So what noise will arrive to create the new order?

Noise / The Political Economy of Music, Jacques Attali

United Media of Re*form

Mixed by Stereo Virus Kollektive @ Weltklang, Osijek, April 2011.
Additional samples, sounds, textures & loops by Stereo Virus Kollektive.

We’ve met before, haven’t we?        
   
I don’t think so.    

Where was it you think we met? 

At your house. Don’t you remember? 

No, I don’t.  

Are you sure? 

Of course.

As a matter of fact, I’m there right now.    

What do you mean? You’re where right now?

At your house.

That’s fucking crazy, man!

Call me! Dial your number!

Go ahead!

I told you I was here.

How’d you do that?   

Ask me!      

How’d you get inside my house?        
          
You invited me. It is not my custom to go where I’m not wanted.

Who are you?       

Give me back my phone.         

It’s been a pleasure talking to you.

Sketches for the cover Metropolie Trans: Selected Recordings 84-90

Metropolie Trans: Disonmonia, 1987

More than colors and forms, it is sounds and their arrangements that fashion societies. With noise is born disorder and its opposite: the world. With music is born power and its opposite: subversion.

Jacques Attali: NOISE / The Political Economy of Music

We are proud to announce the release of Hometaping in Self-Management LP, the first in a series of retrospective Ex Yu Electronica compilation LPs that seek to highlight some of the most interesting happenings in the 1980s independent DIY experimental music scene of former Yugoslavia.

The LP comes in an edition of 300 copies, with a four pages full colour booklet and abundance of information about each individual project, a small introduction into hometaping in SFRY and a general project introduction by its initiator (Dušan Hedl).

PRICE 20,00 EUR + shipping & handling ★ ORDER INFO

METROPOLIE TRANS [1984-1990] mixed media project (graphics, videos, films, fanzines, music, texts) produced by Goran Lisnjic from Osijek, Croatia.
The project also involved by Mladen Pavlovic, DP and Goran Serbedzic.

Hometaping in Self-Management presents 14 different projects from five republics of the former Socialist Federal Republic of Yugoslavia (with the exception of Montenegro) with 14 tracks spanning from 1981 to 1989. The LP comes in an edition of 300 copies, with a four pages full colour booklet and abundance of information about each individual project, a small introduction into hometaping in SFRY and a general project introduction by its initiator (Dušan Hedl). The LP is realized in cooperation of Subkulturni Azil (Maribor, Slovenia) NGO for culture and art publishing and A Hogon’s Industrial Guide (Belgrade, Serbia) research platform with the support of Ministry of Culture of Slovenia. [a hogon's industrial guide]

Metropolie Trans: Transformer 2, 1988, video loop

Sonic Spray on FB and Soundcloud

We don’t care much about music. What we like is sounds.

isten to your present time tapes and you will begin to see who you are and what you are doing here mix yesterday in with today and hear tomorrow your future rising out of old recordings

everybody splice himself in with everybody else

Today the teenage music is an environment, not something to be played inside environment. The music painted onto the tapes, hard disks, rather than merely produced in the old sense of the term.

VIRUS HUNTERS

sound collage / experimental / culture jamming / found sounds / sampling / theory / musique bruitiste / noise / musique concrete / sound sculpture / sound installation / dada

Dada Jazz on FB

Dada Jazz on Soundcloud

We are living in an age where millions of colours became 256. Difference is the enemy. Generic culture hypnotises us all into generic patterns, where control is visibly invisible. Danger is replaced by fear. New means upgrade. Risk is obsolete. Art made money stupid, and money made us fools. We welcome no_use, no_function and no_fear. Anarchy, crash and burn, the new awaits.

From Learning to Earning, and now to Yearning, we have forgotten why we are here. We have lost touch with what made us tick, the fire of creative possibility that once consumed us from within.Revolutionary thought is but a distant memory. I grew up as part of a generation that thought it could help improve society; that our sole function was to be conscious and to spread that consciousness through creative awareness, exploration, observation and questioning.

This generation was replaced by the Thatcher/Reagan paradigm of Culture=Money. Thinkers became earners, Creatives became entertainers, and a whole dumbed-down generation now feels entitled to success and profit without having to work or think too much.

We are now left with a spiritual hollowness. The belief systems of consumption and commodity have been exposed as empty. Revolution is a distant echo lost in the white noise, and religion has been largely subsumed by globalisation. Virtual experiences have replaced human touch. Analogue culture is now the exotic.

We have managed to create for our children, perhaps for the first time in history, a future which is less hopeful than the one we live in today.

Deep Freeze

The house of credit cards has now collapsed. For 25 years we have been in a state of Deep Freeze. We have somehow denied ourselves permission to remember what it was like before the Big Bang of banking deregulation. Schools became businesses and hospitals became profit centres. Art for art’s sake was sacrificed for entertainment and bums on seats. Ideas became cliches and anything different was viewed with suspicion and disdain.

We have traded Freedom for Peace. What we need is Liberation.

Free Me from Freedom

As the Lehman Brothers collapsed, so a new era is signalled and the baton is passed on again. Mankind has the opportunity now to reclaim the cultural high-ground and risk something new, a creative breach in the barrier of exclusion that can allow some real growth and evolution, like a bright light shining through the cracks of a crumbling wall.

