Wednesday, November 25, 2009


Margot Vanderstraeten schreef in de krant "De morgen" van vandaag een stukje neer dat mijn gevoel bij de hedendaagse cultuur in België perfect weergeeft.

"De Iraanse taxichauffeur verteld dat hij vanochtend weer een passagier heeft vervoerd die hem vroeg of er in Iran ook aardappelen gegeten worden, en die gelijk polste of hij hier in België genoeg verdient.
Hij zucht.
Hoe is het mogelijk dat al die vrije Belgen kunnen denken dat hij en de zijnen naar hier zijn gekomen om geld te verdienen. Weten ze dan niets van de verdorven mechanismen van de buitenlandse politiek? Weten ze niet dat Iran duizend keer rijker en mooier is dan België. Dat er andere krachten spelen?
Hij begrijpt het niet. Zoveel onwetendheid in een staat waar bijna iedereen geletterd en geschoold is, waar veel informatie ongecensureerd verkrijgbaar is, en waar je in elk geval naar de waarheid mag zoeken.
In zijn land worden kritische geesten gefolterd of verwijderd. Hier zijn ze verdoofd.
De taxi schokt. Zijn stem ook.
Wat betekend vrije meningsuiting in een land waar elk vermogen tot een revolutie, waar elke drang tot verandering, in slaap is gesust. Waar staat vrijheid voor, als er geen politiek bewustzijn meer is, en als ideologie plaats heeft geruimd voor trivialiteit en materialisme.
De geesten zijn hier niet vrij, ze worden doodgeknepen door decadent materialisme.
België, concludeert mijn taxichauffeur, is een land zonder diepgang, en met alleen maar oppervlakte. En daarom is België volgens hem zo koud. Want ijs is ook niet meer dan een laag aan de oppervlakte, en een maatschappij die deciannalang onder ijs gebukt gaat, raakt verkleumd."


Bonus features include a 4 minute musical documentary featuring images taken from the ’97 parties organized by Desert Storm in Sheffield, Bristol and Oxford. Musical and ecological activists, Reclaim The Streets (RTS) take the philosophy of the reappropriation of public space through cultural resistance to another level. They swept across the UK with street parties in Manchester, York and Oxford, and also appeared in cities like Tel-Aviv, Sydney, and Helsinki, among others.

(updated 08/07/2013)

Tuesday, November 24, 2009


The word “free thought” is now commonly used to express the result of the revolt of the mind against the pressure of external authority in any department of life or speculation. It will be sufficient now to state, that the cognate term, free thinking, was appropriated by Collins early in the last century to express Deism.

It differs from the modern term free thought, both in being restricted to religion, and in conveying the idea rather of the method than of its result, the freedom of the mode of inquiry rather than the character of the conclusions attained; but the same fundamental idea of independence and freedom from authority is implied in the modern term. Quoted from History of Free Thought in Reference to The Christian Religion by Adam Storey Farrar.

Freethought is a philosophical viewpoint that holds that opinions should be formed on the basis of science, logic, and reason, and should not be influenced by authority, tradition, or any other dogma. The cognitive application of freethought is known as freethinking, and practitioners of freethought are known as freethinkers.

History of the term "freethinker"

As it was written in our manifest,
we choose to be free,
so we think free


African Expedisound follows three French sound-systems (Tomahawk, Teknokrates, and In/Out/True) as they set off for Africa in 5 converted French army lorries. A dozen people between the ages of 25 and 30 hit the road, with no institutional support, 15,000 km across Morocco, the Sahara desert, Senegal and Mali. Their mission is to find the initial rhythm, to understand the African myth, to live what they consider to be the ultimate quest for the ‘free’ generation brought up on BPM (?) The documentary begins in Senegal and the African Expedisound head toward Mali. Their experience take them through ramshackle routes, towering baobabs, and traditional villages under the baking sun. Local children announce the arrival of the “Whites” who have come to put on these “extraordinary, free parties.

