On Monday, November 12th, 2018 the last of three trials against members of the neo-Nazi group National Action ended with convictions of three people, including Daniel Bogunovic and a couple, Claudia Patatas and Adam Thomas. They will be sentenced on December 14th.

National Action was a British openly neo-Nazi group founded in 2013. The group cultivated a militant image and notoriously carried a banner with the slogan “Refugees not welcome” and the hashtag #hitlerwasright at public demonstrations. Since December 2016 the group has been proscribed under the Terrorism Act 2000. Since then, however, they have continued to organise under different covers. They are believed to have prepared for a “race war”, plotted an assassination, and advocated violence against and extermination of Jews and “non-whites”. They also celebrated the murder of Labour MP Jo Cox. Following investigations and arrests, several court cases have led to convictions for membership in a terrorist organisation and other offences. Several members were sentenced to prison terms of up to eight years (various news sources here, here and here)

While the press was very much concerned with the fact that Patatas and Thomas gave their baby son the middle name Adolf, that they had a swastika-shaped cookie cutter and that they were dressing up in Ku Klux Klan outfits, the connection to the far right Neofolk music scene remained overlooked.

For the BBC story providing a more detailed overview of the National Action case click on screenshot:

A tumblr blog called harsherreality  has collected evidence that Patatas was a  “close associate of Death In June’s Douglas Pearce, Sol Invictus’ Tony Wakeford, Allerseelen’s Gerhard Hallstatt, fascist publishers Michael Moynihan and Troy Southgate and a host of neo-folk musicians and activists – most of whom publicly deny their fascist involvement.” [Read more →]

“Leninism is the Opium of the International”

Boris Souvarine (1895-1984) was a co-founder of the French Communist Party and activist in the Communist International. He broke from the party in 1924 and became a critical supporter and part of the anti-Stalinist opposition within the international communist movement, observing and analysing the degeneration of the Bolsheviks from a revolutionary force to the political organisation of a new ruling stratum in Soviet Russia. When discussing if and how to address the centenary of the Russian October Revolution in datacide, we came across the text Black October by Souvarine. This text appeared in 1927 in the journal Bulletin Communiste, one of the mouthpieces of the communist opposition in France. This insightful text has, as far as we can see, never been translated into English before. With hindsight it can be judged as too optimistic despite its harsh criticisms of the regime, but the catastrophic developments that turned the Bolshevik takeover into a full fledged counter-revolution had not completely unravelled in 1927. Of course we are aware of the other critiques of Bolshevism coming from both left communist and anarchist circles, some of which are easily available in English. Others are still relatively obscure, especially the critiques from the French, Italian and German dissident Marxist milieus. We are documenting a crucial assessment of a particularly lucid writer for the first time in English here. Illustrations by a.a.a

The tenth anniversary of the October Revolution was a paradoxical celebration with many contradictions that obscured the general meaning of the evolution of the first proletarian state. [Read more →]

It was back in 2000 that I conducted the interview with Cosey Fanni Tutti published here, for a piece I was writing for datacide on women making extreme music. As a female pioneer of industrial music dating from her time as a member of Throbbing Gristle to her decades of transgressive performance art, Cosey was an obvious and important artist to include in the article. This interview came at a time when I personally was navigating the London noise scene as a young female artist; when it was mostly men on the stages and in the audiences, and women performers were regularly regarded as novelties, taken less seriously than their male peers and the focus of unsolicited sexual attention. Women were involved, but usually backstage in the organisation of events and labels, and when the female was actively presented – by men and some women – it was often as something sexualised, attention-grabbing, or mired in misogyny. As I researched the issue further, some of the attitudes I uncovered in addition to what I’d directly encountered left me so disheartened that I abandoned the piece, put my head down and focused on my own music.

Now, seventeen years later, with the publication of Cosey’s autobiographical book, Art Sex Music, it is timely that this interview is finally appearing in datacide. There has been progress in redressing the gender imbalance in noise and extreme music, but women remain a small and often undervalued component. In the years since conducting this interview, I have become increasingly convinced that the voices of women working in this area need to be heard above their music; loud and with any distortion most definitely self-applied. This is necessary to encourage more women to make music at the extreme fringe and enable those already involved to emerge from its margins where many still operate. Cosey’s body of work and reflections remain highly relevant and play an important role here, as shared both in this interview and in Art Sex Music, a brief review of which prefaces the transcript. [Read more →]

Datacide again took part in the London Radical Bookfair on June 2nd, taking place at Goldsmiths University. [Read more →]

“Cinema is magic in the service of dreams”
– Djibril Diop Mambéty

When, back in the 1990s, Félix Guattari coined the phrase Post-Media Era, this was of interest to me in that it seemed to imply a kind of bypassing of the mainstream mass media, or as filmmaker Peter Watkins calls it, the Monoform – a generalized communications format.¹
In some ways my musings upon Guattari’s phrase were nothing other than a re-articulation, during the winter years of the mid ‘90s, of the spirit of the underground culture that had arisen in the ‘60s and, to some degree, petered out as the post-punk moment (that had educated many people into a ‘desire to know’) reached a kind of apogee in pop: ‘selling out’ as an ironic pose. This was, in some ways, concomitant to the rise of cultural studies through which even the infiltrative intents of pop subversion were rendered into abstract signs of cultural kudos rather than into propellants of a cultural combativeness. In these depoliticized years of the ‘90s, then, there was, amidst the wider movement of the rave and techno culture, an opening towards a rearticulation of counter culture and, for me, post-media signaled once more the benefits of an independent approach that could not simply become a vehicle for the usual forms of politicization but, as a shared practice and as a mode of relation, could make ‘labour in culture’ the meeting ground for a re-imagining of a politics based upon the reappropriation of both the means of production and the means of expression.
[Read more →]