Friday, November 27, 2009
Now available from the popular Swedish vocalist Saga, is her newest release, "Comrades Night Live." This is the first recording since her successful album "On My Own." The release according to Saga, "was recorded at an intimate gathering of close friends and comrades. I wanted to record it live so you can be also be a part." "Comrades Night Live" features 13 songs and a bonus track of Skrewdriver's "The Snow Fell."
At the beginning the most typical question: a few words about yourself.
Hello, we are Tormentia band, come from the lesser Poland
and play together for a year.
Tormentia is only a project or plan to perform live?
Tormentia is a project so far, but out of necessity. We did
not want to wait to complete the band before album's release. However,
if we do succeed in band completing, for sure we will play concerts.
Just released a sensational debut CD, are you fully satisfied with the result obtained?
Thanks. Yes, I think that as in domestic conditions it is
possible to listen to this. We recorded the whole CD on our own, so we
are responsible for the final result. As for cooperation with the
publisher we are also one hundred percent satisfied.
Why on the debut CD went so much Honor's covers? Does this band have a particular impact on Tormentia creativity?
Maybe not so much on what we create but on ourselves. I
must to admit that somehow it helped us to complete the record and
finally make debut, but we did it only once and we will not duplicate
Your song " Soldier” deals with the determination and heroism, Polish soldiers determination in the fight against the Nazi invaders, as in the context of this, how do you relate to abuse the Polish NS Nazi symbolism?
That's a fact, some people abuse the symbols but it’s their
private business. But we believe that Hitler is for us neither hero
Your music is very "metallized", why exactly this way? Isn’t the traditional oi! / rac sound attractive to you?
In this music we feel the best. We like to listen to
different styles, but prefer to play what you hear on our record and
we will follow this path in the near future.
Your attitude to religion? this is another reason for the divisions on the stage, in the current political and social situation is it so important problem?
Religion is a difficult subject. How many people so many
opinions on this subject. We are not Catholics, but we aren’t showing
anti-Catholicism either. We try not to mix too much religion into our
music. There are to many important problems to create some more.
What about the activity in your area, recently held in several gigs, beyond you is there any other band?
Honestly, I have no idea if there is any. As for the
situation in our region, I think that it does not differ much from the
rest of the country.
How do you assess recently "promoted" autonomous nationalists movement and the attitude of "straight edge", “left side” remade symbols, image, etc.? We take these environments positively.
When can we expect new material?
We are at the stage of creating new material. At present we
already have several begun songs, and one will soon appear on the
network. It will be a specific song, but I don’t want to reveal
nothing more at the moment. I think that perhaps you will hear a new
Tormentia album in the spring.
The last word belongs to you
In that case, thanks for the interview and good luck in
what you are doing!
We are looking forward to new Tormentia album. We wish you good luck guys and congratulations on great debut! Thanks!
Galician White Devils crew and editorial the Hate Speech - music magazine. Interview with Tormentia will be also printed in the third issue of HATE SPEECH – coming soon! Translated by E.
Thursday, November 26, 2009
Burzum will release a new album, Den Hvite Guden (The White God), in March/April 2010. Artist Varg Vikernes describes the album as "a musical and lyrical description of the the White God (alias Apollon, Baldr, Belenus, Belus, Bragi, Byelobog, Jarilo, et cetera) and the annual events of his life."
"It is not intended for play the "low-brow metal" style, but instead I imagine a listener willing to sit down, ideally in solitude, and think for a minute, about the White God and our forebears, whether they were Picto-British, Finnish, Gallic, Greek, Roman, Scandinavian, Scytho-Slavic, Daco-Thrakian or whatever, and about their magnificent, intelligent, positive, beautiful, healthy and strong culture."
Burzum.org for further details...
Uprise Direct has become a launching point for many individuals to start their own music scene blog in their own countries, as well as giving international bands a place to look to for promotion. We only hope that the success we have had can continue forward uninhibited.
With that being said we are still looking for people to contribute. With the prospective radio show we will also possibly be looking for an individual to edit audio and and assist in the final production. We are also looking for a weekly editorial writer, if you can in English, and are interested in sharing your opinions please contact us.
So in conclusion, thank you to everyone who has made this blog as successful as it is. Without the labels, the bands, and most importantly the fans, we would not be here.
Wednesday, October 28, 2009
No Prisoner: Italian old school hardcore. from the sample tune on the band's Myspace it's easy to tell these guys have some great energy. Unlike some of the other Italian HC bands this has a lighter cleaner aspect. I look forward to the release out TODAY on Black Shirt records. Check out the band HERE.Rembarre: Solid fast paced RAC from France. With clean verses and the excellent use of gang vocals on the choruses as executed superbly in "100% Identité," there is some soon to be sing-a-longs from this release. All the songs are made available officially by the band HERE.
Climate of Terror: From Ireland, yes I said Ireland, typically a place not known for its thriving HC movement comes CoT. This is slower paced hard hitting hardcore with similar paced almost grind sounding vocals to match. Fans of Absolute Terror and Pure Hate should check them out, HERE....On a side note this particular band looks to be a side project of some power electronic/noise and martial/ambient outfits Area Bombardment and Measure of Contempt.
Sunday, October 25, 2009
From Poland, the newest album by Pure Hate is out now on Unholy Melodies Productions. The band's third full length release has been anticipated as the promotional release of a music video featuring the title track has been around the internet for several months. The video features some pretty impressive guitar work but lacks some originality in lyrics, I hope this is no sign of what the album holds; yet I look forward to getting a copy soon.
