Stray Landings: Where are you based?
Awe IX: currently Berlin, but i'm leaving in mid February and hoping to move to Tokyo
bod [包家巷]: BERLIN hmu
swiʌelized souηds: Taiwan
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: Miami
BENELUX ENERGY: Prague
Dane Law: London.
x/o : Vancouver
d0us: Over last couple of years between London and Sylhet, Bangladesh. From next week, Kuala Lumpur
Brood Ma : London
Yeongrak: carterton nz
Aethereal Arthropod: Galicia, Spain
Stray Landings: Is this where you were born/are based most of the time/ do you tend to move countries?
Awe IX: no, i have spent the last 7-8 years moving a bit, mostly in Taiwan, before that I was born and razed in Croydon
bod [包家巷]: I’m from Tucson, Arizona
swiʌelized souηds: Was born in the US but have been in Asia for many years now. Been based in Taiwan for the past 12 years. Not sure where i will end up next.
emamouse:I really don't want to ride airplanes, so I always in Japan;;
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: I wasn’t born here. Before this I was in UK, where I’ve lived most of my life. I don’t move around a lot, but I am leaving Miami soon, hopefully to Madrid.
BE: no, i was born in belgium and moved to the czech republic a few years ago
Yikii: no, I want to move to the mountains and live in seclusion but I don’t get such a chance///may never be///
terribilis: yep, born and raised. ready to leave any moment. i want to live by the sea.
Dane Law: I was born and raised in the Pennines, and I’d like to move back there because i miss the moors. But I’d probably miss the lively hum of London. I’ve never lived in another country.
x/o : Vancouver is my hometown.
d0us: Born and raised in Manchester, moved to London and was trapped there for years. In 2015 I visited Bangladesh for the first time- from where my parents hail. Since then I’ve been splitting my time between Sylhet and London while also visiting other countries in Asia. I’m now relocating to Malaysia for the time being.
Brood Ma : I was born in Pembury hospital in Kent.
Ptpf: I was born in a small village. I never left Russia.
I dream to live on the Faroe Islands or Iceland.
Recsund: no born in weston super mare! Emigrated to london
Yeongrak: i was born in christchurch and i don't tend to move a lot, i had to move from there
Aethereal Arthropod: Yes, since the last 3,4 years im based here, i lived in berlin for 2 years and a half but that's over , i'd like to move to a warmer place in a future where i can fulfill my musical project in relation to a wider and noisier invertebrate fauna
Stray Landings: In relation to the previous question, how do you think it affects the music you make?
Awe IX: I think location is unavoidably important to music, the music i was making in London was on a trajectory that was completely severed and rerouted after i moved to Taipei. Taipei’s subtropical neon and noise contrasted for me with London’s cold, sad aggravation. When you're in a new place (or lifestyle) certain things stop making so much sense, in my case the keep-up UK bass music culture felt distant, but more psychedelic/less hyped genres got reappraised.
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: @Awe IX I agree; moving to new locations offered a fresh vantage point to see what was happening at the previous place. I think, when you’re caught up in something as it’s happening, it’s difficult, if not impossible to understand the extent to which it’s affecting you.
For example, when I was in London, I was constantly divided between distaste for the “trendy underground” and enthusiastic excitement for what a lot of people around me were doing. There’s a lot of people truly devoted to music and using it as a source of power that is channeling an energy of some festering organ of social reality. It’s also where I met you, James (@Brood Ma), and Clifford (@Recsund) for the first time.
bod [包家巷]: The desert fucks me up on a whole desolate level it shows
swiʌelized souηds: Location has always had an affect. In the early years, i would always organize my music/art by the name of the street that i lived on. Certainly the busy chaotic nature of Taipei has affected my sounds as has having children.
emamouse:I think that it influences very strongly. I think that the narrowness and complexity of this country's path are synchronizing with the circuit of my brain.
BE:my current and past location strongly informs what i do - my current location in the sense that prague is a “european nexus” to some extent and that as an outsider i am strongly encouraged to not conceive of my geography as my closed off village. My past location also has one very explicit effect on the music i make and this is that under the BENELUX ENERGY project i am producing material which is strongly geographically bound to a certain time in the benelux area where I lived and grew up at the time.
Yikii: solitude, despair, suicidal thoughts
terribilis:london used to inspire me. the naivety of a teenager discovering nightlife for the first time can be a beautiful thing. But these days it just dulls my creativity. The scene is so cliquey and egotistical. I’ve had to remove myself from the scene to really realise what direction i want to go in with my music because there is so much pressure to keep up with everyone else and conform to what’s “cool” right now. And i’ve never been cool. But i think that’s what makes my music what it is. I hope that makes sense.
Dane Law: A lot of my musical aesthetic is informed by listening to boards of canada on saddleworth moor as a teenager.
x/o :I often find myself attached to organic/natural sounds and imagery,which makes sense with Vancouver’s landscapes- lush forests, mountains, ocean, mostly mild weather.
d0us: My immediate environment informs my music but that could simply be in the form of the Internet and my room. Of course I come across material when I venture out and each location will inevitably have a unique impact on me. Having said that, I feel that I can’t separate myself from global connections provided by online spaces ; at this time, I can say this has more of a direct influence on my music than the particular city I happen to be in. Oh, and racism. I’ve experienced different flavours of this depending on the country/online community and that has an influence on my output.
Brood Ma : I spent a lot of time driving around with my mates wedged inside a lime green Vauxhall Nova listening to So solid and that first Mike Skinner record.
