Video version of the book review by Christoph Fringeli of France – What’s New for the Left, edited by Yves Coleman of Ni patrie ni frontières! Originally from Datacide 18, the video was posted to our channel in 2023.
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“The Iron Lady has escaped from Hell” to “Long live the General Strike” – some impressions and original footage from the huge and festive rally against the Macron/Borne government’s pension reforms in Paris on Thursday, March 23, 2023.
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Short announcement to check out our YouTube channel and subscribe, detailing the different kinds of content we seek to make available.
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Interview with Peter Votava, aka Pure, Current 909 and one half of Ilsa Gold, conducted in 2021 andfirst published on our Noise & Politics YouTube channel in April 2022
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Controlled Weirdness’s Journeys in the Naked City – Adventures in New York Before the Rain, first published in Datacide Fourteen in 2015, where he describes his experiences in the old New York of the late 1980s and early 90s.
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EVERYTHING ELSE IS EVEN MORE RIDICULOUS is a 364-page A4-size tome collecting the complete editions of datacide issues 1-10. It contains introductions by Flint Michigan, Christoph Fringeli, Nemeton, and Dan Hekate. Available again from Molehill Publishing. ISBN 978-3-948332-01-3
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È facile dimenticare in quest’epoca di feste che durano tutta la notte, di after-hours e bar notturni che c’è stato un tempo in cui tutti i locali chiudevano alle 2 del mattino. I primi anni Ottanta erano un periodo triste per uscire a far festa. La maggior parte delle discoteche erano spelonche troppo costose, dove per entrare si veniva scrutati dal personale della porta che controllava se il tuo aspetto era rispettabile. Per qualche oscuro motivo erano d’obbligo le scarpe bianche.
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You’re too Young to Remember the Eighties – Dancing in a Different Time is the title of an article CW wrote for Datacide Ten in 2008.
In November 2021 we sat down with hin and talked about the topics covered in the article and more: Underground clubs and warehouse parties in London in the early to mid 1980s, charting a hidden history of going out, DJing, electro, the rise of house music and the acid house phenomenon.
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When selecting an alias for his artistic persona, Paul Kidd chose the name of the flame resistant material, Nomex. A protective shield suggesting indestructability, it appeared an apt moniker for someone who liked to “keep it cryptic” and push the limits of both his art and in his own life with an intense fervour. For those of us who knew the man behind the name, that this great force has been extinguished is hard to comprehend. However, his music endures.
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