Saturday, October 24, 2009
An Article By Angus Wallace O’Leary
While not as well known as RAC, Oi, or other well known styles of music within the NS scene, the Noise/PE movement has been around just as long, lurking in the shadows, accessible to those brave few who dare search for it.
The undertaking of even trying to create any semblance of a discography is futile, since most releases are extremely limited editions (I’ve even found albums that were numbered up to 88 copies worldwide!), bands breakup and reform into other groups before they record more than a few tracks, and some outfits have no releases anyone can find, simply a word of mouth reputation about a live show that may or may not have actually taken place. For all of these reasons, and a few dozen more, tracking down albums becomes a labor, reviled by most who just want to order a CD from a label or distributor and be done with it. This is the real foundation of the hidden world that makes up this movement.
This is a soundtrack of frenzied Armageddon, ritualized bloodletting, outright confrontation and intense violence that leaves the listener in a rage fueled fury. Lyrics, if there are any, are usually a chant or spoken word layered on top of excruciating sounds that issues forth from the speakers like bullets from a gun. Most are so minimalist they aren’t even really there at all, tracks almost subliminal, producing a tonal quality that lulls the listener into a kind of fugue state of sharp auditory annihilation that suggests aggressive upheaval.
The participants utilize imagery on album liners to express politics, religion or other subjects. You glean what you can from the photos provided while the resonance rips into your brain. This is not to say that this is some chaotic movement, instead it’s a carefully crafted controlled anarchic glimpse of just what it will take to destroy the old order. Rarely are interviews granted, since the perpetrators, for the most part, wish to remain anonymous. The soundscapes created speak for themselves and they call for war!
Most will hear tracks that can literally destroy speakers and run screaming, never giving the slightest chance to what secrets the disc might hold. Which is fine since this is elite music created, and listened to, by a certain segment of Stormtroopers. But unlike instrument-based acts that require you to know how to play, just about anyone can create their own band, a splinter cell of lone wolves furthering agendas. Thus begins the fire and ice dichotomy, taking cold listeners and heating them to the boiling point, only to release them to heat others.
Below is a list of a few bands that I feel are a starting point for new initiates. This is just a crash course, since there are new acts popping up everyday, and old acts resurfacing for another strike. While most are so out of print it’s funny to even think you could track down an actual copy, you would be surprised how easy it is to track down copies in this Internet world.
NON-probably the “Godfather” of noise, Boyd Rice has made it a habit of pissing people off while creating a Teutonic vision of strength. Easy Listening For Iron Youth got me started years ago, but his Live In Osaka performance from the late 80’s is a sight to behold. Half concert, half political rally this is how it’s done. Features Michael Moynihan of Blood Axis (while not exactly a noise band, Blood Axis is without doubt one of the single most moving soundworks).
Genocide Lolita-With tracks like Settling Scores, Starting Wars and Survival Is Not Enough (We Want Revenge), this is exactly what I’ve been talking about. Justin Ordnung has taken the torch and burned NS noise into the brains of all who listen.
Deathkey-Anything you can find by these guys is going to blow you away. The Hammer Of Aryan Terror album is outstanding.
Sturmfuhrer-I listen to this group a lot. While some of their works are totally vicious, others are very minimalist. Try the Ich Kampfe album, as it is a great introduction to this powerhouse.
Organized Resistance-Day Of The Rope! This is a concept album of sorts based on The Turner Diaries.
Streicher-Australian act who are just plain brutal and hateful.
Genocide Organ-The SOS album!
Control Resistance- Crush Automated Extermination (ZyklonBMixture) taken from the Men Among Mice comp makes you want to stomp things!
Robert X. Patriot-Another of my personal favorites. Very hard to track down, but so worth it!
As I stated above this is simply a handful of artists in a genre that is increasing exponentially. If you look around hard enough, you’ll find tons of new acts nobody else has come across yet, or better yet, start your own project…NSDIY!
Thursday, October 22, 2009
With the number of readers at this blog, we sadly did not receive a mentionable fraction in response to the help wanted post awhile back. This is considerably disappointing considering we were averaging approximately 1,000 viewers a day.
On a more exciting note, Rick 56 and I have been working on a project that he and I have been discussing for several months now and it looks to be coming into fruition. Together Rick and I hope to bring our blogs and their information into a bi-weekly podcast. The goal is to take the news and information that everyone loves reading here and making it mobile. We have approached several larger Nationalist internet radio stations about airing our show, and many have responded with interest.
We look forward to making this great leap forward in providing the scene with great music news. Again I apologize for the lack of updates here, but hopefully this will offset some of the down time
Saturday, September 26, 2009
Sunday, September 20, 2009
Archaic Magazine 2009
For someone not speaking French it might sound alright. For someone used to speak French it might sound weird at first as we are overwhelmed by bands signing in English. English seems to be the common language for rock music in general and it always gives this genre some novelty value to sign in a different language. We used to have most of our lyrics in English to make sure most people would get the idea behind them but for this album it was mandatory to have them all in French; there was no other way than to express those ideas in my mother language. I’d say that most languages can be fit for metal since there is a lot of screaming and sometimes the elocution is not that clear. The Norwegians took great advantage of this in the 90s: they had the strong accent, the weird sonorities and the whole novelty value appealed to a lot of people. Most Scandinavian languages have this crude sonority to the foreign ear which suits metal expression well. French works differently by being closely linked to classic literature and poetry, I think. It has the smooth Latin element and yet remains harsher to the ear than say, for example, Spanish.
2. While so many bands in the metal genre can be seen experimenting with various folk instruments, whereas in thesyre you maintain a real attention to detail with the dynamics of the music, at the same time one can sense a real 'stripped-down' ethic to everything, is this something you pay close attention to when writing, are you conscious about this?
