Historically, when music has been studied in relation to radical-right movements, there has been a focuson totalitarian regimes or white power “hate rock”, with a specific emphasis on Nazi-punk and NationalSocialist Black metal (NSBM). Existing research has either focused on the preferences of organisers andactivists whilst or analyses of musical media with a focus on lyrics.The former approach overlooks how the music works as a recruitment tool amongst the movements as awhole whilst musical media analyses of various kinds have instead honed in on sensational andunrepresentative examples. In the latter case, these approaches adopt a simplistic “sender-receiver”model which emphasizes a one-to-one link between music and interpretation. This is a problem becausea) there is no guarantee that those accessing radical-right spaces listen primarily to radical-right artists; b)radical-right strategists have moved away from explicitly extreme aesthetics to target extreme messages;c) these models are weak in explaining music without lyrics; and d) It is necessary to explore how theculture around music – talking about, sharing and experiencing music collectively - reinforces particularways of seeing the world, in order to understand its appeal.This paper maps out the ways in which music’s role has been theorized and studied in relation to theradical-right. It argues for a need to recognize the way in which a reconfiguration of the radical-right atlarge has had implications for the music associated with it. There is evidence that, as radical right cultureshave shifted, so too have the musical aesthetics associated with them. Based on network, content anddiscourse analysis of radical right online spaces it proceeds to show how by exploiting loopholes in contentregulation, radical right artists have managed to target music to unsuspecting mainstream audiences.