Tornevall Networks

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The year was 2023Tracklist
The year was 2023

March 2023 became one of the hardest crashes of my online life. My main Facebook account was hijacked through a malware-infected Chrome extension, renamed to “Lily Collins” and permanently shut down. The attackers attempted to burn almost 50,000 SEK on ads, two-factor authentication did nothing, and every attempt to reach support led nowhere. Twenty years of posts, contacts and personal history disappeared overnight.

Out of that mess came an unexpected reset. In the middle of the panic, someone told me: “Go for a walk, it will help”. That walk became a routine, then training, then running with Drum & Bass in my headphones. Somewhere along those frozen sidewalks, the Experimental Minimix 2022 stopped being just a DJ set and turned into a soundtrack for getting my head above water. Together with tracks like Running Inna Fi Storm, it became the musical snapshot of that period: a hacked account, a cold winter and a decision to keep moving.



Tracklist

TimeArtist(s)Title / Mix00:00Duck Sauce x Dirty Ducks, PradoBarbra Streisand (DJ Baur 2021 Reboot)01:10Allan Nunez, Fran Valdivieso, CucharaGuaira (Original Mix)02:41Block, Crown, Maickel TelussaWatch My DJ Spin (Original Mix) [Rawtone Black]04:14AdwerKolibri (Quivver Remix)05:3184BitIn My Arms06:18Richard Grey & LissatJump (Original Mix)07:35Smashing SebastianNo Cha Cha09:57Silvano Del GadoGo Go Tribal (Original Mix)11:05RawtoneHow Low Can U Go12:10Kreisler & Leo SagradoTheyyam14:17DJ Vartan & TechcrasherShake It (Club Mix)16:23Dean Mickoski, Simon FieldFever In My Feet

Original post: https://www.tornevalls.se/experimental-minimix-20221127/

SoundCloud has posted a new “SoundCloud Monetization Terms of Service” for both On-Platform Monetization and Off-Platform Distribution. The terms page shows “Last Updated: October 31, 2025”. SoundCloud’s notice to artists says the update will take effect on November 24, 2025. (SoundCloud)

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Headline changesOperational details that affect day-to-dayContext: what changed compared to older termsOfficial sources
Headline changes

Distribution service fee removed. Off-Platform Distribution now pays 100% of Net Revenues to the artist, and SoundCloud states it will not retain any “so-called distribution fee” for its own benefit. Earlier versions retained a 20% “Off-Platform Distribution Fee” (80% to artists). (SoundCloud)

On-Platform Monetization stays at 100% of net income (Fan Powered Royalty). The terms confirm 100% of net income for on-platform under Fan Powered Royalty. (SoundCloud)

Payout processing fee transparency. Separate from the removed distribution cut, SoundCloud’s Help Center clarifies a small payout processing fee per payment (as low as $0.50 or up to 2%). This sits alongside a $25 minimum for payouts and net 60 timing. 2FA is required to receive payouts or change payout method. (help.soundcloud.com)

Eligibility tightened and clarified.

You must be 18+ (or age of majority) and pass identity verification.

You must have an active paid Artist Subscription (non-paid “Basic” does not qualify).

Material eligibility excludes DJ sets, spoken-word, soundalikes, podcasts, and tracks that are exclusively 100% GenAI. WAV and FLAC are currently accepted. (SoundCloud)

Artificial streaming and fraud enforcement. The terms explicitly forbid automated, artificial or fraudulent plays and paying for access. If SoundCloud reasonably believes plays are artificial, it may exclude those plays, forfeit related revenues, assess fees or fines, and pass through DSP fines to you. Plays under 30 seconds are not counted as “Plays”. (SoundCloud)

Termination and suspension mechanics.

By you: end On-Platform Monetization via support form; canceling your Artist Subscription is deemed notice to end participation. Off-Platform Distribution continues until the End Date as defined.

