Posted on August 19th, 2022
I have been tweeting a lot about the endless cancellations/shelving/write-offs/whatever going on over at Discovery/WB. Until yesterday, I was mostly thinking of it purely as just a fan or at most, a long-time, amateur, industry observer/occasional podcast talking-head. Sure, by happenstance, I am very lucky and happy to have made a few friends in animation and localization, but generally, it all felt like a disaster in the distance, as previous entertainment industry management failures have for me.
Then Discovery started shelving if not fully memory-holing a bunch of shows that weren’t as far from me as I thought, at least once I thought about it. Victor & Valentino had development and storyboard work from my great friend and Storyboard Pro code collaborator Corey Barnes. Infinity Train had storyboard work from Marie Lum, who once kindly said the Storyboard Pro scripts that Corey & I built were worthy of a Winsor McCay Animation Lifetime Achievement award: a level of praise I never expected for any code I’d write.
Ruminating on those connections changed the context. This debacle is all at a very different distance than when I used to complain about TV network mismanagement as an aimless, 20-something forum-goer turned volunteer animation critic & forum mod. Sure, that also meant I was very aware of folks moving on to new roles and new opportunities; by and large, I know this won’t instantly throw people out in the cold. However, more than I’d ever had known previously, I was keenly aware of just how much work was being cast into limbo as I’d literally had helped reduce the work load with the only relevant talent I could contribute. All these realizations did was make me more upset at how callous and unjust the rules around intellectual property and copyrights owned by companies are. The artists and their fans deserve better.
So, while I usually don’t get so heavy, I want to take a moment to say if one your favorite shows is being caught up in all of this, and if the artists who made it have any direct support options – commissions, ko-fi, gumroad, patreon, etc. – now’s a good time to lend a hand, if only emotionally, if not materially, by taking advantage of those options. Further still, we need to agitate for changes in copyright and IP write offs such that that works intentionally orphaned via said write-offs either return to the original creatives, or go instantly into the public domain such that it still frees the original creators, the greater staff and even fans to distribute and celebrate these works, so they are not lost to time. I dearly hope reform like that happens, and that, as I have to admit myself, is no longer me pontificating as someone on the sidelines, but as someone who at least helped people play the game a little bit, and would like to see a system that encourages their endeavors, not one that squanders them for single quarter’s balance sheet.
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Posted on May 22nd, 2022
Filed under: Music News — Karl Olson @ 3:59 pm
A mostly complete mirror of music (barring subscriber exclusives & stuff I never put back on Bandcamp) is now up on archive.org thanks to a friendly bot. Call it the creative commons at work.
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Posted on March 2nd, 2022
Filed under: Music News — Karl Olson @ 10:44 am
Okay. So in case you missed it, Bandcamp was just bought by Epic Games. Long story short, it doesn’t look like anything is going to change here any time soon at Bandcamp according to the hagiographic press release/blog post they made about it.
As such, I’m going to let things ride for now. Like many of you, I have major concerns about the cut that Bandcamp takes going up the chain to Epic & its major investor Tencent, but honestly, I was never happy to deal with PayPal all the time either. That’s always kind of been a trade off with e-commerce, though the history of Bandcamp’s new corporate parents rightfully gives many people pause. If you’re among them, I understand and support you 100% if you no longer want to support artists via Bandcamp. However, so long as Bandcamp isn’t making artists and listeners do anything that seems any different to the current deal here, it is probably still the best place to support me and any other musician who offers music through that platform, for better or worse.
Conversely, should being on Bandcamp ever force me or y’all into a deal that’s harmful, in whatever form that could take, then I will fold up shop here, or should that some how be an even greater risk, I will heavily encourage everyone to shop elsewhere by any means available to me. I’ll redirect the ultraklystron.com domain too, and I’ll post another update like this with my next steps if things go sideways due to Epic/Bandcamp.
