The New Nationalist Music

Eric Owens, American Renaissance, November 2000

Popular music has had a heavy, leftist overlay since at least the 1950s. Pete Seeger, Joan Baez, and Bob Dylan made protest a central part of their message, and performers who are not as explicitly political continue to give popular music an unmistakably lefty slant. Like Hollywood, the recording industry has had a deliberately corrosive effect on every sentiment and tradition healthy nationalism requires. This is still true for most commercially successful performers but there is a growing musical subculture that reflects something entirely different: a resurgence of patriotism, national identity, and even racial consciousness. The mainstream media and the music press have carefully avoided publicizing this trend, but it is growing so quickly below ground that it cannot help occasionally breaking the surface.

What kind of music is this? Who are the performers? Is this just adolescent rebellion or do white power bands reflect real racial commitment? Most people have heard about skinheads but very few know about Apocalyptic Folk, NR, or Black Metal music. I have been part of this movement myself — first as a fan, later as an active performer — and believe I can report with some authority on a phenomenon nonparticipants are not likely to understand.

The skinhead movement began in England in the late 1960s when young people emerging from the Mod (short for Modern) youth culture followed the lead of rock groups such as The Who, and wore Mod clothing draped in the Union Jack. Skinheads took most of the Mod style — Doctor Marten boots, short hair cuts, patriotism, a penchant for scooters, loud music, and violence — and carried it even further.

Death in June

Death in June

Throughout the late 1960s and early 1970s the skinheads were, for the most part, non-ideological toughs, known for football hooliganism (rioting at soccer games) and Paki-bashing (beating up Pakistani or Indian immigrants). Among the first skinhead bands were Slade and Dexy’s Midnight Runners, the latter to become known for their international hit “C’mon Eileen.”

By the mid- to late 1970s the skin-heads were beginning to become politicized, and were welcomed by the Young National Front, the official youth wing of the National Front, which started enthusiastically promoting skinhead music. By the 1980s the term skinhead was firmly associated with nationalist groups like the National Front and the British National Party. There is still some association between skinheads and the British National Party, but the decline of the once-powerful National Front was due, at least in part, to a falling out with the musicians, who had been some of the party’s best youth recruiters.

It was during this period of political activism that a new skinhead-specific music movement took shape. This movement was called Oi! which was the Cockney word for “Hey!” and was a kind of white working-class battle cry for musically-oriented skinheads. It was by means of this music that skinhead politics went international. Thus, through the 1980s and 1990s, the movement was no longer associated specifically with England, but with disaffected white youth worldwide. By the 1990s, Oi! had largely faded in favor of even more racially charged music styles such as RAC (Rock Against Communism/Capitalism) and Hate Core (the latter being mostly an American phenomenon.) The most popular skin-head bands today are Skrewdriver, (England) Brutal Attack, (England) and Bound for Glory (USA).

Another less well known but highly influential development of the early 1980s National Front-era of British-turned-pan-European music is what is called Apocalyptic Folk. This movement draws less aggressive and often more intellectual audiences, and grew up around a little-known London-based punk band called Crisis. Tony Wake-ford, who had left Crisis to form a National Front band calledAbove the Ruins, rejoined Crisis bandmate Douglas Pearce in 1981. The group changed its name to Death in June, began to dabble in openly Nazi imagery, and started a movement.

Death in June began recording songs about the catastrophic effects of the Second World War on Europe and the decline of Western Civilization. Songs like “Death of the West” and “We Drive East” lamented the devastating conflict between Russia and Germany that ended the war, and the lack of honor, discipline, and high standards in modern European institutions. It is highly reflective music, mixing modern and medieval folk with more modern electronic sounds.

Besides Death in June, the biggest bands in this genre are Sol Invictus (Latin for Unconquerable Sun, a name for the Persian God Mithras revered by Roman soldiers), and Strength Through Joy(Ireland). Death in June and Strength Through Joy recently drew a crowd of 600 at the historic El Rey Theater in Los Angeles, to the dismay of the media and despite leftist threats.

