It’s long overdue – but finally we put up some of the main features of Datacide 9 in the archives at http://datacide.c8.com
Franco Berardi, better known as the Italian media theorist Bifo, was in Osaka, Japan last week as part of a tour that brought him to the protests against the G8 meeting in Hokkaido. He gave a talk on media activism at an event organized by Remo, a local media collective, where he discussed not only his own activity in Italy but posed some critical questions to the audience about the situation in Japan.
He began by playing a short documentary on Telestreet, a pirate television project organized around Italy that seeks to create self-media and challenge the existing media monopoly held by people like Silvio Berlusconi, the Italian media magnate turned prime minister. This project began in 2002 and spawned over 200 local stations that spread about cities in a cellular model: from their mixers to transmitters to transmitters,
“For around 500 euros you can get set up with the basic infrastructure to broadcast: an aerial, cables, transmitter and amplifier. It’s possible to transmit from an ordinary roof-top TV aerial, though many of the TeleStreets use more expensive transmitters that allow them to broadcast further. On average they broadcast to around 1km, depending on the terrain. The better ones up to 3kms. Only a couple, such as TeleImmagini?, broadcast 24 hours a day. Some a few hours a day, others once a week, others sporadically. The TeleStreets broadcast mostly in the shadow of commercial stations, in areas where that stations’ signal it not receive clearly or at all.”
The stations and the support around them become micro-networks and their output can be accessed by any television set within range. Operators geared their new pirate studios towards relaying information about local organizations, struggles, factories, neighborhoods, news, music…
Public access with teeth? More like the public accessing itself, decrypting the codes that turn receivers into transmitters.
Telestreet and the depth of activity around it did not emerge from nowhere. Its operators are products of an experimental tradition with and against media and network technology connected deeply with the autonomist left in the country.
“While being an extremely recent practice, the street television movement draws on a history of experiments with independent media carried out since the seventies by the “creative wing” of the Italian autonomist movement. In particular, many of the figures involved in setting up Tele Orfeo in Bologna played a large part in the pirate radio station Radio Alice, whose launch in Bologna in was fueled by public disillusionment with the commercial media landscape that was just then beginning to take shape. As the organizers suggested in a 1977 statement, communication was central to their radical struggles: “Capital’s program: communication within itself, neutralization of communication that is exterior to it. Its tactic: to disconnect communicative relationships from their objects, desire, power, truth… Communication is subversive: Power knows this… Our program: Subversion. Its means: Communication. Its content: Information. (Radio Alice, 1977) Broadcasting with a transmitter retrieved from an old army tank, Radio Alice chronicled the insurrectional events of 1977 in Bologna and its politics condemned by both the Italian state and the Italian Communist Party (the PCI).”
Against this uncontrolled communication and subversion, which bypassed the existing forms of media representation and had begun to overcome them, Bifo described a focused effort on behalf of the ruling media conglomerates during the 1980s and 90s to attack the pirate media by pushing advertising and commercial television onto the airwaves, “a political aggression against society” that aimed not only for media control but (more fundamentally) to break down social solidarity. To some degree this counter-offensive succeeded and radio and television were more and more in the hands of media barons. Telestreet was brought together precisely to oppose this media paradigm with a broad auto-productive praxis. What effects did it have? Bifo disappointingly describes Telestreet as ‘a failure’. Not in the sense that the stations have ceased operation or been abandoned, no it is that Berlusconi the media king has won re-election in 2008 despite their efforts; to him this shows that they failed to go far enough. That they still have a long way to go.
This honesty struck me. How many are actually willing to admit the failure of a social movement, despite its contribution to real creative autonomy, in order to examine what a movement has achieved with no holds barred? It seems quite rare, especially on the radical left which too often prioritizes ‘movement’ above anything else. It is perhaps this lack of reflection, the peer pressure urge to always ‘look on the bright side’ which characterizes the aftermath of the G8 protests in Hokkaido, which Bifo’s visit coincided with. Coming nowhere near to the goal of ‘shutting down the summit’, the protests were largely characterized by complacent marches in the shadow of $280 million dollars sent on security and 21,000 police goons lined up against a mere 1,000 or so protesters. From the beginning, the organizers formally negotiated with the police and paid the price: the marches passed nowhere near the meeting site and instead were forced into routes through the countryside at obscene distances, epitomized by a 22km daytime march through mountains and forest roads that only 100 people attended after the vast majority of participants denounced it and refused to attend. Despite the ‘good behavior’ of the organizers, four activists were nevertheless arrested for pathetically arbitrary reasons, such as having three people at a time on the sound system float (only two were allowed). Media coverage was mostly absent, even in ‘independent media’ despite the presence of hundreds of cameras. It is safe to say that the protests were not noticed at all, and even on their own limited terms were failures. Will there be people brave enough to admit this?
What success the G8 protests achieved was found in bringing together new interactions between Japanese anti-capitalists and internationals. Bifo’s talk was one of these, as well as the longer series of informationals and events held in major cities and Hokkaido. Having been to the marches, it seemed that Bifo had critiques of his own. After briefly introducing his activities with Telestreet and pirate radio, he turned the arrows the other direction. ‘I have had enough of talking about Italy and Europe…I want to know what goes on here.’ He noted the feeling of strong difference he felt from actions like Paris and Genova, the relation between the activists and the police, between the marchers and the city. The straight lines. The people calmly drinking coffee while others are brutally arrested for the crime of making music. He moved to tear away at the usual expectations: ‘all of this, workers movements, student movements and so on are in the past’. We need a refoundation, to find resistance in phenomenon which express the emptiness of capitalist socialization, ‘the loneliness, the depression, the suicides’. But where is this to be found? Bifo points out the hikikomori (the pulled away), defined by
“the Japanese Ministry of Health, Labour and Welfare… as individuals who refuse to leave their parents’ house, and isolate themselves away from society in their homes for a period exceeding six months. While the severity of the phenomenon varies depending on the individual, some youths remain in isolation for years, or in rare cases, decades. Often , hikikomori start out as school refusals, or tōkōkyohi (登校拒否) in Japanese.
While many people feel the pressure of the outside world, and may feel uncomfortable in public (or social anxiety), a hikikomori reacts by complete social withdrawal to avoid all outside pressure. In some cases, they may lock themselves into their bedroom or another room of their parent’s house for prolonged periods of time, sometimes measured in years. They usually have few, or no friends. A hikikomori’s days are characterized by long spells of sleeping, while their nighttime hours are often spent watching TV, extensively playing computer games, surfing the Internet, reading, trading the stock, Forex and other derivatives markets (i.e. stock future indices) or other non-social activities.”
