You seem to be confused about which side in my scenario is the cops.
First of all, it doesn't take hours to overwrite several text files and a few binaries. Second of all, I think I know better what my local cops would do. It's not NSA or Interpol. Lastly, this hypothetical obviously excludes stuff after which 'motivated investigation' might come. That kind of data lives in encrypted files tucked in odd places, and even that can probably be wiped from the directory entry like it was never there.
Most of really nasty data is text or a few questionable apps, and should take very little time. Video and audio present a problem, but I think they can be speedily wiped by nuking the metadata parts, making recovery and identification difficult. Not sure how resilient modern formats are to data loss, but afaik e.g. AVI is quite reliant on the description of the stream (which iirc is inconveniently placed at the end of the file).
This is where I think NFC may finally be useful. If cops show up, I slide my phone by a hidden NFC tag, and an http request is sent to my desktop machine. Everything incriminating is wiped and the computer is turned off, before the cops can walk to the room.
Well, the basswork and rhythm there are 100% post-punk, which was on its short-lived ascent at the moment. However, the punky sax, guitars and vocal are doing their own thing, true to the no-wave genre that brought atonal and dissonant experimentation into rock.
Jazz experiments were big in the ‘downtown scene’ of NYC back then, and in particular John Zorn rose up in that environment in the early 80s.
‘Noise pop’ kinda implies a variation on noise-rock, which is somewhat different and is a topic for another day — although apparently both Sonic Youth and Swans emerged from this scene too.
The ‘audience reaction’ existed because the show needed a laugh track from the audience. Justifying one by the other is circular reasoning at its finest.
Have you seen his Bandcamp page? It has over two hundred releases, including his bands like Painkiller. There's also a second Bandcamp for some reason. And of course it's still far from all music in which he was involved, namely most of his production work isn't there, though some artists have individual accounts on Bandcamp.
Although I need to go through much of that stuff again one of these days and rediscover which of the records aren't just his beloved dub-ambient. My collection suffered quite a bit from a hard disk failure.
I've been a fan of Bill Laswell since mid-2000s, and I like Bandcamp a lot. Imagine my elation when I discovered that some poor person was uploading all the nearly-two-hundred of Laswell's releases on his official account, with free access. There are 229 records there currently, though this includes re-releases in 24-bit and such. But that's not even all: there's a second Bandcamp for some reason, much of his production work is not on the main account (possibly under individual artists), and nothing released by John Zorn and his label Tzadik is on Bandcamp at all, save for one album by some fluke.
Note that you might want to get something supported by the Rockbox open-source firmware, just in case the player's own software is less than ideal.
Idk what's with the downvotes, man, I appreciate the input.
Also, I've been posting some jazz-fusion in !music@lemmy.world and !jazz@lemmy.world, not all of it is crossposted here — you might find some of the records interesting. People seem to have missed out on James ‘Blood’ Ulmer's ‘Free Lancing’, which is pretty lively.
Around here, cops are nasty but not very brainy, hi-tek, or invested. They will be annoying in more brute ways. The goal is just to not give them too much material to go off, so they find someone else who's easier to pester.