François sets out to analyze and explain what he calls the "Euro-pagan" music scene–a term he proposes to cover both the dark folk and pagan sections of industrial music. The Euro-pagan music scene includes America as well as Western Europe and the former Eastern Bloc: "European" is used in an ethnic rather than a geographical sense. My Music Scene Traditionalism is part of his Euro-pagan music scene.
François argues for understanding the Euro-pagan scene as "an identitarian construction" that is "nourished by the fears of a population with European roots faced with a rising influx of immigrants and an expanding globalization that puts cultures and their diversity at risk."
He puts the Euro-pagan scene in the context of Western neo-paganism since the 1970s. He emphasizes that many or perhaps most neo-pagans are on the extreme left, and that "radical ecologist ideas" are more prevalent and more important than Euro-pagan ones. However, "despite the diversity of political beliefs," he finds "a profound doctrinal unity" among all neo-pagans. This consists of
- "the praise of radical differentialism"
- "using communitarianism as a solution to multiculturalism"
- "criticism of western thought, [as] individualist and standardizing"
François notes a number of "fascinations" among the Euro-pagan section of neo-paganism, notably fascinations with
- "bravery and virility"
- "the warrior"
- "the North"
- "the dark pages of European history"
Interest in Evola, along with definite but less important interest in Ernst Jünger and Corneliu Codreanu, is placed within the context of these fascinations. For many, the point of entry to Evola is not his Traditionalism, but his "idealization of the Indo-European."
This raises the question of which comes first–what François calls "black romanticism" or ideas (including Traditionalism). François does not directly address this question, but does observe that the esoteric content in the scene is sometimes "diluted," "merely make use of esoteric themes and symbols, without adhering to this metaphysical way of thinking." The same might well apply to the political content, but–as he observes–interest in radical politics often preceded involvement in the scene, as in the cases of Tony Wakeford of Sol Invictus, who was once a member of the British National Front, and Michael Moynihan of Blood Axis and Tyr, who was a radical communist at the age of 14.
How much all this matters is a question the article does not ask (though it does observe that the scene "opens up new perspectives" for existing rightist groups). It does, however, provide one approach to an answer, by convincingly identifying the scene with two wider phenomena that clearly do matter–ecology, and concern with immigration and globalization.