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Industrial music and its relationship(??) to fascism

Anyone got any info:

In light of recent events we are just posting this to make it absolutely clear that Stay Up Forever / 909london are ANTI RACIST, ANTI FASCIST and ANTI NAZI. We will not work with anyone who supports or associates themselves with any group, bands, organisations or individuals who support or actively promote extreme right wing beliefs.

We'd like to add that we cut our ties with one label on Saturday after months of asking them to disassociate themselves with any links to these groups (after we were shown some evidence of links with certain neo-Nazi bands and organisations). After posting on Facebook a series of links to some dubious right wing sites (the last of which was blatantly anti semitic in nature) we informed them we would quietly withdraw from our relationship with them. We have not hounded or accused said person, or publicly posted anything online from SUF to damage his reputation. The ensuing Facebook storm was when others found out similar information to us and reacted. Said person still claims he is not involved with any of these organisations, but by associating himself with them he is asserting his support in our opinion and we will not have anything to do with anyone or any group who ally themselves to hateful and dangerous RACIST and NATIONALISTIC neo-Nazi sympathisers. Believe us, these people are violent and dangerous, they are Fascists. Read the history of the rise of Fascism in pre-war Germany which lead to the misery of millions of deaths in the second world war, and the tragedy of the Holocaust which haunts us all to this day. These people must be STOPPED!
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If I remember correctly Stay Up Forever is Andy Liberator and that lot who were former squat punks.

So fair play to them, but depressing that this stuff is still having to be challenged.
 
There was some rather naive use of Nazi imagery when punk first emerged. More than a few swastikas. But that was more to do with associations with S&M and épater la bourgeoisie than anything ideological. Adam Ant definitely toyed around with fascism when he first started out. There was also an S&M context but songs like Deutcher Girls and Futurist Manifesto were more than a little in thrall to the idea. Having said that, I don't think anyone took it all that seriously.

[e2a: got cold feet there, but too slow. :oops: ]
 
white rabbit said:
There was some rather naive use of Nazi imagery when punk first emerged. More than a few swastikas. But that was more to do with associations with S&M and épater la bourgeoisie than anything ideological. Adam Ant definitely toyed around with fascism when he first started out. There was also an S&M context but songs like Deutcher Girls and Futurist Manifesto were more than a little in thrall to the idea. Having said that, I don't think anyone took it all that seriously.
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More epater la bourgeoisie than anything.
 
In case anybody is interested, The Hare and The Moon have Wakeford (and another Sol Invictus member) appearing on their new album.
 
What's the album like in general? I think I listened to their first one but it can't have made a great impression on me.
 
not a bad piece but low on much new info or thinking to be honest.
I think it undersells Bennett's clear love for his source material for cut hands
and fails to really draw out what is bothersome about it
he ends up calling it blackface - which it isn't at all and sells his argument short

worth a read though!
 
I think that if Bennett did pretend to be a bunch of African noise artists on the "Extreme Music From Africa" album (and many people seem to think that he did) then "blackface" is fair enough.

But yes I would have prefered some more unpicking of the titles and imagery and his obvious arousal at the thought of warlords like Kony etc.

This goes right back to the early days of the Come Org label, incidentally: http://www.discogs.com/No-Artist-Examples-Of-Cannibalism/release/2061303

(Bennett reading from a book about cannibalism)
 
I was thinking of Cut Hands and the use of 'Afro Noise' as a title/slogan

I guess with that Extreme music album it's a stronger case...


although I've always seen it as an industrial version of those 50's cocktail jazz Exotica records
 
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This may be nothing, but on that extreme music from africa comp there's a song by a band supposedly called Govt of Action - that, of course, was Moseley's description of his plans should he come to power.
 
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butchersapron said:
This may be nothing, but on that extreme music from africa comp there's a song by a band supposedly called Govt of Action - that, of course, was Moseley's description of his plans should be come to power.
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The titles are never nothing. They are little in-jokes for the hardcore fans, who delight in picking up on the clues/references.

I didn't know that but it fits perfectly with Bennett's output. The Whitehouse "fan club" being called the New Party (NUPA) and the New Britain album:

http://www.discogs.com/Whitehouse-New-Britain/release/71374

In fact, Bennett's interests with Afro Noise appear to be exactly the same as Whitehouse - dictators, sex crimes etc. Just more oblique and transferred to Africa.
 
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butchersapron said:
Why don't they just grow up.
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I caught Cut Hands live a few weeks ago at the Adelaide festival, I was disappointed by the weakness of it all, came across like some mid-ninties tribal house set with WB doing little spins and hip wiggles (an attempt to cross over into a new market no doubt..). I managed to blag my way into the VIP section afterwards on the hunt for a bottle of wine and saw him hanging out with a young lass, two days later I'm getting the plane back up to Sydney and there's the same lass, getting on the plane with her mum!

it did make me think where he may be getting all those *sexy* silhouettes he projects during his sets from (my hotel room is just around the corner..)

@Fozzie, the opening of that article nails exactly what I felt reading the interview that it's quoted form - It’s just a name - Mr fucking NLP, what a plank.
 
Will come back to the Bennett business myself later on (am about to shoot off now v soon). May I just point out to all you good Urbz people right now though, that in 1982/3, Bennett thought it a "great idea" to release 2 cassettes of SS marching songs on the Come Organisation label - something for which he's never apologised for?

e2a: Fozzie Bear - re the "New Britain" album - from memory, "Roman Strength" has a speech of a 30's German (female) fascist on it, and also Bennett himself screaming "Sieg Heil" repeatedly all over the shop....
 
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