H4X0R5 is an All Hardware Remix & Live Score of the 1995 Cyberpunk Classic ‘HACKERS’ – It’s 60 Minutes of Breakbeats, Bad CGI, and the Best on-screen Hacking montages of all time! Performed IRL in front of your eyes, and on Super Limited VHS
Details about the Process of the project can be found here.
The maximum duration for a looper track on the Roland MC-707 Groovebox is 60 seconds (44.1 kHz). This is for the combined length of all clips in a project. For example, if you import a 10-second sample into a looper track clip, you can record another 50 seconds of audio.
If you use a sample in a Looper track (timestretch algorithm) you have 60 seconds of usable memory per project. If you use a sample in a drum track or tone track as an oscillator, it’s 6 mins stereo or 12 mins mono.
The H4X0R5 Live Remix & Live Score tour starts April 11th in Brooklyn, NY, and winds it’s way across the Northeast for 10 shows in 10 days! Hack the Planet!
4/11 – Brooklyn, NY 4/12 – Baltimore, MD 4/13 – Philadelphia, PA 4/14 – Greenfield, MA 4/15 – Boston, MA 4/16 – Troy, NY 4/17 – Rochester, NY 4/18 – Cleveland, OH 4/19 – Chicago, IL 4/20 – Chicago, IL
H4X0R1 Digital Single & Download Codes + VHS Pre-Order
HACK THE PLANET! The first of four Digital Singles drops today for the H4X0R5 VHS Release via American Grapefruit!
I’ve also put a Pre-Order up for the H4X0R5 VHS – a 70 minute re-edit of the original film HACKERS with an all original Hardware Jungle score & Full Color Slipcase. Limited to 200, NTSC Only.
Tonight is the last night of mixing for the H4X0R5 digital singles.
I’ve been working with Jake Videopunk (Jake Vest from American Grapefruit) in our rehearsal space in Queens for a couple of months, and the mixes are finally coming together.
Last week, I did my first attempt of playing the live score with the edited version of the movie, and it went pretty ok!
Still lots to do before we lock picture next week, but it’s getting there!
I’ve been going back through the edit, trimming more tops & tails of scenes, and getting some things walked back out. . . some of the dialog was too fast, so now i’m retiming to clarify it.
Here’s a screencap of my calendar for the next couple of weeks.
Almost all the shows are locked down (still trying to make 4/12 happen), and then it’s off to the races!
name of code set: 2024 Giveaway date created: Feb-27-2024 date exported: Mar-01-2024 album: #PureMoods2016 quantity created: 100 quantity redeemed to date: 0
name of code set: 2024 Giveaway date created: Feb-27-2024 date exported: Mar-08-2024 album: #PUREMOODS2017 quantity created: 100 quantity redeemed to date: 0
Hi, Friends. . . Mike Videopunk here. It’s been a long time.
As you can see, the tBL Bandcamp is under new management.
When Fox & I started tBL in 2003, the world was a very different place. We were very different people. 20 years is a long-ass time.
Fox has been busy working on other projects, and since no one was using this Bandcamp account, I asked them if I could have it. They said ‘All yours’, so here I am.
I’ve listed some new VHS releases that are currently available, and are shipping TODAY. There’s some other new VHS releases coming soon, and lots of other interesting releases from VIDEOPUNKS, Field Replaceable Units, THE LI∆R, and a bunch of our friends.
VXPX is the label. Videopunks is the Band. Mike Videopunk is the guy.
VXPX will mostly be VHS tapes moving forward. I might release some other weird bits over on the Videopunks bandcamp, but VXPX has really only been about one thing – fuckin’ VIDEOTAPES.
Don’t get it twisted. . . we all love Diognes the Fox from The Basement Labs, and you should totally give them a follow over on Twitter (twitter.com/thebasementlabs) – I’m looking forward to doing some releases with them in the future. There’s going to be new music from them SOON, and you should definitely support them.
