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my debut single, CHAMELEON, is out on all platforms this coming monday. check it out on youtube, soundcloud, and bandcamp today

you can also support me on patreon, where all my music is free forever. a wav and mp3 download is available for free members.

#electronic #music #archaic noise #dance #single #disco #spotify #soundcloud #bandcamp #Youtube #SoundCloud #Bandcamp

NEW LCD SOUNDSYSTEM ALBUM ANNOUNCED (NO RELEASE DATE BUT NEW SINGLE OUT HELL YES)

#lcd soundsystem #electronic #music #new single #single #LCDSS #dance #disco #Youtube

yellow-yarrow

oh ok so these are the companies of ex-Za/um members:

Summer Eternal - a co-op, that includes Lenval Brown and Disco Elysium writers Argo Tuulik, Olga Moskvina, Dora Klindžić

Dark Math - Kaur Kender's brother Heiti Kender, Timo Albert ex-za/um motion graphic designer

Longdue - ?

Red Info - Robert Kurvitz and Aleksander Rostov

apocalypsegay

#if anyone's having trouble keeping up #kender is one of the money vultures and I refuse to touch anything he’s involved with #summer eternal and red info are what you’re going to want to keep an eye on for good shit :)

literallysatanofficial

Dark Math, ie. the studio behind XXX Nightshift, which was revealed first with a plagiarized familiar scrolling Disco Elysium-"inspired" UI and skills seemingly chiming in, is being touted as both a spiritual successor to Disco Elysium and yet somehow "a lot more fun" because it's got "a few less words".

No former Elysium worldbuilders or writers are seemingly on staff, and as previously mentioned, Kender is one of the money-hungry investors responsible for the corporatization of the original za/um.

Longdue's website also sounds like a load of shit, on top of them not disclosing who exactly the former za/um staff are, and they're hiring writers and an art director. They've released concept art that vaguely invokes the general Disco Elysium vibes, but there's no info or title for their game, and the studio is apparently mostly comprised of former Bungie and Rockstar employees.

Summer Eternal's website is exactly what you'd expect from the studio touting the most former za/um creatives (yes, creatives!!! not just people formerly involved in za/um's corporate side!!) sounds promising both in terms of their ideal direction for this new art collective, as well as the people involved. Unlike Longdue's website, this one is more than a bunch of fluff that can fit in three screenshots, and worth a read.

Keep an eye on both Red Info and Summer Eternal, the other two are corporate trash trying to springboard off of the Disco Elysium IP, but these two collectives are formed by the actual creatives behind it.

sibelin-deactivated20241117

“Run It” is from Clipping’s forthcoming new album, a long-in-the-works Hip-Hop and Cyberpunk project, due worldwide from Sub Pop in 2025.

wayneradiotv

archaic-noise

maybe i am old, maybe i am a wokescold, maybe i am a little too joyless, but i looked at this and felt nothing. and that's kind of what i have a problem with when it comes to AI posting -- this was not a particularly clever or interesting idea. it WAS novel, in the sense that no one has done this before, and it DID tell a story, but i didn't get the feeling that i was interacting with someone's "vision" so much as i was interacting with a shitpost generated by a shitpost generating machine.

my eyes literally glossed over; i couldn't pay much attention to the alleged narrative because of all the discrepancies in the direction and movement of the art itself, as it has no real direction or movement. it's all just a loose approximation of a story, delivered in pieces that are supposed to mimic what you could get out of reading a synopsis: no depth, no intricacies, no character driven purpose. mcdonalds offers a simpson porn art room like the mcrib, it's popular (or at least marketed as if it is), and then takes it away and the world ends, told in 20 disjointed images. we don't even actually see the world end, we just get told it did and have to suspend disbelief in order to allow the narrative to conclude.

the whole thing sounds less like a genuine, original idea, and more like a mashup of SEO meant to signal to audiences of people who couldn't stop quoting the "one fear" comic. funny enough, a 4 panel webcomic could likely have told the same story and been far more interesting to look at -- and maybe more clever, due to its brevity -- but that's not made with "technology", so the people defending this don't think it's as valuable.

value judgments aside, this shitpost in and of itself is not an issue because genuinely, who cares? scroll on to find the next AI shitpost and let your eyes gloss over again. the real problem is that the benefactors of this technology -- the people who are investing hundreds of billions of dollars into its production while driving up the costs of energy on a global scale -- have already used it to start phasing out artists entirely. they are liberating themselves from the "tyranny" of people with good ideas, whose artistic vision is seemingly required to produce art that people want to purchase. entire industries were propped up on this idea that the artists have something the masses don't, and if you pay enough of them peanuts and steal their ideas, you can occasionally find a diamond in the rough who generates you a billion dollar IP.

