Fountains - Moral Panic (3) - Moral Panic (Vinyl, Album)

The things that music does — provide an atmospheric backdrop, support dancing with rhythm and produce emotions unrelated to the immediate circumstances — are also abundantly available.

There are billions of people in the world and millions of them can make music — the idea that any of them are special is pretty hard to support. And yet music continues to have a a market value.

This clearly cannot be derived from its intrinsic quality as taste is variable and there are clearly others who can supply the same basic service as the highest valued music.

The fame is the whole of the work. Everything every band does is branding- I think you can do good things in that medium. People should have free access to data but should feel a duty to contribute original data themselves — I like that idea.

Lots of videos feels right. CTRR: You have been very articulate about your opinions on the shift in the music industry, as well as on opposing the Digital Economy Bill something I, too, am very much in opposition to, and I watch the proceedings of ACTA with equal frustration. The whole business of copy and digital rights will have to be rethought by people who understand it.

CTRR : When I was taking my MA, I had an epiphany rather belated, perhaps about the necessity of rhetoric to to help us function in the face of too much information and not enough expertise. In that sense at least, I think people are quite capable of filtering the information themselves, finding particular bloggers who tend Album) agree with them, listening to albums that artists they like recommend… Expertise comes collaboratively from interaction not from any authority.

Rhetoric though, yes, I think I see what you mean — the assembling of thoughts into memorable phrases can clarify things as people go about the business of filtering their own data. SI: I think it has exposed the disparity between value and price. I had to come out of hiatus for this.

Look at that album cover. How could I deny those puppy eyes and broken necks? Then there was the press release, which read:. The strains of country, Weimar cabaret, holy bible-era manics, belle epoque cafe music, Muder sic Ballads-era Nick cave, 90s indie and 70s sleaze can all be heard in the arrangements. My pulse actually turned to alka seltzer in my veins after reading that.

Now I can add new media warriors to their laudable qualities. Instead, they have birthed Corporate Records and a praiseworthy sophomore album. I first noticed Simon and Julia over two years ago while scanning through pages and pages of artists at the SXSW website; several months later, their debut album American Demo became the runner-up in my Top 40 Albums of Songs For Swinging Lovers is a much more varied affair in terms of genre; they actually fulfill the promises of their press release no mean feat when so many bands fail to deliver on even the first of their claims.

While this record may not be as immediately accessible as their first, it is very obviously both its sequel and equal and still teeming with more adept social criticism, including further incisive commentary on feminism, youth, the music industry, celebrity, fascism, hypocrisy, and narrow-mindedness. There is the same calibre of intelligent often brutal candour as that of Luke Haines, something that the majority of their cohort are missing and something that most are too afraid to touch.

This is followed by the most Manics-inflected of the tracks, Your Money, which swells from a sweet piano melody into an electric guitar anthem bristling like a sea of broken flag standards.

Pushing on with their earlier themes of diseased celebrity culture, which yearns for damaged people, and parasitic media see also New Art for the People, We Hate the Kids, Waiting for Pete Doherty to Diethey address one such hapless character in Ill.

They chant:. In true Nick Cave style, Roses is mesmerizing and miasmic as it sways slowly through the savouring of a homicide — punctured lungs, sawed-off limbs and all — while also mocking the vampiric. As he recounts his journey out of Heaven, he plays Pied Piper to an unnamed lover, who is to meet him at the border in the morning. We learn that even the Devil is dissatisfied with this world.

Simon takes over vocals as he namechecks Derrida and Foucault and the distance from humanity that academic theory provides. The final track on the album proper, Anthem for Doomed Youth, is a delicate song that skips along in a lackadaisical fashion and ends in heavenly choruses provided by Julia; it also emphasizes many of the points already made in Jerusalem. The album is available for download from herewhere you can choose what you pay.

Come June, I know I will be buying a physical copy of the album and any book or foodstuff that can be added on to it. I have never been disappointed with their challenging art. Oddly enough, they encapsulate a different semantic plane of We Love You, Tania; they are definitely other to most bands, and thus, so valuable.

We need a band like this even if the masses ignore them and their witty words just hang, hang, hang. My brief sojourn back in the blogosphere will last for one more post as I conduct my Indelicates interview. Ill — The Indelicates. Savages — The Indelicates. Some of you loyal readers may have noticed both my rather spotty posting record last year and my two month absence this year before finally revealing the Day of Songs.

It made me take a step back from myself and take a re-think about what I was doing and what I wanted to do. I very obviously still love music and will continue seeking out new sounds, attending shows, and reading music-related books, but I really need to take a break from writing about them. A break from trying to find words to make meaning of them. I hope that something fulfilling will come out of the temporary loss of this outpost in cyberspace.

Perhaps knowing that this is waiting for me when I finish will be the motivation I need to push through the prose building up inside my brain and on various scraps of paper in my bedroom. There are critics and there are artists; some people can manage to be both simultaneously, some cannot.

I need to relinquish the former role to attempt to be the latter. It all seems very serious. Perhaps I often take this blog too seriously, worrying over content and trying to keep to some impossible plan. My wit if I ever had one went out with the rest of them some time ago.

