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Splitting In Two: Mad Pride & Punk Rock Oblivion
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Robert Dellar’s new book is part autobiography, part social history and in places morphs into fiction. It covers both Dellar’s own life via punk rock and the dehumanisation of those deemed clinically insane by the powers that be. While in academia the idea that madness might be the only sane response to capitalist society is often discussed in terms of Deleuze and Guattari’s anti-Oedipal theories, Dellar has a more hands on and activist approach to ‘bad craziness’. At the turn of this millennium, Dellar helped found the Mad Pride movement to fight against the stigmatisation of those labelled as having mental health problems.

Most of Splitting In Two consists of straight-forward accounts of Dellar’s life and his thirty odd years of involvement in the fight for the rights of psychiatric survivors. When the book occasionally blooms into what is obviously fiction, I take this to be Dellar’s way of illustrating how easy it is for anyone to go off their rocker in the sick and insane capitalist society that blights all our lives. The writing is never academic and it is much closer to a punk rock fanzine in tone than the post-modern abstractions of ‘anti-psychiatrists’. There are also quite a few pictures to break up the text. The title of the book and every chapter title is more or less a punk rock song, and the acts thus cited but not named are Alternative TV, The Damned, Sham 69, Annie Anxiety, The Flamin’ Groovies, The Adverts, The Raincoats, Johnny Moped, The Sex Pistols, The Lurkers, The Flies, Zounds, Public Image and The Saints. The musicians Dellar actually writes about because he has a personal involvement with them are generally lesser known but include The Apostles, The Astronauts and Alternative TV (and I’ll stop there although I haven’t got beyond bands whose names begin with ‘a’).
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Genesis P-Orridge,
G.P.O. V G.P-O
(Primary Information, 2013)

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Reprint of a dossier originally published in the mid 1970s. The title is an abbreviation of ‘General Post Office vs Genesis P-Orridge’ – the book concerns a legal case resulting from some of Gen’s mail art being seized by the sinister Post Office Investigation Division in 1975 (i.e. towards the end of Coum Transmissions and just before Throbbing Gristle).

I first read about this in Stewart Home’s Assault On Culture back in the late eighties, but had never seen a copy until now. The format is all reproductions of documentation, with minimal commentary or editorial. The reader must therefore piece together the story from Gen’s written statements to the Post Office and courts, reproductions of the offending postcards (one of which famously featured a photo of bare arse superimposed on an image of Buckingham Palace), media coverage and other correspondence. This is very effective and one does get a sense of how stressful and frustrating it must have been for an impoverished Genesis to be prosecuted for something so ludicrous.

There are interesting guest appearances in the form of letters to and from William Burroughs and Pauline Smith (of the rather stupidly named ‘Adolf Hitler Fan Club’ mail art project) alongside a cast of lawyers and art word dignitaries who are solicited for support. As the trial approaches a lot of fundamental questions are raised – what is the difference between art and pornography? What is indecent? And some more straightforward ones about the nature of mail art and Gen’s method/intent.

Genesis was eventually found guilty of violating the 1953 Post Office Act. The back cover of the book is an advert in which he offers some of the offending (and now infamous due to press coverage) mail art for sale to cover the costs of the fine.

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Here’s a list of the best tracks and releases of 2014 played out frequently by Datacide contributors!

Best of 2014
(no order)

Various Artists – Memento Mori – Hijos de Puta 0512

Prole Sector N1 – Praxis 52

Bolder – Hostile Environment – Editions Mego 185

Christoph de Babalon – The Haunting Past of Christoph de Babalon, Vol. I – CdB bandcamp

