Thinner, Autoplate — en

Thinner promotes somewhat of urban-dub (as Stephan Betke from Pole called it) and releases mostly techno and house, and Autoplate produces almost exclusive patterns of ambient, drones, idm, electro-acoustics and the like.

   ru | en


Ages ago, in 2003, I lived in far Kiyv, Ukraine. Then I was buying CDs and downloading illegal mp3s. Nothing seemed to change, but about a year ago I noticed thereabout an interesting independent label Nexsound with Andrey Kiritchenko behind the wheel. I decided that his music was worthy of some special attention, so I was very surprised when discovered that its huge part was distributed for absolutely free. The first albums I got legal for no cost were Kiritchenko’s and The Moglass’ untitled collaborative work [apl013] and Kiritchenko’s 00.00 (a suite of the midnight) [apl002] published on Autoplate, a German online label. This is how I struck up my acquaintance with online labels per se and with Thinner/Autoplate as one of them. So, Thinner is what I’m going to jabber about.

Thinner was launched in 1998, when a Swede Thomas Jaldemark took into his head to start a net-label to be focused on minimal-techno. The main incentive to that was his desire to release his own music and tracks made by his friends. It was the start of the 1st Thinner generation, which attracted definite attention — the label got some popularity amongst musicians and demos came in flocks. But later on Thomas became bored with minimal-techno, and started publish his idm and ambient stuff on other labels. Besides, a new online creation Abnormal Music got him completely, so Thinner was provisionally stopped as an initiative. However, in 2000, he decided to return to Thinner and that marked its 2nd generation. By that time the label’s motto sounded «quality then quantity». And the 3rd gen was born with the 50th release, when Thomas submitted to mp3s as the main label’s format. Now the chief of this non-profit concern is Sebastian Redenz; he met Thomas in 2001 and forced him to move far forward, having showed him that the hard/detroit techno (which was the main label’s profile then) lacked lots of innovation. Sebastian came into Thinner with the dub-techno, static minimalism, urban electronics and other new-fashioned electronic schools. As Sebastian turned out to be a good organizer this is he who decides today what to publish and how to arrange the work of the international Thinner team: sound producers, designers, and musicians. And this was he who started the new brand, the Thinner’s sub-label Autoplate. By now, the roles has divided as follows: Thinner promotes somewhat of urban-dub (as Stephan Betke from Pole called it) and releases mostly techno and house, and Autoplate produces almost exclusive patterns of ambient, drones, idm, electro-acoustics and the like.

I’m not so familiar with Thinner, ’cause I am hardly interested in such music. But several examples evoked some response.


Dolby — «Dub Expo» EP [THN008]

Thinner, 2002

The well known Basic Channel school. Pseudo danceable 4×4 with the deepest dub-delay and lots of bass, the classic sound of German minimal-techno. It would hardly imply moving your bums — rather slightly shaking your head following the beat. But it really demands. The music is elastic and tense, its calmness is dummy and delays are not from the sunny Jamaica, but from a club in a dark basement, where the buffaloed guys stay quietly following the beat by shaking their heads and scanning an endless psychedelic soundtrack on a big screen.

But the release wouldn’t be so good, if it didn’t contain the track named Outward, the last one in the track-list. The guys in the club would fall off their chairs in a moment if Marko Furstenberg (the human Dolby’s name) starts playing such an intense hack. Well, most likely, the German clubbing history knows such fallings. Outward is tougher and more energetic than other tracks; it’s far from minimal-techno and it gets much closer to more schizoid and brisk music.

mp3, 192Kbps, 44KHz


Danny Kreutzfeldt — «Protolith» EP [THN016]

Thinner, 2002

Frankly speaking, when I first downloaded and listened to the EP, I wondered — why Thinner? The point is that a Danish Danny Kreutzfeldt had already released one album through Autoplate, which seemed to me to be not so interesting. It sounded hundred per cent ambient and certainly not techno-house-urban-dub-what’s-else. The first song on Protolith is also ambient: some rubber is slowly stretching out, sounding muffled and toneless, without haste and emotions, without any direction. There’s no need for a direction, this music is just to fill the void. But the second track crosses the T’s; most probably, the album is a variation of micro-house with drops of click’n’cuts, so it fits Thinner well. The sound of the EP reminded me Tlon’s works (Jean Sebastian Raux). But Tlon makes music for thinking it over, while Danny Kreutzfeldt just for listening in. However, the music is not as good as that it was released through Thinner. And I’ll eat my head if Sebastian Redenz wasn’t right when writing in the press release that this music is better perceived at night. Actually, this is the first rate lullaby and nothing more.

