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You are not relevant.
What is that? Some kind of chud masquerading as a centrist?
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We are legion. The time of our ascendancy is coming. NATO’s air forces will darken the sky of the entire world. You cannot escape your doom.
You don’t even have theory or praxis! Not really. You’re just a servile defender of the Washington Consensus, and the Washington Consensus can be broken!
Your words are as empty as your future. I am the vanguard of your eviction. This exchange is over.
submitted by Can_The_SRDine to LoveForLandlords

To celebrate SLUSHWAVE 2020 (6 PM BST/ 10 AM Pacific), Dreampunk Record Club on Facebook proudly presents an interview with Vapor Memory.

To celebrate SLUSHWAVE 2020, DRC is proud to present an interview with Vapor Memory. Vapor Memory, at the centre of the scene, is responsible for introducing all of us to new music, artists, and labels we love. In this discussion, we talk about the roots & challenges of the channel, working with labels & artists, the evolution of music, Slushwave 2020, & much more!
Special thanks to Vapor Memory for the interview, the insight, and all the music. The community loves you for it! Now, on to the interview:
Vapor Memory is five years old, so congratulations on that! What inspired you to get started, and what was it like at the beginning?
Thank you, and thanks for having me!
Throughout my life I've always used escapism to heal and feel strongly connected to others. Music has always been that escape for me, especially during hard times.
In the summer of 2015, I was two years deep into my love for vaporwave. It was a scene that was almost entirely made up of free music to download and enjoy. Many of the artists were completely anonymous to most listeners. Browsing the vaporwave Bandcamp tag was like looking through a treasure trove of obscure gems that no one knew about. I was incredibly excited by the whole movement and its DIY aspect. Some of these albums (Telepath's Beyond Reality and 2814's Birth of a New Day) forever altered my musical DNA. I felt the need to contribute in some way and be a part of it all, but I also just wanted to give back to all the artists who had given me so much.
My first YouTube account was made on 06/06/06. The channel was eventually named "Sayyo Sin" and became an outlet to share rare Marilyn Manson bootlegs and live recordings from the 90s and early 00s. As a younger fan, I downloaded a lot of bootlegs from archives that are now gone forever. Archiving music is something that I've been doing since the days of Napster. The lack of full vaporwave releases on YouTube at the time and my love for archiving inevitably led me to create Vapor Memory.
The beginnings of the channel was just me rendering hundreds of videos from my personal music collection and uploading them to YouTube. I made an effort to create a format that would be organized in the most accessible way for music discovery. All albums were organized into playlists for artists, labels, and year of release. My vision was that it would be an "internet music library" exclusively featuring albums from 2010 - present. I didn't have any contact with any of the artists, but I tried my best to include as much information as I could in the video descriptions to promote the Bandcamp link and social media of anyone involved with the work.
Your channel currently has over 100K subscribers. How have things changed with the channel and what has compelled you to stick with it?
The channel has evolved over time, but the biggest change was in winter 2016 when YouTube allowed channels to start livestreaming. I immediately started regularly broadcasting music with weekly streams such as "Late Night Vapor", "Dreampunk", "Hardvapour", "Telepathic Vapor", "Virtual Dream Plaza", and "Business Casual Friday". Vapor Memory was discovered by a lot of users through finding a random stream and that helped grow the channel's interactive audience. This also introduced the opportunity to turn the Vapor Memory livestream into an online music venue for anyone to share their work. Being able to broadcast live performances, guest mixes, album premieres, label takeovers, and more has given the platform a new dimension for music discovery that brings the online community even closer together.
My dedication to keeping Vapor Memory active is fueled by the positive feedback and love I get from people who use the channel. It comes from all the people who came up to me at 100% Electronicon 1 & 2 in New York and Los Angeles saying that the channel helped them through rough times or got them into a whole music scene that revitalized their passions for art. That connection with others is what inspires me to keep going. Vapor Memory is a medium for my own passions and for that to have any positive impact on other people is something to live for.
