“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’.
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