The black scene in the field of tension of right-wing ideologies
Since the 1990s, the black scene in the field of tension between right-wing ideologies has been viewed as an independent subject of cultural and social science research. The adaptation and interpretation of ideological and aesthetic elements of the new right and right-wing extremism in the black scene have been criticized since the beginning of the black subculture. The scene that emerged between dark wave , industrial and post-punk at the end of the 1970swas first subjected to an intensive cultural and social science investigation in the 1990s with a view to the possible affirmation of right-wing extremist ideologies.
The black scene polarized in its origins through the use of fascist symbols and looked back on a tradition that went beyond the actual socio-cultural beginning of the scene itself. Performers who are considered to be the aesthetic and musical pioneers of the scene drew attention to themselves with fascist props, statements and actions. Since then, the provocative play with corresponding symbolic values as well as the general preoccupation with the complex of issues of totalitarianism and fascism have been taken up in new facets in the scene. The origins of such activities mostly lay in conscious provocations and deliberate breaking of taboos . In the course of the scene's history, some actors increasingly acted with deeper aspects of the associated ideologies. These were particularly evident in intertextual references to proto-fascist and nationalist ideologues, artists and poets, as well as in the aesthetic preparation of artists from the time of National Socialism .
No uniform or unambiguous reproach of neo-Nazism against the scene or the individual performers can be generated through the references . Only a few interpreters perceived a final self-assessment in right-wing extremism. Rather, the musicians saw and see themselves as actors outside the political spectrum . Nonetheless, parallels emerged in the partly affirmative and partly critical-provocative behavior, which right-wing extremists and the new-right side used and continue to use as a point of contact with the scene.
While the express openness towards each individual counteracts a critical demarcation of the scene, the will to break taboos and the scene's own criticism of modernity, as well as further thematic overlaps , promote the potential for appropriation, which was sought in particular by the new rights.
Despite existing references and collaborations, the performers often distance themselves from right-wing populist and right-wing extremist ideas or, without express delimitation, withdraw from a general openness to interpretation of their oeuvre and reject any form of political statement. A clear ideological location can therefore only be carried out in very few cases.
Political stance of the black scene
In its entirety, the black scene is considered a politically passive group. There is little activism and political involvement in the scene and only rarely organized within the scene. A politically justified association of scene designers or supporters is usually opposed to the individualistic ideal . There are different assessments of the ideological mainstream of the scene.
The music journalist, co-editor of the book series Gothic - The scene in Germany from the point of view of its makers and long-time press spokesman for the Wave-Gotik-Treffen, Peter Matzke, describes the scene as predominantly conservative of values . As an indicator of this conservatism he cites a skepticism towards the consumer society , doubts about the reformability of industrial society , a penchant for mysticism and the passive rejection of modernity.
The social scientist and editor of the anthology Schillerndes Dunkel Alexander Nym, on the other hand, describes the scene as "fundamentally apolitical". He points out that the scene-goers “reluctantly let themselves be taught”. The proportion of politically motivated people is considered to be low. Since the scene does not have a homogeneous structure and is composed of different youth cultural currents and individualists, there are certainly varying political tendencies to be found.
In view of its size, its tendency to break taboos and the “overriding value of individualism” in the scene, the scene remains devoid of any common political direction. The dogmatic respect of each individual goes beyond “sadness, grief and melancholy” and includes “a quiet rebellion that does not attack anyone directly”, but promotes the removal of taboos.
The black scene shows a clear break with right-wing extremism in the individualism guarded by the scene. The right-wing extremism defined by Backes and Jesse as “an anti-individualistic defense movement against the liberal and democratic forces and their development product, the democratic constitutional state, which negates the basic democratic axiom of fundamental human equality” is opposed to the “above all value of individualism”. Nevertheless, it is precisely the openness and acceptance of the scene in combination with the given tendency to break taboos, the recourse to mostly nebulous mysticism and the rejection of modernity, especially the new rights, that can be used to exert ideological influence.
Content-related connecting points
From the second half of the 1990s, journalists such as Andreas Speit and social and cultural scientists such as Alfred Schobert , Martin Langebach alias Christian Dornbusch and Martin Büsser sought a discourse on the affirmation of right-wing extremism and the new right by parts of the dark wave scene. In particular, the points of contact between the performers of Neofolk , then still called 'Apocalyptic Folk', were viewed by observers in the form of an emancipatory left cultural criticism . In their study, all four authors pointed out that there was no reason to stigmatize the entire group of performers or recipients of the Neofolk, Dark Wave or even the black scene as right-wing extremists.
In 2001, Büsser stated that the self-contrasting and reflective "enlightenment, quasi anti-fascist attitude of early industrialists", which called for a discussion of the reality of fascism, turned into affirmation with different interpreters of neo-folk. In their development towards the Neofolk, some of these interpreters dedicated themselves to mystical-esoteric positions of right-wing ideologues. In conclusion, Büsser calls Neofolk "the first subcultural movement in which the use of right symbolism has become a solid right-wing ideology". Thomas Pfeiffer took a different point of view , who did not always assess the recourse to Nazi symbols and the positive reference to “leading figures of right-wing extremism” as clearly. Nevertheless, he sees a legitimation independent of the assessment of the actors. "Although the line between provocation and agitation [...] cannot be clearly drawn in each individual case, there is an increasing acceptance of right-wing extremist symbolism and ideologemes in this part of the cult."
In the Dark Wave, especially in the Neofolk, the points of contact for the new right are based less on a discussion of current social issues than on a general criticism of modernity , which is associated with the search for a respiritualization of life. This search movement found itself predominantly as a unification of a European culture from different epochs and regions and thus as a construction of a Eurocentric, ethnic identity. It was precisely this striving for a völkisch-cultural identity and at the same time for mysterious and esoteric knowledge that resonated with the longing for an elitist self-localization in contrast to the crowd , perceived as small-minded and low , which favored the affirmation of Nazi and völkisch symbols, ideologies and people as well as a fatalistic one Social Darwinism established. Marcus Stiglegger sees the efforts of early representatives of the post-industrial and neo-folk scene as a targeted confrontation and a break in taboos. Up to the present, however, the game with fascist symbols has lost its confrontational purpose and remains between conviction, meaningless fashion quotation and untargeted provocation. "The pain of the calculated breaking of a taboo was followed by a celebration of one's own conservatism and lamenting about the incomprehension and intolerance of a society that at least sometimes still reacts: to breaking the taboo."
In the younger music styles of the black scene, especially in the Neue Deutsche Hütze and in the Aggrotech , self-portrayals in a totalitarian manner were predominantly criticized. The self-portrayal of such interpreters does not ostensibly fall back on the aesthetics and symbols from the time of National Socialism, although such recurrences took place with some interpreters, but is stylized as a "gladiator game" in a "pose of masculinity" and in exclusive "hardness". This pathos of masculinity from muscle strength and hardness is sometimes criticized as a proto-fascist projection surface. Additional groups were criticized that ambiguously used stylistic devices of martiality. The aesthetic recourse to the time of National Socialism was sharply criticized.
Such criticism of the scene and its actors triggered "defense mechanisms that are supposed to protect the unity of the scene." In this defense, there was often solidarity with the artists criticized and isolation within the scene with reference to it that the critics may care “about the real Nazis”. The isolation in the scene and the swift solidarity with the criticized actors made it difficult and slowed down the internal processing of the scene, which nevertheless took place.
The interpreters criticized refer to the openness to interpretation of their work. Most interpreters, however, distance themselves from any chauvinistic positions and hate philosophies. The points of contact with nationalistic, völkisch and fascistoid pioneers and thinkers lie more in the individualistic-mythical figures they created.
In addition, according to the advocates, it is not possible to differentiate between “real people” behind the projects and “staged figures” for the stage and the public, since the “theatrical staging is declared to be real everyday life”. By referring to their status as artists, such performers negate a supposed authenticity and stylize their public life into a total work of art. Critics refer to this behavior as a new law puzzle, which is used to blur and shift the boundaries between the political camps. These styles and artists offer right-wing extremists a wide projection surface, especially through their openness to interpretation. Since the 1990s, there have been repeated discussions about the assignment. While on the one hand music is attacked as a crypto-fascist dog-whistle policy, on the other hand it is defended as an enlightening total work of art that reflects the fascisms of society.
Criticism of Modernity
In 1996, Alfred Schobert analyzed the attempts of the extreme right to break away from the dusty image of the conservative and to open up youth cultures for themselves, with a special focus on the musical spectrum of the dark wave and, in the search for the mysterious, identified points of contact for the new right .
“The greed for the mysterious, for the esoteric knowledge only accessible to the initiated, and the longing for hidden meaning form the structure that makes the crypt scene attractive for the 'New Right'. Search movements in Germanic and Celtic mythology, in magic and mysticism are a common pool; the experiences of transcendence that break up everyday life would be a common basis for experience. "
The new right turns against the universal claim of the original democratic conception of freedom, equality and fraternity “as the product of ideological fantasies”. As a result, the universal human dignity , which is part of the Judeo-Christian tradition, is rejected as a "gagging instrument against collectives".
In the black scene, on the other hand, similar to Evola's interpretation, enlightenment modernity is valued as “cultural decay and loss of the transcendent dimension”. Against this background, a romanticist understanding of nature, a heroic nihilism that idealizes dying in particular, a subsequent heroized image of a warrior and an anti-dualistic understanding of religion are possible expressions of anti-modern ideas in parts of the black scene. Therefore, the following points of elitist self-positioning, völkisch nationalism, fatalistic social Darwinism, right-wing esotericism and the bellicose pose of masculinity are possible forms of expression of a critique of modernity that unites both scenes .
Rehabilitation affirmation
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Intertextual and creative references to thought leaders, artists and ideologues of fascism and völkisch nationalism such as Arno Breker , Josef Thorak , Leni Riefenstahl , Julius Evola , Karl Maria Wiligut , Alfred Rosenberg , Oswald Spengler , Gabriele d'Annunzio and Ernst Jünger showed the openness early on part of the black scene for right-wing content. In affirmative references, interpreters idealize "the struggle, the war and an associated image of masculinity" up to the present day. In the Neofolk, references were primarily made to the conservative revolution and Italian fascism . This way of dealing with fragments of history is criticized for rehabilitating complete ideological stocks of the extreme right for an otherwise individualistic audience through the exploitation of Nazi as well as völkisch nationalist designs and references.
In 1997, Büsser stated that the neo-folk in particular had “affinities to right-wing ideas, men's associations, uniforms and neo-paganism”. In the Neofolk a lost 'purity' would be deplored and this purity would be thematized “as an alternative to the current social condition”. Martin Langebach came to a similar conclusion in 2002. He saw in this style of music “a backward-looking criticism of the Enlightenment and its ideas of 'freedom, equality and brotherhood'”, which aimed at a “respiritualization of nature and man”. This criticism is fed by “(pre-) thinkers of European fascism, the conservative revolution and the occult and Germanic-pagan implications of National Socialism”.
“One is satisfied with the beautiful appearance of the morbid instead of trying to understand the social structure of the story. National myth instead of universal history. [...] Which 'ideals' are supposed to be involved here in addition to a transfiguration of racial or geomythological identity-creating myths of origin remains unclear. "
Most of the interpreters, according to their own statements, strive for a detachment of the fascist aesthetics as well as the content from the fascism context and propagate openness to interpretation in favor of a mystical folkish reference. The contextually emptied and uncritically presented aesthetic always carries the option of idealizing and glorifying core elements of the fascist worldview.
Elitist self-positioning
According to Büsser, this idealization of folk myths has become unequivocal with the Leni-Riefenstahl compilation of the VAWS at the latest as a "homage to the 'light race'" - meanwhile this idea of the light race tickles the "bourgeois dream of the 'called' race and nation". “A 'race' [...] that is so difficult to 'spirit' [for the interpreters and recipients], so much more profound than other 'races', so alienated thanks to its high level of reflection that it is only morbid and doomed to die can be thought: The thinking ultimately built on the early Thomas Mann wallows in the finality of the misunderstood chosen one ”.
In the course of the elitist self-positioning, the individualism of the black scene finds a point of contact. The philosophical and romantically charged figure of the lone fighter, as portrayed in Mishima's Samurai , Jüngers Waldgänger or Anarch, and Evolas Kshatriya , appeals to the feeling of the supposedly sublime silent rebellion outside the social mass.
Eurocentrism and Volkish Nationalism
Büsser sees the neofolk as music “based on folkloric blindness” at the center of the endeavor to establish a cultural identity. According to Büsser, the style revolves “around one's own culture” and sings of “the Christian occidental domain as a lost hegemony.” This is what constitutes its latent and initially cultural fascism. The focus is on the “fear of degeneration (the right variant of the concept of alienation), which flees from“ US-American cultural imperialism ”and the tricont in the home of Gregorian chants and Nordic runes” from the foreign. In the distance, it would be easier to imagine an intense bond with “the ruins of a culture that can no longer be reconstructed and that is long gone” than a real bond with “the stranger next door, with whom one would have to deal”.
As a result, especially in parts of the Neofolk, a European culture from the most diverse epochs and regions is being unified, which cannot be regarded as homogeneous in the actual diversity of European history. An abundance of imprecise and contextlessly presented references to things as diverse as runes, minstrels, paraphysics, literature or armies from the most varied of epochs and regions "merge into the self-assessment of being part of a great, old and 'difficult' culture - part of the white, European culture, which […] appears as a culture threatened with extinction. ”This understanding of a dying European culture, based on an imperfect and incompatible mosaic of cultural roots, not only gives rise to the fear of growing alienation, but also to the nationally elitist self-image as the bohemian of a conservative European cultural avant-garde in parts of the black scene.
Fatalistic Social Darwinism
According to Büsser, in neo-folk and post-industrial the supposed 'cultural roots' are dying and forgotten secrets that are only kept by a few 'knowing' and 'seekers'. The cultural, völkisch Eurocentric identity thus conveyed thus becomes a dying mystery itself. The demise of one's own culture is mourned and the masses of people are viewed as small-minded and inferior and at the same time accused. “[S] he prevent that the higher man can ever come to the power intended for him, the 'light'. For this reason the morbid 'geniuses' (at least symbolically) turn to death [and] remain in lament ”.
From this point of view, the interpreters adopt a fundamentally fatalistic stance and regard any historical events as natural; Occasionally, events such as famines and mass murders are not only glorified into something natural, they are assigned a 'purifying' or 'selective' effect or at least a meaning that makes preventive intervention obsolete.
In such "social Darwinist fantasies, the epidemics and famines to" natural selection processes "[...] and thus construct" nature "partisan on the side of the" white race "escalate the fear of alienation through a cultural rootlessness and the presumed esoteric elitist self-localization homogeneous tradition of an actually completely fragmented view of a heterogeneous past.
Legal esotericism
By dealing with secret societies , sects , new religious , pagan and occult organizations and groups, which are based on the delimitation of the modern and postmodern worldview and contain a deeper search for meaning, pagan and esoteric extensions of fascism were taken up. In the search for transcendent experiences, runes , Germanic and Celtic mythology , as well as the general preoccupation with magic and mysticism , form a common field of interest.