In the meantime, we’re 100% open for business, vhs tapes are ready to rock, and I can’t wait to reconnect with all y’all.
Got a VHS release that you’d love to do? Got something a little more exotic? Hit me up over at Videopunksnotdead@gmail.com , and let’s do some cool fucking shit.
Second recording session for the LP was finished Sunday night.
We recorded 8 ‘songs’ live from the MC-707 directly into Ableton for mixing & editing.
They’re essentially hardware jams, in the rough arrangements. The idea is to do nothing additive to them in Ableton – it’s purely subtractive.
That way, they retain the feel of live performance, and the feeling of hardware, without the option paralysis that an infinite DAW performs.
Ableton is very cool for this, but to be honest I think we could be doing these in ProTools in the future (like the first recording session that Vinny & I did at the start of this 400+ day odyssey).
Also – I got into my first edit pass on the feature film (there’s nothing like waiting until the last minute). I’m about an hour into the movie, and i’ve trimmed about 10 minutes. Once I’m able to start warping the footage, I think that number will come down significantly.
It’s really a bummer that I can’t do ‘Beats & Bars’ in Adobe Premiere. . . I’ve built a time ruler with .wav files, and once I’ve reduced the film as far as I can pre-warp, I’ll start quantizing.
A third thing that I’ve found – my Wifi Router has a USB 3.1 port in the back, so I’ve moved Proxy QT’s & the .Wav stems over to it, and i’ve been wirelessly editing off of an SSD connected to it.
It’s just a test to see how manageable it is, but to be honest, it’s fucking flawless.
I’m pretty confident that I could do this for literally EVERY project I cut in my house. . . Just connect my Working RAID to my router, take my laptop all over my place, and just jam out.
Four VJ’s. Three Hours. Two Grooveboxes. One Video Mixer.
These are the ingredients of MEGAVJOLTRON, the final VJOLTRON at Wonderville. An extended 3 hour A/V Multijam. . . deep beats, trippy viz, all hardware.
Hardware Music by Vinton Surf & Field Replaceable Units
Since this is a Solo tour, I was looking at the Cheapest/Easiest way to get from City to City, and that’s ultimately Amtrak.
I’ve been using Amtrak to get to & from Philadelphia for shows for the past two years, so I figured i’d take a look at times/prices, and see what shakes.
This was ultimately the correct decision.
On a 10 day tour, I will have spent only $245 traveling – not including my flight back from Chicago.
Here’s the prices that I ended up paying:
NYC to Baltimore: $40 Baltimore to Philly: $17 Philly to Providence: $88 Providence to Boston: $0* Boston to Albany: $34 Albany to Rochester: $41 Rochester to Cleveland: $25 Cleveland to Chicago: $0*
* used points accrued from other trips/tickets (including these tickets) to finance other legs.
I think if there’s multiple people traveling, it begins to make more sense to travel via Van et al, and if you can afford it, a bus is clutch.
But for a Solo Traveler with a pretty minimal setup (two rolling suitcases, essentially), then this is a no-fucking-brainer.
No Tolls, No Gas, No Speeding Tickets, No Traffic. Ultimately, you have ZERO control over how/if you’ll get where you need to go, but for the price of 13 copies of the VHS tape, i’m willing to risk it.
In the first post I talked pretty in depth about the workflow for the live show.
In the past year & change, it’s changed quite a bit. . . but the concept is still the same.
A couple of months ago, I made the switch to an MC-707 (i’ve still got multiple 101’s), and i’ve been designing the live show to be very much a ‘One Man Band’.
Since the MC-707 has Audio Inputs, i’ll be able to test running the output from the VCR directly into the 707 for compression/live effecting. I haven’t full tried this yet, but the alternative is running the Audio from the VCR out to the house over a DI (which isn’t the end of the world).
Other than that, same workflow – a single Roland MC project (not with 8 channels), 16 ‘lines’ worth of songs (each track is it’s own line), and a Midiman Sync to keep the Groovebox in sync with the playback.