Ptpf: predominantly gloomy weather and dense forests
Recsund: yeah w-s-m was britain drug rehabilitation capital, like most beach town of uk there were plenty of decaying structures round sea edges to explore, then there was glastonbury across the mendips that i never went to. I then moved to another beach town that didn't even have cliffs, it was a competitor to blackpool in the days before james bond films inspired easy jet lifestyle.
Yeongrak: i think being around post-quake christchurch definitely did, there wasn't a hell of a lot to do, almost the whole central city was cordoned off for years and it's only just become accessible recently in a lot of areas. This lead to me spending a majority of my time inside and alone because all my friends either lived outside of christchurch or on the other side
Aethereal Arthropod: Quite directly but not as a solidly as to fully reply in such easy way.. my method is quite mutable, obviously the environment is a direct factor in mood and “inspiration” (if i still believe in that, which i'm not too sure anymore) i've got high production seasons which happen in relation to environment and context, as my music tends to be hugely directed to nature, if i am in a place where i listen to a bigger diversity of insects its way more probable that i'll fall in one of these seasons.
Stray Landings: What scene do you see yourself part of?
Awe IX: some sort of post (witch house/chillwave/hypnogogic pop/distroid) platform club diaspora
bod [包家巷]: Quantum Natives
swiʌelized souηds: Dada, psychedelic, DIY / Quantum Natives & Future Proof
emamouse:Quantum Natives/psalmus diuersae/Hypnotic IDM/Internet folklore/Uterus game center
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: The idea of a scene is a distracting spectacle seeded by content-maker-types and serves to do nothing but set up a content mill for entertainment journalism. Just look out for the people around you, support what you believe in, don’t exclude people who don’t share your viewpoint, and try not to be self-important.
BE: I consider myself part of several scenes, including the local tiny “new abstract music” scene in prague, of quantum natives, and generally as some outer bounds node in the hypertext internet hive mind of continuous transformation and propagation
Yikii: I’m already dead.
Terribilis: quantum natives gives me a sense of belonging, which is something i’ve always been looking for. despite not having met everyone, it still feels like a family. I’m also part of Xquisite - a collective/party that started in london. We don’t do much anymore but it will always exist in spirit. Xquisite is the reason i started making music, so i will never forget them.
Dane Law: Quantum Natives
d0us: The peripheries of the Demoscene and Netlabels. Others in the QN fam might disagree, but I see QN as the archetypal netlabel; it celebrates and revels in the very characteristics that distinguish this from traditional forms of distribution.
Brood Ma : The anthropocene...
Ptpf: it's hard to say at the moment
Recsund: Quantum natives , jazz house clad rock
Yeongrak: i don't know, none really. I don't feel like i fit in anywhere, i don't feel that im that engaged in any scene-wide stuff at all, i think that is probably mostly self-imposed because i'm not great at interacting with people and making friends.
Aethereal Arthropod: tricky one as lately what could b considered more of a concept of the scenes i contemplate to b part of are merging in a more undefinitory mass of ideas i feel related to , if i were to write something , maybe some post-gorenoise organic sound design high bpm cross digital drone , but generally i don't feel like being part of a scene , QN, makes m feel quite comfortable too if it counts as a scene :)
Stray Landings: What’s your background? How did you first get involved in the arts?
bod [包家巷]: writing on walls that didn’t belong to me
swiʌelized souηds: there was never a time i wasn’t involved in art. i believe being born partially deaf shaped the way i understand sound now.
emamouse:I have been making music in my head all my life. The game has both music and picture, and I became crazy. (There is no power to play now at all)
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: Never been involved in The Arts
BE: my background is in chemistry (organic chemistry and chemoinformatics). I got involved in “the arts” by being a young member of a boys choir, which at one point when jean michel jarre came to my town, was providing the backing vocal to one of his late pieces. The only thing i remember is not knowing the notes to sing and being overwhelmed by the smell of the smoke machine and my vision being completely obscured. In later years, i became too shy to sing.
Yikii: I’m really hopeless.
Terribilis: i did really badly in school. I got basically no gcse’s. Spent all my time doodling in my text books. I tried a lot of different ways of making art but always got bored. Music is definitely the most challenging for me, but the most rewarding, and it’s never boring. I know fuck all about the technical side of music. I don’t actually know what the buttons do. “Art” has always been an intuitive thing for me.
Dane Law: Playing guitar and multitrack electronics in my bedroom, trying to access the otherworldly planes that I heard suggested in the music of Boards of Canada, Jim O’Rourke, Tortoise, Papa M.
d0us:When my older sister bought me an Atari ST for passing a school entrance exam. I didn’t have a joystick for it for a while and no money to buy games so I just played around with a very basic music program and the art program Degas Elite. I finally got my hands on some pirate games but still no joystick- which limited my interactions with these games. So I just listened to the music to the pirate cracktros and the game intros. By the time I got round to buying a joystick I was already into creating music on trackers, messing with graphics and playing guitar badly.
Ptpf : thanks to psychedelics
Recsund: means of interpretation is always a luxury on planet earth especially if there is an audience but if not everyone keeps translating, :) .
Yeongrak: i started making cybergrind in garageband when i was 13 because i found some on youtube and thought “i could make this”, not in a bad way it just made me realize that music production can be accessible if all you have is a laptop.
