This is the (real) Shanghai, but it makes a perfect stand-in for the imagined Caprica City from the Galactica universe. And that’s where a new music compilation begins: as the future is now. Photo (CC-BY) Jakob Monstrasio.

Working with music production today is a bit like science fiction. It’s fitting that visions of technology’s promise, menace, and humanity would inspire electronic music.

Create Digital Music, XLR8R, and Pitchfork got to join together with TV network SyFy to curate a free, 13-track compilation of “Music for Our Future.” Inspired by the world of SyFy’s new TV series Caprica, which is set just before the recently-concluded Battlestar Galactica, this is science fiction as the familiar. It’s the near future, not simply fantasy.

Download the full compilation for free, exclusively at:


The lineup, curated by the three publications, includes the likes of Lusine, Willits & Sakamoto, The Field, and Richard Devine, to name a few regular favorites on this site, with exclusive or previously-unreleased tracks by White Rainbows, Nice Nice, and myself.

In addition to the music, several of those artists share with CDM their techniques and process.

The full tracks:


Lusine, “Gravity” – this cut comes from A Certain Distance, a CDM favorite album in 2009. Lusine aka Jeff McIlwain is on Ghostly Internationaland, whether it’s  “abstract” electronica or downright electronic songwriting, always manages to put a unique sonic stamp on his work.

Atlas Sound, “Walkabout (with Noah Lennox)” is by Bradford James Cox of Deerhunter fame, from his album Logos.

Hudson Mohawke, “Fuse” – the Glasgow-based artist just debuted on Warp with Butter, including this track.

White Rainbow, “Raw Shanks a Million” comes from Kranky artist Adam Fornker of Oregon. It was my introduction to his work, but see more on this track below. I love its spare, pulsing beats; it sounds like what I’d listen to while jogging to Caprica City’s cybernetics research institute.

King Midas, Sound “Outta Space (Slow Version)” comes from a project started by London’s Kevin Martin, the man behind The Bug. It’s a future-dub track for people who believe space is the place.

Low Limit, “Turf Day” is by San Francisco producer Bryan Rutledge, whom I knew as half of Lazer Sword, and who seems to be right at the center of the good stuff happening in electronic music in California.

Willits & Sakamoto, “Toward Water” comes from 2008’s “Ocean Fire,” the collaboration between experimental guitarist and composer Christopher WIllits and master composer-musician Ryuichi Sakamoto. If you don’t know that full album already, it’s well worth owning.

The Field, “I Have The Moon, You Have The Internet (Gold Panda Remix) revisits the track off The Field’s latest, “Yesterday and Today” – another top pick for 2009, and nicely reimagined here. You can check out Gold Panda, too; his mixes have become big Internet hits, and I love the quality of his work.

Gold Panda, dwarfed by architecture. Courtesy the artist.

Tyondai Braxton, “Uffe’s Woodshop” is off his solo album Central Market and premiered on Pitchfork. The Battles singer is a Warp artist, composer, looper, and yes, indeed the son of Anthony Braxton. It’s an explosion of acoustic sounds amidst the other works here.

Untold, “Luna” is by London’s up-and-coming Jack Dunning, familiar on dance floors both for his original productions and remixes.

Nice Nice, “See Waves” will be a 7” from Warp Records in February, but you get to hear it here first. I love that it brings an entirely different rhythmic feel to this group.

Richard Devine, “Matvec Interior (Feat. Otto Von Schirach)” really is science fiction, an intricate set of colliding sonic forms from the composer and mad-scientist sound designer. It’s a favorite from his 2005 Cautella, but Richard revisits his sonic process for CDM here today.

Peter Kirn, “Anaxagoras” is my own track, premiering here, named for the Greek philosopher who attempted to explain astrological events through science, and fled after being called a heretic. The music, with some sounds of viola da gamba and others synthesized (or resynthesized), fall on that boundary between re-processed past and imminent future.

