tunnel vision – aircode

London-based Aircode (Julia Svensson) weaves radical autonomist Marxist feminist ideology with her stripped back avant-electronics. Elapsed bass notes rumble over a dank tunnel exterior, as if the last remaining memories of a night at the club. Discordant jazz piano notes appear like little matches being lit in a thick fog of darkness, while dubbed percussion and electronic counterpoints are phased in a series of dulled hues. The singular narrative of exploration in opaque space is sustained throughout, and is brought to an end by Julia - manipulating her voice through a series of mutated fx - reading an extended passage by Silvia Federici:

“With the demise of the subsistence economy that had prevailed in pre-capitalist Europe, the unity of production and reproduction which has been typical of all societies based production-for-use came to an end, as these activities became the carriers of different social relations and were sexually differentiated. In the new monetary regime, only production-for-market was defined as a value-creating activity, whereas the reproduction of the worker began to be considered as valueless from an economic viewpoint and even ceased to be considered as work. Reproductive work continued to be paid - though at the lowest rates when performed for the master class or outside the home. But the economic function in the accumulation of capital became invisible, being mystified as a natural vocation and labelled “women’s labor.” […]

Most importantly, the separation of production from reproduction created a class of proletarian women who were as dispossessed as men but, unlike their relatives, in a society that was becoming increasingly monetarized, had almost no access to wages, thus being forced into a condition of chronic poverty, economic dependence, and invisibility as workers.

As we will see, the devaluation and feminisation of reproductive labor was a disaster also for male workers, for the devaluation of reproductive labor inevitably devalued its product: labor-power. But there is no doubt that in the “transition from feudalism to capitalism” women suffered a unique process of social degradation that was fundamental to the accumulation of capital and has remained so ever since.

Also in view of these developments, we cannot say, then, that the separation of the worker from the land and the advent of a money-economy realised the struggle which the medieval serfs had fought to free themselves from bondage. It was not the workers - male or female - who were liberated by land privatization. What was “liberated” was capital, as the land was now “free” to function as a means of accumulation and exploitation, rather than as a means of substance. Liberated were the landlords, who now could unload onto the workers most of the cost of their reproduction, giving them access to some means of subsistence only when directly employed.”
- Silvia Federici, 2004: 74-75. Caliban and The Witch

Julia Svensson (aircode) - all music & recording
Text: Silvia Federici - Caliban and The Witch, available to purchase here
Artwork design by Oliver Barrett 


1 - tunnel vision [25:37]


aircode is a Swedish producer based in London whose production is linked by tone rather than genre. Though, heavy dub-rhythm and careful use of space are reoccurring themes mixed with vocals, short occurrences of piano, halfway-club drum patterns and constantly changing dynamics. Following her debut release on TT (fka Tobago Tracks) we have seen releases on labels such as Alien Jams, Cafe Oto’s Takuroku and Nostro Hood System.