The current Roland MC series has come a LONG way since they were first released, and there’s a ton of really great performance features that make the MC-707 super playable live.
I’m really looking forward to documenting the live show at some point, and being able to kinda show how all the bits & bobs work.
Editing on the file will FINALLY start this weekend. . . I’ve really been dragging my feet on it, but we’re marrying the dialog stems to a 4:3 Pan & Scan version of the film, and then I can start hacking away.
Here’s the current release plans –
H4X0R5 VHS release (200x copies) – 4/11/24
H4X0R1 – H4X0R4 – Digital double A-side singles of 8 of the tracks from the score, released every couple of weeks until the release – Sessions for those start Tomorrow, and will finish up on 4/21ish.
Here’s some ideas for further releases (if response supports it):
H4X0R5 Vinyl – contains all the tracks from H4X0R1-H4X0R4
Greatest Zukes Album – Music From and Inspired by “H4X0R5” - C60 cassette of the entire score, ripped from the VHS (minus the Dialog/Movie) https://www.youtube.com/watch?v=qbk0UF_ifm0
R3M1X0R1-R3MIX0R4 – Digital Double A-Sides w/ Remixes of all the H4X0R1-H4X0R4 tracks
R3M1X0R5 – Vinyl(?) release of the R3M1X0R1-R3M1X0R4 tracks
R3M1X0R5 VHS – Visual Remix of the Movie in the style of collectives like Racer Trash (where everyone is given a pre-determined amount of footage, and is encouraged to remix it however they see fit).
It’s really fucking crazy to think that i’ve been kicking this stupid thing around my head for the past 2+ years.
I’m really looking forward to getting it out into the world, and then figuring out what the NEXT thing is going to be .
Where i’m at right now, i’d like to maybe take a year-ish off to focus on making other music (FRU, or some stuff for THE LI∆R), and then do another movie in the same style. I’m definitely leaning towards Johnny Mnemonic (in Black & White, of course), but will see what’s up.
Further down the line, I’d like to maybe do a trilogy of these that’s a little noisier, a little heavier, a little more industrial (Maybe as THE LI∆R).
As of today, H4X0R5 is being released on 4/11/2024. Most of the tour is booked. Most of the score has been demoed. I ran through it super quick tonight, just to get it out into my Voice Memos app, and recorded for posterity.
Jake Vest is producing, mixing & mastering, and Alex Pilkington is producing/post-supervising.
200 VHS Copies is going to be a sure thing, I’m talking to a label about doing a Vinyl release, and I might ask another label about doing a cassette, but I’m not sure yet.
Last night, we laid out a really aggressive production schedule for the next two months. I’m going to try and keep some notes in this blog about the rest of the process.
This thing is very much happening, and I’m really fucking excited.
It’d be cool to take a 16 word ‘sentence’ (or collection of words), and have them triggered on a Drum Track w/ the sequence set to random playback, and each pad is set to a step. . . every trigger would have a word.
From there, you could process however you’d like. . . but you’d have a continuous stream of words/sounds/thought with which to build your soundscape from.
Using Cutoff (and other parameters), you could reduce the quality of the sound so it’s a rhythmic device as well as a semiotic one, and build drones/walls around that.
This technique is infinitely replicable, and infinitely iterable.
Here’s a chapter from Leroi Jones, ed., The Moderns: An Anthology of New Writing in America (NY: Corinth Books, 1963).