Now, some notes from behind the scenes:


White Rainbow performing live in Busan, South Korea in November. Photo by Sarah Meadows; courtesy the artist.

White Rainbow

CDM: Tell us about the inspiration for this track. What was the process like?

I don’t get inspired to make something in the sense of looking at a butterfly and then writing a song. For me, it’s more like the act of making inspires where things go. The sounds as they come out inspire me to react and create on top of them.

This track was made by recording about an hour of live improv and then editing and cutting down and doing a few overdubs. My set up is:

mic, computer running ableton using drum racks to trigger samples with a padkontrol, various iphone/ipod touch drum apps (beat maker, idrum etc), synth, electric guitar


delay, multi –fx, dd-20 giga delay as looper, kaoss pad kp3 as multi-fx and looper

…and this all getting recorded into ableton on another computer in the studio.

I let that sit for a few months, then came back to it, cut things down and added vocal (with the Ableton Looper…one of the only times I’ve used that) and weird synth pad overdubs.

I’ve been making looper based music for a really long time now (going back to the original boomerang pre turn of the century). It’s really tough to keep it interesting… so I’m always looking and searching for new ways to keep myself interested and inspired to make new music in new ways.

I also play in an improvised electronic group called Rob Walmart, wherein we get very wrong and stupid and on tons of crappy gear. Tons of Casio keyboards, MicroKORGs, iPod Touches, Nintendo DS, microphones, etc.A new 3xLP of Rob Walmart will come out on Marriage Records early this year.

People probably still brand me as a new age or psychedelic ambient guy, and that’s cool but to me there is a direct line between synth future funk from the 70s and 80s and say, tangerine dream or Klaus Schultze. Just technology inspiring different people to make wild, "out there" space sounds. I would like to continue along that line.


Inside White Rainbow’s studio. Courtesy the artist.

Richard Devine

CDM: What can you tell us about this track?

I originally produced it in 2005, in collaboration with my good friend Otto Von Schirach. I was a going for something very alien, futuristic, scifi, scientific and unusual for this piece. The sonic timbres and textures are a combination of hybrid computer synthesis and field recordings. Think Aliens vs. Predator happening inside the world of HR Gigers head=)  The track initially started out in Logic Audio, I began cutting up sections and pieces of various field recorded bits. I went to many locations to get some of the sound sources. Many of them quite unusual and disturbing.

CDM: Your work always has these extraordinary layers of sound. What was the production process like on this track?

I started out on this farm near my house here in Georgia. It was during fall, and we went to this Halloween festival pumpkin patch place with my girlfriend. It was a huge field that had a petting zoo, and various other farm animals. I was intrigued by this fairly large turkey they had in a small metal wired cage. I record several takes of him frantically moving around as I got closer with my microphone. I also recorded the sounds of pigs, breathing heavy into the microphones.

I had a pair of DPA 4060’s Miniature Body Microphones clipped and tucked into my shirt sleeves to capture the animals up in close proximity. I also recorded sounds of water, sand, rocks, trees, leaves and debris in my backyard. I used a lot of these sounds and then imported them into the computer for heavy processing and manipulation. One of the main processing engines was the Kyma system by Symbolic Sound. I took a few sounds and converted them into spectral analysis files in which I morphed and re-synthesized some of the acoustic sounds into synthetic grains, or partials. Creating these very alien artificial sounding sounds to the mix. I also did a bit of FM synthesis for some of the percussion. Lots of intense programming in hundreds of layers of processed bits. You will notice that each bar in the composition never repeats, the same sounds or sequences. This was completely intentional. I wanted the entire sonic experience to be kinda like a roller-coaster ride of audio frequency dynamics. I also tried to experiment with interesting new breaks, and redefine what could be considered song structure adhering to no rules or constraints.


Richard Devine’s Kyma sound system, as controlled by Wacom tablet, was part of the sonic brain used in the 2005 album. Photo courtesy the artist.