Some in the audience seemed to react against his reference to this phenomenon. Perhaps because dependent Hikikomori are often of the middle or upper classes, true enough. Yet we are talking not only about the privileged few who can surfboard on their parents, but a phenomenon that wears away at everyone involved in the drudgery of working for a wage under conditions dictated by ‘social superiors’. The tendency towards withdrawal stems from a broad despair directed not only at the harsh hierarchies of everyday life, but life lived in the absence of any social safety net. The fetal position is easier than the fear of falling: just ask millions of Japanese workers who express their dissatisfaction in the workplace by feigning sickness, or making themselves sick. Bifo does not intend to claim the hikikomori as a positive social subject, one that could herald a better world. No they are a genuine expression of the rage and helplessness felt at the old one, the complete inability to act, the total loss of subjectivity. They express the starting point of anti-capitalism in a society which finds capital invading everything: they are the roots rotted at the bottom of the cavity. In forcing his audience’s eyes away from the spectacular banners of protests and ‘great causes’, Bifo forces us to rethink where the wail of misery against this society is really produced. And perhaps he has also hinted at a plight of the left, which finds itself preferring to withdraw into inward circles. How did we get here? What is the way out?
To the audience’s amusement, Bifo closes by declaring ‘Hikikomori of the world unite!’, urging us to find ‘what is hidden in daily life’ and use that in ‘moving towards solidarity and subjectivity’.
After several months on white label Vile Enginez’ new release on Sub/Version is out this week – a mind trip through devilish labyrinths of a myriad of sound constructions. Vile Enginez, hailing for Basel, CH, has produced his most innovative and complex record yet – and look for his next Zhark Intl. release sometime in the future. Taking up the Sub/version project of twisting drum n bass and smashing up whatever has become standard for the genre, Vile Enginez bizarre creation clearly demonstrates his masterful production and technical skills. “Cycadelic” might be best described as creating the feeling of a black magic trip spurned on by female power gone mad – this is a track that will push everyone on the dance floor to extremes. “Tool” works perfectly with the dynamic of “Cycadelic” making a forceful totality of this 12” (played at 33 rpm). Hard-hitting beats, crazed ambiences, distorted full powered bass and rhythmic complexities abound !
Available now from
Over the past week and a half, an unprecedented political crackdown has been enacted in advance of a series of economic summits around the country. Despite this, the brave workers of Kamagasaki stood up against the stiff security environment in riots against the brutal beating of a day laborer over the past five days. The twin situations of repression and revolt deserve to be examined in more detail.
In the run-up to the series of summits, over 40 people were arrested in pre-emptive sweeps of broad left and anarchist groups.
On May 29th, 38 people were arrested at Hosei University in Tokyo at a political assembly against the G8. These large-scale arrests were carried out by over 100 public security agents after the students staged after a march across campus protesting the summits. All of the arrestees are still jailed, and among them are apparently some leadership of the Chuukaku-ha Leninist organization, one of the largest organizations of its kind in Japan.
On June 4th, Tabi Rounin, an active anarchist from the Kansai region, was arrested on accusation of having his address registered at a location other than where he was living. When arrested, his computer, cell phone, political flyers and more was taken from him; these items were used when detectives interrogated him, asking him about his relationship to internationals possibly arriving for the G8, as well as his activity around Osaka. He would be the first obviously political arrest masked as routine police work.
On June 12th, an activist from the Kamagasaki Patrol (an Osaka squatter and anti-capitalist group), was arrested for allegedly defrauding lifestyle assistance payments. This person has been constantly followed by plainclothes police and even helicopters during demonstrations. Clearly, his arrest was planned with the idea of keeping him away from the major anti-summit mobilizations and he will be held without bail for the maximum of 23 until the summit is over. The office of an anarchist organization called the Free Worker was raided in order to look for ‘evidence’ in this comrade’s case.
The same day the Rakunan union in Kyoto was raided, with police officers searching their offices and arresting two of their members on suspicion of fraudulent unemployment insurance receipt. One of these two arrested are accused of funneling money received from unemployment insurance to the Asian Wide Campaign, which was organizing against the economic summits.
In the meantime, Osaka city mobilized thousands of police with the pretext of preventing terrorism against the summit, setting up inspection points and monitoring all around the city. But the strengthened state high on its own power inevitably deployed it in violence, and turned the day laborers of southern Osaka against it in riot.
Kamagasaki is a traditionally day laborer neighborhood that has experienced over thirty riots since the early 1960s. The last riot in Kamagasaki was sparked in 1990 by police brutality and the exposure of connections between the police and Yakuza gangs.
The causes this time were not much different. A man was arrested in a shopping arcade near Kamagasaki and taken to the Nishinari police station where he was punched repeatedly in the face by four detectives one after another. Then he was kicked and hung upside down by rope to be beaten
He was released the next day and went to show his friends the wounds from the beatings and the rope. This brought over 200 workers to surround the police station and demand that the police chief come out and apologize. Later people also started demanding that the four detectives be fired.
Met with steel shields and a barricaded police station, the crowd began to riot, throwing stones and bottles into the police station. Scraps with the riot police resulted in some of their shields and equipment being temporarily seized. The riot stopped around midnight with the riot police being backed into the police station. The next day they brought over 35 police buses and riot vehicles into the Naniwa police station with the intention of using these against the rioters.
During the riot, the police surveilled rioters from the top of the police station, from plainclothes positions and from a helicopter. Riot police with steel shields were deployed all around the neighborhood in strategic places to charge in when the action kicked off. The workers organizations which by the second day were maintaining the protest had chosen a good time to do so because the police department proved unwilling to unleash the direct, brutal charges seen in the 1990 riot due to the international spotlight focused on them. On Saturday a police infiltrator was found in the crowd, pushed up against a fence and smashed in the head with a metal bar.
The riot has lasted since the 13th and every night there is a resumption of hostility between the day laborers and the cops. Workers so far refuse anything less than the fulfillment of their demands in light of the police brutality incident. Despite the call from more ‘moderate’ NGOs to ‘stop the violence’ there has been no let-up in hostility towards the police, although the real level of violent confrontation is not as strong as the weekend of the 13th-15th. The riot has been characterized by the participation of young people as well as the older day laborers in confrontation with the police. As the guarantors of everyday exploitation under capitalism who have to assertively maintain the constant dispossession of the urban working class, the police have many enemies. This they are finding out every night.
Over the past couple of days there have been points where more than 500 people have gathered and rioted around the neighborhood. Police have responded mainly by defending the Nishinari police station, their home base, while getting back up from the local Naniwa police station, which has a riot countermeasure practicing lot, and holds tens of anti-riot vehicles. Despite this mighty arsenal, the police were perhaps surprised when they deployed their tear gas cannon on the first day only to be met with cries of joy and laughter. The use of force no longer has any spell of intimidation, it is simply expected.
Still, the combined brutality of the police and their riot vehicles has netted over 40 arrests (including of many young people), many injuries and even blinded one worker with a direct shot of tear gas water to his right eye.