A more recent form of music has sprung up around the French National Front. It is called NR music (short for Nationale révolutionaire). While its roots are in the Italian right’s Alternative Music from the 1970s, it has really begun anew in France with the help of National Front radio programs such as “Radio Courtoisie.” These bands avoid overtly racial themes, preferring to concentrate on the French Nationalist struggle. This music, also known as Rock identitaire (Identity Rock) often has a more pop-rock sound. These groups often work French medieval songs into their sets, a practice common in National Romantic movements the world over. The leading bands of this type are Ile de France, Vae Victus, and In Memoriam.

Yet another genre that has surfaced more recently is Black Metal. As its name suggests, it evolved from Heavy Metal. This movement didn’t really take off until the 1990s, and has just begun to go global, but is now one of the fastest growing underground music movements. From the beginning, Black Metal was a backlash against mainstream music. It sneered at the mainstream music industry’s watered down, effeminate rock musicians, and its performers tried to put a violent manliness and aggression back into rock music.

When Black Metal began in Norway it was openly Satanic, but has matured over the past several years. It is no longer so concerned with shock value, and has developed an ideology that has taken a hard turn to the right. Beginning with the bands Burzum (its name is a made-up word from the writings of J.R.R. Tolkein and signifies eternal darkness) and Dark Throne, the movement has traded in much of its alarming Satanism for aggressive nationalism, racial consciousness, and a celebration of Norse culture.

Like the Apocalyptic Folk bands, it is now quite common for Black Metal bands to include traditional folk songs on their albums. The cover art on their CDs is of traditional statues, artifacts, and nature scenes from the native countryside. Varg Vikarness, lead singer of Burzum has been chided by the music press for his unabashed racial statements, and violent nationalistic rhetoric.

Aside from ideology, an important development in this music has been its turn towards a medieval folk sound. One leading band, Ulver, known for fast, aggressive guitar and unearthly shrieking vocals, recently released a completely acoustic CD with medieval chorus, flutes, and classical guitar, in an amazing show of virtuosity that rivals any classical CD.

Storm, a group that broke away from Dark Throne, describes itself in its premier CD as National Romantic Music. This CD celebrates the glory of Norway and of Norse culture, including proud chants of “Hail Norway!” in its own brand of neo-traditional, folk-influenced, heavy-metal music. Half the songs are Norwegian folk tunes, played electrically and aggressively. This has been a very influential CD, with new bands such as Sweden’s Vintersorg imitating this medieval-operatic heavy-metal style. The leading racial Black Metal bands are Graveland, Veles, and Gontyna Kry.

Sol Invictus

While MTV would lead us to believe that young people want nothing but self-indulgence, tens of thousands of aggressively patriotic and racially conscious CDs are sold every year on independent record labels — without any mainstream publicity. Some of these sentiments have occasionally appeared above-ground.

Until just a few years ago, the Englishman, known only by his performing name “Morissey” and former front man of The Smiths, was topping charts all over the world. That was until the 1992 release of possibly his best-produced, most well thought out and musically advanced CD to date, “Your Arsenal.” On this CD Morissey voiced concern for the future of his country with songs like “National Front Disco,” and there are clearly nationalist sentiments throughout the album. The same British press that used to fawn over him quickly dubbed him a fascist and consigned him to worldwide obscurity.

Some may remember the Swedish group Ace of Base whose CD “The Sign,” released in 1994, was the number-one selling album in the world. At the height of its popularity, with multiple hits to its credit, it came out that founding member Ulf Eckberg had a history as a racial activist in Sweden. While Madonna, and even nonentities like Cher continue to churn out unin-spiring CDs for decades and get endless air play, a racially-conscious past guarantees any musician, no matter how talented, a one-CD career.

The rock group Ultima Thule from Sweden recently had a number-one hit on the Swedish charts, by electrifying and performing an Oi! version of the Swedish national anthem, “Du Gamla Du Frig.” This chart-topper got Swedish youth tapping their toes to their national anthem and brought the Swedish flag and the Thor’s Hammer pendant back into vogue until a smear-by-association campaign ended a short-lived but highly successful musical career. Critics discovered that Ultima Thule used to be on a white power record label from Germany called Rock-O-Rama, and had appeared on a white power compilation called “No Surrender!” along with British National Front bands such as Skrewdriver, Brutal Attack, and Above the Ruins. On their own albums Ultima Thule had never mentioned non-whites or used racial slurs.