Aethereal Arthropod: started as a vocalist in different metal subgenres, grindcore, drone doom, death metal, which progressively led to more electronic influences , i started djing breakcore and hardstyle and some funny stuff which opened a door to speedcore and extratone scene where i was part of for a bunch of years, but the ideals and iconography of this genres, the event vibes and the income i was getting from it led to a huge depression so i decided to kill my alias and started from scratch as Aethereal Arthropod, still keep sorta alive my extratone project but i'm not quite active in comparison to the main one.
Stray Landings: As artists, you use monikers which isn’t unusual for electronic music scene, but most of the time there would still be some photos etc. Why the decision to stay (almost) completely anonymous/ hide your real life identity?
Awe IX: for me personally i want to pack as much “art” into whats released, and things like names and images are also places for expression. I don't feel they hold genuine authenticity; whatever you put out there about yourself is already curated and chosen, so there's nothing “real” about your life identity, at least not in how you portray it in a profile or press release.
swiʌelized souηds: i like my anonymity….the internet gives me more. I don’t try to hide myself in the same way that i don’t try to jump into any spotlights.
emamouse:My work is mine itself. so I do not think it is hiding.
for that reason I don't open that artists wikipedia when I'm impressed by listening to others' songs.
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: People are too obsessed with “legacy”. Pseudonyms can be picked up and dropped, without attachment to a“real person”; this allows the creator to be more in control of their own identity. Originally, for me, choosing to remain anonymous was a tactic to force the listener to focus on the sound, without the autopilot bias that comes with associating a certain project with an established creator. It was rooted in”scene politics”. But I think it’s important to tie pseudonyms with “reality”, so to speak. It is important where someone is, where they come from, what they believe in, and how it shapes what they are doing. I think you can provide this kind of information, whilst remaining “officially anonymous”, as far as birth-name, etc. goes. Because for me, guarding information like that is as much a tactic for survival in the performative LARP of “the real world” as it is for preserving some kind of “musical integrity”.
BE: i come from a background that involves posting in internet 1.0 forums, sometimes on niche topics. There i first understood this notion that you don’t need to know the irl identity behind the avatar to judge the posts.
Yikii: I’m a ghost.
Terribilis: short answer: i hate myself. I reject the idea of my appearance being any kind of my art. A big part of that is insecurity but i’ve never been the kind of person to brand myself off of the way i look. the scene in london is a lot about who you know, how many followers you have and what you wear. I can’t be bothered with that.
Dane Law: This is not intentional on my part.
x/o:mostly i’m camera shy but maybe you’ll see more of me in the future.but generally social media makes me feel quite anxious at times as well.
d0us: I haven't really given thought to this. What @DaneLaw said.
Recsund: that is the point, i think most public now are realising that the reality of branding identity is actually false, someone who advertises themselves as themselves. We spend our entire lives trying to understand who we are.. I hope people are realizing that what makes us unique is what is interesting and that we don’t have to imitate other beings to be beings. We can represent stuff but it needs to be from the heart it’s the heart that we respect.
Yeongrak: i hate my face and having my picture taken, also i dont think its important at all. I really wish it could just exist on its own and wasn't something anybody even considered.
Aethereal Arthropod: i stayed anonymous for a long time, but progressively it simply stopped being like this, a couple of festivals used my name publically and i guess i didn't give as many fucks as i should.. I guess it's not something that bothers me anymore..
Stray Landings: How does being anonymous affect the music you make?
Awe IX: for me it's pseudonymous rather than anonymous. I think rather then hide your names, creating a cloud of aliases is more effective. I try to use names like rules to help me be more creative/productive, like a character in an MMORPG, to take pressure off of one project and have others as an outlet that feel freer through creative restriction… so a name goes with an idea of what that project is doing, accompanied by a kinda tag cloud of rules and references to work within.
swiʌelized souηds: i have projects that are anonymous and they will remain that way…swiʌelized souηds is not really hidden. The difference for me is that usually with a name comes some kind of expectation…..i can be more free with my aliases.
emamouse:I’m creating the entire character "emamouse". I think it is really all my life in the future and I enjoy it.
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: More freedom. So I can create 100 new identities per day.
BE: I think when your approach is heterogeneous or multitudinous, working with aliases, partial anonymity etc is a good way to compartmentalize and more effectively occupy niches without contaminating these niches with irrelevant personal stories. However in my personal case I am not anonymous and even released quite a bit of music under my own name, using pseudonyms usually when there is a conceptual focus that justifies it.
Terribilis: people may choose to pay more or less attention to your music if they know who is behind it. This can be good and bad. but I don’t want that bias either way. I’m not completely anonymous because a lot of people do know me personally but i keep my physical self out of it as much as possible.
d0us: As mentioned before, I haven’t tried to keep my identity anonymous, but like @Awe IX I do use different names for different projects for the same reasons- a name contributes to an aesthetic; if certain methods of working and output share similar characteristics they warrant a distinct identity.
Recsund: i am not anonymous ,yes names are more like rules for me and others to understand stuff, but for my case thous names are more in the release series than actual my alias !
Yeongrak: i prefer to not have to think about my real self so i can create something entirely new, anonymity gives you that in a way. I'm not completely anonymous because this one magazine nNZ MUSICIAN published my name and i don't remember ever giving it to them.
Stray Landings: How do you think your creative output would differ if your persona was public?
