#Lyrical themes: Anti-religion War Death Blasphemy

[k-i-l-l-e-r-b-e-e-6-9]

𝔄𝔟𝔥𝔬𝔯𝔯𝔢𝔫𝔠𝔢 - 𝔗𝔯𝔦𝔲𝔪𝔭𝔥 𝔦𝔫 𝔅𝔩𝔞𝔰𝔭𝔥𝔢𝔪𝔶

[antinonymous]

The Punk Rock in Marxist-Leninism

As far back as I can remember, I’ve always hated punk rock; the reasons why having changed significantly. I heavily identified as Right-wing throughout my childhood through early adolescence, so punk rock was a piece of culture that I quickly realized was not for me, with its far-left anarchist aesthetic. If you’d shown and explained to me something like Holiday in Cambodia I wouldn’t have cared in the slightest. Anti-fascists often forget about how the far-right rarely considers the vast and vapid categorizations of different leftists and other anti-fascist types. Anarchists are just as anti-American as Stalinists; anarchists just don’t have a plan (besides the occasional riot) so they’re more docile and easier to ignore. They’re just extra annoying and snobby. The sonic elements of punk mixed in with the political atmosphere sealed it for me. I thought this entire genre of music sounded like some twerp in class who says shit about America just to ‘piss off the system’. Childish, really.

In high school, the first punk band I didn’t immediately hate was neo-Nazi band Skrewdriver. I was introduced to them on a bus for school, with only one black kid on the whole bus, having the song White Power being shown explicitly to them. I remember referencing it to him later in conversation and he said he hated that experience. To me though? Finally, I thought, some punk rock where I can very easily say ‘well I like the music, but I don’t like their politics’ and it isn’t SJW crap. If I were to say stuff like that about other punk rock bands that’d be blasphemy, so I avoided the leftists and found more Nazi punk, where the bad politics were more obvious.

As someone who’s always been into music, my childhood had a specific opinion that I now understand to be just a simple analysis- namely, that politically left-wing music doesn’t do anything to change the system whatsoever. On an open-mic day in my high school the buses had already arrived and then my band got to play Killing in The Name. The school, the ‘system’, allotted us more time because they wanted to hear a cool song. Nobody was inspired by that song that day to think critically about the condition of militarized police in America or how the Klan’s ideology controls the majority of America’s police. I know I didn’t. Frankly, I thought putting politics in music was a waste of time Right or Left. And I found more Rightist music later on, namely in black metal.

Black metal is a mirror image of punk, if that mirror were on two ends of a horseshoe. Both started out as what we today label ‘edgy’, yet generally non-political, and then got somewhat overtaken by the far right and far left. Black metal was firmly cemented in Nazi ideology by the mid-90s with Burzum and the history of the Norwegian second wave, as well as later bands like Germany’s Absurd to solidify National Socialist Black Metal as its own genre. Then there’re wackos like Peste Noire, who, with the help of figures like Anthony Fantano, are somewhat normalized and mainstream while also having deep French nationalist roots. But what makes black metal also similar to punk is the later insurgency movements from either political side into the other genre. Nazi punk distinguishes itself not by its members being skinheads, for skinheads began as a far-left movement, but rather with aesthetics like white and red shoelaces (wrapped straight) and, of course, swastikas. In the mid/late 2010s an anti-fascist black metal scene emerged in response to the atrocities of the Obama administration and Trump’s election victory. This was spearheaded by bands like Gaylord and Neckbeard Death Camp as well as others from Bandcamp and Soundcloud. It didn’t try to distinguish itself at all, in a crypto-anti-fascism directly proselytizing. Nazi punk and anti-fascist black metal are similar in that they, like all music as we’ll be seeing, also don’t achieve anything, but are specifically trying to change the strata of their own genre’s political associations. As my own father put it, there’s only two kinds of Oi – racist and non-racist.