mp3, 192Kbps, 44KHz


Dick Richards — «Costa Daurada» EP [THN045]

Thinner, 2003

Dick Richards is a Canadian based in Toronto. He’s a man with a weighty music experience. In the early 1980s, he played bass in Canadian punk bands, but later changed his mood being inspired by dub and reggae. At that very time he moved to Europe (Barcelona) and then to Australia (Sydney). Apparently such life turnover played its part, so when Dick returned to Canada in the 1990s he dived into electronic depths and started working quite successfully. For a long time he collaborated with No Type label, but later on he was noticed by the German Raum…Musik. So, Dick signed a contract with that label, but remained a member of No Type.

The most interesting thing is that there’s no punk in Dick Richard’s music, it’s been torn up by the roots. What it has instead are strict dance rhythms and lots of bass. One would hardly find the dub’s influence as well. Generally, this is the music for a dance floor, the high-quality Macintosh techno. However, there is something deeper there, in this music. And I think it’s Dick’s careless attitude to what he does. He watches dancing youngsters and laughs in his beard while thinking thoughts that just aren’t designed for the young heads.

mp3, 192Kbps, 44KHz


As for the rest Thinner’s releases, I wouldn’t say they are too varied. Maybe, there’re some more interesting things, but to find them you would have to download about 60 releases. I’m too lazy to bother myself with. I have nearly took a shot, but after a couple of house compilations and albums I gave up the freak. There was no reason to stuff the disk space with what is to be forgotten quickly.

But Autoplate turned out to be a real treasure. After downloading and studying Andrey Kirichenko’s albums, I started to thoroughly research other releases. So, I decided to download the whole Autoplate’s discography, ’cause some of the items were worthy to get further. They were worthy even more.


Andrey Kiritchenko — «00.00 (a suite of the midnight)» [APL002]

Autoplate, 2002

This is an illustration of the night life, which was painted at night, when Andrey’s small son usually sleeps and doesn’t try to dismantle his father’s computer. The release became somewhat of a classic. A host of musicians made a host of 00.00 remixes and a host of web-zines reviewed the album.

00.00 is an example of Andrey’s ‘rhythmic material’ as he describes it himself and the term fits the kind of this music quite well. There’re too many things inside it and it’s not easy to describe it clearer. There are many glitches, but they are not click’n’cuts. There are lots of rhythmic and deep-bass splashes, but it’s not techno. It sounds clear and dimensional, but it’s not ambient. Sometimes it expresses quite pleasant melodic passages, but it is certainly not idm. All the above are rather a set of utilities used by Andrey to express his night mood. And he does this perfectly: track titles and their development, sound and melodic 100 per cent fit the description of the night objects/occurrences. Polnoch’ (Midnight) makes one give a yawn; Rassvet (Dawn) associates with the morning mood when I wake up very early for no reason; listening to Sumerki (Dusk) I feel the beginning of the nightlife with my whole being; Noch’ (Night) is a drowse mixed with reality. The real movie!

And at the same time, each track is very versatile and complicated; thousands of hardly observable sounds-insects spend their short lives feeding sound giants or leaving spots on light bulbs. From the structural point of view each track on the album is a model of the «natural musical selection».

mp3, 192Kbps, 44KHz


Vultrapia — «Autopianotationalismasoschism» EP [APL008]

Autoplate, 2003

Vultrapia is one of the droning initiatives of Jeff Surak, head of the Zeromoon label. Vultrapia also includes a Puerto-Rican Jorge Castro and a Russian Yann. Jeff was not very satisfied with the way this album had been recorded; he complained of the difficulties in material processing when each of the participants is somewhere far away. Jeff liked the way they prepared the previous album when the trio was sitting in the studio and making music together. But the most part of Au…schism was assembled by Jeff himself after a considerable preprocessing made by Jorge.

I was a little disappointed after having downloaded Au…schism; it seemed to me just another example of drones and soundscape. Then after about a week I got home exasperated after a boring house party, put Vultrapia on and was immediately taken off by the immense cloud of the international electronic roar.