The German group Böhse Onkelz (the Evil Uncles) hit number two on the German charts, and suddenly disappeared from view just like Morissey, Ace of Base, and Ultima Thule after the discovery of similar past associations. In the United States as well, Time Warner dropped the heavy metal band Morbid Angel shortly after the lead singer expressed certain views publicly.

A couple of fairly mainstream American heavy metal bands have narrowly escaped the media blacklist, largely because they’ve not quite reached superstar status. Pantera, possibly one of the biggest and longest-running heavy metal bands in America got into trouble when singer Phil Anselmo sported a T-shirt emblazoned with the three-pronged symbol of the South African Afrikaner Resistance Movement during an MTV interview. Mr. Anselmo also went on a couple of racial tirades from stage while on tour, but with a lot of back peddling he was able to save his career.

A group called Type O-Negative, has been made to answer a lot of questions about some extremely racially provocative songs they recorded previously under the name Carnivore. Unlike most bands,Type O-Negative offered no apologies and still enjoys as much success as its talents merit.

Not so lucky was the well-known heavy metal performer Glen Danzig. He expressed racial views publicly in magazine interviews, and even went so far as to record a song called “White Devil Rise!,” which he later declined to release on CD. He was dropped from American Records shortly afterwards.Finally, the old standby, Ted Nugent, hardly a representative of any New Right youth movement, was recently threatened by the League of United Latin American Citizens for declaring that anyone in America who doesn’t speak English should leave. Mr. Nugent also made no apologies.

Thugs or Thinkers?

So what do we have here: a bunch of drunken thugs out to shock their parents or a thriving underground of racially-conscious young people making and listening to their own brand of exploratory music? Both, really. Something people must understand about these movements is that they are meant to shock. They are rebellions and draw rebellious young people. Many of their followers will never straighten out their lives no matter what kind of music they like. They were corrupted by MTV, bad parents, and a miserable public school system long before our music reached them. We can’t expect more from the average skinhead than we can from the average white American of any kind.

The importance of these movements is that they offer ideas to many middle-class whites who may simply be passing through a period of teenage rebellion — ideas to which they might not otherwise be exposed. I myself was brought into racial consciousness through the skinhead movement and through music in particular. When today’s teenagers go on to college or a career many will hold on to the ideas they picked up during their rebellious youth. Just as the corrupt ideology of the drug-filled hippie and communist movements of the 1960s did not fade away, but instead moved quietly into positions of power, one can already distinguish the rise of an intellectual and successful youth elite in the racial movement in America. These are not people who would have joined the Klan in the 1960s or 1970s, and I believe they will be able to give far better racial leadership than they ever received.

There are also benefits for the more mediocre fans who will never amount to much. They learn to take pride in their race, not to miscegenate, not to take drugs (though there is much drinking of alcohol), and not to practice abortion. Outsiders have no idea how militantly the overwhelming majority of skinheads follow these rules. So, while these music cults may not be Ph.D. training camps, they are the one organized means today of fostering racial consciousness in young whites. For the worst among them, it also offers a life without drugs, and for those who will be more successful it lays the groundwork for a racial worldview that will guide them through life. These young people have a fierce and troubled appearance, but ideologically they are much better off than the average teenager.

However unpleasant much of this music may sound to the older generations, it reaches the MTV generation in a way that books do not. It is all very well for their racially conscious elders to write carefully-footnoted research papers about immigration or IQ, but they have been doing this for years with few results.

The older generation complains about the biased media but the skinheads and other youth cults have succeeded where their elders have failed: They have created their own media. With glossy color magazines like Resistance and slickly packaged, well produced recordings, they have completely cut the mainstream music industry out of the picture. So, while we complain about the state of our media, and continue to give money to Time Warner they give a large amount of their entertainment budget to a pro-white industry owned by pro-white organizations.Even its most hostile detractors must recognize the powerful appeal of this new music. It has become widespread despite the fact that in Europe and Canada it is illegal to express certain racial ideas, and you can get fines and jail sentences for possession of these CDs. In Germany, France, and many other European countries, white power CDs are treated as contraband, just like drugs. Customs officials confiscate packages with addresses from known white power distributors or directed to suspected European distributors. Police routinely raid the homes of young people they think are selling these CDs. People caught with what is judged to be a commercial quantity get fines up to the equivalent of $10,000 for the first offense, and may be jailed at the court’s discretion. Young people will not take risks of this kind to distribute books by Philippe Rushton or Arthur Jensen.

