2012 Editor’s Picks: Michael Aniser

[15.07.2021. Content warning: an article published by J.-H. Kabuiku on July 9th 2021 points out Dominick Fernow’s consistent links with metal and noise artists, bands, labels and productions using pedophilia and sexual violence imagery, listing a number of regular collaborators explicitly affiliated with National Socialism and white power ideology. More on this here]

For me, 2012 was about going out and constantly discovering new things. To be honest, I got a bit tired of blogs and the “posting things first” approach of most of them (except no fear of pop, of course). Everything becomes this blur, like with additive color mixing: when you mix them all you just end up with a white spot, an empty, boring void. Not to be too pessimistic, though, because there is some amazing stuff to be discovered in these niches.

But in general, everything seemed to go towards a more interpersonal look at things. I’m not talking about esoteric bullshit or post-religious weirdness; more about DIY and DIT movements. Artspaces, bars and clubs. The supposed last year on Earth was about showing one’s human side—albeit constantly interwoven and heightened with amazing tracks, mixes and distorted by frequencies from systems that emerge from life’s tendencies, yet which always have the capacity to operate without reference to their original aim. Or just plain copy & paste, who knows.

Without further ado, here is my list:

Cut Hands – Black Mamba

Mark Fell – Sentielle Objectif Actualite

Grouper – Vital

Time Wave Zero – култура није твој пријатељ

Lee Gamble – Plos 97s

Holly Herndon – Car

Jeremy Bible – I’m very uncomfortable most of the time

Ill Winds – Knut

Rihanna – Diamonds (Jerome LOL Edit)

Devilman – Bakan Q

Triad God – ‘Remand’

Schwarz – FEEL YR BODY (KATZ HA)

Vatican Shadow – Church of all images (Regis Version)

Moon Wheel – Brontide

Ela Orleans – Dark Wood

Blue Stork – DORN

Terekke – Asidis

Jason Lescalleet – The Power Of Pussy

Photo by Eunjin Choi

Published December 27, 2012. Words by Michael Aniser.