The aesthetic of hardstyle is aligned with critical thought and is structurally unable to be recaptured by boring dystopia. It is something the left should consider as an aesthetic element.
This is what I love, and can’t stop lovingShowtek, “FTS”
Get wasted at parties, from 9 ’till 7 in the morning
I live for the music, rolling blunts, feeling high, getting loaded or take some pills and go to La La Land
Spending all my money on dope and extreme high priced tickets
But in the end it’s all worth it
I like to live in my own world
Fuck regular life, fuck a 9 to 5 job
I’m told to enjoy every moment, every hour, every minute
That’s what I do on Fridays and Saturday
Why should I take life so seriously?
I just wanna do what I like to do
Being far from reality, cause I can’t stand society
This is my own world, I just wanna hear the music
I think the whole system fucking sucks
Everybody’s working their fucking ass off during the week
Getting totally fucking stressed out
So what’s wrong, and what’s right?
I live for the weekend, I live for hard styles, I live for hardstyle baby!
It is really too bad Nietzsche didn’t get to go to a doof doofer, one can easily see Nietzsche stumbling through a crowd, mustache ajar, pushing through with a couple of his libidinally questionably positioned friends. Hardstyle is the realization of what Nietzsche hoped to find in Wagner, but was disappointed to find it Wagner’s pseudo-tragedy too willingly recaptured by bourgeois society by both Wagner and bourgeois society alike.
There are a few critical theory points which are imminent to the lyrics to anyone schooled in critical theory I would challenge you to avoid. One, is the obvious willingness to engage in work and the hedonism which provides a replacement for critical thought; i.e., the “More Acid than Communism” critique of Acid Communism from the Cosmonaut blog. The second point is the lack of a positive program, and nothing approaching a replacement for capitalism et al. The reason which these are being overlooked is because hardstyle seems to have proven itself as something that can break through the culture of compulsory positivity.
Hardstyle is the death drive cry and the simultaneous demand for something else, a demand for an outside.
If you wander around Los Angeles to electronic music events aimlessly, you’ll notice a distinct strange trend (or you would if you were me and had a similar set of experiences). Famous DJs such as Benny Benassi with famous hits and worldwide stardom are drawing smaller crowds than loud, dissonant, highly accelerated bass drum electronic music. Hardstyle has emerged from rave culture as a replacement of the highly commodified and mainstreamed Dubstep of the late twenty-aughts and early tens. Dubstep artists doing collaborations with Britney Spears and Justin Bieber lead to lukewarm “Yes, of course, I guess this is OK.”
Hardstyle is different, it isn’t something that can be recaptured by any regular neoliberal spectacle. It is distinctly outside, distinctly loud, distinctly unrecapturable except through of course, its means of being produced.
Hardstyle music isn’t for relaxing either, its not something which can be played in the background of a restaurant. It is simply too fast, too pulsing, too demanding, too full of death drive.
The aesthetic revolutionary potential is there, if like all potentialities, it isn’t there in full.
Showtek, “The World is Mine”
I was put on this earth to make a difference, homie
The world is my playground
The bird’s left the cage, I’m doing things my way now
Man, I’m willing to die for the cause
That’s the difference between me and y’all
To be the best, you have to beat the best
I’m undefeated, my style is everlasting
And I’mma never back down, you fucking clown!
We win, you lose
We live, you die
The world is mine!
It is worthy to note that hardstyle’s resurgence is a historical Actuality present in today’s electronic music, and draws crowds larger than those promoted by television, movie, sports, and relaxation/mindfulness/spirituality culture.
Hardstyle is hypermodernism’s death drive showing itself in culture and as a socially present reaction against pseudo-enlightenment idealism of boring tech dystopia.