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No Stars Here (Track -1)
Celebrity creation is dependent on a number of elements: it is part of a practice in which cultural events are always interpreted by a conformity to the cult of the individual (or in the case of a group – individuals as a homogenous unit). Conduits of celebrity creation, the music journalists are like sycophantic courtesans; close enough to the mirrage of success they actively disseminate the servility that becomes a need. But throughout all this, in order to maintain its efficacy as a celebrity-machine, the sluice gates to stardom are kept ajar.

But there is always a hollowness, the sickly taste of false promise. The illusion is weakened and like the emperor’s new clothes, the product stands naked as hype dissipates and the celebrity’s fifteen minutes is fifteen months ago. To maintain its turnover the music industry requires this constant succession of heirs who are not only functionaries to profit and loss but also priests in a social-magic of control: every ‘star’ added to a jostling firmament shines with the pallid light of subservience, mapping out co-ordinates that inhibit stray movements.

Despite the factory-line of record sales, DJ fees and circulation numbers, techno is unstable and its cataclysms make it possible to detect plural voices where subjectivity is heightened to such a degree that it becomes the for itself in any moment whatsoever. Within these continuously mutating compositions there is this power to haze out the fixed points of the celebrity machine and with them the false ascendancy and tautological circuitry of industry.
Each record is a crowd. No stars here comes everybody.

No Stars Here (Track +1)
A digital underground is developed by re-mixing ideas that disrupt the psycho-social order demanded by linear time. The subjective experience of listening  enables the digital underground to devise times where linearity can be destroyed, so that the present no longer comes after the past or before the future. Techno conceives of times contained in the pleasures of dancing and listening to body music, yielding to an overflow of the senses, encouraged by the experiments with beats and frequencies.

The new celebrants experience time as broken, fractured, yet complete, finite and perfect. Heterogenous and discontinuous, yet perceiving time as stretched, looped, combined or reversed. Body music has always been the enemy of the continuous, homogenous, irreversible and infinite conception of linear time.

A digital underground constructs time as multi-dimensional waves of potential. There is movement anjd change in any direction from any point. Whilst mainstream promotors of linearity want their objective measurement of precise and equal instants of time to be the basis for control, regulation and hierarchy, techno is a current into freedom grasped in the moment.

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