Last night, while at Dasniya’s simultaneous departure gathering / private watching of the documentary video of Die Geschichte vom Soldaten, a friend remarked on how she needs to explain to over-enthusiastic lefties, brought on by a somewhat moronic person wearing a Burzum t-shirt at a queer shindig, that no, her Sunn O))) hoodie does not connote a crypto-facism. Oh, black metal, the empty signifier of all that is deliciously, seductively other.
This morning, taking the day off after absence of weekend, The Physics arXiv Blog brings me Moshers, Heavy Metal and Emergent Behaviour, where a bunch of researchers find that a mosh pit resembles a disordered 2D ‘gas-like state’, and a circle pit an ordered 2D ‘vortex-like state’. Though I’ll be picky and say I associate pits more with punk and hardcore, and various forms of headbanging and ‘hail satan’ arms with metal (I suppose the bro-ism of American nu-metal (hmm, should that have an umlaut? nü-metal … probably a ‘k’ or ‘v’ somewhere also. NÜ MKTVL?) crosses over substantially though being primarily concerned with appropriating displays of aggrotainment). Nonetheless, we shall overlook the link to the A7*cough*nümktxvl*cough*X moshpit … oh god fucking Hatebreed?). Maybe to say their physics is good but music preferences … This winter, I are mostly listening to Striborg.
(Parenthetically, I put Bolt Thrower and Crass on Dasniya’s iPod, in-between Munir Bashir and her ballet class music.)
And while mooching around in the early afternoon, Black Metal Theory gave Guido Seger’s master’s thesis, A Blaze in the Northern Sky: Black metal as an expression of extremist politics in modern day Europe. Oh dear, back to aforementioned empty signifier.
I was thinking of Žižek’s Tarrying with the Negative, the cover is a flag with a circular hole cut at its centre, where the coat of arms with red communist star had resided; the flag of the anti-Ceauşescu revolution. The hole is an absence of the prior, yet not yet reified into the (sadly predictable) subsequent; Žižek describes it as “‘sublime’ in the strictest Kantian sense'”, an open void where the “symbol standing for the organizing principle of the national life” once lay. It is both an inchoate sign of opposition, and a convenient dumping ground; that is to say, whether we wave the flag or interpret it, this empty signifier is the ideal repository for all meaning; it is never full, nor, curiously, contradictory.
Guido says his thesis asks the question, “What does black metal tell us about the resurgence of nationalist politics and racial violence that emerges under pressure of the European Union and what is the underlying cause of these sentiments?” A pertinent question, and to be unfair, I’ve not read it yet, and this isn’t a commentary of his thesis. Rather I’m stringing together a few things from the last few days which have metal – specifically black metal – and neo-nazism in common.
“What does x tell us about n?”, where n is ‘plague of fucking nazis’ and x stands for the unknown quantity, an empty signifier. Why, specifically, black metal? What is fascinating, enchanting about it that, say, the nazi skinhead/punk scene isn’t? Both are established around an identification with a particular culture where music, bands, record labels, venues form the locations in space through which the protagonists move. Both also have clearly delineated visual codes, either overt or subtle; clothing, appearance, demeanour as pictograms or acronyms that are not legible to outsiders: an anarchist punk might have a Crass bum flap, while a nazi skinhead white laces in their steelcap boots. Both nazi skins and black metallers have engaged in arson; the latter of churches, the former of immigrant asylums.
Perhaps more germane is that irrespective of the culture, various forms of fascism, extremism, and bigotry reside latently within, and simultaneously the culture as a whole is always ripe for appropriation and acquisition by these forms. How these manifest, and how they are discerned from outside is perhaps a function of the theatrical and symbolic within the culture. And black metal has both in abundance.
Conversely, the further ‘right’ one goes, the greater the uncritical and unreconstructed flirtation with symbolism becomes (I would say that certain aspects of the ‘left’ are also prone to this, which is perhaps a symptomatic of how close they are to their supposed opposites), which goes hand-in-hand with a peculiar appropriation of symbolism rather different from the one that cut the hole in the flag.
Metal again. Christian metal this time. Stryper anyone? To Hell with the Devil illustrates for me horribly and enthrallingly these internal and external forms. Without their christianity, they would likely still be metallers, perhaps not as famous. Regardless, as much as they were manufactured, their ‘metalness’ is is genuine, in that they came from within the culture. Their ‘metalness’ is simultaneously false, the visual codes wrong; it looks right, but then it doesn’t, and the demeanour of the music similarly so.