By SoundCloud: termination for any reason on 30 days’ notice, or immediately for violations, canceled subscription, or non-payment. SoundCloud may remove materials or continue distribution during a suspension period. (SoundCloud)

Third Party Opportunities fee. Brand or endorsement uses facilitated by SoundCloud can carry a 20% distribution fee on that specific revenue stream, negotiated case by case. This is separate from regular distribution royalties, which are now 100% to artists. (SoundCloud)

Governing law and forum. The terms are governed by California law, with exclusive jurisdiction in Los Angeles County courts. (SoundCloud)

Operational details that affect day-to-day

Statements and thresholds. Monthly accounting; if monthly Revenues are under $25, they carry over to the next cycle. (SoundCloud)

Play definition. A “Play” counts at 30 seconds or more; preview clips do not count. (SoundCloud)

UGC platform distribution. Some selected destinations are UGC platforms (e.g., TikTok, YouTube Shorts); usage there follows those platforms’ standards and policies. (SoundCloud)

Change notices. SoundCloud says it will provide 14 days’ notice for significant ToS changes before they take effect. (SoundCloud)

Context: what changed compared to older terms

Then (example 2022 terms): Off-Platform Distribution Share was 80% to artists with a 20% distribution fee retained by SoundCloud/Repost. (SoundCloud)

Now (2025 terms): Off-Platform Distribution Share is 100% of Net Revenues to artists and no distribution fee is retained by SoundCloud. (SoundCloud)

Official sources

SoundCloud Monetization Terms of Service (Last Updated: October 31, 2025): https://soundcloud.com/pages/artist/distribution-terms (SoundCloud)

Getting Paid by SoundCloud for Artists (processing fee, $25 threshold, net 60, 2FA): https://help.soundcloud.com/hc/en-us/articles/360051802713-Getting-Paid-by-SoundCloud-for-Artists (help.soundcloud.com)

Archived 2022 terms showing prior 20% distribution fee: https://soundcloud.com/pages/artist/distribution-terms/2022-10-12 (SoundCloud)

On Friday, 7 November 2025, several new tracks drop – and “Planet B” takes the spotlight. This is a latin tech house journey. A tribute to the ones who dare to keep pushing when optimism feels fragile. Planet B represents those who hold the line and refuse to give up. The title nods to our shared reality – “There is no Planet B” – and the music honors the ones who fight to keep our world livable.

There is also a flavour of Greta Thunbergs iconic tone here, inspired by how she spoke during her climate summit speeches in 2019, including the UN Climate Action Summit in New York on 23 September, without any direct sampling or use of her actual audio or voice.

Planet B on SoundCloud

Thomas “DJ” Tornevall on Facebook

Last but not least!

This is also in the release pipe!

“Ola, Olle, Eva – Rhythm Shifter Remix” – a second generation tribute to our influencing mentors Ola Möller, Olle Thorell and Eva Lindh, in Drum and Bass style (Swedish lyrics). My fellow AI based artist Tornevalls Neural Ensemble made an original track, more pop stylee, and I found it interesting to remix it into solid Drum and Bass, after hearing some dubsteppy variants. The only AI generated elements here are the lyrics. Original track is attached below too!Original: Ola, Olle, Eva on SoundCloud.Additional context: Facebook Reel.

Tornevalls Neural Ensemble – “Var Inte Rädd” – a release dedicated to those moments when fear pushes people to abandon each other. It addresses friendship under pressure and how fast trust can fracture when emotions take over. The piece is a reminder to breathe, to not surrender to panic and to not sacrifice real relationships because of stress and miscommunication.

It’s not often that I step outside my comfort zone in the House and Drum & Bass genres, but I felt it was finally time to experiment, now that Suno – as they claim – has achieved near-perfect sound quality. So I asked Suno to create a song with a clear connection to Gaza and Palestine. Music from the Middle East and southern latitudes has always been close to my heart, which is why Latin Tech House and Tribal Tech House are neighboring genres I love to explore.

My problem has always been finding good samples for that kind of sound, and I usually don’t record those instruments myself. But given the ongoing war and political climate, it felt like the right moment. Around the same time, someone in my Facebook feed shared a video by Ahmed Muin, located in Gaza City, Gaza Strip. In the video, he sings along to the sound of Israeli drones – which gave me the idea to create a remix of it. The problem was that I later realized the song he was singing was actually the chorus of “Libre Palestina” by Zaid Hilal. They might appreciate reinterpretations, but from a copyright and licensing perspective, it felt like a complicated path just to sample a refrain.

That’s when I realized I should create something original but inspired by the same world of sound. So I asked Suno to generate some melodies. After getting what I wanted, I discarded the rest and rebuilt the track from scratch.

