What if, between the original classic Tron and the upcoming Tron 2: Legacy, there were another Tron movie, lost forever in cinematic history? Between the soaring score by Wendy Carlos for the original and Legacy’s Daft Punk music, what would the soundtrack have sounded like? Of course, it would have absolutely had some Journey in it.

Such a movie was rumored, but as with so many projects, leaves behind no evidence. What if it had left a score you could hear? The mysterious “Flynn 1.5″ writes to share a free, downloadable soundtrack that answers that question.

And you can argue with an album that begins out with “For the Love of ENCOM”? Indeed. You can stream the full album and download all but the Journey remix. Read the full “backstory” after the jump.

Tron moniker or no, the results are some lovely music, featuring the likes of Tiger Mendoza, Team9, artist and CDM regular reader Lilith The Kitten, and ringleader World Famous Audio Hacker, among others. (Trivia – Tiger Mendoza has his own, Creative Commons-licensed album, and Team9 earned notoriety for a mash-up collaboration with Green Day.)

In late 1998, I was commissioned to compile and produce the soundtrack for a sequel to the film “Tron”. A draft of the story had already been written and early filming had begun (as reported by ZDNet on July 27, 1999). As I understand it, the film was kept in great confidence with the producers as Pixar was still in negotiations with Disney about the responsibilities of the production teams.

“Rise Of The Virals” was a fantastic, but much darker storyline from the original — different from the “Into The Machine” pitch made to Disney by another party. It involved updating the ENCOM universe to a networked system (thanks to the Internet), but also created a darker world — full of programs abandoned as buggy systems (or “mutants”) and abused by corrupt users as viral systems. Furthermore, the story included the death of Flynn and presented questions about the digital life of programs lasting beyond the mortality of their creators — the users.

My task was to compile great underground artists to create a new soundtrack for this darker world of Tron. After the completion of the initial tracklist and first production draft of the soundtrack, it seemed as if negotiations between Pixar and Disney had broken down. Funding for the project was eventually pulled.

I have been most excited to see the announcement of the third film, the new “TR2N” (Tron: Legacy), especially with the involvement of those who will be creating the new soundtrack. It is obvious to me that “Tron: Legacy” takes place after “The Rise Of The Virals” without abandoning its first concept. Perhaps that is why we’ve seen sites like Flynn Lives creep up in anticipation of the new film.

I’ve decided to release the preliminary version of the soundtrack which includes a special remix of Journey’s “Any Way You Want It” produced specifically for “Rise Of The Virals”. Journey provided two songs to the original “Tron”, and their song “Separate Ways” will reportedly be on the “Legacy” soundtrack as well. In any case, since the story of “Rise Of The Virals” takes place between the first “Tron” film and the upcoming “Tron 2: Legacy”, I can’t think of a better title for this material other than “Tron 1.5″. I hope you enjoy the music these artists have put such great work into.

– Flynn 1.5

Tron 1.5: “Rise Of The Virals”
(Digitally Remastered)

1. “For The Love Of ENCOM” (4:16) (Team9)
2. “Askew” (5:08) (Solcofn)
3. “Build A Better Lightcycle” (3:24) (Tiger Mendoza)
4. “Rise Of The Virals” (3:37) (World Famous Audio Hacker)
5. “Any Way You Want It” (4:30) (Rhythm Scholar Syntax Error Remix)
6. “Electro City” (5:24) (Lilith The Kitten)
7. “March To Silicon Palace” (3:34) (Future Sound Of Tron)
8. “Lora’s Theme” (4:34) (Team9)
9. “Technojazz” (5:56) (Solcofn)
10. “Love Theme” (4:11) (Tiger Mendoza)
11. “Paranoid Space” (2:45) (Tiger Mendoza)
12. “T128.Flynn.FK@yf” (6:30) (EBNC)
13. “Core Dump” (6:01) (Lilith The Kitten)
14. “Means To An End” (8:00) (Solcofn)
15. “Theme From Tron 105″ (1:26) (Carl Walters)

The full album is available for free download at http://tron.fm/

Can you approach a symphony orchestra as though it’s an analog synth? That’s a question composers have asked since the first time they heard electronic sounds. It’s impossible to hear the 20th-century technology alongside the 19th-century technology without the one reframing your view of the other. Now, it will be tackled by the new album from composer/singer/violinist Owen Pallett, with an interesting cast of characters onboard, plus one imaginary ultra-violent farmer.

