first public version
16/04/24
postdigitalpunk:
combines the DIY and counter-cultural attitude of punk with the technological and cultural features of the digital age.
it emerges in a world saturated with digital tools, software and platforms, but retains the rebellious, raw and experimental spirit of punk.
this style consciously distances itself from polished, commercial and technologically perfected music and uses digital tools according to its own rules.
it’s a countercontrolculture let it happen!
it emerges as a cultural reaction that lives along the technological accelerations and the digital world,
challenging it’s norms and rules, living with-and-against them.
How to Keep it real?
to reign on the decadence of digital culture, stripping it off unnecessary hyper-reality, hyper-augmentation and self-optimisation
more existentialist than rebelious, more opportunist to gamble
with possible alternatives and alternate realities of what life can be,
the notion of music made grasps the immediacy and the intimate momentum of oneself:
infinite access and infinite presence make us think that all we got is: now!
we take over analogue and digital tools and shape them to our own ends
using DIY approach to technologies and the aesthetics of the works,
we care less about trends and more about features that we can claim for our own
take all that is given, otherwise it might be taken away.
to do so:
I
LIVE
[to /lɪv/ & to be /laɪv/]
[to /lɪv/ & to be /laɪv/]
to claim the importance and authenticity of immediate, physical experience as a counterweight to virtual worlds, yet not cancelling the transposition of these live experiences into the digital realm.
~it can be irregular, non-linear and unpredictable.
the music may use atypical instruments, various technical disturbances or improvised soundscapes.
~it can be irregular, non-linear and unpredictable.
the music may use atypical instruments, various technical disturbances or improvised soundscapes.
postdigitalpunk welcomes experimentation and improvisation.
II DIY
embracing a DIY spirit, where technology is creatively and intentionally misusedthis means ~ combining old analogue devices with new technology, such as
~ doing self-built instruments, reuse old hardware, do custom-made software, or using digital platforms to create art and communication on their own terms.
combine your knowledge, give your efforts like you are well paid to do so.
~ doing self-built instruments, reuse old hardware, do custom-made software, or using digital platforms to create art and communication on their own terms.
combine your knowledge, give your efforts like you are well paid to do so.
III ELECTRIC
blending of digital and analogue technologies and the blurring of the boundaries between them.
guitars, basses and drums may be combined with electronic elements such as samplers, synthesizers or computer software, making an organic sound with a touch of tech.
VHS recordings or computer vision systems,
digital soundscapes or high voltage second-hand vintage amp
technology is a tool, not the master... just add some power to it.
guitars, basses and drums may be combined with electronic elements such as samplers, synthesizers or computer software, making an organic sound with a touch of tech.
VHS recordings or computer vision systems,
digital soundscapes or high voltage second-hand vintage amp
technology is a tool, not the master... just add some power to it.
IV DISORDER
postdigitalpunk favours errors and imperfections in sound and vision.
this can include the use of digital "glitches" as a creative element, lo-fi recordings, or intentionally unstable chords and vocals.
aesthetically,
postdigitalpunk is essentially
raw.
it does not aspire towards the polished, perfect slick or hi-res aesthetic.
both human and machinic errors make the gap that makes it special, if not unique.
this can include the use of digital "glitches" as a creative element, lo-fi recordings, or intentionally unstable chords and vocals.
aesthetically,
postdigitalpunk is essentially
raw.
it does not aspire towards the polished, perfect slick or hi-res aesthetic.
both human and machinic errors make the gap that makes it special, if not unique.
V LO-FI / HI-FIVE
the music does not strive for perfect sound quality.
lo-fi aesthetics, meaning intentionally low-resolution sound, and glitch soundscapes, where technological errors play a significant role, are common.
recordings can be raw and untidy, deliberately devoid of fine-tuning.
sometimes, instead of a stanley knife, we use a saw - it’s important that it cuts through!
lo-fi aesthetics, meaning intentionally low-resolution sound, and glitch soundscapes, where technological errors play a significant role, are common.
recordings can be raw and untidy, deliberately devoid of fine-tuning.
sometimes, instead of a stanley knife, we use a saw - it’s important that it cuts through!
VI DISLABELED
postdigitalpunk encourages the release of music independently without major labels.
using digital platforms or their own websites allows artists to share their works directly with the public.
monetised by the big platforms and social media, your presence could seem like a waste of time.
however, it’s a social consensus we are in.
no pressure to have it all there, but do not avoid it at all costs either.
if you give, give it so it can be shared. as much as you make it for yourself, you do it for others, that’s the exchange.
you’ll be less broke if you share it than if you don’t, whatever the currency... if you don’t do it, someone else might!
using digital platforms or their own websites allows artists to share their works directly with the public.
monetised by the big platforms and social media, your presence could seem like a waste of time.
however, it’s a social consensus we are in.
no pressure to have it all there, but do not avoid it at all costs either.
if you give, give it so it can be shared. as much as you make it for yourself, you do it for others, that’s the exchange.
you’ll be less broke if you share it than if you don’t, whatever the currency... if you don’t do it, someone else might!
