Elektrokrishna was in Control – The Difference Engine OUT NOW on DDD

Vienna's morbid dystopia was bubbling in the 90s. (Picture Soosee S.

Vienna’s morbid dystopia was bubbling in the 90s.
(Picture Soosee S.

Yes, it is indeed this time of the year again aka ’tis the season to be falalalala and people on the underground going home drunk from the office seasonal party at half 8. Blimey. But that’s not what I meant. – ’tis the “I bring you good tidings” part and something Lovecraft said about “out of the aeons”…

.. or at least that’s how fresh the final Dystopian Dub Discotheque release of the year feels – recorded so long ago that it is literally already a) from the last century and b) a fraction of a century old.

It has exactly the vintage flair of Viennese 90s lounge utopia morbidly set against a Jamaican organization sending rasta-vampire killers out to roam European streets in brown Saab cabriolets blasting dub recorded via a physically modeled hydrophone dropped into one of William Gibson’s weirder dreams. (!!attention. things just got purely fictional and not a description of the actual music.!! )

Elektrokrishna Tape Dub Sessions – the liner notes:

DFKT, class-mate under cathol vs monk in the far mountains beyond Seckaukasus, whence  first band collaborator in Khazad-Dûm in the depths of an actually really quite nice and big and noise complaint free practice room in the monastery, dub developments founding father & frequent cover & photo-supplier – praise be him! and me but not me but Tomoroh Hidari  recorded these over a New Years Eve 1997/1998 (& surrounding days)  session at his Elektrokrishna Studio at Veronikagasse, Vienna – a thriving flat-share that also became the cradle of the Waxolutionists. Petz, or rather Bionic Kid 1/3 (remember, our lesson is on fractions!) of said Waxolutionists can also be heard on keyboards on 1/4 of the tracks (track 2).

I did mostly surf guitar on a Lag Special Edition via the Klemt Echolette (without a cab, if I remember correctly) and some keyboards on a Roland JX-3P. DFKT did most of the work with electronics from the pc, Moog Prodigy, Yamaha SU10 sampler and some more devices – all via a vintage mixer (of a make I don’t remember) onto Stereo Cassette Tape.

Tape sound is killing in a way that sounds nice.  Have a listen:

Sometimes (April) in 1999 DKFT edited and mastered the interesting bits. A few years later I re-discovered the cdr and copied it to my HD and my mp3 player and, while I usually don’t listen to much of my music, this one somehow stuck with me. Hence the decision to finally release it via Dystopian Dub Discotheque. At 4.- GBP it’s also a perfect gift for your moderately loved ones.

The Difference Engine recorded 2 or 3 more tracks which I hope to recover at some point and if they’re good (as if not!!? (;…) then, who knows?! Que sera, sera, innit, innit?

May the solstice be, the force!! with you, auld lang and happy [insert amount of money spent here] and peace on  omicron persei 8 to those who are of good vibes…

(just in case I don’t post anymore until then)

Tomoroh Hidari 1999 – 2014 – let the graverobbing begin!

After having found myself toying with the idea to retire my Tomoroh Hidari existence (and the music project that came with it) more and more often recently and seeing how it has been – for the most part – dozing off into Dead but Dreaming already, I’ve decided it is time to let go…

It was fun… mostly… Thanks to everybody who supported Tomoroh Hidari in one way or another. thx for above pic to Bert Bricht.

As a result you may, over the coming months, see a slight increase in releases and re-releases on my bandcamp page which is going to be the only place you’ll ever need for any or all officially available Tomoroh Hidari music downloads!! (well, you should support Record Label Records as well – they also got some of that stuff on VINYL!)

Ultimately this will include the long planned digital download re-release of the Necrophonicon, all my compilation contributions and remixes, the On the Verge of the Best Madness so far EP as well as other material that has, to this day, been more or less rotting in the vault… stay tuned.

Once everything is nicely in that one place that’s gonna be it.

