Release date: 12 October 2013. 76 pages. Datacide: Introduction Nemeton: Infiltration and Agent Provocateurs; Vision Tech; Endless War; Surveillance, Control and Repression CF: NSU Update Two in London: UK Anti-Fascist Round Up Comrade Omega: Crisis in the SWP, or: Weiningerism in the UK David Cecil: Confessions of an Accidental Activist Neil Transpontine: Spiral Tribe Interview with Mark Harrison Neil Transpontine: ‘Revolt of the Ravers’-The Movement Against the Criminal Justice Act in Britain, 1993-95 Split Horizon: What is This Future? Fabian Tompsett: Wikipedia-A Vernacular Encyclopedia Howard Slater: Shared Vertigo Dan Hekate: Crystal Distortion Howard Slater: Cut-Up Marx Howard Slater: EARTH ‘A RUN RED Marcel Stoetzler: Identity, Commodity and Authority: Two New Books about Horkheimer and Adorno Nemeton: Life During Wartime: Resisting Counterinsurgency (book review) Christoph Fringeli: One Night in Stammheim. Helge Lehmann: Die Todesnacht von Stammheim – Eine Untersuchung (book review) Christoph Fringeli: Anton Shekovtsov, Paul Jackson (eds.): White Power Music – Scenes of the Extreme Right Cultural Resistence (book review) CF: Press reviews John Eden: Emencified Shrill Out: Nomex at the Controls Alexis Wolton: Vinyl Meltdown, Prt. 1 Record reviews by Zombieflesheater, Nemeton and Kovert DJ Charts Matthieu Bourel: Rioter Sansculotte: Overdosed Plus: The Lives and Times of Bloor Schleppy

DJ Balli teams up with Amphibian t take revenge on Luigi Galvani! "During the 1780s, biologist Luigi Galvani performed experiments at the University of Bologna involving frogs. While cutting a frog's leg, Galvani's steel scalpel touched a brass hook that was holding the leg in place. The leg twitched. Well the time has come we return Mr. Galvani a flying kick on behalf of Amphibian. Sincerely, Riccardo Balli" Released by Urbsounds as a 10" on green translucent vinyl including a download code. <iframe style="border: 0; width: 100%; height: 120px;" src="https://bandcamp.com/EmbeddedPlayer/album=2791149956/size=large/bgcol=333333/linkcol=e32c14/tracklist=false/artwork=small/transparent=true/" seamless><a href="http://urbsounds.bandcamp.com/album/galvanized-no-43">GALVANIzed | [ / ] no. 43 by Dj Balli + Amphibian</a></iframe>

BACK IN STOCK!  Now also available for wholesale for shops! Movements that dig velocity. Movements that worship war. Movements that have been accused of being fascist. Sbrang Gabba Gang is the sound of two cultural movements violently crashing into each other at breakneck speed. What happens when the Italian futurist avant-garde clashes with gabber, a belligerent strain of hardcore techno and the Netherland's first proper youth culture? Sbrang Gabba Gang will introduce you to the strange custom of forming human pyramids at gabber raves, futurist after-shave cocktails and Pietro Cannata, the man who took a hammer to the toes of Michelangelo's David. In Sbrang Gabba Gang, Riccardo Balli explores the parallels of gabber and futurist ideas by way of personal accounts, literary mash-up of Futurist manifestos and a storyline that follows the vandalistic shenanigans of a posse of gabber-futurists consisting of Dominator Marinetti, Luigi "Holy Noise" Russolo, Luciano "Thunderdome" Folgore and Giacomo Balla/Balli. These ideas further come to life in a series of anaglyphic images to be explored with special magenta-green 3D glasses attached to each volume.

1) INTRO # How does Twitter sound? 2) @Paul Virilio creating an audio stream of the ]complete[ Twitter dataflow. Let's start with a simple calculation of  volume: 3) # Audio (CD quality) 44.100 Khz X 16 bit X 2 channels = 1.411.200 bits(per second)! 4) @Paul Virilio having compared most reliable statistics on the number of tweetsper day 5) it is reasonable to assume that Twitter produces an average of 2600individual tweets per second. 6) The estimated average length is 70 characters at 8 bit rate that is 2600 X 70 X 8 = 1.456.000 bits per second! 7) @Paul Virilio IN SHORT: TWITTER CURRENTLY PRODUCES ABOUT THE sameAMOUNT OF DATA PER SECOND (1.456.000 bps) AS A CD PROVIDES PER SECOND 8> According to Isaac Hepworth, product partnership @ Twitter "In a sample of a million tweets sent from twitter.com on 3 January 2012, the mean length was 67.9 characters." 9) for a matter of simplification, let's fix 70 characters as tweet's average length [as in side A] 10) 70 micron is also about the size of grooves containing audio information on vinyl, not to mention 70 decibel which roughly indicates wax dynamics! 11) finally, about 70 rounds of a 45 rpm 12″ like this are necessary to complete each audio-tweet of 1 minute 40 seconds length 12) [it's true on "Tweet it!" there are also INTRO and OUTRO which only last 14 seconds and are not 140(0) bpm) 13) @ Paul Virilio this record is an audio transposition of Twitter informational stream, whose dromology appears to be numerically connected (140, 70, 14, etc.) to cd and vinyl format. 14) OUTRO #How does Twitter sound?

Riccardo Balli Frankenstein goes to holocaust Mostri sonori, hyper mash-up, audio espropri Un saggio-prank che raccoglie fatti, aneddoti, dicerie dall’interno del gran genere-che-non-c’è, del plagio sonoro ininterrotto che ha varcato tante epoche e stili, fino a evocare il Frankenstein sonoro. Dall’introduzione di Vittore Baroni   Moderna, intellettuale, post-organica e vegetativa, sono questi gli aggettivi utilizzati per descrivere la musica elettronica, termini che rappresentano gli elementi fondativi delle narrazioni tossiche e speculative, digeribili solo per chi si genuflette al volere dei mercati. Per tessere il ritmo del presente sul pentagramma della realtà, servono invece degli sperimentatori arditi, capaci di esplorare mondi paralleli, pionieri dell’infinito e skater dell’onda generata dai movimenti controculturali. Sono i supereroi dell’underground sonico e uno di loro si chiama Riccardo Balli.Funambolico produttore di suoni estremi e autore di testi visionari, Dj Balli fa a pezzi l’obitorio musicale, seziona brandelli di polka bolognese su cassa gabber, trapianta ritornelli hawaiani dentro i bit del Gameboy… In un gioco di specchi, testimonianze e cut-up letterari, Frankenstein goes to holocaust affianca l’olocausto elettronico al celebre romanzo di Mary Shelley, creando un Frankenstein sonoro, il figlio illegittimo della saccheggiofonia, una strategia comunicativa che si presenta sulla scena mainstream con il nome di mash-up. In queste pagine si analizzano le tendenze sovversive e No copyright del processo in corso e si svelano le formule del taglia e cuci da sala operatoria, per arrivare a fronteggiare, a distanza di alito rancido, il mostro sonoro con gli occhi iniettati di sangue, con pezzi organici cuciti su pelle umana di John Oswald, K.L.F., Negativland, horrorcore, witch house, black midi, vaporwave e l’8-bit. Riccardo Balli dj-produttore musicale, è il fondatore dell’etichetta Sonic Belligeranza. Ha pubblicato Anche tu astronauta e Apocalypso Disco. Collabora in lingua inglese con “Datacide” e “DanceCult magazine”. pp. 184 – illustrato – 2016