The entertainment industry is profitable. Because the mainstream media will not touch white racial consciousness, it means that this important source of funds stays entirely within our movement. For whatever it’s worth, the Anti-Defamation League’s estimate of the annual revenues of Resistance Records is one million dollars. And Resistance is just one of many magazines and record labels around the world.

Today’s huge media corporations promote black performers who encourage drug-taking, violent abuse of women, murder, and hatred of whites while they vilify any white who dares sing about love of country and culture, or respect for veterans, the elderly, women, family, children, hard work, and racial heritage. The media and the music industry have succeeded in turning morality on its head. Racially-conscious music could help set things straight again.

Topics:

Share This

We welcome comments that add information or perspective, and we encourage polite debate. If you log in with a social media account, your comment should appear immediately. If you prefer to remain anonymous, you may comment as a guest, using a name and an e-mail address of convenience. Your comment will be moderated.
  • Hirsch

    I wouldn’t get too excited. Notice the article said “Drew a crowd of six-hundred.” Compare that to the kinds of numbers that mindless pop acts can draw. If young whites want a source of inspiration that harkens back to their roots, they have several centuries of the most profound and advanced music ever made (they’re still uncovering all sorts of algorithms in Bach’s works). Almost all Americans have been exposed to this music and it has permeated the collective unconscious, especially through movies.

    They can’t name you the composer, but if you whistle a few bars of “Flight of the Valkeries,” or “Danube Waltz” they know what you’re talking about. It’s in everything from old Warner Brothers’ Cartoons to Vietnam Epic films.

    I’m all for celebrating your roots, but you have to be careful not to bask to heavily in the Celtic/Nordic lore, because you eventually dovetail into this luddite, anti-technology mindset. The pageantry / Renaissance fair stuff, the tattoos, and the Heavy metal are fine, but let them be a means to consciousness and not an end in themselves.

    Also, while I listened to Sol Invictus as a young man (and still do) be advised that this kind of Pan-Aryanist stuff has an anti Judeo-Christian core (which could split a White Nationalist tent). Bear in mind that the lead singer of SI repudiated his prior nationalism as a “shameful chapter” in his life.

    Just food for thought.

  • Anonymous

    A lot of the speed metal I listened to as a kid had some pretty powerful patriotic themes. I learned more about American history from these songs than I did in the “embrace everyone’s culture” lectures in history class.

    A speed metal band called Iced Earth has a whole album dedicated to the American Revolution and the Civil War. They aren’t screaming the Constitution at you either, they are talented musicians that know how to make good music.

    … and Ted Nugent…well… hes just awesome. He puts those liberal crybabies in there place. Conservatives have very few famous figures representing us in the media, while practically every celebrity is a liberal. It’s easy to be a liberal and preach diversity when you live in an all white, gated community.

  • sbuffalonative

    This was a very well-written article. I wish AR would have Mr. Owens contribute more regularly. I particularly liked the inside baseball on music artists who venture into the arena of pro-white politics and subsequently have their careers systematically ruined. Great article… thanks AR.

  • Brixi Forever

    I can’t believe anybody writes such an elegant treatise on such a degrading subject. I’m a baby boomer and lifelong rock/pop addict, and I say white power music sucks. A draw for young people into the movement? Where are they when it comes to picketing, lobbying or any other kind of normal healthy activism?

    In my 20+ years in the movement I can’t remember one single person who joined it via this hellish stuff and amounted to anything. Not one. It seems more like a long-lived fad for terminal trend-chasers — just a different, superficially opposite fad from the masses at large.

    Admit I haven’t heard much of the “music” in question, but that’s because every time I do I instantly throw up.

  • Dutchman

    This is a good, positive article on Nationalist music. Since the article was written another genre; “Martial Industrial” has been gaining in popularity. Martial Industrial combines dissonant electronic music with military or symphonic music. Representative artists are Von Thronstahl, Triarii, and Triore.

    These can be seen on YouTube. Check out Von Thronstahl’s “Adoration to Europa”, Triarii’s “Heaven and Hell”,

    and Triore’s “Fires Burn Like Fires Do” for some stirring music.