Running time: 52 minutes

(updated 08/07/2013)

Monday, November 23, 2009


Saturday, November 21, 2009




Peoples' lives are based around different things, ours are based around music.


We are not rebelling against so much as living outside the system.
We do want freedom from static society.
But as guerrilla movement we do so by flying under the radar, at night, covered by darkness.
This approach doesn’t mean that we are silent.

Free music to anyone who wants it is what we give and we need nothing back but the space to roam.
Tribal beats have surrounded our planet since the beginning of time.
Technology is our addition to this continual rhythm.

We exist now and in the future.

Friday, November 20, 2009


Freelance Illustrator in the South West. As they say: "A picture paints a thousand words". So it's best for me to shut up now & just show an overview of this absolutley wicked free tekno artist!

Images remain copyright of the porg!





Click on pics for better quality.

A lot more to be found @

Wednesday, November 18, 2009


by Graham St John (Equinox, 2009)

Fresh out of my mailbox: OUT NOW! 
for me personally the most anticipated book in ages.
ordering my hardback print tonight!
grab a copy here:

coverdesign by ThePorg 

"Technomad: Global Raving Countercultures is the most wide-ranging and detailed of all the books on rave. More than the study of a musical movement or genre, Technomad offers an alternate history of cultural politics since the 1960s, from hippies and Acid Tests through the sound systems and 'vibe-tribes' of the 1990s and beyond. Like Greil Marcus's Lipstick Traces, Technomad makes unexpected but entirely convincing connections between people, movements and events. Like Tom Wolfe's The Electric Kool-Aid Acid Test, St John's book introduces us to unknown heroes, committed geniuses and genuine revolutionaries. Beautifully written, with a genuinely international perspective on electronic dance music culture, Technomad is one of the best books on music I've read in some time."
Professor Will Straw, Department of Art History and Communication Studies, McGill University

Book description:

A cultural history of global electronic dance music countercultures, Technomad explores the pleasurable and activist trajectories of post-rave culture. The book documents an emerging network of techno-tribes, exploring their pleasure principles and cultural politics. Attending to sound system culture, electro-humanitarianism, secret sonic societies, teknivals and other gatherings, intentional parties, revitalisation movements and counter-colonial interventions, Technomad investigates how the dance party has been harnessed for transgressive and progressive ends - for manifold freedoms. Seeking freedom from moral prohibitions and standards, pleasure in rebellion, refuge from sexual and gender prejudice, exile from oppression, rupturing aesthetic boundaries, re-enchanting the world, reclaiming space, fighting for "the right to party," and responding to a host of critical concerns, electronic dance music cultures are multivalent sites of resistance.
Drawing on extensive ethnographic, netographic and documentary research, Technomad details the post-rave trajectory through various local sites and global scenes, with each chapter attending to unique developments in the techno counterculture: e.g. Spiral Tribe, teknivals, psytrance, Burning Man, Reclaim the Streets, Earthdream. The book offers an original, nuanced theory of resistance to assist understanding of these developments. This cultural history of hitherto uncharted territory will be of interest to students of cultural, performance, music, media, and new social movement studies, along with enthusiasts of dance culture and popular politics.


1. Introduction: The Rave-olution?

2. Sound System Exodus: Tekno-Anarchy in the UK and Beyond

3. Secret Sonic Societies and Other Renegades of Sound

4. New Tribal Gathering: Vibe-Tribes and Mega-Raves

5. The Technoccult, Psytrance and the Millennium

6. Rebel Sounds and Dance Activism: Rave and the Carnival of Protest

7. Outback Vibes: Dancing Up Country

8. Hardcore, You Know the Score

Available in paperback and hardback from Equinox:

