no one is watching!

Poster Archive

Freeware Folk WebRing

Lucas Brito

Freeware Folk - Brainstorming what I want it to be


There are two things that I like being afraid of:

  • Music failing to index geographical and chronological differences (i.e. no longer being able to understand a time and a place through music (i.e. music continues to suck)
  • Losing the internet's potential as a free medium to 3rd party surveillance-capitalist platforms

With the first bullet, there's a ton of caveats - e.g. many genres of music BELONG online and don't make sense when correlated to a scene of a physical region, city, etc. Like I don't know THAT much about computer music or hyper-xyz styles, but I strongly feel like they belong to people on Discord servers.

Anyways, these are the two motivations I have for trying to invent a new internet and music lifestyle. FREEWARE FOLK attempts to harmonize my love of music, my love of physical place, my love of community, and my love for the internet. I want to preserve and protect the best parts about each, and especially allow for my music to progress as an artform instead of languishing under late-stage captalism.

I already use a flip phone and run a blog, which places me in... 2009. But this kind of anachronistic austerity is helping me figure out what about the internet is worth keeping for the future and what we need to throw away.

Freeware Folk - are you committing or what


Happy New Year everyone - as bill wurtz says, don't make a resolution because New Years resolutions are built to fail.

I THINK the best thing to do is prevent Freeware Folk from being "just" about what music sounds like and how it's made. So today, Freeware Folk is a phrase I made up that's supposed to describe whatever practices that make me feel like I can stay in this medium - stay online - and keep it's time dialations from eliminating my faith that a "future" is still incubating.

Someone who reads this blog was like "isn't Freeware Folk just DIY" and this is a baby pill I have to swallow- that they are probably right - based on the 1st draft 5 paragraphs I wrote about it. This is the hazard of me just saying something on a gut feeling and being "fuck you I said it". My emotional reaction was twofold - first an overwhelming gratitude that someone is critically engaging with this stupid project, a second slight embarassment with the realization that it actually sits in the space of punk/DIY ideology, and I haven't put in the effort to show that it really is different.

BUT FUCK ME IT IS DIFFERENT. and now that this fire has been lit underneath me I'm going to make sure I show you how.

Happy 2023!

What I want


My name is Liv. I am in PONZI with Roger Clemens, James Januch, and Oleander Burk. I play drums for Pleasantbusstop with Oleander Burk and Ted Howard. I front my own project under my own name. Each of us has at least 2 if not 3 projects active simultaneously. We depend on each other for production, recording, writing, playing, organizing, postering, etc. We all have friends that we play shows and organize events with. All of our friends are active musicians.

Here's what I want out of life: I want all of my friends and all of my friends' bands to be properly recognized as the greatest in Seattle. I want other people to see our community the way we see it. I believe we are worth being mythologized. I want us to be permanently stitched into the tapestry of our city, and tick-marked into the timeline of the world. I want a wikipedia page, documenting how we were heralds of a future culture; the ones that finally buried the long-dead torch and found something new to carry.

This is just to say I really, really, really believe in my friends. You don't have to trust me, you should just go to see them, and you'll be convinced they are it. They are the "thing itself". They are making music that makes you believe in music again. I have been playing in bands and going to shows since I was 14, and I have never felt this way about a group of artists until right now. It's not "oh wow they're so hardworking, they're so good at their instruments, they have such great voices". I honestly think they've been given a gift; something impossible to produce through one's own means. I risk sounding pretentious, but I'll risk that for my friends. They are special.

Streaming/commercial success is a ways off right now, and that's perfectly fine. In my heart of hearts, all I want is for us to be known as THE Seattle Bands.

Rename the city (warning: underbaked)


I asked Oleander why so many solo projects? each under a different name?

They responded with something to the effect of - "When you start under a new name, you lose the baggage of the old one. Then it can become anything."

Stick your head out of the dune of sand and look around: what kind of place do we live in. Why does it feel such a way.

