Radix Journal

Radix Journal

A radical journal

Author: Paul Treitschke

‘Black’ Metal

What makes them so special that they have been embraced by the larger public that holds contempt for metal? Meet the band members–who are all Black pre-teens living in trendy areas of New York City.

There’s a decent chance you’ve heard of the latest metal sensation Unlocking the Truth. After one viral YouTube hit, they have landed a seven-figure record deal, played at major music festivals, and are now even getting their own documentary.

What makes them so special that they have been embraced by the larger public that holds contempt for metal? Meet the band members–who are all Black pre-teens living in trendy areas of New York City.

You could say they’re their own version of “black” metal.

It is shocking to see one group of kids go from being an oddity on the streets of New York to Coachella in literally a matter of a month. It’s is obvious that they owe their success due to the tastes of White liberals.

While the three youngsters are certainly skilled for their age, their music is basically a more generic take of Mastodon and isn’t anything special. However, most will admit that it’s not the originality of their music that got them signed, but the mere fact that it’s played by “adorable” black pre-teens.

I’m positive that there are a dozen such bands composed of White pre-teens who are equally as skilled and equally adorable. But they aren’t black and they can’t be used to make a point. The idea that blacks are musically superior to Whites and invented all music is constantly forwarded in contemporary society. Unlocking the Truth (what a name!) brings this full circle by performing implicitly White music that mainstream society doesn’t like. This band makes metal appealing to SWPLs, who would otherwise be listening to eunuch rock and Hip Hop. SWPLs are fine with aggressive Black music, just not aggressive White music.

Thus, we have ugly Brooklyn hipsters cheering on the boys as they play on a city street and SWPLs forming an ironic circle pit as the band plays at Coachella. They don’t want Bolt Thrower or Watain playing before them because they’re too serious, too White, and too threatening. They want Unlocking the Truth because they’re ironic, Black, and “cute.”

Let’s hope they’re not the beginning of a horrific trend and this is just a flash in the pan.

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Redefining Brave

But we live in a different age and the conception of bravery has changed to mean simply “being yourself”–as long as being yourself means conforming to politically correct thoughts on race, gender, and freedom of course.

America is a country that is big on the word brave.

We even like to fashion ourselves “The Home of the Brave,” and we frequently give everyone–from sports stars to cancer survivors–that honored label.

This is in spite of the fact that the only current way Americans would’ve earned the status of brave in centuries past is to fight tribesmen in the mountains of Afghanistan. That’s because it was primarily tied to martial skill and valor by our ancestors and very few Americans can actually say they have participated in situations where they exhibited those virtues.

But we live in a different age and the conception of bravery has changed to mean simply “being yourself”–as long as being yourself means conforming to politically correct thoughts on race, gender, and freedom of course.

Sure, we still call the soldiers who fight needlessly in far-away lands brave and the masculine conception of the ideal still lingers around in our society–but less than 1% of America’s population will have any chance of engaging in state-sanctioned martial valor.

Not like that will stop our society from appropriating the term and using it to let people congratulate themselves for existing as obedient drones.

We can see this when the residents–and former residents–of one of the largest cities in America describe themselves as “Boston Strong” just because one bomb went off in their city, which resulted in a lockdown of the entire metropolitan area to track down the most unintimidating terrorist in human history.

Thus enters in the new, feminine conception of bravery that celebrates the individual freeing themselves from the “shackles” of old norms and conforming to the West’s new morality.

And you can be brave while parking your ass on the couch and not having to lift a muscle – because you just have to be yourself!

The culture certainly reinforces this with a popular song by Sara Bareilles that only asks its listeners to be “Brave.”

Backed by a saccharine piano line and having the same effect on testosterone as a gallon of organic soy milk, Bareilles‘ conception of brave is not that of martial valor but that of existing as the last man. It’s easily read in the song’s lyrics that the “brave” theme is coming out of your closet to announce to the world that you are a freak and an outcast.