It was my goal since the beginning. I always felt that a lot of bands were trying too hard to sound different by adding a lot of different ingredients in the mix. I felt I could strip the music down to its very core and work around the dynamics instead, something most metal bands seems to avoid or ignore these days. Our sound is based around the traditional rock instrumentation and the structurs of our music is very song-based. The dynamics, the layering and the dissonances we sometimes use expands our sound canvas a bit while still remaining firmly rooted in rock music. Thesyre is all about songs so far, I would say. We’re after this catchy element which makes the music an instant hit or miss for the listener. I like a lot of more technical and progressive bands but this approach is not ours for the moment.
3. The vocals on “L'égalitarisme freine l'excellence” in places remind me of some songs by Deinonychus, were they an influence on you at any point during the creative process or even at all? and referring specifically to this song what particular thoughts spring to your mind and what have you yourself observed of egalitarian ideologies stand in the way of advancement?
Although I have been in touch with Marco of Deinonychus for years, I’d say firmly that his music or lyrics never had an influence on Thesyre. I am listening to Deinonychus’ latest album and I am still looking for the link you made (as I guess this could be the album being the closest to what we do in Thesyre, right?). As for your mention of egalitarian ideologies, I guess it’s obvious that our society allows too much place to equalitarianism. I have no problem with giving a chance to the runner but we shouldn’t do everything to have as many people as possible to feel safe and comfortable just because they’re different. Difference plays an important role in advancement, I would say. If you want to make as much people as possible to feel good about everything you’ll most definitely have to lower your expectations on them and to expand the services you offer them. In such a position I can hardly see how we can win anything out of it. It all have to do with the notion of competition among men and the idea that we were not all born equal. We’re dealing with an egalitarian obsession which we rarely witness in history. This might make us feel more ‘modern’ or ‘advanced’ but I am pretty sure it’s not an avenue that will win us anything on the long run. We’re taming ourselves badly by behaving like that.
4. Do you think humankind will eventually arrive at a sufficient enough paradigm for our modern society? or are there any movements you see currently today that might give rise to such? Personally I think we're making slow footsteps towards this the further we move away from orthodox religion.
You hit it right when you say we’re making slow footsteps in the right direction. The problem is that those slow steps are too slow for anything good to happen anytime soon. In our era we should be ready to skip a few steps and look out to reach the upper ladder, right? Never have we been so much in touch together via any form of communication devices. We have access to a database of knowledge our ancestors couldn’t even dream of a century ago. We’ve explored our world like no others did before and, yet, we’re still stuck with ideas and philosophies dating back to the past millennium. To truly embrace modernity man will have to break free from its chains but he’s not ready for it yet. Religion acts as a huge restriction on achieving true modernity. Most authorities in place, religious and political ones, realize that’s it’s a good thing to keep people rooted in their past. It’s easier to keep control on people when their desire to question what is perceived as the truth and remains low. It’s easy to force us into an economy of mass consumption when our ideals resume themselves by buying more stuff from the megastore at a cheaper price or to watch the football game on your HD screen. The whole entertainment culture we’re fed with daily keeps us chained and make us slaves to the real powers working behind the curtain. Up until we’re ready to break free from this manipulation they empower on us trough religion and their governments we’ll never be able to reach another level.
5. Thesyre to me is naturally reminiscent of many of your own influences, would it interest you if a younger generation of bands/fans begin to appreciate these important bands also?
I would love to see the next generation get into the bands which played a major role on our development because of our music. That would be an honor to serve as a link between both. I think that a lot of younger music enthusiast are looking to the past to find out who influenced who and why is this whole genre gone that far. I am doing the same with obscure progressive and psychedelic bands of the 70s. It’s always good to know the roots of an artistic movement as it helps you identify who were the leaders and the followers as well as knowing who made the real advancements and who helped refine the genre. By knowing where you are from is much easier to visualize where you want to go. By doing so, young musicians would also realize that there has to be some kind of a balance between emulating the past and looking at the future. It’s the source of all forms of progression: build on the past and keep looking ahead.
6. Have there been at times misconceptions created by people with regards to the meaning of the band's 'the eagle in the wheel' moniker? I shamefully admit to having mistaken this for something 'imperialistic' myself at first. conversrly, I think it describes very well the persons transformation from a cog in the wheel to an eagle, what were your thoughts at the time when this symbol came to your mind? I think it's very effective in this context.
Well, it looks imperial because of the eagle and the cogwheel also gives it an industrial feel. I reckon it might be misleading at first as it’s not very ‘heavy-metal-by-numbers’ for a logo. Many people linked us to NSBM, Industrial and Martial music when in reality we’re much more rooted in the Thrash and Black Metal genre. I like the idea that it’s a bit misleading at first. You must get passed the iconography and look deeper into the band to have an idea of what’s beneath the cover. I designed the logo to embody that idea of freedom trough hard work and dedication. It’s about will and perseverance, which frees one from enslavement. I am glad you got its signification right.
7. As mentioned earlier with regards to the experimentation certain bands are undergoing at present incorporating various native folk instruments as well as other elements, wouldn't you say that this may seem some way ironic considering that there can be so much that can already be explored on already existing instruments such as bass, drums and guitar? I think it was Brian Eno that said something along the lines of the guitar being such a limited instrument by it's very construction that this would natural make people want to push the limitations of the instrument in question. And would you agree with this statement?
