Industrial Complex

Music for party!

This was mastered through the brand-new ConsoleH so theoretically should sound super tasty. I can’t tell.

Do you think it sounds different or better or worse or louder? I really want to know what other people’s ears say. The Airwindows fellow is scary smart and he cracks me up.

I will be delivering a programmatically generated video (my own algorithm) in a bit <3

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit djic.substack.com/subscribe

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit djic.substack.com/subscribe

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit djic.substack.com/subscribe

Exodus, movement of Jah people (Oh, Yeah)Exodus, movement of Jah peopleMen and people will fight ya down, tell me whyWhen ya see Jah lightLet me tell you if you’re not wrong, and why(Everything is all right)

So we gonna walk, all right, through the roads of creationWe’re the generation, tell me why(Who trod through great tribulation)Trod through great tribulation

Exodus, movement of Jah peopleExodus, movement of Jah peopleOpen your eyes, and look withinAre you satisfiedWith the life you’re living

We know where we’re goingWe know where we’re fromWe’re leaving BabylonWe’re going to our father land

ExodusMovement of Jah people, oh yeahMovement of Jah peopleSend us another brother Moses (Movement of Jah people)From across the sea (Movement of Jah people)Send us another brother Moses (Movement of Jah people)From across the sea (Movement of Jah people)

ExodusMovement of Jah peopleExodus, Exodus, Exodus, Exodus

Move, move, move, move

Open your eyes, and look withinAre you satisfiedWith the life you’re living

We know where we’re goingWe know where we’re fromWe’re leaving BabylonWe’re going to our father land

Exodus, movement of Jah peopleExodus, movement of Jah people

Move, move, move, move

Jah come to break downpressionRule equalityWipe away transgressionSet the captives free

Exodus, movement of Jah peopleExodus, movement of Jah peopleMovement of Jah peopleMovement of Jah peopleMovement of Jah peopleMovement of Jah peopleMovement of Jah peopleMovement of Jah peopleMove, move, move, moveMove, move, move, moveMovement of Jah peopleMovement of Jah peopleMovement of Jah peopleMovement of Jah people

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit djic.substack.com/subscribe

A MIDI file that I found in an old folder called “Sesh’s MIDI Vault.” There are like seven hundred MIDI files in Sesh’s MIDI Vault and it’s useful when you need a random MIDI file as one does from day to day.

Today my pointer landed on one called “Get’s.”

I had no clues about what it would be and didn’t care because I just needed a MIDI file to feed to my abomination of vibecoding. The name amused me and I grabbed it. Turned out to be hyperactive chiptune-meets-King Diamond, and then it became whatever this is.

I couldn’t watch the whole thing either but it was interesting to click around in.

This post is actually about how I want to be able to do more with typography on Substack.

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit djic.substack.com/subscribe

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit djic.substack.com/subscribe

Here’s Don’s lead vocal part. All of the moving parts are coming together. Should have the full backing track done by tomorrow.

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit djic.substack.com/subscribe

Methodology

* Split apart Trump speech into one- or two-word files

* Assign each word or phrase to a note

* Apply the MIDI file of France Gall’s “Les Sucettes” to the resulting set of clips

Next Steps

* Taking requests (I can find pretty much any song as MIDI so don’t be shy)

* Restricting playback to one voice only

* Finishing and posting the other thing I made out of Trump today where he vocalizes more rhythmically

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit djic.substack.com/subscribe

Second center, carry in advance, and rent the TV. Seven five five, seven five five. Carry the full line of home entertainment TV. Carry the troll away. Consoles are not TV. Pay, pay one week free in advance.

For my TV, second day, one call consoles, full call. 755, second call, one call. 755, home entertainment, home second, one weekend care center in advance, home. 755, call, call consoles. Hey, throw away, carry cool rap, carry full line, free, free, get set centers.

Home rap is TV, second one week, and second week free. Consoles, portable rap is TV, seven one consoles, cool cock and rent the TV, portable seven are not TV. 755 carries a full one one in advance.

Call carries a full entertainment centers. Call home entertainment full in advance.

Entertainment 1 7 Second Week 3 Full line arrest the TV Full line throw away in advance 1 carries a full line 7 carries a full cool rap cool rap cool away Call 2ndWeek 3 3 Portable Entertainment Center Center Pay Cool in advance.

