Just Say Non: Nazism, Narcissism and Boyd Rice

boyd5_grey boyd_rape

“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 →]

Invincible Tedium – On the Lyrics of Tony Wakeford

From the booklet 'The Unconquered Sun'. London: Sol Books, 1989

From the booklet ‘The Unconquered Sun’. London: Sol Books, 1989

When this travelling correspondent examined, as she habitually does, the bargain basement boxes of a second hand CD and record shop in the English seaside town where she sought refuge from a heatwave designed to punish mankind for its sins, she came across Sol Veritas Lux, a CD containing the first two LPs by a band called Sol Invictus. As she had read about this outfit (in datacide, but chiefly on the web pages of Who Makes the Nazis)1 but had never actually heard their music she thought it not excessive to invest one (currently, though, very expensive) pound Sterling on some enlightenment in this murky area. The bandleader of the (in spite of the Latin name) very English ‘Invincible Sun’ is Tony Wakeford,2 a man who has asserted in numerous interviews and statements that he is not (anymore) a member of a fascist party (he had at a time been a member of the National Front) without ever, though, being very clear about why not. (I mention this because people leave parties or other rackets either because they have a change of heart about the ideas, ideals, goals, values involved, or because they find the respective party or racket fails to serve these ideas well enough. In the absence of any substantive evidence suggesting otherwise, it has to be assumed Wakeford’s is the second case: in various interviews with fanzines that are available on the internet he only ever makes comments that imply a critique of how the fascist party he was in operated, but nothing substantive concerning fascism as such.)3 ‘Sol Veritas Lux’ consists of ‘Against the Modern World’, the 1988 debut album of Sol Invictus and a follow up live album originally released shortly thereafter, ‘In the Jaws of the Serpent’,4 containing some of the same and some other songs.

The most prominent characteristic of this album is its [Read more →]

NSU Update

In the year since the last issue of datacide came out there has been continued fallout from the scandal surrounding the activities of the National Socialist Underground terror group and the involvement of the state security forces in the extreme right. Well, at least until about May, which is when the court case against Beate Zschäpe finally started after a few weeks delay. One reason for the delay was that the 50 seats for the press had been allocated, and not a single Turkish newspaper was allowed to report from inside the courtroom. Needless to say, there is considerable interest in the case in Turkey, as most of the victims had Turkish roots. Finally, the seats were rearranged and the trial could start.

There are obvously many open questions: Where did the NSU come from, and how was it possible it was not detected for so many years despite the fact that the state security had paid agents very close to the perpetrators of the killing spree?
[Read more →]

White Power Music – Scenes of Extreme Right Cultural Resistance

Anton Shekhovtsov, Paul Jackson (Eds): White Power Music – Scenes of Extreme Right Cultural Resistance.Mapping the Far-Right, Volume 2, Searchlight Magazine/Radicalism and New Media Research Group, August 2012.

This volume shines a spotlight on various far right musical scenes all over Europe. The first part of the book is made up of country-specific looks at the scenes in Germany, France, Sweden, Greece, Hungary and Romania, and the Czech Republic. The second part consists of three articles: one about the memory of Ian Stuart Donaldson, one about women in White Power music, and one about „White Power music and censorship in the Information Age“.

The articles differ a great deal in how they approach the issues. The article about the German „Rechtsrock“ scene limits itself largely to that particular brand of white power rock, and is basing itself to a considerable degree on the reports of the Federal Office for the Protection of the Constitution (Bundesamt für Verfassungsschutz, BfV). These should be taken with a grain of salt as we have seen in the context of the murders of the National Socialist Underground. The author is staying close to the music associated with traditional neo-Nazism (NPD and DVU parties) and doesn’t investigate the more transversal forms of far-right subcultures. Nevertheless it can serve as an introduction to a particular field of German far-right music to a reader unfamiliar with the topic.

The second article is concerned with France, starting off with the phenomenon of „rock identitaire“, and the involvment of protagonist Fabrice Robert in various national-revolutionary and national-Bolshevik sects until his recent activities as a leader of Bloc Identitaire. The article traces the nationalist rock back to the 70’s and the influence of the Italian Janus group up to the present via skinhead hate rock and NSBM, expanding the spectrum into far right techno since the 90’s. [Read more →]

“Fight for Freedom” – The legend of the “other”Germany (book review)

Curt Geyer, Walter Loeb u.a.
Fight for Freedom
Die Legende vom anderen Deutschland
2009, 255 Seiten, 18.-€, ISBN: 978-3-924627-19-5,
herausgegeben von Jan Gerber und Anja Worm im Auftrag der “Materialien für Aufklärung und Kritik” (Halle).
Aus dem Englischen von Ursula Folta, Ulrike Folta, Philipp Graf, Peter Siemionek, Anja Worm, Robert Zwarg, Sebastian Voigt, Martin Schmitt, Christian Thein und Paul Mentz

“But, at the same stage of the war which led many people into emotional outbursts to the detriment of their reason, I never renounced what I regarded as my duty towards the other Germany, the real Germany. (…) Nazism represented the enemy within. Hitler had to be defeated so that Germany might live.”
Willy Brandt: In Exile, p. 100f.

Willy Brandt, who served as Mayor of West Berlin and then German Chancellor, voiced here an idea that was widespread both among German exiles, and prominent in both West and East Germany: The Nazis didn’t represent the “real” Germany, but were oppressors of the German people. This view was particularly widespread in different sections of the Left.

On another end of the left spectrum, the Stalinists’ definition was “Fascism in power is the open, terroristic dictatorship of the most reactionary, the most chauvinistic, the most imperialistic elements of finance capitalism” (Dimitroff, 1935). This obviously implied that the German people were the first victims of a conspiracy of evil forces.
This “definition”, athough it is actualy more of a propaganda slogan, denies the rather obvious fact that National Socialism in Germany was a genuine mass movement. The “socialist” element in its ideology is deemed pure demagogy.

Both views, the social democratic and the Stalinist, are merely examples of a broad front of similar opinions which permeated the German exile community, and became a prevalent force in the post war years, when they helped re-integrate Nazis into different post war societies. [Read more →]

Pages: Prev 1 2 3 4 5 Next