Darkthrone Is Absolutely Not a Political Band and We Never Were

THE ‘FAILURE’ OF YOUTH CULTURE: REFLEXIVITY, MUSIC AND POLITICS IN THE BLACK METAL SCENE Dr Keith Kahn-Harris, Independent social researcher 57 Goring Road London N11 2BT Tel: 0208 881 5742 E-mail: [email protected] Dr Keith Kahn-Harris (né Harris) received his PhD on the sociology of the global Extreme Metal music scene from Goldsmiths College in 2001. Since then he has been a fellow at the Mandel School for Advanced Jewish Educational Leadership, Jerusalem and a visiting fellow at the Monash University Centre for Jewish Civilization, Melbourne. He is currently working on a variety of projects as an independent social researcher in the British Jewish community. THE ‘FAILURE’ OF YOUTH CULTURE: REFLEXIVITY, MUSIC AND POLITICS IN THE BLACK METAL SCENE Abstract: This paper examines an enduring question raised by subcultural studies – how youth culture can be challenging and transgressive yet ‘fail’ to produce wider social change. This question is addressed through the case study of the Black Metal music scene. The Black Metal scene flirts with violent racism yet has resisted embracing outright fascism. The paper argues that this is due to the way in which music is ‘reflexively anti-reflexively’ constructed as a depoliticising category. It is argued that an investigation of such forms of reflexivity might explain the enduring ‘failure’ of youth cultures to change more than their immediate surroundings. Keywords: Subculture, reflexivity, politics, Black Metal, racism, youth culture, scenes. 1 Introduction: Subcultural theory and the ‘failure’ of youth culture It is hardly necessary to point out that cultural studies, and in particular the study of youth culture, owes a massive debt to subcultural theory, as developed by members of and those allied to the Birmingham Centre for Contemporary Cultural Studies in the 1970s (e.g. Cohen 1987; Hall and Jefferson 1976; Hebdidge 1979; Willis 1977, 1978). Nor is it necessary to reiterate the persistent and important criticisms made of subcultural theory since the 1970s, indeed, criticism of subcultural studies is now almost de rigueur in studies of youth culture (e.g. Bennett 1999; Gelder and Thornton 1997; Muggleton 2000; Redhead 1998; Skelton and Valentine 1998; Widdicombe and Wooffitt 1995). What I want to do in this paper is to highlight a question raised by subcultural theory that has been inadequately addressed in subsequent work. The broadly Marxist (albeit unorthodoxly so) theoretical framework drawn on by subcultural theorists imbued researchers with both a strong desire for wholesale social change and a bleak appreciation of the difficulty in producing it. In a capitalist world in which the possibility of revolution seemed improbable, there was nothing left but to look for the possibility of anti-hegemonic resistance in the margins of societies. The ‘tragedy’ of subcultures was that they were too unstable and too marginal to ever provide more than fleeting challenges to capitalist power. Subcultures could not be sustained over long periods of time and could not grow to become genuine mass movements that might produce large-scale structural change. The potential growth of subculture was always stunted through self- defeating obscurity, through moral panic, or through transformation into neutered, commodified ‘style’. Faced with this seemingly intractable problem, subcultural theory oscillated between dystopian despair at the limitations of subcultures and celebration of their all too tenuous achievements. For the CCCS, subcultures are ultimately heroic failures. Studies of youth culture since the 1970s have tended to jettison all but the remnants of subcultural theory’s Marxism. This has not necessarily meant that such studies have been any less ‘critical’ – 2 indeed, the influence of feminism and post-colonial theory has brought an even more subtle appreciation of the ways in which power relations help to structure contemporary culture. Without Marxism’s yearning for the radical structural change, post-Marxist studies of youth culture have not shared subcultural theory’s sense of disappointment at the ultimate ‘failure’ of youth culture. Radical society-wide social change is generally not the standard by which cultural practice is measured. Indeed, youth cultural forms may be celebrated (albeit cautiously and critically) as providing means for the ‘survival’ of individual subjects within new forms of symbolically creative community in a complex and difficult world (e.g. Jenkins 1992; Radway 1987). Yet subcultural theory raised questions that remain important and worth asking in a modified form: It is clear that contemporary capitalist societies contain a myriad of cultural forms that rework, transgress and provide safe space from oppressive structures of