CDM: Given the complexity, structurally, of this music, do you tend to iterate through a track over many layers?

I spend weeks, months sometimes designing the sounds, and trying to get all the pieces to work together. Almost like a complex microsound jigsaw puzzle, but the pieces are very fractalized and tiny. Each sound I painfully program by hand. I take each sound as if it was a sculpture piece. I look at the sound in 3D structure. I often compare the sounds to architectural shapes, structures, and manipulate them one section at a time. I read the waveforms and sculpt them into what I want. I then add the pieces together to work into a composition as a whole. This is the most difficult part in my work in making everything seem fluid and natural. It is often difficult to make the transitions work within a short amount of time especially when you have so many sounds and textures you want to squeeze into a 5 or 6 minute track.


Inside Richard’s studio; photo courtesy the artist. And no, this isn’t actually all of it.


CDM: What was your process like, creatively – particularly in regards to the vocals?

It was a very long process. It started off as something totally different. Some sort of downtempo disco type track with much more lyrical vocals. But, after several months I realized it wasn’t working for me, so I approached the whole thing from scratch, resampled everything and made a more minimal downtempo track out of it.

The vocals started off a lot more obviously upfront, but I decided to use them more as a musical layer, so I resampled the completed vocal track and started shuffling the bits around. It felt better to me, like the musical layers in the song weren’t competing with the vocals as much.


I asked Lusine for an image he felt went with this track, and Jeff pulled out his photograph he took a few years ago "of some gravity-defying acrobatics in Papantla, Mexico." Photo courtesy the artist.

Ed.: I’ll be curious to hear your thoughts on the compilation, especially since it represents three very different musical perspectives (which to me wound up making the experience richer). The TV show Caprica, for its part, premieres January 22 with another great Bear McCreary soundtrack (I’ve been listening already, as a fan of his scores).

  • Jim Aikin

    I can tell what I'll be listening to for the next couple of weeks. Great stuff! Very creative sonically. I've only checked out five of the tracks so far, but I have to say, I'm especially grateful for "Uffe's Woodshop" because it's not in 4/4. I've started to feel that 4/4 cheapens whatever music it touches. No matter how you spin it, it's too predictable.

    I realize I'm probably in the minority in thinking this. I'm sure many people will disagree. But I find that I have to fight my way past the 4/4 in order to appreciate the music.

  • Oh great, I'm listening it, serious work, some great tunes here.

  • aidan

    technically, the timeline in battlestar is far in our past (as revealed in the final episode), so shouldn't this compilation be entitled -snork- music for our future past?


  • Zevin Hill


    Downloading it as I write this!!

    Nice going Peter!!!

  • Microwave Prince

    No Techno = No Future

    draw your own conclutions ;]]

  • thanks for the post peter – looking forward to downloading and listening to this!

    PS where's the pic of your studio?! 🙂

  • Lephrenic

    Those pigs are conspiring to take over the farm and enslave us all.

  • rhowaldt

    nice stuff, will save the tracks for listening this weekend. i really like these write-ups and interviews with artist about their methods of production etc. i'm glad the (seemingly) continuous burst of iPhone-articles has ended. that shit had me not reading CDM for about a month.

  • @Jim: I'm not quite sure I agree about 4/4 being "cheap" but I'm sure you're not in the majority when it comes to wanting more experimentation with meter, polyrhythm, etc.; it's something I'm always interested in. But I want to avoid starting a metrical flame war. (I can see it now. "waltz is teh rulez." "u luzerz r rong all 4 on my flor.")

    @aidan: You don't want to make me say "all of the has happened before and all of it will happen again," do you?

  • Peter, is your track being used in the soundtrack of the show? Either way. Props.

    @rhowaldt Clearly the iPhone feed is alienating. Many editors now don't want to touch it. But I want to see CDM at least keep an eye on the trends and occasionally throw in a bit of editorial. In spite of the fact that I have an interest, I think there's actually something happening with creative tools on these devices. (This discussion doesn't belong here though.)