Pallett, who performs confusingly under the band name best known as a Japanese video game, Final Fantasy, is something really different in the artist scene right now. For years, the “new music” or “art music” landscape had begun incorporating elements of rock and pop songwriting, but his work seems to find an ease and intimacy that’s entirely his own. He’s also evidently a Max/MSP fan – see the site:

http://www.finalfantasyeternal.com/

Final Fantasy gets filed clumsily under that catch-all “indie,” but the artist’s work is heavily influenced by contemporary chamber music and classical gestures. I imagine some people may actually find they hate the results, in asymmetrical combinations of ideas and wordy streams of lyrics. To me, though, those quirks can grow on you, carried by utterly gorgeous string writing. “He Poos Clouds,” with piano and string quartet, is an imaginative operetta inspired by Dungeons & Dragons. Then there’s his video single from the beginning of this year, “Horsefail Feathers,” seen below. It epitomizes Pallett’s unusual tastes, mixing quasi-surrealist lyrics, lush, movie musical-style arrangement, and a dose of self-aware awkwardness that could upset everything else but instead becomes charming.

It certainly made me wonder what would come next. At a time when many of us eliminate instrumentalists altogether, the upcoming “Heartland” will be 45 minutes of orchestra music, courtesy the Czech Symphony. To me, the relevance to this site is thinking about how to construct music, whether for instruments electronic or acoustic. In today’s announcement, Pallett says:

The album was compositionally modeled upon the principles of electronic music. The principles of analog synthesis informing symphonic writing, like an inversion of a Tomita record. These songs, too, were designed to be as dense with polyphony as the Final Fantasy live shows can become. While writing it, I kept an image in my head of putting so many notes on the page that the paper turned black.

The first album for Domino, Heartland has an unusual subject matter: the lyrics are sung from the perspective of “a young, ultra-violent farmer, speaking to his creator” in the fictional realm of Spectrum. There are some fascinating collaborators, too: ongoing collaboration with Arcade Fire’s drummer Jeremy Gara, a guest appearance by composer Nico Muhly (whose new music is strongly influenced by his work with Philip Glass, without being derivative), mixing by Animal Collective producer Rusty Santos, and a number of others.

After our extended discussion in comments about what constitutes an appropriate artist for CDM, Final Fantasy is not really digital music. But it does promise an interesting interview on the “creation” side, and – given that many brilliant artists find it tough to be articulate in interviews – I know that’s what matters when I have my choice.

The new album is due in January.

Making music into an object – the central genius of recording – could be a wonderful thing. But the CD was always somewhat utilitarian as a distribution mechanism, with its easily-splintered plastic jewel case and inserted artwork that paled next to the grand visions of the LP.

Moldover is the latest artist to experiment with ways of re-imagining the musical object. Already a fan of custom sonic circuitry, he made his CD into a circuit board. Some of it is just aesthetic, like the printed lettering. But there is also integrated noise-making circuitry for a very simple optical Theremin (well, at least, a light sensor-driven oscillator), plus a headphone jack. There’s actually quite a lot of function you can get out of that when plugging into a computer.

The album itself is comprised jazzy bleepy jams (in varying proportions). You do pay for this deluxe, handmade circuit goodness. The US$25 “Pocket Edition” seems to be the sweet spot, with a pocketable version of the circuit board. It still has a built-in speaker, turning the jewel case into self-sufficient sonic hardware instead of a throwaway. The $50 version comes with the full custom-printed circuit board for the track listing, but you can’t pocket it, which means you have exactly $25 and one custom Theremin less in your pocket.

Check out the music and purchases at Moldover’s site:
http://moldover.com/quicklinks/buy.html

The joy of being on YouTube is you get strange comments like this:

Who let you out? of your mom’s basement? Go back to building lego trainsets to transport your cocoa from the kitchen to your computer desk.

Hey – that’s a great idea, come to think of it.

Justifying the musical object can sometimes get ridiculous, but so long as there are genuinely creative ideas that fit the music, I think music may have a more interesting future in the post-industry world than it did before.

Updated – previous applications of this idea: I’m typing quickly before I head to lunch, and I commit the major sin of not mentioning our friend Tristan Perich’s infamous 2005 release 1-bit Music. Whereas Moldover is turning the packaging into an instrument and inserting a traditional CD, Tristan made the entire jewel box the playback mechanism – the album is embedded in the circuitry, and you listen to it directly.

