a short essay about killing

the poster for Krzysztof Kieslowski’s A Short Film About Killing (1988)

I don’t believe in the death penalty. In this, I’m in the majority, globally. I’m not sure when exactly I became against it; until at least the age of 12 I was pretty much a proto-fascist with an ‘eye-for-an-eye’ sense of justice, as boys tended to be in those days and for all I know still are. But I know that by the time I saw Krzysztof Kieslowski’s brilliantly grim A Short Film About Killing (Krótki film o zabijaniu) when I was 16 or so I was already anti-death penalty and have remained so ever since.

 

My reasons are, typically, kind of pedantic. There are many obvious arguments against it; there’s the ‘what if you accidentally kill the wrong person’ argument and that’s a pretty strong one – it has happened and does happen and is irreversible. There’s the fact that the death penalty seems to have a negligible effect on the crime rate. In fact, countries with the death penalty on the whole seem to have more rather than less murders (not that there’s necessarily a link between those two things). Even from the coldest and most reptilian, utilitarian point of view of getting rid of the problem of prison overcrowding, any possible benefit is negated by the fact that in most countries with the death penalty, prisoners spend years on death row being fed and housed, rather than being quickly and efficiently ‘processed.’ There’s also the Gandalfian(!) argument from The Lord of the Rings; “Many that live deserve death. And some that die deserve life. Can you give it to them? Then do not be too eager to deal out death in judgement. For even the very wise cannot see all ends.” This wasn’t just a handy deus ex machina because Tolkien needed Gollum to survive in order to destroy the ring. It was that, but Tolkien was also a devout and serious Christian and that was his moral outlook. Thank the gods that unlike his friend CS Lewis, he deliberately left religion out of his books though! In the Biblical commandment Thou Shalt Not Kill, the Christian/Jewish god doesn’t list any exceptions or mitigating circumstances – in that one instance. Of course elsewhere in the Bible there are many circumstances where humans killing humans is considered appropriate and even righteous – the ultimate irony being that Jesus, kind of like an anti-Gollum, has to suffer death through violence to achieve his purpose. Religion is odd; but I’m not a Christian or Jew.

All of those points are relevant, but for me personally, it’s far simpler than that; if you can be legally killed, that means that in the eyes of the state there’s essentially nothing wrong with killing people. I think there is, and I don’t think that it should just be a matter of having the right paperwork. In essence, to kill a murderer is not telling them ‘what you did is wrong‘ so much as ‘you did it wrong‘ which I don’t think is a minor difference. And on top of that, there’s the whole question of who you are handing this responsibility of life and death to. I have a lot of respect for some lawyers, attorneys, judges, police officers etc, but there are others that I wouldn’t trust with my lunch, let alone my (or anyone else’s) life. States have a character, and often it is institutionally biased regarding race, class, gender and sexuality. Giving that kind of power within that kind of framework seems likely to make far more problems than it solves. But even in non-death-penalty countries like the UK we routinely give people the legal right to take other people’s lives, all they have to do is join the armed forces.

British volunteers in the International Brigade, 1937

I’m no more consistent than anyone else and my attitudes have their exceptions and contradictions. I (predictably) don’t philosophically differentiate between the military and mercenaries, because what ‘serving your country’ means in practical terms is carrying out whatever the policy of your government is that week, with no certainty that it won’t be contradicted by a new policy (or a new government) the next week and if enemies suddenly turn out to be allies or vice versa, the dead remain dead. That said – here’s the contradiction – I’m not a pacifist absolutist either, and I think, or like to think that if an invading army arrived in my country I’d take arms against it. These things are particular though; everyone likes to think they’d fight for a good cause, but the Spanish Civil War stands out for the number of anti-fascist fighters from all over the world who took up arms in defence of Spain. But that happened partly because so many people were ready to – and wanted to fight. Many of those – George Orwell is a prominent and typical example – belonged to the generation who had been just too young to fight in World War One and whose feelings about war – including a considerable amount of survivor’s guilt – had been shaped by it. And the fascist attack on the Spanish republic gave them a clear-cut situation to intervene in, in a way that the more political rise of fascism in Italy and Germany didn’t.

