An extended review of the True People compilation on the British React label purporting to present an overview of the Detroit Techno Underground 1996. Flint Michigan takes aim in the first issue of Break/Flow in 1996.
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An introduction to the scene of The Hague in the mid-90s by Flint Michigan with a short interview he conducted with Interr-Ference from Acid Planet for Break/Flow in 1996.
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A critical view on what a review could and should be… by Flint Michigan from Break/Flow 1.
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Joe Meek, a pioneering independent music producer, created the hit “Telstar” in 1962 using innovative techniques like overdubbing and echo in his home studio. Known for his experimental approach, he produced the avant-garde concept album *I Hear a New World*. Meek’s career ended tragically in 1967 when, plagued by paranoia and legal issues, he killed his landlady before taking his own life.
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For Kroker, the hype around the info highway etc is the way which bodies are drawn into cyber-space through the seduction of empowerment. The virtual class are those that would formerly be called technocrats and are they that have a vested interest in virtualising more and more aspects of existence’ A critique by Flint Michigan.
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In “The Electronic Disturbance,” Critical Art Ensemble explores resistance in the technological age, emphasizing the concept of “liquescence” and the elusive nature of modern power. They advocate for electronic resistance against privatized public spaces, or “bunkers,” and propose small, non-hierarchical groups using technology to create impactful, coordinated acts of civil disobedience. Book review by Flint Michigan.
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The Attic Tapes 1974-1978 [Mute- Grey Area] Slipstreamed out a little by the recent art world worship of TG, this
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Review article on releases from the Mille Plateaux label from 1998. With music we can change the world; subtle changes of perception, shifting an outlook that can no longer be solidified, coherent or self-orienting. We turn instead to an outside: a large window… several horizons… adjectives and vision absconding through red solarised trees.
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A 20 minute long studio dabble from New Order recorded as a test for Blue Monday but shifted to the role of Hacienda video soundtrack finds here its first vinyl release. An intriguing track that marked the onset of a recombinant disco music shot through with a waning punk ethos.
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