Noise In Opposition Volume 2


Latest installment of this series of great anti-fascist noise/electronica/weird compilations.

16 acts have contributed tracks this time, including April Larson, Laica, elizabeth Veldon, dsic, stapperton and GRMMSK.

As GRMMSK has said “some of the people/projects and their beliefs, NiO is opposed to, still haven’t fully understood that their ‘rebellious’ pose isn’t actually a statement against the status quo, but a sad verification of how numb and distorted the senses for something i would call freedom can be.”

Free/pay whatever download at Bandcamp /

Or cheap physical media from the Noise In Opposition site.

Datacide issue 13 now available


The London launch party was a lot of fun, with some great presentations and people.

The magazine is out now. It includes a great interview I did with noise legend Nomex.

Order from here or from the Praxis Shop.

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


EVENT: SUN 20th October: Datacide 13 launch party


Datacide zine London launch event

The 13th issue of Datacide, the international magazine for noise and politics, is out this week. As well as a conference and release party in Berlin this weekend, there will be a launch event on Sunday 20th October 2013 in London, 7 pm to 10 pm.

The event will take place at Vinyl (4 Tanners Hill, SE8 4PJ) the new record shop/cafe/gallery in Deptford.

It will feature talks from Datacide contributors, including Neil Transpontine looking back on the movement against the ‘anti-rave’ Criminal Justice Act, and Christoph Fringeli on Datacide magazine. Further details to be announced.

Sunday nights sounds courtesy of DJ Controlled Weirdness, and there will be a bar.


(I have an article in the magazine and will probably get some copies to sell/trade/blag. It will also be available at the London Anarchist Bookfair the previous day. But come to the launch event if you can, it will be good).

Noise In Opposition compilation


Fully supporting this new initiative…

Noise In Opposition is a compilation of 24 artists from across the globe opposed to fascism, misogyny and prejudice. NiO totals nearly 3 hours of music across 31 tracks by people including Hacker Farm, Libbe Matz Gang, Elizabeth Veldon and The Implicit Order.

Check for the full background and the rabble rousing manifesto.

Free download or cheap physical media.

Apparently the concept has proved so popular that a Part Two looks very likely a few days after the launch.

LDN EVENT: Noise/Cult Films matinee, 14th July


John Eden and Limazulu present a cult matinee double bill:

A film by GX Jupitter-Larsen
(London Premiere)

WITCHES: The Psychotronic Voodoo Sound of
Hacker Farm & Libbe Matz Gang
(World Premiere)

3pm, Sunday 14th July 2013
Limazulu Project Space: Unit 3J, Omega Works, 167 Hermitage Road, London N4 1LZ


Two cult films featuring a stellar array of international underground artists!

Facebook Event Page



A NOISY DELIVERY is the kind of thing that happens when people go to the post office for philosophy instead of postage.

Shot around the world, A Noisy Delivery is the first feature length movie by Hollywood based artist/writer/filmmaker GX Jupitter-Larsen.


  • Tim Bennett-Huxtable (“Jehovah’s Badass”, “Canoga Park”, “Melrose Place”)
  • Jessica King (The Haters)
  • Dave Phillips (Schimpfluch-Gruppe)
  • AMK (Banned Production)
  • Rudolf (Runzelstirn & Gurgelstøck, Schimpfluch-Gruppe)
  • Joke Lanz – (Sudden Infant, Schimpfluch Gruppe)
  • Mike Dando (Con-Dom)
  • Christopher Dennis (The Hollywood Superman, “Confessions of a Superhero”)
  • Edward J. Giles (+DOG+)
  • Geoff Brandin (Fin, Catorce Index)
  • Sergio Messina (RadioGladio, Soslo, “Real Sex, Alt porn is the new Rock’n’roll”)


GX Jupitter-Larsen is an artist, based in Hollywood, California, who’s been active in a number of underground art scenes since the late 1970s including punk rock, mail art, cassette culture, the noise music scene, and zine culture. He is best known as the founder of the noise act The Haters, who’ve performed all over the world, and appear on over 300 CD & record releases.

