Monumenty selhání

by Gattaca

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1.
- 00:29
2.
Pomníky 03:28
Pomníky Bílá místa na mapách jsou pomníky zítřka Budoucí skanzeny lágrů a bezcennosti života Jednou za rok k nim budeme nosit květiny a budeme truchlit nad křivdami předků A mezitím budou zase jinde lidi s páskou přes oči klečet u zdi * Kdo navždy mlčí, neukáže prstem Kde není svědek, není ani soudce Když se do těla zaryje pět kulek, nikdo není vrah Až budeme stavět nové pomníky, do mramoru necháme vytesat, že už se to nikdy nebude opakovat že už se to nikdy nevrátí S každým dalším mrtvým S každou další cihlou S každým dalším věncem Roste monument našeho selhání Monuments White places on the maps are tomorrow's monuments Future folk museums of labor camps and worthless lives We will bring flowers once a year and we will grieve for the wrongs of our ancestors And meanwhile, elsewhere, blindfolded people will kneel by the wall * Who is silent forever will not point a finger Where there is no witness, there is no judge when five bullets hit a body, no one is the murderer And we will inscribe on the marble stones of new monuments that it will never happen again that it will never come back With every death With every brick With every wreath The monument to our failure grows * "Saydnaya is located 25km north of Damascus and within its walls torture is used not as means to gather information but primarily to suppress, terrorise, and punish any opposition to the authority of the Assad regime. The prison is still in operation and is inaccessible to independent observers and monitors. Moreover, the ability of survivors and former detainees to testify to conditions within Saydnaya is severely impeded by the fact that they were kept in darkness, confined to one room for the majority of their 'sentence', and blindfolded as they were moved through the prison's corridosrs and stairwells. With the blindfold placed over their eyes, the leaders of the Syrian regime knew that the prisoners' status as possible future witnesses would be fundamentally changed from eyewitnesses to earwithnesses, limiting their credibility and their capacity to fully remember and recount their experience, should they survive." (Lawrence Abu Hamdan - The Missing 19Db)
3.
ROZDĚL A PANUJ Dvě deci benzínu, tři deci benzínu * "Však mě znáš, já něco udělám" Kříčí: musíme postavit svou vlastní hráz Z kamenů nasáklých strachem Hrozí povodeň, jen tomu uvěř a to stačí Utopeni ve vlastní úzkosti Ukotveni ve vlastní stejnosti Víc a víc Je mi to líto Dvě deci benzínu, tři deci benzínu "Však mě znáš, já něco udělám " Jeden je nepřítel, jeden je hrdina Nabízí zkratky ke světu Rozděl a panuj S vidinou vyburcovat slepý národ k činu Ale svoji slepotu nevidíš Ani nemůžeš, bojíš se svého stínu ** DIVIDE AND CONQUER Two decilitres of petrol, three decilitres of petrol * "You know me, I´ll do something" They shout: we have to build up our own wall of stones soaked in fear Floods are coming, just believe it, that´s enough Drowned in their own anxiety Anchored in their own uniformity More and more I feel sorry two decilitres of petrol, three decilitres of petrol "You know me, I´ll do something" One is an enemy, another one is a hero They offer shortcuts to the world Divide and conquer With a prospect of stirring up the blind nation for an action But you don´t see your blindness You are afraid of your own shadow ** * „Jako se jde po potkanech, po krysách, jako se jde po škodný v lese ... Buď my, nebo oni ... A těm pizdám, jak tady nosí ty arabský kutny, to chce vzít malej molotovův koktejlek, pěkně hodit pod nohy, až jim hoří kunda, prdel, oni si to rozmyslej, aby takhle chodily. Je to jednoduchý, stačí na to dvě deci benzínu.