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To cite this Article Shekhovtsov, Anton(2009) 'Apoliteic music: Neo-Folk, Martial Industrial and 'metapolitical fascism'',
Patterns of Prejudice, 43: 5, 431 — 457
To link to this Article: DOI: 10.1080/00313220903338990
URL: http://dx.doi.org/10.1080/00313220903338990
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Patterns of Prejudice, Vol. 43, No. 5, 2009
ANTON SHEKHOVTSOV
ABSTRACT Shekhovtsov suggests that there are two types of radical right-wing
music that are cultural reflections of the two different political strategies that fascism
was forced to adopt in the ‘hostile’ conditions of the post-war period. While White
Noise music is explicitly designed to inspire racially or politically motivated violence
and is seen as part and parcel of the revolutionary ultra-nationalist subculture, he
suggests that ‘metapolitical fascism’ has its own cultural reflection in the domain of
sound, namely, apoliteic music. This is a type of music whose ideological message
contains obvious or veiled references to the core elements of fascism but is
simultaneously detached from any practical attempts to realize these elements
through political activity. Apoliteic music neither promotes outright violence nor is
publicly related to the activities of radical right-wing political organizations or
parties. Nor can it be seen as a means of direct recruitment to any political tendency.
Shekhovtsov’s article focuses on this type of music, and the thesis is tested by
examining bands and artists that work in such musical genres as Neo-Folk and
Martial Industrial, whose roots lie in cultural revolutionary and national folk
traditions.
New war sorrows, new national storm tides will spawn new folk songs as well.
*/Hans Breuer, 19131
I would like to thank the musicians Ivan Napreenko and Eric Roger, who advised me and
commented on a draft of this article. I am also grateful to the anonymous reviewers, as
well as to Anna Melyantsev and Vickie Hudson, who were kind enough to proofread.
Mistakes, however, are solely my own.
1 Translated and quoted in Britta Sweers, ‘The power to influence minds: German folk
music during the Nazi era and after’, in Annie Janeiro Randall (ed.), Music, Power, and
Politics (New York: Routledge 2005), 65/86 (68).
2 Folkstorm, Victory or Death (Northampton: Cold Spring Records 2000). The name of the
band is a translation of the German Volkssturm, which was the name of the Nazi militia
founded by Adolf Hitler in October 1944.
ISSN 0031-322X print/ISSN 1461-7331 online/09/050431-27 # 2009 Taylor & Francis
DOI: 10.1080/00313220903338990
432 Patterns of Prejudice
The CD contained ten tracks of harsh Industrial music and the disc was
decorated with a Nazi-style Reichsadler atop an empty oak wreath.3 The back
cover was ornamented with runes and listed the tracks ‘Feldgeschrei’ (Field
Turmoil), ‘Harsh Discipline’, ‘Propaganda’, ‘We Are the Resistance’, ‘Social
Surgery’, to name but a few. The words of the songs were inaudible, due to
the highly distorted vocals, but everything else vaguely suggested the
radical right-wing nature of Folkstorm’s ‘ideology’. Surprisingly, the band
promised ‘No politics. No religion. No standard’, a prudent statement
written on the disc itself.
If the band disclaims any reference to politics while these signs suggest the
opposite, what type of ‘propaganda’ is it? Folkstorm’s message has little to
do with that of some of its compatriots like Totenkopf, whose track ‘Can’t Be
Beaten’ unreservedly proclaims: ‘Show them where you stand and feel no
remorse, my Aryan brother, it’s time for race war.’4 Neither is Folkstorm’s
message a provocation similar to the late Punk Rocker Sid Vicious’s
notorious posing in a t-shirt with a swastika on it. If the message is not
the White Noise broadcast of racial hatred,5 or the ‘spit in the face of
bourgeois society’, then what is it? In this article, I argue that there exists a
particular kind of radical right-wing music that does not promote outright
violence, is not related to the activities of political organizations or parties,
and is not a means of recruitment to any political tendency. Therefore, I take
Folkstorm’s ‘No politics’ statement seriously, although I hope to reconcep-
tualize it in a way that avoids any futile attempt to drain the clearly right-
wing message of its essence. I refer to this music as ‘apoliteic’ (a term
explained below), and this article will analyse its nature and significance by
considering two musical genres, namely Neo-Folk and Martial Industrial,
that are most often used by bands and artists for disseminating an apoliteic
message. I hope to demonstrate that apoliteic music and White Noise are
cultural reflections of the two different political strategies that fascism was
forced to follow in the ‘hostile’ conditions of the post-war period.
Before I proceed, it must be noted that neither Neo-Folk nor Martial
Industrial can be considered ‘fascist musical genres’. Unlike White Noise,
which refers specifically to ideologically motivated music, these two genres
are first and foremost typological constructs that embrace particular kinds of
combined sounds. Indeed, whether or not Neo-Folk or Martial Industrial can
be equated with fascist or neo-Nazi propaganda has been hotly debated
since the mid-1990s when a number of bands playing in these genres started
3 The Reichsadler (imperial eagle) is a German national insignia. In 1933 the Nazis
introduced the image of an eagle atop an oak wreath with a swastika at its centre.
4 Totenkopf, ‘Can’t Be Beaten’, on Various Artists, White Pride World Wide III (Stockholm:
Nordland Records 1996).
5 ‘White Noise’ is the term that has been used for neo-Nazi rock music since the early
1980s. This type of music is explicitly designed to inspire racially or politically
motivated violence.
ANTON SHEKHOVTSOV 433
Weltanschauung.