I need to write properly or not at all. Everyone has their own purposes for blogging, including MP3 blogging. Mine really had mostly to do with writing. Probably because music is such a massive part of my life to begin with. And that will likely be the reason I return here again. To stave off madness himself, he turned to creating lists, of course, eventually producing the first thesaurus. He constantly organized his world and found a way to preserve his sanity.

I used music probably have done for a sizable portion of my life as a conduit to escape and to community, the best way I knew how to keep mad thoughts at bay. Thank you to those of you who have followed me this far and said such supportive things. I think the Day of Songs was a high note to leave for this hiatus because it demonstrates something beyond my selfish agendas.

The Day of Songs held in honour of my th post, which happened way back in April of last year. I wanted to get people who read this blog or perhaps those who even only read that th post or friends they know to submit their favourite songs so that I could then compile them into 10 mixes for everyone to share.

At that point, I decided that I would settle for songs from other people and from my own collection. I put out one final call in October, and here we are.

I ended up having to add 96 songs from my own collection since a couple more people sent me songs at the eleventh hour. I learned that my readership is indeed diverse and passionate about music. There were evidently also areas in which I did the most bolstering culminating with Mix 5 being nearly all me. You will find 10 Audio Grab Bag Mixes below.

Though I never solicited explanations for favourite tracks, many of you included them; I decided to include little blurbs from some of the contributors to acknowledge the diversity and beauty of fandom. Fountains - Moral Panic (3) - Moral Panic (Vinyl again to all who contributed — you should all be applauded. I hope I did your choices justice. And I hope you all discover a new favourite artist.

Audio Grab Bag 1 Download. Audio Grab Bag 2 Download. Audio Grab Bag 3 Download. Audio Grab Bag 4 Download. Audio Grab Bag 5 Download. As I am from germany, I send you one of a german band. As modern rock music was not to be played on german radio stations during the eighties. When Blumfeld arrived it was like an explosion to the german scene, as during a few months suddenly every week dozens of new bands were released.

Maybe like late seventies and early eighties when punk and new wave came across in britain. Of course you will hear all the british influences on this song, but for me it was like: you can sing this songs in german, too.

Audio Grab Bag 6 Download. I followed them around on tour and bought everything. It was a pretty bad year for me, and I ended up dropping out of uni for a year before finishing off and coming over here for grad school. In traditional Suede fashion, I reckon this b-side is better than a lot of the album stuff.

Audio Grab Bag 7 Download. I love Johnny Marr so much. The concert was in an open field. The band had to delay 2 hours while the audience was pelted with hail and the valley flooded near the stage, so we were all huddling under tarps and wading through ankle-to-knee-deep water. But at the end of it, drenched and exhausted, I dragged myself back to the foot of the stage and stood 10 feet from Johnny Marr and yelled his name over and over until he looked confusedly my way between songs and I waved like a retard.

Audio Grab Bag 8 Download. When Membranes came to play in Lisbon, I went to the theatre quite soon, as I was afraid of not finding a ticket you had to buy the tickets at the door, by then….

After all, the theatre was only half full or just half empty. It was quite a gig! Audio Grab Bag 9 Download. Every time this comes up on my iPod, I start to dance a bit and sing under my breath. Audio Grab Bag 10 Download. Instead, I decided to hit some of the ways this decade dealt with music — how technology has changed the musical landscape further, what globalized capitalism has done to the music industry, and what media convergence did to help out.

Then as a second part, I thought I should add some of my musings on the decade as far as my own musical development goes — after all, I became an adult in the 00s.

The post about Gary Barlow poised to take over the world was particularly enlightening. Web 2. Technology has continued the major upheaval begun in the 90s with MP3s and Napster, and has now proved there is no going back for the music industry. The MP3 file has changed the nature of music and the way it is consumed in a completely McLuhanesque fashion.

It made music infinitely clonable and portable, aspects which led to the rise of the iPod and the spectacular decline of the record industry. Now music is disjointed and serendipitous by shuffle functions while being omnipresent and essentially valueless at least in the capitalistic sense. The MP3 has shown us what art becomes when it is immediate and free. Whilst Napster and its variations like LimeWire created the new rhizomatic gift-giving structure in MP3 file sharing, torrents have taken it to a whole new level of decentralization.

The advancements of Web 2. The upshot has been a severe fragmentation of markets and escalation of taste wars while also a fantastic break from traditional music press. The car began to move again, and the riders slipped from their pocket of stilled time into the continuity of life in the city.

There was nothing unseen to draw her eyes from the bright hardhats of the workmen visible through the window across from her, and she looked up. Two of the them spread what looked like sawdust onto a darkened patch of track on the opposite side of the center divider, separating inbound and outbound trains, while a third looked on.

He stood stoically, having already done his job, or waiting to take his turn, so no one would ever know death had come to that small space in their underground world. But he knew it had. His co-workers knew. And so did Harlow. Had changed him. She understood, and felt pass between them a kind of grieving kinship. The train continued to move and another wave of bleary drunkenness washed over her, bringing Harlow fully back into her body.