Left-wing black metal was obvious folly that I participated in anyway. But even when I eventually started putting personal politics into my music from 2016 through 2019, I still avoided major bands like Rage and punk rock (besides Bad Religion, which I only liked because I saw a live cover). It was actually Peste Noire who showed me the wonder of sampling in music; yet another far-right appropriation of musical technique, sadly. It was only in late 2019 and 2020 that I listened to bands like Rage and Dead Kennedys, and seeing the amount of effort they put in their messaging left me cynically giggling. Paraphrasing other commentators, music has no effect on political change no matter how radical. Far-left Marxist, Bolshevik, anarchist and Social-Democratic musical compositions have existed since the nineteenth century and were plentiful in the entirety of the 20th century, albeit with significant change after the World Wars. But music is too individualistic to be politically effective as every individual person’s preferences are different. This is how Rage and anarchist punk rock sold so well in America and how I continued to enjoy Peste Noire long after I left the Right.

My music was also inspired by industrial metal band Rammstein, and I’ve since learned that, generally speaking, politically provocative art is an integral part of industrial music generally, which easily puts off someone not paying careful attention to the music. To paraphrase Žižek, artists like Rammstein and Laibach use fascistic language and imagery in a controlled way that lifts various signs from their associations of authoritarianism, leaving them inoffensive enough to gain mainstream credibility. Case in point, Slovenia’s Laibach has caused numerous controversies over their 41-year-career with their overtly militaristic theme, prolific German lyrics, and for having been branded as dissidents by the Yugoslav government, yet they are the only foreign band that has ever performed in the Democratic People’s Republic of Korea. They were invited to play in 2015 to celebrate the 70-year-anniversary of the fall of imperial Japanese rule on National Liberation Day. The government would clearly know better than to invite a legitimate fascist band; in their minds that would most certainly create an immediate attempt to try to cause some type of western imperialist unrest. One would wonder why they’d invite anyone at all. But nothing malevolent came about from it; the show went fine, and clips of it are on YouTube. I won’t try to make any comment on any individual in the DPRK or anywhere else, but it’s fascinating to think of what happens when Laibach is played through North Korean speakers, interpreted by those who have few else in common with the band other than they both have experience living under a régime inspired by Marx.

It must be a different experience from, say, the experience of Anarchy in the UK by Sex Pistols as sung on North Korean karaoke by VICE journalist Sam Smith. This leads me to my current gripes with punk rock, specifically in the year 2021.

Sex Pistols are the origin of punk rock’s association with anarchism due to the song mentioned above, but they are also the origin of punk rock’s association with Nazism due to Sid Vicious’ use of a swastika t-shirt. This is no paradox. Both are a result of Liberal nihilism, of having no true political leaning other than blind offensiveness and ideological motivation without one ever needing sincerity in belief. Either that or punk rock bands are explicitly Liberal/conservative, which is a discourse I remember from my childhood. Post-90s punk was too commercial, liberal, gay, et cetera, with bands such as Green Day having been seen as a perversion of the solidarity of the mostly cisgender heteronormative anarchist community of people who actually listen to punk rock. John Lydon is an open Trump-supporter. After the far-right January 6th attack on the Capitol, Dead Kennedys retweeted many Liberal commentators and politicians, including Republicans Mitt Romney and Arnold Schwarzenegger. I see not a problem with individual people and artists but a problem with punk rock as artistic expression; it has terminal hollow conformity. Overall, its association with petit bourgeois ideology leaves punk rock with little to give it credibility. Punk rock has always had an insincere, two-faced nature. ‘Punk’s not dead’ is the anti-fascist equivalent of ‘return to tradition’…or is it anti-fascist? Depends on who’s saying it, where’s being said, and who hears it.

Where to turn? Marxist-Leninists (and sometimes even anarchists) will argue that social bureaucracies such as Cuba, the People’s Republic of China, Vietnam and the DPRK provide an alternative to American global homogeny. Considering the American military spent over $700,000,000,000 on its military last year, and that many bases are specifically placed around those listed countries, their arguments aren’t entirely unconvincing. They also argue that because Marxist-Leninist politicians provided industrialization and progress for their nations without what Marxist-Leninists would personally term “imperialist war”, they should be praised, as well as the fact that many of the problems commonly associated with those countries are explicitly from American intervention to stop ‘the spread of Marxism’ and to keep them subordinated to western authority. However, as Bordiga writes in Characteristic Theses of the Party, the integral realization of socialism within the limits of one country is inconceivable and the socialist transformation cannot be carried out without insuccess and momentary set-backs. The defence of the proletarian regime against the ever-present dangers of degeneration is possible only if the proletarian State is always solidary with the international struggle of the working class of each country against its own bourgeoisie, its State and its army; this struggle permits of no respite even in wartime. This co-ordination can only be secured if the world communist Party controls the politics and programme of the States where the working class has vanquished.