    All three songs are hopeful and forward looking in a time of darkness.

    we are the last ones that conquer

    we are the first out of hell

    we are the fire wheels whirling in twilight

    we are the serpents to rise

    we are the lions to come

    we are the legion consuming this world

    Again

    from Triarii’s “Heaven and Hell”

    The hidden movers frown

    Our holy banners fly

    Watching their stars go down

    Our sun is rising high

    Hail to the mighty, the ritual begins

    Hail to Apollo, the cleanser of sins

    Hail to the mighty, the ritual begins

    Hail to Europa, she always wins

    From Von Thronstahl’s “Adoration to Europa”

    Here is today, and here is forever

    Baptized in tears to a lifetime of sorrow

    Seize not this day, but wait till tomorrow

    Sweet woman child who love just to loose

    Is love not sweet, where bombs explode?

    Between black kisses awarded to you

    Love is forever, but just for a few

    “Time is here for us

    Love will come again

    Flames will rise for us

    And burn again, like fires do”

    From Triore’s “Fires Burn Like Fires Do”

  • Kevin V.

    Symphonic metal has some nationalist streams too. One that should be in every WN library is Leaves’ Eyes.

    http://www.leaveseyes.de/

  • Anonymous

    Everyone will have their own tastes in music but white people should be proud of their greatest musicians like Mozart, Wagner, Beethoven etc. Compared to classical music this is not very impressive stuff. The classics will be around for hundreds of years but this stuff will be forgotten as quickly as Backstreet Boys or MC Hammer.

  • olewhitelady

    If one wants to hear pro-American, pro-Christian, pro-Western civilization music, listen to country. I personally prefer oldies because modern country has gotten to be too slick and is often of inferior quality, but the sentiments are pretty much the same.

    Country music of course comes out of a Celtic tradition, but one without paganism or glorified violence. Its roots are as deep as those of classical, and it’s pro-white without being overtly so. Country songs are about people who love each other and their culture. In contrast, rap is about people who hate each other and their culture, regardless of what blacks may insist about it. And more whites listen to rap than do blacks, which, to me, makes rap similar to blackface comedy in which blacks are lampooned.

    I see heavy metal and much of the music described in this article as artificial creations aimed at rebellious youth.

  • Eurobeing

    I am not all that impressed by the negativity of some AR responders. Remember when soldiers march into battle they always do so to drums belching a blaring rhythm. This music is reflexive. It is a direct reaction to the Bono’s and McCartney’s who spout liberal dribble.

    This war will never be won with words or detente. Blood and steel will be the order of the day. It will be the cure for morbid sickness of multiculturalism. Our enemies won’t go down without a fight. Let’s be real and willing to fight back.

  • Jack in Chicago

    The Swedish Nationalist singer Saga is my favorite. Her music is beautiful, spirited and she is extremely beautiful herself.

    Check out Saga singing live to some hard core Brit White Nationalists.

    http://www.youtube.com/watch?v=4b2KAMZsjto

  • Very Cynical

    “Death in June and Strength Through Joy recently drew a crowd of 600 at the historic El Rey Theater in Los Angeles, to the dismay of the media and despite leftist threats”.

    Not to be negative, but of those 600 fans, how many were ‘concerned’ youths attempting to infiltrate or spy on the ‘dangerous’ impressionable youth attending? The ‘anti’s’ have the money and approval of the masses and believe they hold the ‘moral high ground’.

    Also, when the author says all the proceeds these ‘pro-white’ bands generate goes toward those sympathetic to the pro-white cause I have a hard time believing it. The funding for this stuff just comes up out-of-the blue?

    If fans like this stuff more power to them. We should be careful, thought, not to disrespect artists who don’t take these more overt political stances.

  • Camile Watson

    Something still needed to counter “Rock Against Racism” and the “black” music pumped out everywhere, and recommended by the “liberal” masochists.

    But what is needed is patriotism, chivalry and courage in both sound and sense. Satanism, sadism, horror, hatred, murder and muck are not wanted. Skinheads, smackheads and soccer hooligans grunting pretentiously pagan “lyrics” to black-type beats, noisily thumped on percussion/electronic instruments, are counter-productive, especially for a civilization that produced Liszt, Parry, Sibelius, Elgar, Pfitzner, Vangelis and so many more, never mind the Marseillaise, Finlandia, I Vow to Thee My Country, Cara al Sol or even the Horst Wessel Lied.

