![]() ![]() ![]() In their political discourse in general, and especially in their past election campaigns, the FPÖ (the Austrian Freedom Party Freiheitliche Partei Österreichs) 1 has developed specific discursive patterns that have been widely discussed in the media, as well as in scholarly research.2 When summarizing the results of these studies, particular dynamic patterns have been shown to emerge time and again, albeit with certain variations. The articles discusses work by Erste Allgemeine Verunsicherung Conny Chaos Chumbawumba Die Ärzte Kaputtniks Georg Friedrich Haas, Furt and others. The music here is interrogated for the textual and musical strategies it deploys, and the spaces and icons of protest performance are probed for their efficacy and for the political interventions that they engender. ![]() It suggests a highly politicised counter-image to the usual, musically inspired representations of Austria, the land more readily associated abroad with Mozart and Haydn, the Vienna boys’ choir, waltzing and yodelling. In interrogating this protest music I discern an important and hitherto under-researched facet of identity-(de)construction in Austria’s artistic self-expression. This article examines a body of protest music (ranging from heavy metal, rock and punk, to mock-choral and microtonal) that came about between 19 as a direct response to the turn in Austrian politics towards the extreme right. The Austrian national elections of 1999 and the subsequent government formation in 2000 sparked a wave of protests, both at home and abroad, due to the inclusion of the extreme-right, populist Freedom Party of Austria (FPÖ) into the coalition. ![]()
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