    5/4 pwnz!

  • My studio, by the way — certainly for this track, there's nothing to see. There were bits of this that I had worked on in my live PA set. It's built in Ableton Live, then pulled out and mixed and arranged in SONAR. What isn't viola da gamba samples from a brief studio session with my friend Laurence Pangaro is me playing, and I like to program sounds in the box. It looks nothing like Richard's studio (sadly).

    Tracks are not being used in the show. It's all Bear McCreary, which is not a bad thing. You could try playing this with the sound down on the first episode, though, you know, Dark Side of the Moon-style. 😉

    Thanks for the feedback, everybody; it really means a lot!

  • Adrian A

    Peter, I went straight for your track since it would be one of the few from you that I've actually heard.

    Are you doing much in the way of musical output these days? Can we expect a new Peter Kirn music project on the horizon?

  • Jim Aikin

    @Peter: Surely there's a middle ground between silence on the one hand and a flame war on the other. I was sort of hoping for some intelligent discussion on the subject. I do think a metrical framework (and why not 4/4?)helps the brain organize aural perceptions. Throwing meter away may make the music more difficult to grasp. Maybe I'm just suggesting that when musicians are experimenting so actively in other areas of their art, it would be great to see them take a fresh look at meter too.

  • I was kidding; I meant *I* don't want to start a metrical flame war. But yes, otherwise I agree – I think it's an area ripe for greater exploration.

    And yep, I'm working on new musical project(s).

  • luke

    beautiful piece, peter.

  • james

    awesome to see gold panda on this, he's totally amazing.

    and also some of his work is a good counterpoint to the 4 4 non-flame-war – experimentation in art is about a dialogue with the status quo – and the burgeoning anti-quantise/anti-grid movement* is perhaps more relevant right now than discussions of time signature.

    *doesn't exist, i just made it up for the purposes of my argument.

  • space pope

    thanks peter!

    and@rhowaldt: i'm with you on the iphone thing, i almost deleted CDM from my favs as i thought it would never end! also, yes please @peter keep the process and studio pics coming. always find the philosophies, habits and pics of rigs/studios to be very inspirational. if anybody knows of a good site with pics of live rigs/studio setups, please post!

  • @space pope:
    Fantastic studio tours! Actually, Richard, if you're out there, still making music in your kitchen/dining room?

    Okay, nothing more about the iPhone. (I do dig those tablets they use on the Caprica pilot, though, even if they're all just Hollywood magic — for now.)

  • nylarch

    >>technically, the timeline in battlestar is far in our past (as revealed in the final episode)



    in the middle of the last season on DVD

  • Orubasarot

    hahaha ricky dick with otto as futurism

    i think marty mcfly gave you losers the wrong directions, ironic pants and 303s is the other way

  • @Orubasarot: you have to admit, McFly was right about the 80s nostalgia bars cropping up. (see BTTF2)

  • lapse

    i guess technically interesting but upon first listen to the comp- the future is well 'boring'.

    i love how richard devine explains everything he does- it's the most complex crazy sonic equivelent of the large hadron collider with millions of parts so special and intricate that the whole thing would collapse without each and every granule… yet in practice sounds like the sonic equivalent of snake oil.

