Zetsubou Teenage Riot

June 20, 2008 in Funny, Sayonara Zetsubou Sensei
Tags: Atari Teenage Riot, ATR, Buta no Gohan, Digital hardcore, Félix Guattari, German Techno, Gilles Deleuze, Kraftwerk, Sayonara Zetsubou Sensei

豚のご飯 (Buta no Gohan – Pork Rice)

->“Buta no Gohan” – radio version

Buta no Gohan

(Kenji Ohtsuki + Yu Kobayashi)

The title Buta no Gohan is an inside joke for hardcore Kobayashi Yu fans

Anyone else who follows Kobayashi Yu might be aware of her obsession with gummy sweets and what she calls 豚のご飯 (Buta no gohan ie pork rice) which she repeatedly mentions in her radio shows, blogs, interviews etc.

Digital hardcore

Digital hardcore is a music genre or musical style that fuses elements of hardcore punk and electronic music. It developed in Germany during the early 1990s. Vocals are more often shouted than sung by more than one member of the group. Typically, the lyrics are highly politicized and espouse left-wing or anarchist ideals. The music was first defined by the band Atari Teenage Riot, who formed in Berlin, Germany in 1992.

Atari Teenage Riot

Atari Teenage Riot (ATR) was an anarcho-communist digital hardcore group formed in Berlin in 1992.

The group, founded as an attack on christianity, german culture, and capitalism (”Destroy 2000 Years Of Culture”, “Burn, Berlin, Burn!”) was well-received in England and US by globalist cultural elite. It consisted of Alec Empire (Alexander Wilke-Steinhof, socialist family), Hanin Elias (the radical feminist shouter, from Syria) and MC Carl Crack (Carl Böhm, from Swaziland). MC Carl Crack was found dead in his apartment due to a drug overdose on September 6, 2001. He missed 9/11.

Alec Empire / Extreme Noise Terrorist

Alec Empire makes it no secret that he is powered by aggression and that nothing short of a complete destruction of the social order is necessary. His tool for this anarchic act – noise. Alec Empire’s emissions in a number of guises since 1991 for Force Inc, Mille Plateaux and his own imprints Digital Hardcore (DHR) and Geist have seen him fly in the face of German trends. A label set up by Force Inc’s Achim Szepanski to explore, through sound, the ideas of European philosopher Gilles Deleuze, Mille Plateaux was home to the more ambient and experimental output of Empire.

Gilles Deleuze Re-territorialisation

Katja Diefenbach : Deleuze and Guattari described the movement of the de- and re-territorialisation in the first book ‘Anti-Oedipus’, the forerunner to ‘Mille Plateaux’.

Achim Szepanski : Both are types of movement. The de-territorialisation is the movement by which one leaves the territory. It is a process of disintegrating blockades, the exploding of established channels, etc. Without discussing the individual processes of the de-territorialisation that Deleuze names, one can say, somewhat simplified, that the de-territorialisation is always accompanied by re-territorialisation, nothe sound results of his notation only retrospectively, and because the demands of the composer on the music machine could only be relatively realised through the interpreter’s increased practice, so the interface – person / machine – must itself become thuld just be a return

Applying metacontrol concepts from Deleuze and Guattari, ATR aims was to destroy (reterritorialize) german techno subculture born in the robotic hands of genius Kraftwerk and replace it with insipid global techno noisesoup.

The German contribution to techno is universally vouched for. Some, however, would reject the practice of dividing the genre into various national styles, arguing that it is a global music and a youth culture that transcends all boundaries.

Techno in Germany:Its Musical Origins and Cultural Relevance, David Robb, Belfast