A fissure with white nationalists

The apotheosis of technology was considered the hallmark of the West, according to Lawrence K. Brown, the famous Spenglerite. Yet, I question whether its music is not equally advanced. However, today, Technos, and not music, is appreciated and grasped much more readily by the children of the West. Truly, the sons of the West have lost their souls.

—Iranian for Aryans



It is truly comical that some friends have tried to reconcile with me after the controversy in my previous posts on music by claiming that, once in a while, they also listen to classical music—while at the same time they post comments in recent Counter Currents (CC) threads expressing admiration for industrial music, a subgenre of heavy rock.

Since westerners, including most white nationalists, have already lost their souls they ignore that paying lip service to classical music is not a litmus test to gauge the spiritual maturity of an individual, but how much the spiritually evolved individual loathes degenerate forms of sexual mores and music.

It’s precisely the fact that even nationalists have lost their western soul what moved me to rephrase William Pierce in my previous post with the words, “The essential aspect of what is happening to the West is spiritual, not just the scheming of the Jews.” Proponents of a mono-causal explanation of Western malaise—the Jews—should take note that I am reaching these conclusions at the same time that I find myself reading Kevin MacDonald’s first book of his trilogy on Judaism (that, incidentally, I consider even more illuminating than the third one, The Culture of Critique which I read last year).

I must confess that the discovery that even nationalists are crucifying the western spirit with filthy music has disappointed me greatly and has created a fissure between me and them that will not heal until the ethnostate reclaims our western soul. It is symptomatic that one of the authors of the recent CC articles about English heroine Emma West authored also another CC article promoting rock, claiming that classical music is dead without ever noticing that, with it, he is part of the problem that caused the crucifixion of the English heroine in the first place. It was England after all what catapulted the music for simpletons composed by a Super rock star who, in 1969, not only committed what should be considered the ultimate sin for nationalists, marrying a non-white, but even changed his pure English name introducing the middle name “Ono.” And even Greg Johnson in his latest apologia of industrial music acknowledged: “Politically speaking, their hearts [of the members of the rock band Rammstein] are on the left. Not the totalitarian left, but the liberal left: the individualist, consumerist left.” In other words, this band is the product of exactly the same degeneracy that for decades has been destroying our culture.

Yesterday, at CC I wrote something that no CC commenter will take seriously and that marks my fissure with them:

My postulate is that music, as architecture, is the outward manifestation of the soul of a culture. Is today’s culture healthy? If the answer is in the negative and my postulate is correct, it can only mean that present-day music and architecture are decadent (cf. the videos on beauty that The Occidental Observer featured in the past months), including those immense soulless skyscrapers of steel and crystal—monuments to Mammon—, and industrial music, groove metal and heavy metal.

Let’s suppose for a moment that Covington’s ideal, the formation of a new nation in the Northwest that reverts values to the late 19th and early 20th centuries, including clothing—a paradise for Matt Parrott’s fedoras!—becomes reality: a nation where America’s ZOG, race-mixing, feminist and degenerate sexual practices are gone forever.

This is my prediction: two or three decades after the new nation is formed, gradually it will be comprehended that the music—or heavy noise: antimusic—composed during the interregnum was increasingly decadent until Western civilization collapsed. Interregnum music might still be heard, but only as soundtracks of films depicting the darkest night of Western soul in the second half of the twentieth century and the first decades of our century.

What I find a totally impossible scenario is that a civilization that rediscovers itself and reverts to the social, sexual and esthetical mores of our ancestors will still like industrial music or groove metal.

17 Replies on “A fissure with white nationalists

  1. My postulate is that music, as architecture, is the outward manifestation of the soul of a culture.

    So if your hypothesis is correct, would we consider nature unspoilt in all her natural beauty, to be the manifestation of hunter-gatherer culture of say the Aborigines?

    I am interested in your hypothesis, but not sure its accurate. I guess it depends how we define culture, and ‘functional’ or ‘healthy’ cultural soul.

    I love classical music, and I cannot stand heavy metal, heavy rock; to the point if it is being played in any shop, or the gym, or anywhere I am; I will voice a complaint and walk out.