Here are some choice lines that solidify that impression:

You can be the outcast /
Or be the backlash of somebody’s lack of love /
Or you can start speaking up

Nothing’s gonna hurt you the way that words do /
When they settle ‘neath your skin /
Kept on the inside and no sunlight /
Sometimes a shadow wins

Fallen for the fear /
And done some disappearing, /
Bow down to the mighty /
Don’t run, just stop holding your tongue

The video reinforces this theme by having fat schlubs and losers (like that inane “Happy video, which must constitute some type of trend) awkwardly dancing around in public places as an act of defiance against fascist cultural norms.

Watch for yourself:

There’s little wonder then that the songwriters behind this song intended it to be, in their words, a “a real civil rights anthem at a time when there are no civil rights anthems and there’s a giant need for civil rights anthems.”

Because there is always a need for more dogmatic songs instructing White Americans to break away from Tradition. And that’s what the song is ultimately about—breaking away from Tradition. That’s what it means when society tells you to be brave. Strike down the customs of your ancestors and embrace the existence of the Last Man. “You can be an outcast,” because we’re now all outcasts in the eyes of our ancestors.

And the purpose of this song is to further subvert the meaning of “brave” to suit the needs of a consumerist society that just wants to sit on its ass and eat Cheetos all day.

Bravery no longer has to mean real men fighting and dying in combat – it now means some obese fairy dancing around in a mall on his way to buying the complete series of “Sex and the City.”

The shame is that this song and other filth like it are played everywhere you might go. The bar, the grocery store, and even the gym (as gyms rarely play music for you to hit PRs with anymore) will all have Bareilles’ voice chanting for you to become the Last Man. It’s hard to create a revolutionary mindset within a culture that promotes such limp-wristed schmaltz.

That is why the creation of our own forms of culture is so important.

Culture conveys values and attitudes far more effectively than any kind of political sloganeering. Pursuing the creation of what you might call a “subculture” within North America that exists outside of the confines of mainstream society and reinforces the traditions and the values of our ancestors is just one way we can immunize ourselves from the culture of the Kali Yuga.

Luckily, there are already groups dedicated to this task.

Otherwise, we can continue to watch as more words get redefined to mean something contemptible to us.

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The Persecution of Varg Vikernes

Black metal musician and European traditionalist Varg Vikernes is under attack again by the French government after they couldn’t tie him to terrorism charges last year.

Black metal musician and European traditionalist Varg Vikernes is under attack again by the French government after they couldn’t tie him to terrorism charges last year.

Instead of charging him with an actual crime, they’ve pulled out the hate speech card and are accusing him of inciting animosity towards minority groups.

In a sane society, these charges would be deemed ridiculous and laughed out of court. Unfortunately, we live in an insane world and Varg now has to fight prison time for merely stating his views. In another sign that the government is simply persecuting him for voicing dangerous opinions, his original court date in October had to be postponed after Vikernes’ lawyer only received the 1,000 page indictment right before the proceedings were set to begin.

If convicted, the man behind Burzum faces up to five years in jail and 45,000 euros in fines. Luckily his supporters have raised funds for his defense and his lawsuit against the French authorities for harassment.

The charges stem from alleged posts reportedly made by Vikernes that were deemed too offensive to Muslims and Jews and merit jail time and forced poverty. He was first arrested for terrorism charges last July after French police raided his residence and found legally acquired firearms. The charges had to be dropped due to the flimsy nature of the accusations.

The tribulations of Vikernes reveal how far authorities in Europe (and to a lesser extent in North America) will go to persecute people with Identitarian views. They see Vikernes, nationalists, and other traditionalists as a threat to their system and that is why they relentlessly pursue individuals with views similar to ours.

But in some ways being seen as a threat is better than being ignored. Varg is an incredibly popular artist relative to his past and views. He is seen as a musical innovator and a pioneer of a genre that has made in-roads to the mainstream. He is able to convey his views to an audience that would otherwise remain unexposed to them through his music.

This is why he is considered a threat and his presence in France remains a sorepoint for the reigning government.

Regardless of the outcome of his trial, Vikernes remains unbowed in his ideology and will continue to voice his concerns.

Here’s to him beating the charges and continuing to make worthy music.