But anyway, the death penalty. People of course do terrible things, but although lots of them are significantly more horrific than a lethal injection or the electric chair, the end result is the same. Being – odd, brief segue but bear with me, it’s relevant – a fan of black metal music, the subject of death and murder is one you come across in a different way from just being, say, a fan of horror movies. Because the poser-ish ‘darkness’ of black metal spills over (though less than it used to) into ‘real life,’ almost as if the kind of art you make bears some relation to the kind of person you are. I won’t go into the tedious-but-fascinating Lords of Chaos stuff about Mayhem & Burzum or Absurd because it’s not quite relevant here, but the story of Smutak (Pavel Selyun) who ran Morak Production record label in Belarus is.

In 2012 Selyun discovered that his wife, the artist and singer Frozendark (Victoria Selyunova) was having an affair with the artist, zine editor and musician Kronum (Alexey Vladimirovich Utokva). Sticking with the psuedonyms seems appropriate, so anyway; Smutak murdered both Frozendark and Kronum, dismembered them and was apprehended on the Subway three days later with Kronum’s head (or skull; same difference I suppose – some accounts say he boiled the head – I don’t need to know) in a bag. After his arrest, he was imprisoned in Minsk and after a confession gained under torture and the failure of various appeals  he was executed two years later, by being shot in the back of the head. A horrible postscript that demonstrates how the death penalty punishes the innocent as well as the guilty; after the execution the authorities failed to hand over Smutak’s body to his mother or tell her where he’s buried, the case was handed to the UN Court of Human Rights.

Not many people (and certainly not me) would say that Selyun didn’t ‘deserve’ his treatment. But still. He possibly tortured and definitely killed people and then was tortured and killed. There is a kind of balance there, but it’s one in which the act of torturing and killing itself is made neutral. Whoever tortured and killed Smutak doesn’t need any kind of defence because they did it in the name of the law, but the idea that torturing and killing is morally neutral because you don’t have any emotional investment in the act is an odd one. Smutak had nothing to gain from his actions other than some kind of horrible satisfaction. The person or people who did the same to him got paid for it. Which is morally, what? Better? He reportedly felt the same kind of fear as his victims; well good, I guess, but that did nothing to benefit the victims. It may have pleased the victims’ relatives but I wouldn’t want to examine that kind of pleasure too closely.

The current case of Luigi Mangione is far stranger. It’s the only time I can recall that the supporters (in this case I think ‘fans’ would be just as correct a word) of someone accused of murder want the suspect to be guilty rather than innocent. Whether they would still feel that way if he looked different or had a history of violent crime or had a different kind of political agenda is endlessly debatable, but irrelevant. It looks as if the State will be seeking the death penalty for him and for all the reasons listed above I think that’s wrong. But assuming that he’s guilty, which obviously one shouldn’t do (and if he isn’t, Jesus Christ, good luck getting a fair trial!) Mangione himself and some of his fans, should really be okay with it. If he is guilty, he hasn’t done anything to help a single person to get access to healthcare or improve the healthcare system or even effectively protested against it in a way that people with political power can positively react to. UnitedHealthcare still has a CEO, still has dubious political connections and still treats people very badly. That doesn’t mean that it’s an unassailable monolith that can never be changed, but clearly removing one figurehead isn’t how it can be done.

But more to the point; why does the killer (assuming their motives are the ones that are being extrapolated from the crime) care anyway? If actually shooting someone dead in the street is okay, then surely being indirectly responsible for the misery and possible deaths of others is barely even a misdemeanour. It amounts to the kind of Travis Bickle movie logic I’m sure I’ve sneered about elsewhere; complaining about the decay of social values and then committing murder is not reducing the sum total of social decay, it’s adding to it. A society where evil CEOs are shot dead in the street is a society where human beings are shot dead in the streets and that becoming acceptable is not likely to be the pathway to a more just, equal or happy society.

