On the back of a five-track EP release in September this year, new band Worker and Parasite are using the formality of political rhetoric and propaganda to deliver their anti-capitalist and neoliberalist sentiments.
Confining themselves to press releases that resemble a political document, often with signs of harbouring top-secret or confidential information, Worker and Parasite are a self-proclaimed party fighting for the proletariat.
“THE PARTY IS ETERNAL,” states an unknown band/party member. “And the struggle against neoliberal capitalism shall continue until final victory.”
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Although music remains the vehicle for the delivery, this approach is undeniably authentic and hugely provocative. Yet it is not solely directed at the music industry, which in their own words has fallen victim to capitalism, but to the myriad facets of society that are subject to the oppressive forces of the current default ideology.
“PARTY scholars recognise that the decoupling of artists from the Australian* music industry is a natural consequence of its intensively exploitative structure. As in all capitalist production, the status quo favours the rich, and successes for any artist of modest means are either fleeting or, in actuality, further successes for the forces of capital.”
Ubiquitous within their manifesto lies the intention to strive towards a greater value being placed on art.
“Financial sustainability is not a feature of capitalism,” says the Party. “This most often expresses itself as a continuous struggle within the working classes against their oppressors. Artists are no exception. As an intermediary measure, the PARTY advocates for a universal basic income for all, so that those who might otherwise be unable to pursue artistic activities may.”
Through this endeavour of achieving a universal base income, the Party is hoping to dismantle the current notion of success that is a detriment to the music industry.
“Within the capitalist framework of our society,” says the Party, “‘success’ within the community or industry occurs at the expense of others: e.g. – you are competing for a good night at a venue, you are competing for tickets to the best shows etc. This in turn creates an undercurrent of cliques, competition, and distrust which ultimately undermines the project of solidarity within the artistic community.”
However, despite their realist and cynical attitude, the Party recognises they are beginning to see dissent and radical unconformity by artists, falling in line with the sustainable alternative they are proposing.
“Artists are waking up to the lie and to those who make careers of slipping their hands into artists’ pockets,” says the Party. “The PARTY endorses the behaviour of any artist seeking to withhold profits from entrenched capitalist actors within the music industry. Any act of resistance is a worthy one.”
Subject to total disillusionment the Party are creating music that adheres to its values but remains catchy. What’s more is their intentional engagement with “visual media and content designed for consumption on the world-wide-web”. Namely the music video that was released for ‘Silent Majority’ on November 4.
Four minutes of choreographed dance and movement leans into the refrain of “THE UNDECIDED WILL DECIDE IT”, as the Party undoubtedly intend for consumers to remember the video and lyrics.
“Given the communicative powers of AUDIOVISUAL MEDIA,” says the Party. “It is of the UTMOST IMPORTANCE that this AUDIOVISUAL RESOURCE is proliferated AGGRESSIVELY across a MULTITUDE OF MEDIA in order to aid the PROLETARIAT in its REVOLUTIONARY ACTIONS.”
Although the Party is dispersing their intention in a multitude of ways with force, the identity of this revolution remains faceless, a deliberate technique employed by the Party.
“There is no theoretical reason why a similar level of anonymity would not benefit other artists,” says the Party. “It is theorised by PARTY scholars that in the spiritual desolation of neoliberal capitalism, humanity strives for intimacy and connection. This drive led to a proliferation of technologies that purportedly allowed for the realisation of this desire, but in reality has trapped many of us in a spiral of longing, interpersonal competition and an insatiable need for validation.”
Their distrust and hatred for the powers responsible for driving capitalism sings true, but what remains is whether their music and artistry will have enough of an impact to incite significant change. At the very least, it’s a captivating gambit.
For more info, head to the Worker & Parasite website here.