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The Other Eurovision Story

But inspiring might not be quite the word to use for the song “My Slowianie”(English translation: We Slavs). It’s a Polish rap song with all of the potential meaning that conjures up.

While this year’s Eurovision gave rise to the new face of European Decline, Conchita Wurst, the story of Poland’s entry that might be just as interesting—and far more inspiring.

But inspiring might not be quite the word to use for the song “My Slowianie” (English translation: We Slavs). It’s a Polish rap song with all of the potential meaning that conjures up. The song itself is an ode to the beauty and rapacity of Slavic women and the English version bears the title “Slavic Girls.”

The music video is quite the piece of media. It begins with the producer of the song, Donatan, awaking with four Polish girls dressed in urban garb in a traditional, rural house. They are then taken in by two elderly farmers who then get an unexplained and unnamed Polish farm goddess (not literally, she looks like one though) to dress them in a traditional Slavic outfits, them to churn butter, and adopt a typical rural lifestyle.

Ok, there’s also an incredible amount of cleavage in the video and at one point the female butter churners gobble down a thick, white substance. It could be called soft-core porn if it wasn’t so over-the-top and hilariously goofy.

There’s also the singer of the song, with the stage name of Cleo, who portrays herself as a feisty Slavic female with a blackish singing voice and dance moves you rarely see dressed in a Eastern Europe folk costume.

Which is what comes to the intriguing part of the song: is this the Kali-Yuga appropriating traditional European culture or traditional European culture appropriating the Kali-Yuga?

This is a (slightly) serious question. Sure, the song can be seen just as pure entertainment and a sign that Poland has a remarkable sense of humor for what chooses to represent itself.

But the fact that the creator of the song (the rap producer Donaten) is an advocate of pan-Slavism and has expressed interest in paganism gives this composition more weight than just a boob fest wrapped in Polka gear.

While it would be preferable if the artist did not resort to Negro cultural forms to express European identity, it still does not overcome the fact that this song makes traditional white femininity cool and sexy. Yes, the butter churning is cheesy and there might just be a little too much tit action for good taste, but those don’t hold back the overall gist of the work.

Even Cleo’s aggressive, black inspired dancing and singing does not offend and rather makes whiteness edgy and unapologetic. White identity is too often construed as the definition of uncool and unhip. Here the hot, Slavic girls turn that notion on its head and express their own sense of cultural identity in a context that made them the fan favorites during this year’s Eurovision.

We have to start expressing White identity in a fashion that is cool and appealing to a broad spectrum of people. I’m not saying that “My Slowianie” should be the example for future projects, but it does point towards a future where it may be possible.

And here’s the music video in all of its busty, butter churning, Polka-infused madness:

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The Inquisition of Inquisition

Bring out the pitchforks – they’ve found more (possible) Nazis in black metal!

 

Bring out the pitchforks – they’ve found more (possible) Nazis in black metal!

Inquisition, a rising star in the scene, has recently come under fire for potential NS associations and their choice of lyrical content.

The Seattle-based band has become one of the more popular acts in the genre. From earning top accolades in mainstream publications like Pitchfork, to opening for more established bands like Behemoth — Inquisition are starting to receive a significantly higher profile than many acts with a similar style.

This can explain why metal outlets are suddenly starting to attack Inquisition for their transgressions into unacceptable territory. The thought that a popular metal band might be Nazis is beyond frightening for these people and is something that desperately needs addressing.

Metal Injection, a popular metal website, reposted and commented on a far-left blogger’s piece who investigated the potential links between Inquisition and National Socialism.

The results: they have a song called “Crush the Jewish Prophet,” they reportedly hailed their tour bus driver for having Nazi tattoos (which convinced a Canadian Indian band to flee black metal altogether), and they’ve done business in the past with record labels renown for anti-Semitism and other dangerous ideas.

The conclusion: they’re probably Nazis and you should refuse to listen to their music.