Monday, November 16, 2009


Desert Storm could be defined as a peace-protest sound-system concerned initially with the Gulf War, and later the war in Bosnia. In 1994 (as a result of the Criminal Justice Act and Desert Storm’s difficulty to throw parties in the UK), they head in the direction of Sarajevo. Relentless snow and bitter cold delays them by three weeks and gets the better of their engines and gearboxes. Storming Sarajevo documents Desert Storm’s adventure as they carry foodstuffs, pens, books, medicine and condoms while they organize a New Year’s Eve party in Tusla and a party in a disco in Sarajevo. Desert Storm organizes a Street Parade, despite 70 cm of snow and temperatures hitting –10 degrees C. A policeman asks the organizers to turn the music up, but to dim the lights please –as the frontline is only 10 kilometers away!

Running time: 30 minutes

(updated 08/07/2013)

Sunday, November 15, 2009



A Paris based record shop & distribution company called Techno Import have ‘officially’ registered the name Teknival as their own using the cover name of Cyborg Productions. This shameless act of plagiarism follows a mysterious CD deal with Network 23 (another french based company formerly dealing with their own label and other small independents). The highly controversial CD has been heavily advertised on TV as Spiral Tribe - The Sound of Teknival. They initially also the registered the name Spiral Tribe but relinquished it after a short and intense battle.

The implications of this cladestine business deal are far reaching & deeply damaging to European Teknival groups and Network 23, who, it is rumoured, in France brought the trouble upon themselves, & have since ceased trading.
Teknival was started by the Spirals in the summer of ‘93, the first being held on the 23rd of July at Beauvais in northern France. The idea behind it , as the name suggests, is an independent free festival of techno music & art. The out-door - no door-policy means an open invitation for all to participate. As you would expect such a party principle proves very popular & the concept has spread Europe-wide, escalating on all fronts. Now across the summer you can find (if you know where to look) large numbers of sound systems hidden in the wilds, from Holland to Portugal, Wales to Czech.
Now as in the future, with the EEC’s new monolithic burocracy poised to take control & the power drunk capitalist system holding the world to ransom, Teknival has become something of a haven and testing ground for new ideas. It is a source of originality & potential as well as much needed point of multi-racial contact. Hounded by right-wing governmental policies it has, so far, survived, conceiving & nurturing many creative directions, Teknival is one of the very few free spaces left.

I was recently in Paris & had the opportunity to confront one of the owners of Techno Import known only as ‘Mazen’. He denied all knowledge of the matter and refused to make any other comment before hurriedly disappearing. I did however manage to get brief comments from Network 23 who incidentally since then have packed up and moved out of Paris.
“Remember that people do get fucked in the system, that’s why it’s important to create your own scene. Don’t give away or sell your rights.” (Wise after the event.)
“Don’t buy the CD - Boycott the shop.” (A case perhaps of bolting the door after the horse has bolted, since 20-30’000 CD’s were manufactured & possibly already sold.)
Is it a sign of the times that money can buy you what is not yours to buy? What little free space is left on this planet. I for one intend to defend - & a pen will do for starters! And so for that reason I’d like to shed a little light on the situation, as I was once involved with the Network & believe that there’s a big difference between what Network 23 began as & what Network 23 became. From Ashes, to ashes.
I became disillusioned very early on with the whole set-up. The original concept was a very solid one, built on a strong ideology & 4 years frontline experience. The idea was to form an independent collective network that put the artist/musician directly in touch with the “end user” via a one-step distribution web that cut out the exploitative middle-men. This was especially useful to artists such as ourselves who were producing small quantities of vinyl with equally small budgets.
As I travelled Europe I realised that we were in a unique position to distribute direct, not just for ourselves but for other small labels. I felt that this was an important antidote to the main-stream stranglehold & a much needed outlet that would give artists opportunities & benefits that they otherwise may not have. It also at the other end delivered to the listening public new & stimulating ideas.