Michael Haneke’s disturbing Benny’s Video (1992)

What the death penalty does do, and probably a key part of why it’s still used in some countries, is offer a punishment that seems (in the case of murder at least) to fit the crime. Interestingly, public executions – which counterintuitively seem to have no better track record as a deterrent than any other kind – are now vanishingly rare. Part of that is no doubt to do with public disgust and part with institutional secrecy and shame, but I imagine that part of it is also the fear that the public would enjoy it too much. I’m not sure if I would think that if it wasn’t for the spate of Islamic State beheadings that were so widely watched on the internet back in the early 2010s (was it?) I watched one, like most people seem to have, and still wish I hadn’t; but you can’t un-ring a bell. That was at the back of my mind when I wrote about saints and martyrdom for this site and I can bring images of it to mind horribly easily. But even before that it shouldn’t have surprised me – like many other teenage horror movie fans in the pre-internet era I watched exploitation videos like Face of Death that featured executions, accidents etc, and in doing so realised that I was a horror fan and not whatever fans of that are. I should have learned my lesson there, but it’s undeniable that these things have a murky kind of fascination; since then, thanks to one of my favourite writers, Georges Bataille, I’ve ended up reading about Lingchi (‘Death by a Thousand Cuts’) and looking at the chilling and depressing photos of it, been appalled by postcards of lynchings, seen revolting photographs of soldiers’ desecrated bodies and murder victims… I haven’t gotten used to those images and I hope I never will. Teenage me would no doubt sneer at that because he thought that things that are ‘dark’ are cool, but that seems like a laughable and childish attitude to me now, so I can take his sneering. I seem to be edging towards the point that Michael Haneke is making in Funny Games (1997), which I find a bit tiresome and preachy (even more so the remake), but I’m not. I disagree with the premise of that film because I do think there’s a difference between fictional horror and real horror, and that enjoying one isn’t the same as enjoying the other. I think his 1992 film Benny’s Video makes a similar but much more subtle and complex point far better.

Imprisonment (whatever your views on the justice system) is a pretty unsatisfactory solution for most crimes, but it’s difficult to think of a better one which doesn’t essentially exonerate the kind of behaviour we want to characterise as abnormal or criminal. Stealing from a thief is obviously ‘justice’ in the eye-for-an-eye sense, but as a punishment it’s laughable. Raping a rapist would be grotesque and double the number of rapists in the room every time it happened. But even so, it’s never going to be comfortable that the tax payer is contributing to the relative comfort of someone like (I’ll only mention dead ones, this isn’t a complaint about the legal system being soft on psychopaths) Fred West. A solution l think I might suggest is one which I’m very dubious about myself from lots of different humanitarian, psychological and philosophical points of view; why not offer (and that word alone would make people angry) ‘monsters’ – the kind of killers in a category of their own, who admit to horrendous acts of murder and torture and whose guilt is not in doubt – those who will never be allowed freedom – the choice of a lethal injection rather than life imprisonment? That’s a horrible thing to contemplate,  but then so is paying for the meals and upkeep of someone like Ian Brady, especially when he essentially had the last laugh, exercising his little bit of power over the families of his victims and having his self-aggrandising bullshit book The Gates of Janus published.

Anyway, that last part was kind of icky and uncomfortable, but so it should be – the whole subject is. So for what it’s worth, those are my thoughts on the death penalty. Time for a shower; until next time, don’t murder anyone please.

music in quarantine: march 2020

 

This is another roundup of new music that seemed interesting enough to me to check out. Not, you might think, an ideal time to be releasing a new album; and yet, with the majority of music sales, despite the resurgence of vinyl, still being digital and with the majority of people currently being at home, why not? So here are some things. The release dates were I think still good at the time of writing, but no doubt may be subject to change, as – paradoxically – so many things are in this weird limbo. But enough of that:

