About Hunter Wallace 12390 Articles
Founder and Editor-in-Chief of Occidental Dissent

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  2. I really need to finish up the essay on Neofolk, which I have been promising Greg for months.

    Black Metal is definitely an acquired taste, whereas Neofolk/Martial Industrial is more accessible and thus has broader appeal. Here are some fine examples:

    Von Thronstahl — The Saints Are Coming

    Death in June — Rose Clouds of Holocaust

    Von Thronstahl — Northern Sons under Southern Skies

    Changes — Waiting for the Fall

    Blood Axis — Lord of Ages

    H.E.R.R. — The Fall of Constantinople

  5. “Führ uns durch Sturm und grausige Signale und pflanz in uns das neue Reich!” – Stefan George

    Translation: “Lead us through storms and ghastly signals and plant in us the New Reich!”

  7. The Neo Nazi stuff sounds like a real revolution. The lib and con stuff sound like a bunch of pussies using the black culture to put forth their vapid nonsense about “freedom. ”

    It is pretty sad that these white boys in America have to turn to the negro hip hop culture since their own identity/culture has been destroyed.

  8. Robert, yes, send me that neo-folk piece.

    Der Blutharsch is my favorite neo-folk/military-industrial group, and I love select works by Laibach, Death in June, Current 93, and Boyd Rice/Non. I also think Changes’ Robert Taylor is a brilliant singer and lyricist.

    But my all time favorite is David E. Williams. Check out his website.

    http://www.davidewilliams.com/

    I Have Forgotten How to Love You is my favorite of his CDs, but all of them are great.

    My main gripe with most of this music — and most pop music, for that matter — is that it is just not all that interesting as music, compared to classical music, traditional European folk music, and even popular songs by writers like Cole Porter. Williams, however, like Der Blutharsch, is far more musically interesting the norm. My alter ego Oliver Pendleton is planning a review essay on Williams for TOQ.

    I just can’t listen to Black Metal. The music is often interesting. But then the vocals start, and I feel like I am trapped in The Exorcist.

    I like some heavy metal: the folksy and psychedelic Led Zeppelin pieces, AC/DC’s Highway to Hell, The Scorpions’ Black Out, a lot of Black Sabbath.

    But the rock/pop I really like is: The Doors, The Beatles, Bowie, Queen, Abba, Marianne Faithful, U2, Steve Vai, Blondie, Cheap Trick, Talking Heads, Pink Floyd, Billy Idol, some Journey (Greatest Hits and Trial by Fire), and Zappa uber alles.

    I have been following some of these bands since before you young whippersnappers were born, and I am too much of an old fart now to get into newer stuff, though I have tried. But neo-folk, David E. Williams, etc. managed to get my attention in ways that nothing else in the last 20 years has done, with the exception of one album: Nirvana’s Nevermind, which still amazes me every time I listen to it.

    The East Coast Party Headquarters are directed from the Highest Levels to start listening to David E. Williams.

    Over and Out.

  10. I can’t believe it!

    The lamest video by FAR got the most views on Youtube.

    The Young Cons
    491,203 Views

    What is wrong with you, Youtube?

  12. It seems to me the real folk conservative music is country, with its emphasis on family, alienation from the modern world, suspicion of people that don’t work with their hands, disdain for liberals, love of God and country, etc. Consider some of the tunes of Alabama–Born Country, for instance–or Okie From Musgogee by Merle Haggard.

  13. I am a composer/guitarist and I consider myself a writer of right wing music. Most of the posted pieces are “classical” but that’s the point. My artistic agenda is to reconnect with our cultural musical traditions, with an emphasis on the apex of Western art music.

    http://www.reverbnation.com/rthill

  14. Being a big fan of “extremist” music with direct or indirect political overtones for many years – including black metal, oi!, RAC, neofolk, viking rock, etc – I heartfully agree that these musical movements are leagues ahead aesthetically and conceptually than their antagonists.

    STAHLGEWITTER is definitely the crowning achievement of heavy metal-laden RAC. Other excellent ones worth considering is the patriotic HONOR from Polland and the spaniards from ESTIRPE IMPERIAL. The british and american bands are often more rock and roll-laden owning greatly to SKREWDRIVER and generally do not suit my tastes. Mid-era BOUND FOR GLORY from Minnesota however has an enormous dose of thrashing fury, very recommended.

    For martial industrial, TRIARII seems to be the artistic peak, expansive and epic neoclassical compositions, very cinematic.

    Of special attention in the periphery of political music is Death Metal band ARGHOSLENT from Virginia, the project of highly intelligent and accomplished musicans that have crafted acts of pure genius. Very articulate, militaristic and with astounding melodic sensibility. Full commitment to metal music.

    Deeply Euro-centric and spawning themes of European colonialism and imperialism, European history, the Trans-atlantic slave trade, warfare, elitism, the gap between European and Sub-saharan african cultural achievements and the alien cultural influence of Jewry in well-thought and polished lyrics. Highly recommended as well.