A teary woman across from her stifled a sob. Harlow turned her head and tried to catch her gaze, and convey solace to her. She tried to be the presence in between violence and death for this other human being who was about to be overtaken. The way she did.

The woman gave her a weak half-smile and turned her eyes toward her hands in her lap. Harlow leaned back in her seat and for the next two stops, stared at the advertisement next to the door. A size zero woman with a heavy-lidded expression stood stiffly in a yellow bikini next to the legend.

The operator announced her stop and she snapped out of her trance. As some of you know, I decided to dip my toes into the dating pool once again back in December. In the time I have spent using dating apps to meet new people, I have noticed certain behaviors that either make me laugh, want to cry, or burn down the entire Internet depending on my emotional state.

A close friend of mine is also currently wading through the dating pool, and on a regular basis we compare notes. This is especially true if the same man is interested in both of us. At the time, it seemed like an absurd idea but the more I think about it, your dating profile is essentially a resume.

Thank you for your interest. A handsome alpha werewolf who owns his own home and business. That exact sentence appears on one of my dating profiles. Clearly, this is meant in jest. However, several men have asked me to explain my response and have gone so far as to view the fact that they are not a werewolf as a strike against them.

If you are actively pursuing your goals, creating something with your hands or mind or bothand having a positive influence on the world around you, then even better. I want to talk about things that matter. I want to be held and kissed. I want someone to push my boundaries and encourage me to accomplish my goals. I want someone who will allow me to explore their body and mind without fear or the need to constantly be in control.

Before we go any further, I need you to understand that the last statement in the paragraph above is not an open invitation for you to send me pictures of your favorite kink. Nor is it a thumbs up for you to send me dick pics. Actual profile picture from OKCupid. As many of my friends and people I have dated can attest, not all of my dating experiences have been bad. But finding them often feels like looking for a needle in a pile of needles.

So, wish me luck. And wish all the weirdos out there on dating apps luck. Last week, David Day visited Girl Meets Monster and talked about genre as a means of choosing what to read as opposed to what to write.

David and I have never met face to face, but we belong to Facebook group of weirdos who enjoy dark humor and laughing at our own shortcomings. David X. Wiggin barely escaped Brooklyn with his life, though he still occupies New York City.

You can find his most recent fiction on Pseudopod and in Black Treacle Magazine. What is it and where did you come up with the idea? DXD : So, to answer the question a little bit of background first: the idea for this story came from a photo-collage I once saw that depicted a furious dog in a military uniform it was in an issue of the Paris Review iirc.

Think like giant robots with pilots, but clockwork and, well, human sized. Anyway, there was something kind of decadent about that idea and birds are almost always floating above the rest of the world so I thought it made sense to make them the rulers of this world.

GMM : Based on the strangeness of the characters, my assumption is that your story is either set somewhere in outer space on another planet. When is this story set? Do you prefer writing about invented times and places, or do you also write about alternative Earths?

Maybe worth considering though! Is it primarily between species, or is it a bit more complicated than that? The dog-like creature is a decorated military man, so I assume that there is a hierarchy within that system, and I assume that there have been wars.

DXD : The hierarchy is pretty basic: the Avians have tricked the rest of the world through the power of their eloquence into letting them run it. They do all the dirty work for the Avians. The Ill-Mades are the serfs and the slaves and are considered to be no more than beasts. None of this hierarchy is legitimate or based on reality, mind you.

Thilter, the dog-creature, is the only one to see through this big lie and, being a power-hungry megalomaniac uses this knowledge to lead a revolt of Ill-Mades against the Avians. Which, as we can see from the opening paragraph of the story, has obviously failed. Well, I started this story a long time ago maybe 10 years? Or even worse some people are better off than the color of their skin. He struggled, but despite his seven feet of height and the hundreds of jangling medals on his chest that proclaimed his martial prowess, with his arms and legs manacled and chained he was no match for her.

His furred face was a froth of frozen snot, spit, blood, and mud and his yellow eyes burned with a heat that had in the past had typically preceded the death of thousands. He frightened her, broken and bound as he was, as he had always frightened her.

Still, she would not surrender to his will as she had in the past. He deserved far worse. They both did. On the icy slopes of Mount Tattaghata, twenty thousand feet above the earth, whipped and nipped by the spirits of cold and wind, the two figures struggled against the elements and against each other. One was a Bestial —a giant dog-man dressed in the rags of what had once been a beautifully tailored military uniform and fifty pounds of thick chain- the other an Ill-Formed-Woman.

Though most of them were hidden beneath her heavy coat, thousands of arms of every size grew from her back and her neck like the tendrils of an anemone. Under her spider-fur hat, a head of thin hair-arms squirmed. Had there been anyone to see them in this desolate corner of Lexis they would have been flabbergasted by the sight of a low caste Ill-Formed treating a decorated Bestial general like a prisoner. No doubt it would have looked like a sick joke.