  • Orubasarot

    "hybrid computer synthesis" my ass, dude has an H8000 and comes out sounding like Fruity's Granulizer raw

    I'd love to say I've never heard a Devine track that I liked but I can't, it's just that intensity isn't his thing, it's contrived with him. Randale on Asect:Dsect is gorgeous and wasn't quite too late to the Skam clone party for '03

    but outside of straightforward composition he's like a homely suburbanite Xanopticon with none of the focus or impact

    Lusine is one of the few artists to genuinely sound 00s, but I don't know what he's doing on this comp, other than doing his thing that is

    haters gonna hate

    I don't know what the future is but I know what it isn't, and it's not wonky crunk-step

    I'm not even gonna start hating on all the dad-rockists on this thing because then this post will never end

  • Well, just to clarify – I think it's a unique thing to have my perspective, CDM's perspective, combined with XLR8R and Pitchfork. I don't think we necessarily agree about what sounds "futuristic," which to me is itself interesting. My selections, the ones that made it here being Lusine, Willits+Sakamoto, Richard Device, and The Field, were the ones that sounded to me like the fictional world of Caprica, having watched the Galactica reboot and the Caprica pilot. I have no idea what the "music of the future" will sound like; I'm not Richard Wagner.

    I'm glad there's disagreement; I think with anyone with critical ears, there will be.

    So, these are some snapshots of what people sound like right now. And they come from three very different outlets with their own take on what fits this particular idea. It's not going to be a perfect result, but I also hope we try more things like this, and for that reason I'm happy to hear constructive criticism.

    Of course, if Caprica/BSG's vision of the future is correct, the robots are going to take over and kill us all anyway, thanks to our hubris and decadence. (That's *not* a spoiler.)

  • I love the sounds of Fruity’s Granulizer raw. =)

  • The Brain

    This comp is OK. Pretentious but OK.

  • I'm just glad to see a futuristic Sci-fi visual that doesn't paint the future in bright squelchy techno (yes, I said it). We've been running that out since the 80's.

    As to the 4×4 concerns, we have to also account for the fact that it can be a little difficult (maybe?) to sync abstract time sigs to digital video…?

    All in all, I didn't think the compilation was completely ground-breaking, but it was a pleasure to listen to and will be even more so in it's visual context.

    Nice work Mr. Kirn…

  • …ok. My reading comprehension game is not as tight as in my youth…this is music INSPIRED by Caprica.

    Hmmm. That cancels out my 4×4 foolishness and the 'visual context' commentary.

    I stand corrected. Still good work though 🙂

  • Orubasarot

    No you're reading just fine JConda, how is it inspired by Caprica if tracks in it are from 2005?

    It's the future from producers who never even caught up to the past.

    I don't think the future is clinical, cold, and detatched at all. I think it can be warm and tangible like the wooden butt stock of a Mosin Nagant smashing a bourgie apologist over his Kyma. The LRAD gabberkick classwar soundclash is coming Richard, you and NI are going down. Going to throw you into the same pile as Schematic and Sublight.



  • …just been slammed in the face by Richard's track – I remain stunned and motionless..

  • *downloading comp* Thanks for the free musics from the futures.

  • lematt

    i'd love to play just one day into Richard Devine's modular studio corner…

  • Zoopy

    Great post and great music.

  • Excellent article, as always. It's always intriguing to peer into someone else's workflow and tools to get a glimpse "behind the curtain." Really enjoy the couple of tracks I've listened to so far. I suspect I'll be listening to a lot more the rest of the week.

    It's great to see some attention on Willits & Sakamoto's "Ocean Fire." One of my favorite albums, I think of all time.

  • Hmm, never thought it could be like this…. very strange

  • dyscode

    As a big fan of the new Battlestar Galactica installment (and the old movies) this assembly of songs is as far from the spirit of BSG as Tatooine is from the light center of the universe – or herefore :mostly any form of vision of the future I like to have or would be interested in.

    Sorry, I know bashing something for free is uncool but if you mess with BSG you have MY war!

    So far Gravity, Raw Shanks and the first halves of I have the Moon and Anaxagoras can stay on my harddisk. I agree that the 4/4 installment sucks for the most part (esp. on the second halves), as mentioned before.

    And if Sakamoto represents anything these days it´s been only with his collaboration with Alva Noto. (UTP_ concerts)

    For whole the line up: have a good time as long as you can – we all just try to.