The struggle here is inevitably limited by the particular situations of day laborers, who are dispatched to their job sites and have no direct access to the means of production that standard wage workers would. This prevents them from for instance calling political strikes against police brutality, and hitting powerful interests in the city where they really hurt. As workers deprived of these means to struggle, the day laborers will always have the riot as a method not only of collective defense but for also forcing concessions from the city in the form of expanding welfare access, creating jobs, backing off of eviction campaigns etc. While these are more or less important gains strictly in terms of survival, it is important to explore the possibilities of spreading the antagonism of the Kamagasaki workers to the larger population of exploited people in order to imagine doing away with this power structure once and for all.
It is unclear exactly where the situation is headed, but we can know for sure that the real repression in Kamagasaki will arrive after the summits have ended and the focus is off of the Japanese government. Then we will see the raids, the arrests and the scapegoating of particular individuals for the righteous outburst of class violence that these riots are. Instead of quietly accepting their fates as people to be trampled upon, the participants have directly attacked the wardens of wage labor who guarantee the violence of everyday slum life.
Overall, the ongoing repression against those involved in organizing against the G8 summit as well as Kamagasaki should not convince anyone that the ruling class here is once again afraid of the working class. In repressing certain left groups organizing against the economic summits, the Japanese government is more interested in preventing a movement from emerging that starts to question capital at the macro level, than actually attacking an existing one. On the other hand in Kamagasaki, the state tries to deny the possibility of antagonism in a major metropole and the visibility of this revolt, for fear of it spreading. This is why most news reports have blacked out the ongoing riots in Kamagasaki. The concreteness and universality of the Kamagasaki revolt truly threatens to expand beyond the borders of police violence. Visitors to Kamagasaki from near and far have over the past five days participated and found their own struggle in riots fought by total strangers. The ruling class fears and knows that it cannot control this horizontal sympathy and the real practice of revolt that accompanies it.
Objection to Procedure Interview with Christoph Fringeli (2000)
1. Your contribution to the harsher elements of hardcore are most easily
chronicled in the progress and history of the Praxis label. Please describe
what you saw Praxis’ purpose when it began in 1992, and what you see its
purpose as now.
I had been involved with what you might call industrialnoisejazzpunknowave shit in the mid- to late 80’s, and ran a label called Vision in Basel, Switzerland, where I grew up. Around 1990 I became extremely disillusioned with the “independent” scene, as it seemed to be replicating the mechanisms and values of the major music market. This is a process that hasn’t stopped since: it’s all about commodification of young people’s creative energies, and channeling them into something that is cementing the current dominant social-relations by creating the idiotic concept of “great artists” = “stars”, and divisions between audience and performers.
When the first wave of Acid House hit (say ’87) I was quite intrigued by the DIY aesthetic and the concept of anonymous white labels, but with the exception of a small handful of tracks, such as Phuture’s Trax releases which I thought were brilliant, really fucking weird, overall there were not that many interesting tracks to support a whole new concept of use value of records, which I think really happened around ’90/91. Suddenly there were all these 12″s coming out that had a much harder sound, and I think for me personally seeing Underground Resistance in the Tresor club in Berlin was a real turning point, but it was backed up and supported by countless often anonymous producers churning out banging tracks all over the world.
By the end of 1991 I was squatting in South London and the following year the first couple of Praxis records appeared. I’d rather not try and “chronicle” Praxis here, as it had and continues to have an intense history, but to try and stay clear and short, one of the basic departure points were that I wanted to take elements of the new dance culture and push them a bit further, distort them, make them more extreme.
I was, and I’m still, particularly interested in the aspect of collective cultural creation and experience. The “artist” would no longer so much express their personal feelings towards the world and expecting to be admired for it like in rock music, but take elements others were working on and add their touch, throw it back into a collective pool; and the actual experience of the music would not so much take place in the bedroom, but at a party where a DJ would use records as raw material for his set.
Of course the existing system of record labels, distributors and media has done everything to appropriate these tendencies and recuperate them for their economy; of course the revolution has not been successful in the sense that the old concepts have been destroyed, with a lot of help by the media they survived in people’s heads. Of course there were soon DJ stars etc, but at the same time there exists a resistance network that simply produces the better, more exciting music, and it’s self-organized, autonomous and based around sound systems and small labels.
Praxis exists in this context of feedback loops between producers, sound systems, underground distribution, always trying to add a new twist to the dialectics of liberation.
2. Many of those who enjoy the “c8” sound, if you will, find that to develop
a “scene” in their own city is quite difficult due to the music’s inherent
dissonant properties and the fact that it does not gel with the typical
noise/power electronics scene. What strategies do you/have you used to
establish a hardcore scene in your own area? In your view, what are the
inherent dangers in creating a “scene”?
In a way a scene has to create itself in order to work, but you can make that possible or facilitate it by organising events, running labels, distributing records and zines etc.
Between 1994 and 96 we were in the fortunate situation to be able to organize regular monthly parties at the 121 anarchist center in Brixton. This was quite a small venue, didn’t put us under any kind of economic pressure and therefore allowed us to persevere where we would have “failed” in a commercial context. “We” btw was not just Praxis, but a small collective of people who included people who are now involved with or run Adverse, Ambush and Break/Flow.
A typical “Dead By Dawn” night would consist of a talk, discussion or presentation that would start around 9.30pm upstairs, often to do with political or psycho-social themes, b4 the noise would start in the basement. There would be stalls of records and mags in the ground floor and eventually some experimental noise in the bar area. The space was intimate and people got to know each other. Still it took a while to kick off, only after several months people started coming regularly, but it was well worth holding out, as the events became more and more crazy and powerful.
We stopped on our own accord, expecting/hoping someone else would do something similar somewhere else, but this never really happened, at least not with the open political/cultural agenda to it.
I think this music is strongly attractive to different types of people, if they are noise-heads or ravers, as long as they have an open mind. Since it’s generally “faceless” and POST- MEDIA, the difficulty is how people can discover it and get involved.
I think you’re doing a good job by publishing a zine and doing parties – what helps a lot (or did in our case) is producing a (more or less regular) newsletter with the parties, providing information on the music and it’s political/psycho-social dimensions.
3. It has been stated by John Zerzan, Michel Foucault and other
“post-modernists” that society is constantly distancing itself from its human
reality via technology and emotional detachment. Where does computer music factor into the human being as an animal?
It hasn’t occured to me before to mention Zerzan and Foucault in one breath, since at least lately Zerzan has taken a sharp turn towards neo-primitivist Anarchism, proclaiming all technology to be alienating etc, and fighting “civilization”. I’m not down with that. I don’t think it’s desirable to reverse the technological process and go back to live without electricity, I think what needs to be done though is wrest the control of technologies from the corporations and the military and eliminate the profit-motive. I don’t think it’s technology as such that creates alienation – it’s human to create and use complex tools. It’s the combination of wage labour and a spectacular system that sells back to you everything that once may have been directly lived that creates an unbearable alienation, which certainly is aided by technology, but it can also be used to strike back.
