Articles

Joke Lanz – My Life is a Gunshot – Film by Marcel Derek Ramsay

After a series of events in Switzerland, the film My Life’s a Gunshot about Joke Lanz/Sudden Infant is premiering in Berlin on January 16 and 17.

The showing at Wolf Cinema in Neukölln is already sold out. There are still tickets of the showing at Brotfabrik Weissensee Friday the 17th. 8pm. The film is showing at Brotfabrik until 21/01/2020, daily at 8pm.

Both showing with Q&A with Joke Lanz and the director.

Here’s the trailer:

See Joke’s contribution to the latest issue of Datacide HERE.

Ghosts & Handbags

A Short Travel Report from the Japanese Underworld

Her toenails perfectly match the colour of her smartphone. She wears a handbag with a huge Gucci print on it. I look around, more office ladies with handbags, more handbags with prints on it. Secret codes? Secret messages?
Secret coincidences?

Chloé, Burberry, Armani, Saint Laurent, Givenchy, Chanel, Fendi, McCartney, Yamamoto, Kenzo, Versace, Benetton, Abercrombie & Fitch, Calvin Klein, Dior, Gaultier, Bulgari, Dolce & Gabbana, Prada.

Perfectly styled, a touch of retro, Audrey Hepburn, motionless faces staring at small-sized screens. Anonymous army of business people, disciplined telephatic data warfare. Secret codes? Secret messages?
Secret coincidences?

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Marxism Contra Justice

Bernardino Mei, Allegory of Justice (1656)

A critique of egalitarian ideology

 

Revolution is a job that must be done without weakness… We are but the instruments of a necessity that carries us along, drags us forward, lifts us up… which will doubtless pass over our dead bodies. For we are not chasing after some dream of justice [aucun rêve de justice] — as the young idiots who write in little magazines say — we are doing what must be done, what cannot be left undone. The old world dug its own grave, and is now falling in. Let’s give it a little shove.

Victor Serge, Conquered City (1930)1

One of the most common misconceptions surrounding Marxism today is that it constitutes a doctrine of “social justice.” So widespread is this belief that one often finds it held by Marxists and anti-Marxists alike. Alan Maass, editor of the American Trotskyist organ Socialist Worker, considers Marxian socialism “part of a rich history of opposition to inequality and injustice,”2 being at its heart a “struggle for justice and equality.”3 Likewise, coming from a quite different tradition, the French Maoist octogenarian Alain Badiou upholds “justice” as “the qualification of an egalitarian moment of politics in actu.”4 Even Richard Spencer’s right-wing Radix Journal affirms something similar: “Marxism is the [intellectual] source of the modern ‘social justice’ movement… prevalent among youths and in universities.” While the evaluation here is no doubt negative, especially when compared with the positive appraisals of Maass and Badiou, the reactionaries nevertheless come closer to understanding this ideology’s material root: “Communist ideas [about justice] are appealing on a superficial level, because ‘equality’ seems an obvious truth in a society that revolves around money.”5

In either case, whether positive or negative, these value judgments rest upon a faulty interpretation of Marxism’s theoretical and practical premises. Neither Karl Marx nor his immediate successors based their critique of capitalism on an ideal of justice. This stood in marked contrast to the strains of utopian socialism that came before, which couched their demands in terms of “righting wrongs” and redressing historical grievances.6 Despite explicit disavowals on the part of Marx, however, many readers believed there was at least an implicit sense in which he felt that capitalist society is unjust. Roughly three dozen articles were written on the theme between 1970 and 1990, by analytical Marxists like Norman Geras, G.A. Cohen, and Allen W. Wood. But this debate rehashed, without knowing it, an earlier debate that pitted Eduard Bernstein against Rosa Luxemburg on the one hand, and Ernest Belfort Bax against Paul Lafargue on the other. Grasping the true stakes of these debates requires a certain familiarity with the issue’s development over time, so a brief overview of the various historical conceptions of justice is in order. Once this has been achieved, Marx’s own views on the matter may be further elucidated, which will then shed light on what came later. [Read more →]

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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Datacide 18 Record Reviews by Saxenhammer


Diagnostic
Repercussions
[Jezgro JCDAL001]

This is the first release by Diagnostic, the latest project from Jan Robbe (Atomhead/Undacova/Erratic). There are nine original tracks backed up by remixes from KK Null,Katran and Aethereal Arthropod among others. Glitched, industrial tones and clashing noise / ambient flavours are the core of the Diagnostic sound. This is a far out there, harsh, alien soundscape wonderland that very few people are capable of producing to this accomplished level. While there are beats and rhythmic elements at the forefront on a couple of tracks, the finest moments are when the sound is free flowing and evolves with highly nuanced detail through uncharted sonic territories as displayed on “Vantage point” where chaotic electronics become enveloped by deep space ambience into an explosive sonic cocktail. As a long time follower of all of his projects it is nice to hear the progression in this intense and highly individual release.

Savier:
The Fountain of Perpetual Decrepitude [DRKFLT002]

Scottish producer Savier serves up a cassette for London’s Darkfloor Sound label which continues his exploration of bass weight and slow, heavy beats backed up by remixes by a host of Darkfloor artists and associates. The Savier tracks are a mixture between his trademark distorted, metallic drums, glitchy effects and ones with a subtle use of melody which create a distinctive sound most notably on the two shortest tracks “Cast him in” and “Grooming Dead Rats” but also add a creepy flavour to the title track and “Mrs Warboys”. As the tape progresses it becomes more disjointed with each track, having a slightly different flavour while retaining the moody crunch we have come to expect with “Bulk Bogan part 2” sounding particularly unhinged. The remixes here are pretty much an album on their own with seven in total all going off at different tangents. I particularly enjoyed Opine Kosinsky’s noisy hip hop take on “Bulk Bogan“ and Robert Logan’s very psychedelic rework of the title track.


Umwelt / I Hate Models
[ROD 10]

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