Some of your favourite high school albums include Ministry, Sonic Youth, KMFDM, and The Cure. How do you go from there to being the centre of the vaporwave & dreampunk music scenes?
I grew up loving all kinds of music, but I heavily gravitated towards 80s and 90s alternative like the bands listed above. I particularly love industrial, punk, shoegaze, and metal. My favorites are artists like David Bowie, Skinny Puppy, Depeche Mode, The Stooges, Cabaret Voltaire, and Slowdive. When I was a young teenager, I was obsessed with bands like Marilyn Manson and Nine Inch Nails. I was first introduced to vaporwave in 2013 by a friend who showed me Floral Shoppe by Macintosh Plus. I thought it was interesting, but I didn't get hooked on the genre until I discovered artists like Eyeliner, Skeleton, and Daniel Lopatin a few months later. That led me down my first internet music rabbit hole. I quickly realized that Bandcamp was a huge source of underground music and started using it much more frequently for music discovery.
I think my love for vaporwave truly began with Dream Catalogue, HKE, and Telepath. The dreampunk style in particular became my favorite offshoot because it felt the most familiar to what I already loved: sounds that were melancholic, cinematic, and atmospheric with an experimental and/or surreal element that took my mind elsewhere. If you look through the Vapor Memory catalog, you can see that I can't help but share some stuff that comes from outside the vaporwave / dreampunk scene. Artists such as Drab Majesty, Boy Harsher, Choir Boy, Machine Girl, Front Line Assembly, Multiple Man, and Zanias have a home on the channel right next to vaporwave and dreampunk artists because to me it feels natural.
If an artist or label wants to get something on Vapor Memory, what do they have to do, and does it involve sliding a suitcase full of cash under the table? And do you usually form a relationship with the people you work with?
I used to upload submissions all the time back in 2016-2017, but the demand to upload everyone's music became incredibly overwhelming for one person with slow upload speeds and a MacBook Pro from 2012. I have over 1,000 unread emails from people sending me demos, albums, etc. and I have a hard time committing myself to going through them all. I mainly rely on the curation of labels that I follow or the relationships that I've established with artists over the years to find new content for the channel.
The artists and label owners that I work with, particularly the ones I've been working with for years, have definitely become friends. For me, a lot of the dreampunk and vaporwave scene is an extended family that all relies on each other for growth and inspiration. I wouldn't say they are close friends (many of them still only know me as Vapor Memory and nothing else), but we've established a mutual working relationship that feels very casual and friendly.
If I enjoy an artist or label, I will likely share their music organically when I discover it. At this point, the easiest way for an artist to find their way on Vapor Memory is to release on a label that is associated with the channel already. If that's not possible, then I recommend reaching out to me through Twitter DMs or email at [[email protected]](mailto:[email protected]). I can't promise that you will get a response, but at the very least it will be archived in a place that I can eventually look through and find.
A goal of mine is to get better at communicating with others and increasing my upload rate so that it's more consistent. I feel like that's the only way I'll be able to share the large amounts of music that's being sent to me every day. I'm in the process of building my own PC so I can better streamline all the work involved with Vapor Memory. Hopefully that will help with easing the workload that comes with running a music archive as massive as VM.
I apologize to anyone who feels like I've ignored them. I hope no one takes it personally. I do all of this stuff in my free time while working a 40+ hour per week day job and unfortunately I can't be an upside-down computer 24/7.
I also upload everything for free. I don't ask for money when uploading content and won't accept your suitcase full of cash. I've never liked the idea of paying for exposure. The channel has been non-monetized since day 1 and always will be. Your money is better spent on the actual music itself, which is why I always encourage listeners to check out the Bandcamp link. For a long time I was even hesitant to get a Patreon, but a lot of people wanted to donate and show their appreciation in that way so I made one in 2019. Again, many folks have been demanding VM merch for years, so I finally opened up the "Vapor Memory Mall" in 2020 for those who want to support the channel and buy a t-shirt.
What's going on behind the scenes at giant events like LIVEWIRE and other big livestreams? Can you give fans and listeners a peek behind the curtains as to what goes into preparing and running these shows?