Electronic music of course mirrors the present age, but I think especially in the case of dance music it makes an interesting loop by feeding back into the physical world at a party for example, a kind of active listening with the body and the mind.
I know that a lot of post-modernists, like Virilio, are less optimistic as to the possibility of use of technologies without being neo-primitivists. Sometimes it seems that they simply don’t see a future for freedom. And as we are dissected under the gaze of doctors and jailers, always in the “indirect light” of the surveillance systems, this is an easy conclusion to make, but is a somewhat a-historical view, because as long as there is oppression and exploitation in the world, there will always be friction, and class struggles will continue.
This is one of the ironies of the development of high-tech means of control, that in fact they also produce their anti-thesis, and more people have their hands on the means of production for audio/video/publishing via computers than ever before.
4. Obviously, Industrial once played a large part in your life, as the Vision
label and early Praxis records had Industrial elements. What was industrial
to you? What is industrial to you?
“Industrial music for industrial people” was a slogan of Throbbing Gristle in the late 70’s, and I think their music as well as early SPK, Test Dept. and Einstürzende Neubauten were really “industrial” in that their theme was life in post-industrial breakdown civilisation, utilising the waste of that society as tools to make noise with. This was a time when, for example, the London Docklands were empty, the once great port was out of business, there were an abundance of empty warehouses and ruins. There was still the trauma of WW2 and the economic recovery, the Cold War, and the failed revolution of the late 60’s… all these elements and more fed into the bleak but energetic noise. It was a music of discontent exploring the dark side of the restauration under Thatcher and Reagan, using distortion and clanging as weapons of critique.
20 years later the situation is totally different, the docklands have become another financial district surrounded by lots of yuppie homes, and industrial has become a kind of American noisy rock music, via Belgium. Or so-called power noise.
I still use the term (industrial) sometimes, manque de mieux, but what I cherish is not so much what it’s become in terms of sound or sociologically, or what’s become of its original proponents, but the meme of discontent and distortion, realism and innovation that lives on in the best, say “breakcore” music now.
5. During your journeys across America, what struck you as fascinating or
vulgar? Is pop culture a disease or the will of the people?
Both? I don’t generally find anything “vulgar”, but maybe it’s the lack of history that has some distasteful results, but is also fascinating. I’m also interested in the “melting pot” aspect, even though I’m aware that there’s a lot of apartheid at the same time, not to mention the genocide of the indigenous population. There’s a feeling of unease there, but it’s not unlike what I feel in Germany as well, thinking of the holocaust (which I think is a crime of unique proportions and I don’t want to compare the two, I’m just talking about a feeling I have thinking about the violent history of certain places I visit).
I don’t share the anti-Americanism of a lot of the European Left, of course no one feels comfortable with the fact of the military hegemony of the US over the rest of the world, but I have no illusions as to the European ruling classes.
Americans on average at least seem to be more critical of the state-machine, but not of the culture-machine yet.
Pop culture seems to go into two different directions at the same time, on the one hand becoming more and more monolithic, more global and controlled by the managers of fewer giant corporations. Four majors control 85% of the CD market already, on the other hand they try to get their tentacles into all sorts of minor movements as well, hoping to catch the next trend, to extend their control, setting up fake independent companies or quietly financing others. It wants to be a metastasis in the brains of the people, all people, but it’s also self-destructing. Mediocracy rules: They can’t even produce real stars anymore. It’s like with the general economic system that it’s attached to, the question is how many more hamburgers can be sold, how many more actors ‘cry’ when they get an award, before we give them a reason to cry.
6. We’ve spoken before about the need to create new networks outside the
manipulation of the current ones. When does a self-established network turn from communal grassroots into authoritarian crusade? Do you believe that
size implies mediocrity? Can there be “a network of everyone”?
“Networks” are really a buzzword in the “think tanks” such as the Rand Corporation (professional “thinking” bought by the money of the military and corporations) for a few years now. Their “insight” is that ‘small’ network type structures are able to challenge huge hierarchical structures successfully. At least since Vietnam the nature of warfare has changed considerably – nothing new – just as Sun Tse always said, his ideas (2’500 years old) getting picked up by Mao, and put into practice by guerrilla movements everywhere. The reaction by those in power in the 80’s was a then new doctrine of “Low Intensity Conflicts”, that was trying to deal with the “mystery” of the defeat of the Americans in Vietnam and the Russians in Afghanistan. But even then the guerrilla usually had hierarchical structures: This was also true about the German and Italian urban guerrilla in the 70’s which were both defeated (to go into details here would take too much space & time), but all this changed in the last few years.
It turns out that hierarchically organized groups can be defeated easily if their leadership is arrested, e.g. the Shining Path in Peru. But if a number of small cells operate logistically independent from each other, if one gets knocked out, then the others will still be able to carry on. This type of organization is certainly suited better for communistic or anarchist type of groups, but it’s merely a mode of organization – it is used by neo-nazi and islamic fundamentalist groups as well, so paradoxically it can be used to further authoritarian causes as well.
I have this ‘military’ meaning in mind when I talk about networks, but I’d like to emphasise that I’m interested in more than just the mode of organization, after all cultural networks don’t exactly have to work in clandestinity at this point but can use non-hierarchical structures to openly communicate and exchange goods and information. The clandestinity comes in at another level, to avoid the searchlights of the spectacular media, or the police when it’s about organizing ‘illegal’ parties.
Interestingly some think tank literature is talking about ‘cultural subversion’ alongside their standard issues such as ‘terrorism’.
To get back to your questions more precisely – ideally of course there couldn’t be a transformation of a grassroots network into authoritarian crusade, unless there are people at work who already believe in authoritarian structures; a good example being the Leninists within the Communist movement who unfortunately got the upper hand against the anti-authoritarians in the early 1920’s and later turned to party dictatorship, labour camps and other travesties of Communism.
And size shouldn’t mean mediocrity, and a “network of everyone” should be possible, but we might have to wait for a true human community of the future…
7. “You must help yourself.” Is one of many slogans that Praxis has inserted
into ads and datacide. Why can’t you help us?
I think I do help other people as much as I can – if we look where the sample is from we’ll see that there are different layers of meaning to it. A simple meaning that says “get off your ass and do something yourself” I can subscribe to, but the actual sample is from ‘Ilsa, She-Wolf of the SS’, so there is another projection, another truth to it: Spoken by someone in power it denies the collectivity of those subjected by that power. Therefore we could answer: “No, we can help each other”. And if we can’t say that then then at least we should say: “O.k., I will then” and act.
8. When you wrote “Welcome to Violence”, the confrontation with the sample is inevitable for the listener. Where do you see violence in the world? Can
music be violent?
Some people react heavily to samples like that (another example is the “Kill your parents, fuck your friends and have a nice day!” on Ambush 02), but unfortunately the conception of violence they have is that violence is when one person hits another over the head with a stick, and that these samples supposedly ‘glorify’ such behavior.