The line of Dangerous Ideas had been interrupted and the path can be found again.

(dangerous ideas)

When was the last time you encountered any culture that you can say was really dangerous, that actually challenged anything?

Anti-Design Festival

Re*form Manifesto: … For us, culture does not merely have an aesthetic or market stimulus. We are architects of the subject – the accumulation of spiritual capital. We are preparing the senses for more unified understanding of the relationship between ethic – aesthetic – erotic…

******

Stereo Virus Kollektive participate in the Anti-Design Festival with a sound work titled Re*form Manifesto.

Attack on Fine Arts! First Blood!

IRWIN and NSKSTATE.COM, NSK Folk Art, 1992 – ongoing [mixed media]

Together with the Slovenian art movement Neue Slowenische Kunst (NSK), IRWIN founded the NSK State in Time, an entity resembling independent nation-states not officially recognized as such. As an ongoing project, it represents a utopian state which has “no physical territory; its only territory is the dimension of Time” (nskstate.com). For the Taipei Biennial 2008, IRWIN set up an NSK passport office and video interviews with new Taipei-based citizens, together with documentation of previous events in London, Sarajevo, Berlin and Vienna. For TB10, IRWIN, in collaboration with nskstate.com, has assembled a collection of artworks produced independently by NSK citizens. These examples of “folk art” reflect back on the political and social implications of the NSK project. Presented artists: Peter Blase, Christian Chrobok, Danaja, dape, Haris Hararis/nskstate.com, David K, Charles Krafft, Goran Lišnjić, Lili Anamarija No, Christain Nnoruga, NSK.IS, Avi Pitchon, Alex Ross & Chris Wade, Armin Zerbe.TB08 Revisited Series

Attack on Fine Arts – First Blood, sitotisak / screenprint, 1994. Selection of NSK Folk Art artefacts, curated by IRWIN and NSKSTATE.COM at the Taipei Biennial 10, 2010.

Stereo Virus Kollektive WebSite

Stereo Virus Kollektive SoundCloud

Stereo Virus Kollektive MySpace

Stereo Virus Kollektive traverses the experimental terrain between sounds and  creating multi-layered sound pieces that twist technology in unconventional ways.

METROPOLIE TRANS [1984-1990] mixed media project (graphics, videos, films, fanzines, music, texts) produced by Goran Lisnjic from Osijek, Croatia.

METROPOLIE TRANS 1984-1990 WebSite

METROPOLIE TRANS on Posterous

WebSite SOON!

Metropolie Trans [1984-1990] mixed media project (graphics, videos, films, fanzines, music, texts) from Osijek, Croatia.

Metropolie Trans is the first serious actualization of Lis’ ideas and it lasted from 1985 until 1990, occasionally including other people, i.e. Mladen Pavlović. Before Metropolie Trans there was Diskretni Šarm Buržoazije, a tape-loop oriented avant-punk effort which was a more a theoretical unit than a real band. During it’s lifetime, Metropolie Trans had five solo exhibitions (most of them in Osijek and one in Zagreb), recorded four audio-works, one of whom is The Cassette Played Poptones, the other three being collected early works in Serija Ranih Radova (1985-87), a collection of mixes and edits entitled Transformer (1989) and a tape Numbers/Order (1990), produced numerous theoretical texts and graphic works and even recorded a film. After Metropolie Trans, new projects such as Nowy Lef, Lebensformer and ultimately Re:Form, the current occupation of Lis’, followed.

Metropolie Trans fanzine Sestra Wazelin no.2 (1988) was released together with the compilation cassette called The Cassette Played Poptones.

Back in the days, this tape – The Cassette Played Poptones – was one of the seminal compilations of the so called industrial/experimental camp [huge quotation marks here as none of the bands present even comes close to all of the cliches connected with the particular genre], as it the was an attempt to bring closer some of the really interesting happenings in that part of the Yugoslav underground to a more wider audience [obviously, besides Laibach's and Borghesia's activities, respectively]. In that respect, the tape was one of the rare that was reviewed by the mainstream press [like Džuboks]. The importance of these kind of collaborative efforts in the individualist music scene of Yugoslavia is also mirrored by the fact that the there were so few of them, with the majority of authors usually preferring closely-knit acquaintances [if any] for collaboration and thus a more limited scope of influence, rather than this type of regional samplers. The tape compiler, Sestra Wazelin, was actually one of the participants Goran Lišnjić “Lis” from Osijek [Croatia] with his project Metropolie Trans, the other participants being Autopsia from Ruma [Serbia], NEP from Zagreb [Croatia] and Padot Na Vizantija from Skopje [Macedonia]. The tape came with a second issue of a fanzine of the same name [Sestra Wazelin], which I don’t posses. The tape was selfreleased in 1988 in an unknown number of copies, ripped around 2008 in 320 kbps and split into two parts with 60 something mbs each: download Side A – HERE and Side B – HERE. Originally published in four parts, but later merged into one for comprehension and aesthetic reasons.

More Info + Rewiev + Download on A HOGON’S INDUSTRIAL GUIDE

Re.Make Re.Model Re.Form