File:Simon Reynolds, Katja Diefenbach Technodeleuze and MIlle Plateaux.pdf

Simon Reynolds - Katja Diefenbach :: Technodeleuze and Mille Plateaux. Achim Szepanski's Interviews (1994-1996) - Rizosfera/The Strong of the Future, SF005.eng, 2017)

Achim Szepanski has been one of the “heroes” of the ‘90s thanks to the creation and the visionary promotion of his Mille Plateaux (1994-2004), the famous record label based in Frankfurt. Due to his peculiar philosophical theory applied to the digital culture, Szepanski has totally changed the electronic music panorama from top to bottom. His talent to choose an unusual and original direction and to give a radical cut to his discographic productions testified by the many labels he created (Force Inc., Mille Plateaux, Riot Beats, etc), has been widely recognized by the whole music stage and critics. In the present e.book we introduce two interviews done in the magic moment of the European mass explosion of the electronic music that coincided with the high quality level of Szepanski’s radical pro-posal. The first one Making Sound Streams Quake, conducted by the German philosopher Katja Diefenbach, was inserted in the anthological book Techno edited by Philipp Anz and Patrick Walder (Verlag Ricco Bilder, 1995), the second, conducted by the English journalist and music critic Simon Reynolds, was published with the title Low End Theory on the April issue of the English music magazine The Wire in 1996. Why a «hero»? Achim Szepanski has proved a «heroic» pioneering ability to translate and apply Deleuze and Guattari’s philosophical theories to the first musical and cultural wave of the electronic revolution of the 90s, bending and folding the rhizospheric concepts to the core of the new sonic esperanto. In such way he has created a subversive pragmatics of musical productions, aware listenings and social alternative dancing practices in differentiated contests as raves. Not only «electro-nic politics» but a philosophy of sound which turned into a guerrilla against the aural mainstream. Through his mutinous audio-activism Szepanski has built a war-sonic machine that enables him to be inserted together with Nietzsche and Deleu-ze in the present series of books about an accelerated archeo-logy of the «strong of the future». Such sonic-war machine has supported in a chaotic and amusing way Italian oblique under-ground experiences like Kom Fut Manifesto, Red’ko, Maffia Illicit Music Club and other entities able to raise the sound and the experimentation from the dance floor to a real political and artistic operation subtracting it from the «steel cage» of en-tertainment. To close the circle of the historical references and contaminations, we would like to remind that Low End Theory by Simon Reynolds was translated for the first time in Italian by the philosopher Massimiliano Guareschi for Ultratomato magazine (n° 13/2002) - the house organ of Maffia Illicit Music Club - in the Technodeleuze dossier.