I first heard of this song when it was mentioned in a diatribe against this artist and his apparent hidden Nazi/fascist agenda. The interpretation given was that this song was about Hitler or the fascist leader archetype.

So, being a skeptic who prefers to make up his own mind whenever possible, I looked up the lyrics first, and pretty much saw...

...a homosexual BDSM attraction, an implied mutuality and recognition, and a vague reference to a need for keeping things secret.

This is one of the early DIJ songs that move me, because many of them were speaking against oppression in various forms.

It's unfortunate that their artistic desire to "re-appropriate" old symbols of Europe that were appropriated (stolen) by the Nazis, was misinterpreted as endorsement of Nazism. Regardless, I see none of that in this song.

Now, given Douglas Pearce's acknowledgement of interest in the history of WWII, and especially the version of the Nazi party that was snuffed out in favor of Hitler's, I can see the possibility of him being inspired, and even having sympathy toward, homosexuals that existed in the early (pre-WWII) Nazi party. However, that sympathy appears, at least to me, to be centered around the historical concerns of homosexuals, NOT a Nazi or fascist agenda. There are actually quite a few songs of his that can be viewed in this way.

As for the music and arrangement, this is one of their best.

The mix of martial industrial and Ennio Morricone elements (the latter of which had a martial element of its own) are highly effective in invoking a certain atmosphere of regimentalization in a given society--something I was made aware of through Monty Python's spoofing of said elements in the troupe's skits and movies, especially Meaning of Life.

The choir of male vocals emphasizes a group element, but the overall delivery of this choir places the men in the subgroup that must honor the silence and press on with their lives and loneliness.

The lead vocal, while not being studio-perfect, is highly effective in delivering the feel of yearning. The singer not only recognizes one of his own kind, but is strongly attracted to him, seeing in him all that is hoped for in a partner.

It is not specified whether anything develops between the two, but that need for keeping things on the DL, as we might say these days, is the last we hear of this interruption in the "march of the lonely" that is homosexuality under oppression.

I first heard of this song when it was mentioned in a diatribe against this artist and his apparent hidden Nazi/fascist agenda.  The interpretation given was that this song was about Hitler or the fascist leader archetype.

So, being a skeptic who prefers to make up his own mind whenever possible, I looked up the lyrics first, and pretty much saw...

...a homosexual BDSM attraction, an implied mutuality and recognition, and a vague reference to a need for keeping things secret.

This is one of the early DIJ songs that move me, because many of them were speaking against oppression in various forms.

Now, given Douglas Pearce's acknowledgement of interest in the history of WWII, and especially the version of the Nazi party that was snuffed out in favor of Hitler's, I can see the possibility of him being inspired, and even having sympathy toward, homosexuals that existed in the early (pre-WWII) Nazi party.  However, that sympathy appears, at least to me, to be centered around the historical concerns of homosexuals, NOT a Nazi or fascist agenda.  There are actually quite a few songs of his that can be viewed in this way.

As for the music and arrangement, this is one of their best.

The choir of male vocals emphasizes a group element, but the overall delivery of this choir places the men in the subgroup that must honor the silence and press on with their lives and loneliness.

The lead vocal, while not being studio-perfect, is highly effective in delivering the feel of yearning.  The singer not only recognizes one of his own kind, but is strongly attracted to him, seeing in him all that is hoped for in a partner.

Reason:

Users:

Reply · 0 Share

by jb0404

7y ago

Love this song to bits. Truly beautiful and scary to me. Don't get the connection with Hitler at all. He wasn't tall, gentle or famous for smelling great afaic. Song describes a very physical and silent relationship between extremely lonely people.The mention of Jesus and the smell reminds me of the raising of Lazarus passage and makes me think it could be about necrophilia (what's more dark and lonely than that?). A corpse in love with the violator.

Users:

Reply · 0 Share