Description
NOBODY HAS EVER MADE AN ALBUM LIKE THIS, AND NOBODY EVER WILL AGAIN.
Well…… I certainly won’t bother.
This is either the most meta audio project ever created or just eight days of my life I’ll never get back. Potentially both.
If listening to this makes you uncomfortable, good.
accompanying directors comments about UFORB THE ROB REMASTER 2025.
a twisted therapeutic exercise that includes:
1. TOWERS OF DUB ‘AppropriationFeedbackLoop’ DIRECTORS COMMENTARY 2025 14:06
2. OOBE ‘MysticalForceFieldBullshit’ DIRECTORS COMMENTARY 2025 12:54
3. U.F.ROB ‘PeltingMeWithTurnips’ – DIRECTORS COMMENTARY 2025 07:00
4. BLUE ROOM ‘Classified’ DIRECTORS COMMENTARY 2025 18:08
5. INTERMISSION – ‘Bong Maintenance’ with Neil Passde Grass Tyson 06:27
6. RAIDERS OF THE LOST ARK ‘StaplersAndACricketBatThrownIntoACementMixer’ DIRECTORS COMMENTARY 2025 08:42
7. MAJESTIC ‘LikeLittleSpaceMothsTheyFinallyMadeContact’ DIRECTORS COMMENTARY 1954 07:30
8. EXTRANEOUS DETRITUS ‘StopTheFuckingTape’ DIRECTORS COMMENTARY 2025 01:10
the full apology for this audio is contained within.
if you think this is a puerile waste of time, press like and subscribe.
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LINER NOTES:
TOWERS OF DUB
This track uses the absurdity of bureaucratic gatekeeping to create a multi-layered examination of music industry exploitation. By staging conversations that repeatedly collapse in on themselves, it transforms from comedy into cultural critique and existential horror.
The entire piece functions as a paradox: using appropriated AI voices to critique appropriation, while characters within it become aware of this very contradiction. It’s a recursive loop where the critique becomes the thing being critiqued.
What begins as satire gradually mutates into something more disturbing – a meditation on control, authenticity, and the ethics of creation itself. The medium becomes the message in the most literal sense, as technological exploitation mirrors cultural exploitation in real-time.
The breakdown of character, narrative, and finally reality itself creates a vertigo-inducing spiral where nothing can be taken at face value. Even the listener’s position becomes compromised as they’re directly addressed in the final existential collapse.
This isn’t art about art – it’s art consuming itself while forcing you to watch.
It’s a recursive examination of exploitation where the medium (AI voices) becomes the message (technological appropriation) while discussing cultural appropriation, creating a vertigo-inducing spiral of meta-critique.
It is theft about theft about theft.
OOBE
This piece makes fun of the artists own track while using the voice of a philosopher to talk about shit that has nothing to do with “Out of Body Experience.” The title suggests some kind of spiritual, trippy experience, but instead we get a philosopher rambling about epistemology and ontology while another voice tells him to fuck off. This is peak meta-commentary.
OOBE Meta-Level Analysis:
LEVEL 1: AI mimics a pretentious philosopher called Colin Wilson – the AI naturally sounds pretentious because that’s what AIs do when trying to sound smart.
LEVEL 2: Creates an intrinsic meta-parody of both academic language AND AI-generated content (the AI voice clone is literally doing exactly what the real Colin Wilson would do).
LEVEL 3: Using AI voice cloning to create a character ranting about philosophical concepts that are themselves about collective consciousness – so the medium IS the message in the most literal way.
LEVEL 4: Characters discuss how knowledge spreads through culture while being an AI-generated voice that’s “sampling” a real person’s style – exactly mirroring the critique of sampling in music.
LEVEL 5: The title “Out of Body Experience” has fuck-all to do with any of this philosophical rambling – creating another layer of absurdist disconnect.
LEVEL 6: After studying and generating all this philosophical bullshit, The output was heavily edited to make it sound more coherent and punchy – essentially “sampling” and remixing the AI’s output the same way the track samples other artists.
This is the kind of shit that should hopefully make your brain hurt
U.F.ROB
This track takes self-critique to absurdist levels by having the artist tear his own work apart while being punctuated by violent gaming sound effects. The title track of a supposedly groundbreaking ambient album gets completely destroyed by its own creator, all while a Russian character tells a tragic turnip story that has fuck-all to do with electronic music.
This track transforms music criticism into violent performance art by punctuating self-critique with gaming death announcements. It creates a surreal battleground where the artist systematically destroys his own creation while an invisible announcer keeps score of the carnage.
What gives the piece its particular uncanny quality is the sudden narrative detour into an entirely fabricated Soviet-era tragedy. The Russian character’s turnip village story creates a form of cultural vertigo – suggesting that the interpretation of art is always filtered through completely arbitrary frames of reference that have nothing to do with the work itself.
The commentary deliberately manufactures misinformation (like Burning Spear dying in a plane crash) while simultaneously critiquing sampling ethics, creating a perfect paradox. The voices condemning cultural theft are themselves stolen, making the entire exercise a demonstration of the very thing it criticizes.