This is how I feel it: My family has lived in Seattle since the 1970s. When the 90s hit, the firey eye of big industry (music, biotechnology, computer technology) shone onto this somewhat insular, unindexed little place. It commodified every piece of culture until [redacted]

Then the public eye shifted away, and we are left with an identity that doesn't identify at all. Seattle was turned into a fashion and sold to the rest of the world, and now it's OUT of fashion, and who cares.

So we're left with this mix of people, 50-60 year olds who remember how it used to be. Imported tech workers who heard whispers of Seattle being known for this 1 thing. And everyone else.

Alright, that started 30 years ago. Us 20 somethings weren't even alive. The sentiment that "Seattle used to be cool" doesn't compute, doesn't matter, and should just bounce off us like rain on a waxed windshield.


I am tired and will finish this later

Yeah yeah yeah


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I know why the road rages

10/10 at 4:56pm

When you get in a car, do you feel your life's essence getting leeched from your body? Cars are the only liminal spaces you own. I think about dying, then waking in limbo, to review a pie chart of how I used my time. The sliver spent in a car looms larger than most. I just started working, so I went from being myself all the time to being myself for the 6 hours a day I have after work. I come home and need to change my clothes or I feel like a non-person. I rush to fill the rest of my day with meaning, and I drive like a madman, lest I waste a single moment not doing what I set out to do. There's an intersection on Roosevelt and NE Campus Parkway with a sign that tells you to:


and most people just sit there until the light goes green. But not me or my friends. We are initiated. We did our homework. We parsed through the cryptic symbols. Our advanced linguistics degrees led us to discover the truth: the sign says to stop, but then you can make your turn IMMEDIATELY. AND LET OTHERS GET ON WITH THEIR LIVES.

The intersection is desolate, but you stall because you are too afraid to break a rule that doesn't exist. So I sit behind you, watching the exhause rise from your idling engine. The road is empty but you refuse to turn. Nothing in the world stops you but your unwillingness to notice the world around you. All I can do is watch you.

freeware folk introduction draft 1 - //OUTDATED BUT NOT UPDATED LOL

posted on 8/18 at 1:30pm

i think we are past the era of naïve, candid music production. the internet's nebulous music scene lacks a crystalized "now", which i guess makes us want to bring dead music eras back, reanimating the 80s in awkward ways.

new technology, when used to necromantically simulate sounds from 30-40 years ago, stalls the creation of the "new", and as Beradi via Mark Fisher puts it, has triggered a "slow cancellation of the future" for music. We are stuck in an stupid echo chamber, haunted by the shadow of older (seen as better) music.

Freeware folk is a style made up to stop the "slow cancellation" through some constraints/practices, enforcing that artists sound like the time period they actually live in. part of this holding songwriting, rather than production, as the most important part of music.

the sonic evolution of freeware folk should go at the speed of whatever tools are FREE AND AVAILABLE IN YOUR TIME PERIOD. specifically the human voice (free), stock/free effects, plugins, and sounds, and preferably free or hacked DAW software. there must be people who make freeware folk because that's the only way they can afford to make music.

The notion that you HAVE to buy better software to sound better is perpetuated by none other than the software companies and insecure producers. You can do it on anything.