An electronic circuit is assembled inside a CD case with a headphone jack on the side. The device plays back 40 minutes of low-fi 1-bit electronic music—the lowest possible digital representation of audio.

1-bit Music (Tristan also did a great workshop at Handmade Music. So if you want to play with these ideas, and you’re in the NYC area, there’s only one place you should be tomorrow night.)

We talk a lot about novelty, but my hope is people rip off both Moldover’s and Tristan’s idea here – and invent their own twist on this concept. I’d love to have a shelf full of circuit CDs, instead of dead, silent plastic!

True, it’s the 40th Anniversary of the moon landing. But it’s also the 40th Anniversary of David Bowie’s space trip Space Oddity. What better way to celebrate than with access to stems like the “little mouse fart” sound effect? (Seriously. Maybe it was a space mouse?)

EMI is re-releasing Space Oddity on a special EP with all the versions — mono and stereo, US and original, and the 1979 re-record. Buy that for US$5.99 on iTunes, and you get the stems, too, including the lovely Mellotron line, the vocals, guitar, instrumentals — heck, there’s even a nice Stylophone stem. For people who don’t have their own remix software, EMI is offering the free PC/Mac iKlax Creator Standard, though I expect you’ll be happier with your tool of choice.

For an additional US$1.99, though, you can get an interactive remix app for the iPhone with still more stems. Interestingly, you can also use this as an on-the-go interactive player for Space Oddity, so you can trip out and get stoned with your iPhon um, yes, erm, relax on your sofa with a special mix of Space Oddity. Shake it, and the accelerometer sensor tells the app to make a random mix for you.

News on the Bowie Website
David Bowie Remix Page

iPhone apps are groovy, but — sorry to say it, folks, the 1969 video is way, way, way groovier. Huge missed opportunity, EMI: you could have created an iPhone camera app that would have simulated the reflective tube effect in the classic Bowie video. Any takers?

The EP itself, though, is better news. There was a 1999 “digital remaster,” but this release comes closer to the original goodness.

Space Oddity has a special place in the hearts of CDM since “oddities” is the catch-all category for everything out of the ordinary in a special way.

So, yes, it’s yet another remix-iPhone app-record promotion, but, come on … it’s Bowie. It’s Space Oddity. It’s the 40th Anniversary of the Moon Landing. (You want trippy? Humans walking on the moon can blow even a 2009 mind.) And it’s also an excuse to embed this video:

Food for thought: if we didn’t still make “albums,” we’d never know when the album was done. Sure, the delivery mechanism that spawned the album may be disappearing – “LP’s” in particular are long gone. But perhaps, like so many ubiquitous technologies, the album was a fortuitous coincidence of physical practicality and human scale, happenstance generating some unit of creativity that just makes sense to artist and listener alike.

For Imogen Heap, the beloved artist who’s just finished her latest, it’s cause to literally dance and sing, accompanied by a generative Buddha Box. (We can dance around when we get the album in August.)

http://www.imogenheap.com/

It’s not the only approach. Geek troubador Jonathan Coulton rose to Interweb fame partly through the creation of his Creative Commons-licensed Thing-a-Week podcast, which fired up his productivity as he released 52 (get it?) tracks in the space of a year. The episodic form helped him build a following and created a new unit of musical output.

From other parts of the online world, we get a little insight from each of these favorite artists. Imogen Heap videoblogs her latest album and talks promise at top, as found via the lads of SonicState.

Jonathan Coulton talks to one of my favorite non-music blogs, Lifehacker, about staying musically productive – and keeping other productivity away from his musical process. He talks about using Google apps and MobileMe as an intelligent cloud he can share with his assistant and PR person.

He also speaks to musical process:

It’s a combination of things. I generally write when I have guitar in my hand, but, capturing ideas is like … I do use the voice recorder app on my iPhone like crazy. I’ve learned that whenever you get one of those little song fragments, out of the ether, it’s like a dream—no matter how much you’re going to remember it, you’re going to forget it, in like five minutes. And I’ve lost too many of those, so wherever I am, I take my phone out, I pretend that I’m making a phone call, so that people don’t think I’m crazy, and I sing into the voice recorder, and then I have it available later on.