Right-wing esoteric thinkers such as Karl Maria Wiligut , Jörg Lanz von Liebenfels , Guido von List and Otto Rahn are received in parts of the black scene . The reference to the pagan offshoots of fascism can be found in particular in the ariosophical use of runes . The Elhaz rune in particular is often used here. The aspects of the magical powers of runes developed by List have been recorded several times by musicians of the scene. Books about runes have meanwhile been advertised in scene media and in some cases distributed by right-wing extremist publishing houses.
The black sun occupies a special position in this combination of right-wing esotericism and black scene. Music groups such as Allerseelen and Von Thronstahl fall back on the representation in a variant based on the floor ornament of the former Obergruppenführer hall of the Wewelsburg. Josef Maria Klumb calls the Black Sun “the symbol of our [...] movement” and a sign of a “time of upheaval that is culturally [...] no longer moved from the› left ‹.“ The symbol was not only used by controversial groups, but in 2009 at one of the biggest events in the scene, the Wave Gotik Treffen , to design the custody card. Renowned scene artists such as ASP and fetish: Mensch vehemently defended themselves against the “politicization of the festival” that it produced and against the fact that the only recognizable connection to the Herrmannsschlacht explained by the organizers was “that both issues are high in neo-fascist groups Take priority ". With such dissenting voices, the symbol, which is often viewed as a right-wing esoteric identification mark, is limited to a small part of the scene.
Further overlaps with ariosophy can be found in the frequently invoked race of light , which some interpreters embed in a Eurocentric and ethno- pluralistic ideological construct. Likewise, the idealization of the volkish and natural, along with the rejection of the urban, offers volkisch-charged parallels, under the auspices of which individual interpreters of the dark wave fall back on the esoteric extensions of fascism.
Pose of masculinity
There is no uniform image of masculinity in the black scene. When it comes to questions of sexual orientation, the scene mainstream corresponds to the social mainstream. Stressed androgyny is common and accepted in the aesthetic self-presentation of a large part of the male scene-goers. Among other things, the use of make-up and nail polish is widespread in the scene among men. Subjects of sexual orientation and gender identity are treated with respect in the scene, in accordance with the general openness towards each individual. Contrary to most subcultures, male vulnerability is taken up and accepted. For some women in the scene, on the other hand, it is a “common practice” to “style themselves provocatively” without provoking a “sexualization of the atmosphere” or aggressive behavior.
Compared to this mainstream scene, which maintains a stereotypical, erotically charged image of women, but does not oppose it with a uniform male counterpart, there is an image of masculinity that over-staged the masculine as “superhero stories” and based on “harshness and provocation”, “the no longer complains about the existing, but rather, as a gladiator game, satisfies the feeling that the stage still knows how to maintain the order of the stronger. ”In the cultivated semi-fascist aesthetic, the vulnerable man is contrasted with archaic-elitist ideas of masculinity that define the man as a sexually potent warrior . In the representations and performances of these interpreters, a social Darwinist understanding of masculinity is conveyed, in which "all gestures of masculinity and hardness [...] stand for victory and superiority".
According to Büsser, such a stereotypical image of masculinity is accompanied by the devaluation of everything that is considered unmanly based on one's own ideology. In such a masculine scene, “which is built entirely on toughness”, it remains a “men's society in which women are reduced to their gender and to procreation, while everything that really counts in life (camaraderie, fun, solidarity) is only from Men is shared ”. Here homosexuality is either negatively repressed or placed “in the morbid concept of a doomed chamberadship”.
Discourse history
Dealing with the issues of fascism and totalitarianism is rooted in the origins of the scene. The main focus of interest was the causal relationship between the individual and the collective as well as the confrontational approach to social taboos. Starting from the social taboo and demonization of National Socialism and the crimes associated with the Nazi regime, post-punk and industrial artists made intertextual and aesthetic references to the time of National Socialism, in particular to the Holocaust, in the 1970s and 1980s. For this purpose, not only the role of the victim was assumed and presented. The role of the perpetrator was also staged. In these portrayals of the perpetrators, demonization was dispensed with; primarily these images of the perpetrators are viewed as enlightening presentations that are intended to show the fascist potential of society and of each individual. Some of these actions were interpreted by critics as being commercially motivated. Joy Division and Rammstein, among others, were criticized for trying to make a name for themselves by referring to the Third Reich.
Already pioneers in the scene resorted to fascist props, statements and actions. In the course of the development of the scene, the field of employment was expanded to include elements of the associated ideologies. In particular, intertextual references to proto-fascist and nationalist ideologues, artists and poets, as well as the aesthetic preparation of artists from the time of National Socialism, became part of the discussion of fascism in the black scene in the course of the 1980s and 1990s. In many cases, it was not finally clarified whether this work-up should be understood as an affirmation or as a criticism.
The discussion about a possible glorification of fascist ideologems was led along the names of popular scene actors. DAF, Laibach, Boyd Rice, Der Blutharsch, Death in June, Sol Invictus, Blood Axis, Allerseelen, Josef Maria Klumb, Joachim Witt, Rammstein, Wumpscut, Funker Vogt, Feindflug and Nachtmahr were taken up as connecting points of the discourse. In addition to the music groups, media and companies that serve the right-wing and black scenes equally were discussed. Other music groups and actors were increasingly perceived as marginal notes in the discussion and linked to the mainstream.
Particularly in Neofolk and Post-Industrial, in critical discussions with individual performers, reference was made to cooperation with other supposedly questionable performers. Boyd Rice, Death in June, Sol Invictus, Blood Axis and Der Blutharsch formed a network that supposedly supports the thesis of right-wing extremism of every individual in the form of a circular reference without checking the individual performers separately.
The opponents attacked the music and individual performers as a crypto-fascist dog-whistle policy . The advocates oppose this by saying that musicians and interpreters should be seen as an enlightening total work of art that reflects the fascisms of society, as well as demystifying the social demonizations of National Socialism and fascism.
Beyond a few scandals, the discourse on the connection between pop and youth culture received right-wing extremist music in Germany began in the early 1990s. After the racially motivated attacks and riots in Hoyerswerda in 1991, Rostock-Lichtenhagen and Mölln in 1992 and Solingen in 1993, public interest in right-wing rock and right-wing extremist music increased . In the course of this interest, the rock group Störkraft in particular was picked up in TV and print magazines. The confrontation with the extreme right-wing excesses of youth cultures and scenes began around the same period. Closer connections between mainstream, right-wing youth culture and right-wing extremist music were first analyzed in the book Neue Soundtracks für den Volksempfänger , published by Max Annas and Ralph Christoph .
From the second half of the 1990s, the social science dealt with the black scene with a view to penetrating and taking up right-wing extremist ideologies. In addition to journalists and scientists, the cultural-political groups Goths against the Right from Kassel and Bremen contributed critically to the discourse with open letters and informational letters. With Last Exit Germania by the then rock-hard editor and later Deaf-Forever co- founder Wolf-Rüdiger Mühlmann , the first book was published in 1999 that was devoted to justifying one of the criticized styles, the New German Hardness. The criticism initially expressed in magazines and series such as Jungle World , Spex and Testcard found its first climax in 2002 in the book Aesthetic Mobilization . The book Looking for Europe was published in 2005 as an alleged alternative to the post-industrial and neofolk environment . Both books are accused of looking at the topic from one side.
In subsequent cultural, social and musicological debates with the black scene, possible right-wing extremist ideologies were mostly only mentioned referring to and hardly processed analytically. In the anthology Schillerndes Dunkel edited by Alexander Nym, advocates predominantly have their say. With Martin Lichtmesz , Stephan Pockrandt , Dominik Tischleder and Michael Moynihan , authors are represented whose works have been published in Sigill , Zinnober , peculiarly free , Junge Freiheit , Sezession , Filosofem or Hagal in right-wing to right-wing extremist magazines. Lichtmesz is an important German representative of the new right-wing identity movement . Pockrandt, who excused his work as a subjective interest without political motivation, was criticized for bringing new right ideas into the black scene with the magazines Sigill and Zinnober, which he published, as well as with his label "Eis & Licht". Tischleder, who after Pockrandt took over the publication of Zinnober and later wrote articles for the new monthly monthly in a strangely free manner, faced the same criticism . Moynihan, who is criticized for spreading right-wing ideologies not only with his music project Blood Axis, has published essays in various new right to right-wing extremist magazines.
Pioneer of the black scene
The proto-punk band The Stooges and their singer Iggy Pop are considered to have shaped the beginnings of Gothic Rock and Post-Punk . As early as 1970, they were using Third Reich uniforms and medals as accessories. Ron Asheton and Iggy Pop, in particular, dressed in uniforms and decorated themselves with Nazi medals to shock the audience.
Nico , who became famous as the singer of the debut of Velvet Underground , interpreted the complete song of the Germans on her album The End in 1974 . The performance of the song caused a scandal in Germany. After she dedicated the piece to Andreas Baader , she was attacked and threatened during the concert. In later discussions, her adaptation was assessed as an expression of a “way of experiencing the historical weight of bitterness against her father / mother country, which is fateful for her”.
In 1976, David Bowie attracted attention with controversial statements and actions. During an interview on his station-to-station Europe tour, he suggested that Britain would benefit from a fascist leader. Following the tour, an event popularly known as the Victoria Station incident occurred , in which Bowie, standing in a convertible, waved to passers-by with a gesture similar to the Hitler salute. Bowie later attributed his behavior to his drug use at the time and the fictional character of the "Thin White Duke", who was well-groomed at the time.
In punk , by groups like the Sex Pistols , according to Diedrich Diederichsen , the swastika took on the function of a “sign of shock” as a commitment to “amorality and nihilism”. No direct political expression, neither in the enlightened, confrontational sense nor in correspondence with the National Socialist convictions associated with the symbol can be discerned here. Rather, the use of the symbol in punk is an expression of a general nihilistic anti-attitude.
Formerly post-punk and gothic rock
In 1976, when Siouxsie and the Banshees first appeared at the 100 Club Festival, Siouxsie Sioux wore a swastika armband . She combined the armband with fetish clothing to anger the establishment . One year after the Banshees' first appearance, Bernard Sumner shouted “Do you remember Rudolf Hess ?” During a Joy Division performance . Joy Division, which after a fictional division of comfort women from the concentration camp - novel The House of Dolls had named, were aware of the possibility to polarize with such statements, and brought up, according to Dave Thompson , here on this week. Similar to the industrial group Throbbing Gristle , Joy Division played on the cover of An Ideal for Living and at concerts with Nazi aesthetics or similar designs. The An-Ideal-for-Living -7 ″ single originally appeared with a Hitler Youth drawn by Sumner and adapted from a Hitler Youth poster as a motif. The motif was contrasted by an adaptation of a picture from the Warsaw Ghetto on the reverse. After the group found a manager in Rob Gretton , the band distanced themselves from the fascist aesthetic. The new edition of the EP deliberately dispensed with the motif and presented the photo of a scaffolding as a cover motif. Rob Gretton made the design change to break away from the increasingly commercial problem of the band's Nazi image. In June 1978 the An Ideal for Living was discussed in Sounds under the title “Not another fascism-for-fun-and-greed-mob” (Sounds). In addition, the harsh sound of Bernard Sumner's German pseudonym Bernard Albrecht contributed to discussions about political orientation. The fact that early songs such as Walked in Line directly addressed fascism was also taken up as an accusation. On the soundtrack of their first video is the speech given by the Manchester Police Chief calling for labor camps to be set up for the city's many unemployed . This is followed by roared Nazi slogans by German SS men. Peter Hook explained the adoption of Nazi symbols as part of a fascination and general fixation on war that had previously been provocatively taken up by Sex Pistols , Siouxsie and the Banshees, and Throbbing Gristle. The aim was to deal with the topic, which was mostly taboo until then. Similar references continued to take place in the early Gothic environment, for example the group The March Violets named themselves after the opportunists known as March violets who joined the NSDAP after taking power in 1933. The group Christian Death flirted under Rozz Williams with devotional objects of National Socialism, up to an appearance to which Williams wore an imperial war flag as a cape.
Industrial and Post-Industrial
The musicologist Carla Murek describes the “ coming to terms with suppressed fascist history [...], not just in the head, but in the psyche, on the body - of all things, of a generation that was no longer 'there'” as an aspect of industrial culture . Performers such as Throbbing Gristle, Nurse With Wound , SPK , Monte Cazazza and Whitehouse shed light on the crimes of National Socialism "from both the victim and the perpetrator side."
With compilations dedicated to Ilse Koch or the Neuengamme concentration camp , as well as with a Whitehouse album that referred directly to the Buchenwald concentration camp , victims and perpetrators were treated equally. The artists of industrial culture tried to “understand the connection between the social system and the psyche”. The preoccupation with the atrocities of the Third Reich, such as mass murders, rampages, torture, sadomasochism and suppressed sexuality is located in this context.
Throbbing Gristle
The original industrial group, Throbbing Gristle , put shock and taboo topics in the context of pop music in a critical discourse. In addition to other shock elements, references to fascism in pop culture were "consciously practiced and provocatively opposed to it". These references permeated the group's oeuvre. So they called their music studio the “Death Factory”, following a concentration camp, and Genesis P-Orridge chose a photograph of the Auschwitz crematorium that P-Orridge had taken during a trip to Poland as the label logo .
Throbbing Gristle, on the other hand, used a modification of the England Awake flash of the British Union of Fascists as a band emblem . Images of the Holocaust were used for the design of some of the recordings, such as the singles Subhuman and Distant Dreams Part Two . Further intertextual and visual references to the Third Reich were also made in the performances and song texts. Later interpreters of the black scene, some without direct reference to industrial culture and Throbbing Gristle, also used modifications of fascist symbols in their self-portrayal. Marilyn Manson resorted to a corresponding aesthetic for Antichrist Superstar and The Golden Age of Grotesque . Undead varied the symbol of the paramilitary organization Hird, the Norwegian Nasjonal Samling , as part of their name lettering.
In some concerts, Throbbing Gristle appeared in combat suits, while P-Orridge barked commands at the audience in a totalitarian manner. From these appearances, the piece Dicipline emerged , which was released as a single in 1981. The single was illustrated with a picture showing the group in front of the largest service building of the former Reich Ministry for Public Enlightenment and Propaganda .
According to Reynolds, Throbbing Gristle got caught up in fascism at times after "preoccupation with cults and secret societies [...] brought P-Orridge to books dealing with the occult obsessions of the hard core Nazis". As a special "excursion into the darker realms of paranoid psychology and an experiment with the proto-fascist method of identifying and pursuing scapegoats" is a short episode of the group from which the single Subhuman resulted. After the traveling people had settled in the immediate vicinity of the group's domicile and at the same time the theft rate in the quarter rose, Throbbing Gristle barricaded themselves with barbed wire and black-washed windows in their house and directed infrasound waves against the camp of the people who they considered subhumans (' Untermenschen ') designated. The direct effects in the form of headaches, insomnia, nightmares and fears prompted the vagabonds to move on quickly. The song Subhuman built on this experience . As a single, this was illustrated in 1981, along with a picture of a mountain of skulls, with a photograph of a caravan. The text made a further reference to the experience with the traveling people: “ You make me dizzy with your disease, I want to smash you and feel at ease ”.