And there was no question, Galatea reflected, that was precisely what it was intended to be. Prince Owlbert was known for his cruel ironies. Though Thiltre had had to be forced to his knees, Galatea had prostrated herself with an instinctual ease that terrified her. They had conditioned her well. She had experienced for herself the cruelty with which the Avians had repressed other races, stripping away their freedoms of mind and body to make pliant servants. They had built their empire upon the bloodied backs of her people.

She knew all about their petty natures and pathetic hypocrisies. She had seen first-hand just how mortal they were. And yet… she had entered the court shaking, not from fear of the punishment that awaited her, but of being in the presence of her masters.

They had taken so many things from her. Things she had never had to begin with. Prince Owlbert had leaned down from his perch atop the neck of his mechanical manbody and studied them with blinking black eyes. Followed by the faint whistle of spinning gears and winding strings the manbody raised a jeweled hand in an elegant gesture of greeting.

He spoke so quietly everyone in the hall had to lean in to hear. It has been unrelenting eons since we have had a suitable divertissement. Is that not unequivocal? Then he turned back to the prisoners. Approaching half a million Bestials and Ill-Mades aggregated from every corner of Lexis to stand beneath your tangerine banners.

You collected victory after victory over our Silver Legions. Those squadrons of child soldiers- Nursery Killers, I think they were called- were they of your own inspiration? Your resolution to depart the court to lead this rebellion was a veritable disappointment. You could have ascended higher than your father. He hung himself from shame when he heard that it was you leading the rebellion you know. Thitlre had snickered from behind his muzzle.

His cunning yellow eyes scanned the court. Even then he had still considered himself undefeated, imagining that his devoted followers would come rescue him, and was taking catalogue of what precious things here he would claim for himself and who he would keep alive to torture on dull afternoons. To his credit, he had returned from worse defeats. Send it my way at chellane gmail. So, you know how yesterday I mentioned that whole feeling of pastiche I experienced while watching Misfits or something to that effectwell, if you know me at all or bothered to read my blogyou know I have a special place in my heart for the mentally disturbedthe outsiders, the creepy kids, weirdos, the unstable …well, you get the idea.

Some of my favorite fictional characters are monsters who have a sad, or at the very least pitiable backstory.

Simon Bellamy, played by Welsh actor Iwan Rheon, is a first-class weirdo of the most endearing kind. Yes, he has the potential of becoming a psychopath, but instead he uses his knowledge of Science Fiction and Fantasy films and comics, his understanding of how to cover up a murder, and his geeky sex appeal to win the love of a girl.

I mean, look at him, he is super-fucking-adorkable. At the beginning of the series, when we slowly get to know each character and why they have been assigned community service, the strange quiet boy appears to have the most depth. Nathan Young, the self-centered prick who has some of the best lines of dialog, has an almost psychopathic preoccupation with making fun of Simon.

I mean, honestly, nothing is sacred to Nathan, but he seems to zero in on Simon, which eventually, I believe, is one of the reasons he steps out of his comfort zone of shyness.

He has no choice but to defend himself against the onslaught of name calling. We soon discover that Simon is very smart. To be fair, his nerdy tendencies lead us to assume that about him, and like most weird kids, his intellect has led him down some culturally-specific paths.

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July 5, Retrieved August 9, Retrieved March 23, Natalie in Japanese. September 6, Retrieved October 4, September 9, September 26, August 16, Capital FM. Paak reveal new release date for Silk Sonic album". September 14, Retrieved August 21, Magentic Magazine. Retrieved May 12, July 17, Retrieved July 18, September 29, August 23, September 15, August 21, Retrieved September 26, September 23, Retrieved September 25, The Music Universe.

Retrieved January 25, Retrieved February 8, Retrieved February 21, The PRP. Fountains - Moral Panic (3) - Moral Panic (Vinyl 28, February 15, Retrieved June 6, Retrieved January 13, Retrieved January 29, It is not uncommon to witness ecological ethics expressed in party promotions where for example, the phrase leave nothing behind Earthstomp 99, for example, was a forum for any inhabitant to give ecstatic homage to their planet.

Planting native trees and cranking it up, Melbournes Tranceplant collective have, along with their Queensland compatriots Scleromorph,76 emerged to operate Australias Environmental Sounds Events.

Other technotribal convergences dramatise issues relating to the activities of the forest and mining industries, and are often designed to fund campaigns mounted in opposition to these industries. Furthermore, with the emergence of intercultural gatherings in recent times, technotribes have demonstrated their support for Aboriginal communities and their causes. Inthe Earthdream technomadic protest-theatre had also realised considerable intercultural dialogue and alliance forming outcomes.

According to Karl Fitzgerald, who had spent 12 weeks negotiating with traditional owners to gain their permission, the former mission site became a non-violent dance-scape attended by Kooriesproving again that dancing can free your mind. This is most famously a characteristic of Earthdance, described as a global dance party for world peace and healing.

From its inception in tothe event focused on the plight of the Tibetan people, and in expanded to include other significant global causes though remaining a united global dancefloor held in multiple locations simultaneously.

