GREY SKIES AND ELECTRIC LIGHT: METAL AS A METAPHOR FOR PLURALITY IN WHITE MOVEMENTS

GREY SKIES AND ELECTRIC LIGHT: METAL AS A METAPHOR FOR PLURALITY IN WHITE MOVEMENTS

Amid calls for White unity in the political struggles we face, both in mother Europa and in our diaspora homelands, a growing number of our people may wonder if unity, in the broad sense of a unified mass movement for change, is either practical or even desirable.

Here we would suggest that the idea of diversity plus tolerance of difference, rather than unity at the expense of tolerance and good relations, may be a far more effective strategy.
The other point we might make is that promoting competition within the broad pro-White, pro-European, ethnocentric or ethno-nationalist milieu may lead to better results than the “lowest common denominator” effect caused by avoiding conflict, affecting false piety and “playing nice” at all costs.

White social movements, it must be noted always seem to thrive on intense competition, even rivalry at times; we will here make an example of that uniquely White and modern phenomenon, Heavy Metal music, or simply Metal, as it is known among aficionados. The term Metal is important as it remains the suffix for all the myriad constituent genres and sub-categories of the movement, for we will hereafter refer to the Metal movement as something concrete, with its own weight and momentum, so to speak.

Declaring oneself to be a devotee of Metal is, for a White person, a declaration of amity with a wide cross-section of European and diaspora folk, via an appreciation of a shared history and cross-cultural understanding through commonly understood symbols, fashions and artistic styles.

Declaring oneself to be a devotee of Metal is, for a White person, a declaration of amity with a wide cross-section of European and diaspora folk, via an appreciation of a shared history and cross-cultural understanding through commonly understood symbols, fashions and artistic styles.

Beginning in the late 1960’s, in the United Kingdom, the then West Germany and North America, heavy music acts began to proliferate and gain a devoted following; we now talk about “waves” of Metal acts, with groups like Black Sabbath, The Scorpions, Hawkwind, Blue Cheer and others acknowledged as being the first wave.

The breakout period of the late 1970’s and 1980’s represents the second wave, bands such as Iron Maiden, Saxon, Judas Priest, Accept and Def Leppard gained huge success and cult followings, particularly after the advent of the dedicated music TV channels such as MTV.

By the mid-1990’s, the centre of gravity had shifted to northern Europe, the commercial success of the 1980’s golden era was harder to come by and as the focus of record companies shifted away from Metal music toward the more lucrative, Grunge, electronica and Hip-Hip genres a counter movement was born.

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Black Sabbath was more than just Hippies without the incense and love-ins

While mainstream acts still toured, released albums and settled into middle-aged rock star lifestyles, the new sub-cultures of Metal were developing, in Sweden, Norway, Florida and Britain’s post-industrial towns new acts would emerge to take Metal to new depths of artistry and new extremes.

New themes began to take shape in the underground, acts became militantly anti-religious, anti-authoritarian, even exploring areas such as death, suicide, murder, misanthropy and mental illness.

So too, European folklore, paganism and fantasy fiction themes gained prominence in lyrics, artwork and merchandise such as clothing and jewellery.

New themes began to take shape in the underground, acts became militantly anti-religious, anti-authoritarian, even exploring areas such as death, suicide, murder, misanthropy and mental illness.

We could say that, in the present moment, Metal is the outlet for some of the most extreme and yet creative White people on the planet, people who will not compromise on any level and who will break any taboo or politically correct rule just to see where it takes them.

As Metal fans, we risk becoming bores on the subject of the more extreme and confronting music in our libraries. Underground music, such as Black Metal, is often deliberately made incomprehensible to outsiders; in some cases the songs are recorded in mono, or on antiquated cassette players and mixed by placing a microphone next to a speaker and overdubbing sound; often no lyrics are published, no photos of the performers exist and they never play live.

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Russian Pagan Metal band Arkona once had a song featured on the American version of The Office (NBC, 2005-2013).

What is interesting though is that these subcultures are breaking through into the mainstream, large, well-attended music festivals in Europe that are dedicated to the more accessible genres of Pagan Metal, Folk Metal or the less antagonistic of the Death, Doom and Black Metal performers.

The more popular acts have even defied the digital download crisis and via frequent touring, maintaining an active social media presence and astute merchandising arrangements have managed to make a decent living.

The scene is, however, very competitive, especially where the fans are concerned and this has been a positive insofar as devoted movement people, who have grown to love a particular act in the underground, where rules of political correctness do not apply, will expect the artists to stand by their work, even if it means causing offence to those who might habitually take offence.

The more popular acts have even defied the digital download crisis and via frequent touring, maintaining an active social media presence and astute merchandising arrangements have managed to make a decent living.

Many of the more extreme underground acts frequently cross the lines into open warfare with Cultural Marxist social norms, a significant minority even openly endorse Nationalism and adopt symbols of bygone ethnocentric movements along with, to some extent, their politics.

Accusations of “Fascism” against Metal acts are common enough that fans and detractors will argue incessantly on the internet over the symbols, lyrics and personal convictions of the band members.

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Greek Black Metal combo Naer Mataron features bassist Giorgos Germenis (centre) who is a member of Golden Dawn and elected to Greek parliament

Fans are often “called out” for not condemning Eurocentrist or Nationalist artists by musicians outside the scene and anti-racism campaigners; the point, though, is that the Metal underground is seeding these ideas, largely via the internet, into the mainstream and there is wide tolerance of openly pro-White, political self-expression among confirmed followers.

Fans are fiercely protective of the artists, even the most extreme among them and the base and anti-authoritarian mood of the Metal world generally renders it inaccessible to and intolerant of cultural Marxists, Antifa vigilantes and other pests of that nature.
Where we see the example of Metal as instructive to Nationalist radicals is that the genres and their followers are steadily growing in number, uncompromising, competitive, diverse and tolerant, within the confines of an almost exclusively White popular culture.

The underground must never be forced to compromise with the visible elements of a White movement, the extremists must be allowed to pursue ideas to the limit of their capabilities and it should be the job of the people who live in the open to seed those ideas into the White mainstream insofar as they might be accepted by the workers and our middle-class sympathisers.

Accusations of “Fascism” against Metal acts are common enough that fans and detractors will argue incessantly on the internet over the symbols, lyrics and personal convictions of the band members.

The diverse elements of the underground should exist in a state of conflict as different ideas are developed, the different ethnic cliques and schools of thought should be encouraged to compete, to come up with ever more daring and demanding concepts with which to challenge each other.

The only tolerance needed is a realisation that, if a radicalised person or group has proven themselves to be dedicated to the White cause and to be trustworthy they should be given licence to develop their ideas, their particular styles of dress, art and symbolism free from the meddling of the over-ground activist.

Nationalists should be just as fiercely defensive of our eccentrics, artists, radicals and extremists as the Metal fans are of theirs; rather than becoming upset over competition within the ranks and fretting over supposed “infighting” we should realise that this tolerance of diversity within the parameters of the pro-White struggle is actually one of our strengths.

Metal fans don’t look at the first wave of heavy music as the be-all and end-all of the genre, but nor do we forget where we came from as a movement, our history; the past is with us permanently but we do not fear innovation or radical new ideas.

We are as tolerant of the old men in their Black Sabbath T-shirts as we are of the Black Metal fans in their leather and corpse paint because we know that change is essential to growth, but that growth can often be painful; there is something in that sentiment for Nationalists too.

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We figure these guys aren’t signed to a Jewish record company. Then again, knowing the Jew, anything is possible