William Burroughs, “The Cut Up Method”
NOTE ON VAUDEVILLE VOICES
In writing this chapter I have used what I call “the fold in” method that is I place a page of one text folded down the middle on a page of another text (my own or someone else’s)–The composite text is read across half from one text and half from the other– The resulting material is edited, re-arranged, and deleted as in any other form of composition–This chapter contains fold ins with the work of Rimbaud, T.S. Eliot, Paul Bowles, James Joyce, Michael Portman, Peter Weber, Fabrizio Mondadori, Jacques Stern, Evgeny Yevtushenko, some newspaper articles and of course my own work–
THE CUT UP METHOD
At a surrealist rally in the 1920’s Tristan Tzara the man from nowhere proposed to create a poem on the spot by pulling words out of a hat. A riot ensued wrecked the theatre. Andre Breton expelled Tristan Tzara from the movement and grounded the cut ups on the Freudian couch.
In the summer of 1959 Brion Gysin painter and writer cut newspaper articles into sections and rearranged the sections at random. Minutes To Go resulted from this initial cut up experiment. Minutes To Go contains unedited unchanged cut ups emerging as quite coherent and meaningful prose.
The cut up method brings to writers the collage which has been used by painters for fifty years. And used by the moving and still camera. In fact all street shots from movie or still cameras are by the unpredictable factors of passers by and juxtaposition cut ups. And photographers will tell you that often their best shots are accidents . . . writers will tell you the same. The best writing seems to be done almost by accident but writers until the cut up method was made explicit– (all writing is in fact cut ups. I will return to this point)–had no way to produce the accident of spontaneity. You can not will spontaneity. But you can introduce the unpredictable spontaneous factor with a pair of scissors.
The method is simple. Here is one way to do it. Take a page. Like this page. Now cut down the middle and cross the middle. You have four sections: 1 2 3 4 … one two three four. Now rearrange the sections placing section four with section one and section two with section three. And you have a new page. Sometimes it says much the same thing. Sometimes something quite different–(cutting up political speeches is an interesting exercise)–in any case you will find that it says something and something quite definite. Take any poet or writer you fancy. Heresay, or poems you have read over many times. The words have lost meaning and life through years of repetition. Now take the poem and type out selected passages. Fill a page with excerpts. Now cut the page. You have a new poem. As many poems as you like. As many Shakespeare Rimbaud poems as you like. Tristan Tzara said: “Poetry for everyone.” And Andre Breton called him a cop and expelled him from the movement. Say it again: “Poetry is for everyone.” Poetry is a place and it is free to all cut up Rimbaud and you are in Rimbaud’s place. Here is a Rimbaud cut up.
“Visit of memories. Only your dance and your voice house. On the suburban air improbable desertions … all harmonic pine for strife. The great skies are open. Candor of vapor and tent spitting blood laugh and drunken penance. Promenade of wine perfume opens slow bottle. The great skies are open. Supreme bugle burning flesh children to mist.”
Cut ups are for everyone. Any body can make cut ups. It is experimental in the sense of being something to do. Right here write now. Not something to talk and argue about. Greek philosophers assumed logically that an object twice as heavy as another object would fall twice as fast. It did not occur to them to push the two objects off the table and see how they fall. Cut the words and see how they fall. Shakespeare Rimbaud live in their words. Cut the word lines and you will hear their voices. Cut ups often come through as code messages with special meaning for the cutter. Table tapping? Perhaps. Certainly an improvement on the usual deplorable performance of contacted poets through a medium. Rimbaud announces himself to be followed by some excruciatingly bad poetry. Cutting Rimbaud’s words and you are assured of good poetry at least if not personal appearance.
All writing is in fact cut ups. A collage of words read heard overhead. What else? Use of scissors renders the process explicit and subject to extension and variation. Clear classical prose can be composed entirely of rearranged cut ups. Cutting and rearranging a page of written words introduces a new dimension into writing enabling the writer to turn images in cineramic variation. Images shift sense under the scissors smell images to sound sight to sound sound to kinesthetic. This is where Rimbaud was going with his color of vowels. And his “systematic derangement of the senses.” The place of roescaline hallucination: seeing colors tasting sounds smelling forms.