There are several terms that journalists, public officials and scholars use to
refer to artists or bands that*from the observers’ point of view*perform
/ /
6 Death in June, Rose Clouds of Holocaust (London: New European Recordings 1995). The
BPjM found that the title song from the album cast doubt on the occurrence of the
Holocaust. The lyrics in question are as follows: ‘Rose clouds of Holocaust/ Rose
clouds of lies/ Rose clouds of bitter/ Bitter, bitter lies’. Although in his explanatory
memorandum Douglas Pearce, the man behind Death in June, stated that he ‘[did] not
deny the existence of The Holocaust’, the record was banned: posted on the Death in
June website, 14 February 2006, at www.deathinjune.org/modules/news/
article.php?storyid70 (viewed 8 August 2009).
434 Patterns of Prejudice
skinheads in Europe and the United States.7 Since Skrewdriver played a type
of Punk Rock music known as Street Punk or Oi!,8 the term ‘White Noise’
originally referred to Punk Rock acts that propagated extreme right-wing
ideas.9 Currently, due to the generic variety of bands that play at Blood &
Honour concerts, one can apply this term to any aggressive rock music that
is imbued with an openly fascist or racist message.
It is crucially important to highlight two features of White Noise. First, this
type of music is characterized by overt racism or revolutionary ultra-
nationalism. White Noise bands do not veil their messages and some of the
bands’ names*not to mention the albums and song titles*speak for
/ /
themselves: Race War, Totenkopf, Final Solution, Jew Slaughter, Legion 88,
Konkwista 88, Angry Aryans, Brigada NS, RaHoWa etc.10 Second, White
Noise is associated with either direct violence against an Other or the
political cause, however marginal, that inspires it. It is quite often the case
that White Noise musicians do not conceal their membership in revolu-
tionary ultra-nationalist groupuscules, larger organizations or even electoral
parties. As mentioned above, Skrewdriver worked alongside the NF, while
the Romanian band Brigada de Asalt (The Assault Brigade) is an integral
part of the neo-Nazi organization Noua Dreaptă (New Right), presumably
backed by the Romanian radical right-wing Partidul Noua Generatie (New
Generation Party). A large number of White Noise bands appear on the so-
called ‘schoolyard’ CDs compiled and released by the radical right-wing
Nationaldemokratische Partei Deutschlands (National Democratic Party of
Germany) for free distribution among German youth.
Surprisingly, the term ‘White Noise’ does not seem to cover Black Metal
bands that promote ultra-nationalist ideas. In this case, journalists and
7 After Stuart’s death in a car crash in 1993, the network was taken over by Combat 18, a
neo-Nazi paramilitary group. See Nicholas Goodrick-Clarke, Black Sun: Aryan Cults,
Esoteric Nazism, and the Politics of Identity (New York: New York University Press 2002),
195.
8 It is important to note that Oi! was originally associated with working-class left-wing
populism, but later was taken up by ideologically diverse bands, ranging from anti-
fascist and radical left-wing to fascist and racist ones.
9 See Nick Lowles and Steve Silver (eds), White Noise: Inside the International Nazi
Skinhead Scene (London: Searchlight 1998); John M. Cotter, ‘Sounds of hate: White
Power rock and roll and the neo-Nazi skinhead subculture’, Terrorism and Political
Violence, vol. 11, no. 2, 1999, 111/40. Due to the similarity in form and content, the term
‘White Noise’ is synonymous with the term ‘White Power’ and they are generally
used interchangeably. See also Goodrick-Clarke, Black Sun, ch. 10 (‘White Noise and
Black Metal’), 193/212; Robert Futrell, Pete Simi and Simon Gottschalk,
‘Understanding music in movements: the White Power music scene’, Sociological
Quarterly, vol. 47, no. 2, 2006, 275/304; and Ugo Corte and Bob Edwards, ‘White Power
music and the mobilization of racist social movements’, Music and Arts in Action
(online journal), vol. 1, no. 1, 2008, 4/20, at www.musicandartsinaction.net/
index.php/maia/article/view/whitepowermusic/9 (viewed 8 August 2009).
10 ‘88’ stands for ‘Heil Hitler’, as ‘H’ is the eighth letter in the Latin alphabet, ‘NS’ is an
acronym for National Socialism, and ‘RaHoWa’ stands for ‘racial holy war’.
ANTON SHEKHOVTSOV 435
scholars use the term ‘National Socialist Black Metal’ (or simply NSBM) to
refer to the same White Noise socio-political message when it is disseminated
by Black Metal music.11
Another umbrella term for radical right-wing music is simply ‘Right-Wing
Rock’. This term gained currency in Germany (Rechtsrock) among left-wing
activists, scholars and government institutions such as the Bundesamt für
Verfassungsschutz (BfV, Federal Office for the Protection of the Constitution)
and the BPjM,12 but is used in English-language academic works as well.13
The BPjM states that, ‘with the exception of jazz and classical music, there is
no musical genre that is not infiltrated by right-wing extremist organizations
and is not a medium for extreme right-wing content’.14 It lists eight musical
genres that are collectively identified as Rechtsrock (Right-Wing Rock):
skinhead bands (obviously not a genre, but apparently the BPjM meant
White Noise here), NSBM, Hatecore, Techno Music, Hip-Hop, Folk, singer-
songwriters (again, not a genre, but individuals who compose and perform
their own works, usually accompanied solely by acoustic guitar) and Neo-
Folk. According to the German office, it is these genres that are commonly
used by musicians who promote ‘the glorification of National Socialism, the
representation of Adolf Hitler and his party comrades as role models (or
tragic heroes)’, and who seek to ‘instil racial hatred, [or] call for violence
against foreigners, Jews or those who disagree with them’.15 Such an
analysis suffers from one grave shortcoming. ‘Right-Wing Rock’ per se is an
over-extended term, and the BPjM interprets it too narrowly for it to be
applied to the wide range of genuine right-wing music. To be a right-winger
or even a fascist one does not necessarily have to glorify Nazism or seek to
11 On NSBM, see Goodrick-Clarke, Black Sun, 193/212; Justin Massa, ‘Unholy alliance:
the National Socialist Black Metal underground’, in Devin Burghart (ed.), Soundtracks
to the White Revolution: White Supremacist Assaults on Youth Subcultures (Chicago: Center
for New Community 1999), 49/64; and Keith Kahn-Harris, Extreme Metal: Music and
Culture on the Edge (Oxford and New York: Berg 2007).
