Industrial Music and Fascism
ASSIMILRELEASEATE A Critical History of Industrial Music PUBLIC S. ALEXANDER REED FOR NOT 1 13. Back and Forth: Industrial Music and Fascism 1. Extremism as the Norm Industrial music’s pan-revolutionary streak isn’t just fond of extreme imagery; it relies on it. Te Debordian tyranny of the spectacle, with its aligned control machines and hegemonies, is perceived as so all-encompassing that industrial music ofen takes neoliberal moderation as useless. In particular, the genre’s imagery of totalitarianism is pervasive enough to have rightly become a recur- ring topic of curiosity, caution, prurience, and debate within industrial music’s communities of fans and commentators. Graphically in videos, performances, and on record sleeves; sonically in the music’s unforgivinglyRELEASE quantized march rhythms and samples of political events, news, and flms; and discursively in bands’ lyrics and interviews, industrial music borrows from, enacts, mocks, documents, and embraces signifers of political and ideological extremism from seemingly every corner of human belief. Tis makes a certain sense given that the purported enemies on whom the genre fxes its crosshairs take so many forms. Instead of surveying and cataloguing industrial music’s extremist rheto- ric, this chapter looks deeply at how and why musicians use these signs (both theoretically and functionally),PUBLIC as well as how audiences have interpreted them. Troughout its entire history, the industrial music scene has been home to socialist ideologues, Randian libertarians, anarchists, academics, mistrusters of western intellectualism, utopian mystics, racial purists, nihilists with nothing to lose, and a substantial crowd who either hold aestheticized and underdeveloped ideologies or denyFOR any interest in politics, culture, and the discourse thereof, and who just want to dance.
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