Awe IX: i think it's more about how many people actively care about your IRL self, and then how much you let that affect you. I find it quite negative in terms of creativity.
swiʌelized souηds: it would limit my freedom to be creative but i do understand
that it would be me doing that not the listener/patron
emamouse:if people known it, my work may be boring. "Concealment" is sometimes very beautiful. :D
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: I’d probably end up “taking myself seriously”
Yikii: nothing will change
Terribilis: i’d probably end up being more of a commercial radio dj type person. not for me.
D0us: No different. I have different projects under different names and I don’t feel the need to obscure the relationships between these.
Ptpf: I can't predict, because then I will with other values and worldview. Maybe
Recsund: lol my persona has always been public, that's what i find fascinating about art and music nothing is really hidden or should be.
Yeongrak: id probably try to make it more accessible and less personal to me, because i care too much about what people really think of me. I've started worrying less lately but not enough to want to make anything public.
Aethereal Arthropod:..nah im not fully anonymous anymore.. Dunno if it makes sense to me to reply this question
Stray Landings: Do you try to conceal yourself during the shows? (I know @emamouse wears a mask during live performances, what about others?)
swiʌelized souηds: no
emamouse:Yes. I will do it for the future. but, as this is a bit hard, I want to quit occasionally. Lol
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: It depends on the circumstance
Awe IX: no, but Yearning Kru performs usually under their own visuals which demand most of the attention.
BE: no, but i do try to restrain myself when it comes to theatrical and performative gestures. To perform in such a way that not seeing me does not detract from enjoying the audio.
Terribilis: When i perform my own music “live”, i have my visuals playing which is mostly footage of me with other faces or inanimate objects in place of my own face. i’ve always wanted to wear a face mask for a performance. But i think extravagant makeup is often my way of doing that.
x/o: I used to wear a mask when I performed live It was a way for me to make work without any connotation of myself at the time-a bit scared to broadcast all of my emotions out there- at least i could hide a little. But after a year, I felt comfortable enough to do it without the mask, slowly feeling it was okay - i felt like it was important it was coming from someone like me...and i was looking for similar people in music as well.
d0us : No
Ptpf ; no
Recsund: no, i feel it is one of the most import times to let loose. And for me doing that through a game engine to strangers and friends is hilarious and i'm learning so much more through the audience during and after (life)
Aethereal Arthropod: nah i don't cover myself, i just go as i am… not even dressed specially, maybe for some crazy event in the future i could make something cool like a mask made of bug carcasses or some dope shit like that but for now i'm quite happy with showing my face on stage
Stray Landings: How is your output for Quantum Natives different from what you do for other labels/yourself?
swiʌelized souηds: every release has different factors involved. My QN release was very personal and i put a high expectation upon it.
emamouse:I am changing it every release. Of course, within the range of what I want to do, I also think about label color as well.
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: The process for creating the music is always adapting to whatever will be the end result. QN has a distinctive way to present their music on the website, with the Google Maps API; it was fun to play with that.
BE: my QN EP is definitely different from many of the other material i released. Some of the work i do is to some extent existing in a vacuum or are like little objects which are more pleasant technical or process-based constructs than elaborately conceptually focused pieces. Specifically for the QN EP it was very important to have narrative coherence and a strong conceptual basis and only then making the EP materialize, making it material that inhabits this world and that reflects new emerging thought patterns. Which are not just goofy cool sounds (which I also have a long standing interest in, though).
Terribilis: it’s not different.
Yikii: defective products with more storytelling. I love my qn album.
Dane Law: QN were some of the first people to really give me support for what I always thought was the weirdest of my musical outputs. QN created Dane Law, and have shaped all my output.
x/o :it was a long time coming. In 2014, I heard about QN shortly after its launch, and had boldly sent them my album‘Mirror Shield’,which to my surprise they were really supportive ...but I didn’t felt like it was good enough to release.
It was three years later, that I finally made Cocoon Egg that I felt I was ready enough to release something. The vision I had for the release really lends to the world-building nature of QN.
It's about building these sonic narratives-each a key into another realm.
d0us: I’ve tended to vomit out material all over the internet in various forms. QN has given me an opportunity to find a home for material that just won’t fit anywhere else.
Recsund: the intellectual reject series and prodancer were made with quantum natives community in mind. And for me they are more human in nature ie they are hip hop albums and the prodancer is a two faced biped that may be sold as a rubber toy later!
Yeongrak: i don't think it was, i didn't really want to do make anything different because i felt that i would be forcing myself in that case and that it wouldn’t be genuine. I want one of those prodancer toys by the way
Aethereal Arthropod: the tracks on my Qn release were quite personal , i tried to choose the ones i was more happy and feel identified with in the moment, but also i try to bring a new vibe with each of my releases, sorry for the blurry reply tho
Stray Landings: The Quantum Natives’ releases are available to listen and download for free. @Awe IX, why did you decide to do so? @All, how does it affect your decision to work with the label?
Awe IX: @Brood Ma and I decided at the beginning, though i can’t remember there being a concrete reason back then, perhaps because it seemed simpler and made more sense starting out (something i still totally agree with now). The more experience I get with other labels/releases, i still can’t see any benefit that money brings to the release process, apart from the effect it has on the way some press organisations treat you.
bod [包家巷]: Ideally wouldn’t we live in a world where survival was free?
swiʌelized souηds: it was/is important to me. i like my art to be free.
emamouse:Currently, I need money to live for art, so I need work. To make only art and live, I have to make money by art. but, in order for me to make money by art in the future, I need to have a lot of people listen and see my art. so, free download is the most effective means. That's why I agree.