The “Welcome…” sample of course is from the beginning of Faster Pussycat Kill! Kill! and could be replaced by ‘intensity’ in that context, but by taking it out of context – quite on purpose – it becomes open to interpretations, so we have to live with various reflections.
But to answer your question, besides the obvious open violence we see a lot of structural violence, like when you’re at the receiving end of an IMF ‘structural readjustment plan’ and when you’re denied food, clean water and housing. There is violence in all types of oppression as well as in all types of change.
I found an interesting quote in a 1968 book on ‘Intellectuals and Socialism’:
“Today thinking can only proceed under the sign of violence. Thinking means to change the given situation, to create the space for freedom. From this follows that thinking is the conscious application of counter-force. This violence starts with the first refusal and finishes with the removal of all forms of irrational authority. Only like this the break can be brought upon that will turn the camp into a revolutionary class.”
9. Do you have an opinion on the WTO(World Trade Organization), IMF
(International Monetary Fund) or WEF (World Economic Forum) protests
recently? Can lyric-less music promote the ideals of a protest?
It started slowly over the last few years, but since the London City riots June 18 1999, and Seattle on November 30, the international struggle against Capitalism entered a new phase. A lot of clarification has yet to happen, but I think the overall development is exciting: Internationally organized grassroots protests have managed to disrupt the flow of control-decisions by these unelected bodies, as could be seen most recently in Prague, Sept.26 2000; and a lot of people are paying attention now to the fact that big corporations are controlling more and more of the market and are becoming more powerful than whole countries, essentially redistributing world wide wealth from the masses to the few managers and profiteers.
The resistance against all this is divided though into two major streams (and many smaller ones). On the one hand there are people that are worried about “globalisation” as such, there is a resurgence of nationalism and protectionism, as well as the Zerzan-types opposing air planes for example, or neo-nazis hallucinating a international Jewish finance capital conspiracy, on the other hand there are people who understand that technological development and globalisation are not bad as such, it depends in whose hands they are. We obviously side with the latter, and think that the resistance against it has to be as global as capital.
The culture industry is a part of the capitalist economy that forms a large part of consciousness, like ‘women’s magazines’ telling women how to look like and behave, mainstream porn telling men how to look at women, brands promoting looks (from Marlboro to Gap) and behaviors and generally all of the above hijacking desires that can’t be fulfilled – only bought, often with fatal consequences to yourself or others (e.g. the producers of the goods) and the environment.
You’d think that a clever lyricist could point these things out and present them to an audience and draw attention to whatever injustices etc. but it simply doesn’t work like that anymore, by standing up there expressing themselves or preaching they will merely fulfill a function safely within the spectacle. They become product, celebrities excuses, clowns.
Lyricless music can still be different, and while it can doubtlessly be even emptier, it can also help configure a new social-space.
10. What’s next for yourself and Praxis?
We have talked relatively little about music-specifics in this interview – and I’m quite happy about that because the music is there to listen to. Thankfully in our music there are no stars, no fake celebrities. Those who pass through it to become famous soon disappear again, because the dissonance in it is not what the spectacular system wants to spread although we shouldn’t underestimate its abilities to absorb any force that agrees to collaborate.
Besides music I’m working on the next issue of the Datacide magazine and on expanding the web pages, writing and researching, musically I’m working on my own stuff, and also with Crisis Theory and other collaborations.
On Praxis there will be a bunch of new releases after the last batch that included work by Bambule, 16-17 and Nomex, the next three will be by H, Kovert and an album on double vinyl and CD by Hecate. We’re also trying to re-press some releases and keep them available longer, and distribute things better, while at the same time having most material on the web for free downloads. You choose if you need the vinyl (still the real thing, the tool) or not. Sub/Version, the label dedicated for our mutating interpretation of drum & bass just released a split of Pure and myself, and is about to come out with a 12″ by Crisis Theory (me and Rachael Kozak aka Hecate from Zhark). We’ll probably do a couple other records by the side… and whatever else we can do to visually sonically literally socially change culture in its entirety…
“It’s how you feel.”
“It’s how I feel.”
“It’s how you feeeeeeel.”
“That’s how I feeeeel.”
(2008 note by CF: This interview was conducted in 2000 and published in the California based zine Objection to Procedure. I post it here as a document to accompany an article about Praxis and the ideas behind it to be published in the next paper edition of Datacide. Other interviews or texts may be posted in the future.
I have not altered the text besides correcting a few obvious typos.
Nevertheless I want to mention a couple of issues where I was clearly too optimistic from todays point of view. One is obviously the almost enthusiastic claim that “the struggle against Capitalism has entered a new phase” with the emergence of what would be called the “anti-globalisation” movement. From the beginning I had a critical view on certain aspects of this movement, but believed that a process of “clarification” would eventually make it become a revolutionary movement in an emancipatory sense. This has not occurred.
Also there is too much talk about “corporations” and “managers” which is obscuring the fact that capital is a social relation that cannot be blamed on persons or business entities. Not that that would have been my opinion in 2000, but it’s important to me not to be misread in this, e.g. in the sense that to do away with the evils of capitalism one would only have to curb the powers of the “corporations”; obviously this would only lead to – and has historically led to – state capitalism. This is certainly no improvement.
On the side of music, more specifically regarding “lyricless” music and “breakcore”: While conscious of the fact that there were already “dj stars” and of the ability of the spectacular system to “absorb any force that agrees to collaborate”, in 2000 I seemed quite confident that “our music” would be more resistant to recuperation and more antagonistic than it turned out to be over the years.)
The results are out and so is the mainstream analysis (and sorry for posting this a little bit late – you may have already forgotten). As a result of the May 1st elections, England and Wales have gone through a right wing shift, Boris Johnson has been elected mayor of London, and the Tories are on a roll to win the next General Election.
So what, you may think after the transformation of the Labour Party into “New Labour” there surely is very little difference between the two main parties in Britain. Many aspects of Thatcherism have been perpetuated by the Blair government, nothing whatsoever has been retracted or turned back. The poll tax fell when the Tories were still in power, the council tax was not abolished by Labour, nor were the amendments to the Criminal Justice Act 1994 revoked. Of course not.
It’s hard to see why anyone would have any illusions about the nature of the Labour Party even in Kinnockio’s days. Or in any days.
But then there is the history of the British Left, and most of the British Left have for many decades regarded Labour as the political party of the working class, no matter what the actual policies of the party were. Granted, more than, say, the German SPD, Labour has adhered to more Keynesian measures in the post war years, has advocated and pushed through nationalisations and council housing. Anything they have done and achieved under Atlee, Wilson or Carrington merely shows them to be on the left wing of Capital, at best.
Nevertheless the Labour Party has been regarded as the “party of the working class” by generations of communists who believed that it was aberrant maybe in one way or another but could eventually be transformed back into that grand manifestation of the “class for itself”.