Still, I want to thank you all again for supporting me via Bandcamp since 2009. I hope we all can continue that, and if not, I’m right there with you all. I’ve been through this often over the past 20 years ago with mp3 dot com, amp3 dot com, ampcast, myspace, etc. If this is another loss, at least I can tell you with some certainty that someone, somewhere will eventually find that to be an opportunity to do something good for us all again.
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Posted on February 17th, 2022
Filed under: Music News — Karl Olson @ 11:55 am
It keeps happening. 10 more 174bpm Drum n’ Bass rollers. Candy themed naming because I am really running through ideas here. Also, I think the LP sounds sweet, ha.
And the easy youtube full LP version:
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Posted on August 1st, 2021
Filed under: Music News — Karl Olson @ 11:45 pm
Swear I named this album well before that 10 out of 10 review. Just ask my Bandcamp subscribers/fan club members who have had this LP for months.
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Posted on July 23rd, 2021
Filed under: Music News — Karl Olson @ 10:21 am
Yep, Nick de Reiger, one of the fine folks over at Gaming Boulevard did an extensive interview with me about my new album Karlland, my thoughts on Nerdcore, my production process, how Hyperpop came into my mix of genres, plus thoughts on video games, anime and manga. It’s a long read, but I think it’s a pretty good one!
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Posted on July 13th, 2021
Filed under: Music News — Karl Olson @ 8:12 am
To be honest, even I still can’t believe this review:
Nodball gives Ultraklystron’s Karlland a 10 out of 10 (archive.org copy)
But if you can believe it, well then by all means run it up:
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Posted on March 13th, 2021
Filed under: Music News — Karl Olson @ 8:31 pm
So, the next Ultraklystron album, Karlland, is already done. There’s singles for pretty much every track already cued up on the major streaming services for the coming months, though my Bandcamp Club Members will get them and the full album about 2 weeks ahead of each wider release. Lots of spoilers like track titles and album art are available in this twitter thread, but I figured for the handful of folks reading this blog (probably my oldest fans and a few tech recruiters,) I’d embed a playlist that’ll be updated as I get tracks into wider release:
I know Audius is a bit of niche platform, but since it provides soundcloud-like functionality without upload caps, it’s a nice secondary place for me to post music and build playlists. I’ve already got all of my publicly released vocal music up there now, and I’m considering uploading all of my instrumental work too as it makes it pretty easy to push in bulk compared to most platforms. Plus, folks seem to be actually listening to my music there, and it’s driving people back to my socials and my Bandcamp, though maybe that’s just crypto-mania (Audius has the $AUDIO token to denote ownership of the platform by artists.) I don’t know, and if you listen to one of my recent songs, you know I don’t care necessarily either.
I know also that the single-by-single drip is not the most satisfying means of taking in fresh music from your favorites as a long time listener sometimes. Albums are a rush and an experience, but only if you’re already pretty into an artist. Besides, singles seems to be the structure of modern music, and while this is just my hobby, I won’t go against the grain of the medium except for when I’m trying to by design (IE: my instrumental albums are staying albums.) Thus, that means dropping singles first usually because for a tiny bit of extra effort on my end, I’m in everyone’s inboxes/feeds/new music playlists/etc. 10 or more times, not once. More reminders mean more streams, follows, downloads, etc. and that means I don’t feel so bad about spending time on a hobby I know I could mostly enjoy on my smart phone uploading direct to Bandcamp without outside distribution. I even double-checked this assertion by dropping two all new vocal albums last year, Just You Wait And See and Zenith. The prior had all pre-release singles while the latter didn’t, and there was a 25%+ increase in streams and sales, so I might as well get it.
Anyway, if the slow drip is annoying, check back around about June. I’ll have an album for your summer because it’s not even spring and it’s done. I even learned how to master to -14 LUFS so it’ll sound better on all the streaming services, no extra leveling.