Laibach
Laibach were known for provocative appearances right from the start of their careers. Due to controversial stage productions, the collective was banned from performing in their home country, the then Republic of Yugoslavia , in 1983 .
Much of the group's music draws on simple marching rhythms, to which “texts - often in German - are spoken or sung in a deep voice”. Usually a totalitarian vocabulary is used with corresponding keywords. Meanwhile, synthetically produced opulent orchestral arrangements are sought, which quote existing sound fragments from films, hymns and other foreign works and often have Wagneresque features.
The first tour of Ljubljana through Germany took place in 1985, which the group advertised with posters as "The First Bombardment". The German press reacted indignantly to the "provocations and opaque statements on the part of the members".
Laibach play with "the contradictions of modern musical elements and the embodiment of the perfectionist, bureaucratic German". According to Stiglegger, Laibach pursued a targeted confrontation of communist Yugoslavia with the aesthetics with fascist connotations.
Here the collective cultivates a strategy of “› over-identification ‹with political totalitarian systems in musical and visual terms [.]” The totalitarian self-staging using uniforms and symbols that appear to be military counteracts an identification of the individual work as an affirmation or critical reflection. By translating and transferring other works such as Live Is Life by Opus or One Vision by Queen into their own style, potentially totalitarian features of pop culture are decoded.
DAF
The DAF duo , who shaped Electronic Body Music , claimed to playfully take up any topic that interests them, regardless of the respective taboo or scandal. The band cultivated a cult of muscles and masculinity in the "aestheticization of physical perfection and strength" that "bordered on that shady area in which fascist futurism and communist constructivism meet". In the conscious ignorance of any social taboo area, the duo recorded a horrific commercial success with the single Der Mussolini and the album Alles ist Gut in 1981. The album sold 100,000 copies in 1981 and became the center of a media controversy. The text, in which dance instructions with the names Adolf Hitler , Mussolini , Jesus Christ and the ideology of communism were connected, was criticized as well as Delgado's singing style and stage performance. The song was classified as "tasteless, destructive [and] politically dangerous" at the time. The appearance of DAF was said to have a Teutonic and male-allied aesthetic close to fascism . Reynolds, on the other hand, describes DAF as "erotic renegades in the tradition of Genet , de Sade and Bataille ." Their early work, the appearances and the self-staging of the duo are considered a blueprint for the musical styles EBM and New German Hardness that were later received in the black scene .
NON
The self-declared social Darwinist Boyd Rice uses the symbol of the wolf's angel , which is often used by right-wing groups, as a symbol of the Abraxas Foundation, which he co-founded, as well as in various album designs, for the first time in 1987 on the album Blood & Flame . For Rice, who was temporarily a member of the American Front , the symbol is derived from the rune Ihwa and, in Rice's mind , symbolizes a balancing balance between creative and destructive forces, which he interprets as natural. On the 1992 album In the Shadow of the Sword , which largely consists of recordings of the popular Osaka performance, he presents his social Darwinist and fatalistic interpretation of the story, sometimes using the Nazi regime: “ And might was right, when german troops pured down through Paris gay […] The strong must ever rule the weak […], If you are fit you'll rule and reign ”. Rice names the dominance of the strong over the weak and the intelligent over the strong as the core thesis of his social Darwinian fatalism. In the course of such materialistic and philosophical considerations, Rice on the one hand defends himself against the allegation of ethnic discrimination, but on the other hand names Hitler as a symbol of purity and the Circus Maximus , concentration camps and mass murders as metaphors of a natural selection factor.
Another point of criticism is his appearance in the television program Race and Reason by the racist Tom Metzger . Rice explains the appearance as an agreement, which he entered into in preparation for a book planned as an Outsiders about extreme personalities in American cultural history. He wrote to Metzger in addition to Anton Szandor LaVey , Alex Joseph and Meir Kahane to arrange interviews with them. Metzger agreed on the condition that Rice appear on his television show in return. While Rice saw his interest in proto-fascist ideologues as a general anti-Galitarian cultural criticism without concrete expectations, he could not identify with the concrete positions represented by Metzger on current American politics and society, which called for active intervention in the social order.
Diesel and Gerten refer to a large number of ironic breaks in the musician's work, which indicate that “all this enthusiasm for war is difficult to take seriously”. Social Darwinist statements and self-positioning as a fascist follow similar breaks. Rice himself recently denied any political convictions. According to Gerten and Diesel, racism, homophobia, anti-Semitism or sexism also contradict his social environment.
The blood ass
The military pop project Der Blutharsch , founded by Albin Julius in 1997 , was staged in a martial manner by Julius. As the insignia of the group, he first resorted to a Sig rune , and later to an Iron Cross . To their appearances, Julius and Marthynna wore uniform-like clothing in black and gray or in black and white.
"Right from the start, Julius and his band had the idea of presenting the 'male side' of life with her." The music was martially aligned with the concept of the project: "The man as a warrior for whom only" fight applies. " , Sieg oder Tod ‹[.]” Langebach saw in the image based on war and soldiery and the associated presentation a correspondence with the “aesthetic evocation of› heroic realism ‹in Werner Best .” The group's early work lyrically reproduces a simple “Freund- Enemy scheme in which the annihilation of the other is explicitly formulated. ”The joint split publication with ZetaZeroAlfa from 2003 was used as a further indication . ZetaZeroAlfa is the official music group of the right-wing extremist organization CasaPound Italia . Diesel and Gerten saw in their early work and early staging a cynical deconstruction and exaggeration of all totalitarianism. A clear connection or even the open glorification of National Socialism cannot be made out in the group's work.
By 2010 Julius changed the direction of the project and adapted the exterior to the now played Psychedelic Rock . He described the earlier controversial appearance as a deliberate provocation and thus placed himself in the tradition of the Slovenian collective Laibach. On the other hand, he described the cooperation with ZetaZeroAlfa as purely musical, but admitted that he did not agree with the political positions of the group and no longer had any contact with the relevant group of people.
Neofolk
Similar fatalistic affirmations of the Nazi regime, as can be found in Boyd Rice, are, according to critics, represented by various interpreters of the Neofolk and Industrial. Current 93 referred to Hitler as the incarnation of the Antichrist in the information accompanying the album Thunder Perfect Mind . "Although this does not glorify National Socialism, it is religiously transfigured and its worldly causes are veiled."
The construction of a national and cultural, white and European identity on the basis of an eclectic mixture of European historical fragments is considered indicative of the openness of the Neofolk scene to right-wing ideology.
The neo- folk scene shows points of contact with the new right particularly in its criticism of modernity , the desire for a Eurocentric, national identity and the associated elitist self-positioning. Especially in the search for cultural reference points of one's own identity, ethnic, nationalistic, fascist and national socialist symbols, ideologies and people were taken up and processed. The elitist self-positioning established a radically fatalistic social Darwinism for some actors.
With the withdrawal to openness to interpretation and the rejection of clear political statements, many of the criticized projects refrain from a clear location. Advocates of groups such as Death in June, Blood Axis and Allerseelen refer to the points of contact with right-wing fragments of ideology as provocations and conceptually anchored social criticism that "operates with unease, uncertainties and provocatively misleading allusions and quotations." Critics consider the general openness and readiness to be correct and right-wing extremist media as a lack of demarcation, which is used by new right-wing actors. An appropriation by the right could be observed without the final political positioning of the criticized projects. In addition to numerous meetings and interviews in right-wing and right-wing extremist magazines and online magazines, certain groups of people often attend Neofolk concerts. In August 2016, the German Rolling Stone reported on the Identitarian Movement and its musical preferences. In this report, the Austrian activist of the movement, Martin Sellner , cited Neofolk as the music of the movement and cited the group Jännerwein as an introduction to the movement's taste in music. Jännerwein responded with an open letter to the music magazine. In it, the group forbade itself "to be pulled in front of the cart for politics of this kind, yes for politics in general."
The new right-wing journalist Martin Lichtmesz complained in 2010, in an ongoing attempt to interpret Neofolk as a right-wing counterculture, that the Neofolk had not succeeded in establishing itself as such. The former author of Junge Freiheit, Gerlinde Gronow, points to a possible affirmative effect of Neofolk and describes her turn to the right-wing scene based on corresponding bands.
“I […] come from the wave scene myself - keyword Death In June, Sol Invictus, NON. This made me aware of authors like Evola, D'Annunzio and Ernst Jünger. Although I originally approached these bands and writers critically, I was gradually brought into line with the undeniable fascination that emanates from this world, so that the step to Junge Freiheit seemed to me to be a natural consequence at some point. "
Another problem with regard to the potential appropriation of the right is named as the fact that second-generation performers resort to aesthetics without having developed themselves out of the post-industrial tradition. These interpreters show little or no aesthetic or stylistic breaks that can convey a critical impetus.
In the discourse about a possible appropriation of the black scene by right-wing extremist groups, the debate about neo-Folk interpreters such as Death in June, Sol Invictus, Allerseelen, Von Thronstahl and Blood Axis plays a central role. Most publications on potential overlaps between Dark Wave and new rights deal in detail with the Neofolk and its interpreters. Aesthetic Mobilization by Speit and Looking for Europe by Diesel and Gerten are rated as the core themes of the discussion .
Death in June
Death in June , like many of the performers who followed them, play with set pieces and symbols of European history. In this way, Death in June construct and support a myth of a European aesthetic purity in detachment from all modern influences and in mourning for bygone times, which can sometimes be Roman or Greek, sometimes Scandinavian or German.
In place of a further development of existing traditions, there was a dialectical U-turn from the musically radical industrial, post-industrial and post-punk environment from which the band originally came. The notions of purity and a strong anti-Galitarian and anti-democratic Europe permeates the work of the band according to the critics.
According to Büsser, “Eurocentric, partly social Darwinian myths of men longing for death” are omnipresent and these are reflected in texts from pieces like Last Europa Kiss - “ But, I'll never forget, My Last Europa Kiss, We are The Future - This Endless War ”- or Sons of Europe -“ Sons of Europe, Make very sure, You don't burn, In a Wall Street War, Sons of Europe Arise Arise ”. Often a militant reference is made to a Europe, which may primarily rise up against modern capitalist society and US-American influences.
In the piece The Death of the West , originally published by Death in June 1984 and later reinterpreted by Sol Invictus, criticism of modernity is based on one of the main ideas behind the new right, Julius Evola. Especially Death in June, who are considered to be the main representative and initiator of Neofolk, have glorifying references to fascist personalities and a fascist aesthetic. Douglas Pearce not only idealizes bygone times and dying for one thing, he also serves the ideal of a purity of music, far from any outside influences , which is interpreted on the one hand as synthetic instrumentation, on the other hand as African-American rhythm.
The idealization of a völkisch European idea against the background of apocalyptic ideas and the feeling of alienation inherent in Death in June leads to timely points of contact with fascist groups, up to and including the fascist HOS militia visiting the front in the Croatian war . Pearce, who was impressed by the sacrificial cult of the war, later used a photograph of a grave site of the HOS militia to design the album KAPO . Richard Leviathan, who was involved in the recording, described the picture as a synonym for the heroic-patriotic sacrificial cult presented on the album. Leviathan described it as "a symbol of the human sacrifice necessary for the 'birth of a nation' [.]"
Pearce worships and idealizes the long-time leader of the SA Ernst Röhm . Thus, regardless of Röhm's perpetration, Pearce questioned “whether Röhm would have prevented World War II in the event of a victory over Hitler”. In general, reference is made to Pearce's homosexuality and Röhm is reduced to a sexually connoted fetish figure Pearce.
The rehabilitation and depoliticization of fascist symbols and ideological stocks by Death in June includes the use of unambiguous symbols such as the skull symbol of the 3rd SS Panzer Division , which for Pearce expresses “total commitment to his art”. Such points of overlap with fascist, National Socialist or neo-right ideology systems can be found in the use of symbols such as the slightly alienated logo of the SS division Totenkopf, the Elhaz rune, the term Holocaust or even the Horst Wessel song in a supposed detachment from fascism and Reduction of the actual myth, "although it is not just the SS-Totenkopf, the emblem of DEATH IN JUNE, that is a clear symbol that [...] purports to circumnavigate 'ambiguously' concrete enthusiasm for fascism." This is how Pearce uses the term Holocaust in the play Rose Clouds of Holocaust - “ Rose clouds of Holocaust, Rose clouds of lies, Rose clouds of bitter, bitter lies ”, translated as 'complete burnt victim' - back to an experience in the midst of Icelandic volcanoes. Pearce described the Horst-Wessel-Lied set to music as the title track of the album Brown Book as a deliberate taboo break and provocation. The setting of the Horst Wessel song and the piece Rose Clouds of Holocaust are not only embedded in the openness to interpretation proclaimed by Pearce, but are also presented on the respective publications without critical debate or awareness of the controversial duality.
Advocates of the group locate Death in June as an ambiguous total work of art that uses these elements with critical intent. Gernot Musch points out that Pearce was striving for an unpleasant and painful art that was in contrast to his folkloristically pleasing music influenced by Leonard Cohen . Nevertheless, he admits that his self-portrayal as a “misanthropic and combative warrior poet”, following Genet and Mishima, is grist to the mill of his critics who accuse him of crypto-fascism and dog-whistle politics. Pearce himself expressly rejects any form of chauvinism . Stiglegger sees the fascist aesthetic as a direct reaction to the experiences previously made as a crisis with the organized left. By playing with uniforms and Nazi aesthetics, Pearce sought a way of demarcating and confronting the scene to which he himself belonged before.
Above the Ruins and Sol Invictus
Above the Ruins was founded by Tony Wakeford after Douglas Pearce banned him from Death in June in 1983. The main reason for Wakeford's expulsion was Pearce Wakeford's membership in the right-wing British National Front . This project became after the release of the album Songs of The Wolf and the contribution The Killing Zone to the sampler No Surrender! Licensed by the national front label White Noise Records . completed. Ian Read from Death in June and Gareth Smith from the Blood and Honor group No Remorse were also involved. In later interviews, Wakeford explicitly distanced himself from the National Front and the far-right ideology that addressed him as a socialist patriot at the time . According to his own statements, Wakeford slipped into right-wing extremism through his preoccupation with Otto and Gregor Strasser's national Bolshevik Black Front . In retrospect, he describes this phase of life as a self-destructive and unreflective, but closed phase. He pointed out that many of his friends as well as his wife, the Jewish violinist of the group Sol Invictus Renée Rosen, would have died violently or were never born under the image of society he idealized at the time.
After distancing himself from anti-Semitism and fascism, Wakeford retained positive references to ethnopluralist and Eurocentric positions. The second project Sol Invictus, initiated by Tony Wakeford after the split from Death in June, proclaimed in 1989 in the play Fields dealing with the bombing of Dresden , the overcoming of a national in favor of a European identity, which ended with the line “No more was amongst Brothers!” a European inside shows a non-European outside. Here the adoption of the Eurocentric ideal of the new right in the context of the Neofolk became apparent.
