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Everything Else is Even More Ridiculous – Introduction by Nemeton

April 18th, 2016

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Written soon after the publication of the first and second issues of datacide, Praxis newsletter #12 (1997) states, “With the increased availability of technology that makes it easier than ever to create, produce and distribute independent material, new networks and mechanisms have started to operate in the last decade. We called it techno. But even the phuturistic rigidity of techno was not immune against the counter-strategies of the system. We need new strategies of underground resistance, the beats have to be broken the noises twisted, desires reinvented, the phuture manifesting itself in the present, breaking the rules of the past.” [1] This oppositional call for resistance is one of the myriad collective strategies that inform Praxis, the record label, and datacide, the magazine for noise and politics. Many comrades-in-arms, a million jackals, have explored in theory and practice the potentialities and failures of countercultural, resistant and oppositional currents in hard electronic dance music, culture and politics. What is at stake in making a claim for the possibilities of co-creating transnational countercultures, and is that even realizable in the current economic and political conditions?

Counterculture and subculture as conceptual and historical tools have been defined in often competing and contradictory ways, especially concerning the subversive, resistant and revolutionary potentials, leading to a lot of confusion and uncritical use of the terms in various electronic music scenes. [Read more →]

Everything Else is Even More Ridiculous – Introduction by Dan Hekate

April 6th, 2016

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Is this an introduction or a tangent into the befuddled mind of a fantasy writer? I guess I’ll leave that for you to decide, I mean if you’re willing to delve into the dark recesses of the many warped, angry, deep thinkers and music makers (not always mutually exclusive) who have delivered the contents of this Datacide collection, then you should at least be able to think for yourself. Yes you’re right this is not a paper version of ‘OMG nothing could have prepared you for…’ mindless click bait or some Youtube video you can zone out to, this isn’t a coffee-table whatnot or something to flick through when you’re tired of the old issue of Viz your mate left in your bog. Engage or jog on.

And so to begin. The first I heard of the book I was sitting in Datacide HQ, the cold winds blew their glacial breath over the frozen north and inside it wasn’t much warmer. We sat huddled in our jackets and no, dear reader, we were not wearing balaclavas, there were no Kalashnikovs on show and the heterogeneous theory for the invisible insurrection of a million minds was accompanied by tea and biscuits. [Read more →]

Vinyl Meltdown (Version)

March 15th, 2016

MuzakBIT grey 69a

Music represents at once the immediate manifestation of impulse and the locus of its taming (Adorno; 288)

We don’t sell music; we sell programming

The dissolution of the Muzak brand in 2013 brought to an end a history that stretched back over 70 years, with the brand first appearing in 1934. Although synonymous with influencing the behaviour of consumers, Muzak spent much of its formative years manipulating workers on the factory floor with vinyl transcription records.

Muzak recorded thousands of 12″ and 16″ discs, building up a large library of material. In the 1930s artists’ songs were usually recorded at Muzak studios in a single take and cut straight to a lacquer master ready for duplication. In 1934, one of the first Muzak releases to be recorded featured the ‘National Fascist Militia Band’, a touring Italian brass band. During this session over 25 songs and marches were recorded, including ‘March on Rome’ ( Anthem of the young Fascists ), and ‘To Arms’, ( Fascist Anthem ). It is unclear whether this recording of the ‘Pan American Brass band’ (as the band was later aliased for release) influenced the direction that Muzak was to take, but what is clear is that around this time Muzak saw in the disciplining function of music commercial opportunities that they argued would assist companies and factories in increasing worker productivity. [Read more →]

Music Makes the People

March 14th, 2016

Story by Dan Hekate from Almanac for Noise & Politics 2015

An array of lights blinked across the gleaming hard black plastic of MooD’s head as slinky welcoming music box sounds came from his hidden speakers. Seth Lindstrum waved his hand in front of the sensor and the door slammed closed.
“What fuck brain ordered me a MooD.” Said the hulking figure of Seth as he strode into the middle of his own welcome home party.
“Are we gonna spend the whole night arguing over whose go it is to load a new tune or let MooD handle the whole shebang?” Said Vince who had served with Seth in the battlegrounds of the Basque country.
“I thought you boys liked toys?” Said Zanda, Seth’s petite fiancé, as she waved her hand in front of the door. MooD entered exuding an Afrobeat and strutting a slow moonwalk.
“I hate those things and now I’ve got one in my pod, it’s like Marky died for nothing.”
“Shouldn’t you be petitioning on MeMe or shining holoboards out in Westminster with the other Ludds?” Said Zanda. [Read more →]

Scheffi Soli 12-03-2016 in Berlin, incl. Datacide Talk

March 11th, 2016

Fundraiser for the Scheffi on Saturday with a talk by Christoph Fringeli of Datacide as well as Fabian Frenzel (Institut für Nomadologie), then party with:
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