“Comfort to me, what does that even mean? One reason, do we persevere?/
Existing for the sake of existing, meaning disappears.”
Thus opens the song “Capital” from the Australian punk band Amyl and the Sniffers’ new album, Comfort To Me. The album is shaped by the same driving intensity of their previous music, but it takes further steps towards conscious political opposition to patriarchy, capitalism, and settler colonialism. In this short piece, I analyze the lyrics of “Capital” to explore this political evolution. After detouring through Marx’s “Economic and Philosophic Manuscripts of 1844,” I ultimately argue for the utility of cultivating radical political consciousness in subcultural milieus, which seemingly laid the foundation for Amyl and the Sniffers’ political turn.
***
The turn to conscious politics is signaled first by the recognition of the politics of personal experience. The singer, Amy, attempts to reclaim her body and life from the world of patriarchal standards and violence, and she recognizes this as the first step in “basic politics”:
“Meanwhile, I only just started learning basic politics/
Meanwhile, they sexualize my body and get mad when I exploit it”
On another song on the album, “Knifey,” she addresses the threat of violence against women and vows to fight back.
“All I ever wanted was to walk by the park/
All I ever wanted was to walk by the river, see the stars/
Please! Stop fucking me up
. . .
Out comes the night, out comes my knifey/
This is how I get home nicely.”
Since society will not accept her efforts at self-determination or even basic safety, Amy realizes that she has to fight for it. This basic recognition of the contradictions of patriarchal violence and exploitation lay the foundation for a broader reckoning with a sick culture that is ultimately driven by capital. The chorus of the song puts it simply:
“It’s just for capital/
Am I an animal?/
It’s just for capital, capital, capital./
But do I care at all?”
The “animalization” of humanity by capital takes us back to Marx’s early analysis of wage labor under capitalism in his “Economic and Philosophic Manuscripts of 1844.” Marx argues that labor under capitalism has been transformed into an experience that alienates us (removes us) from what makes us human, and thus reduces us to the level of animals.
Marx argues that capitalism is experienced as an intensely alienating social system because it perverts the fundamental activity that makes us human. Unlike animals, humans produce the conditions of our own social lives: food, clothing, shelter, culture, etc. When we labor, we put part of ourselves into the object of production. In a non-capitalist system, we produce goods for the use of ourselves, our families, and our communities. We put our life into the products, but we “regain” this life when our community uses the goods.
Under capitalist wage labor, commodities are produced not for use but rather for exchange value. We labor not to feed, clothe, and shelter ourselves and our community, but rather for the sake of profit for a capitalist. We imbue the commodities we produce with our life, but they confront us as something outside of ourselves, in control of another person for their profit. These commodities become “fetishes”: they seem to be imbued with energy of their own which is disconnected from the labor that has produced them. Capitalism becomes a system in which commodities interact with each other in the marketplace, disguising the real social relations between humans. We suffer a profound disconnect with the world and our own sense of humanity.
The characteristic of labor as external to the worker means that “the worker therefore only feels himself outside his work, and in his work feels outside himself.” But this feeling of alienation at work has expanded to encompass our entire lives. Unlike in Marx’s time, we are now confronted with an entire world that takes the commodity form. Western societies have turned into mass consumer societies, where what makes us human outside of work is literally buying commodities. If these commodities are the products of something that is so alien to us, this is bound to be a very alienating existence. We have as little control over the world of commodities as we do over the political processes that lead to the destruction of the natural world. Again, “It’s just for capital/Am I an animal?”
***
In the next verse, Amyl and the Sniffers turn towards the destructive effects of climate change:
“Australia is burning, but, aye, I’m not learning how to be more conscious/
And the farmers hope for rain while the landscape torches/
Swimming in the river, I’m part of the river, not convinced how much will change/
Experiencing experiences as if they’re all the same”
Amy is swimming in the river of existence, seeing the terrible effects of climate change but unable to conceive of how her actions could change the situation. She is left with a feeling of alienation from existence, alienation from her own experience. This is a classic response to the alienation of life under capitalism. As she says in a second part of the chorus: “Freedom don’t exist/humans don’t exist/existing to exist/life is meaningless.” This again reflects Marx’s analysis: capitalism animalizes us, meaning that humans no longer exist; under capitalism, we exist just to exist, work just to survive, and thus life is meaningless.
***
After beginning with her own experience as a woman under capitalism, Amy begins to question the entire existence of Australia itself. In the next verse, she snarls that:
“First port of call should be changing the date and changing the flag/
Of course I have disdain for this place, what are you thinking?/
You took their kids and you locked them up, up in a prison”
She is referring to the process of settler colonialism in Australia, specifically how the children of the aboriginal peoples were stolen as official government policy up until the 1960s and into the 1970s. Settler colonialism and genocide of the indigenous peoples laid the foundation for Australia as a country. Thus, the entire project is rotten and must be challenged at its core.
The key here, for me, is how she expresses this analysis: “*of course* I have disdain for this place.” It is a common sense rejection of the brutality of settler colonialism, a common sense rejection of the Australian project: “of course.” And yet, this is clearly not broadly shared across Australian society. Rather, I think it is a common sense that is actively cultivated in youth subculture, particularly punk. This is how a punk band such as Amyl and the Sniffers can release a song with a “common sense” rejection of the Australian state and capitalism. The common sense is also based on an ethical connection between the personal and the political: Amy easily connects her own experience as a woman fighting to determine her own relationship to her body and sexuality to an ethical rejection of settler colonialism and capitalist exploitation.
***
So, where do we go from here? Given our alienation and the meaninglessness of life under late capitalism, perhaps an answer begins with the cultivation of intensity: new forms of life that are non-commodified, that prioritize direct experience in the search for meaning. The last verse of “Capital” gestures towards this possibility:
“So ordinary and normal, don’t see the intensity that it is/
And I wonder why I get dopamine released when I give/
Disdain and excitement dually, the illusion can be fleeting/
I love feeling drunk on the illusion of meaning”
Of course, this ends on an ambivalent note. Does the intensity of a punk show provide real meaning, or is it just another illusion? The next step, I think, is to take the intensity of a punk show—and the broader forms of life and common sense that the punk scene enables—and draw connections with other oppositional spaces, intensities, and projects. This can help create archipelagos of resistance, networks that produce a fighting coalition of (sub)cultural forms that together can challenge capital and replace its animalization with a meaningful life. The question then becomes how to move from scattered subcultural resistance to a broader, more coherent counterhegemonic force. We can start with punk, but we cannot end there.