There’s not much you can do when your expression gets limited by 7 notes, right? Be it on a piano or on an electric guitar, music works around a set of patterns. If you only understand music by identifying patterns then you’ll get bored quick. When you create music you’re trying to trigger a reaction in the listener. Sounds and words are connected to stimulate impression in the listener’s ears. Some people will react positively to the stimulation as they will be able to filter and process the information and eventually create links between the impressions they get, the words they understand and the notes they hear. It’s a complex language which is built on a simple pattern. It’s what you’re making of it which gives it its full potential. Letters, for example, won’t do much for you unless you sequence them into words and formulate sentences. Being able to express yourself with the language (visual, musical or lyrically) and to then have other people react to it is, for me, the whole reasoning behind any form of artistic expression. Pushing the limitations of the instrument was done in the last centuries. I think we’re now at a point where we need to find where we can bring all those experimentations. Mozart, Beethoven and Bach did a lot for music and we’re still relying on their discoveries now. Electronic music has pushed the boundaries even farther and this whole evolution of the artistic language allows us to enjoy very peculiar forms of music such as power electronics or noise. It’s a complex aesthetic which gets developed and which requires time to pass unto the audience but we’re still evolving artistically. We’re refining the aesthetics right now and I am looking forward to see the next steps.
8. From what you say the realization of this current album 'résistance' this time round has been recorded wholly by yourselves if i'm correct? in what way would you say this has aided the process of arranging the songs? it would give your more time to work more carefully on these I would imagine.
We always worked with a good friend on all our previous albums (in his professional studio) and this time we felt we could try something different. We recorded a few split releases on our own and liked the way it sounded. I felt it would suit our sound better to downsize the production a bit and concentrate on the rough qualities of our music a bit more. Our last album “Exist!” sounded much more polished and in some places I felt some of our initial rawness was missing. I think “Resistance” succeeds in keeping our sound but giving it a rougher edge at the same time. Some people will prefer a more polished approach but we’re not there to please anyone but ourselves first. The album was recorded real fast, as usual. Most of what you hear are first takes. The drums and bass where done in a record time I’d say and the guitars took a little longer as we had to 2 two tracks. I won’t even start with the vocals which is always easy for me. I messed around a lot more on effects and the mix since I was working in my own studio this time. I felt I had a lot more control on everything and could make sure that everything I wanted to hear was there. I do not downplay the role of a studio engineer or a producer but I think that in the case of a band like Thesyre, the more you handle yourself, the better it is for your sound. We also avoided doing a mastering on the album. So many bands rely on some studio magic to make things louder and more compressed it’s getting ridiculous. We preferred to deliver the album as we mixed it to Osmose. It’s loud enough and if you need it louder there’s a cool device on your player called a volume knob.
9. To me it seems obvious that some people are inherently born with superior genetics, to what extent would you say this holds true?
Well, it’s plain facts…truly simple. Who can argue that we were all born with the same genetic profile? We’re a product of our parent’s union and therefore they play a massive role in forming what we are. We inherit a lot from them so we’ll all be a mix of both (therefore different) the day we’re born. There are exceptions to the rule but you can’t beat having intellectually and physically strong parents; they’ll give you the best to begin with at least. Look who’s breeding the soonest around you… Look who’s having the more kids… It doesn’t take a degree to reproduce yourself, sadly. The worldwide gene pool isn’t getting any better these days. We’re supporting a lot of unable parents and their families and all this does is to create a culture of degenerates reproducing itself faster than the clever people out waiting to have a steady partner and find a steady job making sure they can provide and educate their kids properly.
10. If you could define the Thesyre concisely which words would you use?
Abrasive, catchy, mid-tempo Black/Thrash Metal.
11. With Thesyre one can find not just one but a myriad of messages running concurrently with one another, do you focus on the established truths or is it something that continual changes with you as you develop and explore?
My lyrics rely on what I consider to be the truth. I do not follow the established ideas unless they’re mine as well. I am always questioning myself on everything. My brain is on full throttle 24/7, addressing the reality surrounding me. Some of my friends could tell you I have a tendency toward conspiracy theories and that I am a little radical in my views but this is who I am and it surely transpire in my lyrics. It develops and evolves but the very core of my reasoning has been the same for the last ten years I would say.
12. What I find most interesting about the booklet of 'Résistance' is that it kind of sums up the lyrical theme of the album in one image so to speak, and saves the inclusion of the lyric sheets. What prompted you to take this decision? more direct perhaps?
More direct and, in some ways, open for a broader interpretation. An image is often worth a thousand words and I felt this collage I did was summing up the whole album. Knowing the lyrics would be in French also made me go in a direction where everyone opening the booklet could get an idea of what the album was about lyrically.
13. In what ways do you apply logic when discerning the truth in situations? for some people it can be a very contradictory swarm of information when one is trying to find the "truths" wouldn't you say?
What do we consider to be true? Just because something gets covered a lot in the media and that a lot of people have many theories about it doesn’t make it true. Truth for me has to be observable and identifiable. I rely a lot on hard facts to establish my own conception of what is true. I do not believe in a spiritual world, in a life after death, in ghosts or spirits. I believe in what I can feel, see, smell, taste and touch. As soon as something gets out of my (potential) reach it triggers a debate in me: is it or can it be true? What are the logical possibilities for it to be true? Is it man-made, is there an explanation I can come up with? Anything beyond the reach of your senses defies the laws of logic, I think. Even the cosmos, we have a lot of theories about it but very little hard facts. We’d like to think that the way we define the universe around us is right but unless we can go experience it by ourselves it remains theory and therefore shouldn’t be considered true in essence. It’s a limited view of the world in some ways but it’s also a very realistic one. I try to fight all the illusions around me the best I can. “No expectations, no deceptions” isn’t easy to live by but it surely is a motto worth applying to your life.