Underlying all of Jupitter-Larsen’s work is a peculiar mix of aesthetic and conceptual obsessions, particularly entropy and decay, professional wrestling, and a self-created lexicon consisting mainly of personalized units of measurement such as polywave, the totimorphous, and the xylowave.

Shot around the world, from Hollywood to Switzerland to the Arctic circle in Norway, A Noisy Delivery has been six years in the making.

As writer & director, A Noisy Delivery is GX’s latest in a long line of film and video projects. In a piece entitled Blank Banner, during the 1980s, GX submitted a silent blank video tape to over forty video festivals. It was screened in nine. GX’s 1994 vampire romp Holes On The Neck still enjoys a passionate cult following to this day. His next cinema exploit is said to be on the theme of mad-scientists who use public transport.




WITCHES is an audio-visual collaboration between cult lo-fi electronics groups Hacker Farm and Libbe Matz Gang. This will be its premiere showing. Not recommended for minors or those of a nervous disposition.

Hacker Farm describe themselves as “A celebration of the home-made, the salvaged and the hand-soldered. DIY electronics performed on obsolete tech and discarded, post-consumerist debris. Make-do and mend. Broken music for a Broken Britain.”

The Somerset-based trio self-released their album “Poundland” in 2011 along with an array of unusually formatted limited editions. Last year’s “UHF” was released on the Exotic Pylon label.

Not much is known about noise unit Libbe Matz Gang. Named after a 17th Century Estonian werewolf posse, they released their debut 7” EP last year on the Libertatia Overseas Trading label, followed up by a split 7” with Xylitol.

Material from both groups will be on sale at the event.



GRMMSK “END PROPHECIES” released on CD by Libertatia Overseas Trading


80mins 100 COPIES ONLY

The first full-length from Libertatia Overseas: limited reissue of the original cassette released by Finnish
death dub technician GRMMSK in 2011, along with his more recent “DIRTY SNOW” tape, in its entirety. Specially
remastered for extra volume, with a 4-page booklet featuring revamped artwork.”

The label that brought you Libbe Matz Gang is back with a double whammy of Doom Dub!

“End Prophecies” was one of the best things I heard last year and was one of the inspirations for relaunching my Turbulent Times zine (which includes interviews with Grmmsk and Libbe Matz Gang). Check out my enthusiastic review of the album over at the label website and grab yourself a copy.

Libertatia Overseas Trading have also announced an event in London which will take place in July, more about which soon.

Grime In The Dancehall Mix (2013 Remaster)


From the desk of Mr Grievous Angel:
Remember that huge mix of dancehall-infused grime and grimey dancehall me and John Eden did a few years ago for the Blogariddims Podcast?

Well, I’ve done a new master of it so it sounds louder, clearer and better than ever before. Maximum listening pleasure as well as a unique insight into the bashment, dancehall and one drop roots of grime.

Hope you enjoy this and please tell your friends, fans and followers about it if you do.

The link for the new mix is here:

BIG UP Droid, all Blogariddims crew, Woebot, Dan Hancox, Blackdown, all Woofah Magazine crew and all dancehall and grime selectors, producers, MCs, promoters, labels, record shop people, and dancers! WHEEEEEEEEEEEEEELL!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Soon come: a special tribute mix for Keysound’s masters of garage weirdness, LHF.

Thank you

Paul / Grievous Angel

John Eden & Grievous Angel – Grime in the Dancehall (2013 remaster) by Johnedenuk on Mixcloud

Paul Meme Sleevenotes/Tracklist

John Eden Sleevenotes/Tracklist

To which I would reiterate that I was a total late comer to Grime. I heard it around the place but it never clicked until I saw Flowdan and Killa P perform alongside Kevin Martin at BASH at Plastic People. Then I dived in.

By the time we did this mix in 2008 a lot of the people who had latched onto Grime early had decided it was desperately uncool. Which suited me fine. It meant I could easily investigate the early days and then develop my own opinions about what was good amongst the new stuff without jostling elbows with the hipsterati.

This mix was a case of forcing a connection between dancehall and Grime really, to make a point. Of course, I didn’t need to do too much forcing – it was more a case of just joining up the dots in a slightly different way and then colouring everything in red, gold and green. As with Woofah, the idea was to get open minded reggae heads into grime and vice versa.

