Datacide conference review on uncarved.org

John Eden has written a review of our recent event, check it HERE

Conference 2008

Datacide Conference 2008 TIMETABLE

Doors open: 15.00

15.30 – Christoph Fringeli: Introduction to the conference and some thoughts on Hedonism and Revolution
16.15 – Hans-Christian Psaar: Kindertotenlieder for Rave Culture
17.00 – Nemeton: Countervailing Forces: Electronic Music Countercultures and Subcultures
17.30 – Alexis Wolton: Tortugan towerblocks: Pirate signals in the 90s
18.00 – John Eden: Shaking The Foundations: Reggae soundsystems meet ‘Big Ben British values’ downtown
19.00 – BREAK
20.00 – Neil Transpontine: A Loop Da Loop Era: towards an (anti)history of ‘rave’
21.00 – Stewart Home: Hallucination Generation

DISCUSSION

Downstairs:
23.00 – Mario D’Andreta (Alien City Soundscapes)
24.00 – Line Destruction (Spine)
24.45 – Circuit Parallele (Spine, Hekate)
1.30 – The Wirebug (Hekate, Coven H, London)
2.30 – DJ Controlled Weirdness (Unearthly, London)
3.30 – Blackmass Plastics (Dirty Needles, U.K.)
4.30 – Kovert (Criticalnoise.net, Datacide, London)
5.30 – El Gusano Rojo (Hijos de Puta)

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Datacide fundraiser at Subversiv, Berlin Oct. 4th

In association with Seven Samurai Records we’re doing another fund-raiser for the printing/mailing cost of the upcoming new paper edition of datacide!

It’s taking place at the Subversiv in Berlin at Brunnenstrasse 7, on October 4th 2008, starting at 23h.

On the decks:

Fobia (Seven Samurai)

Amboss (Sub/Version, Seven Samurai)

Kippu (hardact.org)

Parataxia (Bogotrax, Nucleoroto)

Christoph Fringeli (Praxis, Datacide)

Visuals by Duodrome and Sansculotte

COME AND:

Sub/Version 013 – Vile Enginez: Cycadelic / Tool out now!

After several months on white label Vile Enginez’ new release on Sub/Version is out this week – a mind trip through devilish labyrinths of a myriad of sound constructions. Vile Enginez, hailing for Basel, CH, has produced his most innovative and complex record yet – and look for his next Zhark Intl. release sometime in the future. Taking up the Sub/version project of twisting drum n bass and smashing up whatever has become standard for the genre, Vile Enginez bizarre creation clearly demonstrates his masterful production and technical skills. “Cycadelic” might be best described as creating the feeling of a black magic trip spurned on by female power gone mad – this is a track that will push everyone on the dance floor to extremes. “Tool” works perfectly with the dynamic of “Cycadelic” making a forceful totality of this 12” (played at 33 rpm). Hard-hitting beats, crazed ambiences, distorted full powered bass and rhythmic complexities abound !

Available now from

http://praxis.c8.com/catalog

Objection to Procedure Interview with Christoph Fringeli (2000)

Objection to Procedure Interview with Christoph Fringeli (2000)

1. Your contribution to the harsher elements of hardcore are most easily
chronicled in the progress and history of the Praxis label. Please describe
what you saw Praxis’ purpose when it began in 1992, and what you see its
purpose as now.

I had been involved with what you might call industrialnoisejazzpunknowave shit in the mid- to late 80’s, and ran a label called Vision in Basel, Switzerland, where I grew up. Around 1990 I became extremely disillusioned with the “independent” scene, as it seemed to be replicating the mechanisms and values of the major music market. This is a process that hasn’t stopped since: it’s all about commodification of young people’s creative energies, and channeling them into something that is cementing the current dominant social-relations by creating the idiotic concept of “great artists” = “stars”, and divisions between audience and performers.
When the first wave of Acid House hit (say ’87) I was quite intrigued by the DIY aesthetic and the concept of anonymous white labels, but with the exception of a small handful of tracks, such as Phuture’s Trax releases which I thought were brilliant, really fucking weird, overall there were not that many interesting tracks to support a whole new concept of use value of records, which I think really happened around ’90/91. Suddenly there were all these 12″s coming out that had a much harder sound, and I think for me personally seeing Underground Resistance in the Tresor club in Berlin was a real turning point, but it was backed up and supported by countless often anonymous producers churning out banging tracks all over the world.
By the end of 1991 I was squatting in South London and the following year the first couple of Praxis records appeared. I’d rather not try and “chronicle” Praxis here, as it had and continues to have an intense history, but to try and stay clear and short, one of the basic departure points were that I wanted to take elements of the new dance culture and push them a bit further, distort them, make them more extreme.
I was, and I’m still, particularly interested in the aspect of collective cultural creation and experience. The “artist” would no longer so much express their personal feelings towards the world and expecting to be admired for it like in rock music, but take elements others were working on and add their touch, throw it back into a collective pool; and the actual experience of the music would not so much take place in the bedroom, but at a party where a DJ would use records as raw material for his set.
Of course the existing system of record labels, distributors and media has done everything to appropriate these tendencies and recuperate them for their economy; of course the revolution has not been successful in the sense that the old concepts have been destroyed, with a lot of help by the media they survived in people’s heads. Of course there were soon DJ stars etc, but at the same time there exists a resistance network that simply produces the better, more exciting music, and it’s self-organized, autonomous and based around sound systems and small labels.
Praxis exists in this context of feedback loops between producers, sound systems, underground distribution, always trying to add a new twist to the dialectics of liberation.
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