COMPUTER DATA

ambient composition
// recorded in my living room. 03.21


forthcoming on pure bread records.

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ambient composition // recorded 05.2021 


forthcoming on my pure bread records imprint.

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gelassenheit

computer data's unorganized list of catalog records he enjoys listening to

Hvdson

It’s been 2 years since this project has been released (11/22/2019) but I didn’t get a proper chance to fully push it out (RIP pandemic) - this new paradigm and wave of music NFTs seems like the perfect opportunity to push this project out again.

With Catalog being at the forefront of 1/1 canonical music NFTs and my involvement as one of the founding core engineers, it makes sense to post on Catalog as this is what I am capable of doing entirely myself as an auteur of music.

I’ve played, composed, recorded, wrote, produced, mixed and mastered music my whole life and this is the first project that I’ve been satisfied enough with to call my magnum opus.

This was the first full project I've released as Hvdson being a masked alias back in 2019 - the genesis project. I've always had a vision of making Hvdson this artist that everyone could feel like they were a part of so I tried my best to keep Hvdson a blank slate and make the narrative of a simulation of the persona/ego as inspired by the psychology of Carl Jung's id, ego and super-ego.

I guess the closest thing to what i'm thinking of is what Brud is doing with (Lil) Miquela and the already well known digital persona of Hatsune Miku, but a decentralized and white-labeled version of that in which people own a part of Hvdson and can use it as a composable base layer to build other projects on top of - a decentralized musical persona simulation.

The vision is to have Hvdson perform at a stadium full of people - all of which have either been contributors of the project or own some portion of it.

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In Security

All The Ideas

Ray Kandinski

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Liola

Teen Daze

The third in the Interior series.

Owner of this NFT will gain access to the "Interior Club VIP" discord.

About Translation: The final track on Interior, and rather than end with a turn towards more quiet, introspective tones (which is traditionally how I tend to end records), I wanted to end with a bit of a celebration. This song has gone through a number of different variations, but it wasn’t until I dropped in the microsamples and extended sax solo at the end that it really hit the mark.

This one does demand something from the listener though. The kick drum doesn’t even come in until the 3:30 mark. I do think people will be rewarded if they’re able to really live in the world of the song for the first half, until the big party comes in. The quiet parts of a song make the loud parts hit even harder, right?

To be honest, I wasn’t sure if this type of big, positive ending was the right fit for this record, but I’m really glad the folks at Cascine convinced me to not only keep it on the record, but have it wrap the whole experience up.

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Translation

Boys Noize

“Ypoint" is the soundtrack of being alone at night, lit solely by the glow of your computer.  It’s calm and comforting, like a lullaby, but there’s moments of distortion, energy - like the data crackling like lightning between you and the interface, an infinite world in 1’s and 0’s expanding inwards.  This song tries to capture that feeling of contrast between a peaceful environment and a digital intensity.Written, performed and produced by A.RidhaMixed and mastered by A.RidhaCover art by LLR Design by ETC

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Ypoint

Thys

Suddenly I see myself reflected in the glass of my phone, I see what I'm doing. I'm ranting again, it looks like.
But it feels right to vent about this weird and fucked up world. It feels right to let these thoughts and theories out, to test them against others. My DoomTimelineTM rants are spontaneous bursts of energy that find their way out, potentially leading to a meaningful conversation with others, potentially hitting a deaf and blind wall. But if I don't share these insights, I get stuck.
//
But besides ranting on twitter about politics, climate change, human psychology, music industry, and other stuff that bugs me, what I really do in life is obviously this: I make music. But working on club music was really weird for a while during restrictions. It felt weird to make music that I couldn't experience in the setting I designed it for. But since then, I've been going to clubs again. I've been going out to hear others, and going out to play myself. It makes so much more sense for me to be making club music again now. So what better time for distorted 808s and breakbeats than right now?

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XOR002

DoomTimelineTM

megiapa

Last November, I challenged myself to a personal "diddy-a-day" challenge. I made one beat a day for a week (with a break to celebrate Diwali <3). A Practice is the second single off my EP, diddies vol. 1, which is a collection of beats from those sessions. This track includes a bonus track titled '11.12'.

The winner of the auction will receive:
• A Practice + bonus wav. file
• A handmade, mini collage (painted, drawn, sketched, etc. by me)
• Stickers featuring original collage designs

"A Practice" is written, produced, arranged, and mixed by megiapa
Cover art by megiapa
Mastered by Zeroh

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diddies vol. 1

A Practice

The first in the Interior series.

Owner of this NFT will gain access to the "Interior Club VIP" discord.

About Swimming: This is one of the first songs I made for this record, some three years ago. It benefited so much from Joel Ford’s (who mixed the record) guidance. When I first sent him the original demos he said he could hear slivers of “early 2000s French house music”, even though I was hearing was colder, more modular-based synth sounds. Anyways, that note sent me down a rabbit hole which resulted in the record you’re hearing today, and Swimming is one of the songs that benefitted most from that note. This track is truly meant for a dance floor. I’ve spent a lot of the last few years trying to craft “ambient music that you could dance to”, but this one is about as close as I get to a DJ tool.

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Interior

Swimming

Richie Hawtin

Originally recorded and released in 1996, Concept 1’s monthly releases documented a year of sonic experimentation. Each month I would record as much music as possible with a strict and limited selection of technology.  Gone were the typical “Hawtin” combination of TR808, TR909 and TB303’s which had driven the techno tracks I had become known for under my F.U.S.E. and Plastikman aliases, replaced by a striped down selection centered around three Doepfer MAQ 16/3 sequencers and 5 panels of Serge modular racks. This year-long experiment ended up being the beginning of a new minimalistic phase and set the foundation for the Plastikman Consumed album.

This unreleased exploratory groove, "96:11 00:00”, was written on November 19, 1996 and was a testing ground for the shuffled 909 programming that appears on the released Concept 1 "96:11 21:00" track, as well as featuring the feedback textures that appeared on the final Concept 1 release "96:12 24:00”.

As the original Concept 1 release was limited to a specific number of physical releases, I thought that it would be an appropriate continuation of its concept to release this track as an edition of 1 NFT, using it as another exploratory move in this developing eco-system.

Video about Concept 1 https://www.youtube.com/watch?v=9Xn1-AyYcrk

Original Concept 1 release on Audius https://audius.co/rhawtin/album/concept-1-9612-29141

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