Those crushing sonic soundtracks that reverberated inside your heart and leaked into your soul in those early hours are the reasons why those lights burnt so bright when you created something, or were a part something that made someone else happy. I don’t think there’s one single moment that goes by where that doesn’t rest against the deeper aesthetic vision of anybody that genuinely wants to instigate a difference in whatever medium of creativity that captivates them, in their own way. It’s a byproduct of passionate exercises and sincerity, and it’s the collective choices between candour, rapture, and youthfulness that impacts everyone from time to time in this scene.
Additionally, it takes an immense performance in personal resolve to facilitate innovative integrity, and if this city nurtures any of it, which I believe it does to a localised extent, then it’s not dependent on government policy. It’s dependent on the ideas and the candid animus of those that constitute the vitality of adorning artistic freedom.
If we reflect on those mornings when we walked out onto those empty streets as the sunlight broke back in 2002, it really did warrant that alluring ideology of tomorrow. It turned something inside you that animated and justified your exposure to electronic music in Brisbane. As heavier policing strategies emerged as dance music became more popular, you really do have to question the validity of music policy that fostered the attention of local law enforcement, irrespective of how poorly it’s been incorporated.
If there’s any club owner in Brisbane, any artist that has ever resided here, anyone that you’ve ever met in your life, that can honestly deconstruct their contribution to the narrative of this city’s cultural identity and support that image as they take a moment to reflect on that question that hopefully rattles the fault lines of their own judgement, then I believe them. Otherwise, I simply can not agree with them based on that analysis, and in turn I struggle to put any effort into supporting their own opposition of venue lockouts in Queensland. If those venues and the artists they now carelessly promote really did harbour that deeper intent to fulfil the spirit of what electronica means to so many people, then the issues that have arisen since Fortitude Valley’s descent and the lifeless festival culture that flanked it would have dissolved any ambivalence as far as I’m concerned.
With that said, it’s the social freedoms and furtherance that encapsulates the story of humanity and every movement that defines it, be it political, spiritual, sexual or cultural, and that’s the only reason why any resistance to additional legislation is warranted. If you place your own thoughts aside regarding questionable commercial involvement, and synchronise the centrality of your own beliefs, then it makes even more sense. Your idea of walking out into those streets we knew so well 10 years ago every weekend at 5AM may not align with your vista of importance, and it’s certainly not mine, though it’s certainly irrelevant in the context of objective propensity.
There’s something positive to be taken away from further lockout legislation though, and that’s the accosting task of dismantling the repetitive club experiences that so many people have senselessly manifested over the years. That reckless attitude to construct a unique presence outside of that routine is the contrast between making people dream and mediocrity. If you’re committed to inciting that relentless resolve to manufacture that rhapsodic energy in people that we all wished we’d foster more often in this scene, that love for what you do would compound the happiness you attain from making others happy. And now those artists, club owners and promoters really do need to ask themselves, is that really what you’ve always wanted? – perhaps that’s something that’s best left to weigh on everyone’s own conscience.
Elliot Clarke, Saturday October 19 2013
Photo Credits: Aphex Twin