Ande
Vossenkuil
Self-Released
Release date: 3 April 2020

Ande from Belgium is a one-man (Jim Christiaens) black metal project – not exactly a rarity, but Vossenkuil is an extremely well-realised album. The music is pretty much what you’d expect from the artwork; atmospheric and melancholy, although it’s fairly heavy and raw too. There are obvious comparisons with bands like Wolves in the Throne Room and Drudkh, but what it reminded me of the most (especially perhaps because of its thick, mournful guitar tone) is Forestheart by Marblebog; which I think is hugely underrated and therefore mean as a compliment, but anyway, that’s the general kind of nature-nostalgia-darkness area Ande is working in. Every aspect from the overall sound to the raw vocals is good, with the excellent drums making it a bit better than the usual woods ‘n’ lakes ‘n; misery black metal album. Ande website: https://andeband.wordpress.com/

 

Funeral Bitch
The 80’s demos
vic records
Release date: out now
A foolish name, you might think; and yet there have been no less than three different bands called Funeral Bitch. This is the first and best of the three, the one formed by Paul Speckmann in 1986-8 between different incarnations of the much better known Master. Funeral Bitch were much in the same vein; extremely fast and rough (though still anthemic) death/thrash, with Speckmann’s hoarse bellowing a bit too prominent in the thin mix. That said, the demos are imbued with a real raw vitality that could arguably have been lost with the kind of production favoured by the big-name thrash bands of the era. It’s a real time capsule of the more extreme end of the 80s thrash scene and there’s a fair amount of intentional silliness too; a key but often forgotten feature of era. Interestingly, the guitarist is Alex Olvera, better known for his tenure as bassist with mid-level speed metal band  Znöwhite around the same time. Only essential for Master fans, but generally fun, even if the live tracks are (appropriately) ‘rough as guts’ as they say down under.

Kariti
Covered Mirrors
Aural Music
Release date: 17 April

Kariti is a Russian-Italian singer of dark folk music and, after an extremely peculiar and archaic-sounding voices-only intro, Covered Mirrors becomes an album of moody semi-acoustic songs which are not especially folk-sounding, but are very pretty indeed. The guitar sound is crisp and almost tangible, and the vocals (mainly in English) are clear and mournful, as befits the album’s themes of ‘death and parting’. It’s a beautifully grave and austere record, with an intimate quality that (especially through headphones) brings the listener extremely close to the performance, while remaining emotionally remote and unreachable: a perfect album for a time of quarantine, if not one that will cheer anyone up.

Kool Keith x Thetan
Space Goretex
Anti-Corporate Music
Release date: April 10th
Alternately really great and very silly indeed, the sci-fi theme/concept behind Space Goretex sometimes gets in the way of the music. At its best the marriage of the unusual (but mostly surprisingly low key) musical textures of Thetan (beats, bass, synth, theremin, rather than the usual powerviolence) with hip-hop legend Kool Keith’s iconic delivery makes for a unique, distinctive sound. It’s something of a landmark album too, featuring Keith in all of his guises (Dr. Octagon, Dr. Dooom and Black Elvis), but although vocally he’s on superb form, the lyrics more often than not tend to be a bit puerile, though perfectly delivered with his usual flawless fluency. As sound, it’s a brilliantly realised collection of sophisticated and moody hip-hop, but unless sexually-oriented comicbook themes resonate deeply with you that’s mostly all it is; but as such it’s a pretty good album.