The most part of sounds in the album come from natural sources such as guitars or voices. The track names are unknown but enigmatic Spanish words: Playa Resaca, Arecibo Radio… The romanticism of the sound-processing is bulky, massive and tearing at the seams, but it still can raise you above the ground just as a decrepit aeroplane, which brings tourists to the ancient Indian cities.

mp3, 192Kbps, 44KHz


Johan Wieslander — «Gas» [APL015]

Autoplate, 2003

A Swede Johan Wieslander specializes in low level music; he makes it from sound waves, obtained from the rough sources such as recorded or produced digital signals. He delved into this affair in 1994 and his track was included into a Mille-Plateaux mp3 compilation in 2001. Now Johan is very interested in experimental minimalism. So, this interest found an outcome in an hour of one of the most interesting net-releases.

The music is absolutely naked. Its skin and flesh were tore off so as some of the most important internals. And it’s still living, though with its own oddities, but inexpressibly lively. I think there were just few musicians who succeeded in making almost every sound arresting while never transgressing the bounds of passionless radio electronics and unfriendly cold post-sounding. Among them was Pan Sonic, for example.

mp3, 192Kbps, 44KHz


Konrad Bayer — «Shall We Go To The Park?» [APL021]

Autoplate, 2004

A Munich based guitarist Konrad Bayer is one of the fresh hopes of the experimental scene. Certainly Konrad makes music that works over a long period of time and he makes it without exotic complexity, with a high level of simplicity. There’s something wise, pedantic and inscrutable, but at the same time quite understandable: for brain or body, no matter.

The basic musician’s instruments are a guitar and an old game console Atari. They generate tones of loops, few rhythms; classic guitar passages are not in the least classic. There’re many post-guitarists who produce endless melancholic howls or senseless abstractions. For sure, there’re some interesting representatives of the guitar independent amongst them: Derek Bailey, Olaf Rupp, Joseph Suchy; moreover I like much guitar works of The Moglass. But they all dwell on their own orbits, which are hard-hitting by common dwellers, who can only be delighted with insanity and strangeness of their music, but no one moves on to the way of understanding it. So Konrad Bayer stays within the limits of sensible sounding, packing his own guitar feelings with it, penciling it with the non-importunate electronics. In my opinion, Shall We Go To The Park? is an example of the fundamental electroacoustic, which wouldn’t mind to pretend to be comeliness so that one could understand it. And I appeal to the whole Mesoamerica pantheon, he does this very reasonably.

mp3, 192Kbps, 44KHz


Normal Music — «Let’s Do Really Strange Things And Call Them Normal» [APL022]

Autoplate, 2004

Yeah, right, let’s do really strange things and call them normal. We will stay normal people with no unreasonable pretensions and we will not show off acting in strange ways and thinking strange thoughts and occasionally getting into strange conditions. The normal way is to be abnormal.

NM is a trio of a Swede Thomas Ekelund from Fukk God Lets Create!, Jeff Surak from Zeromoon, and Raphael Irisarri, the composer of The Musique Concrete Ensemble. What they do is gathered from lots of sources: there’re field recordings and synthesizers, vital bass and ear-aching droning ropes, resonant holes and noise. This is a clumsy audio-mass astonished that there are so much incidents happening inside it.

This music made me think it over thoroughly. It lacks over-sharp sounding to call it underground. But at the same time it doesn’t haul to get at least techno-level of normalization. Although it sometimes sounds quite technocratic this is so because of an ulterior motive.

The work in general is a little bit weird: the working factor, which came out of attention of many modern electro-acoustic projects. However, the trio treats the music ingenuously and calls the tracks with devil-may-care attitude: Machines Startle Me With Great Frequency; Pills, Pills, Pills For Mental Health. Oh, there’s another one, Caustic Teeth Drilling Exercise. Isn’t it marvelous?!

mp3, 192Kbps, 44KHz


The Strange Things press-release by Jeff Surak on Zeromoon notes that Autoplate is a label for music designed for headphones. I was wondering what the label itself thought about it, so I contacted Sebastian Redenz, chief of Thinner/Autoplate.

Why are you doing it, in general? It seems absolutely enthusiastical, at least for me. I suppose, you make some money turnover (mainly, from live gigs, t-shirts sales and rare CD issues), but I doubt it’s enough to run the whole label, isn’t it?

«We do Thinner because it’s about the music and community, and making the music accessible to people in all parts across this planet, who don’t have the financial resources either to buy records or a record player. We don’t like discrimination same as we don’t support the music industry and their mechanisms. As the project is non-profit, there’s any money made for me personally — I’m just a passioned music enthusiast who loves the music of my friends. Since we’re a netlabel who focus also on touring and playing live, we can make it available for active artists to play gigs, and this is where they earn money, same as artists who record for companies. There are some merchandise, and with the profit made from there we cover our expenses from promoting the releases offline.»

