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Industrial music and its relationship(??) to fascism

OK then - more on the Bennett business...this is all concerned with Whitehouse/Come Organisation. Some of this is already pretty well-known,, but is worth going through here, I think:

1. In a 1982 issue of the magazine "Interchange", Bennett was given a number of subjects on which he was to answer. He said the following on this:

"National Front/Skinheads: They are an awesome sight en masse in England. They emit such a flood of energy and vitality"

2. In 1982, Come Organisation released a compilation album entitled "Fuer Ilse Koch". Having checked Discogs, I can confirm that track on side is a recording of Imperial Japanese music ("Under The Victory Banner"), and the last track on side B is a recording of a Heinrich Himmler speech ("Europe Lives"). There is also a track by Leibstandarte SS MB (see below)

3. In 1982, Maurizio Bianchi recorded an album for Come Organisation, to be released under his own name. Once the tapes were received from him, they then - without Bianchi's permission - overdubbed Nazi speeches onto the tracks, gave each track new titles, and released the whole thing under the name "Leibstandarte SS MB". When Bianchi got wind of this and complained, Come Organisation then produced a "record contact", and the bottom of it had in small print the words "The artist has no rights to this recording at all".

4. In 1982, "City Limits" magazine ran an article about the PO Box address used by Come Organisation (in Kensington?), pointing out that the same address was used by the fascist group The League Of Saint George. The League Of Saint George were kicked out of this PO Box address, whilst Come Organisation were allowed to remain. Bennett has claimed that he "didn't know" about the fascist group using this address, but also has never made any comment about complaining to the PO Box address owners of this group being there, once the "City Limits" article was published.

There's probably more of this info I can come up with - but tbh, the whole thing is depressing to think about....
 
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That's a good post, MellySingsDoom but I think the last point about the PO Box is tenuous.

I've used British Monomarks for a post box for ages, precisely because they will have anyone (and aren't supposed to give out your personal details without a court order or police intervention, unlike royal mail PO Boxes). Loads of dodgy people have used them over the years and loads of people you and I would like.

A similar equivalent these days would be web hosting companies. I use one that believes firmly in the first amendment (they are american) because I don't want any grief about the content of my sites.
 
That's a good post, MellySingsDoom but I think the last point about the PO Box is tenuous.

I've used British Monomarks for a post box for ages, precisely because they will have anyone (and aren't supposed to give out your personal details without a court order or police intervention, unlike royal mail PO Boxes). Loads of dodgy people have used them over the years and loads of people you and I would like.

A similar equivalent these days would be web hosting companies. I use one that believes firmly in the first amendment (they are american) because I don't want any grief about the content of my sites.

That's actually a very good/fair point on the PO Box business. I'm really not minded to cut Bennett any slack at all for anything these days, but I accept what you say on this one.
 
the come org discog is total facepalm isn't it?

http://www.discogs.com/label/9135-Come-Organisation

SS marches 1 & 2! Leni Riefenstahl! you'd have thought Bianchi might have considered the other stuff on the label first wouldn't you? Wasn't he on that white power comp too? I have... limited sympathy for his artistic purity tbh.

this is interesting (if true)

"William Bennet told me - in 81, the first and last time I met him - that Steve Stapleton drew up a "joke" contract for him giving Maurizio absolutely no rights to the recording in any way whatever ever, which Maurizio happily signed."
- Nigel Ayres of Nocturnal Emissions.
 
killer b - I knew about the SS marches cassettes (think I mentioned that above), but the Riefenstahl is a new one on me. As for Nigel Ayers, he's been a very long-term and vocal critic of Bennett - I think he has some rather damning info on Bennett himself, if memory serves.

e2a: I see that Come Organisation released cassettes by Charles bloody Manson as well...
 
how come the likes of bianchi & ramleh seem to get an easier ride than bennett? have they distanced themselves more definitively?
 
Well, Bianchi converted to be a Jehovah's Witness about 84 (I think) and effectively retired from doing music for many years - I think he may have released stuff in recent times, but don't quote me on that one...the only interview I've ever seen of him concentrated on his religion, and no real questions were asked about his own usage of questionable/dubious imagery.

As for Ramleh, Gary Mundy has done 2 interviews (for Grim Humour mag and As Loud As Possible mag), where he admits that Ramleh's early flirting with fascist imagery etc was a clear mistake, and he dropped all this imagery (and distanced himself from it) by the time of the "Hand of Glory" single in 1983. Obviously he shouldn't have done that in the first place, but he's the only person in that whole scene who's ever admitted to getting it wrong on this one.
 
Oh balls. My phone is doing weird things.

Bianchi had never performed live.

I always thought his music and imagery was non-celebratory
 
Fozzie Bear - have just seen this on Simon Reynolds' "Rip It Up And Start Again" blog - a comment from Nigel Ayers about Bianchi:

An excellent article , but on a pedantic note.
On “Symphony for a Genocide”, the image you have used here is the artwork from the 1981 LP release on my own Sterile Records label. I understand Broken Flag released a cassette version a couple of years later, in different packaging.
Being aware of Maurizio’s political and later religious sympathies, I have always read “for a Genocide” to imply a memorial to those who have suffered the effects of the military-industrial-complex.
My own angle on this is that MB’s sickly and tedious music identified with experience of the victims, rather than the perpetrators of the holocaust. The cover shows the Auschwitz orchestra who were forced to literally play for their lives.
This doesn’t mean I think this was in any way a great album, but it does indicate a very different take on world events to the pro- sadistic and possibly pro-fascist stance taken by the other clowns mentioned in these footnotes.


Best wishes

Nigel Ayers
 
I saw this thread on another board which might interest you all after it digresses (well the whole thread is pretty interesting anyway but it starts off about Coil): http://terminal-boredom.com/forums/index.php?topic=42538.15

I'm acquainted with someone who was/is part of the C93/NWW/Coil circle and who knows all the players on the periphery, including Rice, Pearce, et al. He was unequivocal: Rice and Pearce are not joking around, they earnestly hold racist and fascist beliefs, despite all the contradictions that might entail, and despite Rice claiming that it's all a prank. My acquaintance was a fly on the wall for many of their conversations and was appalled at the sort of shit they would say in private. Tibet, Stapleton, Christopherson et al. distanced themselves from them for that reason.
 
More an illustrative rather than condemnatory post coming up: in that thread, someone says they stayed with Couil and "there was just stacks of Aleister Crowley, and Austin Osman Spare, there were paintings and drawings and pen and ink things from every conceivable period in his life..."

Spare was an interesting bloke. Key is his idea of atavistic resurgence - that is, humans, through the practice of certain initiate techniques, can reconnect with and become avatars of ancient now gone cultures and their gosds. This is the exact same technique that fascist/esoteric hitlerist/racist Michael Moyninhan claims in Lords of Chaos inspired all that daft scandanavian black metal - Varg Vikernes in particular - that it was the re-emergence of ancient norse gods (necessarily white/pagan etc) onto the modern stage (stage being the right word here i believe).

Varg (norse for wolf) was the literal old norse wolf god burning churches and killing people and so on. Remember that ridiculous child like pic i posted on the Sunn O))) thread the other day - the one from the first issue of Moynihan's and others fascist/evolian/racist/hitler esoterisicist journal Tyr that O malley played some role in -well that is Varg manifesting himself as the result of one of these initiate rituals. That's actual atavistic resurgence in action.

The same is argued for Hitler and the nazis and their actions - with Wotan replacing Varg.

There just doesn't seem to be any escape from this with these sort of people.
 
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