Deterritorial Investigations


In Sonic Warfare, Steve Goodman discusses a type of music, primarily electronic in nature and mediation, that is forming in the poverty-stricken underbellies of the global metropolises. Aside from technological and certain aesthetic brushes (concentration on rhythm, sampling, mixing, extensive utilization of bass), this music varies differently across the world – offshoots include the disjointed and minimalist sonic atmosphere of East London’s “Grime,” the pounding baile funk of Rio’s favelas, Puerto Rican reggaeton, and the dub-turned manic dance vibrations of Jamaican dancehall. Following Wayne Marshall (himself a dancehall artist), he calls this music “global ghettotech,”1 and – somewhat romanticizing the struggles and tribulations of the transnational subaltern – sees a potent micropolitical agency at work where these mutant forms are flourishing.

The dispersed network of the metropolis, we read at the Anarchist Without Content blog, “is the ground on which Empire operates.”2 Like Empire itself, the metropolis…

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