    One selection I am not ashamed to recommend, however, is Saga’s “notorious” version of “Ode to a Dying People”, notably with “The Fallen” video, which has an increasing resonance after the murders committed by summer rioters in Britain, and other racial attacks on whites in their own homelands downplayed or suppressed by the media. You can get it via Youtube.

  • Jay

    As a youth I enjoyed the German WN band “Landser” very much. Were they Apollo’s gift to music? Not even close. But they got the blood pumping better than Bach ever could. Politically-oriented music will never exceed the greatness of music for music’s sake. But then again, it rarely tries to.

    Now for the particulars. As a Death In June fan I hope to shed some light on their “political views.” The lead singer is openly homosexual. It doesn’t bother me but some of the more “reactionary” types might object. Viewing the interview entitled “Behind the Mask” offers a new perspective on Douglas P’s (the lead singer) life and upbringing. Pearce has expressed sympathy for Otto Strasser, the leftist NSDAP figure. An interesting fellow to say the least.

    Black Metal varies greatly in quality. Progenitors of the genre were usually good but the derivatives were rubbish. Darkthrone, Gorgototh, Bathory and Burzum are my favorites. Mainly because they embrace the pagan worldview and morality. Some started out as primitive “Satanic” acts but grew into healthy expressions of the White European soul. I would also recommend Celtic Frost.

    Country is implicitly White. Whilst not a huge fan, I’m partial to Waylon Jennings and Eddie Noack.

    Here’s my list of suggested albums for WN’s not familiar with these genres:

    Death In June: Disc-riminate

    Burzum: Hvis Lysett Tar Oss (If the light takes us.)

    Bathory: Blood Fire Death

    Celtic Frost: Monotheist

  • convairXF92

    Check out Ismeros Arcok [Familiar Faces] on YouTube, particularly their “Te dontesz”. Look for the videos with maps of old, pre-partition Hungary. I know only a few words of Hungarian and didn’t try to figure out the lyrics, but the sound and imagery are aggressively nationalist.

    (correct spelling: long-umlaut over “o” in Ismeros, short umlaut over o in dontesz. not sure how to make these on my keyboard…)

  • Ragnar Redbeard

    Read an interview with Varg Vikernes of Burzum on his homepage – he was interviewed by a British metal magazine named Terrorizer, who didn’t like some of his racially conscious statements, and refused to print the interview.

    However Mr Vikernes printed the interview (an uncensored version) on his own webpage:

    http://www.burzum.org/eng/library/2011_interview_terrorizer.shtml

  • Daniel Williams

    It’s funny to read this right now… I’m AT an, uh, “punk” show at right now. There’s a ton of sweaty post-adolescents crammed into a little room going nuts, and not a non-Asian minority in sight. These children are thoroughly–and I mean totally–immersed in the liberal thing, yet they self-segregate as reliably as Southern restaurant patrons circa 1955. 

    How would one go about turning them on to reality… And making them useful? I feel like a caveman pondering a waterfall before the invention of the watermill.

  • neanderthalDNA

    Adolescent Rebellion or Racial Commitment?

    Why not a little of both? In a world where many of ones’ elders have thrown their youth under the ideological soft core genocide express, is rebellion not natural?

    Not exactly my style of music, but I’ll take it over white genocide, whooping, bastard making, crime extolling, drinkin’ and druggin’ black rap “music”.

    I’m sure Jared Taylor listens to this with volume turned to an appropriate level from time to time…when he’s alone in his study…in between favorite classic standards…

    And who knows? Maybe some “Pink Floyd” of this genre lurks out there.

    More power to these artists and those who follow them – even if I cannot quite go there.

  • Alexandra

    I absolutely CANNOT stand black metal or death metal or whatever they call it. Once I was in a Hot Topic store in the mall with that blaring, and it distressed me so much I had to get out of there.

    Couldn’t they pick another genre, one that’s much easier on the ears…?

  • Anonymous

    I am definitely a fan of Black Metal and other nationalist type metal bands, not specifically for the message, but because I like Metal in general.