This is the result! This is my support.

Falska profiler på Facebook ökar just nu, ofta från användare som ser ut att vara dina gemensamma vänner – men något skaver. Namn med mystiska vågtecken, symboler och bindestreck i smeknamnen dyker upp överallt. Vad betyder de egentligen, och varför just nu?

Det handlar inte om en ny trend eller ett språkfenomen. Symbolerna – tecken som 〰, ≋ eller ⁓ – är ett effektivt knep för att kringgå Facebooks regelverk om unika namn. Genom att lägga till ett diskret Unicode‑tecken kan bottillverkare massproducera tusentals konton med svenska namn utan att trigga plattformens filter för duplicering. Resultatet blir ett hav av nästan identiska profiler som ser verkliga ut vid en snabb blick.

Meta har i flera år beskrivit det här under begreppet Coordinated Inauthentic Behavior (CIB) – samordnade försök att manipulera samhällsdebatt och algoritmer genom nätverk av falska konton, sidor och grupper. Syftet är sällan att lura dig personligen, utan att skapa en illusion av mängd. Ett fåtal människor bakom skärmen får det att se ut som om tusentals tycker likadant.

I sina rapporter om CIB visar Meta hur hundratusentals profiler tagits bort globalt. Nätverken härstammar ofta från kommersiella click farms i Syd‑ och Sydostasien, men även från politiska påverkanskampanjer i Ryssland, Rumänien, Iran och Kina. Kontona ser lokala ut – men rör sig synkroniserat och med identiska mönster.

Sverige är knappast undantaget. Inför riksdagsvalet 2026 syns återigen ett växande antal profiler med svenska namn och ovanliga tecken i smeknamnet. En del sprider vardagligt innehåll, andra interagerar med politiskt laddade ämnen. Det följer ett känt mönster från tidigare valpåverkanskampanjer, enligt FOI:s rapport Political Bots and the Swedish General Election och liknande studier i EU. Falska konton skapas i god tid, “värms upp” med neutrala poster – och aktiveras först när valrörelsen startar. Då används de för att dela inlägg, skapa diskussioner och artificiellt förstärka budskap som ska se ut att komma från verkliga väljare.

I enklare fall handlar det om ren affärsverksamhet. Likes, delningar och visningar säljs i bulk, där varje konto fungerar som en del av en artificiell opinion. The Guardian beskriver hur kunder betalar mellan tio och femtio dollar för tusentals interaktioner från sådana konton. Men samma teknik används även för att påverka val och sprida desinformation.

Enligt FOI och MSB är mönstret tydligt: bottar, anonyma konton och samordnade delningskedjor aktiveras alltid i samband med politiska skeden. Det är inte längre bara utländska aktörer – även inhemska partier och intressegrupper har använt metoden. 2024 avslöjade Kalla fakta att Sverigedemokraternas kommunikationsavdelning låg bakom en serie anonyma konton som spridit politiskt innehåll, vilket visar hur gränsen mellan botnät och partiapparat suddas ut.

De mystiska symbolerna är alltså inte slumpmässiga dekorationer. De är restprodukter av fabrikskonton – digitala serienummer från en industri som lever på mängd, illusion och algoritmisk påverkan.

Så nästa gång du ser en profil med ett svenskt namn och ett 〰 i slutet – titta två gånger. Du tittar sannolikt inte på en människa. Du tittar på en strategi.

Låten “Magdalena” ingår i musikserien “Ballader För Det Bruna Sverige” och kommer ligga på volym 2. Serien är en musikalisk satir över svensk politik, där flera tidigare låtar fungerat som rena roasts av högerregeringen. Ursprungligen var idén att volym 2 skulle bli en slags “woke-version” av första volymen – en ironisk vändning där flera högerpolitiker plötsligt vaknade upp, insåg sin egen upplysning och började klä sig i batik. Magdalena framställdes därför som en motvikt till högern, en slags ofrivillig hjältefigur i kontrast till den brunblå regeringen.

En kort marknadsföringskampanj – knappt 25 kronor per dag under fyra dygn – riktades brett mot olika musikintressen, inte specifikt politiska målgrupper. Men resultatet blev något helt annat. Algoritmerna skickade låten rakt in i flödena hos arga högeranvändare, som började kommentera frenetiskt. Utan att förstå det bidrog de själva till att sprida låten vidare, exakt enligt den mekanism som texten här beskriver: ilska som bränsle för spridning. När kommentarerna väl började flöda lät jag dem ligga kvar för att se vad som hände – och mycket riktigt, engagemanget exploderade.

