Length: 39:12 (11 Tracks)

This is the Evolve Album!?????

Imagine Dragons is one of those bands that gets a lot of hate. I assume mostly because there known for there feel-good pop rock singles and people just really hated listing to radiotactive on peoples roblox animatics or some shit.

This is the third album by the band and can I say that this was completely Passe. I literally can't remember a single song on this album besides the two singles I already new and I honestly don't even care to relisten to this for the reveal. I'm literally listening to Kim Petris Slut Pop because I needed a dose of innovation and because I'm a faggot shut up.

Awaken, My Love (2016) - Childish Gambino

Genre: R&B, Soul, Funk Length: 48:57 (11 Tracks)

Childish Gambino's Third Album I mostly know this because of the controversy over the cover art.

In terms of the album itself its more experimental then I was expected and it was intrusting. Don't really feel like expanding further because it is seasonal allegies season and I'm a being bukeked by pollen.

Artificial Intelligence (1992) - Various Artists

Genre: IDM Length: 52:23 (10 Tracks)

In 1992 Warp Records, released Artifiical Intelligence. a compilation of EDM that you 'weren't supposed to dance too'. This new genre original baring terms like Ambient Techno and Electronic Listening Music, soon came to be called IDM, or Intelligent Dance Music, after this album.

Its interesting to say the least hitting my teen years in the 2010s I was of course awashed in the realm of big house, dubstep, and trap house.

(this is the best gif I can find because when I type in EDM it asks me if I have an eating disorder)

What I'm trying to say is that I had heard of IDM but I had never spent much time trying to listen to it.

and Its good? Like its very ambient so you kinda forget your listening to it but it also has this nice kind of 90s trance energy. It feels very different from something like vaporwave which also has this meloncholic feeling. its kinda the daycore of vaporwave? like instead of being in some dead ruin of a digital world its like i'm in some beautfiul still alive digital world. hope that makes sense.

Anyway I'm going to go back to listen to 2010s edm and getting ready for the day.

Pretty (MT) (2024) - Artemes

Genre: Alt Pop

Length: 30:13 (13 Songs)

i'm sorry i'm like this (MT) (2022) - Artemas

Genre: Alt Pop Length: 26:12 (11 Tracks)

Hitting somewhere between Grimes and Phantograms, Artemes hit my radar with 'I like the way you kiss me' which is of course my new obsession.

and both of his albums are pretty good. Less gothic then I would like but I had fun.

[dankalbumart]

Surfing on Sine Waves by Polygon Window Warp Records 1993 IDM / Acid Techno / Ambient Techno / Techno

[savage-kult-of-gorthaur]

LIKE SOMETHING STRAIGHT OUT OF A COMIC-BOOK BECAUSE IT DID COME FROM A COMIC-BOOK.

PIC(S) INFO: Spotlight on a cybernetic/biomechanoid monstrosity from "Virus," the 1999 American science fiction horror film directed by visual effects artist John Bruno and based on the 1993 Dark Horse comic book series of the same name by Chuck Pfarrer.

Anyway, I was bummed out to find that this scene in the 1999 movie was nowhere to be found in the original 1993 comic book, meaning the movie definitely expanded in detail the cybernetic horror alien A.I. was capable of inflicting upon the human body. Essentially what you see here, and the results are beyond grotesque.

Source: https://bloodredreviews.com/2014/11/01/virus-1999 & X (formerly known as Twitter).