https://youtu.be/cyHD4q3hGzU

Manes
Young Skeleton
Aftermath Music
Release date: April 18th
Always a surprise to find that non-mainstream musicians still release singles, but that’s what Manes are doing; and, like their last album, the superb Slow Motion Death Sequence it’s black metal in feeling only; musically the title track is a kind of eccentric and brooding widescreen gothic rock (I guess; it reminded me a bit of the Planet Caravan type early Black Sabbath ballads and musically but definitely not vocally a little bit of Fields of the Nephilim; there’s no electronic element on this one). It’s beautifully recorded, the title track warm and limpid but with an undertone of unease that builds throughout. The B side (is that still what it is for a digital release?) is Mouth of the Volcano, an atmospheric doomy semi-electronic chug built around a strangely familiar spoken word section that  can’t place and featuring Asgeir Hatlan (last heard in Manes on 2014’s Be All, End All) and some spooky Diamanda Galas-ish vocals from Anna Murphy (ex-Eluveitie) and Ana Carolina Skaret. An unsettling but very listenable pair of songs and so a single worth releasing; and with beautiful artwork too.

Midwife
Forever
The Flenser
Release date: 10 April
More solemn, downbeat but mostly very pretty music. I had never heard Midwife (the solo project of Madeline Johnston)  before; on this album at least, it’s a bare, guitar-based sound with some ambient electronic elements, sort of shoegaze-y but not. The nearest comparison I can think of (not that anyone asked for one) is Codeine circa Frigid Stars. Forever was inspired by the unexpected loss of a friend and the music is as fragile and mournful as you’d expect. The sound is warm, clear and intimate-sounding – aside from the vocals, which are distanced by a strange spacey, reverb effect; perhaps for the best as the raw emotion is rendered slightly remote and universal, rather than immediate and personal. It’s clearly not an album for all moods: although the closing track S.W.I.M. speeds up to a Jesus and Mary Chain-esque plod, Forever is consistently slow and elegiac and nothing really lifts it out of its furrow of sadness: but beautiful for all that.

Nyrst
Orsök
Dark Essence Records
Release date: 24 April
More black metal, this time from Iceland. Pretty standard (in a good way), polished but not symphonic black metal, modern but very much influenced by the classic Scandinavian bands (maybe more the second-and-a-half wave, like Kampfar than the classic Mayhem-Darkthrone-Burzum axis) it’s all very well put together and has plenty of muscle and melody. Two things save it from just being yet more (and there is a lot of it) proficient ‘grim & frostbitten’ black metal – firstly, some strange and very Icelandic anthemic moments; I say very Icelandic only because those moments remind me a bit of some of the epic, windswept bits in Solstafir’s music. Although recommended by the label for fans of fellow Icelanders Misþyrming, Nyrst, though inhabiting more or less the same kind of sub-genre, definitely have their own sound and style.  (I highly recommend Misþyrming’s Algleymi by the way). The second thing that sets Nyrst aside is the dramatic, not to say eccentric voice of Snæbjörn, which goes above and beyond the standard raw black metal vocals in a highly expressive way that sometimes reminds me of one of my favourite harsh singers, Ildanach of Absentia Lunae.

https://www.youtube.com/watch?v=X7KqqGRe8-I

Ols
Widma
Pagan Records
Release date: 17 April
And another one-woman folk project. Ols (Polish singer and multi-instrumentalist Anna Maria Oskierko) is very different from Kariti though, and Widma is a primitive, ritualistic sounding album with none of Covered Mirrors‘s accessible, almost pop sheen. Widma does sound traditional, but it’s more akin to Wardruna and the archaeological end of pagan folk music than the glossy Clannad-ish kind recently heard on the latest Myrkur album. This is, by contrast, pleasantly droning and primal (and in that respect reminds me of an album I bought via MySpace many years ago by Eliwagar), but still full of lovely melodic bits and the kind of mysterious forest-y atmosphere you’d hope for from an album with this cover. Although solemn and archaic, it’s probably the least melancholy listen here with the very notable exception of Kool Keith.

https://www.youtube.com/watch?v=zLwMN9PX47U

 

