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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Print reviews from the first edition of Break/Flow from 1996, featuring Degenerative Prose, Erik Belgum, Asger Jorn, the state of British anarchism, TEchnoscience and Cyberculture, Félix Guattari and a techno zine round up.
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Today, the interior minster of Germany banned the far-right Compact Magazine in an unusual step.
Edited by former leftist Jürgen Elsässer and employing a clever multi-media strategy, it had become the most popular of an array of far-right publications seeking an “overthrow of the regime”.
This text on Pasolini’s Salò first appeared something like 25 years ago in Datacide No.6. It was part of a sequence of texts on cinema which began with a piece on Alan Pakula’s Parallax View and ended in a text on Kubrick’s Eyes Wide Shut.
Here Howard Slater returns to and revives his psycho-social analysis of Pier Paolo Pasolini’s last film Salò, or the 120 Days of Sodom.
Excerpt from Ian Trowell’s new book Throbbing Gristle – An Endless Discontent, published by Intellect Books, details the first gig Throbbing Gristle played north of London in 1978, at the Wakefield Industrial Training College. Uncanny overlaps of TGs touring and the Yorkshire Ripper’s killing spree emerge.
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Neither Karl Marx nor his immediate successors based their critique of capitalism on an ideal of justice.
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Our new series of talks, discussions and presentations brought to you by Datacide and next:now is going into its fourth round on January 14th, 2019 with a talk about Revolution and Counterrevolution in Germany 1919 and beyond, by Christoph Fringeli.
CF will look at the historic dynamic unfolding from the failed revolution, the developments of the communist movement in Germany and the contradictory ways these events are remembered and commemorated.
This is a kindergarten they turn us into children and then tell us we must learn to fend for ourselves they diminish us and accuse us of lacking self-esteem they steal our dignity while offering admonitions of our failure to confront reality.
[Michael Moorcock, Mother London]
Cosey Fanni Tutti interviewed by Jo Burzynska. Originally conducted in 2000, this interview with female pioneer of industrial music and artist Cosey Fanni Tutti finally made it into the pages of Datacide in issue 17, along with a book review of her memoir Art Sex Music.
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