The Communist Party of Great Britain tried again and again to gain affiliation to the Labour Party. Later, various trotzkyist sects tried to subvert it in numerous attempts at “entrism”. The CPGB therefor never became the same kind of mass party as the KPD in Germany pre-1933, or as the communist parties in Italy or France in the post-war years.
To see it in a less grandiose way, one could possibly argue that up to the early 90’s Labour was a noticably lesser evil than the Tories. Fine if you wanted to follow the “lesser evil” kind of line.
Certainly most of what was called “hard left” in the 80’s would have agreed to that (minus class-struggle anarchists and left-communists). But reasonably speaking, anyone in their right mind would have changed their mind by the time Anthony Blair became party leader and eventually Prime Minister.
Nevertheless these discussions don’t seem to have disappeared – on the contrary they come up again and again, although there are also more or less half-hearted attempts, usually quite unsuccessful ones, to create an electoral alternative to the Labour Party.
One of the problems of these attemps has been that they usually consist of competing Trotzkyist sects, and that the Socialist Workers Party – being the largest one of them – usually plays a leading role.
This was the case in the Socialist Alliance in 2001. It included all the usual suspects from the Socialist Party (formerly Militant), the Socialist Workers Party, the Communist Party of Great Britain, the Alliance for Workers’ Liberty, Workers Power, and the International Socialist Group. It ran on a distincly moderate “left wing” plattform, not substantially different from “Old Labour”.
In fact the program of the SA was a particularly explicit example of a reactionary Leninism. The basis of their program was that the working class was not ready for a revolutionary party, that instead it would opt for what essentially was a maintenance of the old Labour Party. Eventually the enlightened leadership could slip the class its consciousness (except until then the Trotzkyist bureaucrats wouldn’t want to know anything practical about revolution since it would mean the abolishment of their positions which they wold have acquired by then). In any case it decided that an openly revolutionary program was not an option because the working class wouldn’t be ready for it, but had to go through a political “centrist” stage that would mysteriously lead it from a reformist to a revolutionary position.
Obviously this is absurd.
After the rather sobering results came in, the SA ungloriously disbanded and the various factions could revert to the constant bickering so constitutional of the scene.
But of course the next elections would come up and there would be another twist and turn in the left-of-Labour scene. Indeed the next step was so far the most dubious one, leading to an electoral collaboration between the SWP and the Muslim Association of Britain (MAB), the British arm of the notorious (essentially clerical-fascist) Muslim Brotherhood.
This in effect ended any “genuine” left wing leaning of the SWP and demonstrated it had become an organisation ready to abandon any principles whatsoever in the hunt of electoral success and thus positions in the state for its bureaucratic leadership.
Not surprisingly the working class largely can be assumed to be either seeing through the machinations of the wanna-be political careerists so as to either ignore their sorry proposals altogether or with a conscious decision not to waste their ballot paper anyway, and use it as toilet paper instead.
Nevertheless the new “Unity Coalition” under the name RESPECT managed to get the notorious George Galloway elected as a Member of Parliament in the last general elections.
It didn’t take long until internal tensions in Respect came to a head in 2007, leading to an acrimonious split in the party between the Galloway wing and the SWP wing, and thus the two factions were standing against each other by the time of the spring 2008 local elections with disastrous results for both of them.
The SWP wing ran Lindsey German for mayor of London – German had run as mayoral candidate already for Respect in 2004 – with an abyssmal share of the vote. The SWP tried to continue the Respect continuum as the “Left List”, bizarrely trying to catch on to the “success” of Die LInke in Germany, another left reformist attempt at electoral/bureaucratic “success” on the left of social democracy.
Lindsey German is certainly no Rosa Luxemburg or Alexandra Kollontai – her absence of charisma is about as explicit as the absence of revolutionary principles in the SWP.
At the same time Galloway tried to continue on the same “popular front” plattform of the old Respect in coalition with islamist elements.
Both failed miserably.
But what did the other, smaller, far-left organisations do in this context?
Generally they had nothing better to do than bicker about “critical support” of either the Left List or …. the Labour Party… or run their own lists as the Socialist Party as well as the “Morning Star” Communist Party of Britain did – with deplorable results.
One can only regard this kind of fetishism towards Labour (whether it is directed as a support for current Labour, or a nostalgic “refoundation” movement of “old” Labour) as bizarre, except that it can’t even be associated with any fun, glamour or pleasure. It simply a very grey bureaucratic kind of career path. Not only that: it is the failure to make it work even as such, again and again. It’s a cul-de-sac in any respect.
In any case, these vain mobilisations illustrate once again with increasing urgency that if there are genuine revolutionaries left in this milieu, they have to abandon the counter-revolutionary organisations constituting the “radical left” of capital, throw them in the dustbin of history and start building a new revolutionary communist movement.
Brainstorm brings you the next installment of wicked, tortured beats and bass to help raise funds for the printing of Datacide 10. This issue of datacide will hopefully be hitting the streets in the coming months as the final stages of its production are commencing.
Thanks to everyone who continues to support Datacide. Especially to all who created the intense experience: Parataxia, Naboa, CF, Cannibals, Nemeton, Hetzer, Rokkon, Xanopticon, Rioteer and Sanscullotes, and everyone who came out to the Scharni and otherwise helped out to make the party happen.
We documented the party and here are videos of most of the artists on the lineup .
Base Force One
thanks so much for everyone who played – Hecate, Autopsy Protocol, Narcopsy, Cannibal Brothers, Nemeton and CF, and everyone who came to the party!
The next Datacide party, again a fund-raiser for the printing costs of the next issue, will take place May 31 at Scharni 38 (Scharnweberstr. 38), only a few hundred yards away from the K9…
Finally we’re making real progress to get the paper issue out!
Line up of the May 31 party will include Xanopticon and Vile Enginez!! watch out for more details soon!
von Joel Amaretto
Wir schreiben das Jahr 1995, und die Karten werden neu gemischt. Neue Szenen bilden sich und neue Innovationen bahnen sich langsam aber sicher ihren Weg. Im vergangenen halben Jahr entstand in Europa ein neuer Underground, der im Hardcore nicht nur einen aggressiven Gegenpol zu Trance, Hardtrance, House und Langweiler-Acid sieht, sondern auch eine politische Ausdrucksform. Die Protagonisten dieser Bewegung verstecken sich in den Vororten von Paris (Gangster Toons Industry, Explore Toi), Berlin (Digital Hardcore Recordings, Capital Noise), Hamburg (Cross Fade Enter Tainment), Frankfurt (PCP, Kotzaak), Kaiserslautern (Napalm) und vor allem mit Praxis Records im Londoner Stadtteil Brixton, wo mit Christoph Fringeli der ideologische Übervater dieser jungen und Außenstehenden schwer zugänglichen Szene sitzt. Joel Amaretto sprach mit dem gebürtigen Schweizer über die nächste bevorstehende Revolution.