    My reasons for doubting your hypothesis, is that I have known people who voice support for all the outward manifestations of your cultural soul, but yet, these people are psychological midgets, when it comes to honouring their word, speaking honest words, being honest about their thoughts to anothers face. In short, they are highly functional liars, pretenders, backstabbers, but also highly qualified in terms of all classical music.

    In my personal preference for a healthy culture is: (a) small goverment, i.e. citizens highly functionally capable of making honourable agreements, with each other, keeping them and resolving misunderstandings, without the need for lawyers, police, judges; (b) living in harmony with nature.

    Interesting food for thought though.

    1. Well, yes: architecture (have you seen the TOO videos linked above?) and music are only two signs but there are others. I also spoke about sexual mores, and I find it amazing that some sophisticated and featured white nationalists have defended homosexuality at the commentariat section of TOO. I consider myself fairly open; not a bigot at all. I can tolerate homosexuality far more than, say, Covington in his podcasts. Homosexuality could be a sort of weakness or whatever, certainly not a condition to be treated by psychiatrists. But overt apologia of it in WN forums… that’s another matter!

      The same with heavy rock. If WNists who support it kept their little perversion in their closets, no fissure would be created. But they’re saying essentially that it is good and healthy for the white psyche—something like promoting Tarantino’s movies for the white movement by means of preposterous rationalizations and interpretations that strain our nationalist credulity far beyond the breaking point.

      And of course there are also the sociopolitical markers that you mention, and the fact that some fans of classical music are big offenders of white interests. But generally speaking I still feel that no person who loves heavy rock is truly integrated psychologically. In this sense my “litmus test” is not exactly positive but negative. (Analogously, Popper’s falsifiability test doesn’t mean that the veracity of X scientific hypothesis can be corroborated, only that if it’s wrong it must be presented in a form that it could be proven wrong.)

      1. Interesting that you mention Popper. David Stove argues in “Popper and After” that Popper is a product of the Jazz Age, riffing on Feyerabend’s “anything goes”:

        Stove nevertheless argued that Popper was a product of the “jazz age”, where, in the words of Cole Porter, “day’s night today” and vice versa – only that Popper’s “jazz age” was played out in the intellectual world rather than at bohemian parties.

    2. I see two problems with your reasoning, Andrea:

      – When you say it depends on how we define health, it makes it sound as if this is somewhat arbitrary. You seem to be leaving the door open for a definition that somehow makes a taste for rock conducive to (or at least not an impediment to) good health. But if I understand him correctly, Chechar is saying that health and disease are something real, i.e., not something that we get to define however we like. And he’s asserting as a *fact* that rock music is bad for you. (I agree.)

      – Healthy people (H) will like classical music (C), but not everyone who likes classical music is healthy. “If H then C; C; therefore H” is a fallacy. The people you mention who like classical music but have various personality flaws doubtless have other likes and dislikes which are responsible for corrupting them. You have to look at the whole picture.

  2. Chechar, with all due respect, it seems you are striving for a fissure with your brothers.

    Maybe you could take the approach that your job is to shine light, where there is darkness, rather than collapsing the cave from without so that all inside remain lost?

    Purity is for saints, but they remain saints because they were leaders to the lost, not because they damned the lost.

    Your thoughts are a corrective and inducement to other things forgotten, but they will remain forgotten if you are determined to form a breach where there is none required, but rather a rapprochement is called for.

    Btw, Lennon had this to say on “his pure English name”. It’s from the jacket of his album “Walls and Bridges”, an apt title given your direction and where I would prefer to see you going.

    1. Pat,

      It’s not that I’m for an open fissure, but on the subject of music we will eternally agree to disagree.

      Perhaps the best analogy is Covington’s loathsomeness of homosexuality. I said above that I’m much more open to this weakness than Covington in the sense that, like Hitler, I would tolerate homosexuals among my storm troopers. But I would never attend a private little party organized by an Ernst Röhm!

      The same with rock lovers. We can be comrades in arms, yes: but I’d never attend a party of WNists with heavy rock as the background music. (Recently I missed a big party of the whole Tort family and relatives precisely because this now degenerate family hired a band of a music genre that I consider clearly Neanderthalesque: mariachis.)

      By the way, I edited your last comment as requested.

  3. There’s always been elite music and folk music.

    Even at the height of elite classical music, most Whites were dancing around to relatively simple and raucous folk music.

