“Die Menschheit, die einst bei Homer ein Schauobjekt für die Olympischen Götter war, ist es nun für sich selbst geworden. Ihre Selbstentfremdung hat jenen Grad erreicht, der sie ihre eigene Vernichtung als ästhetischen Genuß ersten Ranges erleben läßt. So steht es um die Ästhetisierung der Politik, welche der Faschismus betreibt. Der Kommunismus antwortet ihm mit der Politisierung der Kunst.” – Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit,
“Humanity, which in the time of Homer was a show-object for the Olympic Gods, is now become one for itself. Its self-estrangement has reached such a degree that it can experience its own destruction as an æsthetic pleasure of the first order. This is the æstheticization of politics that fascism pursues. Communism responds by politicizing art” (rough translation)
Art and Left-wing politics have, especially in the past century and especially among the vanguard, been closely intertwined, though the “art world” is under an intensely recuperating, bourgeois, hegemony. We are Leftists who have grown tired of the state of politics in music. We are tired of hardcore punk and folk-punk–its reliance on self-righteous sloganeering and its formulaic, boring sound. We strive instead to politicize “dark music”, a catch-all term for genres such as post-punk, gothic rock, darkwave, coldwave, industrial music, black metal, noise music, martial industrial, power electronics, neofolk, dark ambient, industrial hip hop, and shoegaze. It is thus with a sense of disgust that we approach fascist entryism (often under a Strasserite/social-chauvinist and Evolesque mask) into these genres–these scenes must not be allowed to become their province and cover for their organization.

We understand that music alone cannot bring forth a revolution; indeed, we scorn simplistic attempts to preach through records. But any revolution that refuses music is no revolution of ours.