The gothic and darkwave scene neglects other social minorities

The new released documentary ‚Nothing New But Abortive Gasp‘ by Ludwig Kamberlein is about a German electro-industrial band from Hamburg, which was founded in 1987. Harry Luehr, Tim Paal and various guest musicians were based in the independent music scene. ‚Abortive Gasp‘ were controversial because of their unpolitical attitude.

Not long ago, Western societies were open to artists who broke taboos - thus also in music and there especially in the genre of 'Industrial Rock'. The approaches of rebellious non-conformists like ‚Marilyn Manson’ or ‚Skinny Puppy’ were frequently even credited with having a subversively modernizing effect on society.

In the new millennium, the left made its peace with the political system and free market economy. Thanks to increasingly progressive policies, the public has become more 'woke'.
Therefore, art that offends religious feelings is only accepted if it is accompanied by an impeccable political reputation. ‚Abortive Gasp‘ never had that and there are no signs that this will change any time soon.

The name of the band always causes discussions: 'Abortive Gasp' seems antinatalistic - as a call not to have children for ethical reasons: An obvious challenge for members of traditional cultural groups with a large number of kids, even if the band has never made an explicit statement about "pro or against abortion".
But provocations like these make access to the gothic and darkwave scene almost impossible for refugees or Muslims, for example. If cultural politics shows no indication of trying to find a solution, the suspicion remains that the scene is actually a closed Christian society - with an upside-down Cross of Saint Peter.

It’s the merit of the newly released documentary ‚Nothing New But Abortive Gasp‘ to hold up a mirror to the possibly overly self-righteous gothic and darkwave scene regarding its lack of responsiveness to other social minorities.

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This release was published on openPR.