So we pooled our know-how & resources & began to put our grand plan into action. I remember we had been living in Berlin & although we had recently left, felt it would be a good place to return to set up HQ, because of its central position & explosive energy. The German authorities had just taken the decision to relocate the capital from Bonn to Berlin, so from one moment to the next the city sprang from a frozen, motionless position on the blocks, to a sudden sprint with massive overnight backing & rebuilding programs. The wall was long gone, but ideologies still clashed, crime was rife, & squatters rioted with police to defend the unclaimed streets.

We met up with other interested groups there & negotiated office and storage space. It seemed all set to happen, but that is really as far as the original idea got. Suddenly people wanted to go into very different directions. Two of the others involved decided to settle down in Paris, and so the Berlin strategy was abandonned. We decided to try and reorganise - they would run the european side and I would take care of Britain, others travelling further afield, taking in the easterly extremes.

But it wasn’t meant to be, from the outset it was plagued with problems, and sadly most of them were internal - unresolved differences of opinion meant of course that the ideology and art were the first to go. There was an attempted coup by some of the others to register themselves as company directors, funds that we had all worked for were no longer available for collective projects (although the “collective” guise was outwardly maintained). Manufacturing was moved to the Czech Republic to increase profits and the quality dropped to near silence. But of course the records still sold because it was “the Sound of the Underground” (muffled as it was) and people were duped into thinking that this was what Spiral Tribe was all about. People really believed in the tribe and its alternative culture, and Network 23 just exploited that reputation.
It wasn’t just the buying public that were fooled either, a lot of the artists with serious talent and creative drive were taken in by it - wanting to believe in the ideals that were no longer there - I was one of them. Even if anyone had wanted to change anything for the better, they couldn’t because there was no mechanism for change. The few had complete control and were going to keep it.

The final blow to the Network’s credibility came when they started to offload the bulk of their vinyl to commercial distributors (Techno Import for example) while still maintaining the “independent distributor” facade.
From that point on I had little or nothing to do with it as I could no longer champion a cause I no longer believed in, and I could not waste any more of my time working with a collective that did not exist. For me the great tragedy of it all was the terrible waste. Because even if it had nothing else going for it (and it had its moments!) Network 23 had a great opportunity to do what it set out to do. To build, develop and maintain a genuinely independent front-line network. Instead those who took control seemed more interested in being big fish in a small pool and ended up feeding themselves to the sharks at Techno Import. 


There are of course many lessons to be learned from this incident, and I leave each reader to draw their own conclusions. But beyond these lessons there is still the urgent problem caused by a minority’s self interest and that is, that an important pirate signal has been corrupted - and unless those (who realise the implications) respond, we may well realise, only too late, that great movements and opportunities such as Teknival have been eroded - not just by governmental bogeymen, but also by the squanderings of a few and the apathy of the many.

It’s clear to me now in the light of these events, and my own experience that what is now firmly on the agenda is a finely tuned cellular strategy, based on personal responsibility, individual creative control, and a highly developed personal interface which enables maximum effectiveness when dealing with other individual systems. Once, even a relatively small number of projects (whatever they may be) are up and running in this way, a strongly diverse and autonomous structure will inevitably develop. Dead wood rots and new roots grow deep.

by Mark Spiral in Datacide One (issue I chapter I)


The purpose of this text is to historify the Teknival/Free-Party scene as belonging to a history which views technology as having emancipatory potential. This history extends back to the 1930s when Walter Benjamin along with Bertolt Brecht produced a penetrating analysis of the potential offered by, the then emerging, technics to provide the tools to change the conditions of cultural production and eventually offer a renewed social configuration. Their legacy has been developed beyond the Teknival scene in various directions and is currently being discussed in Open Source Culture with some parallels to Teknival. There are different layers to this history and it is clear that the Teknival scene did not by any means offer the most advanced analysis of the emancipatory potential offered by technology. Looking at the theories of technology that have emerged, both positive and negative, and placing Teknival among such histories we are able to see some of its shortcomings and begin to discuss future strategies. As in the 90s Capital is consistently recuperating any ruptures that appear to open enough space to begin to redefine the social and technical landscape. Unlike Heidegger’s pathetic suggestion that only a God can save us now, it seems much more likely that a critical theory of technology is going to be of more use if we are to agree that ‘what human beings are and will become is decided in the shape of our tools’ (Feenberg: 2002:3).  