domination. Such cultural forms may indeed have a substantial effect on the wider culture, for example through increasing its symbolic vocabulary or acting as a ‘seedbed’ for new forms of cultural practice. One might cautiously claim some role for youth culture in contributing to the (highly imperfect and variable) emancipation of women and ethnic minorities in recent decades. Yet whilst radical youth radical cultures have certainly enrichened and complexified contemporary capitalist societies since the second world war, and in particular since the 1970s, society remains organised on capitalist lines with its concomitant oppressive structures. Indeed, since the 1970s many of the safeguards against capitalist domination, such as the welfare state, have been weakened. A contemporary re-reading of subcultural theory therefore alerts to the parallel development of a profusion of forms of radical youth cultural and of a deepened, globalised system of capitalist domination. Subcultural theory therefore alerts us to a continuing gap between the radicalism of the micro and the overall domination of the macro. I would argue that subcultural theory had great difficulty in explaining this other than in reductive terms as ‘failure’, since it only had a very limited appreciation of micro-processes of reflexivity. In this paper I want to show how attention to the forms of 3 reflexivity present in youth cultural forms can lead us to a more profound appreciation of why subcultures ‘fail’. I will focus on the role that music play in this process. Music was a crucial part in the subcultures that the CCCS focused on and remains at the centre of youth culture. The following case study will look in detail at the reflexivity and politics of the global Black Metal music ‘scene’ before drawing some preliminary conclusions about the relationship between reflexivity, politics, music and youth culture. The Black Metal scene In 1994 Black Metal, an unambiguously Satanic offshoot of Heavy Metal, came to public attention with the murder of the Norwegian musician Euronymous of the band Mayhem by Varg Vikernes (aka Count Grisnacht) of the band Burzum. The murder was linked to the arson of a number of churches in Norway and another, apparently motiveless, murder of a stranger by musician Bard ‘Faust’ Eithun from the band Emperor. These events brought a certain notoriety to Black Metal and led to features in the non-Metal media throughout the world (e.g. Steinke (1996), BBC Radio One Documentary 8/95). Michael Moynihan and Didrik Søderlind’s book ‘Lords of Chaos: The Bloody Rise of the Satanic Metal Underground’ (1998) brought renewed revelations about Black Metal in Norway and elsewhere and resulted in further features in the music press (e.g. Wells (1998)). The book revealed the misanthropy and hatred that lead to the Norwegian murders and details other murders in Germany, America and Sweden. It also examines the fascist and racist views of many involved in Black Metal including Vikernes, who has become an outright Nazi. This brought Black metal to the attention of the British anti-fascist magazine ‘Searchlight’, who published a detailed investigation into its far right connections (Cayton 1999). Although other studies have depicted Metal cultures as oppositional and alienated (Arnett 1995; Gaines 1990), Black Metal has come to be associated with an unprecedented level of violence and hatred. My own research into Black Metal, based on case studies in Sweden, Israel and the UK (Harris 2001), found plenty of material that reinforces accounts of the image of the disturbing nature of Black Metal 4 I do not want to deny the importance of highlighting such aspects of Black Metal. I do however want to question the partiality of accounts of Black Metal that focus on its more ‘spectacular’ and horrifying features. Such accounts that marginalise difference are an inevitable consequence of readings of youth culture produced without a proper appreciation of how meaning is negotiated within the micro-politics of everyday interaction (Widdicombe and Wooffitt 1995). As Robert Walser has argued (1993), although Metal has generally been seen from the outside as monolithic, its meanings are highly contested and fans are well attuned to difference. In this paper I want to produce an analysis of Black Metal that is more attuned to this difference and contestation. This reading will be produced by contextualising Black Metal within the space defined by the conceptual framework of ‘scene’ (Harris 2000; Shank 1994; Straw 1991; Olson 1998). Scene is a concept in increasing use in recent years, whose rich connotations encourage a productive kind of theoretical and analytical promiscuity (Blum 2001; Straw 2001). This promiscuity means that concept is less likely to overdetermine

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