Perhaps a better illustration – back to fucking nazis, and German ones at that – is a recent piece in Der Spiegel, YouTube Neo-Nazis: The Far Right Updates Its Online Image. Ignoring Spiegel’s usual sensationalism, and regarding solely the accompanying image, we see a group of burning torch-wielding, black-clad marchers wearing expressionless white masks. There’s a lot of acquisition of symbolism going on here. Aside from the tired cliché of burning torches and their history with nazis, romanticism, and 19th Century nationalism, the black is specifically appropriated from anarchist / antifascist, Black Block / Autonomism, while the masks copy a far more recent socio-political movement, Anonymous and V for Vendetta.
What’s striking and material is how it is unsettlingly wrong. The components somehow do not sit properly together. Perhaps also there is a sense it is too serious, lacking in humour, self-aware irony, or just a certain lightness. This, I think, demonstrates one part of what separates right extremism from the culture within which it seems to reside.
The second part is that contrary to the culture itself, the comparable nazi version always comes after. That is to say, whether it is punk, skin, metal, or any other genre and its associated culture, irrespective of any always already present and latent fascist tendencies, in no case have these emerged from a prior existing right wing or nationalist music; the nazification always comes after and always requires this sub-genre to build an ill-fitting appropriation of and affinity with the existing theatre and symbolism.
Black metal has perhaps become ideally suited for this at the moment, as the empty hole into which all fears are dumped. Nazi skins, however much they dominate the stereotype are just that, and their imagery is tired, as evinced by the pseudo-Anonymous Immortals, (Die Unsterblichen – sounds like a German Evanescence bland metal band) and similar attempts to remake the not-so-far right. In black metal our desire for a perfect right-extremist Other can be found, and does not all the symbolism, all the acts prove this? After all, is Burzum not the perfection of black metal in its entirety, made explicit? The propaganda of his deeds preceding the manifesto.
Perhaps too, there is a fear of the theatrical, the corpse paint, the hair and clothing; the peculiar, almost embarrassing obsession with satanism, paganism, and romanticism that disturb maleness in a way the hypermasculine of skinheads, or the anonymous normality of Die Unsterblichen doesn’t and can’t. And let’s be clear, even the queer left privileges certain masculinities over femininity, the former always more genuine, more real, less troubling than the latter.
Well yes, there is something inherently untrustworthy in black metal, exactly as there is in industrial music with their crypto-fascist costumery (Throbbing Gristle and Laibach are obvious examples), which slithered uneasily over into either genuine neo-nazism, or ‘taking it far too seriously with an absence of critical distance given the subject matter’ (Death in June), and the commensurate hysteria of the media, government and left groups in response.
There is also something entirely unsurprising that music and its surrounding culture can produce Crass or Wolves in the Throne Room on one side, and Skrewdriver or Burzum on the other. A more realistic attitude might be then to maintain a certain scepticism towards all music and its surrounding cultures; an expectation that all will always at some place devolve to result in a nationalist sub-genre, and indeed from even before the ur-genre always already have.
Which is a very unsatisfactory place to finish.
It might be worthwhile to note that black metal is not unproblematic within the right extremist, national socialist world either.
What still troubles me is why specifically black metal? Why over all other genres is the real and presumed neo-nazism such a site of critical importance? And why now? It’s not as though it’s new, Varg Vikernes and the original Norwegian black metal scene is 25 years in the past. It’s also abundantly clear if, for example, I say I like punk or ska I’m not talking about the nazi offspring of either, and there is no confusion – whether or not such an absolutist statement is true – that the former is to its core opposed to the latter. The obverse in respect to black metal, and metal more broadly is curiously also the case. To say, “I like black metal,” is to be held suspect, it requires of me an explanation that is never sufficient; there always lies suspicion that I’m going off to burn down a church, and light a burning swastika off the embers.
Admittedly I do this also. Hold black metal slightly suspect that is, not burn down churches, etc. Perhaps because the signifiers of National Socialist Black Metal are not so clear for me, in the way that, say nazi punk is. Though come on, Google NSBM, if the heavy-handed ‘Nordic’ symbolism doesn’t immediately give it away, the obvious band names or album titles will; that’s if there isn’t an swastika or some other silly neo-nazi sigil. As with Stryker there’s predominately some subtle or glaring identification which doesn’t allow much confusion. So despite the clarity of NSBM signifiers, guilt still spills out and accrues across not just black metal, but all metal.
Which still doesn’t address the questions, or come any closer to framing them coherently.