    However, a lot of the nationalist music I don’t like because of the obsession the performers have with Jews and National Socialism. I’m not a socialist, and I certainly don’t blame all my life’s problems on Jews. It’s counter productive in my opinion.

  • Robert Binion

    Did anyone see the doddering Pete Seeger at Occupy Wall Street? The answer is wheezin’ in the wind. On hearing Joni Mitchell reproduced with uncanny infidelity in the produce section at Winn-Dixie, I knew the Sixties were over. Where are those great singers today? When our acoustic past–so full of elbow room–was forsaken, did we not relinquish a bit of our humanity? Can we say that those who booed an electric Dylan at Newport were uncultured when we sit adrift, unable to sing?

  • T

    #2 I agree that Ted Nugent has his heart in the right place now, BUT most psople are unaware that Ted Nugent dodged the draft during the Viet Nam war because it was “not his war”. He urinated and defecated on himself and did not wash for a month; hence, he was rejected for military service. His “freedom” and “self-reliance” attitude is commendable but as a Viet Nam veteran, I cannot excuse his “chickenhawk” attitude.

  • T

    “rap” or “hip-hop” is NOT music – – one cannot hum the melody.

  • Marc B

    Apocalyptic Folk is not going to create any sea-change among the masses, but it does often awaken those who have started to notice something has been rotten in Western culture for a long time, and most of it’s fans take racial consciousness to heart in a most profound way in terms of lifestyle and convictions. They are not playing dress-up or fad jumping. They are also very vocal about their racial affinity, national pride, and for what ails the West. It also has the appeal to many liberals who may vocally decry the music’s overall message but still listen to it because they like the “beat”.

    More aggressive music, the kind that hits the adrenal gland of young males between 15-25 is much likelier to draw people into the pro-white movement in large numbers where they can get politicized later on. Bands like Death in June, NON, Sol Invictus and Backworld tend appeal to the older, more intellectual set, not the street-level types. I suspect several AmRen readers were influenced by Apocalyptic Folk and Black Metal at formative times of their awakening, especially readers under 40.

  • Sylvie

    Most of the ‘skinhead’ music I’ve heard is basically sub-standard rock music that unfortunately isn’t as good a The Sex Pistols. Death In June, Sol Invictus and Von Thronstahl (as poster Dutchman pointed out) and the many and varied bands of their ilk are far more interesting and certainly more pleasing in a ‘Eurocentric’ way. Yes, it’s not Bach or Handel, but it’s far more preferable to horrible MTV rubbish. OK, only a few people like it, but at least it’s something.

    And Douglas from Death In June makes very nice artifacts for people to look at, listen to and enjoy.

  • Sheila

    Hirsch, drop the “Judeo-Christian” artificial construct so beloved by neocons. This country had a Christian heritage – full stop.

    My older son and all his other buddies in the military listen to European metal – generally the bands reviewed/recommended in this article from “Faith and Heritage” – http://faithandheritage.com/2011/05/folk-metal/

  • Anonymous

    #18 and #24: Yes, there should be a better choice than the earsplitting Death Metal that is supposed to pass for music. A Train Whistle would sound better in concert.

    I remember listening to real music and talented Musicians in Bands such as Fleewood Mac, the Allman Brothers, Molly Hatchet, Marshal Tucker, ZZ Top, Boston, Journey, Van Halen, Kansas, America, Credence Clearwater Revival, among so many others.

    Then there was Country music which came back in 1980, the year the USA beat the Russians in Hockey at the Winter Olympics. This was the year the 52 American hostages came home from Iran.

    The American Olypmic Team wore Cowboy hats as part of their uniform during the Opening Ceremonies.Country Bands like Charlie Daniels, the Oak Ridge Boys, the Statler Brothers, the Gatlin Brothers, and Alabama were pouring out hit after hit on the radio.

    Solo Artists like Don Williams and Willie Nelson were keeping busy, while Crystal Gayle was offering us a woman’s perspective on things.

    All of these Artists were White, and they sang songs about Patriotism, the flag, GOD and Country, and relationships, all of which were exclusively White.

    I remember one Alabama song that went,

    “Hello, Pittsburgh Steel Mill worker let me thank you for your time, you work a 40 hour week for a living, just send it on down the line”.

