well played, @davidgerard@circumstances.run.
https://pivot-to-ai.com/2026/03/11/ai-bot-network-facebook-buys-ai-bot-network-moltbook/
Remote
Kristoffer Patrick Cornils
@konkrit@mastodon.social
mastodon 4.8.0-nightly.2026-10-06/// freelancing cult journo for text and audio with a focus on music industry stuff, music culture stuff, film/TV, and sometimes other things. ex: Spex, Groove, field notes. ///
0 Followers
0 Following
43 Posts
Joined October 30, 2022
Who Am I?:
What Am I Hearing?:
What Am I Watching?:
ich habe mir am wochenende etwas widerwillig die neue folge zdf magazin royale gegeben. das thema – die ausbeutung von menschen mit behinderungen in werkstätten – ist wichtig, und es ist gut, dass darauf hingewiesen wird.
bizarr ist es lediglich, dass sich jemand im öffentlich-rechtlichen über "arbeitnehmerähnliche" beschäftigungsverhältnisse auslässt. denn der ÖRR wird von einer reservearmee von "arbeitnehmerähnlichen" "mitarbeitenden" getragen. https://www.zdf.de/play/shows/zdf-magazin-royale-102/zdf-magazin-royale-vom-8-mai-2026-100
Farewell, Kavinsky. https://www.youtube.com/watch?v=MV_3Dpw-BRY
Dear Friends der Umpolung des Hörverhaltens dank des Streaming-Siegeszuges, in der Freitag habe ich mir die Listen der meistgestreamten Songs und Alben auf Spotify angeschaut und versucht, zu verstehen, was sie mit der neuen Retromania zu tun haben oder ob sich angesichts von alledem noch von Popkultur sprechen lässt. https://www.freitag.de/autoren/kristoffer-cornils/spotify-warum-taylor-swift-keinen-einzigen-mega-hit-hat
iranian family reunions are when in one minute you discuss horrors beyond human comprehension and then in the other minute you get offered food and politely decline. this repeats until the debate starts about what to do next, after an hour of which everyone agrees that they've had enough and want to go home, which marks the beginning of talking through what you'll do and eat tomorrow.
it was p surreal to find out i got a short shout-out in liz pelly's "mood machine," the best and most widely discussed and read book about music streaming of this decade. and that small vain part of me was wondering when the first person i know would tell me that they've come across my name in it.
the answer is one and a half years.
but i did have a few editors asked me if i had read it after they'd done so. which also felt p surreal, just in a different way.
Replying to
@hagen@mastodon.social ich baller ja mittlerweile auch aus eben dem grund pitches z.T. an zwei, drei verschiedene anstalten/programme gleichzeitig raus in der hoffnung auf wirtschaftliche ~ synergieeffekte ~
Replying to
sowieso, everything's fucked, und der journalismus macht da keine ausnahme. aber wie kaiser schreibt, wandern mittlerweile reihenweise leute ab. leute, die zum teil wirklich wichtige investigative arbeit leisten, die also einen gesellschaftlichen auftrag als heimliche vierte säule definitiv erfüllen. die sache beunruhigt mich nicht allein, weil ich aktuell nicht weiß, wie das mit der miete bis ende des jahres noch so flüssig läuft. sondern auch, na ja, mit blick aufs große ganze.
Replying to
@hagen@mastodon.social ich schaff's tatsächlich ja hin und wieder, einen radiobeitrag nochmal zu verschriftlichen oder ein thema bei zwei unterschiedlichen anstalten/programmen zu landen. das ist dann wieder der vorteil davon, absoluter fachidiot zu sein, i guess.
Replying to
aber ich merke durchaus, wie viel schwerer es fällt, überhaupt beiträge zu landen. nicht alles davon ist gut bezahlt, wobei ich dem text etwas widersprechen würde: im hörfunk zumindest zahlt der ÖRR mE recht gut. was text angeht, ist es allerdings allenthalben desaströs. ich bin zum glück schnell im schreiben, in meinen themen bin ich tief drin und brauche nicht mal viel vorrecherche. aber wenn noch ein, zwei feedback-schleifen dazukommen, bin ich rechnerisch auch schnell mal unter mindestlohn.
