tape_2046 / beatrice vorster                    © 2023 


0:00 / 2:53

Posted byu/TeacherTraining8739

12 hours ago

Is it known what Ecco used to make 3rd crush and 7th crush?

Did he make it on his phone?

Average drainer hallucinations
ambi vert

1 week ago

Perk ☆ —


7:00 PM

fool u have fallen for their ingenious trap



4:41 AM

real life looks like its glitching

I'm 104 years old and I remember the first time I heard this song in 1944 after we liberated Stockholm. It touched my heart then and it touches it now.

7 months ago

Jason Watts

admin vic


10:17 AM

Even when I play video games

I feel high arousal in my nervous system

fast racing heart

but it’s like a good adrenaline way

but the bad one just feels bad n stressful

Im a time traveller from the year 1776.

The declaration of independence was just signed and the national anthem is Cartier God Icedancer Interlude.

They have been lying to you this whole time!

Richard Ivan

1 year ago

one week without icedancer I don’t know what is real anymorv

sophia jullien

1 month

im 300 years old and i remember times when i live in castle

draining everyday thank you bladee


6 months ago

yo please bring this back to spotify

toaster sticks

1 month ago

As a 229 year old War of 1812 veteran,

I remember blasting this during the burning of Washington.

It brings back so many memories.


9 months ago

5th day without icedancer on spotify i just wanna die

zoid PH

1 month ago

who else here cuz they put icedancer off spotify

aleksi seppala

1 month ago


Posted byu/drunkatolivegarden

11 hours ago

Doodling off an edible nd listening 2 crest / spiderr

hour 20 without icedancer...
i began to shake when i first heard the news of it disappearing,
and didnt think it was real.
i went to spotify and it WAS real..
the sight of it horrified me and i started hyperventilating.
i tried to distract myself by listening to other albums,
such as eversince and redlight,
but that only made me think about it more.
i then proceeded to break into tears and start violently shaking.
i had to turn it off because all i could hear were the
voices in my head saying
and i went crazy.
so crazy i started abruptly
sweating and breathing heavily,
i felt like i was about to die.
as the hours passed,
it got worse and worse.
i felt like demons were taking control
over my mind and monsters
started to arise from my heart.
intense shaking,
and screaming non stop. for hours on end.
i tried to console myself by taking a rest,
but that night the thought
of icedancer being gone kept me up all night.
i managed to get around 40 mins of sleep,
waking up with bloodshot eyes.
though i was insanely tired,
i thought that maybe
icedancer would be back,
so it would be okay.
i slowly made my way onto the spotify app
, reluctantly searching
hoping for the best.
my heart starting pounding
as i realized it wasnt there.
i ran to the bathroom with
the urge to vomit,
and i starting brutally
vomiting up blood.
tears started viscously pouring out
of my eye sockets.
i could feel all the demons
exiting my body
as the blood and
tears emitted from my body holes.
to calm myself down,
i decided to finally go on a walk,
after years of being locked up,
decaying, rotting away in my bed,
listening to icedancer. ......
whats this...?
it was sharp and green.
my eyes widen as i remember.
i hadnt seen the sight of it in years.
as i bend down
and softly lay my hand onto it,
it almost pierces through my skin.
it hurt my weak hands
havent ever touched anything else
besides my phone, and airpods.
thinking of that made
me remanence back to
the times when
i was able to put in my airpods
and listen to my favorite album,
this nearly broke me back into tears.
as i run home,
i make it to my room in time.
i knew what was about to happen.
i jump onto my bed and burst into a mental breakdown.
with my hands aggressively shaking and
my mind filled with voilent thoughts,
i come back to my senses.
this isnt what bladee would want of me.
i cant think this way.
that brings me slight peace,
and calms me down enough
to make my hands steady enough to write this.
with my eyes still filled with tears,
and waterfalls streaming down my cheeks,
i will go to sleep again tonight,
with the only thought in my mind
being that icedancer is gone.
its been very hard getting through these past hours,
and im not sure if i can make it any longer.
if i die tonight,
youll know why. t
he pure pressure of icedancer
being removed from my life.
i just cant take it anymore.
as i lie my head on my pillow,
i wish the best for the rest of you,
as im sure you may have had a similar experience as me.
goodnight all,
and maybe forever.
my only wish is to wake up tomorrow
with icedancer infront of my eyes.
otherwise, i wish to not wake up at all.