I eventually decided to delete them from my music library and stop listening to them entirely. I do still find myself asking whether this was necessary. Fascist or white supremacist rhetoric is not central to their message or lyrics, which tend instead to focus on the conventional black metal concern of Satanism as expressed through astrological and cosmological imagery. Perhaps the band is canny enough to realise that openly expressing their views would limit their appeal or get them into trouble; perhaps they ascribe to the wider metal world’s liberal conviction that music is no place for politics. In any case, I usually hold to the idea that it’s OK to enjoy art and media with problematic elements, or which has been created by objectionable or even bigoted artists, as long as we acknowledge those problems and don’t shut down criticism of them. But for me, personally, a line has to be drawn somewhere. Art created by Nazis, fascists and/or white supremacists is on the side of the line I do not wish to set foot in.

And to this blogger, that position is more than an intellectual stance – it sends a message that “hateful” ideas will not be tolerated in black metal. Apparently the genre is in desperate need of creating a “safe space” for subalterns to feel welcome.

While the rhetoric of neo-Nazis and/or white supremacists within black metal is often mainly focused against Jewish people, it is naive to think that violence will be used solely against one group if this rhetoric is tolerated, especially when hatred of marginalised groups such as people of colour, LGBT people and disabled people is accepted even within mainstream society. Even a band like Inquisition that doesn’t openly espouse fascist rhetoric can still cause harm to members of persecuted groups. Gallant’s story shows how Weirbach and Stevens’ open expression of admiration for the Nazis led to the First Nations band Gyibaaw turning away from black metal, closing the door on an opportunity for that group to counter the genre’s overwhelmingly white demographic and tendency to champion or tolerate extreme right views. If we give our money to musicians with fascist leanings, we don’t just support them financially, we send a message to them that their extreme views will not cause them to be criticised, that their views are therefore acceptable. The same act also sends the message to minority groups that we care more about music than about making sure that fascist and white supremacist ideologies are not tolerated or allowed to spread. In a sense, we choose our own enjoyment over people’s safety, over their right to live free from fear of ideologies that call for their destruction.

I urge anyone who cares about making metal a space which is open to and safe for marginalised groups of people to, at the very least, abstain from paying for Inquisition’s albums or live shows. I wouldn’t want to force anyone to stop listening to the band’s music entirely as I have done; this is obviously a matter of personal choice. But please do consider whether it is worth it to add to the popularity of a band that holds these views- not just Inquisition, but any band in black metal or the wider genre who subscribes to fascist, white supremacist or Nazi standpoints. There’s enough excellent music out there being made by musicians who do not align themselves with dangerous, hate-fuelled ideologies.

What is incredibly ironic here is how black metal is a music style that bills itself as hateful, violent and outside of the mainstream of society… but can’t can’t tolerate ideas that are too extreme according to mainstream critics.

However, this policing in the genre isn’t an organic development, but a result of an influx of hipsters and other outsiders becoming more involved in the scene and wanting it to conform to their tastes.

They like the edginess of black metal – just not the fascist elements that make it too edgy for comfort. The author of the piece wants to replace the quasi-fascism with post-modernist leftism that only a few, limp-wristed pseudointellectuals would even understand and support. It basically would become a safe outlet for their own extremist fantasies.

But the vast majority of black metal listeners are attracted to its feral nature and anti-mainstream outlook that allows people with truly radical views to have a place. It’s inherently masculine and violent, but the PC crowd would neuter that attraction and turn the music into just another choice for SWPLs to listen to on down days.

Unfortuanately, their influence is stronger now and Inquisition has been forced to give an interview with Decibel (arguably the largest metal publication in the world now) to state that they’re not National Socialists. The meandering response was done probably to ensure that they stayed on the lineup of their current American tour, which is giving them access to a larger potential fanbase:

So, all this stuff, as controversial as it is, is interesting to me. But it doesn’t mean that I’m out affiliated with a movement that is seeking to physically destroy any type of race, and I’m not out, you know, spreading fliers and propaganda of, you know … “do away with this and do away with that.” If I have done that through Inquisition, it’s a metaphor against religions. Black metal is a symbolic or metaphor of the free will, independent thinking, opening the mind to greater things than just looking straight into the religions of all cultures that men themselves have created. And that’s what it’s about. And national socialism, to a certain degree, is all the opposite of that. All of it. Right? So, I could keep going somewhere down there, but you may have other questions that… could kinda trail onto other things, so I’ll let you do that.