In 1994 Wakeford and Sol Invictus mixed the idea of a European identity with the rejection of modern society as an apocalyptic farewell to civilization. The album The Death of the West combined with intertextual references to Oswald Spengler , Ezra Pound , Friedrich Nietzsche and Julius Evola some of the most important sources of social Darwinist and anti-democratic cultural pessimists and thus important points of reference for the new right. He later distanced himself from the previously frequently voiced criticism of the United States and spoke of a threat to the entire West.
Blood axis
Michael Moynihan of Blood Axis said in a controversial interview in 1994 that he tend to with regard to the Holocaust, the killing of 6 million innocent people rather than as such nasty to look at. Moynihan also offered points of contact to new right ideologies in his creative and musical work. Moynihan, whose texts were published in 1994 by the National Socialist US journal Plexus , like Boyd Rice, worships the Nazi ideologist Alfred Rosenberg and the aesthetics of the Nazi regime.
Popular affirmations of fascist symbols can be found on the one hand in the crutch cross used by Blood Axis , which he used in the variants of the Austrofascists and the folk- religious New Templar order with direct reference to Lanz von Liebenfels , the derivation of the name from the Axis powers of the Second World War as well as in intertextual references.
In addition to the popular cover version of the Joy Division song They Walked in Line , which Blood Axis transformed into an affirmative We Walked in Line with sampled marching steps and excerpts from a Hitler speech , Blood Axis blended various points of reference to new rights on their debut album The Gospel of Inhumanity Ideologies. The album makes references to Ernst Jünger (Storm of Steel) , Friedrich Nietzsche (Between Birds of Prey) , the Roman Mithras cult (Lord of Ages) and Christianity-challenging Nordic mythology based on Henry Wadsworth Longfellow (Reign I Forever) here.
In interviews Moynihan postulates ethnopluralist ideas. Based on the example of the USA , which he calls a “failed social experiment”, he calls “a voluntary separation of the Western races” the “most desirable solution [.]” In doing so, Moynihan, following the theories of the new right, assumes a danger to otherwise lose a supposedly innate cultural identity.
In a controversy about a planned appearance in Leipzig in 2011, Nym located Moynihan as a hippie who tried to polarize in the 1990s. Martin Langebach replied that Moynihan was a staunch integral traditionalist . In this discussion Moynihan's writing and publishing activities were again criticized. In response, Moynihan described the content of the authors he published as confused and disgusting. The publication of his own writings in right-wing extremist publications had already been identified years before as prints of older seminar papers and the most popular of his right-wing extremist statements were "long since exposed as a tasteless joke of a› snotty 15-year-old punk rocker ‹[.]" Moynihan himself on the other hand, vehemently denies being a Holocaust denier or an anti-Semite and denies “hating anyone, and certainly not because of their ethnic background.” Politically, he does not see himself as committed to any direction and sees himself more as a social than a political person. People, Moynihan said, “should be concerned about what's going on on their block. They should get along with their neighbors before they deal with the great evils of society and tell someone 200 miles away what to do. ”With this belief in mind, Moynihan rejects communism, anarchism, fascism and socialism.
All Souls
According to Speit and Raabe, Allerseelen interprets , together with other representatives of the Neofolk, “the individual pessimism and the collective melancholy of the black scene [...] as the heroic realism and total anti-modernism of the brown scene.” In one, with the depoliticizing adaptations of National Socialist symbols A duality-less context comparable to Death in June, the symbol of the black sun is used in All Souls' and Von Thronstahl's. Alfred Schobert describes the abundance of such uses of National Socialist symbols and texts by Death in June, Allerseelen, Von Thronstahl and other interpreters of Neofolk as "rehabilitation [...] of complete [r] Nazi [r] ideological stocks." According to Andreas Speit, the Allerseelen Founder Kadmon, especially in his writing for Sigill , Alraune and Aorte, "portray theorists of fascism as 'lateral thinkers' and 'foreigners' in order to tear them out of their political context."
With All Souls' Day, Kadmon also took up fascist artists. He set a cycle of poems by Karl Maria Wiligut and a poem by Herybert Menzel to music . The project also took part in tribute compilations for Julius Evola (Eis & Licht) and Leni Riefenstahl (VAWS). Like many other artists of the genre, Kadmon retreats to the aspect of art and openness to interpretation and sees "the artistic work, the form and the power, the personality" in the foreground for himself and his work and also refers to artists who are received and who do not participate the third empire were compatible as an influence. He countered the accusation of ethnopluralism and the glorification of proto-fascist ideologues and lyricists that he was only interested in the art and myths surrounding such figures. Diesel and Gerten point to further enlightening and critically interpretable breaks in the oeuvre of Allerseelen. For example, on the re-release of the album Gotos = Kalanda, illustrated with the throne room of the Wewelsburg, the song of the prisoners was set to music, which circulated among the Jewish slave laborers involved in the reconstruction of the throne room.
Uwe Nolte and Orplid
In 2002 Hans Wanders stated that the Orplid project by the singer Uwe Nolte belongs to a new generation of Neofolk interpreters who are "enthusiastically celebrated" by the New Right. The German texts "paired with a kind of› campfire romance ‹" would leave a reactionary scope for interpretation, which would be about "digging up buried roots and bringing them into a contemporary format." Nolte was particularly criticized for the contributions to the compilations Cavalcare La Tigre - Julius Evola: Centenary (Eis und Licht Tonträger) from 1998 and Riefenstahl from 1996 ( VAWS ). Jan Raabe and Andreas Speit describe Orplid's contribution to the scrapbook Cavalcare La Tigre - Julius Evola: Centenary as a game “with an integral traditionalism ”. As a further point of criticism, Raabe and Speit together with Langebach name a regionally bound concept of identity that is similar to that of Alain de Benoist. “Identity is created here by emphasizing regional specifics through certain sagas, stories or songs. The band Orplid uses the same mechanism with its historical reference in the song Merseburger Rabe and in the song Barbarossa [.] "
In 2001, Nolte took part in a criminal complaint against the Goths against Rechts Bremen, initiated by Prophecy Productions and Voices Of Wonder , after they had not submitted the previously legally required declaration of cease and desist against Martin Koller (Prophecy Productions), Uwe Nolte, Markus Stock ( Empyrium ) and Kim Larsen ( Of The Wand And The Moon ). In the revised second edition of the brochure Die Geister die ich rief ... , which was named as a point of contention, the Goths against Right Bremen analyzed different approaches and overlaps between parts of the black scene and “right-wing strategists”. It was pointed out in the brochure that “it is not possible to make sweeping judgments like 'all the bands mentioned here are Nazis'”, but the brochure also “unreflected use of aesthetics, etc. in connection with a lack of demarcation against rights Attempts at appropriation "thematize. Due to this qualifying assessment, the public prosecutor's office, which closed the proceedings due to the statute of limitations, added the comment that "a careful study of the brochure by your client (...) probably would not have motivated him to file the criminal complaint." Authors of the Neofolk book Looking for Europe , a representative of the Goths against Rechts Kassel confirmed the presumption that he could not make a final statement about the political views of Nolte or his Orplid project and referred to the analysis of the website belonging to the group. In the analysis mentioned, the Goths against Rechts Kassel show, on the one hand, content-related overlaps with right-wing ideologies, but also point to a persistent refusal of the musicians to position themselves politically and to the constant ironization of attempts to politicize Orplid.
Despite such assessments, Nolte continued to deal with the possible proximity to right-wing extremism. In Nolte's hometown in particular, appearances and exhibitions were accompanied by corresponding discussions. In 2006, the political scientist and member of the state parliament Sebastian Striegel attested Nolte “excellent connections to the neo-Nazi scene in Halle.” In 2013, an exhibition that had already been planned in the Willi-Sitte gallery in Merseburg was canceled due to an anonymous email sent to the gallery. The exhibition then took place in the Ben zi Bena gallery. The rejection was again accompanied by discussions about a possible proximity to Nolte's right-wing extremist scene. While Striegel reiterated his assessment that Nolte was “undisputedly active in the neo-Nazi scene”, Torsten Hahnel from the Network for Democracy and Open-mindedness Mit One eV stated that Nolte was “ not a right-wing extremist, but a right-wing man who plays with fascist aesthetics in his art [.]” Nolte himself stated in the same article, "He is not interested in politics and it is also indifferent to which public is enthusiastic about his art [.]" The criticisms accused of him are, however, "always the same old stuff."
“These include the sale of his band's CDs years ago by right-wing companies, concerts with groups that are criticized for their proximity to right-wing circles, and participation in a CD in honor of Leni Riefenstahl. Nolte's friendship with former right-wing leaders in the region also plays a role. "
The editor of the Mitteldeutsche Zeitung, Steffen Könau, confronted Hahnel, one of Nolte's longstanding regional main critics, with the “impression that this could be less a dispute about a dangerous right-wing artist than a personal feud.” Hahnel rejected this assessment.
Josef Maria Klumb
The controversies surrounding Josef Maria Klumb occupy a special position in the discourse about the penetration of right-wing ideologems into the black scene . The singer gained notoriety in the dark wave scene in the 1980s and 1990s. The sampler series Godfathers of German Gothic, which he put together, as well as his band projects Circle of Sig-Tiu , Forthcoming Fire and later Weissglut brought him great popularity in the German scene.
Klumb hardly uses right-wing poetry, but revealed himself through anti-Semitic world conspiracy theories in interviews and cooperation with right-wing media and publishers. Pfeiffer sees a connection between Klumbs and new right movement actors through three strands of relationships. In his cooperation with Werner Symanek and the VAWS , according to his own statements, he was in friendly contact with Junge Freiheit and he wrote for the right-wing extremist magazine Sleipnir .
At the Frankfurt Book Fair in 1997, Klumb looked after the VAWS stand. For the same company he was involved in the creation of a compilation dedicated to Leni Riefenstahl , in which, in addition to the Klumb projects Von Thronstahl, Preussak and Forthcoming Fire, Death in June and Allerseelen took part. Klumb himself justified himself not having any reference to the writings distributed by the VAWS. Büsser doubted this statement and referred to Klumb's activity at the Frankfurt Book Fair, where he “at the time, together with two [...] women behind the stand of Werner-Symanek-Verlag, [...] [distributed] its prospectus Aus Liebe zu Deutschland [distributed] and [ ...] interested parties eloquently about the content of the books published there [informed]. "
A relationship he described as friendly with the editorial team of Junge Freiheit began in 1996 with the first interview for Forthcoming Fire. In the following years the two related positively to each other several times. Klumb gave the magazine various interviews. The Junge Freiheit , however, illustrated own advertising in the black scene magazine Zillo with a reference to Forthcoming Fire.
Klumb also made a name for himself with “authorship in the anti-Semitic journal Sleipnir [.]” In the two-month publication, Klumb published several poems under the pseudonym J. Korus . Klumb, according to his own statements, chose the pseudonym in order not to endanger the white-hot contract with Sony Music Entertainment .
As a further indicator of a right-wing extremist ideology Klumbs formulated anti-Semitic conspiracy theories are used. Referring to Jan Udo Holey , Klumb spoke with Gothic about a world-wide regime controlled by the Illuminati Order. According to Klumb, this regime shows itself "through the UN , NATO , World Bank , Zionism , through some of our representatives , high finance and the economy ." (Klumb quotes from Mühlmann) As the goal of this world conspiracy, he names the urge to "humanity [...] to mutate into a slave race ”, for which humanity“ the luminosity of real knowledge […] would be withheld ”. In the same context, he put the deaths of Detlev Rohwedder , Alfred Herrhausen , Uwe Barschel , Wolfgang Grams and Rudolf Hess as well as the assassination attempt in Solingen . In a later interview with Rock Hard he confirmed his thesis and stated that he was convinced that Hess, Grams and Barschel would have been executed "because [they] knew too much." In further interviews he underscored his statement and demanded it a Eurocentric counter-draft as "United Europe of cultures in the sense of an REICH [.]" The "REICHSGEDANKEN [...] would be above all."
In addition to such world conspiracy theories that use anti-Semitic stereotypes, and calls for a European empire, Klumb makes use of various fascist symbols in song texts and designs. The black sun and the stylized fasces , which again build a bridge to the idea of a European empire, appear on a large number of Klumb's publications. In particular with Von Thronstahl and the Fasci-Nation label , Klumb uses the symbols as emblems, design elements and recurring stage decorations.
In his lyrics, Klumb uses fatalistic and nationalistic stereotypes, in which he brings in the symbol of the black sun: "You have to burn, black sun, this world knows no mercy" (Weissglut: Not of this world ), or demands a combative European identity: "Sound the alarm at the borders of Europe, strengthen the fortress, form an army" (Von Thronstahl: Occidental Identity ). Klumb also supported "the National Socialist black metal group Absurd ."
New German Hardness
The New German Hardship , which emerged in the 1990s and has become popular with high chart successes , has been accused of a totalitarian habitus since the second half of the 1990s. Critics see the genre as an archaic staging of masculinity. The performers would convey a masculine pathos of muscle strength and hardness , which is criticized as a proto-fascist projection surface. The heroic self-portrayal of the protagonists only contains hardship, struggle and victory . Vulnerability would be completely excluded and anything that did not reflect the image of hardship, struggle and victory would be presented as weakness. "Blood, fire, struggle, death and masculinity" are consistently endeavored elements of the archaic-heroic aesthetic .
Ambiguous stylistic devices of martiality are occasionally used. This recourse, occasionally given, to a totalitarian aesthetic, which was mostly associated with the National Socialist era, was also criticized. Mühlmann's Last Exit Germania from 1999, Büsser's How does the new middle sound sound? Are considered to be the core publications in which the discourse about the New German Hardship was conducted. from 2001 and Stephan Lindke's contribution Today's breaking of taboos is tomorrow's mainstream in Speit's Aesthetic Mobilization from 2002. The central interpreters, on whose example the criticism was formulated, were Joachim Witt, Rammstein and those co-founded by Josef Maria Klumb White heat.
The right-wing rock scene discovered the genre for itself at the end of the 1990s. The groups Law and Order and Kraftschlag played in phases in the style of the New German Hardship.
In the high phase of the discussion about the New German Hardship in 1998, Alfred Schobert differentiated between what he saw as organized right-wing extremists such as Klumb and the popular representatives of the New German Hardship. Compared to Klumb, he accused performers like Rammstein of merely making bad calculations . Despite such decided differentiations between coquetry and political convictions of different interpreters, critics like Schobert von Mühlmann were accused of arbitrariness in 1999 with regard to the choice of those criticized and the criticism expressed.
In 2001, Büsser described the New German Hardship as a genre of music that, as a mere game, ignores questions about one's own identity and promotes individual opportunism. Every form of weakness and doubt would be determined.
“Anyone who seeks proximity to fascism in such groups in any text or interview passages is always on the wrong track. It manifests itself in a much more subtle and at the same time much more obvious way on the purely aesthetic level - in equating the hard with the sovereign, in the complete fading out of weakness, doubt and brokenness. "
Rammstein
Even with his debut album Herzeleid , Rammstein came under fire for flirting with right-wing extremist content. The refrain of the piece Heirate mich , “Marry me, Hei, Hei, Hei!” Aroused corresponding associations and was interpreted as alleged healing calls close to the Hitler salute. In the following years the group was repeatedly accused of totalitarian and martial gestures. Stage structures and light installations for the concerts are presented to Albert Speer and Lindemann's singing is compared directly with Hitler's speeches .