    I concur that our high culture has suffered greatly and also look forward to a revival of high culture after the revolution. But I see no reason to set White pleb music up against White elite music.

    Since I heard Radiohead – Exit Music as a teenager, it’s been my answer to the “What’s your favorite song?” question. It’s beautiful beyond words.

    http://www.youtube.com/watch?v=iMqXj-eVCjI

    Imagine my surprise to learn that its magic was actually borrowed from Chopin’s Prelude in E Minor (op. 28 no. 4)

    http://www.youtube.com/watch?v=ef-4Bv5Ng0w

    To then discover that Chopin was an outspoken anti-semite and to find the song was played in both a modern remake of Shakespeare‘s Romeo and Juliet and then to hear it played at the climax of Mel Gibson‘s excellent The Beaver was beyond serendipitous.

    Granted Reznor’s politics are reprehensible and his lyrics are evidently degenerate, but have you absolutely no appreciation for the subtlety and complexity of Nine Inch Nail’s best work?

    1. Matt,

      One thing is folk music—and I agree with you that it is very important and fundamental for the traditional white movement (a music that although I don’t like I respect and support)—and another thing is the filth of the band Nine Inch Nail.

      The trouble with this sentiment of mine (“filth”) is that it is impossible to convey horizontally.

      In the 1980s I lived a few years in Marin County. Only the Golden Gate separated my decent, family-oriented neighborhood from San Francisco. Once, out of curiosity, I crossed the bridge with the sole purpose to visit San Fran’s Castro Street. I was shocked when in my mind I compared the vulgar sodomites on the street with my memories of Hitchcock’s Vertigo filmed in the same city the year when I was born. Did I manifest my repulsion before this obvious sexual degeneracy compared to the high American culture of Hitchcock’s time? Of course not: my feeling could never have been transmitted horizontally to the sodomites, only vertically, i.e. only to those who feel the same “Lot in Gomorrah” horror that I felt.

      Exactly the same with music. The tragedy with this is that it cannot be comprehended objectively, only subjectively. Obviously, no colt-boy “gay” at Castro Street would feel the repugnance for his own psychic wavelength that I feel, in the same way as no heavy rock “fan” inside or outside WNism would feel the repugnance for his wavelength that I feel.

      We are condemned to live in parallel universes forever, at least with regard to music.

  4. To add to Matt’s comment about folk music what do you make of The Kermesse of St George painted by Pieter Brueghel The Younger?

    And the poem written upon its theme by William Carlos Williams, who wrote on themes similar to yours:

    “The Dance

    William Carlos Williams

    In Brueghel’s great picture, The Kermess,
    the dancers go round, they go round and
    around, the squeal and the blare and the
    tweedle of bagpipes, a bugle and fiddles
    tipping their bellies (round as the thick-
    sided glasses whose wash they impound)
    their hips and their bellies off balance
    to turn them. Kicking and rolling
    about the Fair Grounds, swinging their butts, those
    shanks must be sound to bear up under such
    rollicking measures, prance as they dance
    in Brueghel’s great picture, The Kermess.”

    You may like Williams’ other famous poem “The pure products of America / go crazy”.

    An excerpt:

    “and young slatterns, bathed
    in filth
    from Monday to Saturday

    to be tricked out that night
    with gauds
    from imaginations which have no

    peasant traditions to give them
    character
    but flutter and flaunt

    sheer rags succumbing without
    emotion
    save numbed terror”

    Those peasant traditions (and music) which you seem to despise as being unworthy, are the rock of much of the White West, not simply your classical music.

    Further to Matt’s point re Radiohead, Lennon’s “Because”:

    According to Lennon, the song’s close musical resemblance to Ludwig van Beethoven’s “Moonlight Sonata” was no coincidence: “Yoko was playing Beethoven’s ‘Moonlight Sonata’ on the piano … I said, ‘Can you play those chords backwards?’, and wrote ‘Because’ around them.

  5. Folk music has never been rock-ish. It was melodically fluent, beautiful, and sane; not so “modern pleb” music, or, if you prefer, rock.

