The other night I went to a release party for a queer zine (with the translated title of “fags and disaster”) at a squat in Athens. One reason that I’m not looking forward to going back to the USA: the anarchists in europe listen to good music. I’m well known for my disinterest in the current fad of US anarchists listening to mainstream pop and hiphop. Nothing against pop or hiphop… I’m quite fond of both. I’m disgusted that we set up countercultural spaces, occupying warehouses or at least finding a modicum of liberty in rented spaces, and then infuse those spaces with what mainstream culture would prefer us to listen to. I don’t think it’s a coincidence that there is a higher instance of youth radicalism in Europe, where countercultural tendencies exist in more or less every music genre.
I got into this whole “anarchy” thing looking for a beautiful way to live my life and to question the fundamental assumptions put forth by our society. I didn’t get into it so I could dance with hipsters to songs with misogynist lyrics.
Anyhow, at this wonderful party in a giant abandoned apartment building in Athens, they played such good music: lots of dark wave, danceable noise, a bit of techno, a bit of gothic. Actually the above song was almost the mainstream thing I heard. I had never heard it before, though I listened to an awful lot of Portishead in the 90s. It’s so good. Industrial as hell but mixed with the kind of current dark pop sensibility one might find in The Knife or iamamiwhoami.
I’ve been doing gothic/industrial electronica in various ways for about 10 years now. Two of my favorite projects were Attack Attack Attack (with two albums of material: “No Gods, No DJs” and “We Are Not In The Least Afraid Of Ruins”), which was more industrial/experimental focused, with occasional human vocals by myself and others, and Wingzar!, battle-techno project themed around robot liberation and animal liberation, with synthetic vocals.
The music has been available in mp3 form buried on tangledwilderness.org for years, but now it’s available on bandcamp (through the above links). This means you can listen to it streaming, or even give me money for it. Of course, you can also still download it for free from Strangers In A Tangled Wilderness.
Last night I went to see Rosa Apatrida play their first show. Rosa Apatrida is a trilingual anarcho-darkwave act, and damn, they’re entertaining as hell. The two demo songs online don’t do them justice one bit. The singer is incredibly energetic and there are just so many synths on stage.
I watched it and wondered why the goth scene isn’t like this all the time. Why can’t we chant “kill fascism” in russian with the singer at every darkwave show we go to? I shot these photos to accompany Rosa Apatrida’s interview in the first issue of Graceless: A Journal Of The Radical Gothic, which has eaten all my time for a month now (and 11 prior to that, to a lesser degree) and which is almost released.
My friend Olga grew up to her mom listening to Agata Kristi, Nick Cave, and Depeche Mode. She says that this song is about how “black is my favorite color” and “opium just for us. No one else.” You can’t go wrong. Well, maybe you can go wrong with it, with the possible racial subtext to the video.
The above video, of a lego bank robbery, is for Victimless Crimes, the fourth track on the album. I made it with the help of my friend Raven, who provided the legos and scene design, as well as helping with the animation.
I went with my friend Enola to the Mausoleum today. I was not disappointed… the building is built almost like an old cloister, with all kinds of architectural things I probably could have told you the name of when I was in art history class. But damn, it was a beautiful place. I also took a lot of photos.