The cut ups can be applied to other fields than writing. Doctor Neuman in his Theory of Games and Economic Behavior introduces the cut up method of random action into game and military strategy: assume that the worst has happened and act accordingly. If your strategy is at some point determined … by random factor your opponent will gain no advantage from knowing your strategy since he can not predict the move. The cut up method could be used to advantage in processing scientific data. How many discoveries have been made by accident? We can not produce accidents to order. The cut ups could add new dimension to films. Cut gambling scene in with a thousand gambling scenes all times and places. Cut back. Cut streets of the world. Cut and rearrange the word and image in films. There is no reason to accept a second rate product when you can have the best. And the best is there for all. “Poetry is for everyone” . . .
Now here are the previous paragraphs cut into four sections and rearranged:
ALL WRITING IS IN FACT CUT UPS OF GAMES AND ECONOMIC BEHAVIOR OVERHEARD? WHAT ELSE? ASSUME THAT THE WORST HAS HAPPENED EXPLICIT AND SUBJECT TO STRATEGY IS AT SOME POINT CLASSICAL PROSE. CUTTING AND REARRANGING FACTOR YOUR OPPONENT WILL GAIN INTRODUCES A NEW DIMENSION YOUR STRATEGY. HOW MANY DISCOVERIES SOUND TO KINESTHETIC? WE CAN NOW PRODUCE ACCIDENT TO HIS COLOR OF VOWELS. AND NEW DIMENSION TO FILMS CUT THE SENSES. THE PLACE OF SAND. GAMBLING SCENES ALL TIMES COLORS TASTING SOUNDS SMELL STREETS OF THE WORLD. WHEN YOU CAN HAVE THE BET ALL: “POETRY IS FOR EVERYONE” DOCTOR NEUMAN IN A COLLAGE OF WORDS READ HEARD INTRODUCED THE CUT UP SCISSORS RENDERS THE PROCESS GAME AND MILITARY STRATEGY, VARIATION CLEAR AND ACT ACCORDINGLY. IF YOU POSED ENTIRELY OF REARRANGED CUT DETERMINED BY RANDOM A PAGE OF WRITTEN WORDS NO ADVANTAGE FROM KNOWING INTO WRITER PREDICT THE MOVE. THE CUT VARIATION IMAGES SHIFT SENSE ADVANTAGE IN PROCESSING TO SOUND SIGHT TO SOUND. HAVE BEEN MADE BY ACCIDENT IS WHERE RIMBAUD WAS GOING WITH ORDER THE CUT UPS COULD “SYSTEMATIC DERANGEMENT” OF THE GAMBLING SCENE IN WITH A TEA HALLUCINATION: SEEING AND PLACES. CUT BACK. CUT FORMS. REARRANGE THE WORD AND IMAGE TO OTHER FIELDS THAN WRITING.
I did a similar post to this in 2023, that you can view here.
I set a really aggressive schedule for myself last year, and really leaned in. I did close to 80 events in 2023, and released a lot of photobooks/tapes/prints/all sorts of crap. . . but this year, I think i’m going to try to take it a little lower, and a little slower, and just really see where the year takes me.
Here’s a brief list of things i’d like to release this year: • H4X0R5 VHS release • Tomorrow is Code for a Bright and Shining Future VHS release • Greeting the New Day VHS release • HIQK Live at the Grove VHS release • Dirty Epic Photobook • Scribble Photobook • Big in Japan Photobook • Home Away from Home Photobook • ‘Skin Prisoner Meets The Liar Uptown’ album • Field-Replaceable Units & Vinton Surf Jam 12″ • Tanzmachine Jugend album
✔️ Denotes Completion
January (no Vjoltron Event) • VXPX_062 – From the River to the Sea (Palestine Legal Benefit VHS tape) ✔️ VXPX_063 – MEGAVJOLTRON VHS release
February ✔️ VJOLTRON – 2/12
March • VJOLTRON – 3/11
April • VJOLTRON – 4/8 • VXPX_050 – H4X0R5 VHS release • H4X0R5 Tour
A 6 hour Ambient VHS experimentation by FIELD REPLACEABLE UNITS – Limited to 20, given as gifts for the 2023 Holiday Season. Live Demo recorded at SCI LABS in November, 2023.