The mix was a load of fun to do and went down really really well. It certainly still gets regular rotation here.

I followed it up a few year later with an RSI Radio Grimey Reggae podcast.

I have virtually zero idea about what is happening with Grime these days, though. Perhaps that’s a good thing – my daughter can’t decide whether my appreciation of Tinchy Stryder is cool or embarrassing.

Spooky: Grimey Bashment

Me and Paul used Spooky’s 2005 Joyride riddim rework on our Grime In The Dancehall mix (more of which in a minute). Seems like us, he can’t leave that vibe alone.

This snuck out at the end of 2012, a pitched down version of the riddim used by Beenie Man for “Who Am I?”:

Get vinyl here. (A lot of the No Hats No Hoods vinyl back catalogue is going cheap right now also, so fill up!)

It’s followed by this EP which includes a aggy reworking of the noughties Coolie Dance riddim:

Get vinyl here.

February updates


An interview I did with Hackney-based producer Spatial is now published exclusively and for the first time at The Liminal.

This piece was originally intended for issue 5 of Woofah, but has been fully updated. (It’s the last outstanding thing I wrote for Woofah, which makes me a bit smiley and a bit weepy!). Spatial is an interesting guy and is well worth checking.



Idwal Fisher did a lovely review of my Turbulent Times fanzine, along with other publications.

The zine now has its own page if people are interested in ordering it or knowing about distributors etc.

I have properly started work on the new issue but can’t say when it will be out!


radical hackney





3rd Official Trailer for A Noisy Delivery, by Pete Cann from GX Jupitter-Larsen on Vimeo.

Ten years of Blogging


Ten years ago today I signed on at Blogger* and kicked things off with posts on an article by Greg Mario Whitfield about Bass Culture and a new issue of Datacide Magazine.

Paul Meme and I had been avidly following Simon Reynolds’ Blissout website for a few years and had noted his move to Blogger the previous October. Paul then found this guy blogging as That Was A Naughty Bit of Crap (TWANBOC). And we thought “Oh, ok, WE could do THAT…”.

I started my blog a week after TWANBOC began and Paul followed with Shards, Fragments and Totems (which I always thought was a terrible title) nine days later.


Simon Reynolds’ Blissblog logo

We weren’t alone. An explosion of music blogs had commenced. Initially nobody had a comments facility. (Indeed, the internet was a very different place  before Myspace, Youtube, Facebook, Twitter, Flickr existed). Back then, if you wanted to respond to people’s posts you would have to write something on your own blog.  You’d find out about new blogs from mate’s blog entries and through links in people’s sidebars. Sidebars got quite political after a while, with huffy handbags-at-dawn “Well! I’ve DELETED you from MY SIDEBAR!!!” anguish from some of the emerging primadonnas. Beyond The Implode’s astute take on this was characteristically essential.

For an old git like me, blogging echoed the democratic responsibility of fanzine publishing.

I gave a talk about my take on blogging and fanzine writing (and how they differ from journalism) at the Audio Poverty festival in Berlin. The audio of the talk is available via that link.

My pre-history of blogging

But actually my written and self-published output was quite like blogging before blogging was possible.

2000-2002: I’d been doing monthly updates to my website with a hooky copy of Dreamweaver and then uploading the pages via FTP. It was fun, but a bit fiddly – and there was hardly any way of getting feedback. There’d be reviews, links to articles I’d published, links to interesting stuff by allies, charts, etc.

1995-1997: The first six issues of Turbulent Times had similar content, except they’d come out three times a year and be mailed out as a four page A4 leaflet, with inserts. Like blogging, this slotted into a community of like-minded groups such as the Neoist Alliance, London Psychogeographical Association, Decadent Action, Manchester Area Psychogeographic, The Equi Phallic Alliance, Parasol Post and the Association of Autonomous Astronauts – all of whom published newsletters in a similar way.

Some sheets from The Sheets Project

Some sheets from The Sheets Project

1994-1995: Before that, there was what came to be known as The Sheets Project. Once a month I’d post out 50 copies of an untitled A3 sheet with various diary entries about what I’d been up to. Mr Autotranscend would give me some of his A.K.C.T. fiction to include as well.