14. Are there some instances of modern society and products of globalization that you find quite rewarding? One thing that springs to mind for myself is the ease of communicating with people of different cultures, but I think this is something which can quite easily exist without the onslaught of globalist zeitgeist.
The world we live in right now is easy on us. We can feed a good portion of the population, a lot of us live with decent standards of hygiene and we can enjoy an ever expending life expectancy. No humans had it that easy before us, I would say. We have technologies to helps us cure ourselves from diseases, we have fast travel, easy communication devices…really we shouldn’t have to moan against anything. Yet, the main problem with what we call modernity is that we’re all becoming dependant to the technologies we developed in the last century and those technologies relies on energy we can hardly renew for various reasons. We’re licking clean this planet’s resources and one day or another we’ll suffer the consequences. We should be doing our best to make sure we can enjoy living according to the standards we established but also making sure it goes hand in hand with the planet supporting us. So far we’ve failed to do so and I would like to think that we’ll manage to sort it out and try to save what’s left. I have huge doubts we’ll be able to do it. Globalization is the solution a lot of people figured out would work the best for us but I doubt it. It only expands the problem to the whole of the planet and accelerates our downfall. A modern society should recognize that there are too much people on this planet and that our consumption habits will have to be suited to a more sustainable lifestyle. If we cannot regulate ourselves then nature will do it its own way, the hard way.
15. Artistic creations have shown in preceding decades through various movements, that areas of artistic endeavor often overlap, in some cases inextricably so. Are there any other areas where you could say you could quite happily see Thesyre in whether it be film, installation etc? Do you feel this is outside of the parameters you may have set yourself?
I would like to expand our parameters but so far I cannot invest more time in the band. If we’d try to expand our sphere of artistic activities we would have to dedicate ourselves a lot more and it’s impossible at the moment. We all have careers outside of Thesyre which are very important to us and we cannot sacrifice more of it right now without suffering a loss. I am glad to consider Thesyre as a musical eye-opener attracting a handful of people right now. I guess we could serve as a multiplication agent in a world of bands trying to make people think and react. We’re not here for the money or the fame. We’re not here to boost our egos and to convince ourselves we’re great musicians. It’s a creative outlet into which we all like investing our efforts and for as long as we will be able to keep it going we’ll accomplish ourselves within it. Anything beyond requires sacrifices we cannot do at the moment.
16. 'Afin d'en finir avec le judgement des dieux' ('In order to end with the judgement of the gods')? could you tell us a little about this particular songs meaning(s)?
This song is based around a radio play written and performed in parts by the French playwright, poet, actor and theatre director Antonin Artaud, back in the late 1940s. I inspired myself from a part of the original text and re-arranged it to fit my views on organized religion and the necessity to cut all ties with it in order to progress. I always wanted to do something based on this author’s works and it suited this album’s concept of resistance perfectly.
Wednesday, September 16, 2009
Tuesday, September 15, 2009
We are currently looking for individuals who can write reviews, interviews, editorials, etc... as well as locate and report news. We are also looking to expand our graphic department.
Uprise Direct gets several thousand views a week and is a great way to advertise or get recognized. Individuals should be self motivated, trustworthy and prompt. Persons must be willing to send previews and samples for review before publication. Email UpriseDirectZine@yahoo.com for any and all positions.
Friday, September 11, 2009
Bite the Hand That Steals ~Chris
Once upon a time, in the annals of RAC history, "Rock Against Communism" and "Rock Against Capitalism" went hand in hand. All the original first wave of RAC bands were critical of capitalism, particularly the laissez-faire variety, which was born of the Thatcher/Reagan revolution. Being the product of White working class communities, these early proponents of Nationalism saw their estates decimated, their fathers, brothers and friends lose jobs, be reduced to penury in the name of corporate profit. Their trade union rights disappeared; the concept of a "job for life" went the same way as the dinosaurs, as the manufacturing base disintegrated in favor of a consumer based society. For Nationalists and Skinheads of our generation to laud the virtues of capitalism would have been literally to reload the pistol with which we had already been shot.
Yet there was a broad perception which has a legitimate foundation that when RAC traveled across the Atlantic, this anti-capitalistic vein was ignored, or at best sidelined. Many American Nationalists were perceived to have swallowed the lie, perfected under Reagan, that free market capitalism was as American as Colt. Many were silent or seemed to give tacit approval to capitalism. Perhaps by exclusion rather than inclusion, bands were quick to attack communism but seems loathe to take on capitalism. There were exceptions. Day of the Sword’s song "Consume" was one of their more overt attacks on capitalist culture; Red White and Black have several songs which contain references to the dangers of capitalism. There are others, but that they are vastly outweighed by the anti-communist diatribes in an age where communism has been exposed as a spent force, is an odd scenario.
Whether bands avoided overt attacks on capitalism because they were offering tacit approval, or because attacking capitalism would alienate a section of their fan base, there have been few effective volleys fired in this war on economic liberalism. We have established that music is the most effective messenger, is the catalyst for much of the shifts in our collective political consciousness, and given the recent havoc created by the profiteering of unregulated capitalism, perhaps we will finally see the first effective salvos fired by the younger generation. Anything that musically could be achieved to put a wedge between young Nationalists and the neo-cons and conservatives, who would use them in times of upheaval to defend an ideologically bankrupt fake patriotism, can only be a bonus.
Thursday, September 10, 2009
I have to say I cannot comment on Antisystem`s contributions yet, because honestly I have been playing the Titania songs over and again. Titania contribute 8 songs that are done in several different music styles. I have to say I am more partial to the heavier songs on this CD, but they definitely are a talented band; no matter what style they are playing.