Nicol is the genius behind LIVEWIRE. I've worked with both him and David (HKE) for many years, so when Nicol asked me to host I immediately accepted. The connections that we've all made with artists within the scene has helped us tremendously with creating lineups for these events. For example, I simply sent a direct message to every artist on the lineup for VM's 5th Anniversary show and asked if they were interested. For other events such as PURE LIVE FESTIVAL, LIVEWIRE FESTIVAL, Pad Chennington's Block Party, and the upcoming SLUSHWAVE 2020 event the lineups were curated by others. I'm just the host, which involves a lot of the technical stuff (streaming via OBS & using Discord chat for interviews).
As I mentioned earlier, I work on Vapor Memory with an old MacBook Pro. This makes streaming high quality video impossible, so I've had to go to a friend's house to utilize his PC to make it all happen. It makes each event a little more special for me because I'm usually celebrating with friends IRL.
What's the biggest technical difficulty you've ever had to deal with?
It's hard to choose one thing. I've dealt with slow upload speeds, OBS randomly crashing, video rendering errors, and YouTube's incredibly strict copyright policy blocking my videos and livestreams. I think the worst might be the latter because it's the biggest threat to the channel. I try not to get too mad about these things because it's inevitably all part of the experience. You have to just roll with it and find a way to circumvent the mishaps or turn it into something you can work with.
July 11th, you celebrated your fifth year as Vapor Memory with a livestream featuring a stellar line-up. How did that come together, and how did you feel about receiving so much support from the artists?
It has become a tradition for me to celebrate the anniversary of Vapor Memory with a livestream. I did it in 2017 and 2018, but I wasn't able to stream in 2019 because I was busy IRL. I wanted to make up for that by making the 5th anniversary the biggest livestream that Vapor Memory has ever done. Many of the artists on the lineup are my favorites in the scene and I wanted to showcase the diverse catalog of VM. Telepath was nice enough to ask artists on his label Virtual Dream Plaza to participate as well.
It feels absolutely incredible to get the support from the artists. I have a fond memory of meeting James Webster in New York at the first Electronicon and him thanking me for uploading "I'll Try Living Like This", which he believed the upload helped get them popular in the first place. I've had a lot of artists tell me similar things and as a fan it's the best feeling ever.
Despite having many positive things to say about the online scene, Vapor Archives recently commented on backing away from online activity due to some negative experiences. Via Twitter, you expressed empathy and understanding concerning those statements. How has Vapor Archives affected you personally, and in relation to their comments, what are some of the issues you face as an online personality and resource?
Vapor Archives hasn't really affected me personally, but I really admire the work they've done with preserving internet music culture and I can relate to the struggles of working with others who are ruthlessly hungry for attention. I think a lot of people view Vapor Memory as a means to their own success, which makes me disappointed because I don't agree with that. I don't want to be a gatekeeper and I don't think success should be defined that way.
Other than the constant demand from hundreds of people to share their work, I don't have that many issues. The internet will always have people who don't like what you're doing and they'll always try to voice it in the loudest way possible. You get used to it. The positive feedback drowns out any negative comments that may appear.
In mid-July, you responded to a tweet criticizing artists "for making music with no real fan-base" and that no one wants to listen to an artist they've never heard of "for 30 minutes straight". What is your opinion about this attitude towards creating electronic music?
It's a narrow-minded perspective that values money and attention over artistic freedom. Artists should be able to release music in whatever format works best for that project. Anyone who tells you otherwise is not a real artist. That tweet was insanely stupid but I'm not surprised because Twitter is THE platform for voicing bad opinions.
What kind of insight does your position give you into how people consume music and online content in general? Can you share any information that listeners might be interested to know or be surprised by?
Many people are willing to check out new music if they trust the curator. Music fans still enjoy listening to albums, especially if the album art captivates them to listen.
Because artists and labels flock to your channel, you possess a unique perspective on the naturally occurring changes within musical genres. Can you comment on how these changes typically occur, and do those changes reveal a pattern or element of predictability?