12 On Right-Wing Rock in German, see Christian Dornbusch and Jan Raabe, RechtsRock:
Bestandsaufnahme und Gegenstrategien (Münster: Unrast 2002); Mahmut Kural,
Rechtsrock*Einstiegsdroge
/ in rechtsextremes Gedankengut? (Saarbrücken: VDM Verlag
2007); Bundesministerium des Innern (ed.), Verfassungsschutzbericht 2006 (Berlin:
Bundesministerium des Innern 2007); and Georg Brunner, ‘Rezeption und Wirkung
von Rechtsrock’, in BPjM Aktuell, no. 1, 2007, 3/18.
13 See Michael Wade, ‘Johnny Rebel and the Cajun roots of Right-Wing Rock’, Popular
Music and Society, vol. 30, no. 4, 2007, 493/512; Thomas Irmer, ‘Out with the right! Or,
let’s not let them in again’, trans. from the German by Claudia Wilsch, Theater, vol. 32,
no. 3, 2002, 61/7; and Walter Laqueur, Fascism: Past, Present, Future (New York: Oxford
University Press 1996), 134.
14 BPjM, ‘Jugendgefährdung: Lesemedien & Hörmedien’, Bundesprüfstelle für
jugendgefährdende Medien, available on the BPjM website at www.bundespruefstelle.de/
bmfsfj/generator/bpjm/Jugendmedienschutz-Medienerziehung/Lese-Hoermedien/
jugendgefaehrdung.html (viewed 8 August 2009). Translations, unless otherwise stated,
are by the author.
15 Ibid.
436 Patterns of Prejudice
instil racial hatred. The BPjM obviously hits its target with White Noise and
NSBM, but by including Neo-Folk*even if we assume it is only right-wing
/
prominent.20 These features are by no means the sine qua non of fascism but
they are indicative of fascism’s commitment to the aestheticization of
political life, extreme activism and spectacular politics, and hence directly
linked to its tendency to manifest itself as a form of political religion.
Although fascism is an enfant terrible of the twentieth century, its socio-
political lifespan is not bounded by Mussolini’s and Hitler’s regimes. After
the joint forces of the Soviet Union and the western liberal democracies had
crushed fascism’s war machine, it was forced to evolve or, rather, mutate into
three distinct forms. The groups that still wanted to participate in the
political process had to dampen their revolutionary ardour rather drama-
tically and translate it ‘as far as possible into the language of liberal
democracy’.21 This strategy gave birth to new radical right-wing parties that
have become electorally successful in several countries over the last twenty-
five years. Revolutionary ultra-nationalists, on the other hand, retreated to
the margins of socio-political life and took the form of small groupuscules
that kept alive ‘the illusory prospect of having a revolutionary impact on
society’.22 The third form of post-war fascism was conceptualized in the
teachings of two fascist philosophers, Armin Mohler and Julius Evola. In Die
konservative Revolution in Deutschland 19181932, published in 1950,23 Mohler
/
argued that, since fascist revolution was indefinitely postponed due to the
political domination of liberal democracy, true ‘conservative revolutionaries’
found themselves in an ‘interregnum’ that would, however, spontaneously
give way to the spiritual grandeur of national reawakening. This theme of
right-wing ‘inner emigration’ was echoed by Evola in his Cavalcare la tigre
(Ride the Tiger), published in 1961.24 Evola acknowledged that, while ‘the
true State, the hierarchical and organic State’, lay in ruins, there was ‘no one
party or movement with which one can unreservedly agree and for which
one can fight with absolute devotion, in defence of some higher idea’. Thus,
l’uomo differenziato should practise ‘disinterest, detachment from everything
that today constitutes ‘‘politics’’’, and this was exactly the principle that
20 Emilio Gentile, ‘Fascism, totalitarianism and political religion: definitions and critical
reflections on criticism of an interpretation’, Totalitarian Movements and Political
Religions, vol. 5, no. 3, 2004, 326/75 (338/9). On no account is this an attempt to
normalize fascism*/whether as a regime or just a movement*/or downplay the
atrocities committed by fascists in their mission to renew ‘the organic national
community’. The inhuman terror unleashed by fascism is straightforwardly depicted
in*/among others*/the 1985 Soviet film Idi i smotri (Come and See), which I urge
concerned readers to see.
21 Roger Griffin, ‘From slime mould to rhizome: an introduction to the groupuscular
right’, Patterns of Prejudice, vol. 37, no. 1, 2003, 38.
22 Ibid.
23 Armin Mohler, Die konservative Revolution in Deutschland 1918/1932: Grundriss ihrer
Weltanschauungen (Stuttgart: F. Vorwerk 1950).
24 Julius Evola, Cavalcare la tigre (Milan: All’insegna del pesce d’oro 1961). All references
here are to a later edition: Julius Evola, Cavalcare la tigre: orientamenti esistenziali per
un’epoca della dissoluzione (Rome: Edizioni Mediterranee 2004).