Read more... by Alexis Wolton in Datacide Ten (issue X chapter XIV)


The interviews in this documentary illustrate each person’s opposition within a militant movement using parties and music as a way to communicate a philosophical message. In the same way as the mythical label Underground Resistance, who saw music as a weapon to fight against the barriers between races, Spiral Tribe concentrates its creative energies around the rhythms of nature, music and dance, in reaction to society’s prevailing attitude. Also included are two unique Spiral Tribe video clips: “Forward the Revolution” and “Breach the Peace” in addition to archive images of the Teknival at Tarnos (’95) and Carcassonne (July ’93).

Running time: 23 minutes

(updated 08/07/2013)

Saturday, November 14, 2009


Kowloon Walled City: The Modern Pirate Utopia

Kowloon Walled City was a tiny Chinese enclave (1899 - 1993) that was located in the middle of British Hongkong for decades. Originally a military fort , it developed into an extremely dense , largely ungoverned urban settlement during the mid to late 20th century. From 1899, these tenacious squatters had repelled the British, the Japanese and every would-be landlord and “property owner” in the history of Hong Kong.

Kowloon” means “Nine Dragons ”. After an eviction process that took years and cost billions of hongkong-dollars, the city was destroyed in 1993. Only a park remains. While it lasted, though, it was the closest thing to Pure Anarchy the world has seen outside of a war zone.

At it’s most overgrown peak in early 1987, Kowloon Walled City was home to 50,000 inhabitants. Although the Walled City was for many years a hotbed of criminal activity, most residents were not involved in any crime and lived peacefully within its walls. Numerous small factories and businesses thrived inside the Walled City, and some residents formed groups to organize and improve daily life there.

It’s also worth meditating on how Kowloon came to achieve their “hands-off” status: by kicking up such a profound shit-storm of noise and problems, every single time someone tried to exert their authority, that everyone in power simply gave up. British policy came to regard Walled City as something of a hornets nest “‘ best not to be kicked unless absolutely necessary.”
Perhaps the lesson here is that there are no little things when it comes to defending your freedom. ..

Friday, November 13, 2009


"Zijn wij gedoemd om nooit autonomie mee te maken, nooit zelfs maar een moment lang op een uitsluitend door vrijheid geregeerde bodem te staan? Moeten we wachten tot de hele wereld bevrijd is van politieke overheersing voordat één van ons weet wat vrijheid is?"
De TAZ (temporary autonomous zone) is een perfecte tactiek voor een tijdperk waarin de staat alomtegenwoordig is en tegelijkertijd vergeven van de barsten en lege ruimten. De TAZ is de opstand binnen ieders bereik, het feest dat elk moment kan losbarsten."
Our little revolution: 013 soundsystem

Thursday, November 12, 2009



"The TAZ (temporary autonomous zone) is like an uprising which does not engage directly with the State, a guerilla operation which liberates an area and then dissolves itself to re-form elsewhere/elsewhen, before the State can crush it."


The 23 Enigma refers to the belief that most incidents and events are directly connected to the number 23, some permutation of the number 23, or a number related to the number 23. According to Robert Anton Wilson the first person to believe in the 23 enigma is William S. Burroughs. This was stated in a Fortean Times article in 1977. In May 2007 this article was republished by Fortean Times in addition to the release of the movie 'The Number 23' earlier that year.

I first heard of the 23 enigma from William S Burroughs, author of Naked Lunch, Nova Express, etc. According to Burroughs, he had known a certain Captain Clark, around 1960 in Tangier, who once bragged that he had been sailing 23 years without an accident. That very day, Clark’s ship had an accident that killed him and everybody else aboard. Furthermore, while Burroughs was thinking about this crude example of the irony of the gods that evening, a bulletin on the radio announced the crash of an airliner in Florida, USA. The pilot was another captain Clark and the flight was Flight 23. 