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: I prefer that there is no paywall to access what I make, at least not digitally. If they want to come to the show, they can pay for that if they want, or just sneak past the entrance, but it makes no sense for me to charge money for digital music. Apart from the ethics, it’s also just not feasible to generate any substantial amount of money unless I become a machine of content production. Anyway, last time some label tried to pay me for some release, I think it was £0.40 pence for the whole year. I could never survive from this kind of income, so why bother? There is no infrastructure for doing it reliably.
BE: money causes misunderstandings, conflicts and sometimes unrealistic expectations. Also, i would say that the “internet ethos” or the “online mindstate” is something directly opposed to the market concept of purchasing music on a platform. I see the decision to offer the releases for free to be in line with the expectations of the never before seen widening of horizons caused by soulseek batch downloads. Also, before “vaporwave”-related material degenerated into a vinyl collector’s graveyard, the modus operandi of dropping a mediafire link full of puzzling material was something that added to the mystique of these releases and similarly solidified as this thing that is really connected with the P2P state of mind.
Terribilis: as broke as i am, i’m happy to put my music out for free. I’d rather make my money off bookings or possibly releasing some kind of merchandise. I can’t afford to buy other peoples music after i’ve fed myself and paid rent for the month. I want people to enjoy my music and not feel guilty for having to illegally download it.
Yikii: after I set my self-release album $10 and no one support me then all of my music is free now. Free is a great way to get more people to listen the music.
x/o : I think starting out, it works well without any barriers-That said, it’s really means a lot to me when people support by sharing, commenting,etc..Sometimes we forget there’s a lot of value in non-monetary support, that could translate elsewhere at another point in time.
d0us: I don’t believe in the ownership of ideas or intellectual output, including music. I have no problem if someone distills that output into a physical artefact like a record or merch and sells that, but selling bits and bytes to people is ludicrous. If people like your music they will buy merch or come to your gigs- no need to create resentment by selling them thin air.
Recsund: for me quantum natives is not a label it is more of a virtual realm that i am proud to be part of and excites me still what i could make for it. I makes me want to make my more vocal confusing shit.
Aethereal Arthropod: i eventually upload all my music for free to my bandcamp, i'm ok with that, if someone wants to donate something i like the people to pay what they believe my music costs even tho i feel this is a sort of utopic reply i tend to have faith in humanity , lol
Stray Landings: How does producing music to distribute for free differs to when you try to make a profit?
Awe IX: 1) I doubt this type of music makes a profit through sales; it seems most profit is made through live shows, but I could be wrong. 2) with monetary worries it will only make artistic
choice more conservative imo, as your basing things on a simple quantifiable metric (money) instead of the abstract multitude of possibilities that art can be.
I think money plays a tokenistic role in many music labels where it signifies a “real” release which therefore demands more critical focus/attention, which I resent, or it essentially “buys” press from media outlets that imo should be open to cover anything regardless of how much money is behind it. But it is a reality that we interface with an industry, with companies and brands, so everyone has their own strategies for that game.
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: I am still trying to figure out how to make a profit from music without sacrificing integrity or sanity. Probably this will involve attempting to exploit corporate funding.
BE: i have a special perspective on this, because I am a collective member of an organisation that releases physical media and organizes irl shows (called Genot Centre). I can definitely confirm that “the struggle for viability” is a very serious concern, where with every new tape and every organized action, one has to consider if it will be financially ruinous - and of course, this colors the selection and the curation. However, the weigh off of having a nice physical artefact or a memorable action is in our case definitely worth it. As suggested above by @Awe IX, unfortunately when it comes to even being acknowledged by some gatekeepers, some markers of legitimacy, such as a physical release or an well known organisation, are still necessary.
Terribilis: i’ve never done music for profit. I think that definitely started from insecurity - not thinking my music was good enough to put a price on it. I’ve definitely come a long way from that perspective. But either way, as i said in my previous answer, i want everyone to be able to enjoy my music regardless of lack of funds.
d0us: As a producer it is no different. I can see how a label owner’s curation and timing of releases can be affected by financial concerns.
Recsund: the producing part should be nothing to do with the money inspiration. It’s the time it takes and understanding what platform you are about to release something that is important. For quantum natives there are things i want to release for free because of the right place at the right time for the community. Beasuces the pay back is the krew and how much everyone can benefit. Everyone being beyond the net label too!
Stray Landings: @Awe IX, what’s your “business model”? As in, how do you manage to grow the label without traditional cash flow situation? Where do you want to take the label in the future?
Awe IX: the label “grows” as the map/world grows, just by having more content and a bigger, stronger network of artists, the only important thing. Growth is more projects that involve more artists in collaboration, either through funded live events like Grace Nexus or the upcoming Silent Night, or collaborative media projects.
QN is many things, between a label, a collective, a network, an art project, but it's not a business, and to become a business it would have to transform so much as to be unrecognisable.
Stray Landings: @All, what’s your goal when releasing music?
bod [包家巷]: make people feel and think, but like too much all at once
swiʌelized souηds: to make something that i actually like and will like even more in 10 years. It’s a bonus if others like it as well.
emamouse:The songs themselves are made for me, but as consciousness to others occurring at the time of release, "You can be anything in your head, it is easy to move to different dimensions. I am trying to tell people that.