Replying to
ums mal aufzurollen:
ich verdiene den etwas größeren teil meines einkommens durch übersetzungs- und andere textarbeiten für v.a. geförderte kulturinstitutionen. das bringt mir manchmal an einem tag mehr geld ein, als ich mit vier, fünf texten und radiostücken einnehme. seit januar kam allerdings kein auftrag dieser art mehr rein.
konzentriere ich mich eben mehr auf den journalismus, das will ich ja eh! nur das klappt auch nicht. ich schicke jede woche sechs oder mehr themenvorschläge raus.
Replying to
@MastodonEngineering@mastodon.social Please don't do this. Design choices that allow users to quite literally put their opinion above someone else's statements are absolutely poisoneous for any attempts to create a more egalitarian form of communcation.
Replying to
they will do the same with music, mind you. https://newsroom.spotify.com/2025-10-16/artist-first-ai-music-spotify-collaboration/
Replying to
hin und wieder kommt direkt ein anruf oder zumindest am tag später eine mail: ja, danke, machen wir. meistens aber wird nicht geantwortet und ich renne etwas hinterher, i.d.r. ist die erzwungene antwort dann abschlägig. das liegt nicht immer an den redaktionen, wohlgemerkt, wo wegen zeitdruck und kürzungen bzw. ihrem miteinander viel drunter und drüber geht. und natürlich beackere ich ein spezialgebiet, das schränkt die erfolgschancen sicher auch ein.
Replying to
@hagen@mastodon.social ja, danke für den einwurf! das ist ein wichtiger punkt – es gibt natürlich von anstalt zu anstalt z.T. krasse diskrepanzen. für radio bremen, swr oder nur den MDR zu arbeiten lohnt sich wohl naturgemäß nicht so sehr wie für überregionale angebote wie DLF oder besser ausgestattete anstalten wie WDR, für die ich weitgehend tätig bin.
Replying to
und ja, ich habe mir das alles irgendwie ausgesucht: das berufsfeld, obwohl die krisen schon offenbar waren. nicht so sehr das freelance-dasein, weil so gut wie niemand noch redaktionsjobs bekommt. von ein, zwei publikationen habe ich mich aus persönlichen getrennt, obwohl ich da hätte weiter gut verdienen können. und klaro, es sieht auch sicherlich wie ein privileg aus, meinungen nicht nur ins internet zu schreiben, sondern dafür auch kohle zu bekommen. egal wieviel.
Replying to
- lastly, this is a good starting point if you would like to dig a little deeper. https://unexplainedsoundsgroup.bandcamp.com/album/anthology-of-electroacoustic-lebanese-music
Replying to
- if you like your bands to really rock, the almighty sanam do just that. i've just seen them live a few days ago and was mighty chuffed to see them bring some cuts from one of 2025's best records to the stage. "sametou sawtan" sits somewhere between psych/krautrock, folk, and avant-garde traditions. https://sanambeirut.bandcamp.com/album/sametou-sawtan
Replying to
@jrp Das ist nicht meine Schuld.
Replying to
@barometz@social.treehouse.systems And yes, I've seen that they are planning to implement some "failsafes" mechanisms, which is cool, but honestly I'd rather not have this feature at all.
Replying to
@jessicaekomane her power lies in making the far-out feel incredibly intimate and vice versa. i for example normally struggle with connecting emotionally to music—at least in these kinds of contexts—but she very effortlessly made that possible. generally, i love how everyone i spoke to was absolutely enchanted by it, but everyone had a slightly different reason for it. such a rare thing.
Replying to
@jessicaekomane i was there, too! i think i've never laughed so much during a concert—and for all the right reasons, too! all while the person next to me was crying throughout the entire set after she played "gotham lullaby." no other artist would have those simultaneous effects on different audience members, i guess!?
Replying to
@mike@sauropods.win Well, my concern is precisely that it might things worse for all people when it sets in motion the same attention economic downward spiral that we've all experienced at Twitter.
Replying to
@barometz@social.treehouse.systems @MastodonEngineering@mastodon.social That would be better, yes. However, in essence I believe that wouldn't really change much in terms of where or rather to whom attention is being directed, and I think that would create the exact same attention economic dynamics as the ones that I (and I think many, many other people on here) tried to escape.
