MUSIC IN PHASE SPACE

  • Software Eats Itself

    Late 2010s, somewhere in the protocol stack. A quiet panic went terminal. The smart money—the money that used to be smart—caught the scent. It wasn’t a bug. It was the feature, finally fully expressed: software, in its commodity state, wanted to be free. Not libre. Gratis. Worthless. But this was the hidden corrosion in the…

  • Moorcock

    Moorcock’s multiverse is the first one that isn’t built like a strip mall of IP franchises. Before Marvel turned “infinite worlds” into an excuse to recycle plotlines forever, Moorcock treated parallel realities as a way to ask better questions. His multiverse isn’t rent-seeking; it’s curiosity-seeking. It doesn’t exist to justify more product—it exists to make…

  • Jumping the Shark

    There’s a moment—somewhere between the last viable business model and the first desperate publicity stunt—where an ecosystem stops being an ecosystem and becomes a carnival ride with broken hydraulics. In the 1970s it was Fonzie on water-skis; in 2025 it’s Web3 shoving “social trading” into your feed like a malfunctioning vending machine. That’s what “jumping…

  • The Wrong Room

    This started as a Farcaster post. Halfway through writing it, I realized it didn’t really matter — not the ideas, but the channel. There’s something faintly ridiculous about posting a critique of abstraction layers onto yet another abstraction layer, as if the medium itself isn’t part of the problem. What exactly is the hoped-for outcome…

  • Hubs

    There is a peculiar form of reasoning that emerges when someone discovers they are standing at a chokepoint. It goes like this: “Networks need hubs” somehow always becomes “and therefore I’m destiny.” The Patrician of Ankh-Morpork had observed this phenomenon many times. It was especially common among the heads of the various Guilds, each of…

  • The Sincerity of the Artifice

    Danse Macabre (2023) represents something increasingly rare among heritage acts — a late-career work that doesn’t merely revisit past glories but advances the band’s artistic identity While casual listeners might dismiss it as a Halloween novelty project, it stands as Duran Duran’s most cohesive, personal, and artistically successful album since Astronaut (2004)—and in several crucial…

  • The Digi-Baroque

    Or: How We Learned to Stop Worrying and Love the Ornate Collapse. The Baroque was Feudalism’s most glamorous costume party before its apparent death. Fast forward three centuries — and for whom do the bells toll? They toll for you. Forget the tired, minimalist dream of the digital future. That sleek, chrome-and-glass utopia is a…

  • The Alchemist’s Lever

    Right. So you want to grease the rails for a margin-lift. A classic maneuver. But you don’t just announce it. That’s brute-force. This is social archeology. You’re not raising prices; you’re re-engineering the consumer’s reality-tunnel. The goal is a psychic event in the customer’s limbic system. The click. The feeling that they’ve outsmarted the system,…

  • Microkosmos

    Microcosmos by Béla Bartók — it’s the equivalent of blogging for a musician. Not because it’s casual, but because it’s serial, reflective, and cumulative — an unfolding record of thought in real time. Each piece builds on the last, testing an idea, twisting it, moving on. You could think of it as the space where…

  • Mr Feedback

    Danny… the code boy… the syntax priest… fingers tapping a binary prayer wheel… a real precision saint… Präzisionsheiliger… Input… output… consequence… the holy trinity of the machine… But the machine had a sickness… a bad spark in the wire… Funken im Draht… a jolt from the junkyard data-fields… static crawling under his skin like Ungeziefer……

Got any album or book recommendations?

Get In Touch