“Sooner or later the Situationist International must define itself as a therapy: we are ready to defend the poetry made by all against the false poetry rigged up by power”
– Raoul Vaneigem
As a psychoanalyst and militant, Félix Guattari seems to have engaged with the problem of groups for all his life. Across his writing we see him putting forth, as part of a collaborative process, various conceptualisations of group life which are to a larger or lesser degree operational concepts which he had experienced and worked with. These are: institutional analysis, the subject and subjugated group and the collective assemblage of enunciation. Several themes, gathering points for his later more pronounced interest in the production of subjectivity, appear to flow through all of these concepts: transversalism, a mixed semiotic and the subject as ‘supra-personal’. [Read more →]
“Boyd’s rather unimaginative sadism used to embarrass me, but then he explained it using words like ‘Weltanschauung'”
Lisa Crystal-Carver, Drugs are Nice [LC, p215]
I last saw Boyd Rice play (as ‘Non’) back in August 1981, alongside Throbbing Gristle (TG), Z’ev, Cabaret Voltaire and Clock DVA as part of the ‘Industrial Night Out’ at the Lyceum, London, which brought together the big cheeses of Industrial Music in what was to be something of a coming out party for the scene but turned out also to be its swansong (it was TG’s last UK concert; they broke up a few months later). At the time Rice presented himself as a Dadaist and prankster though his aesthetic was actually closer to the sub-Futurist ‘instant karma for kids’ noise-racket that Merzbow has since successfully appropriated and turned into a brand / ‘racket’ of his own. While TG boasted of making music from ugly noise, Rice tried to outflank them by serving up the ugliness directly, unfiltered by any obvious concern for form. In fairness Boyd Rice could be said to be among the key players of early Industrial Music, and as a result he perhaps has a shade more kudos than some of the complete musical non-entities we’re generally concerned with around here (Wakeford, Pearce, Moynihan, et al). Rice has declared his Fascism in a number of statements, in his art, and through public actions such as appearing in full Fascist regalia and holding a dagger in a photograph alongside Bob Heick, taken in 1989 to promote the latter’s organisation, the neo-Nazi skinhead party, American Front. He has also appeared on White Aryan Resistance founder Tom Metzger’s cable TV show Race and Reason, where he declared that his friends in Current 93 and Death in June were promoting a ‘racialist’ agenda and emphasised the importance of Industrial and Neo-Folk music for building the ‘Aryan youth movement’. [Read more →]
What strikes me when I look back at the first issue of datacide is that there is no editorial, no statement of intent — something remarkable for a new marginal publication launching itself.
Instead, the zine jumps right in with a reprinted update on the then proposed new police bill. This is followed by news items about a record company trying to copyright the term ‘Teknival’. We perceived these events as a two-pronged assault by the state and by commerce on what we saw as an emerging underground movement connected to hard electronic dance music. Indeed the following news about ‘new networks of distribution and communication’ were trying to counteract this with the optimistic proposal of a mode of autonomous organisation that would function in an ‘entirely decentralized manner that allows the specific identity of its “members” maximum freedom, a rhizome-like structure that is invisible and everywhere at the same time’. This is then illustrated with news about current activities of record labels and soundsystem crews, reviews of parties and interspersed with some experimental fiction pieces. The mixture of artist interviews, record reviews, technology critique, counter-cultural angles as well as programmatic texts set the tone for the following issues. In datacide one it was left to the London Psychogeographical Association to make an explicit call for communism, while it was Flint Michigan who provided a programmatic text titled BREAK/FLOW versus DATACIDE.
Due to the political climate at the time the first issue went to print, datacide didn’t need explanations or an explicit statement of intent to be understood by its audience. [Read more →]
Prepare for red-tinged darkness and distorted noise! This is the whole raw footage, containing just snippets of Lynx, Ari Nev & Aekre, GRMMSK, Electric Kettle, Vojeet, H-Kon, Zombieflesheater. Only a few minutes per artist and no audience footage. Much of the audio is overdriven and distorted, and due to the fog and red strobe not much is visible either… you should have been there!