Cindytalk – TouchedRAWKISSEDsour – Handmade Birds 069

Powell – Club Music Remixes A1/A2 by Ancient Methods – Diagonal 16

Dead Fader – Scorched – Small But Hard LP003

Paula Temple – Deathvox – RS1412

Various Artists – Pas d’Erreur – Bruits de Fond 21

Istari Lasterfahrer – Walls Cave in On You – Sozialistischer Plattenbau 12025

Various Artists – Slowly Exploding: 10 Years of Perc Trax – TPTCD006

Oake – Auferstehung – Downwards 64

Amboss – Vision – Praxis 53

Habits of Hate – Electronic Explorations EE:V:003

Franck Vigroux – Centaure – Cosmo Rythmatic CR001EP

Savagen – Practically Educated – Darkfloor 04

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Cyrus Bozorgmehr,
The Rabbit Hole
(Creative Space, 2013)
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Writing about music counter-cultural tendencies that we participate in poses questions about historification that are not easily resolved, but are rather left in a state of perpetual negotiation. Those who choose to undertake the task of critical writing that present counter-narratives to the omnipresence of music industry journalism in print magazines and on a plethora of music websites inevitably make strategic choices about modes of counter-dialogue to engage diverse readerships. In the last few years, there has been a resurgence of artists/musicians/participants who have printed a number of provocative books that we have followed with great interest. The medium of photography and the photo book was used to tell multiple, interconnected stories about free parties in the Paris catacombs in the truly illuminating Paname sans dessus, dessous! published in 2006. In datacide 10, I reviewed the problematics of Xanax Bars 2Mg Buy, which took the strategy of representing music through the visual medium of flyers, posters and album covers. Published in 2011, Sudden Infant: Noise in My Head, The Actionistic Music and Art of Joke Lanz is a fascinating book that operates on multiple levels as a memoir, a photo book, a collaborative self-history and a discography through the inclusion of an interview with Joke Lanz, drawings, photos of performances, manifestos, poetry, concert posters and flyers, texts by collaborators, and a visual discography. Riccardo Balli engaged in a plundering of counter-narrative strategies in his Italian language publication on Milan’s Agenzia X called Apocalypso Disco: La Rave-o-luzione della Post Techno. The excellent book includes interviews with artists such as Christoph Fringeli, Sansculotte, Daniel Erlacher (Widerstand Records), Ralph Brown and others. Several chapters are made up of Balli’s ingeniously amusing counter-histories of interconnected music genres in a fictional plundering of writings of Philip K. Dick and Fulcanelli (first published in English in Datacide). Another book chapter blurs the boundaries completely between fiction and non-fiction in a retelling of some aspects of the Dead By Dawn parties in 1995. Academic writing informed by ethnographic and anthropological methodologies about sub-cultural musical experiences are investigated in the interview with Graham St. John in another book chapter. Most recently this year, there are two engaging examples of mixing the curatorial project of presenting counter-cultural tendencies through exhibitions with that of a companion book. One project was the exhibit and book Berlin Wonderland: The Wild Years Revisited 1990-1996, which featured short personal narrative texts by artists in music, theater and the arts that gave context to photographs grouped together in themes like ‘open doors’, ‘disarmament experts’, ‘wild gangs’ (both which focus on Mutoid Waste Company), etc. Opening on October 1 in Newcastle, Australia is Fistography – Bloody Fist Records – The Exhibition that displays all the label’s releases in chronological order along with ephemera including press clippings, posters, flyers, equipment and photos. This is a truly monumental archival undertaking documenting the years 1993-2004. Simultaneously, an internet radio broadcast out of Hertford featured the BF back catalog. The exhibit is complemented by a show featuring Xylocaine, Hedonist, Epsilon and Mark N spinning BF tunes on Oct 3. Mark N has also published a 300-page book documenting the label’s history titled Fistography: Bloody First Records, Newcastle, Australia, 1994-2004. Critical readers and participants may have these and many other examples in mind when undertaking the ruckus, fictional experience that is The Rabbit Hole.

This is a deeply amusing fictional novel that will no doubt make readers laugh wildly and at the next turn snicker knowingly at the maschinations of a collective that in one summer throws massive renegade soundsystem parties in various locations in and around London. Many readers, including myself, track down this paperback or ebook because it is one of the few fictional narratives about the worldwide teknival movement, and it is written by Cyrus Bozorgmehr aka Sirius, member of Spiral Tribe and SP23. One of the pleasures of reading this book is the constant elision between fiction, personal experience, and (non)-history – the reader may ask herself at any particular moment, ‘Is this a history of a soundsystem crew revealed in a over-the-top, far-fetched retelling, or a narrative slight of hand imagining what could be?’. That inquiry only takes the reader so far since there’s a lot going on in the book. What becomes much more satisfying is the reader’s traversal of the literary play between the comical, the serious, and the caricatured as the crew members’ grapple with the principles that inform their collective actions, deploy strategies of collaborative artistic creation, experiment with the transformative potential of music, deal with the insidious nature of the music industry and commercialism, and negotiate state repression and infiltration. Buy Xanax Strips