Sunday, September 6, 2009
Friday, September 4, 2009
For a third year in a row Hungary was a host of “Sons of Europe” – one of the biggest festivals for WP music worldwide. A record number of bands were on the gig flayer so I was looking forward to visit this gig and the beautiful city of Budapest. My journey started in the very early hours of Friday, 28 August from the Sofia Airport with a one hour direct flight to Budapest. My Magyar hosts were waiting for me there so after a short rest in a comrade’s house we went downtown to meet other people from all across Europe, who were already in Budapest. After a lunch break, our very international crew of people (Bulgaria, Russia, Croatia, Spain, France and of course Hungary) went for a sightseeing the heart of Pest. Despite the hot weather we were glad to see the Parliament, The white bridge across Danube, and tons of other monuments. At the beginning of the evening we were invited to attend a small private gig, which took place in a pub near by city centre. The gig should “warm us” for the festival next day, the bands which played (Feher Torveny, Voice of Justice and Utolsó Védvonal) did their very best. My attention was hold by the last band (the name in English means Last Defending Line) with their harder RAC (with some metal/HC influence) will become one of the top bands in the huge local scene very soon. After their performance guys from the “special guest” band Kolovrat did some songs, lately joined by me on vocals, but my voice was fucked up of the many beers I’ve drank, so it was totally shit performance, thanks God all the audience were drunken so nobody (I hope) will remember this shame – hahaha.
The gig ended around midnight, we were very tired and just went back to the house of our host (Zozo, thanks for the hospitality brother) to have sleep before the big day.
The next day after just few hours of sleep we went to the gig place in the very early afternoon. The location was chosen smartly, gig venue was in a kind of a warehouse building with few big halls inside. The building was surrounded by other similar ones, totally invisible for the eyes of ZOG and their puppets from police. After a check from the security guards of the gig, we entered the hall and around 16.30 the kick off was given by a ballad performance of the singer of Kolovrat.
I have waited to hear this for years!!! Being a Slavonic language speaking guy, I have listen Kolovrat since their very first years and I can tell you comrades this band is a legend not only for me, but for whole Bulgaria and East Europe as well. The set was sadly very short due to the delay of the gig, and even the second ballad player (Stivie from Section 88) didn’t appear at all. So the second band was Vendetta from Hungary. They played about an hour for the pleasure of the local Hungarian fans. They were followed by Unit 28, a young band from England which played some own songs as well as Skrewdriver covers, but to be honest this band didn’t impressed me too much, they need to practice much more to reach good level. Guarda de Honra from Portugal was announced on the gig flayer but they didn’t even come to Budapest due to some personal obligations of the singer.
So after a short break in which I bought some T-shirts and cd’s from the hall where all the tables with stuff were located the gig continued with Germany finest Hate core band Moshpit. Someone from the crowed told me… “ Ohh Moshpit will play, it will be a massacre” and he was god damn right. “Die Jungs” showed no mercy and made excellent show, really power rampant wave of “hate fucking core” which made the crowd slamming like mental bastards in front of the stage!!! Well done by the lads, and top of the cream for the HC fans!!!
Next band in the schedule was Faustrecht - the band an old school cunt like me was waiting for…. And they didn’t disappoint me. I can describe their show just like – totally professional and full of passion and energy. For me they were the very TOP BAND of the night. Hail to you lads – because of bands like yours skinhead Rock’n’roll is still alive!!! I had a short conversation with Michi – their bass player right before the gig, asking for a repress copy of their greatest album “Klassenkampf”. He just let me know that if I need this cd I must ask… their local police department which raided comrade’s house and confiscated all the cd’s. That’s how “democratic authorities” in Germany are dealing with the so called freedom of speech.
Next two bands were local – Voice of Justice (I heard them previous night) and veterans from Archivum. I was already very tired ( it was around midnight), and just went outside gig hall for some fresh air, beer and talk to comrades from all across Europe, some of which were already fallen from the battle with alcohol( hahaha), and had a nap on the ground around the gig hall. I went back to see the performance of Ultima Frontiera from Italy and I like it so much, it was a class one. They were supported by around 100 Italians which made a warm atmosphere during their set, dancing and hailing on every of their songs. Bellissimo ragazzi!!!
After more then hour, they were replaced on stage by Kolovrat, this time with a full line up for their rock set. The band played set of 25 songs both old and new, a lot of covers (Skrewdriver, Landser, Brutal attack, etc.) in few languages – German, English and even Czech, for the pleasure of the lads from “Narodny otpor”. Very passionate performance by the Russian band, but I think they need more live gigs to improve their sound, so it can sound so great like in studio. And when it was almost five o’clock at morning and 90 % of the people were gone home, the last band of this WP music marathon took their place on stage. Feher Torveny rocked the small crowed of security guards of the gig like they were rocking for 1000 fans. What an awesome band, what an awesome performance… even it was almost morning and didn’t have any strength left I hailed their music sitting on a chair near by the stage – hahaha. It was a perfect end of this great concert. For sure it will be a night to remember for all those 500-600 man and woman who came from almost every white European country. Hail to all of you, all the bands that performed on this 14 HOURS GIG!!! Special thanks to Norbert for inviting so many great bands, to Spanish, French, Dutch, Russian, Croatian, Magyar comrades for the great time we spend together. And at last but not the least to Lena and Anton for the photos. Hope to see you all very soon. Hail Europe of the Fatherlands!!!
Thursday, September 3, 2009
McGarry ,who was only 43 years old, died suddenly from Pancreatic cancer and his funeral is today, Thursday September 3, 2009.