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: MAKE BANGERS, GO MENTAL, THINK MORE, CONFUSED MASTURBATION, ATTRACT FREAKS, BRING FRIENDS TOGETHER, FORGE WEAPONS
Awe IX: to have the creative output mesh with my life as constant abstract documentation
BE: the goal is to propagate ideas and approaches which i think are underexposed and move things forward. Of course, that process in itself feeds back on itself. So more concisely stated - my goal when releasing music (both as a music producer and as a label owner) is to help catalyze the movement of novelty production in the direction that feels natural, but adventurous.
Terribilis: to stay true to myself. I aim to put every ounce of my being into the music i release. People have told me that ‘interlude music’ has helped them through some very hard times - i’m so happy that this translates because that release was made during one of the toughest years of my life. I want my future releases to continue to reflect my state of my mind at the time of creation. I hope to put out something heavier next time with QN… it’s been a chaotic time for me, so i’m trying to make some mind melting noise.
Yikii: build a world beyond reality, and heal the pain
x/o:personally, for me writing music is a way to deal with issues, it’s my cathartic release, healing and self care. When it’s put out into the wild, i hope people will connect, relate or feel empowered in some way.
d0us: On one hand, my goal is to create an outlet for my tinkering with interesting creative processes, but increasingly I use it as an avenue to voice my take on the world around me, and have that challenged.
Recsund: to make a bubble to relate too
Yeongrak: i have a lot of feelings i think i need a constructive outlet for and i’m really thankful that i found one.
Aethereal Arthropod: bring a wider insectoid imaginarium to the listeners,erase the general nonsensical trauma towards this phyla, fulfill my inner self
Stray Landings: @All, why did you decide to release on Quantum Natives? @Awe IX, how do you decide who to work with?
Awe IX: it’s honestly different every time, I like idiosyncratic audio and visual online expression x
swiʌelized souηds: because i believe in Quantum Natives’ overall aim and i trust @Awe IX completely.
emamouse:To be honest, I didn't know anything about most labels. But before, Xquisite Nihil invited me to compilation. And I thought X and QN are very cool.
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: They were one of the only labels at the time that I was in contact with that were doing something interesting with how they were releasing and presenting the music. Also, after I met @Awe IX, James [@Brood Ma] and Cliff [@Recsund] for the first time in person, it helped me decide that I wanted to work with them.
BE: our online spheres collided at the right time, and my conceptualization of the BENELUX ENERGY project seemed to naturally drift to its appropriate outlet, as something really daring and out there that needed a context that was equally radical, where the listeners is expected to listen with an open and broad ear
Terribilis: when xquisite was still pretty active, we did a compilation with quantum natives. I loved being a part of that, and in that time i got to speak to @Awe IX and built up an amazing rapport with him. It just felt right.
Yikii: it feels like complete a dream.
Dane Law: i trust the aesthetic and ethical vision of @Brood Ma, @Awe IX and @Recsund
d0us: For a long time I considered myself purely a fellow traveller of @Brood Ma and @Awe IX - we share similar influences and takes on art and cultural production. I appreciate QN’s aesthetic and it always resonated with me but it was a while before I created something that would feel at home at QN. @Awe IX has this ability to demonstrate immense empathy even when he’s thousands of miles away, whether it be through a facebook chat window, or the blank stare of an avatar in an online survival game. I have a habit of throwing him half-formed ideas and thoughts and he always makes sense of it somehow. If I hadn’t met him IRL I would’ve already convinced myself that he was indeed Wintermute.
Awe IX: @d0us <blushes digitally>
Recsund: because it was my close mates label and no other label had approached me, so was super stoked to be part to its initial setup.
Yeongrak: @Awe IX asked me to and i was really happy about it, i think its an awesome label.
Aethereal Arthropod: because of the beautiful vibe and diversity of sound and conceptualism behind it
Stray Landings: What’s the role of Quantum Natives in your (creative) life?
emamouse:It has become really big for me now. I have been keeping thinking since I was a child, "What I think is beautiful is uncomfortable and unacceptable to others". That made me lonely. but, here I am really moved by what people thought beautiful and accepted. My loneliness has become truly healthy loneliness by this.
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: A respectful and familiar outpost in the quagmire of music industry
BE: it’s a very big influence in terms of approach and aesthetics on my taste and sound approach and therefore also informs my curation and output
Terribilis: it gives me a sense of belonging. That’s something that’s very important to me as someone who struggles with confusion of identity. I might not know who i am day in day out, but i know that my music has a home with quantum natives.
d0us: It has introduced to me to some truly unique artists for a start. QN also happens to be the only appropriate outlet for some of my audio visual work- if QN didn’t exist it just couldn’t be released.
Aethereal Arthropod: makes me feel really relaxed in terms of feeling like belong to somewhere , till the familiar level i'd even say
Stray Landings: What does Quantum Natives being a collective mean to you?
emamouse:I love it because it's like a race born on the web. (This does not mean that it's exclusive. )
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: It is a nexus of potential energy.
BE: the formulation of quantum natives as a collective is interesting and commendable because i see this formulation as the opposite of more hierarchical systems, where there are for example the financers, the influential curators and the “alumni” each on a different power level of an org like RBMA.
Terribilis: we are a global family that’s always growing and developing. It feels good to be a part of a group of people that inspire me so much and i think the feeling is mutual across the whole “collective”. As @BENELUX ENERGY said, it’s very different to other organisations. There isn’t some kind of corporate head honcho. There is genuine unconditional love and support for the music and the individuals involved. There is no ulterior motive.
