Heaven’s Gate, Artaud, ‘regenerative slime’.
Part 2 of Gnostic Front, datacide two.

Few self-contained pieces of bad advice can rival self-help legend Sheldon Kopp’s ‘learn to forgive yourself again and again and again and again’. This would not only mean pretending to be guilty of digging whatever pit you happen to fall into, but presuming to say where the responsibility would end. But if guilt is imbecilic, shame is a perpetual motion machine, the hidden motor of Spinoza’s indivisible self-animating substance (and for Marx, apparently ‘a revolutionary sentiment’). For example some cheap piece of evidence, a social encounter, or the sound of your own saliva clicking, provokes ridiculous lamentations, first person phrases which are a cause for shame themselves. Of course these are incompatible with whatever notions usually reconcile you to yourself. Yet the faint verisimilitude that authorizes your small ration of complacency also resounds in these horrible new postures. Their slapstick vulgarity vouches for that of the habits closest to your heart. (Thus there’s nothing more nihilistic than memory as consolation, a desperate refrain of ‘They can’t take that away from me’. Ten floodlit minutes of uneventful terror infallibly interpret the lifetime leading up to them. Cf. Benjamin: ’even the dead’ will not be safe from the enemy if he wins. [Read more →]

Autotraumatisation – On the Movies of John Carpenter

(Curfew, Curfew) As we grow more accustomed to the control of the urban environment through surveillance, zero tolerance zones and regeneration projects it seems as if we inhabit a social world that is policed by technology and is obsessed with security. Just what this technology secures us from is as encrypted as the microchips and cables that power it. Maybe it secures us from ourselves: a constant reminder that we are being ‘watched’ which comes to strengthen the internalisation of those mechanisms of paranoia and stasis that an inherited morality has already instilled. Thus the surveillance camera becomes an externalised metaphor for a vigilant super-ego… the eye of the father… the gaze of the manager… and in this way #we are assured that somewhere, someone is watching a monitor and checking that a consensual social equilibrium remains untroubled, vigilantly making sure that there are no signs of a ruffled surface, no over conspicuous indications of a step-out-of-line. But surely it is naive to assume that what can be seen is all that there is and that fear can be dispelled by such totemic pieces of technology as cameras and monitors. Such devices are as protective as the soporifics of entertainment and the cyclical chatter of a celebrity-fuelled media, but in no way do they successfully eradicate trauma and the persistence of social-irrationality. Perhaps worse, the idea that we are protected proliferates into a culture of overprotection where every foible and tension becomes something that needs to be medicalised and returned to an enervated ‘normality’. In the nightmare scenario it seems as if the surveillance camera, charged with eradicating fear, is now becoming programmed to detect dangerous levels of adrenalin and to take photo-fits of those who glow with a surplus of undirected energy.
[

Datacide 4 – Record Reviews

Record review section of Datacide 4 with reviews by Flint Michigan, ATX, Eun, Kovert, Delinquent, Scud, border fox, The Reverend, and The Jackal. [Read more →]

Minimal Apertures (Insert to The Western)


The Wild Bunch: Set in the Mexican Civil War, a bunch of renegades weigh-up the options in a fluctuation of allegiance typical of westerns. Untypically the wild bunch side with the revolutionaries. Though noted for its ‘sadistic’ slow motion violence the dominant theme of outlaws bored by the pursuit of loot and favouring a peasant honour was much ignored at the time. The famous suicidal sequence of the final shoot-out is both a forewarning of the heroics of revolutionary sacrifice and a glum indication of the minority position of the wild bunch’s longing to surpass instinctual cruelty.
[


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. The Don’t Fuck With Nails release on Force Inc., as well as the more recent Blue/Black on New York’s Home Entertainment label use hardened breaks and detailed electronic noise to create morph-beat tracks. Using slow breaks seems to be about creating spaces in tracks and rather than a wallowing beatless ambience or a muso referentiality to the past, the spaces can, in 4-E’s case, be alternately filled with treated sound, shards of flanged percussion, disco loops and a minimal subdued acid. [Read more →]

Pages: Prev 1 2 3 ... 24 25 26 27 28 29 30 31 32 Next