Earthdance climaxes with a synchronized dance-floor link-up when a specially recorded song, The Prayer for Peace, is played at every event on the planet at 12 midnight GMT: Morning in the Australian. Funds raised are donated to humanitarian causes. Inevents transpired in 71 cities in 33 countries, with Earthdance Sydney raising funds for Land Care Australia to maintain and improve the water quality in the Wollondilly River Catchment.

The spiritual dimension to such events has evolved from the consciousness raising element of preceding summers of love. Spirit here is often thought to lie at the junctures of cyber and body technologiescomputers and psychedelics and to be consequent to youth cultural experimentation with such cyberdelic devices.

Experimental esoteric landscapes, doofs may effect personal peak experiences as the following memory of Technofest 97 intimates: There were some moments which overwhelmed me completely standing swaying on the edge of the waterhole, illuminated by swirling projections looking out at a performance which completely blurred the line between hallucination and theatre.

Across the water amongst the twisted roots of a dead tree was a big industrial harp made of iron pipes and wire. Strumming the harp was a postapocalyptic cyberchick, lurching and plucking like a demented animal. Emerging slowly from the murky water was some kind of aquatic beast clad in mud, streaming water and some kind of skeletal bovine mask.

He would emerge slowly from the water as if entranced by the siren playing the harp. He would then slowly submerge only to rise again from another part of the waterhole. It was really too much for this humble raver, I had to look around for friends to help me deal with it and ended up lying on my back in the dust, grinning with disbelief.

That such events occasion a non-differentiated experience, a kind of temporary techno-communitas, transcending the boundaries between self and other is championed by many. For Williamson, in the doof, tekno anarcho-activists understand the power of the gnosis of trance, and may use lots of tricks and techniques to direct the energy of the dance. While sound is the chief means by which transcendence and inner-knowledge may be achieved in such contexts, artists have also buried crystals 81 From the ticket for the ConFest Easter 97 Labyrinth.

Such epiphanies mark transitions, and perhaps become rites of passage into new states of being. Interactive ritualtheatre installations built into doof foundations borrow from a cornucopia of floating signifiers and iconographical traditions.

The panorama of indigenous and traditional belief systems and practices which inspired what zippie Frazer Clark had 80 Lane ibid. Furthermore, in reviving lost traditions and investing them with new technological innovation, the dance rite constitutes an answer to modern distancing from natural world rhythms: Our convenient industrial cultures have practically negated our direct relationship with the earth and its seasons and cycles, and it seems that there is less and less reason to rely on, let alone investigate our instinctual being.

Our experiences with sound, psychedelics and the dance ritual are the stirrings of communicating via the ebb and flow of the earths rhythms and letting it seep Album) our collective emotions. Dancescape occupation can be an imaginative process of appropriating, inverting, dwelling in and marking out place.

This is especially significant to the DiY scene, as doofs are often reported to reclaim public space. While the proliferating nineties Reclaim the Streets campaign represents an exemplary process of inverting the meaning and purpose of public space, especially in countries where such demonstrations are anomalous or prohibited,87 these events are not always so public.

Like their underground predecessors, informal dance parties have usually been means by which young people mark out local places for themselvesby which space has been rendered significant inhabited. In the subversive appropriation of cracks in the urban. Krusty informs that energy located in and channeled from the Australian landscape is responsible for the ecstatic states associated with outdoor doofs: I think theres a sense of the spirit of the land.

This land we now call Australia has a real spirit to being stomped. And if youve ever watched Aboriginal dance, its very much about stomping the earth See D. Wall, Earth First! The most renowned occupation of public space in Australia is probably Vibe Tribes frequent revisitation upon Sydney Park opposite St Peters Railway Station, Sydney, where, in Apriltheir Freequency party was violently dispersed by police.

A marginal edutainment complex complete with multiple dance floors, kitchen and info stall, System Malfunction was designed to raise funds for the upcoming Earthdream mission.

Amplifying drum n bass and ragga roots from a concrete platform forming the base of a huge girder, international sound systems Bedlam UKNegust Negast UK and SPAZ US joined forces with local sonic mobs Ohms Not Bombs and Labrats who set up separate dance floors and an activist chill lounge respectively.

At the edge of the metropolis, under the shadow of one of the countrys largest bridges, through the night and into the day, alternative cultural territory was carved outan island of freedom incubating transgressive transactions and enabling progressive awareness raising transmissions.

The Graffiti Hall, an anarchic headquarters for the self-empowerment of unemployed youth closed down by the pro-residential development South Sydney Council in March after a prolonged court battle, was founded by underground saint Tony Spanos - who has also supported Ohms not Bombs, funded wildstyle mural projects in Redfern, Newtown and Erskinville, and sponsored various Aboriginal sports programs and music workshops.

Ina community access sound system called Quency was named in honour of that struggle for free autonomous space. From Sporadical no 4, Springp. When four hundred people were transported on a ferry to Shark Island, 2 kms from shore in Sydneys Rose Bay on February 18 for Cryogenesis91 biannual day time avante-garde chillout project, they experienced something more than a literal island of freedom. Special K describes the transportation as something like a rite of passage to this essentially Sydney space, magically incorporating its cityscape and the amniotic fluid of the harbour offering rebirth and renewal.