1 month ago

001 // introduction to the aesthetics of lingering 
002 // case study: step-printing; temporal stutters
003 // case study: software accelerations; technological affordances
004 // case study: space; glitch
005 // case study: the cloud; disembodied distribution
005 // case study:desire; spotify’s ‘hauntology’ playlist
006 // conclusion and bibliography


the aesthetics of lingering

Drifting in the vacuum of in-betweenness; contemporary online audiovisual culture aestheticises the collapse of linear chronology; operating in the latent space between frames, the web bubble. The aesthetics of lingering can be characterised by sharp temporal stutters, smoothed by a wash of euphoric longing romance: the glow of the ever-present. Desire fuelled almost-moments dilate and stretch; pulling away from one another in a play of networked intimacy. 

The resulting effect of simultaneous speeding up and slowing down creates the feeling of a stuck-ness which first struck me in Wong Kar-Wai’s use of step-printing, a sensitivity I noticed also permeating contemporary music bred online.
‘-CORE’ -CORE: I am proposing a blanket term that, rather than grouping all music which has emerged from an internet scene in a group, acknowledges the expansive and experiental lineage of hardcore music emerging in the 1990s. Hardcore similarly underwent a craze of taxonomy giving birth to a myriad of cores such as frenchcore, speedcore, j-core. Another important aspect of ‘-CORE’ genres is their process of normalisation through -- “artist, label and critic arbitration and consensus” (Press-Reynolds, 2022). This further plays a part in the reconceptualization of a ‘-CORE’ as a vibe embedded in associated aesthetics which runs parallel to social media culture. An undergraduate student of mine even re-termed Magritte’s paintings as a cross between weirdcore and dreamcore.
music - artists such as Drain Gang, meatcomputer, Sad Boys, and Babyxsosa - take a necessarily transmedia approach in distributing not only its sonic output but an associated visual aesthetic which cultivates an encompassing fiction. I will focus primarily on Drain Gang’s output as a nexus of these online microgenres.

Fully immersed in augmented, technologically disembodied encounters; the experience in internet culture where chronology is incoherent yet up to the minute means that “all presence is presence at a distance” (Virilio, 2009). Considered in the framework of hauntology outlined by Mark Fisher et al, it denotes that rather than contemporary music carrying aesthetic notations of the past, it inhabits a space of eternal presence - reaching neither forwards nor backwards, but deeper within a folded fictioning of the present as a location in-itself. 

step-printing: temporal stutters

Chungking Express; 
opening sequence Shot by a handheld camera, “only glimpses of the sky are visible and, even so, they are ‘denatured’ with the clouds moving at an abnormal speed … the camera then freeze-frames on a woman we do not and cannot recognise, because she is in disguise” (Tong, 2003).
; dir. Wong Kar-Wai; 1994

Chungking Express opens with a multi-perspectival blur - a chase sequence with an incoherent mess of colours which dislocates the surrounding architecture; at friction with the classic cinematic establishing shot where rather than establishing location, Wong Kar-Wai attempts to capture time. This atmosphere of space/time displacement sets the narrative tone which is defined by the tension of action and inaction as characters - often isolated from each other while still occupying the same frame - long for romantic connection. Their images drift through this artificial bubbled present while space splinters as
“images of time” (Tong, 2003). Janice Tong utilises Deleuze's conception of Time-Image in Cinema 2 to make a case for Wong Kar Wai’s “temporal exegesis” in the sense that his films unfold rather than run linearly, less driven by narrative structure (2003).