    1. I want to back this up. Since childhood, I have been listening to French songs – usually on cassette tapes, usualy from mid-20th-century singers, the songs themselves varying from being midcentury to much older. It spoiled me for basically everything in popular music today. It is all melody and beauty, and even the songs about countryside weddings where the girl is asking “when’re you gonna put that ring on my finger, hm?” are cute and fun and reflective of a fundamentally honest and healthy society.

      I went through a period in my early 20s where I was listening to and enjoying country music. Then I started actually listening to the words and thinking about what they meant, in light of more careful thinking about the significance of feminism and male-female relations. Country music is disastrously bad. It is feminism and male weakness and impotent bluster incarnate, and that the “simple country people” of the USA identify it as their own particular music is one of the biggest factors in their corruption.

      [Side note: at The Spearhead, a men’s issues site I used to read for a while, the subject of past marriage patterns has come up a few times. It is now asserted there by some among the commentariat that in the middle ages there was no such thing as marriage and people slept around all the time and marriage was just for rich folks. When I objected, pointing out that my family has records of marriage contracts for dirt-poor peasant farmers going back nearly half a millenium, I was told that I was a dirty liar and mistaken. That is the health of today’s society: marriage failure in this society so traumatizes men that they can’t believe it is even possible to do it correctly or that it ever was done successfully. Jerry Pournelle has said: “A dark age is when men not only forget how to do something, but forget that it could be done at all”. The Spearhead now has a regular chorus of men in the commenters who advocate Islam as the solution to Western men’s problems with divorce law.]

  6. Study Schiller Institute’s investigation on A=440 tone that activates the brain… found in Stravinsky’s work and Ode To Joy (Beethoven and EU Brainwashing Anthem).

    It’s multi-pronged approach of morbid, sexual/violent images, hate-filled lyrics on women and Whites and album-CD covers. Aleister Crowley (evil Satanist) sponsored The Beatles and Crowley’s face is OBVIOUSLY on the top, left-hand cover of St Pepper’s Lonely Heart Club album.

    Three days after that release Jimi Hendrix opened a concert with that song. Led Zepplin had interests in Satanism. Music is used in therapy but tonal A=440 agitates and seems to allow neurons in the brain to hypnotise. Let’s face it, Beatles were rubbish… Hey Jude, Hey Jude, Hey Jude, Hey Jude… hypnotic over-suggestion. Kill the white man, rape the white man, hate the white man, rape the white woman! Whites raped our country, rape the white man mantra… Same Thing! Same thing!

    Look at the Demons and witches Rhianna, LAD not Lady Gaga and all the other ugly, sexed bipeds grunting out CRAP Kill the White man, rape the white, white man raped us over…

    It would be comical if it were not so incredibly dangerous “Kill the White man (metaphoric was the mantra or catchcry of the feminshit especially the Butch-Dyke persuasion). Kill the man… man oppresses woman… kill the man (so the dykes have more women to rub against and to deny them children and the love of a faithful husband.) These witches and demons entice with orgasms (boring) shekel and bling bling (crass) and a kind of power (temporal)… they sold out their own souls and now recruit with aid from the Satanists in the music, media, hospitals and schools:

    Kill the White man… it is all Whitey’s fault kill off the men (patriarchy… the family… Christian ideas… kill the whiteman… same sex relationships good/superior… Black KOLCHA better… superior… Christians bad… Muslims good.

    As Emma said: FUCK YOU!

    1. Perhaps, but the main problem is that the music itself, all things aside, is utterly ugly and base, as well as “bass”, since it’s genital-fixated.

  7. “industrial music, a subgenre of heavy rock”

    industrial is not subgenre of heavy rock. Its very wide spectre of music, including such subgenres as neofolk, neoclasical and martial.
    This is example of martial industrial.

    Where do you hear “heavy rock” in here? These subgenres of industrial doesnt contradict clasical music, as I understand. Please investigate more.

    1. A Counter-Currents article on the band Rammstein moved me to write this post. I don’t remember where I read that Rammstein was “industrial”. Perhaps it’s not. It certainly listens like heavy rock: the epitome of the nadir of the Western spirit together with race-mixing, a Negro president, Gomorrahite lifestyles, etc, etc.

  8. What I find a totally impossible scenario is that a civilization that rediscovers itself and reverts to the social, sexual and esthetical mores of our ancestors will still like industrial music or groove metal.

    Completely agree.

    AP