The article: The 23 Phenomenon by Robert Anton Wilson.

The movie 'The Number 23' however wasn't the first movie released concerning the number 23 numerology. In 1998 the German movie '23' -"Nichts ist so wie es scheint" was released. The story is based on a true story of a group of hackers who were obsessed by the number 23. Their obsession was inspired by one of Robert Anton Wilson books called The Illuminatus! Trilogy.

The Illuminatus! Trilogy is a collaboration between Robert Anton Wilson and Robert Shea and is series of three sci-fi novels published in 1975. In these novels the text Principia Discordia is often quoted.
This text can be found in many version online. Here is the version as published by Pope Patterson of the Bowels of the Asylum: THE PRINCIPIA DISCORDIA. The first edition written by MALACLYPSE (The Younger), H.C. Omnibenevolent Polyfather of Virginity-in-gold and High Priest of The Heretic Fringe & Protestant Persuasion can be found here: THE PRINCIPIA DISCORDIA (or HOW THE WEST WAS LOST). MALACLYPSE (The Younger) was a pen name used by Greg Hill who wrote Principia Discordia with Kerry Thornley and is a Discordian religious text. The first edition was published in 5 copies in 1965.

Discordianism is a modern religion centered on the idea that chaos is all that there is, and that disorder and order, the former considered a concept distinct from chaos, are both illusions (referred to, respectively, as the "Eristic" and "Aneristic" illusions) that are imposed on chaos. The text states "All things happen in fives, or are divisible by or are multiples of five, or are somehow directly or indirectly appropritate to 5" which is the definition of the 'Law of Fives'.
"The Law of Fives is never wrong" 

The Numeral V Sign, used by Old Roman Discordians, Illuminatus Churchill and innocent Hippies everywhere. 

The Law of Fives can be seen as a symbol for the observation of reality changing that which is being observed in the observer's mind. Just as how when one looks for fives in reality, one finds them, so will one find conspiracies, ways to determine when the apocalypse will come, and so on and so forth when one decides to look for them. It cannot be wrong, because it proves itself reflexively when looked at through this lens.
Basically the Law of Fives is a practical demonstration that the percipient's intentions inform the perception. To whatever extent one considers that perception is identical with reality, then, it has the corollary that reality is intent-sensitive.

The 23 Enigma is and immediate consequence of that law which was called the "23/17 phenomenon" in The Illuminatus! Trilogy. The name "23 Enigma" was first used in the first book of the Cosmic Trigger trilogy called Cosmic Trigger I: The Final Secret of The Illuminati also by Robert Anton Wilson.

Cosmic Trigger I: The Final Secret of The Illuminati is a autobiographical and philosophical work and deals with Wilson's experiences during a time in which he put himself through a process of "self-induced brain change" as well as vignettes of his earlier life. The other two works are called Cosmic Trigger II: Down to Earth and Cosmic Trigger III: My Life After Death which were published more than 15 years later than the first Cosmic Trigger.

In both works The Illuminatus! Trilogy and Cosmic Trigger I: The Final Secret of The Illuminati the number 23 is considered lucky, unlucky, sinister, strange, or sacred to the goddess Eris or to the unholy gods of the Cthulhu Mythos. (The Cthulhu Mythos is a fictional universe created by H. P. Lovecraft in 1920s.)
The self-fulfilling nature of the 23 Enigma, implying that the real value of the Laws of Fives and Twenty-threes lies in their demonstration of the mind's power to perceive "truth" in nearly anything.  

One can find a numerological significance to anything, provided "sufficient cleverness."