In addition to the public scandalization of the group, critics warned the concept behind Rammstein. Büsser described the potentially fascist Rammstein beyond recourse to the aesthetic elements of the Third Reich by saying that “all the gestures of masculinity and harshness here stand for victory and superiority - a phenomenon that, in its drastic form, at least to the critical observer, the proximity between neoliberal survival and social Darwinism can demonstrate. "
The criticized hyper masculine concept of the group geared towards harshness and violence, as well as the styling that referred to "the imagery of NS", found an international climax in the scandal surrounding the music video of the single Stripped . The compilation of film clips from Leni Riefenstahl's Nazi propaganda film Festival of the Nations was considered a calculated breaking of taboos and a deliberate game of fascist aesthetics. The juxtaposition of the heroic Riefenstahl pictures with photos of ruins was ignored, as was the song's text, which revolves around seduction and sexual murder. In addition, Rammstein is "clearly recognizable as a theatrical staging that the question of 'authenticity' does not actually arise: the real people play characters within the overall Rammstein concept, but they are not necessarily to be understood as congruent in terms of content and settings." Christian Diemer, Rammstein's provocations prove to be effective and sensible precisely because of the lack of authenticity, since "their structure is an aesthetic one whose powerful effect interacts with non-aesthetic, overall social discourses" and reveals contradictions in social discourse from the position of the inauthentic.
Witt
After turning to the NDH, Joachim Witt was accused of glorifying totalitarianism based on the music video for Die Flut . Similar to Rammstein, Witt resorted to an aesthetic that had previously been established in martial industrial , and thus reached a larger audience. While Rammstein directly used Riefenstahl's images with Stripped , the music video for Die Flut was based on Sergei Michailowitsch Eisenstein . However, like the Rammstein video, the music video offers clear links to a totalitarian aesthetic. The illustrated apocalyptic scenario of an impending flood is of Lindke as near-homage "to the nationalist-racist Republican motto> The boat is full <" interpreted. The taz judged the video as a social Darwinist work, "an absurd panopticon of disabled people, chosen to die - sound of eugenics , one that stages fears of foreign infiltration and survival of the fittest." According to Büsser, Die Flut became a "fear of infiltration and overpopulation ." Video [produced] that slipped past obvious Nazi propaganda by a hair's breadth [.] “The A&R manager of the associated record company Strange Ways , Christoph Bolwin, rejects the allegations. In the video, Witt remained ashore as an outcast and the aesthetics of the video was based on Eisenstein and in no way on Nazi propaganda films. In interviews that Witt gave during the creation of the Bayreuth series of works , he represented ethnopluralist positions and advocated a detachment of the aesthetic used, which was taken up again in the video for Bataillon d'Amour in the form of a torchlight march, from the context of National Socialism . In the same interviews, he called himself a left-wing cosmopolitan .
White heat
After the label Hyperium & Hypnobeats stopped working with the Klumb project Forthcoming Fire in 1996 due to Klumb's interview with Junge Freiheit in February of the same year, the band switched to NovaTekk . It was there in 1998 that Weissglut's first demo CD was released , the new project with Klumb's participation. In the same year the band released their self-titled debut album on Semaphore . In August of that year Weissglut was signed by Epic , a subcontractor of Sony Music Entertainment , after the bankruptcy of Semaphore . Owing to the success of Rammstein and Witt, many record companies tried at that time to sign interpreters who could be assigned to the Neue Deutsche Hütze. With the announcement of the contract between Sony and Weissglut, the company received an abundance of protest notes. Sony Music responded with a statement on behalf of the group on the Sony homepage and an anti-Nazis pictogram on the back of the album, which was released in September. The album published by Sony corresponded to a slightly varied new edition of the debut. According to Pfeiffer, with Something Comes in Your World "for the first time in post-war Germany a sound carrier with right-wing extremist references came onto the market, which [was] created in the highly professional structures of a global corporation and which [addressed] a mass audience with good prospects of success."
According to him, “the texts convey Weltschmerz and apocalyptic premonitions in pathetic, highly symbolic language.” In addition to a romanticist idea of death and struggle, people in the texts, which make use of an esoteric-mystical worldview, become objects of supernatural powers. This world view shows transitions to right-wing extremist and right-wing esoteric ideologues. With the symbol of the black sun and the appeal to Felix Dahn's Ein Kampf um Rom , right-wing extremist references can be made out.
Thanks to the cooperative public relations work of Epic and Gordeon Music Promotion & Management , Epic placed the album on the market with high expectations. In addition to an extensive advertising campaign, which advertised the album even before it was released, a music video was to be produced that would be played on the leading music channels VIVA and MTV . The video shoot, as well as a planned broadcasting tour and other advertising measures, were canceled in the wake of the controversy that grew soon after its release.
A few days after the album was released, the magazine Der Spiegel devoted itself to the New German Hardship and incorporated a falsified quote from Schobert. A statement Schobert, he was careful with the term Nazi, but you should really talk in this context by the Nazis , he moved into the original on the VAWS closely related independent circle of friends , not the working time in the VAWS Klumb over which previously was spoken.
As a result of the Spiegel report, public protests against the cooperation increased. The attempt to take legal action against Schobert and the Spiegel failed in 1998 and 1999. In January 1999, the group separated from Klumb after Klumb was unable to refute the allegations against him. Klumb then withdrew musically for the time being to the Von Thronstahl project . Something comes into your world , according to Pfeiffer, despite the early commercial slump as a result of the scandal, made a contribution "[to] the establishment of a 'counterculture from the right' [...], but only develops its potential to a limited extent."
Aggrotech
The out of the Electro grown Aggrotech or Hellektro is considered a "martial-military influenced [e]" staging of masculinity. References to militaristic and warlike content are always present and are often characterized by references to militarism and totalitarianism. Dunja Brill sees Aggrotech as a "simple, often clumsy and forceful-looking representation of male strength and aggression [.]" Stephan Lindke assigns some of the interpreters of Aggrotech to the New German Hardship and applies the criticism expressed about the NDH to the Aggrotech.
A use of language samples that are borrowed from National Socialist propaganda material or refer to National Socialism is described by Brill as common. In doing so, she admits that such fascistoid-looking references are constructed as a “desire for provocation, rebellion and transgression ”.
In the course of the discourse about the intrusion of fascist content into the black scene, Wumpscut, Feindflug, Funker Vogt and Nachtmahr in particular came under fire. The criticism was based not only on the music, but often on personal and business contacts with right-wing extremist musicians and companies. Beyond isolated contributions to the discourse in Büssers How does the new middle sound? and Beyond Aesthetic Mobilization , the dispute took place predominantly in magazines of the black scene.
Enemy flight
The Feindflug project takes a critical look at the topic of technological warfare in World War II. For this purpose, the project uses a large number of speech samples, most of which are taken from documentation. The design concept follows this basic idea and is based on propaganda posters and documentary images of war machines. Feindflug has expressly distanced itself from fascistoid and totalitarian ideas since the first critical questions.
In 2006 the group released the DVD Behind Enemy Lines with an explanation of their concept: “When buying this DVD I am aware: Any form of glorification / trivialization of the Second World War contradicts the intention of this project. Rather, it wants to make it clear that precisely this epoch of history represents the beginning of a new technological warfare in which the individual was / is becoming a victim a million times over. References of the topic to current affairs emerge anew every day ... "
The group came under sustained criticism for the release of their first single. I. / St. G. 3 was published in 1998 by the right-wing extremist agency VAWS . The members of the project stated in later interviews that they were not aware of the political orientation of the publisher at the time of publication and that the publisher was chosen because alternative label offers were accompanied by the requirement to change the chosen design. In 2003 the material I. / St. G. 3 [Phase 2] was re-recorded by the Black Rain Media Group .
Wumpscut
With the Apocalyptic Fairyland , the one-man project Wumpscut , founded by Rudy Ratzinger, gives his work a fictional conceptual framework in which the topics of “dictatorship, war, mass murder, prenatal dying and killing” are embedded “spreading horror and thereby fascinating and repulsive at the same time ”. In the course of this conceptual framework, the use of provocative samples is common. The samples used were occasionally criticized as unreflective, provocative references to the Third Reich and the Holocaust, but are generally considered to be "integrated into the critical and well-considered concept of the 'Apocalyptic Fairyland' [.]"
In 2001, a controversy arose, mainly between the magazine Sonic Seducer and Ratzinger's project, after the military pop project Der Blutharsch had remixed the title track of the wumpscut album Wreath of Barbs . Ratzinger responded to inquiries from Goths Gegen Rechts, der Zillo , Sonic Seducers and Orkus by praising the remix without distancing himself from the cooperation and by criticizing Julius and Der Blutharsch as a criticism of the image and not of the content of the Project. Long-term distancing from “revisionism and 'Nazi' groups” by Julius, which underpinned Ratzinger's assessment, was not taken up in the discussion. Referring to the image of Der Blutharsch, Ratzinger wrote that "measured against Osama bin Laden's behavior on September 11, 2001 [so that] everyone would [would] be finished."
After the Sonic Seducer was not satisfied with this statement and followed up the topic in further statements and reports, Ratzinger permanently ended the cooperation with the magazine. On the subsequent compilation publication Preferential Tribe , the remix of the Der-Blutharsch title, which was created by Wumpscut, was published . released. Ratzinger added a brief statement on the controversy to the track list: " Wumpscut is no profascist and / or racist project / act - Free your mind for a second thought ... "
Nightmare
The Nachtmahr project, initiated by Thomas Rainer ( L'Âme Immortelle ), plays with the military and totalitarian aesthetic that Laibach introduced to the scene. The project was sharply criticized for this aesthetic. During a joint concert with Combichrist and Ad · ver · sary in 2012, Jairus Kahn from Ad · ver · sary used part of his performance time to admonish the appearance of Nachtmahr as sexist and fascistoid. Rainer stated that he respected Kahn's opinion, but assessed his project differently. He described military clothing as a sexual fetish, which he lived out on stage and in his recordings. He countered the accusations of glorifying fascism and National Socialism that, as an Austrian patriot, he had no ideological connection to National Socialism.
The cover of the 2010 album Girls in Uniform is borrowed from the poster for the film Der Nachtportier . With regard to the image used and the title of the album, Rainer emphasized the erotic component. He explained the title as "dealing with a small taboo in society, namely that uniforms not only exude authority for us, but also have a strong sexual attraction."
Marcus Stiglegger sees Nachtmahr with her martial and military appearance in a tradition of the term “Nazi chic” he coined. The aim of this aesthetic self-presentation, in the audience as well as on the stage, be it "to be sexy, [...] to stand out from the rest [...] and [...] to pay homage to a certain band [.]". Nachtmahr would be offensive and unreflective living out the “totalitarianism of pop”. He sees less criticized scene bands like Eisbrecher and Shadow Reichenstein as further representatives of this kind of Nazi chic .
Radio operator Vogt
With a concept similar to Feindflug, Funker Vogt came under fire in the course of the 1990s. Lindke assigned the group to a large number of performers who, since the second half of the 1990s, wanted to gain attention through provocations with martiality. Funker Vogt thus fitted into the "simple, often clumsy and brutal-looking representation of male strength and aggression [.]" That is common for Aggrotech.
The replacement of the singer became a controversy within the scene. After Jens Kästel left the group in November 2013, the band presented a new singer who only appeared as "Sick Man" wearing a balaclava. After the first joint single release, Funker Vogt revealed the controversial and from various sources as a right-wing extremist Sacha Korn in December 2014 as Sick Man. Funker Vogt already cooperated with Korn in 2012 for his single-release Treibjagd . This first cooperation remained without any major reaction, with Korn's cast as singers, however, there were clear protests from the black scene. In a first statement, the members stated that they were not interested in politics, but only in music. The scene's press refused to do any further promotion of the group due to Korn's personality, the previous label Out of Line announced that it was considering a termination of the contract, and some of the group's supporters called for distancing. As a result of public pressure, Funker Vogt parted ways with Korn on December 30, 2014.
audience
A clearly ideological style of music cannot be identified among the criticized styles of the black scene. As the critics emphasize, Neofolk, Post-Industrial, Neue Deutsche Hütze and Aggrotech are more likely to be criticized due to their open orientation and potential points of contact with the right-wing scene. This results in a divergent view of the respective audience. According to the critics, Neofolk and Neue Deutsche Höte in particular address a large, mostly apolitical group as well as right-wing extremist and new-right groups of people.
The advocates of the scene point out that post-industrial and neofolk have hardly any points of contact with the neo-Nazi-associated youth culture of the Nazi skins and that these hardly belong to the audience of the music. Occasionally, neo-Nazis would feel addressed by superficial similarities, outward appearances and left-wing criticism of the genre of neofolk groups. However, these were immediately rejected “because of their› activity ‹and the› Jewish game ‹with Nazi symbols”.
Critics counter that the musical, ideological and aesthetic preparation in the Neofolk rather transports proto-fascist ideas and addresses a supposedly elitist new right-wing clientele in and alongside the Dark Wave supporters. Langebach describes the classic Neofolk audience as a mixture of people in the military look, normal Goths and “a few more from the NPD [.]” In addition, people from the circle of the Identitarian Movement are considered to be the usual audience at Neofolk concerts. The right-wing organizations know about the "superstructure of integral traditionalism and are looking for points of contact."
According to Brill, the Aggrotech appeals to a predominantly male audience. Most of the supporters could be attributed to the black scene or the electro environment. An independent Aggrotech audience has not developed. Nevertheless, the cyber group is a trend that is increasingly taking up Aggrotech. The black scene and those subcurrents that prefer the Aggrotech are considered apolitical. Reports of an increasing number of audiences from the right-wing scene are not known.
The New German Hardness appeals to a wide audience between the black scene and metal culture . The criticized interpreters like Rammstein and Witt reached a mainstream audience far beyond their subcultural references. Despite the reception of the New German Hardship in the new right press, the majority of the public is considered apolitical. Consumers range from "right-wing skinheads to› normal people ‹to leftists who cannot be assigned a specific age structure."
Right press
In the course of the links between the New Right and Black Scene, band projects such as Blood Axis, Sol Invictus, Allerseelen , Death in June, NON , Der Blutharsch or Von Thronstahl are interviewed and discussed by right-wing extremist and new-right magazines. A self-description as a conservative cultural elite is often sought. Some performers of neofolk and post-industrial offer themselves to right-wing media and publishers as interlocutors. Interpreters of Neue Deutsche Hütze and Aggrotech are received by the right-wing press, but they are rarely available for interviews.
Since the early 1990s, Here & Now , Aula , Identity , Blue Narcissus , The Third Way , Young Freedom , Unity and Struggle , Sleipnir and Warcom Gazette have been dedicated to performers and events of the black scene. Young freedom is considered to be the central organ of efforts to promote the scene .