438 Patterns of Prejudice
Evola called ‘apoliteia’. While apoliteia does not necessarily imply abstention
from socio-political activities, an apoliteic individual, an ‘aristocrat of the
soul’ (to cite the subtitle of the English translation of Cavalcare la tigre),
should always embody an ‘irrevocable internal distance from this [modern]
society and its ‘‘values’’’.25
The concepts of interregnum and apoliteia had a major impact on the
development of the ‘metapolitical fascism’ of the European New Right
(ENR),26 a movement that consists of clusters of think tanks, conferences,
journals, institutes and publishing houses that try*following the strategy of
/
rather than for immediate political power. Following Evola’s precepts, the
ENR tries to distance itself from both historical and contemporary fascist
parties and regimes. As biological racism became totally discredited in the
post-war period, and it was ‘no longer possible to speak publicly of
perceived difference through the language of ‘‘old racism’’’,29 ENR thinkers
pointed to the insurmountable differences between peoples, not in biological
or ethnic terms but rather in terms of culture.30 They abandoned overt fascist
25 Evola, Cavalcare la tigre, 150/2. The source of the phrase ‘aristocrat of the soul’ is the
2003 English translation, which also translates l’uomo differenziato literally as ‘the
differenziated man’: Julius Evola, Ride the Tiger: A Survival Manual for the Aristocrats of
the Soul, trans. from the Italian by Joscelyn Godwin and Constance Fontana
(Rochester, VT: Inner Traditions 2003).
26 See Roger Griffin, ‘Between metapolitics and apoliteia: the Nouvelle Droite’s strategy
for conserving the fascist vision in the ‘‘interregnum’’’, Modern & Contemporary France,
vol. 8, no. 1, 2000, 35/53.
27 On the ENR, see Tamir Bar-On, Where Have All the Fascists Gone? (Aldershot,
Hampshire: Ashgate 2007); Alberto Spektorowski, ‘The New Right: ethno-
regionalism, ethno-pluralism and the emergence of a neo-fascist ‘‘Third Way’’’,
Journal of Political Ideologies, vol. 8, no. 1, 2003, 111/30; Roger Griffin, ‘Interregnum or
endgame? The radical right in the ‘‘post-fascist’’ era’, Journal of Political Ideologies, vol.
5, no. 2, 2000, 163/78; and Griffin, ‘Between metapolitics and apoliteia’.
28 Spektorowski, ‘The New Right’, 120.
29 Ralph D. Grillo, ‘Cultural essentialism and cultural anxiety’, Anthropological Theory,
vol. 3, no. 2, 2003, 157/73 (163).
30 On this new (cultural) racism, see first and foremost Pierre-André Taguieff, ‘The new
cultural racism in France’, Telos, no. 83, 1990, 109/22; Pierre-André Taguieff, ‘From
race to culture: the New Right’s view of European identity’, Telos, no. 98/9, 1993/4,
99/125; Etienne Balibar, ‘Is there a ‘‘new racism’’?’, in Etienne Balibar and Immanuel
Wallerstein, Race, Nation, Class: Ambiguous Identities (London and New York: Verso
1991), 17/28.
ANTON SHEKHOVTSOV 439
31 Roger Griffin, ‘Fascism’s new faces (and new facelessness) in the ‘‘post-fascist’’
epoch’, in Griffin, Loh and Umland (eds), Fascism Past and Present, 51.
32 One should distinguish between common fans who appreciate the actual musical side
of the art under scrutiny, while rejecting or simply ignoring its ideological message (if
any), and conscientious fans who are drawn both by the art and its ideological
message, enthusiastically embraced.
33 Ernst Jünger, Der Waldgang (Frankfurt on Main: Klostermann 1951). References here are
to the abridged English translation: Ernst Jünger, ‘Retreat into the forest’, Confluence,
vol. 3, no. 2, 1954, 127/42 (Confluence was edited in 1954 by its founder Henry Kissinger).
34 Evola was an admirer of Jünger, and his reflections on the latter’s Der Arbeiter were
published as Julius Evola, L’ ‘Operaio’ nel pensiero di Ernst Jünger (Rome: Armando
Armando Editore 1960). It is debatable whether Evola’s speculations on apoliteia were
actually inspired by Jünger’s Der Waldgang, but the Italian baron was known for
apparently hijacking (plagiarizing?) the ideas of other authors. For example, Evola’s
1928 work Imperialismo pagano drew heavily on Reghini’s 1914 essay of the same
name: Arturo Reghini, ‘Imperialismo pagano’, Salamandra, no. 14, 1914. A year after
Evola had published his Imperialismo pagano, he accused Reghini of being a member of
a Masonic lodge (Mussolini dissolved and banned Freemasonry in Italy in 1925), and
tried to sue him on those grounds.
440 Patterns of Prejudice
retreat into the forest (Waldgang) is not . . . directed against the world of
technology, although this is a temptation, particularly for those who strive to
regain a myth. Undoubtedly, mythology will appear again. It is always present
and arises in a propitious hour like a treasure coming to the surface. But man does
not return to the realm of myth, he re-encounters it when the age is out of joint and
in the magic circle of extreme danger.40
35 Jünger experienced war firsthand: during the First World War he served in the
Imperial German army and returned from the battlefield decorated with the Iron
Cross First Class and the Pour le Mérite, which was the highest military order of the
German empire.
36 Griffin, Modernism and Fascism, 165.
37 Jünger, ‘Retreat into the forest’, 129. For Griffin’s extensive use of the metaphor of the
Titanic to evoke the modernist sense of a ‘new beginning’ or Aufbruch in history, see
his introduction to Modernism and Fascism.
38 Jünger, ‘Retreat into the forest’, 141.
39 Ibid., 135. Here one may want to consider the possible influence of Martin Heidegger,
Holzwege (Woodpaths) (Frankfurt on Main: Klostermann 1950) on the development of
Jünger’s concept of the Waldgang. On Heidegger, in the context of the current study,
see Matthew Feldman, ‘Between Geist and Zeitgeist: Martin Heidegger as ideologue of
‘‘metapolitical fascism’’’, Totalitarian Movements and Political Religions, vol. 6, no. 2,
2005, 175/98.