Am I arguing for left unity, left solidarity, the whole “anarchists and Marxist-Leninists are going for the same communist goal” argument? No, I’m not talking about that. This has been said before but, historically speaking, there’s usually only one correct way to pilot a vehicle and thousands of wrong ways. But I’m talking about music. And I bring up Marxist-Leninism for what could be seen as a superficial reason; that the potency of Musikbolschewismus is greater than the potency of traditional anarchist punk rock. If we’re just talking about music to ‘piss people off’, which is what punk rock culturally amounts to, punk rock could be Marxist-Leninist in that that ideology has more of the nihilistic punk rock mentality than any band you could name. Because Marxist-Leninism can indeed be quite nihilistic, with Russian Bolshevik minority rule in foreign countries paralleling the worst aspects of American imperialism and its related apologia. As for industrialization, the USSR demobilized its military to a lesser extent than other European countries, organized more strictly than NATO. Their industrialization in question was related to impersonal and heavily regulated bureaucratic trade, the aforementioned occupation of eastern Europe and elsewhere, and warcraft: firearms, lightweight tanks, and thousands of nuclear weapons. In 2021, the history of Marxist-Leninist music is both far more potent and plentiful than anarchist punk rock; if a bit old-school, boringly classical, and used in the justification of unjust countries.

What I’m trying to say is this: what is the difference between an English band that wears swastika and MAGA t-shirts singing about how anarchy is good and another band that wears sickle and hammer shirts singing about how the USSR and the PRC are good? Both are nonsense but the latter is sincere with what they say… or are they? Considering punk rock’s edgy, yet ultimately cowardly and insincere anti-authority outlook, I can’t help but wonder what would be if Marxist-Leninism were to ever embrace the potentiality of its status and flaws and make annoying, loud guitar music. It wouldn’t be hard since, comparatively, the bad politics are more obvious. And once it gets started, it’d create a new cycle of the entirety of political thought in music; easily being able to be superior to Right-Libertarian punk rock and all the washed-up bands of the 70s-00s.

What’s the actual transgressive music we have today? Rap music has been mostly dominated by black Americans since the 80s, with a lot of rappers now being women. It is held to a different esteem than even the antisemitic ‘satanic panic’ of the 80s against heavy metal, since legal cases referring to rap lyrics are not unheard of and can even lead to conviction in modern times. It is much closer to the struggles of the global afro-diasporic community than with European writers from 80+ years ago. Punk rock never had, never could, and never will, have a scene of that calibre.

In conclusion, I hope I have provided a cynical pseudo-rehabilitation of punk rock through the example of Marxist-Leninism in a specific manner related to the overall creation of and interpretation of music, which is an important piece of international culture. I know Marxist-Leninist States to be corrupt and are not socialist, but to the eyes of an American, and to the ears of the average punk rock normie, Marxist-Leninism is just as anti-US government as the anarchists, only scarier, because they actually have a plan! So why can’t it be punk? The PRC’s State-sanctioned abductions are certainly not what Bordiga had in mind in regards to a proletarian government being against its own bourgeoisie. Internationality is the way forward. But it almost sounds like it’s against the system if one has that kind of understanding of ‘the system’. Who’s to say there isn’t an obscure 80s punk demo labelled Kidnapping Billionaires somewhere? Punk rock is nothing more than vapid noise to piss of conservatives. That’s it. It has no heart, spirit nor philosophy. The PRC even saying they would like socialism is too far for American conservative wormpeople, and legitimate reasons to criticize the PRC and other social bureaucracies get overshadowed by imperialist greed and racism. Music is not nearly the kind of tool of radicalism Zack de la Rocha thought it was, but with the internationality of Laibach we see it can do more than one can normally expect. It all depends on whether people can distinguish/separate the instrumentation from the proselytization.

[k-i-l-l-e-r-b-e-e-6-9]

𝔄𝔟𝔥𝔬𝔯𝔯𝔢𝔫𝔠𝔢 - 𝔄𝔟𝔥𝔬𝔯𝔯𝔢𝔯 𝔈𝔵𝔦𝔰𝔱𝔢𝔫𝔠𝔢

[k-i-l-l-e-r-b-e-e-6-9]

Abhorrence - Storming Warfare