This effect of simultaneously speeding up and slowing emerges from Wong Kar-Wai’s poetic deployment of step-printing. This opening sequence is shot at double-speed, 48 fps, and played back at 24fps. Frames 1-12 run consecutively then frame 12 gets repeated for the next 12 frames to achieve a ‘pause’; frames 13-24 are discarded and frames 25-36 run consecutively and so on (Tong, 2003). Something gets lost in this process - we lose grip on our surroundings, space becomes ambiguous, things appear and disappear in a mesh. Intercut with these step-printed sequences are our only resting moments - stills of expiry dates, clocks and declarations of measurements in voice-over:

“At the high point of our intimacy,
we were just 0.01 cm from each other”

The use of past tense itself becomes an insertion of time. This tension of distancing is supported by the wash of non-diegetic score - the slow emergence of out-of-sync footsteps as our only diegetic hook. We are relocated in a fictional present through a more conventional orchestral piece which itself suggests a parody of 
cinematic inevitability. Straddling diegetic and nondiegetic, the music throughout the rest of the film also splinters our temporal location - the only recognisably contemporary track is ‘Dreams’ by The Cranberries but “even as you hear the opening your familiarity is immediately displaced by a Cantopop version remade and sung by Faye Wong” (Tong, 2003).

Significantly, step-printing is not the same as slow motion, despite its similarity in the experience of temporal manipulation. Where slow motion requires the filmmaker to shoot at a higher frame rate - you are ‘creating’ time - with step-printing you are lingering in a moment. The mechanics of image-making allows us to inhabit a space we cannot ordinarily see - a previously ‘blank’ screen between frames. By occupying this latent space we are afforded a kind of computationally enhanced vision through repetition of what is missing.

software accelerations; technological affordances

The hypermedial digital stutter explored in the analysis of Chungking Express shares an aesthetic similarity with the trap-hat trill which dominates contemporary internet genres of music.








TRAP_HAT these are nothing that can be achieved by a human body slamming their sample pad. it is a copy-paste gesture

Legendary Member, Thaiboy Digital ft. Bladee, Ecco2K & Yung Lean (Audio Visual); 2020

Much has been written about the significance of the technological development of software in composition - specifically on increasingly accessible modes of music production. Most significant in the framework of lingering, is the capacity for sampling to be outside of ‘real-time’ recording. The speed of digital encoding enables the sample - a moment - to be resurrected in a click. Further compacting this, the trap-hat stutter makes haptic this speed of data encoding. The prevalence of the audio preset - the sharing of midi-files on fan-created audio production subReddits, has created a kind of dislocated ‘super-sample’ which has no ghost. This surely marks the shift from
‘amen’ The Winston Brothers’ 1969 ‘Amen Brother’ break, originally lasting 7 seconds, carries with it the gesture of the drummer [the controlled muscular spasms, performed by the body in a moment of energy exertion] , the resonance of the recording space in Washington D.C, the texture of the recording material, the haptics of the vinyl [the damage of the needle], digitised and shared online again and again. The looping of these 7 seconds, often at double speed resurrects this moment of freestyle again and again and relocates this spatially.
based -CORE music towards a new kind of production: participation in a genre is removed from a tangible signifier and enters the void. The shift to music-as-data is an audible quality of software produced internet music - a kind of direct line where, in theory, sound never needs to hit the air - it is a hypothetical ‘if’.

space; glitch

As in Chungking Express, the aesthetic language of -CORE can also be identified by its artificial treatment of space in which “the sonic depth of the recording is squeezed into a vastly smaller physical area than an [analog] medium” (Reynolds, 2011). This is a sonic quality of -CORE output.

drain story, Bladee, 2020

The reverb-wasted aesthetic of Drain Gang’s output is coupled with the closeness of the trap-hat stutter. The spatial dislocation is further reflected in the way that music is listened to: the shift from an embodied sense of time and place afforded by hifi-systems - your distance from the object determining audibility -  to wireless headphones creating an always there bubble: weightless, wireless and noise cancelling, which collapses the space between you and the mp3. In the realm of recorded sound, the dislocated hypothetical space of production acts as a sort of
non-place, As defined by in ‘Non-places: Introduction to an Anthropology of Supermodernity’ by Marc Augé, 2009.
its artificiality not corresponding to any actual circumstance.