Yes, your label obtained reputation of a «live» structure — your artists take part in festivals, they put their music on the market through other labels, etc. But anyway I think it won’t be wrong if we talk about a «Thinner-Autoplate team». Kiritchenko, Jean-Sebastien Roux, Benfay — the same names occur in different projects. Was it your original intention, or it just appeared by itself?

«By times I used to receive music that wouldn’t have fit for Thinner, but still was excellent enough to get released in some other way. As you figured, many Thinner artists use to work on other projects that are beneath the Thinner sound, therefore the idea was near to create another outlet for it.»

You do the qualitative outlet. Your releases go through all the standard pre-releasing stages: mastering, artwork design, etc. I think you have great sound engineers, because the resulted mp3s sound almost like true CD-tracks, much better than music from many other online labels. Everyone knows that mp3-compression algorithms don’t fit all the requirements of, for example, clear sounding of high frequencies. Are you using some non-general convertion software, or perfecting music with some restoration filters after compression?

«Mastering is a very important fact and may not be forgotten for releasing music, no matter if physically or as mp3s. One fact of the music we release on our labels is that we must feel a proper production behind — the raw material must already «sound» well dynamically, so we know there’s a producer behind who knows how to handle his software. Our mastering guys Roland Fiege and Benjamin Fay are wizards of a proper mastering through long time experience; the result are crisp sounding .mp3s that you can indeed play on a club p.a. — it is important for us to make those Traktor users out there clean music available that goes hand in hand with with physical records. Many other netlabels publish music that is very hard to play on p.a.s, either because the bitrates are too low which make the sound wobbly, or because they don’t care about mastering.»

You know, I like very much music issued on sub-Thinner label Autoplate. But in the LIVE GIGS section at your web-site one can find announcements only about Thinner artists playing live somewhere. I think that’s the Autoplate’s musicians make their products primarily using internet as a raw music material transfer system. Autoplate’s portfolio is full of internet-projects releases and compilations, while the Thinner artist is mainly just a single person with laptop. I think it’s too hard to gather all Vultrapians in one place at one moment?

«It’s obvious that we did mainly concentrate on evolving Thinner in the parts and therefore didn’t find the time to maintain a prolific growing for the Autoplate Label — but this is changing right now, as there’s a pile of releases queued up for the next time. During this process, there will be livedates inserted on the page of Autoplate artists, because I’m sure there’re enough of them playing live aswell.»

Sebastian, and what about your music? The first APL release Bauhaus included your composition, and I must say, I liked it even more than the others. Your track was impulsive and energetic, when the others were close to ambient, drone, and some sort of idm stuff.

«Thanks. Indeed I stopped music making after those single tracks on Autoplate and Thinner, since I am more fine with the position of the organizer and manager. I also started to study, which keeps me really busy.

I know one bad side of life is sometimes that the day has just 24 hours. There’re much more interests I have aswell, but simply lack time aswell. I want to do music again, however I am aware that I probably won’t have time to focus on it before I retire from work. I’m very interested in field recordings and acoustic instruments, also piano manipulations that turn out droney are exciting to me. Since I do download many netlabel releases I do a DJ-mix every now and then on, which feature my taste in terms of neo-romantic electroacoustic organic ambient and meta music. They’re well acclaimed so far, and I also think the mixes are quite unique as goes for Netlabel mixes. I’m having fun with it!»


Sebastian Redenz — Music for When You’re on the Bus [SUBMIX028]

Subsource, 2004

Sebastian has already described the set enough. The same he said: droney of pianos and so on taken from several labels and welded into a solid clod by slight sound-substitution (though it doesn’t break the originals). I’ve found many artists in the sources I was also interested in: Infra Red Army, Konrad Bayer, Hans Appelqvist, Gultskra Artikler. There’re a lot of different and sometimes even unfriendly music kinds, but still excellent, it still sounds organically as a good compilation. And the sound was just blurred a little by Sebastian, so everything got some more laid-back.

Well, music for listening in the bus, I was proved… This is one of those compilations, which I like to listen on my morning way to work or when I’m jolted in the bus somewhere in the mountains above Almaty.

mp3, VBR, 44KHz


I decided to ask Sebastian the straight question about differences between Autoplate’s and Thinner’s music, though I started in a roundabout way: they say that the net-scene appeared firstly to stand against the mega-labels politics, you see, but, on the other hand, because nowadays it’s too easy to make music. So, now we’re facing heaps of house and techno, whatever, but we’ve lost acid-jazz and triphop. All those «houses» started accumulating on the web, ’cause «real» labels couldn’t cope with the huge wave of modern dance and background electronica. Thanks God, interesting music remained in the state of «experimental» (that’s exactly Autoplate’s music: drones, noise, radio-waves, ambient).

