Siege Mentality – Mason, Manson, Moynihan: On the Fringes of the American Nazi Movement

“Nihilists and buffoons are allergic to the slightest hint of significance”
Terry Eagleton, ‘On Evil’

Michael Moynihan (of Non, Blood Axis, Coup de Grace and Sleep Chamber, and a regular collaborator with other pro-Fascist musicians in the neo-folk, martial industrial and noise milieus) has miraculously acquired a reputation as something of a Fascist intellectual, as he is also a writer, editor and publisher of a range of books, magazines and journals. Moynihan was a member of the Abraxas Foundation, which co-founder Boyd Rice hoped would attract “a new demographic of people who are into the occult, Fascism, and Social Darwinism”. Along with Didrik Søderlind he authored the commercially successful Lords of Chaos – The Bloody Rise of the Satanic Metal Underground, which glamorised the Norwegian Black Metal scene while analysing it within the framework of his own occult Fascist concerns. He is also an associate of Adam Parfrey, whose Feral House publishing company has established itself as a major source of Fascist esoterica. Moynihan’s journal, Tyr, promotes a range of Fascist thinkers as well as corresponding pagan and occult notions, publishing pseudo-scientific articles and clunky political, cultural and music reviews aimed largely at promoting the works of his co-thinkers in the Fascist and pagan underground. Having read a fair amount of his work I think it’s safe to say that Moynihan’s reputation as an intellectual is more an index of the intellectual poverty of the radical right rather than proof of any substantial talent on his part. [Read more →]

Just Say Non: Nazism, Narcissism and Boyd Rice

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“Boyd’s rather unimaginative sadism used to embarrass me, but then he explained it using words like ‘Weltanschauung'”
Lisa Crystal-Carver, Drugs are Nice [LC, p215]

I last saw Boyd Rice play (as ‘Non’) back in August 1981, alongside Throbbing Gristle (TG), Z’ev, Cabaret Voltaire and Clock DVA as part of the ‘Industrial Night Out’ at the Lyceum, London, which brought together the big cheeses of Industrial Music in what was to be something of a coming out party for the scene but turned out also to be its swansong (it was TG’s last UK concert; they broke up a few months later). At the time Rice presented himself as a Dadaist and prankster though his aesthetic was actually closer to the sub-Futurist ‘instant karma for kids’ noise-racket that Merzbow has since successfully appropriated and turned into a brand / ‘racket’ of his own. While TG boasted of making music from ugly noise, Rice tried to outflank them by serving up the ugliness directly, unfiltered by any obvious concern for form. In fairness Boyd Rice could be said to be among the key players of early Industrial Music, and as a result he perhaps has a shade more kudos than some of the complete musical non-entities we’re generally concerned with around here (Wakeford, Pearce, Moynihan, et al). Rice has declared his Fascism in a number of statements, in his art, and through public actions such as appearing in full Fascist regalia and holding a dagger in a photograph alongside Bob Heick, taken in 1989 to promote the latter’s organisation, the neo-Nazi skinhead party, American Front. He has also appeared on White Aryan Resistance founder Tom Metzger’s cable TV show Race and Reason, where he declared that his friends in Current 93 and Death in June were promoting a ‘racialist’ agenda and emphasised the importance of Industrial and Neo-Folk music for building the ‘Aryan youth movement’.
[Read more →]