Numerology is any of many systems, traditions or beliefs in a mystical or esoteric relationship between numbers and physical objects or living things. It is often associated with the occult, alongside astrology and similar divinatory arts. But it can also be used for those who, in the view of some observers, place excess faith in numerical patterns, even if those people don't practice traditional numerology.

Concerning the 23 numerology there are a lot of curiosities with the number 23 going from dates, to facts and so on. A good read is the article "About 23" by Jim Fournier:

 Here are some examples..

- William Shakespeare was born and died on on April 23. Most of Shakespeare is known to us through the first folio published in 1623. 
- Kurt Cobain was born in 1967: 1+9+6+7=23 and died in 1994: 1+9+9+4=23. 
- It takes 23 seconds for blood to circulate through the human body.
- The number of joints in the human arm is 23. 
- The human body has 46 chromosomes, which are paired, in somatic cells. Generative cells have half this number, 23, which is the number of chromosomes each parents gives to human deoxyribonucleic acid. 
- The address of the Freemasons lodge in Stafford, England is 23 Jaol Rd. In New York it is on 23rd street.
- Hiroshima was bombed on August 6, 1945 (8+6+4+5=23). 
- Nissan is a brand of Japanese cars. In Japanese, "ni" is 2, and "san" is 3. So Nissan would be 23.
- On March 14, 1997, NASA representative states that MIR 23 space station is having problems resulting from the February 23, 1997 fire and has used 23 of their oxygen-generating canisters. It is the 23rd day aboard for the Russian crew. Progress 233 supply vehicle has problems of its own and cannot redock with MIR.
- ...

Many more examples of the 23 synchronity can be found on the web.

For me the number 23 is a part of my life and the way I live it.

23 Dragon by Mark Spiral

If you still wonder why the number 23 is often used within the free tekno scene (art, names, music, deco,...) the answer is simple. This is because most members of the founders of the tekno movement, Spiral Tribe, were also obsessed with the number 23. Records, posters, backdrops and flyers featured the number 23. Parties were often organised on the 23rd and ùembers sometimes recorded under the moniker of SP23.
Also the record label itself was called Network 23.

Wednesday, November 11, 2009


we are not criminals
we are not one of those faces

we are not what you think we are
we are one massive
we are not ashamed for what we believe in
we are not jealous at your power
we are right here right now
we're ..

our travel has no ending
our battle against dystopia is never ending
our greatest love is music
our most precious good is freedom
 our only crime is challenging laws the system created to stop us from celebrating our existence
 our guerrilla movement will mutate and survive

our freedom is the road
our politics of choice is none
our religion of choice is none

our weapon of choice is free tekno

Saturday, November 7, 2009


Masses unassuming
Sound waves in light speed movement
Infused with sonic boom
Judgment comes
On your ear drum
Nomadic audio tribe
Traveling the sky's horizon
Our demise is to trod on
People of the positively charged electron
Metatron waits at the gate
Zion is not a place
It's the vibe we create
In the valley of dry bones
We dance on Babylon's ruins
Primordial humans
We pass through
The spiral vortex
Of physical existence
Substance worthless
Without Purpose
Focus the minds eye
On your crystalline
Body of light
Night is the path
Of astral travel
Leave out of this
Shallow grave
Bass saves twenty-three

In addition, an essay by Elze Mergler on the 'subculture' tekno

Grab it here (writeup in dutch)

Sunday, November 1, 2009


Ronald L Holt
Director, FOLR LLC "To the Golden Spiral In All of Us". April 21, 1999

Experiencing Sacred Geometry without Intellectually Understanding It

Simply put, the Golden Mean Spiral is a doorway that weaves the ethereal and material dimensions together. In another context I would say that God left us one door of eternal mystery and exploration the Golden Mean Spiral or the door of love. In this article we will explore how, in fact, the Golden Mean Spiral is an expression of the basic energy of creation that we call love.

"Moral law must be of divine origin, because, even before the tablets of Moses,
it was already contained in the spiral, genetic code." - Salvador Dali

Fibonacci number