Weserbergland
Am Ende der Welt
Apollon Records
Release date 24 April
A contrast to everything else here, Norwegian collective Weserbergland’s second album consists of one 42 minute track, but it’s not the krautrockinfluenced prog of their Can/Tangerine Dream-flavoured debut. Instead, it’s a chaotic but weirdly coherent kind of collage which consists of performances on conventional-ish instruments: guitar/strings/sax/turntables, cut up, messed about with and reassembled into a kind of melancholy, cinematic symphony. The strange, unpredictable stuttering percussion seems like it should disrupt the flow of the piece, but somehow the jerkiness becomes part of the mood and it all flows perfectly, if not in a straight line. It’s really not like anything else I’ve heard, but reminds me a little of Masahiko Satoh and the Soundbreakers’ 1971 classic avant-garde jazz-prog-whatever album Amalgamation in its sheer ear-defeating unclassifiable-ness. I’m sure it won’t go down in history as such, but this may be a definitively 2020 release.

 

NSBM (and possibly NSFW)

 bmhitlerIt’s not National, to my knowledge it’s rarely socialist, but it mostly is black metal; National Socialist Black Metal (hereafter, NSBM) annoys people by being ‘too evil’, or at least evil in the wrong way. As the snuff movie is to the horror movie, it seems, NSBM is to BM. There are a couple of flaws in this analogy; firstly, it suggests that black metal in general is, like horror movies, some kind of fantasy (which it certainly often is, but isn’t necessarily) and secondly, that NSBM isn’t some kind of fantasy (see previous parentheses). The Nazis of World War 2 represent the ‘ultimate evil’ to people of the post-war generations because whereas even the worst serial killers of the 20th century ‘worked’ on an individual, localised scale, the Nazis made murder into an ideology and ultimately an industry. That is, they functioned in ways that are relevant and relate-able to the daily lives and experiences of most people; but in bringing that mundane quality to extermination; ‘death factories’ they ultimately created something more frightening than a lone maniac. So is Nazi black metal the embodiment of that famously banal evil and therefore the ultimate in musical terrorism? Hmm, possibly not but let’s see…

Defining NSBM

Let me be clear; I am not discussing heathen/pagan/ or folk black metal that may or may not be perceived to have a Nazi angle to it. Interesting though that scene is (Graveland is the classic example of a sometimes great band whose career has been blighted by the media’s – and the band’s own – inability to differentiate between history and ideology) the term ‘Nazi’ is too specific and anachronistic to be very useful when discussing paganism, heritage etc even though the Nazis loved that stuff. So, here I am more concerned with bands whose work fully intends to glorify that specific NS ideology, and whose output can be represented by artwork like this:

ary

nazi

The first question is, is NSBM any good? Just like any black metal, the answer is sometimes yes and sometimes no. On occasion, the marriage of the classic sound of ‘orthodox black metal’ with the particular (let’s not beat around the bush, violently racist and specifically anti-Semitic) kind of extreme bile that a Nazi band projects can be extremely effective. Even a modestly-talented middle-of-the-road orthodox BM band like Poland’s Ohtar were able to make something nightmarishly gripping out of tunes that, had they been devoted to Satan, would have just been that familiar, same old tired BM. In that (but not only that) respect, NSBM is comparable to Christian Black Metal – it may sometimes be okay as sound or music, but that doesn’t make it right.

ohtarGiven the existence of such subgenres as ambient BM and folk BM, perhaps the only essential ingredient of black metal is Satanism, in one form or another; and the good thing about Satanism is that it can mean many things to many people. Therefore you have the kind of religious goats ‘n’ horns Satanism that is the polar opposite of Christian metal, exemplified I guess by Watain. Related, but not necessarily requiring any actual religious belief, there is the mythical figure of Lucifer – the fallen angel, analogous to humankind, who were also cast out of paradise for rebelling against God’s stricture. Lucifer as the cosmic light-bringer with the key to forbidden knowledge. As the philosophical figure of the adversary, Satan can simply be seen as the ultimate rebel; and therefore the perfect icon for black metal regardless of one’s feelings about Christianity or goats.

Misanthropy: a group activity?