- Um alle Zusammenhänge verständlich zu machen, beschreibe zunächst diese neue Form von Hardcore, wie ihn Praxis Records propagiert.
- Christoph Fringeli:
- Wenn ich es auf einen Nenner bringen will, müßte ich sagen, wir machen experimentellen Hardcore, was natürlich ein weites Feld sein kann und auch sein soll. Wir sind an neuen Sounds und Strukturen interessiert, an Noise und Intensität. Die Einflüsse bei Praxis sind wohl frühe Industrialsachen, Punk, Speedmetal und HipHop. Aber immer nur gewisse Ideen daraus, sowie nicht-musikalische Konzepte.
- Welchen Anspruch stellst du an die Platten, die auf Praxis veröffentlicht werden?
- Die Sachen kommen alle aus einem recht kleinen Kreis von Leuten, die alle sehr gute Freunde sind, d.h. man ist auch auf anderen Ebenen in Kontakt, ein typisches Label-Künstler-Verhältnis gibt’s bei uns nicht. Um auf Praxis zu erscheinen, muß der Sound auf irgendeine Weise weitergehen. Etwas schon Existentes zu reproduzieren, interessiert uns nicht. Experimentieren heißt in unserem Falle auch, daß die Endform nicht von vornherein feststeht. Uns interessiert die Idee des Brechens von Strukturen und das Erforschen von Tiefen. Natürlich sind wir keine Akademiker, auch wenn sich das jetzt so anhören mag. Es ist mir wichtig, daß ich die Sachen zumindest teilweise in einem DJ-Set spielen kann. Daß ich mir vorstellen kann, daß die Beats und Sounds in einem Warehouse aus den Lautsprechern kommen und dabei eine Energie und Intensität produziert wird, die mit einer geistigen Öffnung einhergeht.
- Das klingt teilweise noch stark nach Schlagworten der etablierten Techno-Kultur von Trance bis House. Wie erlebst du die Techno-Kultur in dem Rahmen, wie du sie definierst?
- Die Szene in London ist sehr klein, was Hardcore angeht. Es gibt hier eine tiefe Spaltung. Die härteren Sachen sind einfach nicht salonfähig und es gibt kaum Clubs, die überhaupt Techno spielen. Es sei denn man zählt Trance dazu, was ich nicht tue. Akzeptiert sind nur gewisse Acid- und Detroit-Sachen. Techno ist für mich die Musik, die hier auf den illegalen Raves und Underground Squatt-Parties gespielt wird. Leider sind diese kleiner und seltener geworden, weil die Repression dagegen durch den nun gesetzlich verabschiedeten Criminal Justice Act sehr heftig wurde. Die Opposition gegen dieses Irrsinnsgesetz hat viele Raver politisiert oder in ihrer Ablehnung des Systems gefestigt. Man muß jetzt neue Strategien anwenden und sich besser organisieren.
- Welchen politischen und kulturellen Kontext siehst du für Techno im Allgemeinen und welche Position nimmt dabei Praxis ein?
- Techno, zumindest der Teil davon, der uns interessiert, ist angetreten die überholten, hierarischen Strukturen des Musikmarktes zu zerschmettern. Das gilt nicht nur für den Star, der mit der Bühne verschwindet, sondern auch für das Copyright (den Besitz von Ideen) bis zur Struktur der Musik selbst und dessen, woraus sie besteht. Die Technologie, die das möglich macht, ist im Prinzip der Abfall der militärischen Forschung, der als Unterhaltungselektronik verramscht wird, und es immer jedem möglich macht, diesem Pool von Ideen – der allen gehört – Dinge zu entnehmen und zu geben. Das gilt auch für andere Bereiche, aber die Musik ist der machtvollste, weil sie das Gegenteil dessen impliziert, zu dem wir verurteilt sind: Unbeweglichkeit.So sind die Augen beispielsweise starr auf den TV-Schirm gerichtet, während die Lügen ins Hirn fließen. Natürlich wurde seither in Trance eine Form gefunden, wo die Hirnwäsche auf der Tanzfläche fortgesetzt werden kann. Dort ist der Ablauf der Nacht schon mehr oder weniger festgelegt, die Möglichkeiten eingeschränkt. Die deliröse Freiheit eines Free Festivals, das keinen oder kaum Eintritt kostet, ist hingegen ein totaler Bruch mit den kapitalistischen Werten und damit auch die Geburtsstätte neuer Communities.
Deshalb werden sie auch verboten und mit militärischem Polizeiaufgebot unterdrückt. Megaraves und Pop-Techno interessiert uns nicht, weil sich da nichts Neues tut: Das ist totaler Konformismus und es macht keinen Unterschied, was da für Musik läuft. Wir glauben aber auch nicht, daß das das subversive Potential schmälert. Ein Problem ist nur, daß beides als Techno bezeichnet wird, obwohl es sich um unkompatible Dinge handelt. Vielleicht gibt es eine Grauzone zwischen illegalem Untergrund und Kommerz, in die es sich lohnt zu investieren.
- In Deutschland versuchen Label wie Cross Fade Enter Tainment, Capital Noise, DHR und teilweise auch PCP den Begriff Techno ganz zu vermeiden. Sie sagen, das einzige, was sie mit Techno verbindet, sind dieselben Produktionsmittel.
- Ich sehe die Notwendigkeit,sich gegen das ganze Spießertum abzugrenzen, weil man sonst von den falschen Leuten in den selben Topf geworfen wird. In England macht es gerade noch Sinn das Wort zu verwenden, obwohl auch immer weniger. Aber das ist ja auch so mit Worten wie Underground und Hardcore. Ich denke, daß wir in einer Umbruchphase sind, die vielleicht schon 1995 reif zur Explosion wird. Der Name wird sich schon von alleine finden.
- Wie stehst du zur kommerziellen Ausschlachtung von Techno?
- Einerseits bin ich gegen Underground-Elitismus, andererseits ist es schon so, daß sich Sachen, die populär werden, bald in Dünnschiß verwandeln. Ausschlachtung bedeutet, daß Leute oder Interessengruppen sich eines Gebiets annehmen, einzig, weil sie da eine schnelle Mark wittern. Das hat schnell mal die Folge, daß kaum mehr Integrität auf einem Gebiet zu finden ist. Das Problem bei Techno ist in diesem Zusammenhang, daß offenbar die Musikindustrie ihre alten Strategien mehr und mehr auch bei dieser Musik in Anwendung bringen konnte, wo dies eigentlich hätte unmöglich sein sollen. Es gibt jetzt wieder den Starkult! Aber bis uns sowas passiert, sind wir schon wieder ganz woanders.
- Mit welcher Motivation bringt ihr euer politisches Bewußtsein ein, wo Techno im Volksmund doch nur als sinnvoller Freizeitspaß für die Jugend angesehen wird? Wie ist eure Labelphilosophie?