D0us: Exactly what @emamouse said
Recsund: opportunity knocks while still in my crocs
Aethereal Arthropod: i sincerely don’t know
Stray Landings: A lot about the label seems quite conceptual and academic. To what extent do you, the artists, relate to its philosophy? I.e. virtual world making and everything that comes with it.
bod [包家巷]: the internet saved my life and brought me a purpose thus I believe the concept of “virtual” to be severely othering and limiting in its scope of what the human body is defined as, for I, me, am as much a data set and networked interface as I am flesh and blood.
swiʌelized souηds: i feel uneasy trying quantify what Quantum Natives is as a label…..i like that
emamouse:Even though my actual body can't fly in the sky, I think that the body I made on the web can fly through the sky anytime. It's very important for my spirit. I can go anywhere in my head. And it's almost the same that "I can go anywhere". The "fence" that exists in the people's head is almost useless. these are my philosophy. and I think that the activity of this label is close to that idea.
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: To me, Quantum Natives is a platform; there is nothing academic or conceptual about this. But it’s true that the music is sometimes conceptual in nature, or maybe those affiliated with Quantum Natives will use apparatus of academic form to present something. Many people are fixated on building their own worlds, especially in music. Sometimes this breeds a fixation on “complexity porn” and results in exclusive cults of music elite. What Quantum Natives has done well, I think, is provide a place where those worlds can somewhat intersect.
BE: i don't think academic concepts have to be invoked to “get” this state of existing in a virtual parallel place. I remember as a child i had some picture book related to mmorpgs and also had some pre second life online space which seemed to be mostly a place for pre dotcom bubble silicon valley CEOs to chit chat and have cool avatars and colorful 3d architecture. Of course, this really appealed to me at the time.
Yikii: the virtual world seems to show a higher dimension of freedom, but it more like another form of iron cage to bind yourself.
d0us: I am uncomfortable with using the term academic as a qualitative term. It implies that the project is beholden to theory- QN has never been described to me in such a way. @BE’s description of QN as a ‘parallel place’ is key for me; releases in the QN world are internally consistent in theme. However a QN release can mean one thing in the QN world and something else IRL, when we learn more about the context of its production. @BE’s current release is an example-learning of his Belgian origins explained a lot ;).
Recsund: for me i’ve always made lp’s as places so quantum natives is a great platform and still one i feel in its infancy
Aethereal Arthropod: i believe many of my compositions exist as digital representations of abstract entities/arthropods, i like to compose the atmospheres and sound dynamics of that “biology” i think that could b the fauna existing in that reality
Stray Landings: What do you think of the future where our conscience lives online without being tied to physical bodies?
Awe IX: I see it as once your consciousness is invested in something, be it a book or computer, or daydreaming, at that time its not tied to the physical world. Time when you actually are fully in the present/your body seem to me often like times of panic. Life is already fractured into uncountable pockets of trance-state tempered by varying levels of discomfort.
bod [包家巷]: Why is it the future? What makes you think we haven’t been there done that a million times? The “progress” of technology through a linear map of time is an illusion that ignores the recurring genocides of history. This idea of a bright or medium or dark future is an arm of expansionist terrorism.
swiʌelized souηds: i do the best i can to manage in the present, it’s not easy…..being present, for me, is the best way to be prepared for the future.
emamouse:It's ideal for me, but I can't yet predict what changes it will bring to my (and people's) own spirit and physical.
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: Basically what @bod [包家巷] said. Also I would never entrust my conscience with a hypothetical Big Data Mind Upload as a Service. I already don’t trust the internet with my “real identity”; why would I trust it with my conscience?
BE: it would be nice but i have a few practical objections. First, techno-optimism and transhumanism are ideas that present utopias on some far horizon and can make people forget to solve acute matters first. Second, if the technology would be there, there would be major ethical issues including who has the right to be uploaded to an online existence, who has the right to determine the physics and limitations of the virtual space, etc, who decides which opinions/souls need to be “taken offline”. I think a partial and more metaphoric uncoupling of the conscience and the body through immersion is more interesting line to explore because this is already relevant to how we spend our days currently.
Terribilis: it’s a good thing - in a sense - for someone like me, who has become increasingly introverted after being alienated by the IRL music scene. It’s not always good to be isolated and sit at home on your computer 24/7, but without the internet i wouldn’t be who i am today. My existence on the web has inspired a lot of what i do.
Awe IX: I think with regards to the name “Quantum Natives” and the transhumanist origins of it, I don’t think it really reflects what happening with the collective now… there was a lot of interest in accelerationism, and the more dystopian aesthetics of futurism, at the conception of the label (the name grew out of @Brood Ma’s personal projects and live events originally before a label was thought of)... i think the transhumanist tech future thing has become a lot more vestigial as the label has grown with everyone’s contributions
d0us:I agree with @bod [包家巷] and @BE. Humans have this pathological compulsion to reproduce inequalities and existing social structures wherever we go. I would add that we can’t predict future worlds, virtual or otherwise without interrogating the priorities of current/existing political-economies of culture and communication.
Recsund:our consciousness is already not just tied to our bodies and i think it is something we really underestimate everyday second. In the future i believe we will be more connected to our physical surroundings as we may learn more importance of it’s synchnos relationship with us . But also agree with the above reality is like different forms of trances it’s these forms of trances us lot are having fun with in any extent .
