Party line rave

Added: Katia Eisenhauer - Date: 24.02.2022 23:07 - Views: 36541 - Clicks: 9605

Browser yang digunakan merupakan versi lama dan sudah tidak didukung lagi. Kami menyarankan Anda mengupdate browser Anda untuk pengalaman yang lebih baik. That was the first question that Monkey Man, one of the enigmatic figures behind Slow Death Mobile asked me. While Slow Death Mobile might seem like just another electronic music collective or event organizer in the increasingly crowded scene, in truth, they are anything but. Their last rave took place at an undisclosed location in Bandung, in a nondescript venue away from prying eyes.

The registration form required guests to acknowledge that the event would be an illegal gathering with the attendant risks. After a knock on the door of a seemingly empty building and a mention of the code word — which referred to the ancient Greek god Dionysus — the doorman allowed the guests in. The venue was run down, with debris cluttered throughout the entrance and trippy visuals projected onto the walls. Inside the dark room, ominous electronic music blared loudly and dozens of people were lost in trances, every moment caught in stillness by the ever-blinking lasers.

Nearly a year later, just a few kilometers away from the site of the rave, I sat down with one of the people behind Slow Death. Monkey Man, who spoke under the condition that no personal details about him would be disclosed, noted the always-present danger of the raves. Furthermore, he said no Party line rave could control who was attending the parties and how they behaved, so illegal drug consumption in the audience was an uncontrollable factor. Monkey Man said it was something like a curse, an urge Party line rave be let out. The question is, how far are you willing to answer that call?

Monkey Man said his life would be much easier if he did not have this Party line rave.

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Why do I need to put my life at risk just for the sake of an idea? The loss of excitement and numbing repetition of the local electronic music scene brought nothing more than a transactional interaction between the audience and the industry, he said.

What they were in search of was purity. This pursuit of purity also creates a kinship between Slow Death and the audience.

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The raves provided a democratic setting unlike typical parties, he said, and people from all walks of life could come—and come they did. More than mere parties, Slow Death treated their events as participatory art, in which both the performers and the audience were involved. This democratic element is crucial to the group.

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The message seems to resonate. However, within this small time, Slow Death provided a shelter for those with whom the same ideas resonated. In June Party line rave last year, when uncertainty was becoming the norm, an e-mail by Slow Death reached my inbox—and those of others who were on their list. They asked about the well-being of the readers and said that if there was anything they could help with, readers could just reach out and they would be there. In fact, the crew was on standby to help if any need arose. Why go to such lengths for people who are essentially strangers?

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That alone is enough reason. In reference to the philosopher Nietzsche, Monkey Man said that in a fight with monsters, he was wary of turning into one himself—another reason, he said, why the group did everything the way it did. But I can say that I have at least done that.

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Party line rave

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A new rave line has appeared in Bristol