Our Philosophy

Warpath exists in between a definable and undefinable space of being, it cannot be understood through a credal formulation or a singular philosophical viewpoint. But if I had to attempt to define what we stand for and aim to achieve it would be providing a platform for negative music within a positive space. Electronic music within New Zealand for far too long has had a single-minded obsession with music of a positive nature, this can also be due to the fact that the substances which are commonly consumed at these shows enhance the positive emotions which people commonly feel when they experience this type of music. The hippy-fication of electronic music has prioritised these vapid and empty notions of positivity to the point of obsession, which is evident by the lack of club nights which specifically exhibit the negative/darker spectrum of electronic music. As the philosopher Byung-Chul Han stated, “The violence of positivity does not deprive, it saturates; it does not exclude, it exhausts. That is why it proves inaccessible to unmediated perception”. The violence of positivity is not violence as it is commonly understood (fighting, stabbing) but instead, it is violent in the way that it is excessively imposed onto our society. As electronic music can be a reflection of society itself it will reflect the obsession with positivity which has become a normative function within Western society, leaving no room for negative and dark expressions of electronic to penetrate the zeitgeist. However, our prioritisation of the darker expression of electronic music does not mean that the shows should become a haven of deviant and violent behaviours, guaranteeing the safety and security of participants is an utmost priority. The Warpath philosophy of negative music within a positive space is heavily inspired by the ethos of Hardcore Punk which has been a significant part of my life for nearly ten years, Hardcore is a genre which is characterised by live bands playing negative music (sometimes) and where the participants engage in violent dancing amongst each other. Although the crowd reaction may be extremely violent, chaotic and unpredictable the shows themselves are positive spaces of cooperation, community and unity amongst people of different backgrounds. Although the violent mosh styles within Hardcore would never be acceptable at electronic music night, the communitarian emphasis within Hardcore is something I wish to see expressed in our club nights, allowing a space where all who do not fit within normative society can feel comfortable and enjoy music which is outside the mainstream.