News

Just Say Non: Nazism, Narcissism and Boyd Rice

December 17th, 2016

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“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’.
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Everything Else is Even More Ridiculous – Introduction by Christoph Fringeli

December 7th, 2016

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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 →]

Video from Datacide fundraiser Berlin 06-03-2015

November 29th, 2016

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!

Obekna

November 23rd, 2016

Scenario by Olivier Noel, Drawings by Simon Lejeune.

Click (twice) on the images to enlarge. See below for more details.

obekna-page-1-eng-low [Read more →]

Fluxus and DIY Concerts

November 13th, 2016

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Many different art movements of the twentieth century have influenced experimental music. This essay will focus mostly on the effect the Fluxus movement has had on music. Fluxus was particularly important to the development of an understanding that music does not necessarily have to be harmonic, and most importantly, that anyone can create music by organizing everyday sounds. This essay will discuss the following issues: how Fluxus artists challenged experimental/noise music; how audience becomes part of the performance instead of simply observing; and how noise music (as well as the Fluxus movement in general) was a protest against serious traditional culture.

Fluxus was not the first art movement that started the development of noise aesthetics. The proposal that artists should use everyday sounds in their compositions first appeared in the Italian Futurist painter and composer Luigi Russolo’s manifesto “The Art of Noises”. In his text the author criticized the old fashioned tools for sound production, and as an alternative he proposed making new musical instruments and using a multitude of machines. According to Russolo, perfectly harmonious music had reached a point where it no longer had the power to excite or inspire. Consequently, artists of the Dada movement extended experimental music ideas. A prime example was the Anti-Symphony concert performed in Berlin on April 30, 1919. Later, the Surrealist and Fluxus art movements brought in new, fresh ideas to noise/experimental music. The biggest influences were the Fluxus artists Robert Watts, Wolf Vostell, Nam June Paik, George Maciunas, Philip Corner, Benjamin Patterson, LaMonte Young, and Takehisa Kosugi. Fluxus performances grew out of the principle of concrete (ready-made) sound, and the Experimental Composition classes by John Cage ran between 1957 and 1959 at the New School of Social Research in New York. According to Cage, artists should use actions, concrete sounds, and random things, rather than being represented in an illusionist/harmonic manner. There were two different types of Fluxus performances. The early one was the “Events/Neo-haiku Theater”, which was followed by the “Happenings/Neo-Baroque Theater”. Happenings, environments, and Fluxus made the artist aware of sounds’ potentiality in creating work that retained a sense of immediacy, corporeality, and curiosity. [Read more →]

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