    -end sarcasm- )->

  • dyscode

    PS: maybe I like Rainbows song best because he has the same apporach to music as me. And my 'studio' looks also quite like it: Laptop, controllers and (most important) LOTS of quirky gadgets.

  • This is a pretty decent selection of tunes, I dont give a shit about Paprica, but thank yous for the comp.

  • Denis

    Gravity sounds to me, like a future I could live with. Warm and human. Mainly because of the voice, I guess. I don't think that the mainstream listener will get use to abstract timelines and soundsculptures, in the near future.

    Thanks Peter!

  • Jaime Munarriz

    @Jim Aikin I feel the same need, explore new metrical structures. I've found a fertile territory in composite metrics, ie (7:3:5:4). It forces you to build and aprehend new musical experiences. But sometimes 4/4 may be nice, just don't go "boom-tsik-boom-tsik" all the time!

  • Jaime Munarriz

    Peter, could you please tell us more about the Kyma system by Symbolic Sound? It looks amazing, but expensive… Is it a MAX/MSP + DSP kind machine? Can you compare it to Receptor/muse? … Can we do the same with a Netbook and PureData…?

  • Bynar


    Great track man! I agree we need more articles about the musical process. I would like to see interviews or articles on less mainstream workflows like making algorithmic tracks in supercollider, kyma, or chuck. I'm always interested in new ways to balance programming and composing without getting too heavy in either direction. I really enjoyed the short interview with Richard Devine.

  • Downloading the comp now, thanks for that. I find it funny that anyone is even talking about time signatures anymore though to be honest…in my view, sort of like discussing cat-gut and wood varnish. New music for new bottles for new ears..time to move on maybe? (pun intended).

  • s ford

    how does richard devine ever make any music?

    he seemed to have every single piece of hardware/software imaginable!

    if i had that much stuff at the ready, i'd never finish a thing. i'd just sit there and cry probably.

    downloading the comp now. cheers.

    @ peter kirn

    any chance of a kyma review? maybe get richard devine to a guest review?

  • I was gonna pass on this, but the Richard Devine interview hooked me, with all the talk of badassed snorting pigs and granular sound design with pictures of massive racks of modular gear.

    So then I went and downloaded it, and listened to the track in question.

    Uuuuh … is this track representative of Devine's work in general? If so, how is this dude a big deal? Why does anyone care?

    This is like white noise once removed. What is the point of "meticulously sculpting your sounds in 3d" if they're gonna be chopped up and rapid fire shotgunned into your ears so that you can't distinguish one from the other?

    Boo … BOOO, I say.

  • Orubasarot

    plurgid you're doing it wrong

    there's nothing wrong with chopped up rapid fire anything, the reason Devine is awful is not what he's trying to do, but how he does it

    lots of people can do splatterbreak shitstep right, like Kaebin Yield, UndaCova, Xanopticon, Sedarka, Binray, etc.

    do you know the secret of why people like Devine and Flashbulb are terrible?


  • @Jaime Munarriz – Kyma is hardware and software. The hardware is simply a black box of DSP chips (the older Capybara having its own audio and MIDI I/O, the newer Pacarana needing an external MIDI/audio interface) into which you dump DSP code to be executed. You make the DSP code with the Kyma X software, which is a graphical programming environment somewhat similar to Max/PD, but with its own way of doing things, so that Max/PD skills don't directly translate to Kyma.

    The main benefit of Kyma is that its high-level DSP processing lets you do things in realtime that still aren't possible with standard desktops or laptops (although those machines are catching up all the time, of course). And Kyma has a huge collection of objects and algorithms, some of which are unique to Kyma and aren't available to the average Max/PD coder as yet, so there are still certain processes that only Kyma can do.

  • Jaime Munarriz

    Any artist using Kima?

  • Kyma artists: absolutely. Kyma's a favorite of many artists, including legendary sound designer Ben Burtt; if you've seen a Pixar or Lucas movie, you've heard it.

