Entries from December 2019

Three Poems by Howard Slater

SPIKES IN TONGUES

Now we must pick over the pile of
shit and each seek a piece of tongue,
a piece of language –
Bernard Noël

I
Amman walks back with a stychk
Smoke curls aroun’t the social seervices awficers
Ash falls on Yi’all
Into a beard
Onto jeans
Into a squall of tea
The Borgiasousie
( decadent enough to encircle the young,
– but not the neardy –
and prey’pon the poor by rental proxy )
respond with feigned udderstanding’
to such stakemeats as
“I just got off a 14 hour”
“I’ve just climbed out of a lorry”
“I live in a likkkle box”

II
If’y’ave a nouvelle just watting’ a bee release
t‘nen y’atta goo collige
lern’a tah’ reed
lern a’bbe likspyttle
to beh groomer n’ gravid grammah intah
mekkin’it ‘nto nourishattive
Doun’doo’na’poerttery tang ‘a’caave ‘rt n’sktibble
cant mekkit muse’cal
U gatcha bee in a uni’clave-clique-camp
of no-Alls
Nah distorted clavichaad
Noo tauturgical-distoortian
They’um want ya’ fried oop and beggin’ ta BE writter-critter
den’em suck’ya driii wi’em privledge (non jump) hensights.

ON CLOZAPINE

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Political News Datacide 18

Surveillance, Control, and Repression
In June 2018, Reality Winner, the female US Air Force intelligence officer who leaked to The Intercept a classified National Security Agency (NSA) report detailing Russian intelligence’s attempts to carry out cyber attacks on state level voting machine infrastructure before the presidential election, plead guilty to criminal charges in federal court. Winner will serve the longest sentence ever for one violation of section 793 of the espionage act – 63 months in prison and 3 years probation. She was arrested and charged with criminal offenses just hours after The Intercept published their story “Top-Secret NSA Report Details Russian Hacking Effort Days Before 2016 Election” on June 5, 2017. Winner was treated particularly harshly during trial with the judge denying her bail and rejecting almost every subpoena and motion by her lawyers to gather discovery information to use in her defense. The Intercept was criticized by various news organizations, writers, and press freedom groups for their failure to protect the whistleblower’s anonymous identity as the journalists attempted to verify the leaked document thereby inadvertently pointing to Winner as the source.

Workplace surveillance continues to increase with employers finding new ways to use technology to monitor employees while they are earning a wage or are at home. In one example, the employer can track 24/7 in real time an employee’s health including steps taken, amount of sedentary time, heart rate, location, sleep duration and quality through the use of a wrist-worn health monitor such as Fitbit. The data is used by companies to attempt to cut costs of provided healthcare by increasing employee efficiency. [Read more →]

Datacide 18 Record Reviews by Prole Sector

Rebekah:
My Heart Bleeds Black EP
[Mord]
Mord is one of those nosebleed techno labels I always keep tabs on but rarely end up buying (much like Perc Trax or Melbourne’s Green Fetish). They pump stuff out (too much really) at a prodigious rate, within a very bleak and blasted demarcated zone of production parameter but always leaving me with the suspicion that a lot of it, despite artist names, different artwork, titles etc, could easily be endlessly interchangeable without anyone noticing. Back in the day that used to be the very liberation of techno/rave/etc of course, so I’m not knocking them individually in any way, if that’s the gig they’ve chosen – they’ve certainly carved out a niche, but it just comes back to that perennial question, how much more of ‘this’ do I really need? I mean no one can really claim that this is ‘new’ in any way – “The Beat Just Goes Straight On & On”, and on and on etc. (If you remember that annoying big Perry & Rhodan trance techno tune on Rising High from 1993?). It’s just a palimpsest now.

I never imagined 25 years ago, when I was young and dancing to, and already buying, this kind of music (in its absolute infancy) that it would STILL be hammering away – or that the young people of today would still even be interested in pretty much EXACTLY the same thing, virtually unchanged. Frankly I would have been horrified at the thought. And if you’re feeling particularly sour (which I often am) you can be even more dismissive of this un-shifting canon. Most (if not all?) of this genre is imitative reproduction, already familiar and exhausted. You can theoretically (or physically if you must prove a point) check any release at random, in any format, and the first bar will bring the boredom of familiarity to your ear (spot the reference) and more depressingly still, only anticipate the boredom of the, albeit normally clinically well-produced, bar to follow! This is EXPLORED TERRITORY people! where the product matches expectation and desire; the place where all things turn out the way we want them to, where formalism has won the day.

Then if we’re whipping ourselves up into an imaginary frenzy, like the Central Scrutinizer (Zappa reference Compadres, heh), we can rant about this order being just another bullshit tyranny and STULTIFICATION, mere hierarchies of place, position and cultish authority. The producers are all seemingly “Berlin-based” now after all: retro-flash tattooed, ears tribal-stretched, modular set-up, vegan, straight-edge whatever, mastered at D+M, by Rashad “Bloody” Becker, 180g Ltd Edition pre-order vinyl, jetting to London next week to play at Corsica Studios, then on to Sonar or some such for the closing set blah blah blah. The Rant Just Goes Straight On & On…