But that hasn’t stopped the attacks. The ex-skinhead tour bus driver who accused them of hailing him for his swastika tattoos did an extensive interview with Decibel as well and spillt more dirt on the band:

As the tour went on I saw Jason interact with people I knew from the past that I knew had direct connections with the Blood And Honor organization (a white power group). I then became suspect of them. I then saw Jason [the frontman of Inquisition] having a discussion about National Socialism and Odinism with a youth. I stood to the side and listened and was convinced Jason was aligned with right-wing extremist ideology…

When I got back on the bus Tom asked a few questions and we started talking about the World Church Of The Creator. Tom started to tell me that he had connections in Everett, Washington. I indicated that I knew guys from Everett. That’s when Jason spoke up. He didn’t say much in that conversation except that he watches Nazi propaganda videos and Triumph Of The Will and loves that stuff and has dreams and fantasies that he wishes that would happen. I’m looking in the mirror and watching Gyibaaw’s [the Indian band on the tour] response and they are scared.

What it all boils down to is that personal thoughts (that are not even reflected in the lyrics) are open for attack and that any random person can fuel a media firestorm against you if you matter enough. This is almost like the Donald Sterling case… except these guys wear corpsepaint and sing about smashing Jesus. The new era of thought police can affect both those who wear suits to work and those who play extreme metal in spikes and leather.

Fortunately, there have been no direct consequences for Inquisition so far besides media smears. They are still on tour with Behemoth and their record label has not indicated any intention of dropping the act from their roster.

It would be a top-down move if Inquisition faced the consequences of any individual in the bourgeois world if they were accused of similar associations. Burzum, Graveland, and Nokturnal Mortum all enjoy strong record sales and critical appreciation in spite of far more explicit NS links.

The vast majority of black metal fans don’t care about their band’s politics and some even have an interest in ideas that go beyond nihilism and misanthropy. The Neo-Nazi movement of today certainly shouldn’t be the end result of that interest, but it can lead to an awakening in white racial consciousness and a desire to be in touch with one’s traditional roots.

Hopefully, Inquisition’s inquisition turns out differently than the typical purge of Western dissidents.

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Un-Happy

Culture is said to be a reflection of contemporary social moods – but if that is true, then we must be living in extraordinarily happy times based on our popular music.

Culture is said to be a reflection of contemporary social moods – but if that is true, then we must be living in extraordinarily happy times based on our popular music.

While I’m predisposed to agree with the assertion that culture does reflect societal tensions, the music of our time does not even come close to that goal. The likely culprit of that is a top-down, commercialization of music that largely determines what new music an individual would come in contact with while out in public or listening to the radio.

For young people who are the primary consumers of pop music, the times aren’t so rosy and there’s serious long-term issues that lie ahead for this beleaguered generation. As if in reaction to this development, the music that is now pumped out on the radio is syrupy, saccharine and happy to the point of obnoxiousness.

And the number one offender of this trend is Pharrell Williams’ song “Happy.” With an incredibly creative title, the song resembles a children’s nursery rhyme with a torturously, repetitive chorus and lyrics that have all the depth of a kiddy pool. Mr. Pharrell has managed to transform the spirit of “emotional pornography” into audio form, complete with a negro musical sheen.

Take a look at the lyrics and marvel at the drivel that is spewed forth by our craftsmen of culture:

[Verse 1:]
It might seem crazy what I’m about to say
Sunshine she’s here, you can take a break
I’m a hot air balloon that could go to space
With the air, like I don’t care baby by the way

[Chorus:]
Because I’m happy
Clap along if you feel like a room without a roof
Because I’m happy
Clap along if you feel like happiness is the truth
Because I’m happy
Clap along if you know what happiness is to you
Because I’m happy
Clap along if you feel like that’s what you wanna do