Disembarking, the denizens of those confined spaces of timelessness and eternal night, inner city nightclubs and raves, awoke into the finite daytime into public visible space. On Shark Island: temporal hours of sunlight ruled over all and the children of technology were forced to obey the laws of nature once more The day provided stimulation for all bodily senses, the eyes and ears being privileged by the combined landscape, seascape and soundscape.

In more subtle ways the senses of smell, touch and taste were also stimulated by the environment. The taste and smell of seaspray, fresh air, marijuana and increasingly warm alcohol, the feel of grass, sand, water and rocks under feet temporarily freed from the bounds of shoes. These senses also evolved throughout the day for many as other chosen stimulants altered states of mind and added to the sense of occasion, of celebration and of physical and mental travel away from the everyday.

The outdoor journey which potentiates connection to the natural environment is a recurrent and important theme. As Tramacchi points out, the location of doofs in an ecological environment promotes a sense of linking the doof community to the landscape and allows the occurrence of spontaneous mystical bonds with nature.

Raving had become a marketable leisure pursuitand the quality of subversion it offered was obtainable in regulated doses at a steadily increasing price. Moreover, the subversive dimensions it possessed were in large part imported from a country where a generation of youth had had their practices dancing all night to a filthy rhythmheavily legislated against, effectively politicising activities that were often not necessarily oppositional or radical.

Despite two terms of conservative government, the regulation of dance practices in Australia does not resemble the UK experience. While the comparatively vast landmass and relatively sparse population seem to be central to this comparison, the distinctive qualities of Australian ecological and cultural history, upon which the Howard and preceding Governments have made their mark, have triggered a response in contemporary youth cultures.

An influential UK DiY movement not withstanding, Australias geophysical, historical and political landscape has given form to a radicalism inscribed in local post-rave culture. The continuing threat to high conservation value areas, rainforests and wetlands, a burgeoning uranium industry, an indigenous rights movement and the struggle for independence, meaning and legitimacy are issues significant to a growing population of young Australians.

So say the transgressive ever-morphing edge-dwellers of Australian tekno-dance culture, where media activists engage in information war against government and corporate control. This chapter examines the role of the activist media, specifically self-published print zines and web or e-zines emanating from the Australian tekno fringe. Following a brief history of zines, it discusses activist tekno medias response to commercial culture, production techniques and philosophies, followed by an examination of this medias interest in sustainable community, new spirituality and participatory communication.

Were psycho-chemical-regurgitated-bastard children working for a reprogrammable future. We cant escape our creation, our legacy, cant return to an archaic past or escape to a synthetic future. We have to confront what we have become and why. Like early organisms in a changing environment, we experiment with new collectivities, fields of being We reconcile culture as nature and our history plays as an alchemical psycho process through stages of realization.

Activist tekno zines are often disseminated at partiesthe creative focal point for dance culture or wind-up in community radio stations, alternative food, music, book or clothing businesses, in nightclubs, cafes and pubs, and even beside free street entertainment press.

Some welcome subscriptions and produce regular editions, while others only appear now and again, or perhaps as a one-off. Some zines resurrect after years of hibernation. They may appear exclusively as virtual or print media or a combination of both. Profit making rarely motivates zine communities with most publications traded, given away for free, or sold at near cost price.

With this freedom from commercial pressure and manipulation by media owners, publishers and advertisers, comes an avalanche of diverse subject matter seldom considered by mainstream mass media. Zines are a community phenomenon, not expensively manufactured popular culture.

Western grassroots press has its beginnings with the development of the printing press4 inwhich helped manifest the overwhelming changes in ideas and consciousness of the Renaissance, the Reformation and the Scientific Revolution. The appearance of contemporary zines began with science fiction fanzines in the s.

These publications grew out of a desire for people to make contact, network and communicate their peculiar interests. Rob Hansen writes in his British Fanzine Bibliography5 that the pulp science fiction magazines of the s and 30s included letter columns from readers.

One particular editor started printing the full addresses of letter contributors, which led to them writing to each other, setting up meetings, and to the beginning of a sense of community. Many contemporary zines, including those found on the activist tekno fringe demonstrate these original motivations of networking and communicating. You Say? Developments in media technologies have directly contributed to the explosion of self publishing in the s and s via cheap and accessible photocopying machines, inexpensive personal computers, desk top publishing computer software, as well as the emergence of the internet.

Part of the alternative political and cultural publishing continuum in the West, Australian tekno activist media links to the underground political press of the s and 70s. Debacle, Nervous Habits and Krankheit reflect the more grotesque, surreal and nihilistic edge of the culture, while Sydneys Angry People, Loaded to the Gills, and Victim Culture, or Queenslands Seditious Intent, Humans in the Mushroom Field and Fight Back focus specifically on DiY direct action, networking information, culture jamming, anarchy, animal rights, equality and feminism.