Yeongrak: i look forward to it, i would love nothing more than to not physically exist
Aethereal Arthropod: there's days where i could reply during hours to this question, but resuming it exaggeratedly i can't wait even tho the potentialism of being an endless inconmensurable infinite nightmare is quite high XDD
Stray Landings: What do you think of the festivals taking place online? E.g. in Minecraft. Would you want to do something like that?
Awe IX: I read about it and got FOMO. Yes, in some form, gathering online in a more interesting way then a FB chat window is the goal. @d0us was talking about doing something in DayZ, where he and I have spent some lovely times digitally hiking through Chernarus.
bod [包家巷]: I’m waiting for a full realtime 3D scan of a festival to be broadcast into surround sound rooms full of people wearing VR sets around the world, and then I’ll say yeah, looks a lot like church doesn’t it?
swiʌelized souηds: @bod [包家巷] Haha!
emamouse:It's fun! I want to join a lot!
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: @Awe IX I would contribute to that
BE: i've logged in to some online parties (or at least, online events where people were streaming music and video and there was no physical location and every participant was at home) and it's always fun
Terribilis: it’s my dream to do something like that. Especially since i get anxious talking to people IRL. i’d love to exist in a virtual world.
Yikii: social phobia in virtual world x
x/o :would love to- actually.
d0us: I was in the audience at a talent show hosted on the NoPixel RP server for the game Arma 3. I like that it stuck to RP rules- which means everyone was still in their in-game characters, there was no meta-knowledge from IRL and no use of mechanics external to the game. That meant all performances were streamed in in-game voip-not discord, and people had to shout over the music to hear themselves just like at a real festival. It also meant the performers and audience were not immune to the in-game world’s going ons: gang fights; corrupt politicians trying to bribe the contest judges and conducting stump speeches to their electorate and getting arrested by the cops for causing trouble in the pit. Although I think it's fun to meet people online en masse at something like a virtual music festival, holding them in ‘another world’, with its own rules, economy and politics, gives the event an element of unpredictability, tension and a feeling that things can fall apart any minute.
Recsund: yes digital festivals are great idea but will be heavily criticized by outsiders due to their initial limitations but over time peaple will gain confidence and audiences will respect what's going on due to laws and technical abilities.
Yeongrak: its great that they exist and i’d like to be a part of one.
Aethereal Arthropod: i love it, there should b more and i'm sure there will in a not so far away future , and of course id love to b part of , wouldn't doubt to contribute at all
Stray Landings: Do you play video games? If so, which ones?
Awe IX: yes, Horizon Zero Dawn’s whole Gaia AI pantheon concept was inspiring.
bod [包家巷]: only the ones other artists make. Schwestern Sisters is a good place to start.
Awe IX: Sovereign is going to be good too…
emamouse:I was playing NES, SNES, PC engine(Turbo Grafx 16). I only have animal crossing now.
𝔴𝔥𝔦𝔱𝔢 𝔤𝔬𝔟𝔩𝔦𝔫: Age of Empires, Garry’s Mod, Heroes of Might and Magic, Rust, Mortal Online, DayZ, Crypt Worlds, Oikospiel Book I, Words With Friends
BE: In 2018-2019 i was playing morrowind and deus ex.
Terribilis: mate. I bang out the sims 4 every single day. With bare expansion packs too. It’s quite nerdy and i feel like a child cos of it but it’s a great form of escapism and i’m all about that. I’m no good at first person shooters or anything… but yeah i love simulation games. Theme hospital was also a favourite of mine. Gonna go play some games now… anyone remember Dogz? And Babyz? They were sick. @emamouse, i am craving some animal crossing right now. Need a new nintendo. Ok im out!
Yikii: The Path, Bad Dream, The Count Lucanor, Fran Bow, Goat Simulator, Rabbit rush, Frog Fractions, Stardew Valley, Minecraft
x/o : Yes, I stopped playing for 10 years but now that I have a ps4… Just finished Persona 5, Currently playing Yakuza Zero. Nier: Automata and Kingdom hearts 3 are next on my list…
d0us: I like to get lost in the art style of old Bitmap Brothers games like Gods, Cadaver and Speedball 2. BB were like a bizarro QN- a game studio that crossed over and acted more like a record label. I think I only completed 3 games: Bladerunner, Another World and Mercenary 3 (one of the few games I bought as a kid; it had a printed bus timetable which was crucial to getting around!). Also: DayZ, Arma 3, Rust, Squad, Elite Dangerous, Sub Rosa, Cities: Skylines, Shadowrun, Tabletop Simulator, Atlas, Angels Fall First.
Recsund: yes (scorn, agony, rhem4) i used to only play one game at a time to be 100% honest to it. But now my 100% honest game, and hardest is my own the one i build. So these days i enjoy playing scary games because i am very sensitive to atmosphere and there for can not play them for long. so end being inspired and building parts for my own that are not just about fright techniques. Can’t wait to make a quantum natives multiplayer. I’ve said it once and i'll say it again, my dad used to say “this is not riven, riven is just a game” when i was on walks.
Yeongrak: i do, they play a big role in my art. I like making texture overhauls for things and just walking around in them, using the game world like a canvas. Mount & blade: warband (mostly mods, one particular one called paradigm worlds), stalker series (mostly mods also) and recently kenshi have all been things i've put a lot of time into.
Aethereal Arthropod: were more into it back in the day, nowadays i spend a lot of time in nature , but if i were to choose a game that influenced me considerably id say zelda ocarina of time, yeah… im a classic hahah