VII COUNTERCONTROLCULTURE
postdigitalpunk emerges from the survival momentum of the monopolisation of technology,
the culture of control, capitalism and consumerism, while offering alternative ways of interacting with technology, as living through it,
all on a tic-tic-ticking clock.
it reacts to the dominance of the digital age and its standards, but at the same time it uses these technologies to its advantage.
it is heavily influenced by the digital world, but at the same time it maintains punk's original tradition of resistance to normative structures and systems.
the culture of control, capitalism and consumerism, while offering alternative ways of interacting with technology, as living through it,
all on a tic-tic-ticking clock.
it reacts to the dominance of the digital age and its standards, but at the same time it uses these technologies to its advantage.
it is heavily influenced by the digital world, but at the same time it maintains punk's original tradition of resistance to normative structures and systems.
dead kennedys. in god we trust [1981] tape b-side
finnish obi blanche and serbian kristina tica met in austria at a surprise b2b dj set
and began sharing music due to their common interest in self-built instruments, minimal beats, and catchy melodies.
in july 2024, obi blanche and kristina tica launched a music collaboration under the concept of #postdigitalpunk.
so far, they have independently released three singles, with more expected this year. having started to perform live, their collaborative project has grown, as the duo is now joined by multi-instrumentalist reinhard zach on drums and synth (yes, simultaneously)!
as a trio, they perform under the name
obi blanche and the b.o.b. (beaches of belgrade).
Obi Blanche & B.O.B
obi blanche: guitar_vocals
kristina tica: bass_vocals
reinhard zach: drums_synth_vocals
Obi Blanche: Experimental electronics, guitars and broken vocals from Finland. Dirty transistor distorted electronic beats and squealing no wave guitar destruction are mixed together in his personal take on melodic popular music. Building his DIY guitar (known as RAKE), with the guidance of Dutch inventor Yuri Landman, has been the culmination of the research towards his sound: perfectly imperfect and raw. Guitarist at Thomas Azier, formerly Anika (Stones Throw) and Norman Palm (City Slang).
Kristina Tica [Tiz-za]: playing a self-built bass called BRAKE by Obi Blanche. She hails from the Belgrade underground and brings minimal, but heavy on the low-end bass lines mixed with her worn-out baritone voice. Her years of knowledge of a variety of music influences her playing, check her playlists.
Reinhard Zach: armed with an acoustic travel jazz drumkit, an electronic drum pad, and a monophonic synth he has proved to be able to provide tight rhythms to different styles and improv until the morning. He's able to lose himself behind the set and often connects to his animal side (The Muppets). In the evenings he plays melancholic songs on his viola and cello.
dj sets : Obi & Kristina
Obi Blanche & Kristina Tica is a collaboration between two long-time music lovers who clicked on a surprise b2b DJ set at a bar. During that 6,5h set, they realised that they can push and energise each other's selection and make people dance! They got together the next day to go through their crates and found out that their often melancholic, but high-spirited driven music accompanied each other's curation perfectly.
To showcase what their DJ-sets are all about they put together “ice cream on leather mixtape24”. It’s an eclectic mix where a noise rock song can be next to a 90s-influenced techno track from Berlin.
Every song holds a special place in their hearts and it shows how well this mix carries itself.
mixtapes:
To showcase what their DJ-sets are all about they put together “ice cream on leather mixtape24”. It’s an eclectic mix where a noise rock song can be next to a 90s-influenced techno track from Berlin.
Every song holds a special place in their hearts and it shows how well this mix carries itself.
mixtapes:
:upcoming
05 JUL 25
STROM | Linz §
booking inquiries
PAST EVENTS
06/06/25 The Spill In Dreams, Obi Blanche and B.O.B, Tommy Wieso | STWST Linz
29/05/25 Compost Festival | Linz
01/03/25 STROM | Linz §
31/01/25 Milla Club | Munich
06/12/24 KAPU | Linz
05/12/24 STWST | Linz §
11/10/24 Holzstock | Linz
27/09/24 STROM | Linz §
26/09/24 Artmagazin, Tabakfabrik | Linz
28/06/24 STROM | Linz §
§ b2b DJ set (Obi & Kristina)
06/06/25 The Spill In Dreams, Obi Blanche and B.O.B, Tommy Wieso | STWST Linz
29/05/25 Compost Festival | Linz
01/03/25 STROM | Linz §
31/01/25 Milla Club | Munich
06/12/24 KAPU | Linz
05/12/24 STWST | Linz §
11/10/24 Holzstock | Linz
27/09/24 STROM | Linz §
26/09/24 Artmagazin, Tabakfabrik | Linz
28/06/24 STROM | Linz §
§ b2b DJ set (Obi & Kristina)
#postdigitalpunk ©
obi blanche & kristina tica
16/09/24 first public version
latest update 18/04/25
website development/design: kristina tica