A red 755 consoles A 755 full line who wrap his TV second entertainment centers A 1 A red a red week free care full line of portables wrap his TV entertainment centers A red the TV second care free full line who wrap A1 called care the full A1 full line away second one week in full line entertainment centers week free.

Entertainment centers.

755 away carries a full portable cool wrap in advance away portable get second center center in advance away away are not tv full line pay 7 full line call home entertainment call free away home carries a full pay full line of portables consoles entertainment centers home entertainment full cool wrap away wing free pay full line of portables.

Second call, call cool TV. Second cares in advance, carries a full line of cool day one. Home one TV gets second, carries a full center, arrest a TV, wing free, carries a full line of troll away, gets second in advance.

Call home entertainment second, gets second away. One cool one cool day one.

https://en.wikipedia.org/wiki/The_Crusher_(wrestler)

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit djic.substack.com/subscribe

Pareen

I. Introduction

In Pareen, we are presented not merely with a “mashup,” but with a complex semiotic collision. The work operates within the cultural memory of a future that never arrived, trapped inside the grainy VHS textures of the early 1990s. By juxtaposing the infinite mathematical perfection of the Mandelbrot set with the finite, decaying nature of 20th-century political power (Clinton, Bush) and consumer goods (Lucky Strike), the artist creates a critique of the “End of History” narrative.

II. Visual Analysis

1. The Fractal Tobacco Leaf (0:00–0:24) The opening sequence is striking. The mapping of a Mandelbrot zoom onto the geometry of a tobacco leaf suggests a corruption of nature. The text vibrates, struggling to maintain its commercial integrity against the encroaching digital chaos. This is a powerful visual metaphor for the carcinogen: a cell replicating infinitely and erroneously.

2. The Presidential Simulacra (0:39–1:40) The introduction of George H.W. Bush and Bill Clinton serves as the work’s political anchor.

* The Glitched Bush: The footage of Bush (41) is heavily processed, his face dissolving into digital noise. This acts as a literal “de-facing” of authority. The stuttering edits strip his speech of meaning, reducing political rhetoric to pure texture.

* Clinton as Texture: The brief flashes of Clinton, particularly the saxophone implication, evoke the performative coolness of 90s neoliberalism. However, by merging him into the same texture as the cigarette packs, the artist posits that the politician is just another product to be consumed—”Toasted,” as the Lucky Strike slogan claims.

3. The Dance of the Commodities (2:44) The climax, featuring primitive 3D cylinders (representing cigarettes) dancing in a rigid, ritualistic circle, is the piece’s most pointed moment. It recalls the early days of CGI (reminiscent of the “Dancing Baby” era), highlighting the crude artificiality of the spectacle. They dance in a void, celebrating nothing but their own reproduction.

III. Sonic Analysis

The audio has been described as “bleep-bloop academic synth music,” but this underplays the sophistication of the sound design.

* Timbral Coherence: The synthesis is decidedly West Coast style—heavy on wave-folding and low-pass gate plucks. This creates a “bubbly,” organic quality that contrasts sharply with the rigid, mechanical nature of the samples.

* Rhythmic Syntax: The rhythm is stochastic. It refuses to settle into a comfortable 4/4 groove, mirroring the unpredictability of the Mandelbrot visuals. The high-resonance filter sweeps (0:01, 1:20) act as sonic “punctums,” piercing the viewer’s ear just as the video glitches pierce the eye.

* The “Lucky Strike” Motif: The audio does not attempt to be “music” in the melodic sense; it is a sonification of data. It sounds like a Geiger counter measuring the radiation of a dead political era.

IV. Thematic Synthesis

The promise of Pareen lies in its refusal to resolve. The Mandelbrot set implies infinity, while the Lucky Strike commercial implies immediate gratification. The politicians imply order, while the glitch effects enforce chaos.

The viewer is left with a sense of temporal dislocation. We are watching the ghosts of the 1990s and before trapped in a fractal loop, selling us cigarettes that no one smokes anymore, governed by presidents who have long since left office.

V. Final Verdict

Pareen successfully argues that politics, mathematics, and marketing are all just different forms of noise waiting to be decoded.

Rating: ⭐️⭐️⭐️⭐️½

/Percival Drift, 2025

This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit djic.substack.com/subscribe