Filosofem

Some of the best black metal, even made by those with Nazi links (Burzum being the best and most obvious example) is metaphysical and above all personal. Like any music that people put their souls into, black metal isn’t ‘just music’ – and no-one could deny that in the early 90s, people like Dead or Mayhem or Burzum’s Varg Vikernes lived the music they made. Whatever his political views were or are, Vikernes has the sense to realise that, while his views may be shared by many, his thoughts and feelings are his alone and at its best, Burzum’s music is an expression of those feelings rather than an ideology. Filosofem, probably his finest work, expresses a kind of solitary desolation through lyrics that are almost abstract in their elemental bareness, making it endlessly appealing to those metal fans (and not just metal fans) who feel alienated from modern urban society and mainstream music.

As an alternative (or even an accompaniment) to this kind of individualistic ‘Satanic’ philosophy, National Socialism is highly inadequate. It’s too specific, too political, too ephemeral, too small. Anyone reading Mein Kampf can have no doubt that, to Adolf Hitler, National Socialism was the expression of a deeply felt personal philosophy. But anyone following it now should be aware that that’s exactly what they are doing – following someone else’s ideology, living someone else’s dream. Not to be too dictatorial about it, but surely even though black metal isn’t all that some of its proponents make it out to be, following a failed idea from the recent past is fundamentally not what the genre is supposed to be about.

Wolfenhords+107665_photoAnother key band that helped to ignite the idea of NSBM while definitely not belonging to it were Darkthrone, but as is obvious from looking at their work, their brief flirtation with the language of NS, even evaluated from a politically neutral point of view, undermined the impact of their music. The album which caused the controversy is also the one which cemented the band’s reputation as scene leaders, despite the fact that it is significantly weaker than the two which preceded it; 1993’s Transilvanian Hunger. The title track is one of the band’s – and the genre’s – best ever songs, but it also helps to illustrate where Darkthrone went wrong. The (not surprisingly) vampiric lyrics are classic black metal, an almost romantic view of misanthropy, forever making cold one of the keywords of the genre. The narrator is utterly divorced not only from society but from humanity. And yet, at the same time as putting forward this image of inhumanity/antihumanity, the band chose, famously, to include the statement Norsk Arisk Black Metal (‘Norwegian Aryan Black Metal’) on the album’s sleeve. What the Aryan (Iranian, or Indo-European or however you choose to interpret the word ‘Aryan’) people have to do with Norway is anyone’s guess. And if we are to presume that the vampire of Transilvanian Hunger believes in some kind of racialist ideology it can surely only undermine the song with baggage it definitely doesn’t need. Which raises another problem with National Socialist ideology in relation to BM; it’s too nice.

Nazism is too nice

This statement clearly needs elaboration. Misanthropy, whether or not it is a viable design for life, is all-encompassing. Nazism is by definition unpleasant, but – examining even the term ‘National Socialism’ – it most cannot be said to be anti-social (there’s no nationalism without nations, no socialism without society), let alone misanthropic. Therefore NSBM, although at first it may seem to our edgelord brethren like the ne plus ultra of darkness, actually has a reductive effect compared to the stance of the classic ‘second wave’ of BM. As a misanthrope, you can’t ‘belong’, but to be a member of some kind of elite society, you must ‘belong’. Sweet, really.

The Inclusiveness of true evil?

Black metal’s classic stance is that it supports ‘all the darkness of humanity.’ Variations of that dedication have appeared on album sleeves since the dawn of the 90s and are still going strong; a recent one in my own experience being Malaysian band Nefkarata’s (very good) Morts, which is dedicated to “All Evil In Man.” “All evil” by necessity includes Hitler & co, alongside Jewish serial killer David Berkowitz, Roman emperor Caligula, Idi Amin, the Moors murderers, Margaret Thatcher etc; a position of strength, if you’re into that kind of thing. But the most strident NS bands are so dedicated to that vague, misunderstood thing, ‘Aryanism’ that basically their ideology all about one short, albeit turbulent, period of the 20th century. And for all the true NSBM bands’ xenophobic, elitist rhetoric, it should be remembered that historically, Nazis were not only mainly Germanic – NSBM bands are as or more likely to spring from North or South America or Finland or Poland as anywhere else – but they were also – and for a totalitarian ‘might-is-right’ philosophy this is extremely important – the losers.

