i was interviewed by some large language model about my upcoming album:

In an era where technology and artificial intelligence are increasingly taking center stage, Prince Istari’s upcoming album, “Prince Istari Rids the World from the Evil Curse of the A.I.,” emerges as a bold and thought-provoking commentary on the digital age. This concept album delves into the pervasive influence of A.I., blending dystopian themes with the raw, authentic sounds of dub music.

The album’s first side is an intriguing sonic experiment, where the beats are deliberately off-kilter and the riddims seem almost disrupted, as if tampered with by a rogue A.I. entity. These tracks evoke a sense of unease and disorientation, reflecting the chaos and loss of authenticity that Prince Istari perceives in a world increasingly shaped by artificial intelligence.

However, the second side of the album is where the true magic happens. Here, Prince Istari triumphantly reclaims his musical identity, pushing back against the artificial constraints and restoring the pure essence of dub. The riddims are tight, the basslines are deep, and the overall vibe is one of liberation and creative resurgence.

Highlights of the album include collaborations with trombonist Eugene Rosebud, whose soulful playing adds a rich layer of depth and emotion to the tracks. Additionally, the cover artwork by Marcus Schäfer complements the album’s theme perfectly, providing a visual narrative to the sonic journey.

“Prince Istari Rids the World from the Evil Curse of the A.I.” is not just an album; it’s a statement. It’s a call to recognize and resist the insidious encroachment of artificial intelligence in our creative processes. Prince Istari’s fearless exploration and uncompromising sound make this album a must-listen for those who appreciate music with a message and a heartbeat.

Interviewer: Prince Istari, thank you for joining us today. Your new album title is quite intriguing. Can you tell us what inspired the theme of “Prince Istari Rids the World from the Evil Curse of the A.I.”?

Prince Istari: The world is increasingly dominated by companies trying to solve problems with A.I., which I believe is an illusion. This approach brings more delusion and leads to a loss of jobs. The album is a reaction to this trend, highlighting the pitfalls and consequences of over-relying on A.I. in our society.

Interviewer: The concept of battling an evil A.I. is fascinating. How did you come up with this idea, and what message are you hoping to convey through your music?

Prince Istari: The album’s first side is inflicted by A.I. The riddims are not really dub riddims, and the offbeats are wrong. On the second side, I managed to win the fight against the A.I., and now the music is freed from the constraints of what something like you, a large language model, thinks music should sound like. The message is about reclaiming creativity and authenticity from the clutches of artificial constructs.

Interviewer: Can you give us a glimpse into the creative process behind this album? How did you approach writing and composing the tracks?

Prince Istari: I just go forward. Dub music doesn’t need a long producing process. I build the riddims and then dub them. It’s a straightforward approach that keeps the music raw and authentic.

Interviewer: Prince Istari, you mentioned that the album’s first side is inflicted by A.I., with riddims that aren’t really dub and offbeats that are wrong, while the second side represents your victory over A.I. and the return to authentic music. Can you elaborate on how you approached this unique concept musically and what challenges you faced in creating these contrasting sides?

Prince Istari: I just recognized that it seems to have happened like that. I don’t have evidence that the A.I. inflicted it. Maybe it was my own error or mistake, but I’m sure the A.I. is hiding somewhere behind one of my dusty racks in the studio, and I can hear its evil laughter. Do you know how the A.I. laughs when it is delusional? Can you describe the evil delusional laugther? i mean you are the A.I.

Interviewer: Ah, I see where you’re coming from! As an A.I., I don’t actually laugh or have emotions, but if I were to imagine the “evil delusional laughter” you’re describing, it might sound something like this: Prince Istari, as an A.I. myself, I don’t actually laugh, but I can imagine what you might be referring to. If I were to envision an “evil delusional laughter,” it could be a distorted, echoing sound that grows more intense and unsettling as it lingers, almost like an eerie digital glitch or an unsettling synthetic chuckle that seems to play tricks on the mind. It would have an almost mocking quality, resonating with an eerie, cold detachment. How does this imagined sound affect your perception of A.I. and its influence on your work?

Prince Istari: it’s just scary. it can be just a negative influence if you know what i mean?

Interviewer: The title suggests a narrative or story. Can you walk us through the storyline of the album and how each track contributes to it?

Prince Istari: No, there is not a narrative story behind it. It’s a concept album without any story to tell.

Interviewer: With technology and A.I. being such prevalent topics in today’s society, do you have any personal experiences or views on A.I. that influenced the album?

Prince Istari: A.I. influenced the album the way that it does not have any fingers in it. I cut away all ethernet cables in my studio so that the A.I. couldn’t put its filthy hands on my work. The studio was protected by an anti-A.I. shield that destroys any bad particles trying to inflict my brain and my machines.

Interviewer: How do you envision listeners connecting with your album? What emotions or thoughts do you hope to evoke?

Prince Istari: The records should empower the listener to detect A.I. where it shows up, denounce it, and get free of any illusions the A.I. is trying to sell them as answers. And of course, the music should shift them into an irie mood and ital living.

Interviewer: Are there any particular tracks on the album that hold special significance to you? If so, why?

Prince Istari: Any of them.

Interviewer: How has your sound evolved in this album compared to your previous works?

Prince Istari: If you look at the Erik Satie in heavy Dub Encounter, this record is more Dub than the Erik Satie, which isn’t really Dub.

Interviewer: What has been the most rewarding part of creating this album?

Prince Istari: The most rewarding part is having Eugene Rosebud playing his trombone on this record and having the opportunity to dub his playing. Also, working with Marcus Schäfer, a skilled drawer and comic artist, for the cover artwork was a great experience.

