Tiny Mix Tapes (RIP)

version

Well-known member
They've done a bunch of 2010s essays which look as though they touch on a lot of what we've been discussing here.

2010s: Deception Music - https://www.tinymixtapes.com/features/2010s-deception-music-demonic-listening-in-diabolical-times

Demonic listening in diabolical times.

2010s: Confronting Uncertainty - https://www.tinymixtapes.com/features/confronting-uncertainty-consumption-code-spaces-network

Consumption, code/spaces, and atemporality in the network age.

2010s: Against The Post-Internet - https://www.tinymixtapes.com/features/against-the-post-internet

How we mistook the map for the territory and failed to register the present.

2010s: The End of Anarchy - https://www.tinymixtapes.com/featur...ure-industry-commodification-of-accessibility

Streaming platforms, the Culture Industry & the commodification of accessibility.
 

version

Well-known member

There's a pop at blissblog in this one and there seems to be some overlap with barty and luka's harlequin what with all the talk of demons and 'demonic listening'.

In the spirit of demonic listening, and in response to the outgrowth from Simon Reynolds’s much-contested “Rise of Conceptronica” essay (a sterling example of our most demonic tendencies), I proclaim the deceptive, diabolical, demonic (triple DDD #guyfieri) spirit of the 2010s as “The Rise of Deceptronica.” Deceptronica is an amazing new genre of music that the 2010s uniquely gave birth to, henceforth trademarked by Tiny Mix Tapes. Deceptronica™ is an outgrowth of demonic listening, a recursive music encoded at the diabolical intersection of obfuscation and clarity, mystery and accessibility. What makes a sound accessible for some could be mysteriously alienating to others; and, precisely at this junction, our ears pique into demonic attention.
 

version

Well-known member
2015: Identity Crisis - https://www.tinymixtapes.com/features/2015-identity-crisis

Un-Thinking Thinkpieces & Listening to Identity in a Sensational Vacuum.

2016: A Musicology Of Exhaustion - https://www.tinymixtapes.com/features/2016-musicology-exhaustion

2017: Traditional Music of A Wrecked Species - https://www.tinymixtapes.com/features/2017-traditional-music-wrecked-species

Dredging new instruments out of bad technology.

2018: Against Worldbuilding - https://www.tinymixtapes.com/features/2018-against-worldbuilding

Fight The Snob Art of the Social Climbers!

Piteous Gate - https://www.tinymixtapes.com/music-review/mesh-piteous-gate
 

blissblogger

Well-known member
There's a pop at blissblog in this one and there seems to be some overlap with barty and luka's harlequin what with all the talk of demons and 'demonic listening'.

In the spirit of demonic listening, and in response to the outgrowth from Simon Reynolds’s much-contested “Rise of Conceptronica” essay (a sterling example of our most demonic tendencies), I proclaim the deceptive, diabolical, demonic (triple DDD #guyfieri) spirit of the 2010s as “The Rise of Deceptronica.” Deceptronica is an amazing new genre of music that the 2010s uniquely gave birth to, henceforth trademarked by Tiny Mix Tapes. Deceptronica™ is an outgrowth of demonic listening, a recursive music encoded at the diabolical intersection of obfuscation and clarity, mystery and accessibility. What makes a sound accessible for some could be mysteriously alienating to others; and, precisely at this junction, our ears pique into demonic attention.

i wasn't even sure that was a diss !

i admire the magazine for being so uncompromising, but it is often hard to work out what their writers are on about - the reviews that are like experimental fiction are particularly challenging in that respect!

but they did plough a unique furrow - they really put their stamp on the whole concepty zone, from hypnagogic through vaporwave to all C-tronica people.

i hope it comes back in some form

but equally, these clusterings of energy often have their moment and knowing when to bow out at the right time is a kind of grace

it's a bit like with the early Pitchfork counterpart Stylus which offered a more quirkily personalized and irreverent take, but eventually had to wind down
 

version

Well-known member
i admire the magazine for being so uncompromising, but it is often hard to work out what their writers are on about - the reviews that are like experimental fiction are particularly challenging in that respect! but they did plough a unique furrow - they really put their stamp on the whole concepty zone, from hypnagogic through vaporwave to all C-tronica people.

Yeah, that's more or less how I feel about them. There's some overlap with DIS Magazine too.
 
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