If I want to do a more involved quick capture of something, my MacBook has a piece of software on it called Ableton Live. It’s meant for loop-based composition, but it does recording as well. It’s very easy to capture an idea and sort of rough something out, even if you don’t have a bunch of gear handy. You can use the built-in microphone, use your keyboard as a MIDI keyboard. It’s a nice way to put together a quick demo, and capture some ideas about arrangements.

And, comfortingly, he doesn’t have enough time for music, either, and winding up wasting time on latency problems. (Jonathan, we feel your pain. And if you came to this site and didn’t find your answer, well… sorry. I need to put together a better reference for that stuff; open to suggestions!) He dives into finance, career goals, the game Rock Band and “accidental” discovery of music – all fantastic stuff. Thanks to Kevin Purdy for a great interview – who says you need music publications for great music magazines?

Jonathan Coulton on Making Songs and Geeking Out [Lifehacker]

Boys and girls alike can feel free to crush musically on Au Revoir Simone. In a gloomy world of sound-alike synthpop, the Brooklyn trio has forged their own, unique sound, a peerless breed of sensitive synthy goodness. The songs are relentlessly intimate and honest, genuine rock writing instead of overburdened pastiche. I think a lot of us growing up wanted to be able to sound like this, when we picked up that first electronic keyboard.

And yes, for keyboard lovers, there’s something really special about seeing three keyboards, with no guitars, no drums, and no boys in sight. Love the Beatles as I do, there was apparently some point in the 60s in which everyone decided we’d be stuck with one instrumentation and any females present would be vocalists only, but Au Revoir Simone is a sign of hope.

On my first listen, the new album “Still Night, Still Light” has more and more clearly polished ideas than any of their outings so far. I have to spend some more time with it, but I find it’s impossible not to just feel good listening to their work, and that’s a nice thing for music to do.

On to how you can grab the album: physical CD pre-orders and vinyl are available from the band’s website, but Amie Street has an absurdly good deals on the music, available right now:

Au Revoir Simone: Still Night, Still Light [Amie Street]

(and yes, apologies for those outside the US – if you spot deals in your neighborhood, let us know)

Update: Note that all four albums, including the new one, are also on emusic. (Thanks, zenzen in comments!) Emusic albums may not be available everywhere, but that could help you out in at least some parts of the world.

Amie Street uses flexible pricing based on popularity. When I picked up the album, it was at US$5.90, but that price will creep upwards as more people grab it. Here’s why it’s cheap, though: for 24 hours, you can subtract 25% off the price, and for some unspecified period of time, when you buy this album, you get the first three albums from the band free. In other words, you’re talking around six bucks for all four albums, as 320 kbps MP3s. I have no affiliate relationship with Amie Street and there’s no one from ARS’ PR and publicity calling me to bug me to say this. I just expect you’ll get a couple of bucks in value from each album. If you’re not sure, Amie Street has full streams of each album.

Now, keyboard spotting anyone? The Nord Electro 2 is always front and center, there’s a Novation BassStation, I think, the KORG microKORG, lots of drum machines… carry on.

We’ve heard lots of ideas for alternative musical distribution in the digital age, but this has to be a less popular idea:

How about “releasing” your album as a blank, recordable CD-R?

If you think about it, it’s the natural evolution of CDs. After all, in the age of widespread digital download stores and file sharing, if you bother to buy a physical CD, aren’t you really buying it just for that jewel box and liner notes and packaging, for that satisfying snap as the disc hits the plastic spindle? Aren’t you just doing it to flirt with the CD shop girl … erm, or to look into the morose, cynical eyes of that guy who knows way more than you do?

In this case, though, the blank CD has a simple function: it’s the only way to get around legal troubles with record label EMI.

New Danger Mouse CD Released As A Blank CD-R Due To Legal Fight With EMI [techdirt, via atariboy on Twitter]

Danger Mouse and Sparklehorse unveil new album – a blank CD-R! [guardian.co.uk]

Danger Mouse has flirted with legal troubles before, with the landmark Jay-Z – Beatles Black Album / White Album mash-up, and has flirted with success as Gnarls Barkley with Cee-Lo Green. The new album is a departure, an audiovisual experience that adds photography by David Lynch inspired by the music. Yes, that’s the David Lynch, he of Twin Peaks and Blue Velvet and Eraserhead.  Danger Mouse works with Mark Linkous of Sparklehorse and a host of guest vocalists.

