FreeNRG is a collection of frontline communiques on technotribes, contemporary musical practices and events transpiring on the fringes of Australian dance culture throughout the nineties. The anthology's 13 essays are written by specialists and affiliates of a spectrum of youth phenomena found at the edge of the dance floor.
Edited by the radical anthropologist Graham St John, FreeNRG describes a series of Australian subcultures who subscribe to an economy of mutual-aid and co-operation, are committed to the non-commodification of art and embrace freedoms of experience and expression.
Artists and activists, their cultural output is a product of novel mixtures of pleasure and politics. technicians and esotericists, they pirate technologies in the pursuit of re-enchantment and liberated space.
:::Contents :::
INTRODUCTION: TECHNO INFERNO
PART ONE: POST RAVE AUSTRALIA
Chapter One/ Doof! Australian Post-Rave Culture
Chapter Two/ Propagating Abominable Knowledge: Zines on the Tekno Fringe
PART TWO : SOUND SYSTEMS AND SYSTEMS SOUND
Chapter Three / Sound Systems and Australian DiY Culture: Folk Music for the Dot Com Generation
Chapter Four / Doofstory: Sydney Park to the Desert
Chapter Five / Tuning Technology to Ecology: Labrats Sola Powered Sound System
Chapter Six / Techno Terra-ism: Feral Systems and Sound Futures
PART THREE : TECHNO-ASCENSION
Chapter Seven / Mutoid Waste Recycledelia and Earthdream
Chapter Eight / Psychic Sonics: Tribadelic Dance Trance-formation
Chapter Nine / Chaos Engines: Doofs, Psychedelics and Religious Experience
Chapter Ten / Directions to the Game: Barrellful of Monkeys
PART FOUR : RECLAIMING SPACE
Chapter Eleven / Practice Random Acts: Reclaiming The Streets of Australia
Chapter Twelve / Carnival at Crown Casino: S11 as Party and Protest
Chapter 13 / Appropriating the Means of Production: Dance Music Industries and Contested Digital Space
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The music has its roots in the popularity of Goa in the late 1960s and early 1970s as a hippie capital, and although musical developments were incorporating elements of industrial music and EBM with the spiritual culture in India throughout the 1980s.The original goal of the music was to assist the dancers in experiencing a collective state of bodily transcendence, similar to that of ancient shamanic dancing rituals, through hypnotic, pulsing melodies and rhythms.
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