Keepsakes: Perspectives From A Sterile Hellhole [Haven 001] & Ayarcana/Keepsakes: Music For The Vitriolic Age [Haven 002]
I thought I’d found a mildly interesting antipodean relative of Green Fetish in Haven earlier this year. Starting as an Auckland club night run by Keepsakes and Jaded Nineties Raver, ‘Haven’ was apparently something of a (self proclaimed) hub for New Zealand’s small underground technocentric dance music scene. Until they became yet another “Berlin-based” label that is…FFS! This is beyond a joke now people. The artwork looked promising (reminding me of PCP’s SS sub-label, all prowling masked gangs) and titles like ‘Mind Your Manners Munted Millennial’, ‘Face Struck With An Axe’ and ‘Populist Piss Pot’ suggested a Bloody Fistesque sardonicism. There’s not too much to dislike really (except the elephant in the room – the existential question mark hanging over this genre) or indeed to set it apart from the rest of the pack for that matter. What can you really say about industrial techno now anyway? You’ve heard every variable before; you’ve read every adjective to describe it. Industrial grit – check. Crunchy – check. Gnarled – check. Crushing – check. Driving – check. The tick box exercise is embedded in the tracks’ own riveted-in-place formalism. I could go on but you know the score. Do you need this in your record bag, or collection? Do you want to hear this out at parties? Should you support this brand from the already swollen ranks? Like saying no to a third beer down the pub when you only popped in for a cheeky pint on the way home from work, this is a question of DISCIPLINE now, not personal taste, that only you can be responsible for.

Mickey Nox / Ike Dusk
[Green Fetish]

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Video: Paris 5/12/2019 Strike & Demonstration, Place de la République, 3.45pm

Paris, December 5, 2019: Tense moments on the first day of the nationwide strike against the proposed changes of the pension system in France. We’re waiting on Place de la République for the demo to arrive. The demo started at Gare de l’Est (only about 15 minutes walk from République) and is supposed to head south to Nation. Boulevard de Magenta is already full of people, but somehow they’re not getting on to République. Instead objects are set on fire right at the junction of Magenta and République which gives the “forces of order” the pretext to throw teargas grenades into the crowd. Uncut footage from about 3.45pm at Place de la République.

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Datacide 18 Record Reviews by Christoph Fringeli

No Name
[Rouge de Colere Live 02]
Rouge de Colere Live is a sub-series of the Toolbox sublabel Rouge de Colere which has over many years produced a (small) number of (mostly) interesting cross-over records somewhere between hardtek, hardcore, breakcore and speedcore, some of which have been reviewed in datacide before (most recently the HFK record in datacide seventeen). The live series somewhat runs parallel to the Acid Night Live series (see elsewhere in this issue), but even so this particular release is a special one. Spread over the double vinyl format in a way so the original live set could be re-created by a DJ – the beginning is on side A, the continuation is on side C, then mix in side B, then finish with side D.
No Name of course first drew attention with releases starting in 1996 on labels such as Anticore and Fischkopf. In the article ‘Bonjour Vitesse’ in datacide one the music she and her sister (who usually releases under the name Mouse) make, was described as “some of the most out-there experimental and visionary records ever made in the context of super-fast hardcore”.
Over the more than 20 years the music itself has retained its specific qualities and intensity and this live set spread over four sides is quite a trip, and while not strictly speaking innovative now, is still very unique and the double red vinyl with picture sleeve is a nice collectible item.

The Mover
Selected Classics (Remastered 2017)
[BOIDAE 002]
KillEKill sublabel BOIDAE surprised some heads with a timely Mover retrospective in 2017; timely in so far that the year 2017 always featured as a mysterious reference to a dark phuture emanating from the early catalogue of the Frankfurt based label group Planet Core Productions, also known as PCP.
PCP were versed in the “art of the record label”, setting up a myriad of conceptual sublabels and while there were a few other musicians involved, Marc Trauner, aka The Mover was the one who contributed the vast bulk under a dizzying number of pseudonyms.
PCP was also central to some international hook-ups. Industrial Strength, the label run by Lenny Dee and Jennifer Williams in the early 1990s, even started their catalogue with a double AA-side 12” featuring The Mover and his alias Mescalinum United, and both tracks are featured on the BOIDAE double album.
Furthermore there are two tracks from the very first Mover 12”s Frontal Sickness Volumes each. From 1991 (PCP 005) and 1992 (PCP 008), Nightflight (Nonstop 2 Kaos) and Into Wasteland, and Astral Demons and Invite the Fear respectively. There’s Final Sickness from Frankfrut Trax Vol.4, there’s Waves of Life from the split EP with Alien Christ, also a Mover pseudonym (PCP 934).
Only one of the tracks is from album Final Sickness (The Emperor Takes Place).
The track order of the digital release – which features two extra tracks – is different than the order on vinyl, most notably in so far that the ferocious We Have Arrived is the opening piece of the digital, while it has been relegated to D1 on vinyl.
Also what seems to be a major omission of the vinyl version is that Over Land & Sea from the momentous Signs of ‘96 12” is only on the digital version. The other digital-only track is a second track, Spirit Slasher, from the much later Tresor album (Frontal Frustration, 2002).
It almost goes without saying that you should pick up this compilation unless you already have a few of the original releases, although by the time this issue of datacide hits the street the vinyl may already be deleted.

FFF: Dubcore Volume 12
FFF: The Superpowers
[PRSPCT RVLT 019]/ 24/7 Soundkiller [PRSPCT RVLT024]

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