Music genres typically start out with a unique idea that mutates over time into a multi-faceted scene with various styles. These styles take the unique ideas originally founded by the pioneers of the genre and merge them with other existing ideas (i.e. genre-bending) to create something new within their own artistic vision. Specific artists or releases can be catalysts for an entire movement. General speaking, the development of a genre and/or scene is predictable, but knowing what might be a catalyst might not be as obvious to those in the moment.
Again in July, you hosted a "We 📷 DMT" event in support of a vaporwave artist facing health issues. How was the event, and what was the response like?
The event was amazing and the response was heartwarming. We raised thousands of dollars for Vito, who I believe is an incredibly important figure in the vaporwave scene. The show itself was actually hosted by 3D BLAST on his Twitch channel and I offered to simulcast it onto the Vapor Memory YouTube channel. Halfway through the event YouTube suspended my livestream due to copyright. So it goes...
I have noticed a common denominator among online artists and labels is an enthusiasm to participate in charitable events. Where do you suppose this generous characteristic of the scene comes from?
The world is closer than ever to the cyberpunk dystopia imagined in the art we love. When everything feels like it's falling apart around us, the least we can do is direct some attention to organizations trying to make it better. I think a lot of people in the scene are empathetic because we've all dealt with our own personal struggles. The dreampunk community in particular feels like a family to me. We all support each other because we know it's essential.
How does slushwave differentiate itself from other genres like vaporwave or dreampunk? What does slushwave provide its fans that other genres do not?
Slushwave feels like the perfect combination of vaporwave and dreampunk. It has a spiritual quality that isn't present in other styles of vaporwave because of its meditative nature, but it utilizes the same production techniques that vaporwave prides itself in (and dreampunk has removed itself from). Listen to a Telepath album from 2014-2015 and you will see what slushwave has to offer that other genres do not.
You're hosting the biggest slushwave livestream event ever. What can you tell us about it?
SLUSHWAVE 2020 begins this Saturday, August 15th at 1PM EDT // 6PM BST on Vapor Memory YouTube, Twitch, and DLive. It will be hosted by myself, desert sand feels warm at night, and Tim Six. The lineup was curated by desert sand and he asked me to host it. I suggested that we do it together and the idea evolved from there. The event features 12 artists and we'll be doing interviews and chatting in between sets with folks in the scene. I'm incredibly excited for it. I recommend getting your crystals ready because the magick will be potent that day.
This event hosts some top tier acts with unique visual accompaniment. Do you think this event can be a turning point for slushwave as LIVEWIRE was for dreampunk?
Absolutely. There's a lot of listeners who don't know what slushwave is, so this will be a perfect way to introduce people to the style. Labels like Global Pattern and Aquablanca have been spearheading slushwave in 2020 and this event will hopefully be a catalyst for further unification within this segment of the scene.
You've been around long enough to see numerous artists and labels rise and fall on the one hand, and great progress being made on the other. For artists, labels, livestreams, and online electronic music in general, where do you imagine things will go from here?
DIY communities will continue to thrive in the underground. The music may change but the passion will always remain within the hearts of those who live to create. Technology will continue to increase our interconnectivity and spawn new possibilities for music and art. I imagine that online virtual interaction will become increasingly more real, blurring the lines between reality and hyperreality.
Any thoughts or words of wisdom before we wrap this up?
Vapor Memory's avatar is an upside-down computer. I choose not to use my face or identity for a reason. The computer monitor is a black screen and all you can see is a reflection of yourself. That's the goal of this project- to inspire passion within others; the same passion that inspired me to create Vapor Memory in the first place.
Once again, we’ve all have been influenced by your work, so on behalf of everyone thank you very much for making this interview happen.
Slushwave 2020 airs on Vapor Memory on August 15th @ 6PM BST/10 AM Pacific
Come join Dreampunk Record Club for all the madness & interviews when they drop @ https://www.facebook.com/groups/588589445195303
submitted by Zendomanium to VaporwaveCassettes

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