Good!
Listened WCN podcast with Violent Shogun and thought I should grab his early Cryptofascisme tape on todays playlist… but well, the tape collection is such a mess, so after browsing for while, decided to take something instead.
Cryptofascisme would have been neat to deal in more detail. I doubt those who don't know, that kind of stuff it would be that deals with... how was it said.. taboos of french politics? Things that you are not supposed to discuss. This would mean things like acknowledging role of French in certain african political incidents etc. A bit more detailed look on such content would be nice. It is sometimes slightly odd, that you could take something like industrial project Militia. They'd refer in early works heavily into german, there would be ecoanarchist, there would be belgian nationalist tones against imperialism, there would be sort of russian anarchism, critique of destructive capitalism, often some historical standpoint... but if from outside one would look, what would be kind of THE industrial atrocity of Belgium, historical events that were intentionally aimed to be erased and forgotten? I assume there is nothing about it. Of course artists decide what they do, and it could be in some way "cliche" to pick up the sort of most obvious thing. One would still assume that if there would be multi-dimensional belgian industrial topic, there would be so much of potential for metaphors for current day society as well. You can, and will forget millions and millions of savages butchered in kongo, if world needs your product, and you hunger the profit. In that way, Cryptofascisme would be interesting, that it would observe things like Mille Collines radio, french role in Rwanda genocide, which may be at this point "old news" to many, while german history will always be controversy. For industrial-noise heads, I would always assume it is the hidden, the forgotten, the not-to-be-talked-about, darker side of historical events that would be more interesting than the
obvious?
Anyways, also, Remi was good talking about half of his listening being his own stuff. "Not for ego reasons, but because it is ideal for my taste". Something like that. It is good level of noise creation!
He was talking on podcast about not being so much fan of music business, but liking the noise in form of personal contacts, trading stuff with people etc. Even if I have actually lived from selling UG stuff all my life, which is fairly unbelievable thing actually, to have no education nor job at this age, I do agree on absolute importance of things being… not business. It also effects your ”collections” quite drastically, are you buying or are you in touch with people. Doing trades with guys before they are ”recognized”, labels who make editions less than 20 because nobody seems to care. Eventually, decades later, it might lead to be very inspiring listening session with stuff that you did not just purchase, but you were sort of involved with. Good stuff that you had to be there, had to recognize the value and vitality before it was kind of "promoted to you". This type of personal relationship with the artist and art is quite different from what I often criticized about purely internet culture, where in theory there could be, but where often there is not some sort of personal commitment and back-and-forth communication.
I think Oskar says it pretty well in saying "maintaining and fostering underground noise culture, in more modern way, but outside the social media superficial symbolic communication". Which is pretty much what I mean with difference of culture, and
internet culture. Of course internet can, is and will be used, but there is big difference of how and why.