[Verse 2:]
Here come bad news talking this and that, yeah,
Well, give me all you got, and don’t hold it back, yeah,
Well, I should probably warn you I’ll be just fine, yeah,
No offense to you, don’t waste your time
Here’s why

[Chorus]

Hey, come on

[Bridge:]
(happy)
Bring me down
Can’t nothing bring me down
My level’s too high
Bring me down
Can’t nothing bring me down
I said (let me tell you now)
Bring me down
Can’t nothing bring me down
My level’s too high
Bring me down
Can’t nothing bring me down
I said

[Chorus 2x]

Hey, come on

(happy)
Bring me down… can’t nothing…
Bring me down… my level’s too high…
Bring me down… can’t nothing…
Bring me down, I said (let me tell you now)

[Chorus 2x]

Come on

It’s quite obvious that this song, which was originally made for the children’s film “Despicable Me 2,” has taken on a life of its own and is reflecting much of the feeling that pop music is now trying to convey.

It’s an elixir for the woes that face Millennials face today. Feeling frightened that you can’t a decent job? Clap your hands and be happy instead! Girlfriend left you to hop aboard the cock carousel? Clap your hands and be happy instead! Feeling like you should blow your brains out because you have no purpose in life? Clap your hands and be happy instead!

At least the music video accurately depicts the real people of America with average, fat schlubs dancing in the street to the song to let you know it’s ok to be a hapless loser in life’s game.

In real life, the tell-tale signs of mass unhappiness are on display. Depression, drug abuse, and suicide rates are all rising and the infamous Misery Index is not looking good at the moment.

This song, along with the growing proliferation of “emotional porn,” misdirects people’s frustrations with their lives and society to gooey, feel-good messages. Don’t worry about problems, just watch this video or read this blurb about happiness and magically become satisfied with life. It’s the soft power of totalitarian humanism that mandates cheery thoughts — even though the world around you is going to hell.

Unhappiness with the world is the root cause of revolution, which is why we have garbage like “Happy” blaring at us like the minutes of hate from Orwell’s 1984. But in my opinion, these opiates won’t last long and eventually enough whites will wake up to try to change the world.

Then we can truly be happy.

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This Is Europa

Martial industrial might just be the sole genre specifically created for right-wingers. I have a hard time conceiving leftists listening to music that praises war, violence and authoritarianism without a massive amount of cognitive dissonance in play.

Martial industrial might just be the sole genre specifically created for right-wingers. I have a hard time conceiving leftists listening to music that praises war, violence and authoritarianism without a massive amount of cognitive dissonance in play.

Some of martial industrial strikes me as a tad degenerate and simply playing with fascist imagery for its shock value and an attraction to its less savory aspects.

Triarii is one of the better acts in the genre and makes music that I’m certain any of our readers can enjoy. Hailing from Germany, Triarii’s sound is triumphant and hearkens back to an era where man did not need to heed the code of turning the other cheek. There’s a heavy classical influence on the German act and their music could easily be turned into a fantastic soundtrack for a epic film that should exist.

The music project certainly plays with provocative imagery and influence. They’ve composed a song dedicated to the memory Arno Breker, the famed Third Reich sculptor, and have another song inspired by the works of Savitri Devi. Their compositions are also known to feature sound clips from fascist speakers and the lyrical topics typically center on values and traditions that are well outside of liberal ideology.

A good example of this is “Europa,” which is an ode to the noble continent as his “mother” and “kingdom.”

If Black Metal represents the feral side of European man, then Triarii and the other great acts of martial industrial represent his pursuit of technological achievement and ordered society.

There’s little of the harshness and nihilism that some other acts in the genre parlay in Triarii’s latest work, Exile, from 2011.

Featuring top-notch production and songwriting with a strong taste for melody, Triarii are able to capture a sound that expresses a gripping narrative and setting without the need to conjure up contrived lyrics to describe it. Their music eschews pop song structure to follow a more unique form that better allows them to generate the emotional context of their songs and weave a storyline within their sound.

Triarii’s work can be enjoyed at any time, whether at the gym or reading a book, and is highly recommended for those who are seeking music that is in line with both their aesthetic and metapolitical views.

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