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.”  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 →]
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 →]
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 →]
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:
Organized by: panda!
Location: Librería Utopía – radical bookstore vienna, Preysinggasse 26-28, 1150 Wien
Datacide ist eine Zeitschrift, die von den Schnittmengen von experimenteller elektronischer Musik und radikaler Politik ausgehend Möglichkeiten und Momente von Subversion, Gegenkultur und Revolution untersucht und formuliert. Gegründet wurde Datacide 1997 in London quasi als schriftliches Pendant des Musik-Labels Praxis, das von Christoph Fringeli seit 1992 betrieben wird, und das mit seinen Veröffentlichungen im Bereich von Noise, Breakcore und experimenteller Tanzmusik einen internationalen Ruf genießt. Nun sind die ersten 10 Ausgaben von Datacide in einem Band erschienen und präsentieren auf 364 Seiten eine einzigartige Geschichte der Gegenkulturen, die mit elektronischer Musik und Teknivals assoziiert sind.
Christoph Fringeli wird über die Wurzeln und Inspirationen von Datacide berichten und diskutieren.
Link zum Buch: http://datacide-magazine.com/datacide-books-for-2015/
Die Veranstaltung ist kostenlos (Spenden erbeten) und wird von unserem Kulturverein “Assoziation Panda – Verein zur Förderung des kritischen literarischen Diskurses” organisiert.
And on Saturday 27-02-2016, there will be a Praxis floor at the yearly Cyberrise Free Party at EKH, feat. 2/5 BZ, Ari Nev, Christoph Fringeli, Crash 0.1 a.k.a. Mr. Damned, Eiterherd, Franz Rasputin, Johnny Weissbrot, Lynx, and Zombieflesheater.