- Mit der Trennung von Freizeit und Arbeit können wir nichts anfangen. Es ist einer der Dualismen einer Gesellschaft, die wir bekämpfen, setzt doch Freizeit voraus, daß man den Rest der Zeit versklavt wird. Gleichzeitig wird hier in England Techno nicht unbedingt als sinnvoller Freizeitspaß angesehen. Es ist schon eher eine Outlaw Music und -Kultur, wenn man von den ganzen sogenannten Intelligent-Sachen einmal absieht. Das hat viel mit der hiesigen Klassengesellschaft zu tun. Ich glaube, daß jedes Label politisch ist, gerade die, die behaupten, unpolitisch zu sein, erklären damit doch bloß, daß sie den Status Quo unterstützen. Es ist unvermeidlich, daß sich das politische Bewußtsein in dem ausdrückt, was man macht. Alles was wir tun, ist Teil unseres ganzen Lebens, unserer Bedürfnisse, von Träumen, Liebe und Haß…Und damit hat alles auch eine politische Dimension, nicht nur in einem abstrakten Sinn, sondern auch mit einem direkten Einfluß auf unsere Aktivitäten. Der Criminal Justice Act, der Festivals praktisch verbietet und sowohl den nomadischen Lebensstil der Travellers, wie auch das Hausbesetzen fast verunmöglicht, ist nur ein Teil einer generellen Entwicklung zu mehr Kontrolle, die, wenn wir sie nicht mit allen Mitteln bekämpfen, in eine totale Überwachung und Bevormundung münden werden.
Wir sehen uns aber nicht so sehr als ein Label, das Musik und andere Medien benutzt, um einen ultralinken Standpunkt zu propagieren, sondern als eine Gruppe von Leuten in der Tradition radikaler kultureller Bewegungen wie Dada, Surrealismus, und vor allem den Situationisten, ohne sich dabei an eine davon speziell anzulehnen. Wir haben eher den selben Geist bei der Verbindung von Leben, Kunst und Revolte. Wir sind Teil eines Invisible College, eines unsichtbaren Netzwerks, das den Planeten umspannt. Während wir natürlich in einer Tradition experimenteller elektronischer Musik stehen, sind Denker wie de Sade, Bataille oder Virilio ebenso wichtig.
- Seid ihr an einer Systemveränderung interessiert und auf welchem Wege?
- Sicher wollen wir die Systemveränderung. Aber wir glauben nicht, daß eine soziale Revolution im traditionellen Sinn ansteht. Revolutionäre Zellen zu bilden heißt heute, experimentelle Labors aufzubauen, die Viren konzipieren, die Kontrollmechanismen zugrunderichten und Kommandos, die kulturelle und politische Stätten der Unterdrückung in temporäre autonome Zonen verwandeln und verteidigen. Um diese Ziele zu erreichen können wir uns der Technologie bedienen, sie mißbrauchen und in den Dienst eines experimentellen poetischen Terrorismus stellen, dessen Ziel unsere Souveränität als physische Körper und unabhängige Geister ist.
- Politik und Techno in England. In Deutschland denkt man da spontan immer nur an den Spiral Tribe und ihren Widerstand gegen die Staatsgewalten. Wie steht ihr zu den Techno-Travellern?
- Ich habe enormen Respekt für den Spiral Tribe, die ja jetzt über ganz Europa verstreut sind und vor allem für die französische Szene sehr wichtig waren. Sie waren auch von ganz außerordentlicher Wichtigkeit für den hiesigen Techno-Untergrund, konnten aber eigentlich seit ’92 nicht mehr viel machen, weil sie wegen des gigantischen Castlemorton Festivals vor Gericht waren. Natürlich gibt’s noch Dutzende weitere Sound Systems hier, die teilweise immer noch Land-auf-Land-ab Parties machen und denen Respekt gebührt, aber die Spirals waren in gewissem Sinn schon das wichtigste und umstrittenste.
- Mit welchen Labels oder Acts fühlt ihr euch geistig verbunden?
- Da ist zunächst mal PCP, die immer eine große Inspiration waren. Natürlich Underground Resistance anno ’91, Atomu Shinzo, Lenny D. und Drop Bass Network. Dann gibt’s eine Reihe neuerer Labels und wir sind zuversichtlich, daß sich aus diesem Netzwerk eine neue Phase für Post Techno Hardcore entwickeln wird: Network 23, DHR, Cross Fade, Explore Toi, TNT und die ganzen französischen Gangstas, DJ Deadly Buda aus Pittsburgh, Caustic Visions und eine Reihe anderer, mit denen wir auch auf verschiedene Art kollaborieren werden.
- Ihr organisiert in London auch Parties. Wie muß eine perfekte Party für euch aussehen?
- Ich glaube nicht, daß man eine perfekte Party organisieren kann. Da müssen Elemente zusammenkommen, die außerhalb der Kontrolle der Organisatoren sind. Man kann aber sehr gute Parties organisieren. Wir machen einmal im Monat eine Party in einem berüchtigten Squatt in Brixton, einer Art anarchistischem Zentrum unter dem Motto Dead By Dawn. Sie sind sehr klein, werden aber immer perfekter.
- Kürzlich fiel mir auch noch ein Magazin namens Alien Underground in die Hände, das auch von euch stammt…
- Alien Underground war der nächste logische Schritt, nachdem wir Anfang ’94 angefangen haben, einen Newsletter zu publizieren. Es gab einfach mehr Ideen, als wir dort in die 8 Seiten packen konnten, zudem gab es in England kein Techno-Magazin in der Art, wie wir das gern hätten. Die Idee ist Musik-Features über Leute, die interessante experimentelle und Hardcore-Sachen machen, Plattenbesprechungen, Interviews, Essays, Buchbesprechungen, die um die Ideen kreisen, um die es auch in diesem Interview geht, zu verbinden. Sprich: Subversive Techno Culture pur. Störsignale, Noise, the invisible insurrection of a million minds. Die 2. Ausgabe erscheint Januar ’95 und ist von Deutschland aus erhältlich für 3 IRC’s (International Reply Coupons, gibt’s bei der Post), die einfach an uns gesandt werden: Praxis/Alien Underground, B.M.Jed., London WC1N 3XX, England.
- Was plant ihr für 1995?
- Drei bis vier Ausgaben des Magazins, Newsletters, auch eine kleine regelmäßige Publikation auf dem Internet, ungefähr monatlich eine 12″, eine CD-Compilation mit langsameren experimentellen heavy Material, die wir schon ‘ne Weile zusammengestellt haben, ein bis zwei Alben, sowie eine Compilation von schon veröffentlichtem und großteils vergriffenem Material. Natürlich machen wir auch mit den Parties weiter und spielen auch im Ausland immer mehr. Bestimmt und hoffentlich passieren auch viele unvorhergesehene Dinge.
- Und wie sieht eure Vision für 1995 aus?
- Der unsichtbare Aufstand gewinnt Kraft!