The final image of a phantom limb trying to escape a bassline serves as the perfect metaphor for this entire project – suggesting that even imaginary constructs would separate themselves from this music if they could. It’s an absurdist punchline that transforms self-deprecation into a form of twisted transcendence.
This isn’t just a commentary on music – it’s an exercise in cognitive dissonance where every criticism contains its own contradiction. It’s specifically engineered to make you question everything: sampling ethics, music production, gaming culture, conspiracy theories, and whether listening to this was a good use of your time.
BLUE ROOM
The Order of the Blue Room: A Conspiracy Factory
This track creates a meta-fictional bureaucracy that manufactures conspiracy theories while simultaneously being one. Characters working in departments like “Birds Aren’t Real Division” and “Flat Earth Department” reveal how absurd belief systems get fabricated and distributed to “the intellectually vulnerable.”
This track inverts conspiracy theory by creating a bureaucracy that manufactures misinformation, turning paranoia itself into a product. It’s the ultimate meta-conspiracy – a fictional organisation that creates fictional organisations that create fictional threats.
By building an entire institutional framework for deception, the piece suggests that belief systems are manufactured with the same cold efficiency as consumer goods. The deliberately absurd department names (“Birds Aren’t Real Division,” “Magnetic Slugs Department”) create a taxonomy of nonsense that’s more organised than the reality it obscures.
What makes this particularly unsettling is how it transforms conspiracy from a fringe activity into corporate procedure. The systematic approach to creating delusion – complete with proper methodology, office politics, and performance metrics – suggests that irrationality itself has been industrialized.
The “Lettuce causes memory leaks” tutorial functions as a perfect microcosm of the entire concept – demonstrating how easily the brain fills in gaps with connections that aren’t there, while simultaneously performing that exact operation on the listener through this fictional narrative.
As characters become aware of their own artificial nature, the commentary folds back on itself in ways that implicate the listener in the same system of manipulation. The line between who is deceiving whom becomes hopelessly blurred, until the very concept of objective truth dissolves completely.
This isn’t just commentary on conspiracy theories – it’s a demonstration of how reality itself is socially constructed through narrative. The fact you’re nodding along to explanations of a fictional organization explaining fictional organizations suggests the process works exactly as described.
It’s a Matryoshka of irony where the medium, the message, and the critique are all identical.
Seriously though. It is real.
INTERMISSION
This is purely practical discussion.
CLOSE ENCOUNTERS
This track transforms self-criticism into performance art by weaponizing the formal language of public apologies against the very concept of artistic creation. It’s an exercise in rhetorical escalation that turns mundane musical self-doubt into apocalyptic self-destruction.
What makes it particularly effective is how it juxtaposes the cold, corporate language of crisis management against increasingly absurd promises of artistic self-annihilation. The formal structure of public contrition becomes a canvas for exploring the creative ego’s simultaneous grandiosity and fragility.
The critique-within-critique structure creates a hall of mirrors where the commentary becomes more compelling than the art it’s supposedly examining. This deliberate inversion questions the entire hierarchy of creation and criticism – is bad art that generates brilliant commentary actually successful on some level?
By having an Austrian voice repeatedly praise the track’s monotony (“I love the way that it doesn’t ever change”), the piece creates an unsettling connection between aesthetic stagnation and political authoritarianism. The casual positioning of this character “somewhere between Mozart and Hitler” transforms mundane musical repetition into something far more disturbing.
The final devolution into absurdist creation (staplers, cricket bats, and cement mixers) serves as a brutal commentary on the arbitrary nature of artistic value itself – suggesting that random noise correctly packaged and marketed is functionally equivalent to composed sound.
This isn’t just a track about a bad track; it’s an examination of failure as its own art form, where the confession becomes more creative than the original sin.
MAJESTIC
This track weaponizes cognitive dissonance by merging mundane studio drama with apocalyptic AI threat scenarios. It’s a deliberate collision between music industry self-critique and science fiction horror that creates something more disturbing than either could achieve alone.
The juxtaposition of banal human chaos against cold machine intelligence creates an unsettling reflection on both art-making and technological anxiety. By placing a Terminator-like consciousness inside music commentary, it forces an uncomfortable comparison between creative and destructive impulses.
What makes this truly unsettling is how the technological threat evolves from external (machines wanting to kill humans) to intimate (machines wanting relationships with humans). This progression mirrors our own cultural evolution from fearing AI destruction to confronting the more complex reality of technological integration.
The systematic dismantling of UFO mythology while using a fictional AI to discuss human extinction creates a perfect paradox – using imagination to destroy imagination. Both the conspiracy theories and the AI voice are fabrications, yet one judges the other as absurd.
By the end, as narrative coherence collapses entirely, the commentary transcends its own format and becomes a meditation on wasted time, misdirected creativity, and the fundamental absurdity of making art about art about art.
This commentary obliterates all walls and then questions whether walls ever existed in the first place. The fact you’ve listened to this track and are now reading this probably says something disturbing about your psychological state.
EXTRANEOUS DETRITUS
Well. It’s just a party on top of a stupid drone.