40 Ibid., 132 (emphasis in the original). This vision of redemptive myth resurfacing in a
moment of danger is reminiscent of Walter Benjamin’s statement in his ‘Theses on the
philosophy of history. VI’ (unpublished when Jünger was writing) that the truly and,
hence, redemptive historical engagement with reality means to ‘seize hold of a
memory as it flashes up at a moment of danger’: Walter Benjamin, ‘Theses on the
philosophy of history’, in Walter Benjamin, Illuminations, ed. Hannah Arendt, trans.
from the German by Harry Zohn (London: Fontana 1992), 247.
ANTON SHEKHOVTSOV 441
While the concept of the Waldgang is clearly another aspect of apoliteia (or
perhaps the reverse of it), apoliteic artists perceive themselves as ‘wanderers
in the forest’. They necessarily allude to myths*whether pagan or, less
/
through music, lyrics, band names, album and song titles, cover art, style of
dress as well as being subtly articulated in live performances*can be found /
modern Industrial music has been influenced by other cultural and musical
trends (Dadaism, musique concrète, Pop, Rock, Electronic and Post-Punk), but
its emergence (or rather re-emergence) in the mid-1970s was a result of the
‘spiritual’ evolution of Futurist music.
Apart from general influences that shaped Industrial music, Neo-Folk
draws heavily on national folk traditions. The first point of reference is a
wave of the so-called ‘roots’ revivals that swept the Europeanized world a
few decades after the Second World War, reaching their apogee in the 1960s
and 1970s. Several major features characterized roots revivals: first, the
revitalization and imitation of national traditional music; second, the
44 Peter Webb, Exploring the Networked Worlds of Popular Music: Milieu Cultures (London
and New York: Routledge 2007), 60; Stéphane François, La Musique europaı¨enne:
ethnographie politique d’une subculture de droite (Paris: Harmattan 2006).
45 The history of Industrial music is well described in three non-academic books: Simon
Ford, Wreckers of Civilisation: The Story of Coum Transmissions & Throbbing Gristle
(London: Black Dog 1999); Vivian Vale and Andrea Juno (eds), Re/Search #6/7:
Industrial Culture Handbook (San Francisco: V/Search 1983); and David Keenan,
England’s Hidden Reverse: Coil, Current 93, Nurse with Wound: A Secret History of the
Esoteric Underground (London: SAF Publishing 2003). For a scholarly view of the
history of Industrial music, see Karen E. Collins, ‘‘‘The Future Is Happening Already’’:
Industrial Music, Dystopia and the Aesthetic of the Machine’, Ph.D. thesis, University
of Liverpool, 2002; and Paul Hegarty, Noise/Music: A History (New York: Continuum
2007).
46 Collins, ‘‘‘The Future Is Happening Already’’’, 9.
47 Luigi Russolo, The Art of Noise (Futurist Manifesto, 1913), trans. from the Italian by
Robert Filliou (New York: Ubu Classics 2004), 7. L’Art des bruits was written in the
form of a letter to ‘Balilla Pratella, great futurist musician’.
48 The ideological correlation between Futurism and Fascism is the subject of a thorough
analysis in Griffin, Modernism and Fascism.
ANTON SHEKHOVTSOV 443
Folk bands apparently draw inspiration not from the 1970s left-wing protest
folk songs, but rather from the previous folk revivals that took place at the
end of the nineteenth and beginning of the twentieth centuries. These
revivals varied throughout European countries. In Britain, for example, the
phenomenon was associated with folk song collectors such as Cecil Sharp,
Ralph Vaughan Williams and Lucy Broadwood, who endeavoured*quite /
49 Britta Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford and
New York: Oxford University Press 2005), 25.
50 Kirsten Kearney, ‘Constructing the Nation: The Role of the Ballad in Twentieth
Century German National Identity with Special Reference to Scotland’, Ph.D. thesis,
University of Stirling, 2007, 194. On the use of German folk music by the Nazis, see
also Sweers, ‘The power to influence minds’.
51 See Richard Sykes, ‘The evolution of Englishness in the English folksong revival,
1890/1914’, Folk Music Journal, vol. 6, no. 4, 1993, 446/90; and Georgina Boyes, The
Imagined Village: Culture, Ideology, and the English Folk Revival (Manchester and New
York: Manchester University Press 1993).
52 Sweers, ‘The power to influence minds’, 67.
53 Kearney, ‘Constructing the Nation’, 140.
444 Patterns of Prejudice
* *
‘Europe is dead’ ‘Looking for Europe’ ‘Europe, awake!’
/ /
Europe*is central to the ethos of apoliteic music. In fact, Europe has long
/
54 Benjamin Thorn, ‘Francesco Balilla Pratella (1880/1955)’, in Larry Sitsky (ed.), Music of
the Twentieth-century Avant-garde: A Biocritical Sourcebook (Westport, CT: Greenwood
Press 2002), 380.
55 See Kevin Wilson and Jan van der Dussen (eds), The History of the Idea of Europe
(London and New York: Routledge 1995); and Peter H. Gommers, Europe, What’s in a
Name (Leuven: Leuven University Press 2001).
56 On the Eurofascists’ idea of Europe, see Roger Griffin, ‘‘‘Europe for the Europeans’’:
fascist myths of the European new order 1922/1992’, in Roger Griffin, A Fascist
Century: Essays by Roger Griffin, ed. Matthew Feldman (Basingstoke and New York:
Palgrave Macmillan 2008), 132/80.
ANTON SHEKHOVTSOV 445
individuality, economics are taking priority over ideas, and the mass consumer
society rides roughshod over polytheism, identity and diversity.57
the United States and the USSR discussed the post-war reorganization of
Europe*was clearly the time-point of the funeral march. Death in June
/
Sons of Europe
Sick with liberalism
Sons of Europe
Chained with capitalism . . .