A remastered & recompiled compilation of the first four ‘Video Art Is. . .’ compilations.
Hella fuckin’ sold out. Like, a LONG ASS TIME AGO.
This is where the VXPX VHS releases started.
Cover & Case Colors are RANDOMIZED. You Get What You Get!
“Video Art is Awful” Originally Released 12/1/2015 VXPX_001
The Soft Spots – Sunflower Fields Jannes Snyder – Analog Experiment #1 Let’s Glitch it! – Corruption Test Tim Buchanan – The Settlement Pixelated Passion – Dream Weaver Claire Burke & R. – Untitled Love Song / P100 Cannibal Troll Films – Videoscape Pt1 Lamashtu – Yoga Nouveau crx091081gb – Postrush Jonas Bers – Taenaris How Dragons Disappear & Tachyons+ – Pukyboog Darren Keen – The Way I Look Kelela & Videopunks – A Message (We Are Temporary Drag Remix) Julia Sinelnikova – Meditation On Suffering Nathan Fake – Fentiger (AVD78 Edit) Psychiceyeclix – Bending Photograph Joshua Hedges – Lifes A Tape Employee #6817 & Corey Johnson – Y2k Compliancy Strut Sh333p – Sh333p 4 Videopunks Guillaume Vallée & Baron Oufo – Is A God To Live In A Dog? Kid Mask – Kaia-Nemi Capital Waste – Dumpster Delish // Ep1 // Egg Benidict
“Video Art is Boring” Originally Released 5/9/2016 VXPX_006
Love Spread – Sayonara Forever Anna Spence – New Radiant crx091081gb – Untitled From “Becoming The Camracid” Darren Keen & Videopunks &Charlotte Japp – Hard To Say No AVD78 – Lazer Sword Mix Capital Waste – Dumpster Delish S1E2 Corey Johnson – Flow Pictureplane – Technomancer Manifesto (Dimensional Rip Nine) Fuck My Winter & Guillaume Vallée – Cenacle Of Deceit Fornax Void – Wintermute BPMC – Scene 0302 Mathias Kruse – If I’d Done Less Vektroid – Time Slips (Demo) Baghdad Social Club & Capital Waste – U Know R23X – Sound_Track ~ [Mp3].torrent
“Video Art is Cheap” Originally Released 12/2/2016 VXPX_015
Love Spread – Myrtle-Wyckoff Ian Grant – The Broken Mid Two Thousands Jon “LOBOTOMITE” Rasmussen – Everyone Is Rob Feulner – 1991 World Figure Skating Championships for Amiga and Modular Synthesis (produced at Signal Culture) CAMERON16TV – Crystal Neon Lady Coolpics.biz & Mr. Oizo – Seahorses We Are Temporary & Ruane Maurice – Peaked (We Are Temporary remix) CAPITAL WASTE – DUMPSTER DELISH // Ep3 // Smoothie Preston Spurlock – Going Places Xanthorg – Ｓ ｈ ｉ ｎ ｙ Ｗ ａ ｔ ｅ ｒ Marzipan Joyner & Ghost Camp – Ganymede Needle Factory – Demon Sister Primordial Sludge – Anne Gabrielle Lenhard of Rude Ink – Snatch Lift rude-ink.com :ミスターハンセン病患者 – たび Rob Feulner – For Posterity (produced at Signal Culture) Ed Kennedy – Osiris Myth The Soft Spots – Between Moonbeams
“Video Art is Dead” Originally Released on 6/19/2017 VXPX_021
Ting-an Lin – Lamp Fin Contraktor & Spreaders – Precious World Devin Utah – Colonizers Dusty Mush & The Attic Video – Bad Ideas Ed Kennedy – Raga’s Edge Devin Utah – Waters Snake Chime Zen – Pink Frost Devin Utah – Inframe royb0t – Reality Check Electric Sleep – Qualitatively Different Dope The Soft Spots – Going Soft Ian Grant – Circling Dumpsters Big Pauper – Newsfeeder Dérive – “They Don’t Stand Back” David Ian Bellows & Griess – Neighborhood Watch Oberon Strong – All Falls Down Dusty Mush & The Attic Video – Fullpipe
I’ve known @addambombb for 20 years. There’s few people in my life who have such a direct and important impact in my life.
