SP23 Marseille – 5 October 2013

What a storming night in Marseille last weekend. It was a massive, kicking party and we’d like to say a huge thanks to everyone who came down – the atmosphere was charged with pure electricity and the vibe was absolutely beautiful. Sorry to all the people who didn’t manage to get in, but we’ll be back in Marseille very soon – watch this space……

What a crowd, what a rave – here’s some wicked photos from the night………..

Next stop Bordeaux

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Regaining and reshaping the Commons.

SP23’s Mark Harrison in conversation about free access to space, land and common resources. Broadcast on Soundart Radio on the 31 July 2013. With Jenny Wellwood and G. Rant. The last track is dedicated to the memory of Gary DS

Mark Harrison SP23Reclaiming the land

The music in this clip is

1. – Spiral Tribe – Forward The Revolution

2. – Gary DS and DJ G. Rant – Dirty Squatters

Comments Off on Regaining and reshaping the Commons. Posted in Cultural sPace

SP23 London – Setting the Night Alight – Village Underground – 19 April 2013

London Flyer - include sp23 gallery page

It was going to be a long thirteen hour shift – even before the party started. At 9am sharp the truck delivering the lights arrived. Julian (SP23’s lighting engineer) had an epic vision: a dance of light; the high warehouse space shot-through with threads of piercing energy; the air woven and sliced with beams of living colour.


It took a full half hour for us to unload and wheel in the flight cased lighting equipment and all day to rig the show: two fully loaded trusses above the stage and one forming a spine that ran the entire length of the building.


As the clock ticked, it was all hands on deck to transform the Victorian freight warehouse and railway arches into SP23’s inter-dimensional dance zone. 


Directed by Julian; 69DB, Meltdown Mickey, Jeff23 and Sirius got on with bolting lights to the trusses, while Feenix 13 and myself (Stray Wayward) unfurled our latest creations: long black banners painted with shape-shifting totemic characters. 


In the afternoon more of our crew arrived, Tim (Noise Control Audio) and Mickey, constructed the wooded frames to carry the stage flats: three large screens emblazoned with the SP23 circuitry motif. Bad Girlz, Ixy and Sim, helped stretch the fabric across the frames while the artwork was stapled into position.


By early evening the décor was in position and we were ready to test-fire the light show and do the sound checks. 

(Stray Wayward)


22:00. The doors cracked open, the night flooded in and the energy began to crackle


Welcoming in the early streams of people were the Bad Girlz – twinkling cheekily through an energizing repertoire of upbeat lyrical gems. From Ixindamix’s trumpet solos to Sim Simmer’s rousing vocal incantations, the floor began to take shape as long lost friends reconnected in the half light and new faces gazed up at the trusses and the vaulted brickwork. Meltdown Mickey was next up, taking things deep and rolling as he wove a hypnotic groove through the dancefloor. Building up a rippling unity with a pure techno selection, he had laid the charges for what we felt was a very special night.


By 12:30 – it was rammed. The lights seemed to be piercing raw space from every angle – at once disorientating and yet vividly lucid. There was an unmistakable edge on the night already – love and unity laced with a sense of something intangible shooting through the prisms. By the time I’d finished playing a cocktail of party tunes, the sound system was firmly hitting the sweet spot and the momentum was rising. 69db stepped up and slammed down a journey through improvised acid techno. Tribal rhythms rode fat n funky basslines as abstraction flashed through the frequencies and acid lines ripped through the shards of light, pushing the warehouse deeper into the moment.


As Crystal Distortion plugged himself into the matrix, harnessed chaos was unleashed. Electricity erupted through the dancefloor as he swept into a coruscating flow. Oscillating between psychedelic glimpses and ruthless urban assaults, he charged the atmosphere with a steely euphoria and handed over to Ixindamix. She instantly sent deep acid screaming through the system, stripping back the beats early and rolling warm uplifting basslines through the subs. Building up to a liquid crescendo, she spiked her set with quirky flashes and a dynamic intensity as the crowd heaved and the video mapped walls burst with movement.

playonhd 2

A laser traced the back wall with esoteric patterns as the totems anchored the space into Jeff 23’s dark tribal waves. Mixing up 4 tunes at once, Jeff tore through the line between experimental and primal with a unique take on new wave techno. Sending mesmerising frequencies hurtling though lockdown, he was just taking things to a final peak when all too quickly – it was over. At least until the next time.



We would like to thank everyone at the Village Underground, everyone involved in whatever capacity, and above all – everyone who came to the night. Thank you all so much for you support and energy. It was a very special night for us and we really hope it was for you too. Thank you

Interview with Mark Harrison

Rupert Callender interviews Mark Harrison on Soundart Radio. Broadcast live on 18th March 2013, 17:00 – 18:00.

A discussion that explores some of the secret history of Spiral Tribe, rave culture and the origins of SP23


Mark Harrison larges SP23

Birth of the Cyberpunks

The 1980’s witnessed the birth of the cyberpunk, as science fiction shot a current through technology’s next horizon and society’s next dystopian warp.  But it was the 1990’s that saw a multi polar shift into that matrix. Electronic music not only revolutionized the relationship between music and technology, but set the template for a new breed of musician – a new breed of activist and a new catalyst for a radically changing reality.

Crystal D

As the computer wave began to swell exponentially and the internet zygote multiplied, a soundtrack was born from the very circuits that were changing every aspect of modern life. Electronic music. And yet it was not just the futuristic bleeps and all enveloping basses of manipulated frequency that were so synchronicitous, but the patterns that were building around them.

Unifying ultra modern abstractions with primal rhythms, electronic dance music crossed over from aural pleasure to absolute immersion. A new culture of DIY was building around musical access while a new spirit of self organisation swept through a disaffected generation alienated by the naked individualism of laissez faire capitalism.


The geometry of chaos theory wove its way through traditional social structures. People from all over the country congregated at celebrations infused by both the electronic sound and the new strange attractors. The infancy of mobile communication was instantly harnessed to create new systems of assembly, and hierarchy was broken down into new dynamics of community and contribution that mirrored the development of online networks.

Acid house, rave and free festivals were at the forefront of this profound social change. Building from outside the barriers of conventional models, they opened up the Pandora’s Box of open source flux. Reclaiming a public space, tuning into the new frequencies, and letting the wave develop its’ own momentum, a subculture developed at an astonishing pace. People from all walks of life celebrated unlicensed freedom as they danced under a night sky.

The new cyberpunks had staged a jailbreak from the pages of science fiction. Working off an open source operating system and hacking emergent technologies into new spheres of expression and organisation, a new paradigm danced to its’ own rebellious tune.

New Picture

Today,  electronic music is wrestling with the sterilising forces of commercialism and the shape shifting impact of the digital landscape. The internet and the networks of complex chaos that formed it are being relentlessly attacked by governments and corporate interest in a bid to reassert authority and control.

Self proclaimed dogma in some quarters is being superseeded by raids on new territory, new methods of organisation and new systems of creative expression.  In an increasingly connected world, the opportunities and possibilities for open source subculture are greater than ever.