On a marble slab in Yalta
Mother Europe
Was Slaughtered.58
Europe’s death (or, perhaps, its ‘mere’ decline) is also linked to the
growing multiculturalism of European states. In his analysis of ‘the Euro-
Pagan scene’, Stéphane François argues that such bands ‘condemn multi-
cultural society, seen as the manifestation of the decline of European values
and the victory of corrupting Western universalism’.59 Josef Maria Klumb of
Von Thronstahl, one of the most influential and prolific apoliteic bands,
unambiguously corroborates this notion:
57 Malahki Thorn, ‘H.E.R.R. interview: hopes die in winter’, Heathen Harvest (webzine), 4
March 2005, at www.heathenharvest.com/article.php?story20050304171250371
(viewed 12 August 2009). On Troy Southgate, see Graham D. Macklin, ‘Co-opting
the counter culture: Troy Southgate and the National Revolutionary Faction’, Patterns
of Prejudice, vol. 39, no. 3, 2005, 301/26. Southgate frequently contributes vocals and/
or lyrics to various apoliteic bands, including Seelenlicht, Horologium, The Days of the
Trumpet Call and Sagittarius.
58 Death in June, ‘Sons of Europe’, on Burial (London: Leprosy Discs 1984).
59 Stéphane François, ‘The Euro-Pagan scene: between paganism and radical right’,
trans. from the French by Ariel Godwin, Journal for the Study of Radicalism, vol. 1, no. 2,
2007, 35/54 (48). Actually, my concept of apoliteic music is very close to François’s
‘Euro-Pagan’ music, characterized by ‘praise of an ethnic European paganism, often
marked by conservative revolutionary ideas’ (37). I don’t use François’s term (even
inevitably redefined) in this article because not all apoliteic musicians and bands are
adherents of heathen cults. Some have declared themselves to be Christians, while
others are followers of the esoteric teaching of ‘integral Traditionalism’ or atheists.
However, the musical acts mentioned in both articles coincide to a considerable
degree.
446 Patterns of Prejudice
German cities, where you can see and feel the spenglerian ‘decline of the west’
simply by taking a walk through some streets.60
The Russian musician Ilya Kolerov (Wolfsblood) echoes Klumb’s concern for
Europe’s cultural integrity. While he maintains that he likes ‘neither
communism, nor Nazism, nor modern Jewish democracy’, Kolerov openly
admits: ‘Maybe, I’m racist partly. I don’t want Moscow to be an Asian city. I
want to see pure French or British on the streets of London or Paris.’61
Kolerov’s argument draws on the ‘new racist’ theories of ethnopluralism
advanced by the European New Right and propagated in Russia by the
‘metapolitical fascist’ philosopher Aleksandr Dugin.62 The ethnopluralist
theory champions ethno-cultural pluralism globally but is critical of cultural
pluralism (multiculturalism) in any given society. By distorting a democratic
call for the right of all peoples and cultures to be different,63 the theory
thereby attempts to legitimize European exclusionism and the rejection of
miscegenation. In ethnopluralist terms, the ‘‘‘mixing of cultures’’ and the
suppression of ‘‘cultural differences’’ would correspond to the intellectual
death of humanity and would perhaps even endanger the control mechan-
isms that ensure its biological survival’.64
Toroidh, one of Henrik N. Björkk’s bands (apart from the now defunct
Folkstorm), musically elaborates another explanation for Europe’s death in
the European Trilogy. In an interview conducted by the British magazine
Compulsion Online following the release of Europe Is Dead, the second part of
the trilogy, Björkk tells readers: ‘The European Trilogy is all based upon the
chaotic 20th century*the world wars, the ethnic conflicts and the dream of a
/
united Europe. The Europe that conquered the old world, and colonized the
60 Malahki Thorn, ‘Von Thronstahl interview: the search for truth’, Heathen Harvest
(webzine), 7 December 2005, at www.heathenharvest.com/article.php?story
20051207145142661 (viewed 12 August 2009).
61 Malahki Thorn, ‘Wolfsblood interview: spiritual death’, Heathen Harvest (webzine), 15
February 2005, at www.heathenharvest.com/article.php?story20050215151635652
(viewed 12 August 2009).
62 Anton Shekhovtsov, ‘Aleksandr Dugin’s neo-Eurasianism: the New Right à la Russe’,
Religion Compass (online journal), vol. 3, no. 4, 2009, 696/716, at www.blackwell-
synergy.com/doi/full/10.1111/j.1749-8171.2009.00158.x (viewed 1 September 2009);
Anton Shekhovtsov, ‘The palingenetic thrust of Russian neo-Eurasianism: ideas of
rebirth in Aleksandr Dugin’s worldview’, Totalitarian Movements and Political Religions,
vol. 9, no. 4, 2008, 491/506; Andreas Umland, ‘Der ‘‘Neoeurasismus’’ des Aleksandr
Dugin. Zur Rolle des integralen Traditionalismus und der Orthodoxie für die
russische ‘‘Neue Rechte’’’, in Margarete Jäger and Jürgen Link (eds),
Macht*R / eligion*P / olitik: Zur Renaissance religiöser Praktiken und Mentalitäten
(Münster: Unrast 2006), 141/57.
63 See United Nations Declaration on the Rights of Indigenous Peoples (New York: United
Nations 2008), 1/2, available on the UN website at www.un.org/esa/socdev/unpfii/
documents/DRIPS_en.pdf (viewed 12 August 2009).
