apriorion

Right. Been meaning to chime in on this. If you look at the Lex announcement about this, they are celebrating their twentieth anniversary with a steady release of remixes, starting with this one: https://lexrecords.com/products/treat-em-right-boc-remix/ It likely has nothing to do with some bullshit number that anyone with schizophrenia can tie together with some other random-ass date. 1998 days since something-or-other, I saw someone said. Nah. I mean, don’t get me wrong—those numbers-investigations are funny and seemingly encouraged by the artists themselves, but it’s just for fun, ffs. The release date appears to be more about Lex and less about BOC. Simpler explanations ceterus paribus, and all that.

Literally made me laugh in an embarrassing situation at work: thank you, good sir.

Or just don’t reproduce. Save everyone the fucking trouble: that bitch of a mother, that innocent fucker who didn’t give consent to exist, and the assholes in the park who were disturbed enough to document this farcical tragedy of earthly plight.

Also, rednecks are not just localized in one part of this country. In my experience (including 8 years in central new york, 8 years in florida, 10 years in the midwest, and lots of time scattered throughout), there is a background radiation of redneckhood permeating this whole country. The "we're from NY" excuse is fucking dumb.

...if they ever received any real education in the first place.

Sorry, man. Gut churning stuff just to hear about. I hope he felt like a piece of shit after you talked to him. He ought to.

This shit with Cucker Tarlson telling his viewers to "politely but firmly" "ask" people wearing masks to take them off because it is making them uncomfortable seriously has me worried. These fucking 'necks around where I live will act on his suggestions. Such a stupid thing to incite zombie illiterate morons to do: pick fights over something that has nothing to do with you personally. This is going to play out terribly.

Clearer footage here:

Or, it could be that the big take-away here is that caring about shit like this doesn't matter, and that we should each go on to make our own things, find other new cool things, study the natural world, think about what we really value, etc., and not hold our breath for their output. It's all a matter of perspective, I suppose. Also, if you've come to boc fandom expecting timeliness, I'm afraid you've come to the wrong place. Doesn't matter what they said: anyone who's worked on large-scale projects that they really care about knows that projected timelines for intermediate goal-setting very often gets set back. Cut them some slack, dude: they're humans. But we all know it's worth the wait, so just wait a bit more, eh?

Pretty sure it was at least a year.

Yes, I'm sorry to say that as a fan of both Clark and Deustche Grammophon (I've been a pretty casual collector of their output that I find at thrift stores for about 20 years, with my all-time favorite prize being the "Young Person's Guide to the Orchestra: Peter and the Wolf (Benjamin Britten)" cassette), this is not working for me. I'm going to try to revisit it with a fresh lens in a few days, hopefully I'll be able to see what he's referring to in that interview, but I didn't really find it very welcoming, to be honest.

I give pitchfork a 0.01 the equivalent of a one cent tip.

Dude, they're never coming out again. I can't imagine the volume of psycho shit they probably receive from whack-jobs who think they're satanists. I just discovered that the "Seniarz" guy on youtube who uploaded some live boc stuff years ago has now disavowed his appreciation of their work because he just now discovered that they are satanists. Give me a fucking break. I can't believe people, actual grown-ass adults, still believe in religion, a big Sky Daddy who will give you the greatest present of all if you just behave, let alone what's even fucking stupider in the belief in a Devil and that people are actual devil-worshipers. Good God, we're all so fucking screwed. Between these people and (what's probably psychologically and sociologically related) the substantial conspiracy theory nuts, combined with an unraveling environment, heightened nationalist fascism, xenophobia, growing economic disparity, how could one have any hope for humanity? "Yo guys: did you know they actually refer to the devil. They're clearly devil-worshippers." Seriously, how unsophisticated a thinker does one have to be to really believe that shit? I've said it before and I'll say it again, if I were them, I'd never come out again either. Between the fans being whiny bitches and that psycho shit, I'd swear off anything public.

Late to the party, sorry. I found the dlps because (iirc) back when the Japanese exclusive track on "the campfire headphase" was available, someone pointed out that the sounds toward the middle of the track sounded like Basinski. So I checked it out and learned about the origins of the loops, and thought that his was some artist's right to make art in horrific circumstances when lots of people thought the world was coming to an end (there was much hysteria, but it's really understandable in context), and all that doesn't really strike me as objectionable at all. I don't get the outrage except as yet another instance of online outrage fueled by a culture that's informed by social media norms and algorithms that prioritize emotionally-laden content in order to keep one roped to the website for longer. It's not good for anyone to feel and act that way, really. But I gotta say two things. First, those disintegration loops didn't really become significant for me until I was going through probably the worst time in my life (so far) and I needed to sit and reflect a lot for a long time instead of destroying myself. Somebody recorded some beautiful time-lapse photography to accompany his choice tracks and uploaded those to youtube, and those are probably the most important, simple things on that entire website to me, personally. The 9/11 thing fell by the wayside for me, entirely. Someone mentioned the meditative quality of the boringness, and I think that's a really useful reminder. We're all so plugged in so much, so distracted, so addicted to pointless information, and it's good to have these repetitive tracks that are kinda boring but also emotionally compelling (at least for some of us). It played that role for me, and for that, I'm very grateful. Sure, plenty of other works can do this same job, so if this isn't your jam, fine. Second, the idea of this documentary strikes me as very bad. People really seem to enjoy this activity of talking--in a very moving, powerful, rhetorical way--about why some artist was the greatest ever. To those in the circle-jerk, this does a lot for them, but for those who aren't, this almost never works. Why do people enjoy this sort of thing? It always used to strike me as very weird, even when I was a little kid, how people in my family used to puff up and talk about how the music of their generation was the best there ever was, and how the music of today is indebted so much to The Greats, or if it's not then it's all garbage. What a weird thing to be proud of, something that you never had anything to do with, something that you yourself didn't make. If some work of art is very good and you want to help people appreciate what you see in it, that's great: give us the perspective, if you've got it. But that's not what I can see in that silly trailer. It looks like the academic/obscurantist/ambient art-world version of "this is the album that defined a generation" sort of schtick. That's why I am not at all excited about such a documentary.

Yes, I'm going to betray my ignorance here, but I worry there's some kind of conceptual confusion: how can an abstract object (a collection of ones and zeroes) be an "edition of 1", exactly? Physical objects come in editions because they are finite, spatiotemporally bounded things that can stand in causal relations with other physical objects (they can be burned, torn, crumpled, etc.). Abstract objects are the opposite of these things. Does the number 2 come in an edition of 1 also? I suppose there are annoying related questions concern intellectual property rights here: I suppose a patent is a way to claim ownership over an abstract idea. There are certainly objections to the way our legal system handles this sort of claim over abstract objects, but surely no patent office says the blatantly false lie that the person awarded the patent has an "edition of 1", right? I mean, what's the fucking point of the word "edition" any more?