This week's pick goes to another British RAC band. This time it is the new release from Legion Of St George, "Last ." This is an excellent CD that musically and vocally reminds me of the band US Chaos. A long awaited CD, that was well worth the wait. ~Rick 56
Friday, August 28, 2009
Blood Sacrifice productions of New Zealand, is releasing Orange County punk rock outfit Warfare 88' s "FTW: The Complete Discography." The release will feature all the featured songs from , the split with Forward Area, plus rare and demo tracks. 42 tracks in total and all new artwork.
An organized support group has encouraged fans of the band to send Tomasz registered postcards with the following message: "BE STRONG! WE ARE WITH YOU!" to the address listed below:
Tomasz Maciolek, syn Bronislawa
ul. Swiebodzka 1
BNF have only previously been featured on the Hungarian compilation "BHS Crew." Reportedly, the band hopes to push the direction more into hardcore with the newer material.
Thursday, August 27, 2009
Two great CDs, from two long running English bands. Pick them up if you are in the mood for some good old British RAC ~Rick 56
Saturday, August 22, 2009
The debut CD by metal outfit Sharon Tate is scheduled to be released in approximately one month
Out now is the limited CDR by Canadian metal Rac crossover band Octobre.
Thursday, August 20, 2009
(2006 Strong Survive records)
03- Broken Generation
04- Till Dig Som Forsvann
05- Nu Gudar Oss Kaller
06- Folk Mot Folk
07- Discover Your TV
08- Not For Sale
09- Anti-system Fighter
10- Paradise For Parasites
11- Dirty Politicians
12- Don't Ask Us Why
13- Gods Of War
Ipvox: Dissident 2.0
01- Agir Pour Ne Pas Subir
05- L'art De La Manipulation
08- Creativite (remix - instrumental)
09- Archeofuturisme (remix - instrumental)
10- L'art De La Manipulation (remix - instrumental)
White Devils: Manifesto Of Resistance
(2008 Strong Survive records)
01- Czas Rewolucji
04- Thousand Deaths
05- Narodowe Sily Zbrojne
06- Face Your Fate
07- Lusting For Death
08- Those Times Are Gone
09- Damned To Corruption
10- Hail Bialy Diable
11- The End
Wednesday, August 19, 2009
Monday, August 17, 2009
POGROM: At the moment we’re putting the finishing layout touches to a split CD with MARTIAL BARRAGE that will be released around August. We also just returned from Europe a few months ago and played a show in Virginia on Memorial Day for a Confederate Hammerskin gathering.
You previously shared that you had some issues with show bookings and venues overseas, how was your European tour altogether?
POGROM: The tour was a success overall although 2 of our 6 shows were canceled. We were unable to relocate in Belgium, as the police took in the organizer for questioning for about 4 hours. When he got out he found another venue, he only sent the invite to 50 people and within an hour the new club had been contacted again. Nobody knows who the infiltrator is but it’s pointing to some homosexual German DJ that spends his days on the computer writing threatening emails. I think this one is still pissed off about the SMASHING RAINBOWS CD.
The French gig suffered the same kind of death threat against the club owner and he closed down his club in front of us, refused to call the cops to report the death threat, jumped on his scooter, and took off. Another venue was found, some biker club, but this time in Marseilles, not in Aix en Provence like originally booked. The problem was that there was another metal gig going on there at the time, so we were allowed to play after it was over, around 3:00AM. Only AFFLICTION GATE played after us then everyone split as you could imagine what time it was.
The first shows in Finland and the one in Italy were great, however. Only in Belgium were we not allowed to play.
Often, as much anything else, the metal scene seems to divide itself and there is constant back and forth, yet, Arghoslent generally does not involve themselves in such stuff. Is there a general anonymity that your band members take to avoid such issues, or is it the scene just loves you so much?
POGROM: The scene doesn’t love us, they just love our music. Not all the marketing and advertising in the world could make our ideas "popular" or "accepted" within the underground or anywhere else. The more we’re known, the more we’re despised and ostracized. Our American label once told us "If you guys didn’t sing about slavery and homophobia, you’d be a best-selling band based on your musicianship alone!!" It has been mentioned had we sung about flowers and mountains that we’d be fairly "successful" as musicians in the metal community.
As you see, it is party by choice, but also partly by the fact that we’ve been alienated by virtually every level of the scene. This is why you don’t see much written about us anywhere.
HOLOCAUSTO: I don't care a bit about controversy and would be just as happy releasing instrumental albums. But as long as we write lyrics, we write them about what suits, what interests. Aren't people tired of discussing the lyrics, whether they're offensive or just history lessons, whether a Jew can listen to Arghoslent, whether we advocate or merely present? I have many opinions about this but it's all too obvious to type here. I'll just say that I couldn't care less who likes it and who doesn't. If you like the riffs and lyrics, cool, so do I. If you don't, then put in a CD you do like. I don't care one way or the other.
Your site contains a hate mail section, and obviously you music is reaching the ears of more listeners, have you guys had to deal much with opposing views other than the occasional email?
POGROM: No opposition in person, it’s mostly anonymous messages and comments made on queer forums. I think everyone expects cowards to behave that way. Where drunks have liquid courage, pussies have internet courage.
Your latest and awaited album "Hornets of the Pogrom," from what I read has been getting good reviews from generally mainstream metal listeners. This has always been one of Arghoslent's attributes I think, would you mind sharing your thoughts as to why you guys are so well received?