64 Balibar, ‘Is there a ‘‘new racism’’?’, 22.
ANTON SHEKHOVTSOV 447
new, and that passed away with the Second World War.’65 Björkk is
presumably raising the spectre of the Eurofascist view of the lost ‘European
civil war’ of the twentieth century, lost not to one European country or
another but to non-fascists. In any case, Björkk’s ‘dream of a united Europe’
clearly has nothing to do with either the European Economic Community or
the European Union but is, rather, of a united fascist Europe, a notion that
was extremely popular within certain Italian Fascist and Nazi circles.66
The vision of a dead Europe is articulated not only in lyrics, song titles and
artists’ interviews, but is also graphically expressed in album covers and
artwork. In most cases the theme of Europe’s death is represented in
mournful images of cemetery sculptures, doleful people with bent heads,
dead soldiers and their personal belongings, abandoned battlefields and
trenches. Of course, the featured images do not imply that a given album
will*either musically or lyrically*focus exclusively on Europe’s death.
/ /
not only for Europe.’71 In another commentary on the song, Vogel ponders
the post-war development of Europe and argues that ‘they decided for the
Figure 1 Covers of Darkwood’s trilogy on the ‘struggle of Europe’: In the Fields, Heimat &
Jugend and Flammende Welt (reproduced with the kind permission of Henryk Vogel)
Marshall plan and bought our souls with gold. But some souls cannot be
bought, and a secret Europe lives on*as expressed in ‘‘In Ruinen’’.’72 Similarly,
/
Ian Read of the British band Fire Ice replies to the question of whether he
still believes in Europe: ‘The whole world is rapidly becoming all the same and
this is painfully obvious in Europe which is rapidly losing any essence it had
of old. In fact, this spirit only remains in certain special people who foster it.’73
For fascists, ‘a secret Europe’ is hidden in the interregnum, while the
Europe of the ‘deadly’ liberal democratic order and of ‘homogenizing’
multicultural society triumphs. Those who feel devastated by the alleged
loss of an old Europe of aristocratic hierarchy, organic ethnic-cultural
community, sacrifice and heroism have nothing for it but to ‘retreat into
the forest’ and find the answer to the current situation there.
72 Malahki Thorn, ‘Darkwood interview: the dusk draws near’, Heathen Harvest
(webzine), 22 December 2005, at www.heathenharvest.com/article.php?story
20051222124738204 (viewed 12 August 2009) (emphasis added).
73 Miguel Do Vale, ‘An interview with Ian Read’, Heimdallr (webzine), November 2001,
at www.heimdallr.ch/Interviews/2001/fire.html (viewed 12 August 2009) (emphasis
added).
74 Sol Invictus, ‘Looking for Europe’, on Trees in Winter (London: Tursa 1990).
75 Sagittarius, Die Große Marina (Wittenberg: Neo-Form 2005).
76 Lady Morphia, Recitals to Renewal (Little Walden, Essex: Surgery 2000).
ANTON SHEKHOVTSOV 449
Forest’ in which a male singer recites an extract from the English translation
of Jünger’s Der Waldgang. In 2001 the German label Thaglasz, which evolved
from a Death in June fan club, released the truly pan-European three-LP
compilation entitled Der Waldgänger.77 As might be expected, most of the
tracks are named after Jünger’s novels and essays, and some have titles that
reflect a certain elaboration of the ideas expressed in his above-mentioned
essay: This Morn’ Omina’s ‘Innere Emigration’ (inner emigration), Luft-
waffe’s ‘A Solitary Order’ and Von Thronstahl’s thought-provoking ‘Wald-
gang & Apoliteia’.
Von Thronstahl, whose music, in Klumb’s own words, ‘reflects the longing
for the true European identity and soul’, ‘our secret home that is Europa’,78
demonstrates the most acute perspicacity regarding ‘metapolitical fascism’.
One of the band’s tracks is called ‘Interregnum’ and it is featured on the split
album Pessoa/Cioran,79 dedicated to Fernando Pessoa and Emil Cioran.
Pessoa was a Portuguese modernist poet who blended ‘an elite nationalistic
sentiment, which favoured authoritarian leaders, with certain strains of
avant-garde poetics and anticlerical mysticism’.80 Although sometimes
sarcastically critical of Salazar’s Estado Novo (especially after it outlawed
secret organizations like the Freemasons and Rosicrucians), Pessoa actually
embraced it and, in 1936, a year after his death, the government republished
some poems from his Mensagem (Message) (1933) to celebrate the anniver-
sary of the regime.81 Cioran was a Romanian-born philosopher who, in the
course of the 1930s, sympathized with both the Italian and German fascist
regimes, as well as being close to the Romanian fascist movement Iron
Guard, also known as the Legion of the Archangel Michael.82 The leader of
the Iron Guard, Corneliu Codreanu, was also honoured with a special
double-CD compilation, Codreanu: Eine Erinnerung an den Kampf (Codreanu:
a reminiscence of the struggle),83 that featured many Neo-Folk and Martial
Industrial artists.
Thematic compilations are important media for the expression of the
idea of Europe in the interregnum. Musical tributes to individuals (often
popularity among apoliteic artists*to link such images to the theme of the
/
very well be alluding to the idea of the ‘retreat into the forest’ that signifies
existence during the interregnum.
The idea of the rebirth (palingenesis) of Europe is an important integral
element of Europe-centred apoliteic music. This notion implies that, despite
Europe’s death, followed by an indefinite interregnum during which the
‘aristocrats of the soul’ are forced to undertake the Waldgang, a fairy (or,
rather, eerie) Europe of ‘metapolitical fascists’ will inevitably be reborn. The
German band Belborn inserted this idea in metaphorical form into a song
called ‘Phoenix’:
inappropriate guise, which is out of keeping with the true nature of the
organism. Here the birth of a new structure can only take place with the
completed death of the old.’92
Thus, it is not a coincidence that, for example, the US band Luftwaffe
associates palingenesis with Kalki, a Hindu goddess who is to end the
present age (Kali Yuga) of decadence and decay, in ‘Kalki’s Army’:
The association of palingenesis with Kalki can be traced back to the writings
of the French Nazi mystic Maximini Portaz, better known as Savitri Devi.