“ To jsou slova Jaromíra Baldy, takzvaného "prvního českého teroristy." Balda v roce 2017 kácel stromy na železniční trať a v okolí rozhazoval falešné letáky s výhružkami. Snažil se mezi lidmi vyvolat strach z muslimských teroristických útoků a odpor vůči imigraci. "V žádném případě jsem nechtěl spáchat teror. Chtěl jsem proti němu vzbudit co největší odpor,“ bránil se během procesu. Je možné soudit samotného Baldu a neptat se po širších souvislostech? Je možné z toho vynechat nacionalistické strany, dezinformační weby a jejich propagandu strachu a rozeštvávávání lidí? Nejsou skutečnými teroristy jejich lídři, majitelé a provozovatelé? * „It´s like doing away with rats or vermin in the forests... It´s us or them... And for those swines wearing those Arabian cowls here, it needs to take a little molotov cocktail, throw it under their feet and burn their cunts and asses. After that they would definitely change their minds to walk like that. It´s simple, two deciliters of gasoline is all you need.“ These are words of Jaromír Balda, the so-called "first Czech terrorist." In 2017, Balda cut down trees on the railway and spread flyers with fake threats around. He tried to provoke fear of Muslim terrorist attacks and arouse resistance to immigration among people. "I didn't want to commit terror in any way. I actually wanted to provoke the greatest possible resistance against it," he said during the trial. But is it possible to judge only Balda without asking for a broader context? Is it possible to overlook the nationalist parties, websites spreading fake news and their propaganda of fear and disuniting people? Are there not their leaders, owners and providers the real terrorists? ** "The fear of mingling between different “races” and the extinction of the 'autochthonous people' as a supposed consequence reveals the obsession with ethnic purity that all far-right actors have in common. Marginalized communities like the Roma, for instance, are presented as scapegoats for their supposed criminality or refusal of work. Targeted as an 'enemy within,' marginalized communities serve to project petit-bourgeois fears of a loss of social status amidst the vagaries of the market ... The growing threat of an authoritarian transformation of our societies now demands mass movements and broad-based anti-fascist action — diverse and transnational in nature, but always on the basis of genuine solidarity." (Maik Fielitz & Laura Lotte Laloire - A Dozen Shades Of Far Right)
4.
KÓDY, ČÍSLA, ZNAKY Není to tvá vina, můžeš klidně spát Neviděl jsi je, neslyšel, nikdy jsi tam nebyl Byly to jen obrazy jak z filmu Každodenní záběry z večerních zpráv Není to tvá vina, můžeš klidně spát Jsou to jenom kódy, čísla, znaky A není na tobě, jak je použijí Vždyť každý musí někde pracovat Nebyli to lidi, jen terče Položky ze statistik Kusy mapy na obrazovce Úkoly, které jsi musel splnit Není to tvá vina, můžeš klidně spát Lidi budou umírat i bez tebe * Vždycky bude stačit dívat se jinam Vždycky bude stačit věřit, že to je jen hra ** CODES, NUMBERS, SIGNS It's not your fault, you can sleep without guilt You didn't see them, you didn't hear them, you've never been there They were only pictures just like in a movie daily scenes from evening news It's not your fault, you can sleep without guilt They are just codes, numbers, signs And it's not up to you how they use it Anyway, everyone has to work somewhere They weren´t people, they were just targets they were just items in statistics Pieces of map on a screen Tasks you had to accomplish It's not your fault, you can sleep without guilt People are dying without you as well You can always look elsewhere You can always believe that this is just a game * "The Warfare May Be Remote But The Trauma Is Real" (Sarah McCammon) ** "Drones may seem like 'war made easy', but that’s precisely the problem." (Medea Benjamin in an interview with Mark Karlin)
5.
Dohled 2.0 04:49