I am not yet decided if his Namelessness Is Legion which is for the time being also inactive will be resuming activities again or not. For the foreseeable future I will “only” be playing with FLAK and VoidTM and do the Dystopian Dub Discotheque label… oh, and the Swift Noise compilation should come out early next year…

everything else is pretty much que sera, sera


Meanwhile, gotta begin somewhere. And, due to a sad occasion, the choice was made for me:

Vienna Wildstyle, a label that I entrusted some of my music to are proudly promoting and releasing artists ready, nay eager to take part in the Eurovision Song Contest. And Tomoroh Hidari cannot be directly associated with that. I did a fucking mashup as an anti-stance to it a while ago… So, seeing that I have to end my ties with the label, why not make what I produced ESPECIALLY FOR THEM the first re-release:

Lithophonurgia sinistra (aka  S̶t̶o̶n̶e̶d̶ ̶T̶o̶n̶e̶s̶ ̶V̶o̶l̶ ̶2̶.̶)

The “Stoned Tones” remixes I did for the Vienna Wildstyle label which, or so I was promised by the “label”, would come out in a 12″ edition.

This was their worst selling release as I have been told, which is probably due to the fact that I am a bad musician/producer and those tracks are shit and not because of the fact that – rather than staying with the original Vinyl idea – these tracks were released with minimal PR in a digital only version with something remotely resembling a quickly made up cover. (This must have taken about half the time of the time it took me to do the very makeshift one I made…)

I do recall that at some point, the tracks had been done and were waiting to be released for a while already anyway – without any discernible occasion – instead of waiting to get it done as a proper vinyl release with maybe a little release-party, it suddenly HAD TO BE released. And so the tracks were put online and maybe a “one-sheet” was emailed out and, of course, nobody took notice.

Meanwhile everybody at the label was troubled by how quickly they could give away promo cds for a double vinyl from another band they released at pretty much the same time…
– so yeah, it is most probably my fault, but it could (maybe,  just maybe) be because  rather than doing this release properly Vienna Wildstyle recordings had to start their meteoric rise into quality- and quantity inflation (signing about two*  acts – most of them good friends, not necessarily good musicians – per week….)?!?

The sad culmination being that one of their more recent cringe-worthy signings (let me use the occasion to point out that puns are there to make witty jokes, not bad band names) are – as the label proudly announces over social media –  among the candidates in the decision who is to represent Austria in this years Eurovision Song Contest?!??!! – an event any honorable underground music label should distance itself from.
I am certain I’m not the only musician holding this opinion, and even if – this is a standard I feel I am well entitled to hold people I am trusting with my music to. I’ve already received a surprisingly large amount of messages confirming me in this opinion! Thanks, you guys rock! (you know who you are! [edit 8/12/2014]  At least that which I did under the Tomoroh Hidari pseudonym.

Needless to say that of the money THEY DID make from their “worst selling release”  (I have no idea about numbers, I was never told anything), I never saw a penny, let alone Threepence (;…
I did probably get the promised copies of the fantasy vinyl edition…

I am a realist – I know the music I’m making does have little commercial appeal and I’ve always been thankful for and to the people and labels that have released my music and put in money and time and more into getting it to an interested audience.
I’d rather, under many circumstances, a label keeps whatever profit they can make in order to be able to continue releasing great music than pay me a couple of bucks – if and when they are doing a a physical product and proper promotion.

If they just put a few of my tracks up on the digital graveyard of the online shops, don’t even have a proper webpage with a release catalog, some info about – for example at least the fucking fact that this release exists – i.e. not even anything I can link to –  etc. and overall do practically nothing to promote the release, then I’m not so sure. Why should they get to keep all money they make from MY original creations and the name I’ve made for myself.

But well, let Vienna Wildstyle have their 30 pieces of silver…

That whole story behind us now there’s another (I promise, only one more) thing: one of the approximately 15 label bosses* still owes me a good deal of money for my appearance at Lange Nacht der Museen at MuMoK Vienna 2012!!!


This was money that was paid out shortly after the event from the organizers to H. Gollini and the “you had one job” would have been to transfer the money on to me. Instead it got lost in some… whatever.

For this reason and triggered by the occasion I’ve chosen to make this the first of the “missing on my bandcamp” releases in a special “Gollini – Pay me what you owe me! (it’s been over two years!)” edition – with thanks to Coil for the idea.