Update: Whoops. Danger Mouse just isn’t as ground-breaking as The Residents, who tried Internet distribution with accompanying blank CDRs way back in 2006 on “The River of Crime! Episodes 1-5.” (And I imagine there may be other cases of this, too.) Of course, The Residents were just being creative – they didn’t have an unspecified legal battle with EMI. From Discogs:

This 2-CDR set was released as blank media, to be burned as eventual hard copies and packaging for the River Of Crime tracks, that were distributed via the internet, in a subscription series, each “CrimeCast” episode being released every two weeks, over a 10-week period. These subscription downloads also included exclusive material, including scripts, icons and CRT wallpaper, as well as unrelated bonus tracks. The track marked * was not released on the “standard” release (CDL38).

Thanks to B.C. Thunderthud for the tip (and I see a Boing Boing reader caught the same thing).

The news came over our Twitter feed via Jaymis, which also prompted a discussion of how to get and decompress the tracks.

On vocals: Frank Black (The Pixies) Wayne Coyne, Gruff Rhys, Jason Lytle (Grandaddy), Julian Casablancas (The Strokes), Black Francis, Iggy Pop, James Mercer (The Shins), Nina Persson (The Cardigans), Suzanne Vega, and Vic Chesnutt. On a first listen, it sounds oddly like a soundtrack for a set of David Lynch photographs, a moody and quirky set of tunes, in beautiful, rusting pop. It’s a set of familiar voices from the last decade or so, blended into reflective cuts. Sometimes the production feels a little overcrowded, and there is a sameness to bits of the album, but the whole thing is heartfelt and the vocal personalities and rich set of ideas carry the day.

You do get something if you buy the full CD – just not music. Lynch’s photographs will be printed in a 100+-page book which the artist promises will be limited edition and hand-numbered. The CD itself will be a blank, recordable CD-R labeled ‘For Legal Reasons, enclosed CD-R contains no music. Use it as you will.’ It isn’t cheap: US$50 for the whole release. You can pre-order now.

Dark Night of The Soul Official Album Page

So far, there’s no word as to what this legal dispute actually is. But to me, the ultimate irony is that, while EMI and Danger Mouse have whatever legal battle they’re having, the distribution idea itself may be really brilliant. By its absence, the music – now available easily via file sharing networks – almost suggests that you should buy the object. In an age when we don’t sit down and listen to almost anything, it really does suggest sitting on the couch with a loved one, paging through David Lynch photos and letting music wash over you. (The stills so far look just like you’d hope from David Lynch, like movie stills you could stare at for an entire song.) I think that’s a more important story than the usual legal snideness.

David Lynch, director and photographer, in Brazil. Photo (CC)  .Vini

Now, how about getting the actual music, since it apparently won’t be available for sale? So far, you can find it via two routes:

The legal way: NPR (US National Public Radio) is hosting an authorized stream of the music online, for some unspecified period of time.

Exclusive First Listen: Danger Mouse And Sparklehorse Team Up With David Lynch

The physical object is due out in summer.

The illegal way: Given that I suspect quite a few of you will go buy this $50 book, I’ll do something I usually don’t and point out that, yes, you can pirate this album (and, indeed, may have to if this isn’t resolved). I’ve already seen a filedropper link, which is still working for me. Your favorite filesharing service should also do the trick.

If you do happen across (cough) an RAR file, try 7-zip on Windows (also recently ported to Linux, I think), WinRAR/RAR for Windows/Linux, or The Unarchiver for Mac.

It’ll be interesting to see if the press gets EMI to find a quick resolution and a commercial release. Given the success of Internet buzz for previous outings, this may wind up being great news for sales of a normal release. Stay tuned.

Eno had Music for Airports. It’s fitting that Monolake would do Music for Jet Lag. Robert Henke writes about this month’s free download:

Since I also have been flying a lot recently, I named it after one of the most annoying side effects of modern transportation and mixed it in a way that reflects that dizzy feeling of being hyper active and totally asleep at the same time. ( "Last call for mister Robert Henke, flying to Berlin, please come to gate B 154 IMMEDIATELY or we will unload your luggage !!!!!!!!!" )

I am myself recovering from jetlag on the way to Portugal, so the timing is perfect. In a way, I have to say I sometimes oddly enjoy the disorienting feeling. I don’t think it’d be terribly addictive, but it’s a physical, profound reminder of traveling a great distance, something you could otherwise ignore in the age of absurdly-fast jet travel.