The interpolation of synchronicity - oscillating between absolute presence and delay - is perceived in music video aesthetics and audio output. In particular,
Bladee ‘CEO of Drain Gang’.
, decisively plays with this wavering dislocation. Identified by tight cuts and audio-reactive edits, his music videos mimic a kind of fantasy zoom-in/zoom-out algorithm diving web experience - a
hyper-synchronous Synchronicity can be described as the symbiotic relationship between sound and image which ties them together, however there is a deliberate deviation through the hyperfixation on synchronicity which side-steps conventional modes (Korsgaard, 2017).
hapticity. This contrasts with the out-of-joint performance of lip syncing in the videos, drawing attention to itself in its nonchalant, non-committal modality. A strange parody of music video conventions which fictionalises live-ness and embodiment radiating an aura of almost. There is further a deliberate obscuring of lyrics through vocal processing and whispering.

egobaby, Bladee, 2020

With the ever advancing sophistication of these virtual production places
falling out of time for example, Ableton’s ‘warp’ function automatically synchronises the track-in-progress to a malleable BPM
- the temporal glitch - is a decisive aesthetic action. Legacy Russell’s ‘glitch’ framework highlights this fissure as a moment in which we recognise the separation of the physical self from the body-in-online-fantasy, providing a terrain for analysing this separation - both from its physicality, but further from its location in a particular chronology (Russell, 2013).

Indeed, “the slipping across, beyond and through the stereotypical materiality of the corpus”, can expand further to locate the dwelling place of -CORE music: the common usage of the term ‘corpus’ as a dataset in computer science (Russell, 2013).

the cloud; disembodied distribution

Cloud This is not as new as we might assume with the mainstream cloud of Google Drive, iCloud etc. introduced in 2011/2012, but can be dated to 1996, shortly after the release of Chungking Express where MIT Technology Review cites a reference to a patent for ‘cloud computing’, an unrealised model (Hu, 2015).
servers such as Spotify, YouTube and SoundCloud facilitate astronomic expansion of memory which elongates the present outside of a physical location - “distance and delay have been eroded to nearly nothing” (Reynolds, 2011). As of February 2020, more than 500 hours of video were uploaded to YouTube every minute - this equates to approximately 30,000 hours of newly uploaded content per hour (Statista, 2022).

Our sense of temporality is increasingly inconstant - a model that is facilitated by the time-display bar, allowing visitors to make-present a particular moment; and the algorithmic sidebar - a lateral drift across time in which everything can enter your personal 
timezone Users can also automatically link a certain timecode or comment on a fragment of a song in order to direct others to a particular moment.
(Reynolds, 2011). Moreover, I would suggest that the genre-mashing -CORE is itself related to this algorithmically defined experience. Just as “one’s data trail grows with each website visit and each packet one sends through the cloud”, a particular online sub-scene accumulates references from the web ocean (Hu, 2015). This analysis of the temporal effect of listening to music online - “you can flit from the archaic to the up-to-the-minute in a click” - has a similar effect as the one achieved through Wong Kar-Wai’s use of step printing - the paradoxical combination of speed and standstill that locates the aesthetics of lingering as a feeling of stuckness (Reynolds, 2011). This is also explored lyrically.

nowhere fast, meatcomputer, 2020

The vastness of accessible content does not, however, provide an adequate archive for music scenes that originate online. Labyrinthine internet scenes - spread across myriad forums and platforms - are dotted with elisions, breaks, lost moments (Press-Reynolds, 2022). The chronology is consequently impossible to define; this is something which is deliberately mythologized by Drainers and becomes a kind of ‘true-fan’ signifier. In the instance of Bladee’s Icedancer Mixtape, this fictional chronology or ‘drain story’ is used as a  distribution strategy in which albums are dropped and
across multiple platforms.