In the s and 90s, other zines spreading the DiY message appeared in various guises including the subversive Brisbane zine The Future Now, and the incredible celebration of DiY energy and diversity exposed through the many issues of Woozy from Melbourne, and its associated zine, music, and video distro, Choozy.

More recently, rural based zines like Tribe in Northern NSW, and web-zines such as Activate10 started by Sydney high school activists incontinue to promote and propagate environmentally and socially aware DiY mutating culture. Sound system activists, Ohms Not Bombs,11 note on their webpage: The acid house boom of the late 80s saw a new format and arena for expression, excess and human interaction.

Breaking down the barriers of traditional entertainment, the emphasis was placed on the participants of an event, taking the spotlight initially away from the entertainers. The DiY subcultural tradition surged ahead in the early s in Australia with the appearance of techno community sound system activists, Jellyheads, and later the Vibe Tribe collective which took the concept in a different direction with its 10 Activate Anarchist Network, activate cat.

Grassroots networks and alternative distribution systems, distros, emerged as part of the Punk DiY surge, reclaiming the realms of creative production from stifling commercial culture. In Australia, the punk distro Spiral Objective9 doubles as a zine containing articles, art and reviews, and a catalogue of local music and media. A S Van Dorston, punk fastnbulbous.

Techno culture, underground parties, community events, and open air dance gatherings have taken up residency as a regular part of our culture.

Radical electronic music, contemporary art, performance and community co-creation have created a vibrant cyber-radical techno tribal network Dissatisfaction with the system is expressed with a more positive communicative bent, mutating, surviving and creating new media and communication networks. When an event is organized a community energy lays down a precedent that the space created is autonomous and free of all prejudice against human individuality and diversity. The safe space takes on its own chaotic kinetic vibration, repetitive and non-repetitive sounds are emitted, new artworks displayed, contacts made and non-elitist community aerobics danced till the next day.

It is hard for such spaces to be activated at traditional city venues where alcohol dominated spaces transmit the unhappy frequency of style conformity, centralised control and bad attitude security.

The cyber-femme print and web-zine Geekgirl16 contains a doofstory about the Vibe Tribe which outlines the community activism of the collective and its connections to the DiY tradition: As friendly party energy continues to build, webs of consciousness communicate between groups of like-minded party people. Formed by a group of people dedicated to putting on non-commercial, full-powered events, the spirit of punk was sustained and painted fluoro as the techno seismic shift sent its tremors across Australias dance floors.

The underground party has grown and diversified, despite often being denied access to inner-city spaces. This has energised and motivated a new generation of boffins, freaks, audio alchemists and networking nutters. The original purpose of Ausrave18a national e-mailing list initiated by Rev Simon Rumble, was to discuss raves and rave music back when such beasts existed. ByAusrave has evolved into a meeting place, a discussion point of all sorts of things. They debate, discuss, share music resources and reviews, and even form party collectives to organise events.

Sinceactivist tekno media has found new stomping grounds via events like the annual National Young Writers Festival1 23 held in Newcastle and Melbournes Media Circus. What role do zines play in the activist media landscape? Both their content and methods of production and dissemination reflect and promote the values of their community. Activists splice up and reconfigure mass media in accordance with their own perspectives.

They fuck-up, jam, subvert and unravel belief systems by using corporate symbols. They exploit the rich ambiguities of words, images, identities, commodities and social practices in order to craft protean perspectives, to rupture business as usual, and to stir up new ways of seeing and being in a world striated with invisible grids of technocultural engineering.

These zines respond to powerful global media networks, to reliance upon their televisual reality and to the associated decline in a culture of critical consciousness. By expertly utilising innovative and traditional media technologies, activists attempt to re-balance the flow of information. Techno-fringe media provides tools for radical organisation and personal exploration, encouraging people to become self-aware, to inform and to experiment in alchemical30 zones of participation.

Production involves copying for non-profit purposes, though often the zines request acknowledgement of the source. There is interest and practice in the fair use of popular culture for sampling, with active encouragement of further copying and dissemination by the recipient.

It isnt about ownership of information and associated profits but rather the availability of ideas and active encouragement for readers to contribute, copy and distribute.

Within DiY media culture the distinction between producer and consumer is fuzzy, as the culture thrives on a participatory horizontal network which assists in breaking down the commodity relationship of regular commercial publishing, as participants share zines and ideas with each other. Hakim Bey32 suggests in the final issue of the anticopyright zine, Babyfish Fish Lost its Mama33, that the world of commodities separates people and divides communities, that exploration of alternative economies and experiments in living, will r evolutionise the way we think and live.

FREENRG To deconstruct the negative stereotype media creates about youth, by making our voices heard within the community and throughout society.

To be unashamed, and unapologetic for who we are and the way we choose to express ourselves. To educate other generations about positive solutions by living out those solutions in experience and experimentation. Change the world before it changes you, contribute today! Yoghurt zine, produced between and a revived issue will be released in by an innovative youth collective in inner city Brisbane named Connect, shared ideas about how young people can create change in their community.