Blood Axis went so far in the cooperation that the band placed commercial ads in the right-wing extremist magazine Resistance , while Josef Maria Klumb wrote poems for Sleipnir . The LOKI Foundation was a justifiable opinion in the far-right magazine to the accusations of right- Europe cross print. Moynihan emphasized a sense of attachment to the press of the new right:
“I respect many of the ideas of the 'New Right' and the Third Position. The people I met who are involved with these groups (Junge Freiheit, Orion, Aurora, The Scorpion, Vouloir, Lutte du Peuple ...) are all exceptionally intelligent and open-minded. I hope they continue to gain influence for Europe's future. "
“I respect many ideas of the 'New Right' and the Third Position. The people I have met and dealt with in these groups (Junge Freiheit, Orion, Aurora, The Scorpion, Vouloir, Lutte du Peuple ...) are all exceptionally intelligent and open-minded. I hope that they will continue to influence the future of Europe. "
In 1997, in a defense of the scene, Schobert pointed out, against the accusation of Satanism , that contrary to the "media construction called 'Youth Satanism in the Goth scene" [...] right-wing extremist infiltration strategy [...] certainly had some successes " could.
In the first half of the 1990s, German-language fanzines specializing in Dark Wave and Neofolk were founded, which positioned themselves politically on the right, Sigill 1993 and Europakreuz 1995. In addition to interviews and discussions with performers from the black scene, these fanzines dealt with occultism, in particular with right-wing esoteric themes, right-wing ideologies and the supposed detachment of Nazi symbols and names, the use of which these fanzines declare as 'pure' use, but at the same time depict them in a fascist context.
Young freedom
In 1993, the editor of Junge Freiheit, Roland Bubik, wrote the essay Culture as a question of power , in which he, based on the interpreters Dead Can Dance and Qntal , described the black scene as a successful dissemination of "reactionary aesthetics and view of life" in the "best sense" which clearly stand out from the modern age. Bubik, who had previously tried to identify the techno scene, under the catchphrase steel storm as leisure fun , as potential actors in a new right revolt against the modern world , imagined starting points for a right-wing culture war in the scene. However, while Qntal spoke out vehemently against attempts at right-wing appropriation and Dead Can Dance with Arab and African influences turned out to be incapable of affirmation for right-wing ideas, there were already some interpreters who played with right-wing content and were ready to give interviews to Junge Freiheit . In this way, Junge Freiheit found points of contact that led to the hiring of an editor who specializes in the scene. The hired Gerlinde Gronow distanced herself from Junge Freiheit at an early stage , wrote an open letter to the popular scene magazine Zillo and warned it of ongoing and further collaborations with Junge Freiheit .
Gronow's warning went back to the scandal of a burgeoning connection between Junge Freiheit and the Zillo . The label Strange Ways was outraged about the cooperation between the scene magazine and the neurerecht newspaper. The label complained about the cooperation in the form of advertisements for Junge Freiheit in the January 1996 issue of Zillo and in the shape of the joint editor Peter Boßdorf. Alfred Schobert took up this outrage in Spex 1996 and made the cooperation public as a topic. The editor-in-chief of Zillo , Rainer “Easy” Ettler, fended off the criticism and temporarily removed Bossdorf from the imprint of the magazine and put him back on again soon afterwards. Ultimately, Boßdorf only disappeared from the editorial team after the editorial team had been redesigned, which followed Ettler's death in 1997.
Since then, Junge Freiheit has dealt with the scene, but remained "at the level of 1995/96 [...]. ›Romanticism, mythicism, rejection of pure reason and unconventional references to home and the past‹ are still invoked as substantive points of contact. ”After Klumb's popularity slump in 1999, Junge Freiheit increasingly sponsored the singer's projects.
Sigil
Despite the low circulation number of up to 1000 copies per issue in relation to the large scene magazines, the fanzine Sigill , founded in 1993, received special attention in the discourse . The fanzine, advertised as a magazine for the conservative cultural avant-garde , was founded by Stephan Pockrandt as a hobby project in order to satisfy an “extreme taste in music and art”.
Although Pockrandt formulated different statements on the political ideology behind Sigill , the fanzine was condemned from outside as a new right, in places as a neo-Nazi magazine. Pockrandt, on the other hand, saw the editors, referring to Ernst Jünger, as "anarchs, i.e. conservative anarchists", on the other hand as an apolitical compilation with a purely cultural interest. Thomas Naumann and Patrick Schwarz, on the other hand, locate the fanzine as a hinge between the new right wing and black scene. In particular, there was a major point of criticism among the authors. Authors who were otherwise anchored in magazines of the black scene such as Sonic Seducer and Black Magazine , authors of the new right Junge Freiheit and authors of right-wing extremist magazines such as the Europakreuz or Nation und Europa wrote for the Sigill . Pockrandt saw in this no contradiction to an apolitical orientation of the fanzine.
Although the sigil repeatedly referred to pioneering thinkers of National Socialism, thematized runes in a right-wing esoteric interpretation and discussed Nazi symbols and called for the supposed separation of these symbols and names as 'pure' use, "these symbols [...] were also used as a decoration for the SS uniform " printed. In addition, heroic articles appeared on the artists and philosophers of the Third Reich. Anti-democratic and social Darwinist positions by interviewees, interviewers and in essays were printed without criticism of the content.
Naumann and Schwarz worked out four core themes of the sigil , which overlap with the main interests of the new right: heroic nihilism, idealized warrior image, romanticistic understanding of nature and anti-dualistic religion. There are always positive references to Evola, Jünger, Mishima, D'Annunzio and Knut Hamsun . The fanzine developed from the original provocations, which took place using bondage pictures, to reactionary and anti-modern cultural criticism, mostly based on the well-known authors and pioneers of fascism and National Socialism, to anti-Semitic positions. The fascism interest of the Sigill is characterized as an interest in style rather than interest in ideology, which means that the fanzine, in the self-image of the editorial team, remained ideologically unclear. In this retreat to form, contrary to a positioning preparation of the content, “symbols and metaphors [used] were intended to awaken associations in order to create a specific climate. Calling up fixed symbols took the place of content and resulted in the »choice of a language of› ideas without words ‹«. "
After 20 issues the sigil was discontinued. The follow-up magazine Zinnober followed in December 2001 , which, according to Naumann and Schwarz, “followed seamlessly with the ideological guidelines of the Sigill ”. The new name was based on Evola's autobiography Der Weg des Zinnober .
European cross
The Fanzine Europe Cross , described by Raabe and Speit as neo-Nazi , was founded by Marco Thiel, the sole member of the military pop project Egoaedes . In 1997, Thiel sponsored the Nazi skin magazine Rock Nord Death in June by means of a comparison with Frank Rennicke , whom he interviewed for his magazine, which was primarily concerned with neo-folk and military pop groups. The fanzine advertised "in its calendar of events for the (forbidden) May demonstration of the JN in Leipzig and distributed the telephone numbers of neo-Nazi ' national info telephones '". Europakreuz also placed advertisements for “ 'Einheit und Kampf' , the 'revolutionary magazine for nationalists' ” and for the VAWS books on conspiracy theory. The fanzine, subtitled with Europe's Art, Culture & Power , also used the commercial provider of the National Action Front, an organization that is closely connected to the right-wing extremist Thule network .
Companies
With the growing interest of right-wing actors in the black scene, right-wing extremists and new-right companies tried to establish products tailored to the scene. Right-wing esoteric books were marketed in scene media as well as musical works, writings on artists and thought leaders of fascism and National Socialism, as well as on anti-Semitic conspiracy theories. A special role is assigned to VAWS, which has been marketing products for the scene for years. In addition to VAWS, which tries to intervene in the black scene as a company from the right-wing spectrum, some independent labels from the black scene are criticized. In particular, the label "EisLicht" founded by Stephan Pockrandt ( Sigill , Zinnober ), previously "Eis & Licht", is often perceived as a new right-wing music distributor.
VAWS
Werner Symaneks VAWS has been looking for Schobert since 1994 for “customers in the dark wave scene.” The agency made its first efforts to target the black scene in May 1994 with a free 16-page DIN A4 glossy catalog. The mail order catalog Undercover presented bands, events and leisure opportunities from the black scene. Further mailorder advertisements in important music magazines such as Sub Line complemented the advertising for the sales products. Propaganda material from the radical right-wing Independent Circle of Friends was sent to the buyers with the goods they had ordered . In the same year the VAWS therefore became a topic in the scene. Magazines and labels were informed by fans and mostly reacted with a boycott of the agency. Magazines canceled their advertising contracts and labels such as Gymnastic Records stopped delivering to VAWS.
The agency soon began to act as a label itself and to publish its own interpreters who were supposed to serve the black scene. The first album to appear was Inception by the largely unknown electro-wave formation Experience of Nation. In 1998 the criticized Klumb arranged a scrapbook dedicated to the propaganda director Leni Riefenstahl . The compilation was followed by further tributes to artists of the Third Reich. Forthcoming Fire, Preussak, Death in June, Allerseelen, Andromeda Complex and Belborn took part in the compilations dedicated to Josef Thorak , Arno Breker and Leni Riefenstahl in the late 1990s and early 2000s . Other scene interpreters such as The House of Usher refused to cooperate with the company, especially because of the agency's political orientation. The publication was discussed beyond the scene.
The VAWS did not give up its efforts for the scene despite persistent resistance from the scene. The VAWS is regularly represented with a stand at the Wave Gotik Treffen and Werner Symanek tried to organize festivals for the black scene himself in 2004 and 2010. The festival “Holy Austria” could not take place in 2004 due to resistance from the scene, as well as the planned “Independent Ruhr Festival” in the Ruhr area in 2010. A VAWS compilation series has been published since 2000 with the subtitle “Gothic, Industrial, Noise, Electro “Dedicated to all black music . The first compilation featured successful artists from the scene such as Icon of Coil , Kirlian Camera , Pouppée Fabrikk and Dive . With the increasing discussion about the agency, the participation of well-known scene musicians collapsed for the second compilation. VAWS publications are rarely discussed in the larger scene media , but performers, such as WOMP in Sonic Seducer , are occasionally presented on supplement CDs of the major scene magazines.
Ice & light
The label Eis & Licht, initiated by Stephan Pockrandt in 1997, followed on from Gerten and Diesel, following the content of many early Neofolk groups. Initially, the label mainly released “new German Neofolk bands, whose music includes romanticism, militarism, Nordic gods and elitist ideas.” Later, international artists with a similar musical and aesthetic orientation were added.
In addition to Pockrandt, some of the interpreters published via Eis & Licht are criticized. With the debut of the controversial group Orplid , the label's influence on the Neofolk and criticism of the label began. Orplid are attributed to the right spectrum due to some of the activities of the singer Uwe Nolte . Nolte participated so u. a. with the metal band backbone at the Riefenstahl sampler of the VAWS. Another critical release is the debut EP Sturmzeit by the Josef Maria Klumb project Von Thronstahl . The groups moved by Eis und Licht rarely take a right-wing extremist position and the songs hardly contain any political statements. Naumann and Schwarz see the traditionalism of the Sigill fanzines as being continued in the majority of the publishing program . In particular, the compilations in honor of Evola and Alfred Schmid took up the core themes of the Sigil : heroic nihilism, the idealized warrior image, the romanticist understanding of nature and the anti-dualist religion.
literature
- Martin Büsser: Lichtrace and Wälsung blood. New right tendencies in apocalyptic folk . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Retrophänomene in der 90ern (= test card ). No. 4 , 1997, ISBN 3-931555-03-8 , pp. 76-87 .
- Martin Büsser: What does the new center sound like? 1st edition. Ventil Verlag, Mainz 2001, ISBN 3-930559-90-0 .
- Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 .
- Wolf-Rüdiger Mühlmann: Last exit: Germania . Jeske / Mader, Berlin 1999, ISBN 3-931624-12-9 .
- Alexander Nym (Ed.): Iridescent Dark. History, development and topics of the Gothic scene . 2010, ISBN 978-3-86211-006-3 .
- Alfred Schobert: Analyzes and Essays . Ed .: Duisburg Institute for Linguistic and Social Research. Unrast-Verlag, Münster 2009, ISBN 978-3-89771-750-3 , cross, skull, crypt, p. 147-157 .
- Alfred Schobert: The dark wave scene as an area of operation for a 'new right' cultural strategy . In: Gabriele Cleve, Ina Ruth, Ernst Schulte-Holtey, Frank Wichert (eds.): Science - Power - Politics. Interventions in current social discourses . Westphalian steam boat, Münster 2001, ISBN 978-3-89691-406-4 , p. 384-395 .
- Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 .
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- ^ Roman Rutkowski: The charisma of the grave . Book on Demand, Norderstedt 2004, ISBN 3-8334-1351-4 , pp. 137 .
- ↑ a b c Frauke Stöber: Origin, content, values and goals of the black scene - the youth culture of the wavers, goths and goths . Thesis. Ed .: University of Essen. October 1999.
- ^ Peter Matzke: Gothic - Conservative cultural movement . In: Alexander Nym (Ed.): Schillerndes Dunkel. History, development and topics of the Gothic scene . 1st edition. Plöttner Verlag, Leipzig 2010, ISBN 978-3-86211-006-3 , p. 390–397 , here p. 396 f .
- ↑ a b Black scene: Decal of society - in black. Sueddeutsche.de, accessed on September 1, 2016 .
- ↑ Uwe Backes, Eckhard Jesse: Political Extremism in the Federal Republic of Germany . Federal Agency for Civic Education, Bonn 1989, p. 42 .
- ^ Alfred Schobert: Analyzes and Essays . Ed .: Duisburg Institute for Linguistic and Social Research. Unrast-Verlag, Münster 2009, ISBN 978-3-89771-750-3 , cross, skull, crypt, p. 147-157 .
- ↑ a b Mathias Wöbking: In the spirit Nationalist thinkers: sociologist Martin Langenbach about the concert of the controversial Neofolk band Blood Axis in the theater factory. (PDF) Retrieved September 1, 2016 .
- ↑ Martin Büsser: Lichtrace and Wälsungenblut - New Right Tendencies in Apocalyptic Folk . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Retrophänomene in der 90ern (= test card ). No. 4 , 1997, ISBN 3-931555-03-8 , pp. 76-87 .
- ↑ a b Martin Büsser: What does the new center sound like? 1st edition. Ventil Verlag, Mainz 2001, ISBN 3-930559-90-0 , p. 32-64 .
- ^ Thomas Pfeiffer: Media of a new social movement from the right . Inaugural dissertation to obtain the academic degree of Doctor of Social Science. Bochum 2000, p. 253 .
- ↑ a b c d e f Martin Büsser: Lichtrace and Wälsungenblut - New Right Tendencies in Apocalyptic Folk . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Retrophänomene in der 90ern (= test card ). No. 4 , 1997, ISBN 3-931555-03-8 , pp. 76–87, here p. 82 .
- ↑ a b c Markus Stiglegger: Fetish and taboo . In: Alexander Nym (Ed.): Schillerndes Dunkel . History, development and topics of the Gothic scene. 2010, ISBN 978-3-86211-006-3 , pp. 311-320, p. 320 .
- ↑ a b Martin Büsser: How does the new middle sound . Ventil Verlag, 2001, ISBN 3-930559-90-0 , p. 115 f .
