Raveboy (Prag/CZ)

Raveboy ist Teil des Messiah Komplex Soundsystems und setzte sich im Rahmen des „Policejni stat“ Projektes gegen die Polizeigewalt beim Czechtek 05 Festival ein.

Und er ist ...a DJ playing all kinds of radical electronica, from ambient to breakcore, standing behind Messiah Komplex (http://www.messiah.cz), playing with Gardenzitty/Aphrikka soundsystem, collaborating with Freetekno internet radio (http://radio23.freetekno.cz/) and spreading various activities on building parallel alternatives to industrially organized society. 

>> Sa.07.Oktober @ Veilchen, Forum Stadtpark

 

Beitrag für www.illegal-culture.org:

>>Underground or alternative commercialism? 

What exactly is underground music? This attribute may be seen as a part of almost every trendy style that tries to bring „fresh“ air to putrescent, waters of showbusiness. In fact it just usually brings new product line to consolidate „rebellious“ customers, and therefore sales.

So where’s the dividing line between what’s underground and what not? At which point is it still autonomous subculture and where just a personalized version of mass commercialism? And isn’t that all just a result of euro-americal individualism brought to the extreme?

Underground movement finds its roots in Sartre’s existentialism which reacted to horrors of World War II and described human alienation in the face of strictly hierarchically organised military regime. It continually evolved in many forms, from beat generation, through hippies, punks, till contemporary rave movement. Their main substance is defiance to authorities, mass society and corporate model of production and consumption. In its place it accents individual freedom, varied society based on community principle and do-it-yourself ethos.

It’s beyond dispute that the musical element gives the individual subcultures unique face. No matter what musical genre, artist just in the way how he/she composes, produces or distributes his piece, expresses his/her attitudes to questions stated above. In a matter of fact this particular approach determines actual belonging to a subculture (or even counterculture) lot more than the musical genre alone.

It’s usual that major recording companies in their rush for new trends (and customers) look for, suck out and then sell music with authentic roots – it happened to hippie-rock, punk, techno. If a commercial release follows all the formal rules of styles like these, that doesn’t automatically mean its membership of the related subculture. Because this music always lacks main essence which is present at all subcultural movements – full experience of authenticity and spirit – and is nothing but a consumption item, such as potatoes or socks.

But this principle doesn’t necessarily inhere only in large alienated transnationals – in reality, equation „more profit = more commercialism“ is not valid. In the past many important contraculture personalities sold millions of copies, and, on the contrary, musician performing at weird pubs for insignificant audiences might easily be badly commercial. The most important thing to watch is the artist’s intentions while entering the process. If the owner of a small record label is just a lurking calculating enterpreneur who seeks opportunities how to rake together the teenager’s money, neither trendy slogans on the record cover, nor mouthy catchphrases, nor „rebel“ music „protesting“ against this evil world, nor (numerous for sure) attracted audience won’t help him. He builds up nothing but mediocre alternative commerce.

So is every money making from music only a negation of all ideals, a hypocrite sell-out? Absolutely not, but it’s necessary to discern fundamental dimension: considering putting up the piece for sale should come into question as late as the artwork is finalised. The substance must be message, attitude, expression alone – and if this is the main intention of the work, it will always find its way to listeners within the community. By the way, one of the main attributes of these subcultures is exactly an effort for independence on outer mediators and gratuitous support for activities grown from natural spawn of the subculture.

The most important thing is not to become a someone else’s means, as Kant said, but an end. And if our socio-economic order is still going to be set for reshaping society in a way profitable for alienated machines, out of reach of the individuals, underground subcultures are here to stay. 

Raveboy / 2006 (Prag / CZ)