Against a backdrop of intensifying geopolitical tensions, anti-intellectual rhetoric, documented instances of censorship, academic corporatisation and political interference, this article examines how the work of editors and reviewers might offer critical and creative entry points to disrupt the articulation of fascism in music education, academic publishing, and society more broadly. Applying Deleuze and Guattari's understandings of (micro)fascism as intricately related to desire, I report the findings of a content analysis of music education journals and affiliate organisation descriptions and mission statements, through which articulated desires for the field and desires for society coalesce as centres of significance and subjectification. By insisting upon the synthesis and cohesion of these desires, editors and reviewers risk curtailing the experimental capacity of the field, reinforcing the very capitalist and neoliberal tides we so often aim to work against. Outlining a doubled editorial responsibility-for and responsibility-in music education, I argue that editors and reviewers need to interrogate their own ethico-political decision-making in relation to these disciplinary apparatuses and work productively within the tension that always-already exists between fascism and revolution.