Replying to
@mike@sauropods.win Yeah, well, that's an incredibly vague statement though. What other platforms, what communities, how exactly would me quote-posting your post here (whether in an affirmative or negative way) signal anything to other users apart from what I intend it to be? I'm just not clear what the argument is here.
Replying to
@mike@sauropods.win I understand this, but I don't see why a) a lot of people wanting something actually makes it good for the greater whole and b) Mastodon needs to offer features from other platforms instead of itself as a one that does things differently.
Replying to
@mike@sauropods.win I've read the post, and I see that they try to make it possible to opt-out of being directly involved in this; I just wish it wouldn't happen at all, and I have zero understanding for why people would want it.
Replying to
@Alien_Sunset@dice.camp Apologies, but I'll do a very meta thing here by only posting a link in response to the last point you've made: https://mastodon.social/@konkrit/114003374263145704
Replying to
@mike@sauropods.win If this is in reference to my original post, I hope it came across that my point wasn't "I don't like this, so no-one should have it," and rather "I don't think this will benefit the community as a whole." Personally, I don't want to take anything away from anyone and do not criticise anyone for wanting or using it. My concern is that this will contribute to the development of the sort of winner-takes-all mode of communication that we've seen unfold on Twitter, etc.
Replying to
- speaking of which, both saba and yara asmar are wonderful live acts. i have sort of shared the stage with the latter, i guess? she is a pupeteer and cat woman who plays the accordion—which, to be clear, doesn't mean at all that her music is pretentious or anything. but it is very special. https://yaraasmar.bandcamp.com/album/home-recordings-2018-2021-synth-waltzes-accordion-laments-remastered
Replying to
- raed yassin (one half of PRAED, d'uh) is currently berlin-based or has been based here in the past. his "phantom orchestra" album is a gigantic collage of recordings made by some of the city's improv luminaries. it's one of the most insanely laborious and highly rewarding projects i've ever come across; a clear highlight in 2024. https://raedyassin.bandcamp.com/album/phantom-orchestra
Replying to
- speaking about stuff that feels very precious, that was certainly true about "wind, again" by sary moussa. this is wonderful atmospheric electro-acoustic music that stopped me in my tracks when i first heard it. highly recommended if you want to fill the room with beauty. https://sarymoussa.bandcamp.com/album/wind-again
Replying to
- pretty much anything on the ruptured label?
i loved the recent PRAED album that blends shaabi with the avant-garde and a certain jazz-fusion sentiment. yes, it's about as wild as that description makes it sound
Replying to
- kerbaj together with sharif sehnaoui co-runs the wonderful al maslakh label that is definitely worth checking out if you are into improv/echtzeitmusik. i'd especially like to highlight their project "a" trio together with, well, raed yassin! i love their textural approach, really unique stuff. https://almaslakh.bandcamp.com/album/folk
Replying to
@hagen@mastodon.social more than a little awkward, yes.
Replying to
- if you prefer the folky stuff, there is no way around mayssa jallad, whose concept album "marjaa: the battle of the hotels" deals with the lebanese civil war and despite its heavy subject-matter is just wonderfully atmospheric and emotive. she's also a wonderful live artists. https://mayssajallad.bandcamp.com/album/marjaa-the-battle-of-the-hotels-ruptured-six-of-swords
for the electronic music nerds here, civilistjävel! has remixed the ENTIRE album https://mayssajallad.bandcamp.com/album/marjaa-the-battle-of-the-hotels-versions-ruptured-six-of-swords
![Marjaa: The Battle of the Hotels [Ruptured & Six of Swords], by Mayssa Jallad](https://f4.bcbits.com/img/a3838132927_5.jpg)
Replying to
- "phantom orchestra" was released on rabih beaini's morphine records, which has released quite a few records by lebanese artists from the country and its diaspora. there's this mazen kebaj record that was pretty wild—nobody plays the trumpet quite like this guy (except maybe axel dörner, a frequent collaborator), and it comes with a pretty broad set of remixes on top of that. https://mazenkerbajm.bandcamp.com/album/sampler-sampled
Replying to
- also please do not miss out on youmna saba, such a wonderful songwriter/guitarist. "wishah" is a deeply moving album. https://youmnasaba.bandcamp.com/album/wishah-ruptured-touch
![Wishah وِشاح [Ruptured & Touch], by Youmna Saba](https://f4.bcbits.com/img/a0012486715_5.jpg)
