Praxis + Break/Flow

‘Communist’ Seven Inch
Product Blueprint

communist-7

Side A Cornelius Cardew: Smash Smash The Social Contract
Side B Royal Family & The Poor: Vaneigem Mix

(Could have cut-up readings from Marx (see over) as small tracks on either side to be recorded as layers with different amounts of echo and with Eastenders on in the background and including repeating turntable samples of Scritti Politti’s politico-pop hit ‘Wood Beez’ – particularly the lines “Oh lets forget our ownership” and “There’s nothing I wouldn’t do not to meet with your approval” as puncturation between quotes?)

Cover : Bright Red
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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 →]

BREAK/FLOW versus ACID PLANET

MIXED UP IN THE HAGUE (REMIX)

Dough boy probably told you i don’t carry any Saturday Night Specials or crap like that. It’s all outa State, clean, brand new, top-of-the-line stuff…
Andy the Dealer: Taxis Driver

Whilst those of us in the UK were being deluded by the rise of ‘intelligent techno’, a pocket of resistance arose in the Hague through the activities of the Acid Planet parties and the Bunker label: Unit Moebius, Interr-ference, Rude 66, Sulphur Surfer… [Read more →]

LISTENER AS OPERATOR

Found sound is recorded. Interference at the end of the scale. There are no instruments. Nothing is crafted or selected for performance. There is no beginning or end. There is no intervention to shape this electronic material that can be picked up from anywhere. If the sampler seeks to relocate its snatched fragments within a recognisable framework, if it relies on some conscious agency of a composer then this tape violently dissolves the act of composition and the vested interests that surround such an activity. It cannot be attributed to any one source.The author of this music is more than dead, they do not exist. Perhaps its creation is truly multiple. The signals are sent out from an unknown and unknowing source…they are unlocatable, and yet thier creation is reliant upon a thousand and one contingent creations. But this is a creation that cannot be apprehended in words for as sounds they are generated without any sense of being captured, overcoded and territorialised. They are re-contextualised in no-place. Everything is to be disentangled, but nothing deciphered. It is all in the listening. It is all reception. [Read more →]