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Far-right activists have attempted to infiltrate and use popular music scenes to propagate their racialised ideologies. This paper explores attempts by the far right to co-opt two particular music scenes: black metal and English folk. Discourse tracing is used to explore online debates about boundaries, belonging and exclusion in the two scenes, and to compare such online debates with ethnographic work and previous research. It is argued that both scenes have differently resisted the far right through the policing of boundaries and communicative choices, but both scenes are compromised by their relationship to myths of whiteness and the instrumentality of the pop music industry.
Karl Spracklen (Wed,) studied this question.