POST-MEDIA OPERATORS: “SOVEREIGN & VAGUE”

No one recognises these powers as their own

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(Why Theory?) We have to dispense with the idea that theorising occurs after the creative event; that a poem or a track or a text is made and then, as part of its process of dissemination, there follows the theorising of the piece. Such a theorising is normally attributed to those known variously as critics, reviewers and essayists. However, what actually occurs is that theorising goes on at the same time as the creative event is being worked upon. It is complementary to the event and, more importantly, it is the continuous precondition for the event. There is always this theoretical supplement to any activity: a carpenter fits cupboards into an alcove and there is this ongoing process about the nature of the material, a questioning of the next step, and how it is best to overcome those obstacles, such as the unevenness of the wall, that present themselves. Similarly, when producers make a track there is a similar theorisation going on: what sounds to use, how they fit in to other sounds, how they relate to expectation, how best to structure the track. Such a theoretical component to any activity is denied because theory is normally attributed to a textual product, and like the role of the critic, this comes to exercise the effect upon creative producers that their activity is somehow ‘below’ the level of theoretical process.
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Break/Flow

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After a long wait the second printed edition of Break/Flow is out. Following on from the first Break/Flow magazine, and from last years excellent 12”EP compilation (with the author’s collaborations with Adverse, Praxis and Unearthly, as well as tracks by Christoph de Babalon and a blast from the past from / homage to Eric Random.
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Dark… Darker… Dirty: Taxi Tracks

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Source Direct/Doppelgänger/Christoph de Babalon/Panacea/The Advocate/Twisted Anger

“There’s a force that comes out of clashing frequencies which is to do with all the extra hum and tape hiss and reverb that shouldn’t be there” Nico Sykes: No U-Turn

Whether we call it tech-step or not, the bottom line always seems to be that the ‘music’ which activates us contains tension, rhythmic intensity, aggression and foreboding. Relays between dirge-funk and timbral density, between unknown noise and known information. Darkness can be synonymous to an appeal to the imagination, a sensitivity to the presence of psychic territories that surface melodics and oversweet harmonics only superficially activate. You either face up to it, take risks or plump for the protection of ‘idealism’. [Read more →]

PARALLAXED

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A DARK 70s AMERIKA:

(Decoy) Politics has always been practiced by means of various techniques of deception. From the writings of Machievelli to the stage-managed Labour election victory the pursuit of power is that which is only ostensibly visible. What it shows is not necessarily what it is and, concomitant with this, the commonly assumed concept of power is itself a strategic decoy: the state may administer and manage capitalism, it may promote throughout society a notion of individual control through the guise of a primeminister or president, but, as speeches blur into journalism and the surface rituals move into docu-drama, power thrives through a process of inter-locking practices that, in themselves, are never perceived as being powerful at all. Not knowing power as a social-practice can mean that those who seek to make tangible its gradients are always in the thrall of a power that takes on occult and ever receding dimensions. This in turn is incohately communicated to the less powerful as the disappearance of power as a social-fact, a practice, a technique which they can also wield. The business of politics takes place behind such screens and makes buggings, law-breaking and assassinations a sanctifiable means of maintaining an unsuspected status quo when all other institutional means of silencing, deflection, removal and quietism have failed. [Read more →]

BREAK/FLOW versus DATACIDE

…once desire is specified as sexuality, it enters into forms of particularised power…
Felix Guattari

Libidinal Musics
Electronically composed sound, communally celebrated has the effect of some collective plateau phase. Music becomes a device, a prosthetics that leads to a hypersensitization – an overspill that establishes a field of flow between listeners. This incessant repetition with its controlled highs and lows, its deep grindings is nothing other than the continuation of erotics by other means, an erogenisation without object or delimited locale. The carefully placed touches of digitalised breaks, tips of searing reverb and the conducting of frequencies through skins plays the body to effect a libidinal response… to take us elsewhere. The desire for music is the desire for erotic communication as diffuse sensuality. [Read more →]

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