During the years of the Third Reich she actively propagated a belief that
Hitler was an avatar of Kalki, destined to crush ‘the combined dark age
forces of Jewry, Marxism, and international capitalism’.94 The impact of
Devi’s writings on neo-Nazism as well as ‘metapolitical fascism’ is
considerable. The German apoliteic band Turbund Sturmwerk cites her The
Lightning and the Sun (1958) on the back cover of their eponymous album:
‘Never mind how bloody the final crash may be! . . . We are waiting for it
[and for] the triumph of all those men who, throughout centuries and today,
have never lost the vision of the everlasting Order, decreed by the Sun . . .’95
This ‘leitmotif’*of course, not always a result of the adoption of Devi’s
/
Henryk Vogel, for instance, assumes that ‘it’s possible that everything will
crumble to dust and a new generation will rise from the ashes of the
materialistic system to install a new order of splendour and light’.96
Interestingly enough, the idea of Europe’s rebirth also reveals itself
through the names of the labels that release*almost exclusively*apoliteic
/ /
In 1996 the German New Right weekly newspaper Junge Freiheit published a
short article on new musical trends.
This article was possibly the very first attempt to get Neo-Folk/Martial
Industrial artists involved in the ‘right-wing Gramscian’ struggle for cultural
hegemony. From then on, Junge Freiheit has been publishing interviews with
apoliteic artists and enthusiastic album reviews. In France, however, the
reception of Neo-Folk/Martial Industrial music by New Right thinkers has
been ambivalent. For example, the leader of the French New Right, Alain de
Benoist, who actually enjoys folk music, finds it disturbing when folk artists
(like Death in June) add ‘elements of Nazi subculture’ to their music, and
considers them provocateurs. In his turn, Christian Bouchet, the founder of
Nouvelle Résistance (New Resistance), embraces what I am calling apoliteic
music, as opposed to White Noise.101 The Russian New Right, associated
first and foremost with Aleksandr Dugin’s neo-Eurasianist organizations,
especially the Evraziiskii Soyuz Molodezhi (ESM, Eurasian Youth Union),
takes a favourable view of apoliteic music, and a leader of the local ESM
branch in Kazan even owns a small company (Arcto Promo) that organizes
music festivals*called ‘Finis Mundi’102*that sometimes feature apoliteic
/ /
bands. The British case is more straightforward as Troy Southgate, the leader
of the British New Right and the founder of the National Anarchist group, is
an apoliteic artist himself. He is also the editor of the New Right journal
Synthesis: Journal du Cercle de la Rose Noire,103 in which he publishes, inter alia,
his reviews of Neo-Folk/Martial Industrial albums.
Significantly, all the movements and groups that, in one way or another,
turn to Neo-Folk/Martial Industrial bands in an attempt to infiltrate certain
youth subcultures are metapolitical, rather than political. These organiza-
tions then eventually find they have more in common with the musical
bands than with genuinely political parties, movements or even violent neo-
fascist groups. Similar to the apoliteic musicians, who ‘function as a kind of
metapolitical reference point for those people who find themselves disillu-
sioned with the state of the modern world’,104 these New Right groups focus
on the cultural terrain in their attempt to influence society and make it more
susceptible to undemocratic and authoritarian ways of thinking.
Of course, there are exceptions. Troy Southgate was once a member of the
NF, but he left the organization long before he started participating in
musical ‘metapolitical fascist’ projects. Anthony (Tony) Wakeford of Sol
Invictus was also a member of the NF and, in 2007, he wrote a repentant
message for his website stating that he had had no interest in or sympathy
for the ideas of the NF for about twenty years, and that joining the
organization had probably been ‘the worse decision of [his] life and one [he]
very much regret[ted]’.105 Furthermore, the possibility that a few apoliteic
musicians are members of radical or extreme right-wing political organiza-
tions can’t be ruled out, but it is crucial that such membership be kept secret
and not paraded.
The reason why apoliteic artists avoid involvement in outright right-wing
political activities does not so much reflect concern for their reputations
(although they do value them), as the lack of correspondence between
102 For Arcto Promo, see its website at http://retro-future.ru (viewed 14 August 2009).
103 For Synthesis, see its website at www.rosenoire.org (viewed 14 August 2009).
104 Thorn, ‘H.E.R.R. interview’.
105 Tony Wakeford, ‘A message from Tony’, 14 February 2007, available on the Tursa
website at www.tursa.com/message.html (viewed 14 August 2009). Nowhere,
however, does Wakeford repudiate his homage to Evola (the titles of two Sol
Invictus songs, namely ‘Against the Modern World’ and ‘Amongst the Ruins’,
directly allude to Evola’s works Rivolta contro il mondo moderno and Gli uomini e le
rovine), or explain why his ongoing musical project L’Orchestre Noir was named
after the 1985 documentary film on the Belgian paramilitary extreme right-wing
groups Vlaamse Militanten Orde (Flemish Militant Order) and Front de la Jeunesse
(Youth Front). See also Stewart Home, ‘Danger! Neo-Folk ‘‘musician’’ Tony Wakeford
of Sol Invictus is still a fascist creep!’, 28 July 2008, available online at
www.stewarthomesociety.org/wakeford.html (viewed 14 August 2009).
456 Patterns of Prejudice
Europe’.
In the context of this problem, which itself requires its own discussion, it
may be interesting and informative to learn the opinion of Eric Roger of the
popular French band Gaë Bolg, which is seen as part of the Neo-Folk/
Martial Industrial scene, but cannot be considered apoliteic.
106 ‘Intervyu s Ritual Front’, Mashinnoe otdelenie (webzine), Summer 2003, at http://
machine.radionoise.ru/texts/rf.html (viewed 14 August 2009).
ANTON SHEKHOVTSOV 457
107 This extract is a small part of an interview that I conducted with Eric Roger via
e-mail, 26/31 March 2009.