and instead of us collectively coming together to say "well gee, that fucking sucks, maybe the luddites had a point", a significant chunk of people embraced the tech, calling it an inevitability, shouting down anyone who alleges they might be ethically compromised, insisting they're doing no harm. the artists themselves are hired to program the bots for a pittance compared to what they used to earn. "thanks to the bot, we saved lots of time and money we didn't have. it's not fair for you to have the ability to draw your ideas when i don't."

you're liberating yourselves from a tyranny that doesn't exist, and in the process, you're supporting the people who are using it to rob people of their livelihoods. it's not a matter of what the art means or doesn't mean -- it's not a matter of its technical competency or its ability to tell a complete narrative -- it has never been about whether or not AI art is "real" art. it is about the direct, tangible, realistic ramifications of engaging with the system, and who benefits from your decision to adopt this technology. if you think your life is better by algorithmically developing every shitty idea that pops into your head into a full blown multimedia experience, by all means, go right ahead: but don't sit there and pretend the world isn't a marginally shittier place for your decision to use the tech that makes it possible. Its effects on working artists are real, measurable, and wholly damaging to the pursuits of artists the world over.

#ai generated #ai art #sycophants #simpsons #mcdonalds

ardri-na-bpiteog

Stop! Releasing 2 minute songs!! Idc about TikTok!!! If it's a banger it needs to be at least 3:30.

capacity

6:50*

starkid256

UGH! NO I HATE ANY AND EVERY SONG LONGET THAN 4:00 BY DEFAULT!!!

capacity

You’re not a music lover you’re a music tolerator. this is a conversation for music lovers only, which you are not. Remember that

smoqueen-deactivated20251108

If you actually loved music, you would want every song to be as long as possible. It sounds like your "artistic reason" is more of a commercial reason.

archaic-noise

I respect that there's a lot of opinions on this, but no, you don't need to want every song to last 30 minutes to be labeled as a person who "loves music". (If that's something you want, check out De Lux's "Love Is Hard Work", a 30 minute electronic rock track released last year.) To put this bluntly, this kind of reductive garbage isn't really helpful for understanding art from a historical or modern perspective. Consider the following:

What's important is whether or not a musical idea reaches its "logical conclusion". Does the chorus lead into a breakdown that significantly evolves the arrangement, leading to more interesting instrumentation and movement in the track? Do the verses and the choruses have so much staying power that they return again and again in the song without feeling tired? Is there a rising crescendo that leads to a powerful, cathartic moment, a swell of instrumentation and build of energy that releases and concludes the ideas presented earlier in the song? What about the opposite? Does the chorus manage to accomplish a significantly more complex and evolved idea without the breakdown? Do the verses and the choruses manage to be so complete that additional versions and repetition do nothing to enhance them? Is the emotional energy in the song already released and concluded in a way that allows the ideas to stand prominently on their own weight without being built towards over multiple minutes?

Different genres have different considerations; of all the times in my life that I've listened to a song south of 2 minutes and 30 seconds from a modern artist, only a small handful of them managed to be complete musical ideas (mostly punk tracks). The majority of them were ditties, skits, or undeveloped concepts that either wasted my time or needed another couple of minutes to flesh out (including some punk tracks). On the other hand, some songs really do get stale around the 3 or 4 minute mark, and the ideas contained in the song aren't really interesting enough to try to develop them into some greater permutation of what's being presented. Hence the pop single, the top 40 dance track, the crooning ballad, the R&B chart toppers... 3 to 5 minutes of your time, then on to the next one.

Artists have been following this standard in rock since its developments in the 60s -- and if you actually look back all the way to Elvis, who started in 1956, you'll find that he didn't release any complete songs much longer than 3 minutes until his 12th soundtrack album with 1966's "Tomorrow Is A Long Time" -- and it wasn't even his song, Bob Dylan wrote it. Compare and contrast that with The Velvet Underground's 1968 "White Light/White Heat", which includes the 8:18 track "The Gift" and the 17:26 track "Sister Ray", both of which have to be that long to conclude properly. For as many songs as Elvis arguably stole or "popularized" in his lifetime, no one would have claimed the length of his songs meant he wasn't contributing to the history of rock music, and they sure as hell wouldn't argue that about the Velvet Underground... though on the flipside, if someone told me I wasn't a real music fan because I didn't want the song "I'll Be Your Mirror" off their debut album to be 6 minutes instead of 2, I'd pretty instantly disregard their opinion. Likewise, if the average rock listener turned on the radio every other night in the late 60s and "Sister Ray" was playing, I'm sure they'd get tired of listening to a 17 and a half minute song every single time they decided to listen to music. (I don't, but people like me are the exception, not the rule.)

