Arguably the most obvious examples of apoliteic music—which reveals itself through music, lyrics, band names, album and song titles, cover art, style of dress as well as being subtly articulated in live performances—can be found in certain Neo-Folk and Martial Industrial works. From a ‘technical’ point of view, the two genres may seem musically different. The typical Neo-Folk artists sing melancholic ‘folkish’ songs to the accompaniment of acoustic guitars, violins and piano, while typical Martial Industrial acts create dark bombastic collages that usually feature various samples of military marches, battle noises or war-oriented speeches. The genres correlate—hardly surprisingly—with Evola’s interpretation of the idealized origin of now desacralized modern western music. From his point of view, as expounded in Cavalcare la tigre, ‘the most modern western music has been characterized by increasing estrangement from its lineage, both the melodramatic, melodic, heroically romantic and pretentious line (the last of which is typically represented by Wagnerism), and the tragic-pathetic line (we need only refer to Beethoven’s principal ideas)’. Although it’s unlikely that Evola himself would have enjoyed most extreme samples of Martial Industrial music, it is significant that both genres—no matter how ‘technically’ different they are—fit his description.