POGROM: I don’t think anyone reviewing our work really approves of our message or out interpretation of history. Their words speak for themselves. Yes, you might be reading a lot of good reviews of our albums but we’re one of the few bands worldwide that requires a disclaimer in the package, much like the Al and Tipper Gore PMRC label in the old WASP albums.
Reactions to our music are always good; reactions to our lyrics are always bad. I think also that some of this attention we’ve been getting it thanks to the widespread availability of the internet as well. Don’t forget that old types of zines and traditional avenues are non-existent nowadays.
We’ve been playing death metal for about 20 years, so I would hope that it is appreciated for what that’s worth. It’s not rocket science, it’s only negative death metal.
HOLOCAUSTO: This is not classical music; it's not some profound intellectual movement, not some technically virtuosic achievement. It's ridiculous to pretend to be some sort of deeply-insightful artist in these genres. If one craves profundity, listen to Mussorgsky; if one craves poetic art, listen to Vicente Amigo. If one responds to riffs and thrash, listen to metal.
You guys have been re-releasing a bunch of material as of late, is the demand up for out of press copies? Any new material in the works?
POGROM: I’m not sure how many copies of any of our albums have really sold. I reckon a lot of our music is pirated, downloaded for free, and copied. Most bands suffer the same level of diffusion however in our case I think people rather copy our work and download it in order to avoid feeling guilty about paying for our demeaning work. In their eyes listening to the band for free isn’t really supporting us. It’s a way of justifying them liking our work which has so many people menstruating and wishing they had been born with a vagina between their legs.
You guys have had some line-up troubles in the past but as of late it seems you have a real solid line-up. Am I correct to assume this is rather motivational as to writing new material?
POGROM: I don’t think we have a recurrent problem but then again remember we’ve been around since 1990. Not every original member signed up to play in the band for 19 years. Our first drummer left the band after GALLOPING THROUGH THE BATTLE RUINS due to not feeling comfortable with our fascist views and incorrigibly bigoted attitude any longer. Our original bassist lost the tip of his finger in a work-related accident after INCORRIGIBLE and never played bass again. GRAVEDIGGER was replaced by a better vocalist, and in turn this vocalist did his sentence and decided to abandon the vessel. You also have to remember that we’re all professionals and the connection with this outfit is somewhat problematic for our personal lives.
We're looking to perhaps play outside of the East coast, however, for a band like ours that does this on a part-time basis, and confronts the hypocritical and politically correct douchebags with every step, it must be well coordinated. We live in 4 different states and even rehearsing can be a hassle.
Friday, August 14, 2009
On musical grounds alone, this CD should have been essential listening. It was beyond the normal proficiency, with complex overlaid tracks which strayed beyond the usual level of musicianship. While still overtly a Skinhead album, it had the potential to attract a much wider audience. Lyrically, with songs ranging from the considered and intelligent to downright brutal, "The Unseen War" mixed White Nationalism with a healthy American Nationalism, and anti-immigration message. It decried capitalism and communism, consumerism and atheistic hedonistic amorality. Rooted firmly in the Christian Identity anti-government tradition, the CD railed against the modern world. "The Unseen War" was ostensibly made up of three bands, Break the Sword, Day of the Sword and the Philly Bootboys, yet basically both Day of..., and Break the Sword were the same band. With Philadelphia Skinhead Scott Stedeford at the helm of both bands, and clearly the driving force behind them, they transcended the usual level of RAC being produced at the time. As well as breaking with orthodox RAC lyrical content, the bands attacked capitalism, injecting references to Christian Identity and produced the classic "Blood Stained Emerald" which received much flak for being sympathetic to Irish Nationalists. Unfortunately, the CD contained the traditional Skrewdriver cover in the form of "Blood & Honor," yet even this was proficiently played and contained a subtle yet effective lyrical rewrite which transformed the song into a track for a post-Communist world.
On these merits alone, "The Unseen War" should be a classic, yet there is more to the tale. The truth behind this CD is more a key to the radical nature of its members than even the lyrics would suggest. Because the CD was made, produced and released with funds from one of the bank robberies carried out by the Aryan Republican Army (ARA), aka The Midwest bank robbers, a paramilitary group inspired by both the Order and Irish Nationalist guerrillas who carried out 22 bank robberies across the Midwest, between 1994 and 1995, netting an estimated 250 to 500,000 dollars; without injuring or killing a single person. The money was intended for Nationalists across America. Both Stedeford and the drummer on the Break the Sword tracks, Kevin McCarthy, were members of the ARA.
In the next year and a half, Stedeford released two more CDs under the Day of the Sword name, but in actuality both CD’s contained multiple unnecessary and irritating Skrewdriver covers. Nothing ever came close to "The Unseen War." When the ARA fell apart with all members behind bars and much recrimination, Day of the Sword came to an end. At 28 years old, Stedeford was sentenced to 10 years for one of the robberies in Des Moines Iowa, and then received a further 20 year sentence for one of the robberies in Wisconsin. Break the Sword drummer Kevin McCarthy turned states evidence and received a lighter sentence. Stedeford went to prison without uttering a word.
Whatever negative attitudes some have towards this kind of para-militarism, the truth is that Stedeford, et al, practiced what they preached. They took their message outside the studio. But the ARA was active prior to the Oklahoma bombing, when the political atmosphere was very different. Anyone who remembers the aftermath of the Murrah building bombing knows that a lot has changed. The patriot movement became vilified, hunted, while many Skinheads found themselves caught in the backlash. It was essentially the end of an era after which the likes of the Aryan Republican Army could not exist. Yet their musical legacy survives.
Like a great piece of revolutionary literature, "The Unseen War" is a signpost of the times, a zeitgeist, an under appreciated and familiar to few album.