PS: ICYMI, did a TeeSpring for Merch for KARLLAND. The album title was a joke that fell out of this twitter thread, so this is another reason why this is a hobby – I can just do silly stuff like this, no risk!
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Posted on November 26th, 2020
Filed under: Music News — Karl Olson @ 8:17 pm
YouTube Preview from The Tsundoku Zone:
Yeah, one more Drum n’ Bass album to close out the decade. I have lots of stuff already brewing for 2021, and I’m looking forward to sharing them with y’all.
Speaking of things to share, I forgot to link a couple of albums, so:
Oh and speaking of things I forgot to link, here’s a preview for 2021:
PS: Code “friday” at ultraklystron.com gets you 95% off everything, including my complete discography until Feburary 1st, 2021.
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Posted on August 10th, 2020
Filed under: General,Music News — Karl Olson @ 6:47 am
Time for another reaction blog to a great YouTube video that muses justifiably on the difference between Anime Rap and Nerdcore as thematic approaches, and yet again, what started as a YouTube comment became a blog post.
After all, even in Nerdcore itself, there’s been a long-running debate between what’s “Book Report Rap,” where someone is writing in character or summarizing a story vs. nerdy/otaku-centric media and topics as a referential lens for rapping about personal experiences vs. perhaps still nerdy personal experiences (cons, coding, hacking, etc.) as the topic. It’s debated because those differences may determine what’s more explicitly commercial rather than being artistically minded first, or rather, what’s being made out of novelty versus what made out of authenticity (assuming such separation can ever be made.) I don’t think that debate has ever settled out.
Many successful nerd/otaku-adjacent artists, regardless of their self-applied label of choice, really work over a spectrum between the various extremes depending on the song or project. Where they usually land on average has less to do with their level of admiration of Rap as a creative artist as the video implies, (though yes, some folks are really just trying to pander to nerds first,) but more to do with their personal processes and experiences. I think anyone trying to make a polished, professional track probably loves rap in the same I’d a say a Backpacker and a Trap artist both love Rap, but they each express it very differently. Maybe the purely novelty artists are consistently identifiable, but they don’t seem more common under any given label.
Still, it’s understandable how tremendously unsatisfactory that vague conclusion is when artists are trying to brand and market their work, as unclear scene boundaries and labels can result in the dilution of search results and listener confusion. When listeners craving novelty and levity suddenly encounter something more challenging, they get very upset because as the video alludes to, they’re not always genre fans, they’re fans of some medium (anime, comics, video games, etc.) first. Conversely, when someone who likes the tone to be serious encounters the slightest novelty, it can then scan as cornball and can sour a scene name or brand or genre or whatever forever to them. This creates legitimate tension in both directions – no one wants their plans undermined by another artist’s vision or aesthetic.
Alas, even decades into this, I don’t have the answer for where novelty stops and authenticity begins, because it is so personal and variable. As I note in the header, I’ve got a newish LP out, based on an EP mixtape that was originally very anime-themed and even had samples from those works. In turning it into an album, I pulled out the samples and pulled in some remixes of songs that also thematically fit because they were also very anime-themed. Now, on one hand, it’s probably rather novel – there’s lots from the perspective of anime characters covering many of their respective series’ plot beats. On the other hand, my love of those anime and of Rap is very core to me. It’s nothing if not authentic, and it can’t be helped in the slightest. Further still, there’s an aspect of simultaneous, shared perspective in a lot of those songs too, making distinctions of novelty and authenticity that much murkier as it’s not a question of writing in character or as myself – it’s very intentionally as both because the experiences are that close, that relatable.
So, I guess can’t and won’t blame anyone for saying what I do doesn’t fit their vision for a given signifier regarding Nerdcore or Anime Rap or whatever. It’s only natural in the absence of strong sonic boundaries to look for thematic ones, but those by definition are going to be very personal. Still, I think all we can do is trust that when an artist applies a signifier on themselves, that they’re doing it from an authentic place, especially in heavily independent scenes and genres.