- ↑ a b Judith Platz: The 'black' music . In: Axel Schmidt, Klaus Neumann-Braun (Hrsg.): The world of the Gothics - scope for darkly connoted transcendence . VS Verlag für Sozialwissenschaften, 2004, ISBN 3-531-14353-0 , pp. 253 - 284, here p. 265 ff .
- ^ Thomas Pfeiffer: Media of a new social movement from the right . Inaugural dissertation to obtain the academic degree of Doctor of Social Science. Bochum 2000, p. 254 .
- ↑ a b Andreas Speit: Introduction . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 7–23, here p. 15 .
- ^ Alfred Schobert: Analyzes and Essays . Ed .: Duisburg Institute for Linguistic and Social Research. Unrast-Verlag, Münster 2009, ISBN 978-3-89771-750-3 , cross, skull, crypt, p. 147–157, here p. 154 ff .
- ↑ a b c d right skirt. Heinrich Böll Foundation Rhineland-Palatinate, accessed on September 8, 2016 .
- ^ Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 388 .
- ^ A b c Alfred Schobert: Analyzes and Essays . Ed .: Duisburg Institute for Linguistic and Social Research. Unrast-Verlag, Münster 2009, ISBN 978-3-89771-750-3 , cross, skull, crypt, p. 147–157, here p. 155 .
- ^ A b Wolfgang Gessenharter: Intellectual currents and thought leaders in the German New Radical Right . In: Handbook of right-wing radicalism . Leske + Budrich, Opladen 2002, ISBN 3-8100-3399-5 , p. 198–201, here p. 191 .
- ↑ a b Thomas Naumann, Patrick Schwarz: From the CD to the ›Lichtscheibe‹ . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 161–194, here p. 168 .
- ↑ Thomas Naumann, Patrick Schwarz: From the CD to the ›Lichtscheibe‹ . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 161–194, here p. 166 ff .
- ^ A b Christian Dornbusch: From Landsertrummeln and Noise Orgies . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 123–147, here p. 123 .
- ^ A b c Alfred Schobert: “Allerseelen”: Nazi esotericism as a sound avant-garde. Duisburg Institute for Language and Social Research, accessed on September 1, 2016 .
- ↑ Martin Büsser: Lichtrace and Wälsungenblut - New Right Tendencies in Apocalyptic Folk . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Retrophänomene in der 90ern (= test card ). No. 4 , 1997, ISBN 3-931555-03-8 , pp. 76–87, here p. 79 .
- ^ A b c Christian Dornbusch: From Landsertrummeln and noise orgies . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 123–147, here p. 124 .
- ^ Christian Dornbusch: From Landsertrummeln and noise orgies . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 123–147, here p. 126 f .
- ↑ a b c d e Martin Büsser: Lichtrace and Wälsungenblut - New Right Tendencies in Apocalyptic Folk . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Retrophänomene in der 90ern (= test card ). No. 4 , 1997, ISBN 3-931555-03-8 , pp. 76–87, here p. 80 .
- ^ Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 418 f .
- ↑ a b c d e f Martin Büsser: Lichtrace and Wälsungenblut - New Right Tendencies in Apocalyptic Folk . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Retrophänomene in der 90ern (= test card ). No. 4 , 1997, ISBN 3-931555-03-8 , pp. 76–87, here p. 83 .
- ↑ a b Martin Büsser: Lichtrace and Wälsungenblut - New Right Tendencies in Apocalyptic Folk . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Retrophänomene in der 90ern (= test card ). No. 4 , 1997, ISBN 3-931555-03-8 , pp. 76–87, here p. 81 .
- ^ Alfred Schobert: Analyzes and Essays . Ed .: Duisburg Institute for Linguistic and Social Research. Unrast-Verlag, Münster 2009, ISBN 978-3-89771-750-3 , cross, skull, crypt, p. 147–157, here p. 155 .
- ↑ a b Simon Reynolds: Rip It Up And Start Again . Hannibal-Verlag, Munich 2007, ISBN 978-3-85445-270-6 , Industrial Devolution, p. 253 .
- ↑ Stephan Lindke: Breaking taboos today is tomorrow's mainstream . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 231-266, here p. 248 .
- ↑ Josef Maria Klumb quoted from Stephan Lindke: Breaking taboos today is tomorrow's mainstream . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 231-266, here p. 248 .
- ↑ ASP: ASP statement on the WGT 2009. the Tales of ASP, accessed on March 28, 2015 : “As part of the 'Wave-Gotik-Treffen 2009', at which we were allowed to give a concert with our band ASP, the visitors a so-called 'custody card' is issued. A symbol called the ' Black Sun ' has been used in the graphic design of this map . [...] The band ASP does not want to be associated with politically questionable messages and their dissemination in any way or to accept them tacitly and hereby expressly distances itself from the politicization of the festival caused by the above-mentioned symbol. "
- ↑ ASP quoted from gendalus: Festival and symbols. Gendalus, accessed on September 19, 2016 : “Our question as to why the symbol of the“ black sun ”was used - in our opinion highly politically charged - was unfortunately not answered. There is no historical connection between the mentioned “Herrmannsschlacht” and the symbol. On the contrary: regrettably, a connection can only be seen in the fact that both issues are of great importance in neo-fascist groups. "
- ^ A b Axel Schmidt, Klaus Neumann-Braun: The world of the Gothics - scope for dark connotated transcendence . VS Verlag für Sozialwissenschaften, 2004, ISBN 3-531-14353-0 , pp. 166 .
- ↑ Axel Schmidt: Gothic . In: Ronald Hitzler, Arne Niederbacher (Hrsg.): Life in scenes . 3rd, completely revised edition. VS Verlag für Sozialwissenschaften, Wiesbaden 2010, ISBN 978-3-531-15743-6 , p. 61–70 , here p. 66 .
- ↑ Martin Büsser: How does the new middle sound? 1st edition. Ventil Verlag, Mainz 2001, ISBN 3-930559-90-0 , p. 166 .
- ↑ a b Stephan Lindke: Breaking taboos today is tomorrow's mainstream . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 231-266, here p. 242 .
- ^ Judith Platz: The 'black' music . In: Axel Schmitt viel, Klaus Neumann-Braun (Hrsg.): The world of the Gothics - scope for dark connotated transcendence . VS Verlag für Sozialwissenschaften, 2004, ISBN 3-531-14353-0 , pp. 253 - 284, here p. 262 .
- ↑ a b c Martin Büsser: How does the new middle sound? 1st edition. Ventil Verlag, Mainz 2001, ISBN 3-930559-90-0 , p. 55 .
- ↑ a b Martin Büsser: What does the new center sound like? 1st edition. Ventil Verlag, Mainz 2001, ISBN 3-930559-90-0 , p. 73 f .
- ↑ Dark Wave. (No longer available online.) Courage against right-wing violence, archived from the original on September 15, 2016 ; accessed on September 5, 2016 .
- ↑ Mainstream music. (No longer available online.) Courage against right-wing violence, archived from the original on September 15, 2016 ; accessed on September 5, 2016 .
- ↑ Martin Büsser: How does the new middle sound? 1st edition. Ventil Verlag, Mainz 2001, ISBN 3-930559-90-0 .
- ↑ Andreas Speit: Aesthetic Mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 .
- ^ Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 375 ff .
- ↑ Diedrich Diedrichsen: When the children were still okay . In: Max Annas, Ralph Christoph (Ed.): New soundtracks for the people's receiver . Berlin 1993, ISBN 3-89408-028-0 , p. 11–28, here p. 17 .
- ^ Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 427 .
- ^ Robert: Lookin for Europe: Neofolk and Backgrounds. Spontis, accessed on September 6, 2016 .
- ^ Helmut Kellershohn: The Institute for State Policy and the Young Conservative Hegemony Project . In: Stephan Braun, Alexander Geisler, Martin Gerster (eds.): Strategies of the extreme right . Background - analyzes - answers. 2nd updated and expanded edition. Springer, Wiesbaden 2015, ISBN 978-3-658-01983-9 , pp. 439-468, here p. 459 .
- ^ Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 396 .
- ^ Nicholas Goodrick-Clarke: Black Sun. Aryan Cults, Esoteric Nazism, and the Politics of Identity . New York University Press, New York 2002, ISBN 0-8147-3155-4 , pp. 204 (English).
- ↑ Kirsten Dyck: The (Un) popularity of White Power Music . In: Scott A. Wilson (Ed.): Music at the Extremes: Essays on Sounds Outside the Mainstream . McFarland & Company, 2015, ISBN 978-0-7864-9450-7 , pp. 157–166, here p. 165 f . (English).
- ^ Dana Horáková: Strong women: adored, loved, demonized . Bastei Lübbe, 2011, ISBN 978-3-86995-016-7 , p. 162 .
- ↑ Günther A. Höfler: Sound and Sense . In: Susanne Knaller (Ed.): Constructions of Reality in Contemporary Culture . Böhlau, 2008, ISBN 978-3-205-77718-2 , pp. 139–152, here p. 143 .
- ↑ Christopher Sandford: Bowie: Loving the Alien . Time Warner, 1997, ISBN 0-306-80854-4 , pp. 158 (English).
- ^ David Buckley: Strange Fascination - David Bowie: The Definitive Story . Virgin, 2000, ISBN 0-7535-0457-X , pp. 252 (English).
- ↑ Diedrich Diedrichsen: When the children were still okay . In: Max Annas, Ralph Christoph (Ed.): New soundtracks for the people's receiver . Berlin 1993, ISBN 3-89408-028-0 , p. 11–28, here p. 17 .
- ↑ Dave Thompson: Shadow World. Heroes and legends of Gothic Rock . Hannibal Verlag, Höfen 2004, ISBN 3-85445-236-5 , p. 59 .
- ↑ Simon Goddard: The Life & Loves of a She-Devil. Uncut, accessed September 1, 2016 .
- ^ A b Peter Hook: Unknown Pleasures . Metrolit, Cologne 2013, ISBN 978-3-8493-0064-7 , I explained to him exactly where to put his vibrators, p. 104 f .
- ↑ Dave Thompson: Shadow World. Heroes and legends of Gothic Rock . Hannibal Verlag, Höfen 2004, ISBN 3-85445-236-5 , p. 57 .
- ↑ Peter Hook: Unknown Pleasures . Metrolit, Cologne 2013, ISBN 978-3-8493-0064-7 , Prolog, p. 13 ff .
- ↑ Peter Hook: Unknown Pleasures . Metrolit, Cologne 2013, ISBN 978-3-8493-0064-7 , I explained to him exactly where to put his vibrators, p. 105 .
- ↑ Chris Weiss: Playing with fire . In: Musikexpress . Dec13, No. 696 , 2013, ISSN 1618-5129 , p. 41 .
- ↑ Carla Murek: Hell is there, let's celebrate the warming fire . In: Andrea Hoffmann, Kim Riemann (ed.): Score of dreams . About music and sounds (= bankruptcy book ). No. 25 . Verlag Claudia Gehrke, Bad Urach 1990, ISBN 3-88769-225-X , p. 128–149, here p. 145 f .
- ↑ a b Carla Murek: Hell is there, let's celebrate the warming fire . In: Andrea Hoffmann, Kim Riemann (ed.): Score of dreams . About music and sounds (= bankruptcy book ). No. 25 . Verlag Claudia Gehrke, Bad Urach 1990, ISBN 3-88769-225-X , p. 128–149, here p. 146 .
- ^ Jochen Kleinherz: Industrial Music for Industrial People . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Testcard: Contributions to pop history . Pop and Destruction. No. 1 . Ventil Verlag, Mainz 1995, ISBN 978-3-931555-00-9 , p. 88–99, here p. 91 f .
- ↑ a b Simon Reynolds: Rip It Up And Start Again . Hannibal-Verlag, Munich 2007, ISBN 978-3-85445-270-6 , Industrial Devolution, p. 246 .
- ↑ Simon Reynolds: Rip It Up And Start Again . Hannibal-Verlag, Munich 2007, ISBN 978-3-85445-270-6 , Industrial Devolution, p. 252 f .
- ↑ Simon Reynolds: Rip It Up And Start Again . Hannibal-Verlag, Munich 2007, ISBN 978-3-85445-270-6 , Industrial Devolution, p. 252 .
- ↑ Holger Gächtner: Ljubljana . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Testcard: Contributions to pop history . Pop and Destruction. No. 1 . Ventil Verlag, Mainz 1995, ISBN 978-3-931555-00-9 , p. 100-106, here p. 102 f .
- ↑ a b c Hans Wander: The Wonderful and frightening World of… In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 23–64, here p. 35 f .
- ↑ a b Wolf-Rüdiger Mühlmann: Last exit: Germania . Jeske / Mader, Berlin 1999, ISBN 3-931624-12-9 , pp. 39 f .
- ↑ a b Marcus Stiegl Egger: Laibach: Victory under the sun . In: Carsten Heinze, Laura Niebling (Hrsg.): Popular music cultures in film . Inter- and transdisciplinary perspectives. Springer, Wiesbaden 2016, ISBN 978-3-658-10895-3 , pp. 191–212, here p. 195 .
- ↑ Holger Gächtner: Ljubljana . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Testcard: Contributions to pop history . Pop and Destruction. No. 1 . Ventil Verlag, Mainz 1995, ISBN 978-3-931555-00-9 , p. 100-106, here p. 106 .
- ↑ Holger Gächtner: Ljubljana . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Testcard: Contributions to pop history . Pop and Destruction. No. 1 . Ventil Verlag, Mainz 1995, ISBN 978-3-931555-00-9 , p. 100-106, here p. 103 .
- ↑ Stephan Lindke: Breaking taboos today is tomorrow's mainstream . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 231-266, here p. 235 .
- ↑ a b Martin Kersten: Youth Cultures and the Nazi Past. The narrow path between provocation, play, staging and renewed fascination from punk to Nazi rock . In: Research Center for Popular Music at the Humboldt University in Berlin (Ed.): PopScriptum . No. 4 , 1995.
- ↑ a b Simon Reynolds: Rip It Up And Start Again . Hannibal-Verlag, Munich 2007, ISBN 978-3-85445-270-6 , Electric Dreams, p. 351 .
- ↑ a b Barbara Hornberger: With shock to the check. The Mussolini or standard situations of pop (music) criticism . In: Fernand Hörner (ed.): Cultural criticism and the popular in music . Waxmann, Münster 2015, ISBN 978-3-8309-3361-8 , pp. 303-320, here p. 303 .
- ↑ Georg Seeßlen, quoted from Martin Kersten: Youth cultures and the Nazi past. The narrow path between provocation, play, staging and renewed fascination from punk to Nazi rock . In: Research Center for Popular Music at the Humboldt University in Berlin (Ed.): PopScriptum . No. 4 , 1995.
- ^ Wolf-Rüdiger Mühlmann: Last exit: Germania . Jeske / Mader, Berlin 1999, ISBN 3-931624-12-9 , pp. 37 f .
- ↑ Boyd Rice Speaks: "Do you Want A Total War?" (No longer available online.) The Fifth Path, archived from the original on May 15, 2017 ; accessed on September 1, 2016 .
- ↑ NON: In the Shadow of the Sword . Mute Records, 1992, Scorched Earth.
- ^ Sascha Ziehn: Boyd Rice / NON . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Pop and Deconstruction (= Testcard ). No. 1 , 1995, ISBN 3-931555-00-3 , pp. 109-116 .