“The Golden Age of music blogging”

It feels like a long time ago now. I think I’ll always associate some blogs with a particular period in my life, and the music that accompanied it. It was all incredibly fertile – blogs spawned other blogs, online forums, social meet ups, relationships, online mixes like Blogariddims, publications like Woofah and a ton of music projects.

Some bloggers became paid journalists or produced books. (Some were already in this position, but I preferred to see them cut loose online, being gloriously subjective and personal.) Other people came and went – some of them deleting their entire blogs when they’d had enough. I met some amazing characters, both online and in the flesh.

Screen Shot 2013-01-18 at 22.49.52Screen Shot 2013-01-18 at 23.07.23Screen Shot 2013-01-18 at 23.08.14

The blogosphere was an incredibly chaotic, fluid, seething mess. I loved it. Even the idea that everything was available online was subverted by falling into a maze of sidebar links and finding that new amazing blog – and then never being able to locate it ever again. People had a laugh AND took it seriously. Tried to out-do each other, but also supported people.

Blogging in 2013

Changes in technology and software have diluted the community aspect of blogging. Now that most music can be heard online, it seems that many people don’t see the point of writing about it. Wankers.

My RSS feed is a bit bereft these days, although I have stayed in touch with a surprisingly large number of people and am vaguely aware of what some of the more conventionally successful ex-bloggers are up to. I think people tend to specialise more these days, which is good if you share an interest with someone, but it’s all a bit tidy.

Simon Reynolds now seems to be running an insane twenty nine blogs, so it’s hardly surprising his original Blissblog has lost focus a bit. (“Crowd sourcing” material for blog posts about drum patterns! Dearie me!)

Matthew Ingram transformed TWANBOC into WOEBOT and then experimented with a fine array of new formats, culminating in his own online TV documentaries before chucking it all in and making music.


He’s now republished his blog as an 800 page kindle/e-book thing. It’s great – really good to see those articles again. A new entry from Matt was the kind of thing you’d surreptitiously print out at work for the bus ride home, but then read it online anyway when the boss was out of the office because you were too excited. Let’s put it this way – I downloaded a kindle app just so I could read it on my computer at home and I wouldn’t do that unless I had to – and I already read most it anyway…

The self-publishing aspect seems to have diminished recently, with people preferring to contribute to online magazines or uber-blogs. I can see why they would do that – you want people to read your stuff and they are less likely to when it is hidden away on a music blog these days, bar a few exceptions. I’m the same, with pieces I’ve contributed to Datacide or Woofah or Agit Disco.

We have “evolved” from people composing blog posts, to forum threads, to Facebook updates or 140 characters on Twitter, to posting nothing but Youtube links or context-less images on Tumblr, to “liking” something with the click of a mouse. Convenience has a lot to answer for, but I think there are still lots of interesting conversations happening too.

And me? Like everyone I’m in a different situation than I was ten years ago. Technology has moved on, my interests have shifted and I have less time/more commitments. There’s nothing subcultural right now that I feel I can slot right into. I feel less need to  write about whatever I am thinking about on a daily basis. There’s too much going on, so it’s a good time to focus.

I’ve returned to fanzine publishing as a bit of an experiment, but the blog is still here to flag up whatever I think people should know about. It’s great that Matt has published Woebot as a book, but I feel far happier having ten years of my blog still available for people to stumble on when they are at work randomly googling things. I don’t feel the need to anthologise my writing because (unlike Woebot) most of it was very much of its time.

So! Thank you if you’re still reading this, or have ever left a comment, or sent me a nice email. Or sent me a letter or your music or bought me a pint. Maybe see you in another ten…

Greatest Hits

Asher Senator

The first 23 gigs I can remember going to series

LONDON ACID CITY: When the Two 8’s Clash


Nicky Crane

Occultural roots of “Inna Gadda da Vida”

Papa Levi

Pseudo Skins

Punk Comics 3: Straight Edge

Reggae Noughties

Secret Ska History of Stamford Hill (by Malcolm Imrie, not me!)

Smiley Culture


*This blog was initially hosted at Blogspot, then moving to my friend Dnyl’s site before finally being fully integrated into All the content from each incarnation is here, but some of the older stuff is a bit scrambled after everything got hacked last year.