Interview from 1997 with Joel Bevacqua aka Deadly Buda about the early years of the rave scene in the United States and his journey from graffiti artist to hardcore DJ.
About hard techno and raves in the smaller cities of the continent as well as issues of record production and distribution.
“Die Karten werden neu gemischt!”. Interview mit Christoph Fringeli von Praxis Records in Frontpage Magazine Januar 1995 geführt von Joel Amaretto. Über den neuen techno hardcore Untergrund.
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This text was written to give due to Factory records and their influence on the many music
scenes that followed (not least ‘electronic dance music’). It also aimed to ensure that its cultural and political force was remembered as being drawn from the orbit of The Situationist International. What followed was the post-punk revival and the return of Factory as farce, but nonetheless it is remembered as an ‘anti-university’ by some.
This text was written in early 1999 at a time before the upswing of anti-capitalist protest at
Seattle, Prague, Genoa and at the Carnival against Capitalism in London. However, its far
from exhaustive critique of Left groupuscules inaugurated a long term writing and research
project that, combining psychoanalysis and literature to reassess capitalist social relations,
has gone by many names over the years: Micropolitics, Psyche-Pol, Affective Class etc.
Document: Sigma Portfolio No.5 from 1965 as reprinted in Break/Flow 1 (1996), written by Alexander Trocchi.
‘Since we are concerned to know how we behave, we shall exploit every reproductive technique (audio-video), integrating it as discreetly as possible into structure and decor. Obviously, the original “box-office” must be imperfect and very limited, but it should open soon into a theatre of operations in the country (our “shadow city”) and eventually into civilization if our historical judgement is correct.’
On Anti-Oedipus by Gilles Deleuze and Félix Guattari subtitled Schizo-politics for Scallies from Break/Flow 1, 1996 with a short intro 2024.
In the aftermath of the Poll Tax rebellion sense of ‘disenchantment’ was rife. For Howard Slater the key zone of investigation became what could be termed Marxist-Freudianism and an ongoing engagement with Deleuze & Guattari’s Anti-Oedipus was pivotal.
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An introduction to the scene of The Hague in the mid-90s by Flint Michigan with a short interview he conducted with Interr-Ference from Acid Planet for Break/Flow in 1996.
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