Grab the download here:

Free Downloads of the Month [yetlag, May 2009 – should be archived if you’re catching this late]

Installation details:

http://monolake.de/installations/lufthansa.html

The installation is fascinating in itself: a Max/MSP-powered, interactive sound score for a giant flight simulator, a model of the presence of jets, travel, and air traffic control. Robert did the sound; Christopher Bauder of white void was the concept and very elegant visual design. (See also Aaron Koblin’s striking Processing-based visual piece Flight Patterns, which seems to have embedded itself on a certain airborne digital zeitgeist. The United States becomes a feathery web of connections and flying traffic. You can imagine how this might continue to be mined in sound.)

As we work to keep our creative process flowing, I especially love the idea of focusing on a feeling to get a production started, as Monolake did here. So often, it’s too easy to get caught up in something technical or some very particular idea, then lose that in the process. By focusing on a feeling or deeper sentiment, it’s possible to remain connected to the ethos of what the track really means to us.

Of course, travel too much, and that may just wind up being … well, jet lag.

Meanwhile, as I listen to more music piped through airport terminals and even Metro stations, I wish Eno’s original idea had caught on.

It’s easy to forget how deeply strangers can be connected by music in recordings and performances. Sadly, we too often take this connections for granted until we lose someone. When Telefon Tel Aviv’s Charlie Cooper passed away earlier this year, the loss sent shockwaves through the electronic music community. Because his work was influential for many people here on the CDM community, we certainly welcome musical tributes.

Our friend King Britt of Five Six Media today posted a couple of heartfelt, beautiful tracks from Fhloston Paradigm, a mysterious duo from Philadelphia. They’re described as “songs of love and admiration.” I’ll leave it at that and hope you enjoy them. One thing, happily, musicians do not have to leave behind: silence.

Download / play links on this story require Flash.

Direct link to Five Six Media:
FREE DOWNLOAD: FHLOSTON PARADIGM TRIBUTE TO CHARLIE COOPER

And licensing aside, this is a lovely, clever compilation of tracks.

Interestingly, the physical object did sell out on eBay. When it comes to enthusiastic fans, it seems digital isn’t reducing the value of tangible objects – it may be doing just the opposite. (Adding still more irony, the tongue-and-cheek name for the album was “Coaster,” just what CDs have supposedly become.)

My label’s latest glitchy techno / IDM compilation is now a free digital download: SubvaritraxTM [Liz Revision Blog]

Product page / download links on fractalspin (warning: autoplays)

I quite like this album, released in the heady days of 2005 – there are some lovely, delicate tracks on there. The price is right, though, so grab it (registration required) and let us know what you think. If you torrent it, which you can under the CC license, feel free to post a link.

Description:

SUBVARITRAX™ is a new form of treatment for Sonic Mediocrity Overexposure (SMO). SUBVARITRAX™ works by providing a mix between emotionally-poignant-yet-sonically-dense IDM, and scientifically formulated, provocatively glitchy minimal techno. With contributions from Quench (Funckarma), Ochre, Tim Koch, edIT, Kero, Matthew Mercer and others, SUBVARITRAX™ is a new type of neurostimulant proven to help people with SMO as well as being an enjoyable listen in its own right. Ask your abstract electronic music specialist if SUBVARITRAX™ is right for you.

“Though one is struck initially by Subvaritrax’s distinctive pharmaceutical packaging, the comp’s presentation is trumped by the potency of the medication itself. Virtually a primer for current electronic music trends, the release collects what could be the best bits from imaginary comps by Merck, Neo Ouija, Spectral Sound, and M-Nus into an 80-minute, 17-track set. Such largesse is often wearying but [it] maintains interest by extending the stylistic range beyond a single genre…A terrific outing by the Chicago-based subVariant imprint, the ‘instrumental neuro-stimulant’ Subvaritrax more than makes good on its promise to treat Sonic Mediocrity Overexposure (SMO) with a therapeutically forward-thinking mix of melodic IDM and glitchy minimal techno.” -Ron Schepper, TEXTURA.

Love? Raves? Constructive criticism? You know where to write back.

Now, I’m going to spin this while I code. You can’t fire up Eclipse in silence.