    Richard Lainhart (as you may have guessed) is also a Kyma artist. BT, Junkie XL are among the more mainstream artists who have used it.

    The interesting thing to me is that Kyma's entry-level model is now sub-$3000. Much as I love you, Roland et al, I think if I had three grand to burn, the Kyma is what I'd buy – that's a way better value-for-money proposition than any hardware workstation.

    Just looked it up; I didn't realize Kyma was originally written in SmallTalk. In a way, you could then see SuperCollider as a kind of spiritual successor. But yes, in terms of the power and ease of its tools, I don't think there's any direct match.

    But do you "need" Kyma? Of course not. 🙂 You don't really need any particular tool to do anything; at their heart, they're all DSP engines. Now, "want" or "find worth the investment" are other matters altogether.

  • Michael Coelho

    I have listed to these tracks a couple of times now and overall I have enjoyed them. Peter – nice work on your track. I'm a fan of Battle Star Galactica and plan on watching Caprica. I had a King Crimson flash back listening to Otta Space. I found Richard Devine's track to be interesting. I can see where this wouldn't be everrone's cup of tea, but the sound design is really interesting. The fact that he generates such impassioned debate means he is getting a response out of listeners. I think some of the listeners could be more civil in their postings, I'm sure Mr. Devine has feelings just like the rest of us.

  • Jaime Munarriz

    I am listening now to Richard Lainhart's "Kymaworks", thanks!

    Beautiful, calm, evocative, subtly complex…

    Really interensting. I understand your Kyma love.

  • Pingback: Various Artists – Music for Our Future « Sky Society()

  • lematt

    I second M. Coelho, some readers could think twice before spitting their hate on the comments.

  • Pingback: links for 2010-01-07 - Nerdcore()

  • Pingback: Music for Our Future, free 13-track compilation inspired by SyFy's Caprica()

  • s ford


    Add AUTECHRE to the list of Kyma users, but I don't think they use it that much. Max/Msp I think is their preferred modular language type thing.

    I posted a thread on the Sound on Sound Forum about Kyma, and a few people seemed to think that Kyma is a little easier to get results out of than Max/Msp.

    With Peter Kirn I agree that if I had $3k in my pocket burning a hole, I would get one in a heartbeat!

    RE Richard Devine. Asect-Dsect is a great album.

  • Mark0

    Wow… just listened to the whole… really liked it. "Anaxagoras" is my favourite by far, Thanks mr. Kirn!

  • Pingback: Caprica – Music Inspired by. « Season 9()

  • Pingback: Create Digital Music » Beyond NAMM: LA Friday Night Party, Music Tech Panel – It’s Gonna Be The Future Soon()

  • Aleikum

    Hippie crap is the future? Nice!

  • Pingback: Music for our Future | Eclectro()

  • workingit

    link is dead. wanted to listen to this. Peter could you email a link?

  • bliss

    Anybody know of a mirror for this compilation? Thanks.

  • mathias

    dead link. mirrors? 🙁

  • Pingback: Er zijn van die dagen… « sound & vision()

  • yo

    the link to the compiliation says its not found ?

  • Mark

    Guess we won't be listening.

  • Father Bedlam

    Jamie Vex'd – Saturns Reply.

  • Roger Carstairs

    Is there an alternative link?

    Seems a bit off to pull the whole page with no explanation – even just saying the comp is no longer available would be preferable.

  • Can this feature be taken down? It's aggravating to read see this featured on the front page, read about the potentially cool music and have the referencing page be 404.

  • Pingback: I AM A LASER! » Blog Archive » 4 Trak Cassette :: 4.16.10 edition()

  • Cyzh01

    A mirror, anyone???

    It seems that the future is just no longer exists.

  • Jon

    I've got a copy of this and I would like to upload it to archive.org but I need a clear license to  do so.  Can CDM let me know under what terms it can  be distributed?