Here is a picture of the two of us 20 years ago (I’m on the left), when he was running HAVEN, one of the longest continuously running Goth nights in the country.
Whether as a Club DJ, or while running @emptyveetv , he’s literally put hundreds of people on.
Addam has a life-threatening medical condition, and needs our support. If i’ve ever supported you in any way, please give a couple of bucks to keep my friend alive – I wouldn’t be here if it wasn’t for him, and I certainly would not have been as generous with my time, energy, and money supporting local scenes and the arts if it wasn’t for him.
I’m playing a benefit livestream for him on Sunday, 2pm-3pm. Tune in, donate, and come hang to show Addam that punks stick together.
——
42+ Hour Fundraiser For DJ @addambombb SEPTEMBER 16 – 18
DJ Addambombb is currently on numerous antibiotics and is awaiting life saving lung surgery. He has been denied disability coverage and the bills are piling up. Addam’s friendship and support to so many others has helped people over so many years – now let’s help Addam.
DJ SCHEDULE SUNDAY, SEPTEMBER 17 (AFTERNOON / EVENING)
I don’t know what, exactly, would be the utility of doing a daily blog post, other than having it serve as a journal of some sort.
I feel like now is going to be a really fruitful time creatively for me. . . the next year is going to be really intense, in terms of projects that I’d like to do. Lots of things ending, and lots of things beginning.
Maybe it makes sense to jot some things down, so I can look back on it.
Last night at VJOLTRON, I demo’d a fresh batch of Field Replaceable Units tunes during the jam. It was fairly well received, but there’s still a lot of work to do.
NONE of the drums currently work. The kicks sounds like someone kicking an Amazon Box. So definitely have to rethink a lot of that stuff.
The idea of extrapolating that project out into a multiroom installation was floated, and that sounds really great. Looking forward to exploring that, for sure.
I was poking around, looking for modern tools to make Randomized-Playback DVD’s, and stumbled across this video for DVDStyler, a cross-platform DVD authoring program that appears to still work on Mac.
I’ll let the video speak for itself, but if you’re interested in it, go directly to the Sourceforge links – the FOSSHUB links are broken.
OR. . . You could just DL version 3.2.1 right here.
I’m probably going to use this for .ISO authoring, but still burn actual disks with BURN.
FWIW, I’m going to test this, and put out a collection of ambient video loops that will play on Random, for cheap, because DVD’s are the cheapest they’ve ever been, and are lowkey the new Cassettes. Take Note.
In 2015, Geoff Rickly was my neighbor at 67 West st, a Greendesk where we all had offices.
Hex Taylor & I had just started doing VHS releases out of our space, and Geoff was running Collect Records. I had a huge NOTHING flag in our office, since I’d just seen them open for HUM, and Geoff mentioned that they were putting out the next LP ‘Tired of Today’.
We never got beyond the ‘Gee, that’d be cool, let’s do it’ stage of talking about the NOTHING VHS release, but there was a very good chance that we would have done some sort of VHS release for EVERY Collect Records album that got released.
Unfortunately, Martin Shkreli happened, Nothing signed with Relapse, and Collect Records closed their doors.
My life has gone in a very different direction, but when I watch this BTS doc, I wonder what my life would have been like if i’d been ‘The VHS Guy’ in Post-Hardcore/Shoegaze/Whatever.
V I D E O P U N K S 
