dance music as a hyperfascist art form
how does fascism reterritorialize body art movements to sustain and achieve proliferation via subsequent incarnations?
techno (and dance music at large) is a physical protest of the societies of control, simultaneously accepting and rejecting boundaries.
due specifically to its nonverbal nature, it can easily be defanged and recuperated to propagate capitalist and even fascist agendas. how can the listener tell the difference between the altered and the authentic versions?
this episode satirizes the fascist influence on/of our music and society and attempts to recreate a post-historical reality. “hard dance”, also mocked as “world war 3 techno”, much like hardcore punk, black metal, grindcore (or any subgenre of extreme music) appeals to the fascist as a joyful sublimation of the subjugation of others (and, in some cases, the self). brutality of sound, without sincere or earnest emotion, lends itself easily to mindless and militaristic movement. there is no euphoric end goal here: only utter submission.
Tracklist:
british murder boys – hate is such a strong word
diamanda galas – wild women with steak knives
niesennenmondai – A
corax umbra – fatal signal
phase fatale + new frames – mass organism
rvde – cncb
patrick skoog vs the anxious – industria
mike humphries – into the night (wrx)
lucindo – act 140
schranzwerk 2 headroom – push
lars klein – sweat
johannes schuster – beater
ryuji takeuchi – west not east
aert – the underground
fld5fht – white devil
noneoftheabove – another day
glenn wilson – sentinel
darzack + ospiel – subterranean stem
statiqbloom – edge scraper
p.t.b.s. – dark veins
orgie – dark cavern
glenn wilson – enemies
order from chaos – neurodance
zekt – it’s goodbye