Abstract

Arguments over the value of ‘extreme music’ and the use of highly controversial imagery within these genres have existed since its inception. Detractors claim that using extreme imagery such as fascist symbols, pornography and racially charged photographs inherently promotes the corrosive ideologies behind these images. Some purveyors of extreme music disagree, arguing that musicians use these images to explore humanity’s darker elements which, in turn, allow audiences to better understand these problematic aspects of modern society. When played out within underground music communities, these arguments often devolve into name calling and accusations of censorship. However, by addressing extreme music on its own terms and critiquing the effectiveness of these genres, a more nuanced understanding of the issues intrinsically embedded within extreme music emerges. In this article, I employ this approach by exploring the music and imagery of power electronics band Whitehouse and argue that the ambiguous nature of their work partially mirrors the intention behind Paulo Freire’s concept of codifications. While this notion provides some defence for extreme music more broadly, the lack of venues that promote communal explorations of these images hinders the genre’s ability to achieve its own goals.