1st September 2014

If you can read this page, then that means you are based in a universe where 20Jazzfunkgreats is operational.


Jean Michel Jarre



It could be very different. You could be in a universe where 20jazzfunkgreats lives in a constant 503 state. Or in a universe where 20jazzfunkgreats publishes complex analyses of the physics of crabcore1. Or in a universe where 20jazzfunkgreats is operational, thanks to a top notch digital infrastructure funded through advertising, product placement and other forms of revenue generation.

But you aren’t. You are in a universe where 20jazzfunkgreats is more or less the way it was when it came into existence ca. 10 years ago, a universe where 20jazzfunkgreats spends its Sundays scowling at passing children from the window of its manor, while its considers alternative scenarios for the evolution of Planet Earth, if only the multi-dimensional dice that shape cultural change had landed differently.

But before you start feeling lucky, consider this:

If you can read this page, then that means you are based in a universe where ERE Electronique 1988 video game ‘Captain Blood’ didn’t become the blueprint for a new and weird phase of interactive entertainment that would support mankind in the next stage of its evolution.

In other words, you are not based in a world where creating a H.R. Giger inspired game about an Errol Flynn obsessed video game designer exiled in hyperspace who has to hunt 5 of his clones to reconnect with humanity, by building the trust of alien species using an alphabet of 150 icons and navigating fractal landscapes wasn’t ‘the way things are done.’

Oh, and using an excerpt of Jean Michel Jarre’s Ethnicolor for the title credits.

Instead, you are based in a universe where such things are considered oddities, weird experiments described in the footnotes of a history of the evolution of the medium leading to a current situation where a not-insignificant proportion of the game-playing public behaves online in a way reminiscent of the mindless tendrils of abominable putrescence one encounters crawling down the dimly lit caverns of Dark Souls’ Blight Town.



Jean Michel Jarre – Zoolooklogie

Zooloklogie is also featured in Zoolook, the album whence Ethnicolor was extracted, and sounds like the theme tune for Miami Vice if Miami Vice was set in a gnostic world where, after the awakening of the collective intelligence and the convergence of all languages, the only regulated commodities were complex epistemological concepts that can send its citizens into paradoxical Gödel loops where a contemporary visitor might see echoes of ‘breakdancing’.


1 Crabcore as in emaciated youngsters squatting over their guitars like priapic frogs, not the version we prefer, that EDM sub-genre developed by the secretive arthropod visitors H.P. Lovecraft alluded to in “Whisperer in Darkness’ (we have analysed the physic of that modality of crabcore several times; in fact, one of the purposes why we started this blog was to analyse that modality of crabcore).


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29th August 2014

The Etemology of Geocities and Other Stories




crow  |krəʊ|

A night-time/nightmare aesthetic of Kawaii and dub.  At times a breathless duet between two rampaging ids.  As if the internet were made flesh.

18+’s Crow is a nightmare.  Not like those almost comforting sketches of horror; linear and formulaic with a beginning a bloody middle and a cathartic end.  A nightmare in the maddening repetition of that crow sample.  Like Game of Thrones web art .  An avian layering: one atop another, compressing into a insane chant.

18+ – Crow

18+ play in London on November 7th at Birthdays.  Their debut EP (which Crows is taken from) sold out pretty quick but you can still get digital things here.

On the subject of shows, (at least) two of 20JFG make an incredibly rare return to DJing at the non-stop exotic dance party Mirage this Friday (29th).  Come down and say hi if you’re in Brighton.



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27th August 2014

Flutter and Rasp


Bristophe & Tim Hecker


(photography by keithj5000)

This is classical music the way we like it. As the baleful mating calls of fathoms-deep brass whales. As the flutter and rasp of moth wings beating against the moon.

Bristophe – Anrufung

“On these recordings, we play the cello, the double bass, the trombone, the e-flat tuba, the church organ, the piano, the harpsichord, the clavichord, and the alphorn; we also use our voices, electronics, numerous birdcalls, some random toys and percussion, and a few other instruments.”

Bristophe are the musical partnership of Brice Catherin and Christophe Schweizer. Anrufung is a sliver from their remarkable most recent improvised live collection. It doesn’t make much sense in isolation, but then neither do we.

You need to let the full two discs’ worth of material seep into you – this strange conversation between two men mediated by reeds, bells, strings, and hammers – and live with it until it turns into words, pictures and a language your brain understands too.

Download Bristophe’s improvised live album die ersten zwei kirchen for free from from Pan Y Rosas

Bonus track from 2013!

Tim Hecker – Prism


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