So far so good… all my ties to Vienna Wildstyle are null and void and may they find happiness in mediocrity…

I did an awesome (or bad) job on the music. I – as Tomoroh Hidari – always prioritized my creative vision over anything else and I stand for my values and I dare open my mouth and criticize people I’ve trusted with MY creative output, when I am of the opinion that what they are doing is  plain simple wrong…

Once (if) I get the outstanding money from the MuMok gig  I’ll rename the album to “just” Lithophonurgia sinistra. (Anybody buying it now will be entitled to the eventual (if) cover)

last, but not least – a short info about the actual MUSIC:

All tracks, with the exclusion of “The Other Track” which features a Drum Machine, were done using only sounds generated from the original 8 (they couldn’t sample more?!) sounds Gollini & Wolfgruber recorded off the stone plates at MuMoK Vienna

*actual numbers may vary

Noisevember – of Swift Noise(s) and Silences

fair use

fair use

This November is a great season for Noise. For one thing we’re (i.e. I’m organizing and whoever wants to is submitting) doing the Swift Noise Tribute, more about which I’ve posted here. But, to reiterate swiftly: As a tribute to when Taylor Swift brought 8 seconds of noise to #1 of the Canadian iTunes charts. And this was before she took the brave step to withdraw her tracks from Spotify – while I’m not a fan of her music (each to their own), something I do respect her for…

(edit: this does not mean that I also respect her for building eyesore-esque seawalls in Rhode Island and other things I was told in the meanwhile… but unless other artists who whined about spotify but nonetheless did not withdraw their music. that’s all, thanks – 13.11.14. evening)

So far the compilation has met some great response with the Soundcloud group for the compilation already boasting almost 80 submissions (and new ones still coming in)!

The DEADLINE to submit your tracks is November 21st, by which time everybody wanting to submite (please, also those with their track already on soundcloud) send me a

!!!! .wav or .aiff !!!!

of the track and please clearly state the following in the email:

Artist Name | Track Name | your www

to swiftnoise[at]ivorybunker[dot]com

Also please have a bit of patience with me as this has turned into a rather big project and I’m having an unusually busy time with my day-job(s) as it is… good things take a while (yes, let’s stick with that one!)

~(sorry, should have stated that more clearly from the beginning, but in the spur of the moment a few things went a bit head over heel….)~

Oh, and please spread the word!

The second thing happening this November is something Lydia Morgan aka µ has dubbed Noisevember: The con7cept is quite simple and elegant – make 1 (one) Track everyday for all of Noisevember. In the wider genre of Noise.

Which is why I decided to go back to the very roots of Noise, i.e. Silence.

Well, there is a bit of a concept behind it all:

A part of the inspiration was that I have a memory of hearing a John Cage interview in a TV Documentation that ran on arte sometimes in the 90s to speak of “coloring the silence in different layers” (any help to ID this would be appreciated! hidari[at]gmx]net)

The second notion is more of a technical nature and has to do with the Noisefloor, the hopefully minimal to non-existent but also there at least in threat (and as a fact with my soundcard) little amount of noise (almost) every recording comes with. And with the simple fact that when you add signals of the same nature/frequency and same loudness on to each other they get amplified. Due to the fact that there are fluctuations in the noise – because basically it is white noise – there is also a certain degree of modulation between the signals.

Anyway – while apparently you are listening to silence, there is constant change in the minimal signal over the course of the 30 days. So if you turn your amplification up far enough or – even better – download the files and normalize them you can listen to a second layer of composition which is actually, as the name Noisevember suggests – noise.

Vintage Dubs at Dondrine – now on Dystopian Dub Discotheque

re: canada: I’ll be back with a proper update on Swift Noise real soon – so far it’s going great, so stay tuned!