The glamour of atrocity

ilsa

Like it or not, it’s undeniable that Nazism and especially the holocaust, have a certain frisson; hence the existence of cheesy Nazi exploitation movies like Salon Kitty, Ilsa, She-wolf of the SS and slightly more ambitious/artistic ones like The Night Porter.

Awareness of this frisson is at the heart of one of Stephen King’s better pieces of writing; the opening chapters of Apt Pupil, and a disapproving awareness of it drove the predictable moral panic which greeted Martin Amis’ deeply non-exploitative Time’s Arrow. That frisson, that special atmosphere is definitely part of the allure of certain kinds of NSBM. Especially the sillier kind that’s made by bands with ‘Aryan’ in their name. An album cover that features a photograph of Nazi atrocities with a typically spiky black metal logo has a kind of spurious impressiveness that makes it stand out amidst the hordes of unreadable scrawls, inverted crosses, enthroned goats etc. It’s pointless to deny that appeal because, much are there are plenty of  NSBM fans who are convinced Nazis, there are probably more that just think it’s transgressive and edgy and therefore cool.

“Nazi Moods”

Perhaps the most artistically successful Nazi-themed or related black metal is the ambient kind. Partly that’s because – however unappetising it may sound from a pop-music perspective – the mixture of  sombre, wintry and minimalist electronica with martial themes and archive recordings of WWII-era radio broadcasts, speeches and music is incredibly evocative and paradoxically, strangely emotionally involving just because of its atmosphere.

Similarly, the kind of artwork that accompanies these releases tends to be evocativwewele rather than visceral. Black and white photographs of landmarks like the Berghof,  Zakupy Chateau, Schlöss Wewelsburg, the Wolf’s Lair; crumbling monuments, statues or ruins. This kind of aesthetic has a deep appeal which matches the music – boring if you don’t like it, but strangely moving if you do, even for those who completely reject the ideology behind it. Compared to standard NSBM, this is a very grey area; whereas a record with a cover image of a mountain of emaciated corpses and a name like ‘Aryan Sturm’ can be reasonably presumed to be an NSBM album, a masterpiece like Kampf by the Italian ‘electro-apocalyptic’ group Tronus Abyss – which has many of the hallmarks of an NS ambient project as listed above, cannot (and shouldn’t) be easily labelled NSBM. The band does explore avenues of mysticism associated with the Third Reich, they do use martial themes and evoke the ruins of postwar Europe, but it would be difficult (and futile) to try to demonstrate that therefore Kampf is a ‘Nazi album’, any more than Oliver Hirschbiegel’s superb and similarly evocative Der Untergang is a ‘Nazi film’.

tronus_abyss_kampf600    Untergang,-Der

Banning Nazism; the ultimate irony

In recent times, the escalating paranoia about right-wing extremism (alongside, ironically or maybe obviously, a tolerance among people for actual right-wing extremism) has led to some high-profile cases of black metal bands being prevented from playing live, especially in Germany. Most of these bands have of course not been Nazis at all – and it is intolerable that these bands have had their art suppressed and livelihood threatened over what is basically the same kind of metal-phobic ignorance that led to US burnings of Number of the Beast in the early 80s. On the other hand, being provocative provokes, and there’s something a little bit embarrassing about people whose whole schtick is being scary and offensive getting annoyed because their work had its intended effect.

Still, banning any kind of art that doesn’t actually involve harm to third parties is a ridiculous, futile gesture which has (to my knowledge) never had any positive results except to energise those opposing the regime in charge. On the other hand, the last people who should be complaining are actual NS bands. In fact, they should be quite pleased; banning is a classic Nazi trait after all, and it should give them hope for the future of the reich.

 nazifamb