Can someone who is a fan or something explain what this guy's fucking deal is? Why is he releasing albums on major labels while prancing around with Wolfsangels and other pseudo-swastikas?
People say it's all full of double meanings, but his music is so unpleasant to listen to, it's such a celebration of anti-intellectualism and being braindead that I end up too disgusted to even listen to it.
Before you immediately assume I'm not "in on it" I'm a big fan of Genocide Organ, who have a similar approach of using reactionary symbols as a weapon against reactionary ideology. When it comes to this guy, I mean, he's hanging out with Tom Metzger and Bob Heick. Stewart Home, who seems like a pretty cool guy, directly accused him of being a Nazi, in an article that is here but I have yet to read it
https://www.stewarthomesociety.org/wakeford2.htm
Wait, Boyd's music is distributed on a major label?
>>11093Yes, Mute Records. Also home of Moby, Depeche Mode, etc
>>11038Is it wrong I love and miss 90s trash talk shows? Ironically, they feel more mature and insightful than the internet garbage we have today.
>>11095So, his music is distributed by UMG?
>>11038just listen to any other noise/industrial band, they're pretty much all better and definitely less nazi garbage
Has Rice said anything openly Nazi or antisemitic or is he just a shock artist?
who cares lmao
>>11296I mean, Jerry would bring on trans women and actually respect their pronouns at a time when most of America didn't know trans people existed. That's something.
Boyd Rice has autism and it’s very obvious.
DO YOU WANT TOTAL WAR????
>>12005Wait, DI6 have communist lyrics?
>>12029I got carried away there my bad.
>>12030Actually maybe I didn't. I don't know. I hear communist lyrics. I feel like I'm going schizo.
>>12031Okay here's an example: "Because of Him."
https://www.youtube.com/watch?v=dxflOZamfwYSo the lyrics, if you look them up, obviously on the surface imply that "Him" is Adolf Hitler.
>A friend that will eradicate>All life's false humanity>Helping one race, one creed>To meet their needPretty racist… or is it? One race, like the human race? Or the white race?? All life's "false humanity?" Maybe that's the Jews? But this is in actuality cribbed from a song by the People's Temple Choir
https://youtu.be/2H5Smf1fHFA?si=roFpscmCH3rVd2qgWhich was a religious cult. So instead it's a critique of ideology! But hang on. Because the People's Temple was also (allegedly) a communist church. So … What
is he trying to sayYou see what I mean by I feel like I'm going schizo?
>>12005first as farce then as tragedy
>>12005Homofascism is the peak of masculinity. Don’t lie.
>>12029before DI6, Douglas was in a very explicitly communist band called Crisis. The whole point of Death in June, or at least part of it, is to be the opposite of what Crisis were. For example here's the song "Red Brigades" by Crisis:
https://www.youtube.com/watch?v=AfxxmUM4TY0It's almost ridiculous how much they are
literally telling you what to think. So the point of Death in June is to instead be subtle, be vague, be tricky, let you think for yourself and only occasionally nudge you in the right direction…
>>12597Alienation is a banger
https://youtu.be/2vlRg9uo_QINever even listened to DI6, I'm an actual Crisis enjoyer lol
>>12598I should clarify that I am also a Crisis enjoyer of course.
Check Boyd's IG. He's super, super pro-Israel now.
I liked this article from some years ago about navel-gazing "apoliteic music" and how that ties into post-war fascism. Like "oh boo hoo, woe is us, Evropa is lost, but maybe one day the phoenix will rise again…"
>Although fascism is an enfant terrible of the twentieth century, its socio-political lifespan is not bounded by ᴉuᴉlossnW’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 dramatically and translate it ‘as far as possible into the language of liberal democracy’. 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’. 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 1918-1932, published in 1950, 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. 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 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 his ‘irrevocable internal distance from this [modern] society and its “values”‘.[…]
>How do fascism’s strategies in the ‘hostile’ post-war environment relate to music? While there can be no purely musical reflection of right-wing party politics … I suggest that ‘metapolitical fascism’ has its own cultural manifestation in the domain of sound, namely, apoliteic music. This is a type of music in which the ideological message contains obvious or veiled references to the core elements of fascism but is simultaneously detached from any practical attempt to implement that message through political activity. Apoliteic music is characterized by highly elitist stances and disdain for ‘banal petty materialism’. Both apoliteic artists and their conscientious fans appear to be self-styled ‘aristocrats of the soul’, united in their implicit knowledge that the imperium internum is the reflection of a forthcoming new era of national and spiritual palingenesis. Lost in contemplation of this utopian future, they perceive the current situation as the interregnum. Regardless of the extent to which the contemporary Europeanized world is actually decadent or spiritually impoverished, it will always pale beside the imaginary fascist ‘brave new world’.https://antifascistneofolk.com/2019/04/11/apoliteic-music-neo-folk-martial-industrial-and-metapolitical-fascism/Unique IPs: 19