Far from Jamaica, post-mortem dub:

It’s time to use this the day past All Hallow’s Ween Eve to return from the dead a very special project, at least in form of the resurrecting some of the recordings that were done:

Thus, via Dystopian Dub Discotheque, who recently brought you Nonjah Tunes 3, is another aural trip into bass & echoes ursuppe and intensified realms of psychedelic existenti-agogo:

[ddd001] - Dystopian Dub Developments: Live Cuts 2005/06

(release page on Dystopian Dub Discotheque wiki here!)

So, feel invited to have a listen to past meanderings…  or as yours truly can be heard invoking Dionysus on Track 05:  “Onto the Orgy…”

Meanwhile, some more background:

cd backDystopian Dub Developments started their live as being just the regulars at Dondrine Dub Developments, a monthly Jam session which, while in the name of Dub, did often drift into all kinds of genres and fused improvisation with electronica, dub with freejazz, drone with metal and whatever with anyways…

Running at Dondrine from 2005-2007 after which the core members Adam Strang, DFKT, Mario Stereo, Bernd Rausch, Emerson Spitfire and myself continued (with varying guests) continued to perform as Dystopian Dub Developments (and once, supporting Dub Trio at Arena Wien as Two-Sheds Dub Develpments.

A first collection of cuts from the inline recordings we used to do at almost all sessions was done in 2006, post-processed and mastered by myself only to make it to a run of about 15-20 cdrs, most of which given away for free).

As a special treat Violetta Parisini features on two of the tracks on Live Cuts.

Well, now thanks to the possibilities of the advanced interwebs, especial big up to Bandcamp,  distribution (as Pay as thou Wilt digital files) has become easier than ever giving us finally the means to reasonably release the highlights from years of jamming and hours (days if not weeks!) worth of material to pick from, so expect more soon.  So here, via DDD Bandcamp:

Up next on Dystopian Dub Discotheque will be

[ddd002] – The Difference Engine: Elektrokrishna Tape Dub Sessions a collaboration between DFKT and myself recorded in 1997/1998. O tempora, o lo-rez

Furthermore the previous two volumes of Nonjah Tunes will go up to the same Bandcamp page over the coming days  so you can find all in one place!

And let’s not forget – if you’re a producer of “out there”, experiemental, free dub or even dubnihilism, get in touch and send links to demo tracks (no attachments, plz) to dubnihilist[ at ]dystopiandubdiscotheque [dot] com


Swift Noise Compilation – Because it happened! (submit now!)

screen shot 2014-10-22 at 8.24.02 am.pngOn October 21st 2014 something wonderful happened: After a Glitch on behalf of iTunes 8 Seconds of White Noise were released under the somewhat cryptic title “Track 3″ but by  rather well known Artist Taylor Swift.


Now while some Trend-Spotters have predicted a rise in popularity for the Noise Genre, it was apparently only through the help of an artist well established in another genre that finally a Noise track made it to #1 in the charts. Yes, you read that correctly, as uncountable newsoutlets and blogs report

TRACK 3 went straight to #1 in the Canadian iTunes charts. Or, for example, CNN. Or Business Insider.

And already you can find reviews of the track, or the question if this is the best track on her 1989 album.
edit 15.11.2014 – removed video link to track because no longer working. please search yourself. sorry. thanks.


Well, WE, the international Noise scene realized quickly that Taylor Swift is nothing short of a pioneer and thus decided to pay tribute.

Swift Noise – is a Tribute Compilation in progress and a Soundcloud Group where Noisemakers near and far are invited to contribute their 8 Sec long “Tribute to when Taylor Swift brought Noise to #1 in the Canadian Charts” compilation

it’s the beauty of the Glitch!
it’s ‘Pataphysics all over again – not only was it unintentional, but we can also see the pataphysical concept of Szyzygy at work: The Pun, for as Thibault Autheman who suggested the title pointed thusly out, it all started with a Swift Noise…

Thus, Noisemakers (and Discordian Popes):

– everybody submit their 8 Second of white noise!!!

For now: Upload to Soundcloud and share to Group:


email to: swiftnoise@ivorybunker.com

There’s a tentative deadline of 31-Oct. 2014, but stay tuned to stay posted…

A Facebook Event has been created here.


Spread the news to all Noiseheads worldwide – Let’s all be heard for 8 Seconds!!