Correct me if I’m wrong: Thinner is «house-absorbent» label, but the mission of Autoplate is much wider — contemporary experiments enlightening.

«True. Although I think the majority of the netlabels focuses on music close to the electronica or experimental genres. As for house, there’s maybe 4, 5 labels into it, but not more, as there are maybe 3 netlabels related to Techno. Triphop, or sort of is incorporated with Miasmah every now and then. As for Autoplate, we won’t do any noise or drones releases anymore in the future, since I personally lost interest in those genres. We’ll try to dive more into the electroacoustic tunnels, music with acoustic elements merged with warm ambient etc. The current compilation (Many Things Worth Living For [apl020]) gives you a perfect overview what will be upcoming on Autoplate.»

Yup! The answer was like hitting my head a little. I had been thinking I had dived into internet to shovel deep-house away, digging up diamond grains of experimental avant garde. And yet there were only four or five internet labels who released the house and the rest turned out boundless experimental deserts. I looked through my Favourite Links: 20 per cent of pop-labels to 80 of experimental ones. The first thought appeared in my head was «what is the sense of the Indie then?» The second thought was a bit longer, so I had to continue the e-conversation with Redenz.

Sebastian, you phrased the fact interesting enough. After I started trying to dig out something new and interesting on the web, I noticed, that the net-scene is much more «experimentalized», than its physical brother. Drone and noise are some sort of web-mainstream, hundred «concrete» releases to one techno virtual plate. Don’t you think it’s because commercial principles doesn’t work in free music? «Do what you’re about to do, and don’t mind if it doesn’t get success»

«Yes, I think one big difference to the commercial labels is that you don’t have to subject to sales in terms of market trends. This makes it easy to find a netlabel, and release piles of productions that would hardly sell commercially. So I don’t wonder to see so many experimental labels, labels that publish mp3s encoded down to 20kbps or experimental gabber noise. But it’s the Internet and therefore the liberty to publish everything, and that’s a good thing. So everything has it’s legitimacy.

In the end it’s down to the netlabel operators, what their very own ideals and point of distributing mp3s and maturing artists is about, however I have the impression that there’re quite some netlabel owners who don’t really know what they’re doing. I also relate to the artists responsibility, being aware of choosing the right netlabel to publish on.»

For sure I’ll finish my second thought, meanwhile following Sebastian’s obvious reflections, let’s ask him about his own reasons and preferences.

What are your main cases to decide to print a new release out? Actually, these are two questions, each concerned to Thinner and Autoplate separately, owing to the dissimilitude of the music of each label.

«It’s fairly similar to both Thinner and Autoplate — the demos should be original and provide both a professional production aswell as obvious programming skills of the artist. Second, the person must be nice and handy, and be open-minded and flexible. Third, the name is a good thing indeed, as it helps to focus an extra leap of attention to the label.

I’m interested in music that doesn’t reproduce further sound aesthetics we’ve had on Thinner & Autoplate, but something that is unique, carries a certain Zeitgeist but still balanced out well enough to fit in the catalogue.»

Aha, you see how many requirements a candidate has to meet to be published on Thinner/Autoplate. But this is a good sign, it means the enterprise is being run by the man who is aware of his role. While I understood my business not so good. And now, after my e-meetings with Sebastian I have finally understood my motives to run the e-zine on free music. The awareness is the second thought.

Pop-music hardly settles down on the internet, it takes more time and deeper knowledge of the music basics. To compile a release of drones you would need just a primitive synthesizer and maybe a couple of effect processors; to make a musique concrete plate it would be a microphone and lively imagination; and for making noise you need almost nothing. But there’re only few musicians who can make music, which can amaze. Their music may be not revolutionary, but may be so, it may be not too radical, however implying the challenge and sly experiments. And it frequently carries on something utterly important — the unwillingness to name it somehow and the impossibility to apply the rational selection criteria to it. So, I’ve got the Indie-way: its aim is to pick out and chew over such music regardless of the distance from ordinary musical boundaries.

Such are the minimalist Johan Wieslander and the maximalist Andrey Kiritchenko, UndaCove and Affective Disorder, Normal Music, Dick Richards, 833-45 and some really staggering — Gultskra Artikler.