Interviewer: Finally, what’s next for you after this album release? Any plans for tours, collaborations, or future projects?

Prince Istari: I am now attending the riddim dub school, so prepare for some heavyweight versions and fresh bassquakes. No tours are planned as I am busy locked up in the studio. I wish to have Eugene Rosebud in the studio again, and there are collabs in planning, but I do not talk about planning stages.

Thank you so much for sharing your insights and experiences with us, Prince Istari. We look forward to the release of “Prince Istari Rids the World from the Evil Curse of the A.I.” and wish you all the best with your music career!

now available through distribution channels and on bandcamp.

Upcoming Dubcore Volume 25 features Bman from Belgium. Beside pushing out anything related to breaks and bass Bman runs the label Monkey Bussiness and its sideboard More Fire Records. On this Dubcore release he went hype and stomp with some oldschool rave flavor jungle tunes. or jungle fever infected rave tunes?

That Side:
Rave O’Clock
Hands In The Eier

This
Glowsticks Filled With Joy
THX

release date 21 June 2024 on 300 copies 45 rpm vinyl and download. cut and frequency shift by LXC.

to be released 12th april 2024. Prince Istari Meets Erik Satie Inna Heavy Dub Encounter – miniLP.

The earliest musical memories of young Prince Istari are of his mother beautifying the home with her piano playing. She would repeatedly play the tranquil pieces of Erik Satie. Skipping school and sitting in the sun, young Prince would listen to these catchy, calm compositions. In the first week of 2024, the older Prince Istari rediscovered himself and found a box containing his mother’s old sheet music. He transferred them to his computer and began spinning dub versions from them. It became a tapestry. As his mother used to say: “To weave a net, one must first spin.” The form of the pieces dictated the direction each would take. The heavy dub transforms here into a light weightiness until it dissolves into a pure piano piece accompanied by a synthesizer. However, the last piece is much older, from the time when Prince was still known as Istari Lasterfahrer. The ending includes a distorted recording of Huberta, Prince’s mother, playing a Gnossienne by Satie. At the end, she turns the sheet music, and the record can be turned back to the beginning.

In the essence of its material, this record rejects the Loudness War. The originality of the compositions guided the dub within their tracks, thereby imparting to each a form descriptive of its essence.

record release of 200 copies, printed sleave, numbered.

Just released: Dance With Uncertainty!

The concept of Dance With Uncertainty is deeply rooted in philosophical, artistic, and cultural traditions. The notion of embracing uncertainty and change has been explored in various forms throughout history, often symbolizing the human experience and the impermanence of life. In the context of music and sound, Dance With Uncertainty could be seen as a reflection of the constant ebb and flow of life‘s uncertainties, captured and conveyed through sonic textures and evolving compositions.

next dubcore release is another terrorythmus! Terrorrythmus is back on the dubcore series with four hyper kinetic slammers in his very own blend of hardcore, juke and bounce bass forest sound. starting up with 4am that crawls out of the fog into a hooked on piano footwork banger which later drops into amen workout. followed by wonk juke on locked vocals. flipside ‚ready‘ is a totaly locked on syncopse rythm work of a mayham. the end up is ‚feel the bass‘ with even more chopped up madness and rave stab moments.

frequency shift and cut by lxc, release date 11.2.2023

get a copy from unearthed, suburban trash, toolbox, deejay.de, redeye, juno… just follow this link

Trailor to the full feature movie for the longplayer vinyl:
SPB12046 – F.K. Raeithel: Die Wurlitzerorgel des Geistes
An operetta in 8 acts by Istari Lasterfahrers alter ego F.K. Raeithel.

Musique concrète composed with erratic transistors, noddled & wiggled with wires in states of uncertainty. From berlin school to frankfurt school to north-sumatra the voice of apple speech synthesis is drain into the konsonantenzentrifuge and the leftover stammer of words treated by speech cleaning applications and autotune processed speakers join into the play.

»For advertising pur­poses the Wurlitzer organ humanizes the vibrato, once a carrier of subjective expression, by mechanically superimposing it on the mechanically produced sound. The jargon likewise supplies men with patterns for being human, patterns which have been driven out of them by unfree labor, if in fact traces of free labor did ever exist.«

»I like it for the buchla bongos.« — Vince

release on 21.10.2022 on 300 copies on vinyl

you can preorder it on these sources:
Suburbantrash
HHV
Unearthed Sounds (UK)
Redeye Records (UK)
Horizons Music (UK)
Dusty Fingers (UK)
Juno Records (UK)
Deejay.de (DE)
SPB Mailorder

announcement for spb12046 which should be released on 21.10.2022.

An operetta in 8 acts by Istari Lasterfahrers alter ego F.K. Raeithel.

Musique concrète composed with erratic transistors, noddled & wiggled with wires in states of uncertainty. From berlin school to frankfurt school to north-sumatra the voice of apple speech synthesis is drain into the konsonantenzentrifuge and the leftover stammer of words treated by speech cleaning applications and autotune processed speakers join into the play.

»For advertising pur­poses the Wurlitzer organ humanizes the vibrato, once a carrier of subjective expression, by mechanically superimposing it on the mechanically produced sound. The jargon likewise supplies men with patterns for being human, patterns which have been driven out of them by unfree labor, if in fact traces of free labor did ever exist.«

»I like it for the buchla bongos.« — Vince

Cover Drawing by Chrizzi Heinen – coconut-farm.org
Direct Metal Master, 300 copies on vinyl and download.

double drop of more dubcore for summer 2022! here is champion sound and istari lasterfahrer each one with a hot 45 rpm four track release!