- ↑ Arvo Zylo: Have A Nice Day: An Interview with Boyd Rice. WMFU Radio, accessed on September 16, 2016 .
- ^ Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 193 .
- ^ Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 194 .
- ^ A b c Christian Dornbusch: From Landsertrummeln and noise orgies . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 123–147, here p. 136 .
- ^ Christian Dornbusch: From Landsertrummeln and noise orgies . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 123–147, here p. 137 .
- ^ Christian Dornbusch: From Landsertrummeln and noise orgies . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 123–147, here p. 139 .
- ↑ a b Isabella Khom: The Arena Vienna & The Blood Ass. Noisey , accessed September 7, 2016 .
- ^ Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 257 .
- ↑ Scrag !: In the interview: Albin Julius. Gothic.at, accessed on September 7, 2016 .
- ↑ Current 93: Thunder Perfect Mind . Durtro, 1992, Hitler as Kalki.
- ↑ a b c Stefan von Hoyningen-Huene : Religiosity in right-wing extremist youth . Lit-Verlag, Münster 2002, ISBN 3-8258-6327-1 , p. 243 ff .
- ↑ a b Martin Büsser: Lichtrace and Wälsungenblut - New Right Tendencies in Apocalyptic Folk . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Retrophänomene in der 90ern (= test card ). No. 4 , 1997, ISBN 3-931555-03-8 , pp. 76–87, here p. 80 f .
- ^ A b Nicholas Padellaro: Post-Punk . In: Alexander Nym (Ed.): Schillerndes Dunkel . History, development and topics of the Gothic scene. 2010, ISBN 978-3-86211-006-3 , pp. 183–188, here p. 188 .
- ↑ The sound of the new rights. Rolling Stone, accessed September 19, 2016 .
- ↑ Jännerwein statement on the Rolling Stone article: The sound of the new right. Rolling Stone, accessed September 19, 2016 .
- ↑ Martin Lichtmesz: From the frilled shirt to the uniform . In: Alexander Nym (Ed.): Schillerndes Dunkel . History, development and topics of the Gothic scene. 2010, ISBN 978-3-86211-006-3 , pp. 374–379, here p. 378 .
- ↑ Gothic versus Right: Gothics and the New Right. New Dawn Fades, accessed April 29, 2015 .
- ↑ Gernot Musch: For Those Who Go Beyond . In: Alexander Nym (Ed.): Schillerndes Dunkel . History, development and topics of the Gothic scene. 2010, ISBN 978-3-86211-006-3 , pp. 264–274, here p. 270 f .
- ↑ a b Martin Büsser: Lichtrace and Wälsungenblut - New Right Tendencies in Apocalyptic Folk . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Retrophänomene in der 90ern (= test card ). No. 4 , 1997, ISBN 3-931555-03-8 , pp. 76–87, here p. 81 f .
- ↑ Martin Büsser: Lichtrace and Wälsungenblut - New Right Tendencies in Apocalyptic Folk . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Retrophänomene in der 90ern (= test card ). No. 4 , 1997, ISBN 3-931555-03-8 , pp. 76–87, here p. 84 .
- ^ Christian Dornbusch: From Landsertrummeln and noise orgies . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 123–147, here p. 126 .
- ↑ Martin Büsser: Lichtrace and Wälsungenblut - New Right Tendencies in Apocalyptic Folk . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Retrophänomene in der 90ern (= test card ). No. 4 , 1997, ISBN 3-931555-03-8 , pp. 76–87, here p. 82 ff .
- ^ Christian Dornbusch: From Landsertrummeln and noise orgies . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 123–147, here p. 126 .
- ^ Christian Dornbusch: From Landsertrummeln and noise orgies . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 123–147, here p. 129 ff .
- ↑ Interview with Douglas Pearce . In: Zillo music magazine . No. 5 , May 1992, pp. 34 f .
- ^ Christian Dornbusch: From Landsertrummeln and noise orgies . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 123–147, here p. 146 .
- ^ Douglas Pearce: 'Rose Clouds: Douglas Pearce in his own words'. (No longer available online.) Archived from the original on April 7, 2008 ; accessed on September 1, 2016 .
- ^ Christian Dornbusch: From Landsertrummeln and noise orgies . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 123–147, here p. 127 .
- ↑ Gernot Musch: For Those Who Go Beyond . In: Alexander Nym (Ed.): Schillerndes Dunkel . History, development and topics of the Gothic scene. 2010, ISBN 978-3-86211-006-3 , pp. 264–274, here p. 270 .
- ^ Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 103 .
- ^ Peter Webb: Interview with Tony Wakeford and Reeve Malka. Evening of Light, accessed September 5, 2016 .
- ^ A b Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 391 .
- ↑ Jean Cremet: About (neo-) fascist tendencies in independent music . In: Association for political education, analysis and criticism e. V. (Ed.): Analysis & criticism . No. 389 . aki publishing house for analysis, criticism and information GmbH, April 1996, p. 11 .
- ↑ a b c d e Alfred Schobert: Paganism, Music and Terror. Duisburg Institute for Linguistic and Social Research, accessed on September 1, 2016 .
- ^ Christian Dornbusch: From Landsertrummeln and noise orgies . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 123–147, here p. 142 .
- ↑ Blood Axis: The Gospel of Inhumanity . Ed .: Misanthropy Records . 1995.
- ^ Christian Dornbusch: From Landsertrummeln and noise orgies . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 123–147, here p. 142 f .
- ^ A b Christian Dornbusch: From Landsertrummeln and Noise Orgies . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 123–147, here p. 145 .
- ↑ Blood Axis in the spirit of folk thinkers. Jule.linxxnet, accessed September 7, 2016 .
- ^ Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 185 f .
- ↑ Andreas Speit, Jan Raabe: L'art du mal . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 65–122, here p. 110 .
- ^ Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 255 .
- ^ Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 237 .
- ↑ Hans Wanders: The Wonderful and frightening World of… In: Andreas Speit (Ed.): Aesthetic mobilization. Dark Wave, Neofolk and Industrial in the field of tension of right-wing ideologies. Unrast Verlag, 2002, ISBN 3-89771-804-9 , p. 23 to 64, here p. 34 .
- ↑ Uli Baumgarten quoted from Hans Wanders: The Wonderful and frightening World of… In: Andreas Speit (Hrsg.): Aesthetic mobilization. Dark Wave, Neofolk and Industrial in the field of tension of right-wing ideologies. Unrast Verlag, 2002, ISBN 3-89771-804-9 , p. 23 to 64, here p. 34 .
- ↑ Jan Raabe, Andreas Speit: L'Art du mal . In: Andreas Speit (Ed.): Aesthetic mobilization. Dark Wave, Neofolk and Industrial in the field of tension of right-wing ideologies. Unrast Verlag, 2002, ISBN 3-89771-804-9 , p. 65 to 121, here p. 85 and p. 97 .
- ↑ Jan Raabe, Andreas Speit: L'Art du mal . In: Andreas Speit (Ed.): Aesthetic mobilization. Dark Wave, Neofolk and Industrial in the field of tension of right-wing ideologies. Unrast Verlag, 2002, ISBN 3-89771-804-9 , p. 65 to 121, here p. 85 ff .
- ^ Jan Raabe, Andreas Speit, Christian Dornbusch: Synergy Effects . In: Andreas Speit (Ed.): Aesthetic mobilization. Dark Wave, Neofolk and Industrial in the field of tension of right-wing ideologies. Unrast Verlag, 2002, ISBN 3-89771-804-9 , p. 195 to 230, here p. 217 .
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- ↑ Press release: Nazis turn off the music - right concert in the range is unacceptable. Greens in Halle, accessed November 30, 2016 .
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- ↑ a b Stephan Lindke: Breaking taboos today is tomorrow's mainstream . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 231-266, here p. 247 .
- ^ Alfred Schobert: Analyzes and Essays . Ed .: Duisburg Institute for Linguistic and Social Research. Unrast-Verlag, Münster 2009, ISBN 978-3-89771-750-3 , cross, skull, crypt, p. 147–157, here p. 152 f .
- ^ Thomas Pfeiffer: Media of a new social movement from the right . Inaugural dissertation to obtain the academic degree of Doctor of Social Science. Bochum 2000, p. 261 ff .
- ↑ Martin Büsser: How does the new middle sound? 1st edition. Ventil Verlag, Mainz 2001, ISBN 3-930559-90-0 , p. 98 .
- ^ Thomas Pfeiffer: Media of a new social movement from the right . Inaugural dissertation to obtain the academic degree of Doctor of Social Science. Bochum 2000, p. 263 .
- ↑ a b c Thomas Naumann, Patrick Schwarz: From the CD to the ›Lichtscheibe‹ . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 161–194, here p. 176 f .
- ^ Thomas Pfeiffer: Media of a new social movement from the right . Inaugural dissertation to obtain the academic degree of Doctor of Social Science. Bochum 2000, p. 263 f .
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- ↑ Martin Büsser: How does the new middle sound? 1st edition. Ventil Verlag, Mainz 2001, ISBN 3-930559-90-0 , p. 98 ff .
- ↑ Andreas Speit: Aesthetic Mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. VIII .
- ↑ Stephan Lindke: Breaking taboos today is tomorrow's mainstream . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 231-266, here p. 246 f .
- ↑ Thomas Schad: It's a Sony. taz ruhr, November 12, 1998, accessed September 7, 2016 .
- ^ Wolf-Rüdiger Mühlmann: Last exit: Germania . Jeske / Mader, Berlin 1999, ISBN 3-931624-12-9 , pp. 263 .
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- ^ Thomas Pfeiffer: Media of a new social movement from the right . Inaugural dissertation to obtain the academic degree of Doctor of Social Science. Bochum 2000, p. 280 ff .
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- ^ A b c Dunja Brill: Operation Tough Guy . In: Martina Oster, Waltraud Ernst, Marion Gerards (eds.): Performativity and performance . Gender in Music, Theater and Media Art. LIT, Münster 2010, ISBN 978-3-8258-0660-6 , pp. 119–128, here p. 122 .
- ^ A b Dunja Brill: Operation Tough Guy . In: Martina Oster, Waltraud Ernst, Marion Gerards (eds.): Performativity and performance . Gender in Music, Theater and Media Art. LIT, Münster 2010, ISBN 978-3-8258-0660-6 , pp. 119–128, here p. 123 .
- ↑ a b Stephan Lindke: Breaking taboos today is tomorrow's mainstream . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 231-266, here p. 231 .
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- ↑ Fabian Peltsch, Ralf Niemczyk: The sound of the new right. Rolling Stone, accessed September 15, 2016 .
- ^ Dunja Brill: Operation Tough Guy . In: Martina Oster, Waltraud Ernst, Marion Gerards (eds.): Performativity and performance . Gender in Music, Theater and Media Art. LIT, Münster 2010, ISBN 978-3-8258-0660-6 , pp. 119–128, here p. 191 .
- ^ Stefan Lederer: Industrial and other errors . In: Alexander Nym (Ed.): Schillerndes Dunkel. History, development and topics of the Gothic scene . 1st edition. Plöttner Verlag, Leipzig 2010, ISBN 978-3-86211-006-3 , p. 242-246, here p. 242 .
- ^ Wolf-Rüdiger Mühlmann: Last exit: Germania . Jeske / Mader, Berlin 1999, ISBN 3-931624-12-9 , pp. 270 .
- ↑ Stephan Lindke: Breaking taboos today is tomorrow's mainstream . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 231–266, here p. 256 .
- ↑ a b c Alfred Schobert: Grass roots revolution from the right. Duisburg Institute for Linguistic and Social Research, accessed on September 1, 2016 .
- ^ Alfred Schobert: Analyzes and Essays . Ed .: Duisburg Institute for Linguistic and Social Research. Unrast-Verlag, Münster 2009, ISBN 978-3-89771-750-3 , cross, skull, crypt, p. 147–157, here p. 149 ff .
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- ↑ Aki Cederberg: Blood Axis: What is Love? Are you ready for war? Not yet, but I'm working on it . In: The Warcom Gazette . February 1995.
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- ↑ Alfred Schobert: The dark wave scene as an area of operation for 'neure right' cultural strategy . In: Gabriele Cleve, Ina Ruth, Ernst Schulte-Holtey, Frank Wichert (eds.): Science - Power - Politics. Interventions in current social discourses . ISBN 978-3-89691-406-4 , pp. 384-295 .
- ^ Alfred Schobert: Analyzes and Essays . Ed .: Duisburg Institute for Linguistic and Social Research. Unrast-Verlag, Münster 2009, ISBN 978-3-89771-750-3 , cross, skull, crypt, p. 147–157, here p. 152 f .
- ↑ Alfred Schobert: In Riefenstahl thunderstorms. Duisburg Institute for Linguistic and Social Research, accessed on September 12, 2016 .
- ^ Christian Dornbusch, Andreas Speit, Jan Raabe: Synergy Effects . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 195–231, here p. 202 .
- ^ Christian Dornbusch, Andreas Speit, Jan Raabe: Synergy Effects . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 195–231, here p. 203 .
- ↑ a b Thomas Naumann, Patrick Schwarz: From the CD to the ›Lichtscheibe‹ . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 161–194, here p. 165 .
- ↑ Thomas Naumann, Patrick Schwarz: From the CD to the ›Lichtscheibe‹ . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 161–194, here p. 183 .
- ↑ a b c Thomas Naumann, Patrick Schwarz: From the CD to the ›Lichtscheibe‹ . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 161–194, here p. 175 .
- ↑ Thomas Naumann, Patrick Schwarz: From the CD to the ›Lichtscheibe‹ . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 161–194, here p. 172 .
- ↑ Martin Büsser: Lichtrace and Wälsungenblut - New Right Tendencies in Apocalyptic Folk . In: Martin Büsser, Jochen Kleinherz, Jens Neumann, Johannes Ullmaier (eds.): Retrophänomene in der 90ern (= test card ). No. 4 , 1997, ISBN 3-931555-03-8 , pp. 76–87, here p. 78 .
- ↑ Martin Büsser: How does the new middle sound? 1st edition. Ventil Verlag, Mainz 2001, ISBN 3-930559-90-0 , p. 86-102 .
- ↑ Thomas Naumann, Patrick Schwarz: From the CD to the ›Lichtscheibe‹ . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 161–194, here p. 169 .
- ↑ Thomas Naumann, Patrick Schwarz: From the CD to the ›Lichtscheibe‹ . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 161–194, here p. 166 .
- ↑ Thomas Naumann, Patrick Schwarz: From the CD to the ›Lichtscheibe‹ . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 161–194, here p. 170 f .
- ↑ Thomas Naumann, Patrick Schwarz: From the CD to the ›Lichtscheibe‹ . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 161–194, here p. 170 .
- ↑ Thomas Naumann, Patrick Schwarz: From the CD to the ›Lichtscheibe‹ . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 161–194, here p. 184 .
- ↑ Andreas Speit, Jan Raabe: L'art du mal . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 65–122, here p. 102 .
- ↑ Alfred Schobert: Graßwurzelrevolution of law. Duisburg Institute for Linguistic and Social Research, accessed on September 12, 2016 .
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