The reality of the situation is that big artists in the mid 2010s -- and by extension producers in the industry -- realized they could game the system by releasing shorter songs that led to more plays, and more plays and higher average listen time led to algorithmic staying power on all the platforms that promote music. Some people declared this "punk": in part because of its obvious relation to punk music, and in part because it was seen as "stealing" from corporations, though I'm a bit more cynical. The result was a bunch of artists releasing ideas that weren't always fleshed out in an attempt to manipulate their relative success levels through metrics that had nothing to do with their musical skill -- and that doesn't imply that they have no musical skill, just that they're not prioritizing it as a way of making money with their music. Why write "better" when you don't have to? If you asked most artists to choose one: critical acclaim, or making millions...

Unfortunately, that means if you look for music on streaming platforms, you're likely to be presented with a lot of ideas that aren't fleshed out, don't manage to be all that interesting beyond their initial premise, and end before they can do anything novel or groundbreaking. As much as I love singing Carter Vail's "Dirt Man", it's basically one verse, making it the ideological equivalent of a vocal stim and nothing else. The only real option is to divorce the profit motive from the act of making art: if we don't, capitalism will inevitably force music on us in ways we can only imagine instead of letting us choose for ourselves.

#music #electronic #rock #elvis presley #velvet underground #tiktok #top 40 #short songs #spotify #youtube music #carter vail #dirt man

nickyflowers

underneath the "cringe culture is dead" memephrase is an implicit "no one is ever allowed to find me annoying"

nickyflowers

oh yeah you nailed it, i hate it when people enjoy themselves. that's definitely what i was saying. you're so smart... ugh! you got me! can't get anything past these 35-year-old fandom types

strawberry-crocodile

Just off the top of my head, here's some setting assumptions D&D makes thats not even universal to high fantasy, let alone dark/low fantasy, historical settings, urban fantasy, or scifi;

Magic is something anyone can access with proper education and time

There is a pantheon of very real deities who each have different purviews and distribute magic

Combat is generally slow and grindy, and your average player character or enemy can take multiple strikes from a sword and keep fighting.

Characters will get physically stronger and more martially competent as they continue to adventure, to the point of being able to fight enemies like dragons and giant demons.

Magic takes the form of a specific list of flashy and powerful effects, most of which can be performed in the span of seconds and are oriented around combat.

There is an afterlife and people can be revived

Generally speaking a character is going to have to choose between martial prowess, magical capability, and a sort of "everything else" bucket. In particular, a character specialized for combat is going to have little to do outside of it.

Some of these assumptions (leveling up, grindy combat, characters specializing in combat/magic/noncombat) are both very restrictive in the kinds of stories you can tell, and fundamental to how Dungeons and Dragons works to the point that you lose the benefit of familiarity if you try to remove it. (Good luck selling "We're playing 5e but we're not leveling up" or creating an entirely different suite of classes)

I saw someone compare D&D to Star Wars, which is more or less the most popular "scifi with magic" media; Jedi just don't fit into D&D classes; they're the biggest source of player-side magic, and their powers are a small toolkit of subtle, new-age-mysticism tricks; pretty far from wizards, clerics, and warlocks.

I know 5e-Only types will mostly not care but for the sake of my sanity I need this written down.

strawberry-crocodile

Yes, you can in fact play D&D 5e with a scifi skin! The catch is though, if you do that, you will just be playing D&D 5e with a scifi skin.

petterwass

That's the Rule Zero Fallacy. The fact that you can ignore any rule that exists, ever, doesn't mean it doesn't exist.

You can use D&D to play any sort of game if you just ignore all the rules, exactly as you can use solitaire to play a tense political scifi game if you want to. You're still trying to use a hammer to saw off a plank.

Meanwhile there is very likely a game that actually does what you want it to do without having to ignore or rewrite the whole game to make it work.

archaic-noise

saying you can't play D&D with a sci-fi skin is very funny because one of the most beloved Bioware games from the turn of the century -- 2003's Star Wars: Knights of the Old Republic -- has a combat and skills system built around a direct interpretation of Dungeons & Dragons 3.x rules available around the time of release. Granted, it's custom built, but it's a CRPG with six stats, skill points per level, and a feats list based on what class you pick in character generation... and all your attacks and skill checks are d20 rolls.

#kotor #kotor 2 #d&d