Gultskra Artikler — Gruppa Turistov [APL012]

Autoplate, 2003

Gultskra Artikler — Gololed [APL019]

Autoplate, 2004

I have to say beforehand, it’s damn miraculous music!

This is something very deep and carrying away. So damn obscure disorder inside it, the sound-crowds, the long-long chains of information, and each of them can carry a listener so far away that it could be hard to adapt to another kind of music. There are lots of things that can be described as sounding something-like-this-or-a-bit-like-that, but Gultskra Artikler sounds too differently. On the whole there’s no sounding; both albums are just sets of surprises. There is nothing to catch in this music, it always leaves the listener out-of-date and constantly changes its scenario, and so it’s not very clear what is happening inside it. In fine, Gultskra Artikler is highly an unusual thing. I stake my head!

This is something near to ethno-electro-avant-garde, with ethno as the least part. It’s assembled brittle and unsteady, it’s tearing and bursting out. It sounds sometimes with too much of the Siberian cold, but with no delving either into ethnic rumble or into electronic and always staying a complete abstraction, sometimes quite radical. The fact of occurrences of such «balanced» records on the demo-scene is very important.

Gultskra Artikler consists of Alexei Devyanin (also known as Stud) and Alexei Glazachev, the two studs from a Siberian city of Novosibirsk. Although I’ve got from some incomplete sources that Devyanin is now turning in Moscow. He released a heap of stuff as Stud through different net-labels such as Kikapu, Kahvi, AcediaMusic. Now he personally runs the label Please Do Something. One review of his album called Devyanin «the hope of the nation».

Gololed means in Russian the ground covered with ice. It’s a New Year’s gift: the release is dated 01.01.2004. There’s a track named Babushka dnya (The top grandma of the day), the most striking one. Unmovable layers of gnashing and noise, which cover a lot of music in particular!

Gruppa Turistov: mp3, VBR, 44KHz
Gololed: mp3, 192Kbps, 44KHz


Mainstream would-be elitist

But the matter of fact is that the internet mainstream is circulating around experimental music that, generally speaking, is hard for masses to get into. But what is all about mainstream then? Is it a witness of the situation when the most of internet-listeners are haughty snobs who prefer conceptual rustles and glitches instead of «the lazy Sunday morning music»? I suppose, it isn’t, ’cause the term «pop-music» automatically reflects the availability to the masses. Maybe it’s a bit like the cassette boom in the 80s? Then the huge movement of the elitist music culture released cassettes through small labels and individual enthusiasts and they had been sold for almost free. The movement was like a developed market network. Yeah, it’s nearer to what we face now. The musical web-conglomerate is also a community, which is highly interested in introducing itself to as many listeners as possible at the minimal costs. In addition, the quality of mp3 files is supposed to be lower than CDs, as if cassette music sounded poorer than vinyl.

Nevertheless, I think it isn’t the reason of the flood of experimental stuff. Most likely the background of the situation is a common human laziness. A responsible musician can waste incredible amount of time developing his own unique statement, always stumbling and breaking off, meeting countless impossibilities, angrily putting muz-jobs aside and making back again, hard moving millimeters forward, and catching the aversion for music workshops. It can take him for years with a result of a couple of disks, and it’s quite understandable after all those titanic efforts. But the essential part of net-musicians is lazy and oriented onto rapid result. And there are two contributing factors: the enormous technology development and the information freedom on the internet. It’s boring to wait for an answer from a commercial label, ’cause commercial labels first need to make profit. But a musician wants to be heard, so it’s obvious that he doesn’t want to wait until his release is regarded to be salable. In view of the fact that anyone who owns a computer can be mentioned as a potential musician, let’s assume that any grateful listener can be mentioned as a potential label owner, regardless of the fact that he’s straining his ears to hear even a naked noise.

Is it a dejecting situation? Nope, I consider the situation quite normal, even excellent. It means that the history of arts is being interfered by the technological progress, on the one hand, and that the common human being’s wish to get more and work less (which is one of the tech-progress’ causes) still works, on the other. This intervention might give rise to either a boom (which isn’t rising) or a just super-abundance, and this is the situation. And it makes correction to the way of picking music out. It’s important to be more attentive to everything that is going on around, because there’s much more internet-music than usual music. And we have to react to suddenly appearing breakthroughs, all the more they’re already appearing, and such initiatives as Thinner/Autoplate contribute to it. We are witnessing the events of a great interest, and just at that spot I’d like to be in the thick of things.


special thanks to Tatiana Osennikova for editing

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