Before Pakula made his well known All the Presidents Men, a film which centres directly on the Watergate debacle, he made The Parallax View, a film which expands the ‘private’ scenario of Klute into a wider social setting and which makes links between government, corporations and the assassinations of the 60s at the same time that it self-reflexively draws further attention to the power-wielding manipulations inherent in mainstream cinema.
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Interview with Mark Newlands of Bloody Fist Records from Newcastle Australia with questions asked by Christoph Fringeli of Praxis/Datacide conducted in London in 1997.
“As for our position in the hardcore scene, I don’t know, and I’m not really that interested in keeping a check on that; we do what we do, and if that means we’re stuck off in a corner away from everyone else, then fine. If people are into it, if they think it’s good and it’s a worthwhile label then even better, but it’s not something we consciously work towards.”
Interview from 1995 with Patric Catani as his mid-90s industrial hardcore alter ego, Test Tube Kid, offering great insights in the activities of the German hardcore and Digital Hardcore scenes at the time. Plus observations on Gabber, the Love Parade as a festival of conformity and Berlin as the metropolis of the new sound!
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Teknival was started by Spiral Tribe in the Summer of 1993 as free festivals of techno music and art. This article by Mark Spiral (aka Mark Angelo Harrison) describes the attempt by a commercial record distributor to “copyright” the term Teknival, but more importantly looks into other pitfalls of marketing underground culture, including the now legendary Network 23.
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The record industry is in the process of being outflanked by means of the very processes that it has come to rely upon. Since the 60s its continual efforts to create new needs has meant that it nurtured an everchanging musical soundscape that is now mutating at such a pace that it cannot keep track long enough to harness these musical evolutions in the direction of profit.
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One area of electronic dance music that doesn’t seem to be being explored is a more fucked up and experimental use of the slow-break. Force Inc.’s Electric Ladyland series is an exception and one of its frequent contributors, 4-E, has been plying this approach over a series of releases.
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Uniformity breeds content breeds conformity… What were the 80s? What was 80s music? When D’Arcangelo throw an acoustic psychogeographical spanner into the works everyone behaves like Pavlov’s dogs. I’m told that one side of their ep is “a joke” or “a waste of time”, that I should go for the noise side and ignore the other.
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‘Darkness can be panoramic and searing enough to provide sufficient space for emotions other than those that are socially-sanctioned and saccharine. Satisfaction is not exhilarating… the attainable is uninteresting: at the end of Taxi Driver what are we to make of Travis Bickle’s glance into the rear-view mirror?’
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A short book review of Mind Invaders – A Reader in Psychic Warfare, Cultural Sabotage and Semiotic Terrorism, an anthology edited by Stewart Home and published by Serpent’s Tail in 1997.
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