Dokumentären Hacking Hate på SVT visar att vi kanske missförstått hur algoritmer “missbrukas” av högern på sociala medier. I filmen uttrycktes My det som att det inte är högern som är skicklig på att använda sociala medier för att sprida hat, utan att det är snarare sociala medier som är skickliga på att förstärka och sprida hatet.

Jag konstaterar att det är extremt enkelt att skapa denna typen av spridning idag – genom att helt enkelt göra folk upprörda – och att det är därför de kan göra det, snarare än motsatsen. Hade det varit svårt, hade ingen i högern gjort det – så intelligenta är de nämligen inte. Istället räcker det med en arg text och en knapptryckning för att nå tusentals läsare. De söta katterna och godnatt-texterna som folk ihärdigt skriver sprids visserligen, men inte i någon större omfattning. Eller som i Magdalenas fall – en extremt woke hyllning till något som högern hatar över allt annat: Socialdemokraternas partiledare.

Spännande statistik

I skrivande stund har det gått ungefär en vecka, och siffrorna fram till 4 oktober talar sitt tydliga språk. På bara sju dagar nådde låten 8 477 visningar med en räckvidd på nästan 6 000 personer. Vid en viss typ av marknadsföring brukar det här vara mindre, beroende på det är vad man marknadsför, även om det styrs av att man också väljer rätt målgrupper. I värsta fall når marknadsföringen ingenstans men här inleddes besöken av delvis tjurskalliga individer som tyckte det var märkligt att man vill hylla en socialdemokrat. För mig är det betydligt märkligare att man vill hylla fascism, som gång på gång visar sympatier för en retorik som ligger farligt nära det som en gång förstörde Europa.

Över 5 800 unika tittare stannade kvar i snitt 17 sekunder – vilket är fullt normalt i Facebooks korta uppmärksamhetsfönster – låttexten börjar direkt med en hyllning vilket gör att budskapet har nått fram efter bara 5 sekunder. 96 procent av alla som såg videon hade aldrig tidigare följt sidan, vilket visar hur effektiv algoritmen var på att sprida innehållet utanför den egna kretsen. Den totala visningstiden uppgick till cirka 35 timmar – en hel arbetsvecka av folk som i vredesmod spred det de egentligen avskydde, om det inte vore för att de nyfunna följarna valt (enligt kommentarer) att sträckspela låten. Om det görs fram till valet, låter jag vara osagt.

Bland målgrupperna sticker även män mellan 35 och 44 år ut, vilket inte är oväntat. Det är den grupp som oftast engagerar sig mest aggressivt i politiska inlägg på nätet. Samtidigt syns en tydlig minoritet av kvinnor i samma ålder som kommenterar nyanserat eller försvarar. Kombinationen skapar en dynamik där inlägget lever längre än det annars skulle gjort, eftersom konflikterna håller kvar algoritmernas intresse.

Det här experimentet visar hur högerns upprördhet kan användas som motor i spridningen. Algoritmerna är byggda för att lyfta affekt. De belönar det som väcker reaktion – oavsett innehållets sanning. Högerextrema användare reagerar snabbt, ofta med aggressiv ton. Det skapar fler signaler till algoritmen som tolkar det som “värdefull interaktion”. Resultatet blir paradoxalt: ju argare de blir, desto mer sprids låten de hatar.

Kort sagt så har My helt rätt här – hatet är inte skickligt på sociala medier – det är sociala medier som är skickliga på hatet.

Spotify has recently admitted to removing over 75 million spammy, AI-generated tracks in the past year. This information is being circulated by both legitimate and half-dis-informative sources – but most explanations are vague. Many people panic, thinking their own shitty produced tracks are under threat. Unfortunately – they are not.

In reality, the purge is aimed at large-scale spam and fraud, not personal experiments or low-quality indie crap. So – this isn’t your cousin’s lo-fi EP got unfairly nuked – it’s a bonfire of junk uploads designed to siphon royalties and pollute recommendations. Here’s what actually changed, why it happened, and what it means if you’re a genuine artist.