DOHLED 2.0 Všechny oči sem, * Ať nemyslíme na to, že jsme sami_y Ať zapomeneme na strach a vytěsníme nejistotu ** Ať iluze překryjí vzpomínky Ať zájem přehluší závist Ať zapomeneme, že život nikdy nebude krásný Všechny oči sem, alespoň jako Ať můžeme dělat, že to není předem prohraná bitva SURVEILLANCE 2.0 All eyes over here, * so we don´t think that we are alone so we forgot the fear and displace uncertainty ** May the illusions cover the memories may the envy drown our interests Let us forget that life will never be beautiful All eyes over here or at least let´s pretend So we can think that it isn´t a lost battle * "In synoptic space, particular news reporters, more or less brilliant media personalities and commentators who are continuously visible and seen are of particular importance. They actively filter and shape information ... they place topics on the agenda and avoid placing topics on the agenda." (Thomas Mathiesen - The Viewer Society: Michel Foucault's 'Panopticon' Revisited) ** "In addition to a desire for order, control, discipline and profit, surveillance has voyeuristic entertainment value. Clips from CCTV’s are now a staple of daytime talk shows while programmes such as America’s Dumbest Criminals have helped soften the authoritarian overtones of mass public surveillance" (Kevin D. Haggerty & Richard V. Ericson - The Surveillant Assemblage)
6.
TOHLE NENÍ MOJE MĚSTO Na rozích hledáš postavy těch, co museli odejít * Tam někde za zdí najdeš ty, co neměli kam Všude kolem chrámy úspěchu Skleněné zdi, kam se podíváš Tohle město sis nevybral_a A najednou je ze všech stran Překupníci s tvářemi vytahují rolety Za výlohou masky pro dnešní den ** Na ty včerejší už není čas Nezbyl ani na včerejší lidi Zbyde místo pro nás? *** Nebo zmizíme jako prach ze stěn? Tohle není moje město – Život plyne jak v seriálu Tohle není moje město – Tady vždycky víš, kam dojdeš THIS IS NOT MY CITY On the corners you look for those who had to leave * Somewhere behind the wall you'll find those who had no place to go Altars of success all around Glass walls wherever you look You didn't choose this city And suddenly it is everywhere around you Face dealers pull up the awnings Today´s masks are behind the shop windows ** There's no time for yesterdays masks There is no time even for yesterday's people Will there be a place for us? *** Or are we going to disappear like the dust from the walls? This is not my city - life flows like in a TV show This isn't my city - you always know where to go * "Where once one necessarily entered the city by means of a physical gateway, now one passes through an audiovisual protocol inwhich the methods of audience and surveillance have transformed even the forms of public greeting and daily reception’ (Paul Virilio - The Over-Exposed City) ** “Gentrifiers focus on aesthetics, not people. Because people, to them, are aesthetics.” (Sarah Kendzior - The Peril of Hipster Economics) *** "This is the tang in the air: tough love, zero tolerance, ever-growing inequality, CCTVs, ASBOs, and an 'intensely relaxed' attitude to what was fuelling the economic bubble they said would never burst" (Dan Hancox - Inner City Pressure: London And the Story Of Grime)

about

"Our positions, their positions, power struggles for one of many thousands of perspectives. We're burning the points of view to ashes and with them we draw other truths that can shed tears, caress and comfort our conscience. Us - enough! Our war is over - with a grin we utter: "Now, shall the others endeavour." We measure the suffering of others with an immeasurable degree of experienced suffering, we give advice from our safe havens and turn our heads away. The era of indulgence persists, you can buy truth at every corner, but facts are facts. We know but we do not want to see."

credits

released October 1, 2019

Recorded by ourselves at SF Mini
Mixed & Mastered by Amák at Golden Hive
Spoken word: Dan N.
Cover photo: Jinřich Jandečka
Layout: Petr Bláha

This is a collaborative release by MxFxL, Contraszt! Records and Rope or Guillotine. Support DIY punk labels.

Gattaca: Lada, Hana, Blum, Dan, Šaman

SHOWS 2019:
13.12. cz / olomouc
14.12. sk / trnava
15.12. cz / brno

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