  15. Greg,

    David E. Williams is a troubadour well-known among racialists in these parts. I also enjoyed the DEW tribute CD, which has an awesome cover:

    http://www.discogs.com/Various-The-Appeal-Of-Discarded-Orthodoxy-A-Tribute-To-David-E-Williams/release/1164053

    One of my favourite tracks on that tribute is the cover of Wotan Rains on a Plutocrat Parade by Second Amendment:

    Second Amendment – Wotan Rains on a Plutocrat Parade

    His book store, GERM (germbooks.com), is a fascinating place, which I highly recommend to anyone in driving distance of Philly. At the checkout counter, David has a container full of free pins, bearing the images of such figures as Julius Evola, Corneliu Codreanu and Guido von List.

    The store has so many appealing books around that I quickly ran out of money during my visit, so David let me use his computer and pay him through paypal. My woman was not too happy about this development, as it allowed me to significantly inflate my already irresponsibly large stack of purchases. She had to practically drag me away by the end of the evening.

    You should have come to that performance, Greg. It was a truly memorable experience. Even Mike Bell enjoyed the show, and he’s not much of a Neofolk fan.

  16. Some interesting excerpts from ARGHOSLENT interviews revealing their stance on race and multiculturalism:

    Your lyrics seem to focus on an old European view of slavery. Aren’t there still problems in Africa with slavery today, or is this just a piece of Euro-centric history that all descendants of slavemasters should shamefully suffer for?

    ARG: They should suffer for being unable to displace their guilt. If his person is so susceptible to blame imposed on him by the agenda setting leeches and governing vermin, then let him be tormented and haunted. Under this criteria descendants of slaves should walk equally in shame for their ancestor’s lack of progress, ingenuity, culture, and resistance. Perhaps they wake in the middle of night wondering why none of their forefathers were capable of contributing to Western civilization with anything other than brute labor; no science, no mathematics, no literature, no architecture, no government, nothing! Who is the one who should be shamefully suffering?

    Would your home country of the USA have the racial problems that it does today if it had not once used slave labour?

    ARG: No.

    What are the opinions of Arghoslent on slavery reparations?

    ARG: I assume you’re referring to Trans-Atlantic slavery from Africa to the Americas? When people talk about slavery today, they refer to the Middle Passage experience, fields of cotton, sugar cane, tobacco, etc… Political talk about reparations to offspring of former slaves is just opportunistic. Every ethnicity has been at the mercy of another throughout the history of humanity. Why would reparations for the most recent victims of forced servitude be considered? Talk of reparations by any groups is just for political leverage.

    http://www.tartareandesire.com/interviews/arghoslent.html

    CoC: Although you generally sing about historical atrocities, the Trans-Atlantic slave trade appears to be a favourite topic. What is it about this particular historical process that interests Arghoslent?

    A: It is of such interest to us for living in Virginia, and being part of the New World, which was built on the sweaty backs of imported slaves. In relative terms, we have lived in this continent only a few hundred years, and the history behind this reality is rooted in the trade of human cargo and imperial servitude. It serves our purpose well to capture these feelings of conquering savage lands. We hope to capture, through our music, the essence of combat, encourage and facilitate violence. Eugenics, heredity and colonization have all too much in common; they also possess a negative connotation or lead to a tragic conclusion. Death metal is negative!

    http://www.chroniclesofchaos.com/articles/chats/1-788_arghoslent.aspx

    As a melting pot American meshes and mixes Cultures. What exactly does this word, culture, imply for you? And how does it become something of significance, in other words, what makes a worthwhile culture?

    POGROM: Culture implies the same to me as it does to everyone else. Where I differ from others is the importance to civilization of such culture. Many do not deem it fair to judge cultures on traditional good/bad or advanced/backwards scales. Is it really unfair to compare the culture of the Amerindians (let’s say the Iriquois for example) to that of the Berbers of Northern Africa? What if we compare the ancient Greek culture to the Maori culture of New Zealand? Without such comparison we can never attribute ethnic, climatic, or topographical factors to their progression, historic importance, or eventual decline. I believe all anthropological factors are important in determining the importance or value of any culture.

    On a similar note I read that you feel that worthwhile contributions to world significance does not reside exclusively with whites cultures. What are some Non-white empires and contributors to high-art and architecture? What made these contributions significant and how have they appealed to your aesthetic intellect?

    POGROM: I’m convinced that a good majority of what today is considered non-white ethnic groups have been influenced by ancient Indo-Europeans. Regardless of proving or disproving this theory, it is my belief that almost all cultures have contributed one way or another to our Western civilization. From ancient Mayan astrological advances to the Chinese alchemist discovery of gunpowder, from Basque influence in modern sports to Babylonian mathematics, from the Mesopotamian wheel to the Mesoamerican domestication of corn, from Roman cataract surgery to Russian opera and ballet, from Italian perfection of the modern piano to the French architecture and literature. Where I don’t see much contribution of any sort with anything other than brute force and servitude is in sub-Saharan Africa.

    http://www.nocturnalcult.com/Arghoslentint.htm

  18. @Mark:

    Thank you for posting those links. Great stuff! I loved Triarii’s “Ave Roma”. Majestic, solemn, very stirring.

  23. @22

    Yes.

    If you have not yet read Ernst Jünger’s In Stahlgewittern, it is most assuredly worth your time.

  24. Great post, there is a whole world of relatively unknown pro European music out there that needs more attention, Bound for Glory is an especially worthwhile band along with Ed’s side project West Wall. I will second Jünger’s In Stahlgewittern, along with his other fictional and political works. He is a fascinating and inspiring individual.

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