Palingenesis, electronic music, fascism, fusion, transcendence?

ahuthnance, we were talking about Roger Griffin and his [separate] interests in electronic music and Nazi Germany. The interesting question is whether any commonalities could be teased out in how he discusses palingenesis? Or is his musical frame of reference so tightly tied to rave culture that it becomes impossible to imagine other settings and genres being used as props for Victor Turner style liminal rituals (even if the participant is a lone individual not directly fusing with a collective)? What if the music is used to provide a commentary on violence in such contexts as well?

In the absence of other writings on electronic music more generally by Griffin, I've had to content myself with other artefacts, such as the brilliant rescoring of Salo, using Kelly Bailey's evocative soundtrack from Half Life 2 (notwithstanding any historical differences between Italian and German variants of fascism, we would agree that each bears examination as a palingenetic populist form of ultranationalism). And then there is the stunning Tangerine Dream track from the opening of The Keep......