Noise and Politics – TechNet Mix

The following samples are taken from the book
Noise: The Political Economy of Music by Jacques Attali. The open ended ideas in the writing can be used to comment on any form of music, but we have found it useful to connect it to the subversive, autonomous and political implications of techno.
It is a book of contradictions and enigmas – not least those concerning the author himself: a former advisor to François Mitterand he was lately the Head of the European Bank for Reconstruction and Development before he was forced to resign from his post because of scandals surrounding the amount of funds he had spent on furnishings for his office in Broadgate and his own private jet plane.
With this in mind Noise is the testament to the way that it is possible to use language to fabricate an aura of radicalism whilst remaining reactionary (ie. He is an academic). Or the book may be a heartfelt outburst, the secret scribblings of an
aide tramping the corridors or power and smelling smoke…
Or…a book 132 pages long.

      Our science has always desired to monitor, measure, abstract, and castrate meaning, forgetting that life is full of noise and that death alone is silent…Noise bought, sold or prohibited ( “wholly or predominantly characterised by an emission of repetetive beats” – Clauses 58/60 CJB)…Nothing essential happens in the absence of noise. [Read more →]

No more wordS

Unlike previous forms in poplar music techno has concentrated on being an instrumental music and as such almost defies writing that attempts to discuss it. Words are useless, unable to define the effects that sound frequencies and speeds of beats have on the mind and body. The content and form of the music combine into meanings that lie beyond words.

No more wordS

A rejection of words in the form of vocals to a song allows te listener a far more open field of exploration, a space where it is possible to discover those immanent thoughts that are beyond enter a room and perceive something as already there, as just having happened, even though it has not yet been done. For words guide us to order, they instill in us the need to have others speak for us; they make us receptive to the fixity of imposed meaning. If being without words is meaningless then techno hints at the possibility of any and all meaning…a living and illicid speech where listening is not judged as passive but part of a process of communication. Techno evades the exhausted vocabulary mouthed by lyricists and legislators, anarchists and authoritarians. [Read more →]

listener as operator

‘I do not write experimental music…my experimenting is done before I make my music. Afterwards it is the listener who must experiment’.
Edgar Varese

In any discussions on the reception of music there are two common and inter-related assumptions: music is seen as an art form that is responded to physically and if it is granted any ‘intelligence’ it is as a spiritual or mystical consciousness. The difficulty of talking about music leads to an apprehension of the listening experience manifested by the media’s promotion of music makers as personalities. This advances a cultural mechanism whereby the producers of, say, a record are held in higher esteem than its consumers. But beyond the production/consumption dichotomy and the cultural inaction this creates there lies a social arena that enables the interpretation of apparent division. The listener as operator. The dancer as engineer.

Meaning is generated socially. Without dialogue there can be no meaning. Without interaction there can be no communication. [Read more →]

the intensifier

the use of speed
Around 1988 the intensifier started going to illegal parties and raves. Mostly happening in the lost empty factories on the edges of wastelands, people danced on burnt-up cars, fucked suspensions moving in four-four time. The intensifier climbs over scaffolding. Metal drumming against metal and fires shifting edges. Parties could go anywhere. The intensifier loses it, then realises there is nothing to lose. Lucid confusion. In night-empty cities, a generation compose with speed, thinking/feeling; uncertainty, immensity, motion, forgetfulness, radiance, waste. Transformed by moving fast, taking it all in at high velocity. The intensifier dancing, hooded, grey, enwrapped in white smoke and light. The intensifier moves, uses speed. Each party was the end of an era. Something to take and use. Compose yourself. Move.

the art of deception
The intensifier has no identity, no ideology, has no cause or desire to persuade. Te intensifier senses the boundaries between things, like when sound is loaded into a computer to be recorded as a graphic design and manipulated, combined, played with touch. Mysterious and inaudible, no-one knows where it is going. Pretending to stand still and accommodate itself to the subliminal designs of corporate machines, the intensifier knows speed and deception secretly free it from imposed values.

the endless mix [

No Stars Here

No Stars Here (Track -1)
Celebrity creation is dependent on a number of elements: it is part of a practice in which cultural events are always interpreted by a conformity to the cult of the individual (or in the case of a group – individuals as a homogenous unit). Conduits of celebrity creation, the music journalists are like sycophantic courtesans; close enough to the mirrage of success they actively disseminate the servility that becomes a need. But throughout all this, in order to maintain its efficacy as a celebrity-machine, the sluice gates to stardom are kept ajar.

But there is always a hollowness, the sickly taste of false promise. The illusion is weakened and like the emperor’s new clothes, the product stands naked as hype dissipates and the celebrity’s fifteen minutes is fifteen months ago. To maintain its turnover the music industry requires this constant succession of heirs who are not only functionaries to profit and loss but also priests in a social-magic of control: every ‘star’ added to a jostling firmament shines with the pallid light of subservience, mapping out co-ordinates that inhibit stray movements.

Despite the factory-line of record sales, DJ fees and circulation numbers, techno is unstable and its cataclysms make it possible to detect plural voices where subjectivity is heightened to such a degree that it becomes the for itself in any moment whatsoever. Within these continuously mutating compositions there is this power to haze out the fixed points of the celebrity machine and with them the false ascendancy and tautological circuitry of industry.
Each record is a crowd. No stars here comes everybody.

No Stars Here (Track +1)
A digital underground is developed by re-mixing ideas that disrupt the psycho-social order demanded by linear time. The subjective experience of listening  enables the digital underground to devise times where linearity can be destroyed, so that the present no longer comes after the past or before the future. Techno conceives of times contained in the pleasures of dancing and listening to body music, yielding to an overflow of the senses, encouraged by the experiments with beats and frequencies.

The new celebrants experience time as broken, fractured, yet complete, finite and perfect. Heterogenous and discontinuous, yet perceiving time as stretched, looped, combined or reversed. Body music has always been the enemy of the continuous, homogenous, irreversible and infinite conception of linear time.

A digital underground constructs time as multi-dimensional waves of potential. There is movement anjd change in any direction from any point. Whilst mainstream promotors of linearity want their objective measurement of precise and equal instants of time to be the basis for control, regulation and hierarchy, techno is a current into freedom grasped in the moment.