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First things first – what got axedThe actual policy bundle – three moving partsWhy do this now? Follow the money!No – this isn’t a blanket ban on AIContext that matters – the 1,000-stream ruleWho actually gets caught – and whyHow to stay well clear – a practical checklistWhat changes for listeners and legit artistsEdge cases worth knowing
First things first – what got axed

The bulk of the removed catalogue fits one or more of these patterns:

Mass-generated songs from text-to-music tools pushed out in the thousands per account.

Ultra-short snippets engineered to beat the 30-second royalty trigger.

Duplicates, SEO-bait titles, retitled clones, and playlist-stuffing noise.

Impersonations and deepfake vocals – slapping a famous artist’s name and voice on a track you didn’t license.

Uploads funnelling botted plays to farm pennies at scale.

Translation – obvious grift. The target is the industrial spam layer, not ordinary DIY releases.

The actual policy bundle – three moving parts

Impersonation enforcement got teeth – vocal deepfakes, fake artist profiles, and hijacked metadata are being penalised harder. Distributors are on the hook and repeat offenders get shut out.

A music spam filter – suspicious uploads can be down-ranked or stopped from surfacing in recommendations and search. It looks for mass-upload patterns, duplicates, and other fraud signals – so junk won’t ride the algorithm.

AI disclosure in credits – Spotify is aligning with an industry standard so creators and distributors can clearly flag AI involvement. The point isn’t to ban AI – it’s to label it so rights and royalties don’t get muddied.

Why do this now? Follow the money!

Streaming pays out when a track is played for long enough. Spam rings exploited that with armies of micro-tracks and bots. Left unchecked, this dilutes the royalty pool and drowns listeners in landfill audio. Spotify’s purge is less about taste policing and more about stopping systematic revenue skimming and restoring minimal trust in recommendations.

No – this isn’t a blanket ban on AI

AI itself isn’t the villain. Plenty of legitimate artists use AI as an instrument – arrangement ideas, stems, sound design – and will continue to do so. The line is fraud and deception: voice-cloning a star without consent, fake attributions, botted plays, or churning out 500 near-identical tracks just to clip the meter. That’s what’s being targeted.

Context that matters – the 1,000-stream rule

Since 2024, a track typically needs about 1,000 streams in 12 months to qualify for recorded-royalty payouts. That rule predates this purge and was introduced to stop micropennies from noise farms gobbling administrative overhead. Together with the spam filter, it raises the floor – fewer junk payouts, more money pooling to tracks people actually play.

If you’re a normal indie artist releasing real music – this isn’t aimed at you. If anything, it reduces clutter you compete with.

Who actually gets caught – and why

Accounts dumping hundreds of near-identical cues per week.

Uploads with mismatched metadata, fake artist names, or keyword-stuffed titles.

Deepfake vocals of living artists without licensing.

Content linked to play-inflation schemes – bots, clickfarms, suspicious listener patterns.

How to stay well clear – a practical checklist

Release at a sane cadence – quality over flood. If you’re shipping 300 tracks a month, expect scrutiny.

Keep metadata clean and honest – correct artist name, no celebrity bait, no fake features.

Don’t use unlicensed voices or likenesses – if you’re using a model trained on a specific singer, get explicit rights.

Be transparent about AI involvement – if tools helped generate stems or vocals, disclose it in credits when your distributor supports it.

Avoid ultra-short filler – make actual songs, not 31-second widgets. If you do functional audio, follow platform length rules.

Never, ever buy plays – promotion services that guarantee streams are landmines. One campaign can flag your entire catalogue.

Use reputable distributors – they’re now gatekeepers with their own fraud checks. Cheap, no-name aggregators often equal risk.

What changes for listeners and legit artists

Cleaner recommendations – the spam filter should stop clones from cluttering search and radio.

Fairer pool dynamics – less leakage to junk means slightly better economics for tracks that cross the eligibility threshold.

Faster takedowns – impersonations and profile hijacks should be resolved with fewer back-and-forth tickets.

Edge cases worth knowing

If you collaborate with AI vocal tools, document your rights – model license, training disclosures, and any consent from human vocalists.

If you release instrumental libraries or ambience, expect stricter categorisation and length rules – follow your distributor’s guidance.