Combining efforts with other grassroots organisations like Youth for Youth, Starving Artists, Radio 4ZZZ35, Focus on Creative Employment, and through producing Yoghurt, Connect explore a range of resourceful strategies required to create an empowering community. Yoghurt declares a firm anticensorship policy: We believe that censorship does not prevent things from existing, it simply hides them making them more dangerous.

Censorship results in ignorance and lack of education. Censorship demonstrates distrust and disrespect for the people the information is being kept from. Censorship prevents people from making an informed choice as to what view they will hold about the information. Members of Connect have contributed to the network of underground tekno collectives around South-East Queensland since the mids.

Originally the Chai Mamas, they provided food in chill zones at tekno events, and held monthly feasts like the Community Kitchen events. Later as the Chailight Zone and Spin n Jamthe ongoing artists autonomous jam space, former members of Connect facilitate a Friday night explosion of electro-inspired spontaneity in inner city Brisbane. In a fading 10th generation copy of Copyrant38 zine johnj cat.

What is copyright? Who does it benefit? His examination suggests that our communities prefer to celebrate the supremacy of the profit making individual over the community, to the legal extreme. However, for many artists copyright stultifies the creative process through possession, commodification and separation. Our society tends toward a monoculture where only those with money control art, with copyright disrupting creative community by preventing an atmosphere of trust and cooperation among artists.

Cyber-philosopher, Mark Dery, writes in the Pyrotechnic Insanitarium These burgeoning subcultures are driven not by the desire for commodities but by the dream of community [] It is this yearning for meaning and cohesion that lies at the heart of the jammers attempts to reassemble the fragments of our world into something more profound than the luxury cars, sexy technology and overdesigned bodies that flit across our screens.

Agitating in response to enforced marginalisation, zine producers combat widespread misinformation usually perpetrated by mainstream media and government. Repetitive Beating at Cybernana45 in the Brisbane zine FreakQuency, which appeared in 3 issues indemonstrate that attacks on the party culture seem to derive from little more than misinformation and a determination to frighten people into conformity and obedience to authority.

One of the most infamous police busts in Australian tekno culture, the free party Freequency46 which occurred in Sydney Park, inner city Sydney, on the 8th Aprilinvolved 40 police with batons, riot shields and police dogs who charged the offensive dance floor at 2am.

Apparently responding to noise complaints, police arrested 9 people, and 2 others landed in hospital. Even though the report failed to order further investigations due to a lack of evidence, it was noted that police did act confrontationally. However, as Sebastian Chan points out in his article, The Cops are Jammin the Frequency,48 new battlegrounds appear in the struggle to reclaim community space, and information and education are the keys to future resistance. Repetitive Beating at Cybernana, Freakquency 2, p.

Community groups are denied access to legal rave venues by huge rents. These colosseums for mass distraction are controlled by the emperors of the spectacle. Squatted spaces like the one used for the Visions of Freedom53 rave give local activist groups vital fun d and awareness raising opportunities. Bylocal Adelaide tekno communities faced increased harassment by the police and state.

Sub Lumen zine provides a rallying point for the frustrated culture: I would just like to say get active. This is your freedom we are talking about here. And it is being taken away. For over 25 years ,4ZZZ50 has played a key role in questioning the authoritarian nature of Queenslands laws, government and police via their agitate, educate and organize doctrine, tirelessly supporting local artists of all types, especially music cultures and putting the unity in community.

Freakquency speculates that such incidents are merely training exercises for police with young people and music lovers Album) the guinea pigs. Radical proponents of autonomy, the sound system collective, Ohms Not Bombs, support grassroots youth experiments in the use of public space.

Recent issues of Sporadical include a number of articles about the Graffiti Hall of Fame55 established by Tony Spanos in the early s. Throughout the past decade, the Graffiti Hall provided a grassroots youth space in inner city Sydney to offer direction and encourage creative pursuits for local youth and the wider Sydney community.


Spelling Live Backwards, Sunny Skies - James Taylor (2) - Sweet Baby James (Vinyl, LP, Album), End Over End - Foo Fighters - In Your Honor (Vinyl, LP, Album), The Words of Gods Lie Among Us, Lets Build A Relationship - MoonCakes* - XtraXcellent (CD, Album), Cursed Vision - Babylone Chaos - Les Machines Ecarlates (CD, Album), And Then Some - Ozzie* & Harriet Nelson - The Nelson Touch 25 Band Hits 1931-1941 (CD), Coast To Coast (6) - Dwell (CD), Drinking Spit - Buckshot Facelift - Anchors Of The Armless Gods (Vinyl, LP), Down On The Street 2001 (Wackside Radio Edit) - Various - Clubtraxx Volume 5 (CD), Inertia (4) - Decade Of Machines (CD), Going Around One More Time, Framed - Various - Oi! The Resurrection (CD), Cum On My Face - Snaggletooth (4) - Snaggletooth (CD, Album), Allí Donde Nunca Se Pone El Sol - Various - Revulsión (Cassette)