A Paris based record shop & distribution company called Techno Import have ‘officially’ registered the name Teknival as their own using the cover name of Cyborg Productions. This shameless act of plagiarism follows a mysterious CD deal with Network 23 (another french based company formerly dealing with their own label and other small independents). The highly controversial CD has been heavily advertised on TV as Spiral Tribe – The Sound of Teknival. They initially also the registered the name Spiral Tribe but relinquished it after a short and intense battle [Read more →]
“…naturally music had surrounded me ever since infancy as an unquestionable and indisputable element of life, but nothing had impelled me to distinguish it from the rest of my experience”
(Franz Kafka: Investigations Of A Dog)
1. Shadowing Conceptual Art and Fluxus, Walter Marchetti is perhaps one of those many involutionary figures who have stealthily stepped only at the edges of an institutional recognition. Having been at Darmstadt in the mid 50s and with John Cage during his 1959 sojourn in Italy, Marchetti embarked upon an exploration of music that began with composing for small acoustic ensembles in a way that, using space as a rhythm, allowed for a clash of timbres and an acoustic diffusion of sound to become prominent. The concert at the Rotunda del Pelligrini, where his music was played alongside that of Juan Hidalgo, John Cage, Morton Feldman and Leopoldo La Rosa, marks a brief moment of conjunction between [Read more →]
Electronica as a scene has coagulated primarily as a media concern – in that the media itself needed to bolster it’s role as both a guidebook for ‘innovation’ and a touchstone for transmitting the codes of each particular scene. However, electronica’s distinction is that it sometimes exists as a catch-all for everything else that isn’t drawn into one of the other dedicated genre scenes within the electronic and dance music milieu, fluctuating in that what departs from electronica is often transmogrified into its own micro-scene (cf post rock, Berlin minimalism,…) whilst the core of electronica itself can never be pinned to any particular rules of thumb regarding sounds, instrumentation, structure, etc. However, the compressing and packaging of electronica as a scene easily rivals its constructed polar opposites for it’s sheer predictability and softened ‘subversion’. In fact, the hyperconformism exhibited by sects such as the ‘crasher kids’ [Read more →]
In Peckham a new city has been born. An arched bank of metal on struts covering a shallow stretched flight of steps for gospel singers and pissheads to air themselves on holds off the sky, turns it into barometric colour readings via floodlights, broken. An all slabs and no benches piazza; then the twin homes of the new heartland. Peckham Pulse, a sport and fitness centre and on the other side, the Library and Information Centre.
Libraries in South London are gothic barns with shambolic towers and crumbling steps dished out by Victorian philanthropists like Carnegie and Tate, working class men made good, making good. The new Peckham library is different, this minute’s last word in civic architecture [Read more →]
The Kosovo war was also an information war that was led surprisingly successful considering how many ‘facts’ had to be made up or twisted. Let’s once again reiterate: In the Yugoslav province of Kosovo there had been an armed insurrection of a nationalist group called the UCK (in the US and UK usually referred to as KLA) with the aim of secession from the FRY (Federal Republic of Yugoslavia) and possibly/ultimately the creation of a Greater Albania. The UCK was supported by the German secret service BND (Bundesnachrichtendienst) and otherwise financed by “taxes” levied from the Albanian diaspora and by selling Heroin in Europe (already at the end of 1999 Hashim Thacis gang controlled 40% of the European heroin, according to German Unmik police). When the banking system in Albania itself collapsed in 1997 there were widespread riots [Read more →]