If an old track gets flagged by mistake – appeal through your distributor with session files, stems, and release history. Paper trails help.

This was a purge of spam, not a crusade against bedroom producers. If you’re writing your own tracks, not gaming the system, and not impersonating anyone – you are not the target. Keep releasing music – and let the garbage trucks do their job.

No! Unfortunately, we didn’t have the honor of being at the Tug of War World Championship this year either – otherwise, I probably would have been the photographer there too… or not. After all, it’s a worldwide competition, and it doesn’t really work the same way as it does here at home. At national competitions in Sweden, it usually works out to get permission to go onto the field, especially when the referees are Swedish and the crowd is smaller. But at a World Championship? No, most likely not.

But well, one has to travel abroad too. This year the World Championship was held in Nottingham, England, but we could still follow the competitions from home through friends who were there. Jessica’s daughter, however, unfortunately didn’t compete this year. But that’s okay anyway. At the same time, Tug of War Memorie – a very good friend of mine – was there and shared photos from the competition. In particular, a video he posted on Facebook caught my attention even more: the Swiss cheering squad! They brought large cowbells with them, which they rang from the stands, and that made me super eager to finally follow through on something I had always planned: to release a Tug of War 2025. It was finished on Sunday, the same weekend as the World Championship, and has now been released on a range of streaming services, including Spotify, YouTube Music and Apple Music!

This time, it’s not the usual Drum & Bass – instead, it has been “houseified” with a light touch of Latin Tech House. We present “Tug of War – Houseifyer 2025 (Feat. Switzerland Tug of War Cheering Squad)” – with a little “Easter egg” from the earlier releases!

Here is a preview of what awaits. You can listen to the track directly from SoundCloud below!

The Original Inspiring Video

Tornevall now offers a Spotify integration service that makes it easy to both link to playlists with clean, shareable URLs and export them into structured formats. I’ve been missing this myself for a long time now, and sometimes it is easier to share embedded urls at Facebook than through the open-spotify-url, as thumbnails and marketing sometimes fails in that format. So here they are…

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1. Spotify Playlist Links2. Spotify Playlist ExportExample usageOutput formatsExample text outputWhy use this service?
1. Spotify Playlist Links

With this service, you can share Spotify playlists through pretty URLs that are ready for social media and web embedding. Example:https://www.tornevalls.se/spotify-playlist/0xC88jDvnmWZgIpJvaHbAp/

Each link automatically fetches metadata from Spotify (title, artwork, description) and provides correct Open Graph and Twitter card tags for better presentation when shared.

2. Spotify Playlist Export

Our export tool allows you to transform playlists into multiple formats beyond simple embedding.

Example usage

JSON output:https://www.tornevalls.se/spotify-to-json.php?id=0xC88jDvnmWZgIpJvaHbAp

Raw text output:https://www.tornevalls.se/spotify-to-json.php?id=0xC88jDvnmWZgIpJvaHbAp&format=text

Output formats

JSON: Complete playlist metadata with track, album, and artist details.

Text: A simplified export in the format:Artist - Track Title [Year, Album]

CSV: Structured table with columns: Artist, Title, Year, Album.

Example text output

Massive Attack - Teardrop [1998, Mezzanine]
Portishead - Glory Box [1994, Dummy]
Radiohead - Karma Police [1997, OK Computer]

Why use this service?

Generate professional, shareable Spotify links with proper previews.

Export playlists for archiving, publishing, research, or curation.

Switch between JSON, text, or CSV depending on your workflow.

The service relies on the official Spotify Web API and supports public playlists via the Client Credentials flow.

The World Championship in Nottingham, England, became for us a remote experience. Thanks to good friends on-site, and the material generously shared by Tug of War Memorie, we could still feel the pulse of the competition. One moment etched itself in particular: the Swiss supporters, whose mighty cowbells transformed the stands into a rhythmic instrument.

Although we were prevented from participating ourselves, either as athletes or as spectators, the inspiration still reached us. Switzerland’s energy became the catalyst that finally pushed me to launch – albeit in an early, unofficial form – Tug of War, the 2025 edition. This time, in an entirely new musical expression: house, flavored with subtle echoes from earlier works.

Friday marks the official premiere on multiple streaming platforms. Here is a preview of what awaits. You can listen to the track directly from SoundCloud below!

The Original Inspiring Video