    So, what happened in 30 years? What happened to all of our great music, and the accepted norms of our Society, which started back on the fast track, when Country music marched forward, Ronald Reagen was elected President, our Olympic Hockey Team beat the unbeatable Russian Hockey Team, and took the Gold Medal, and patriotism was expressed by all real Americans?

    I also liked that Country song called, “Americana”, which really puts into perspective what this Country and its people were all about.

    The only thing that I can say is to expose your children when they are very young, to the best and broadest variety of White music available to them, to give them a unique White identity and culture.

    I have noticed the demise of many once popular Country music Radio Stations, which now pumps out Ghetto garbage. This is all by design, or course.

    The answer here, is to play your old music, on CDs, Cassette tapes, or LPs, and let these kids hear what they’re missing. Start a Company as a DJ, and do parties featuring the best of the “Oldies”, giving these impressionable kids an opportunity to hear real music and talent.

    When we play our music, our kids love it. They can’t seem to get enough of it, regardless whether it’s Rock or Country. Good music lives forever.

  • Anonymous

    Good point T wrote at 8:09 PM on December 1 about Ted’s draft dodging.

    I went down to the recuiter three days after graduating from high school and signed right up as an E-1 recruit. Smashing the Reds was just part and parcel of being a good American during the Cold War unless you were a smelly hippie God forbid.

    This young generation is clueless what Marxism was like. Pure democide and persecution by state atheist commies was wreaked on much of the world during the 20th century and you can’t even find a graduate from today’s modern liberal public indoctrination system (e.g. public schools) that even knows about it really.

    Almost 100,000,000 people lost their lives to godless Marxism just last century and you can’t find a single high school student that knows that today. They’ve really done a number on the American youth by sanitizing so much truth and history from the curriculum in order to brainwash them to accomplish their political objectives.

  • Anonymous

    My idea of great white music is J. S. Bach and Monteverdi. I don’t think the Nostalgia for Nazism style of music is ever going to get much traction among the great mass of white people.

  • Anonymous

    8 — olewhitelady wrote at 6:35 AM on December 10:

    “If one wants to hear pro-American, pro-Christian, pro-Western civilization music, listen to country. “

    Yeah but no. If there is one refrain I hear endlessly amongst whites, it is “I like all kinds of music, except RAP and COUNTRY!” Rap more or less includes all modern black music (such as R&B). Ultimately, country music is for country people. Very few whites (ESPECIALLY women) who live near a city (>100 miles) will stomach it. Type O Negative is much more appealing to them. (Exceptions, like Johnny Rebel, are beloved specifically for shock and awe.)

    —————–

    I do agree with most of the previous posters who state that most “skinhead” music is sub-par. However there are a few bands who get it right: FINAL WAR is perhaps the best RAC band ever. They don’t scream or growl, are competent as musicians, and have a very Californian sound reminiscent of the Offspring. They are the gem in a pile of ordinary rock.

  • Josh Harlan

    Thanks for the Burzum and Bathory tips. Those are both Satanic Metal bands and are the most disgusting, depressing, horrifying music that anyone could listen to.

    How about thhis classic by Skrewdriver:

    I stand and watch my country today

    It’s so easy to see that it’s being taken away

    All the immigrants and all the left wing lies

    Why does no one ever ask the reason why

    Chorus:

    We were the country that had everything

    We were the country, Rule Britannia we would sing

    We were the country, and we could never lose,

    Once a nation, and now we’re run by [who]

    We want our country back now!

    [ Lyrics from: http://www.lyricsmode.com/lyrics/s/skrewdriver/free_my_land.html ]

    It’s time our people stood together side by side

    It’s time we stood and fought against the media’s lies

    The capitalists and the communists, well they co-exist

    If you love your country, you’ll be on their list

    (Repeat Chorus)

    The sands of time are running out for this land

    It’s time the people stood and raised their hands

    It’s time we drove out the traitors that we can see

    Now is the time this nation should be free, free my land

    (Repeat Chorus)

    More lyrics: http://www.lyricsmode.com/lyrics/s/skrewdriver/#share

    Damn beautiful.

  • Camile Watson

    Re my earlier post, the Saga song cited now comes with a warning from the “Youtube Community” that it is “offensive” and “Do you wish to proceed”! The control and monitoring of the internet must be circumvented, just as patriotic popular music should have lyrics and melodies that reach beyond a minority of a minority.