thanks, tell me what you think @liv_victorino


posted on: 2022-03-09T12:29:44.000Z

I'll make a claim and say there is something fundamentally different about the gen-z condition. Millenials growing up in the 90s, got the last glimpse of a life before the literal "collapse" of both time and space. By collapse, I mean the omnipresence of the internet has caused all of recorded time/indexed space to fold in on itself, creating a homogenous soup that lacks a familiar dimension of any kind. They got to experience life before the internet could dredge up content from any era in history, from anywhere in the world. Here is the issue: they got to experience a life where cultural innovation is not at a standstill. I'm not going to lie, this is Mark Fisher's idea here ^. But our particular angle as Generation Z, is that we aren't old enough to know anything else but this ubiquitous internet age. Whereas every decade previous might have had multiple simultaneous cultural inventions (e.g. ~90s music genres: shoegaze, grunge, skate-punk, euro-electronic dance) Fisher's claim is: from the 2000s onward, all cultural innovation has been simply rehashing someone else's authenticity from the 60s-90s (due to the internet, mostly). As a music blogger writing in 2014, Fisher digs at The Artic Monkeys, Adele, Amy Winehouse, and Mark Ronson as exemplaries of this popular rehashing. Artic Monkeys as a 80s post-punk brit-pop revival band, Amy Winehouse for stylizing herself as a 60s soul singer, Adele as not contributing to any sonic "now" but piggybacking on simple instrumentation to vaguely reference the past whilst not committing to the present. Shit, but can you name a new genre *invented* in the last 20 years? Has the golden age of any cultural movement come in the last 20 years? Where is our peculiar "sound" that dominates popular culture now, that will hopefully die and make way for the next thing? Tell me if this resonates with you: after 2 years of online life, despite the drawn-out collective trauma of 2020-2021 (due to political unrest + covid death + smoke from record-breaking wildfires + intense heat waves), do you still feel like time is speeding up? That you can't tell if something was 6 months ago or 11? I swear on my life that 2021 was the fastest year I've ever experienced. If I could give one guess, I'd say it's because most of this trauma is inflicted online. Besides the heat/smoke, we aren't actually there to feel anything material really changing. That says something to me about being online too much: no matter how horrible or great, long or short, something is, it's situation in time and space is completely lost on you if you experience it through a computer. That is so scary to me. On my deathbed, I won't be able to tell my kids that I really *experienced* anything, my life was a blur and events had no sequence. if you made it this far, thank you for reading. Next time, bill wurtz email me at


posted on: 2022-03-09T12:30:00.000Z

A wonderful paradox we have in the [redacted] scene. Some ask for what they really want by pretending they want it's complete opposite. For example: act the anti-capitalist so you might get the chance to sell tons of merchandise with your name on it. Show you're upset about climate change so you might fly first class on an international tour. Talk about how much you love diversity, because if you don't, your music will never be reviewed by the white and male tastemakers and gatekeepers in this city. We are all struggling to "make it", to "get there", but I am having an ongoing crisis where I can't figure out where "there" is, or if my idea of "making it" is part of a larger scheme inside capitalist realism. My every move is subconciously geared towards selling something to you; so should I try to perform any altruism at all? On my to-do list are: 1) try not to be a hypocrite, 2) see if i can find a way to be financially viable without feeling like I'm selling out. other stuff I'd like to write about: my idea about how to make a viable music scene can selling stuff be the same thing as sharing? the splintering of the subject into the artist and the person lack of forgiveness as a symptom of commodification does it exist if it's not indexed? am i shooting myself in the foot?

there is no game here

posted on: 2022-03-09T12:30:21.000Z

Date of website birth: December 28th, 2021 at 2:10pm. No one is following you here. you are not indexed. you have no visibility. you can say whatever you want. i could say whatever i want. taking from the proud traditions of billwurtz and kpunk. I CAN SCREAM TO YOU; THIS IS MINE. THIS IS MINE. THIS IS MINE. THIS IS MINE. THIS IS MINE. I AM HERE. We can say whatever we want, because there's no game here. no clout, no aesthetic, no posturing. this space here is just you and me. No one else's opinion matters except yours. But we don't have to fear each other, because I'll never find out what your opinion even is. I won't know if you read this, so I'll also never know if you hate it. THAT is the beauty. why make a website. First: see above. Second: I am dead sick of "Meta" mediating every online exchange. don't you hate going through zuckerberg to talk to your friends? may we now be left out of this panoptic social hellscape, in which our every contribution puts ad money in someone's pocket.

todo: build a router. link to tutorial