Updated: Apr 22
What I have never understood among Nationalists is the fact that they seem adequately able to spot entartete Modernism in art, but when it comes to music, they are in the dark completely, and could happily disregard a Pablo Picasso exhibition, only to go home and listen to the relentless, hypnotic kick-beats of their favourite 90's Dance music, the subversive nihilism of compromised Indie, or the sexualized, Negroid commercial bluster of Heavy Metal and Rock music, let alone tolerating rubbish lyrics, or falling out with lyrical music altogether. There are occasional exceptions, but really not all that often.
I postulate that it is not only Jewish-controlled 'Xanax, hoes, and violence' Rap that needs consideration. European-influenced styles and genres of modern music may be qualitatively superior to Rap, and certainly less anti-White, but not in their entirety, and not automatically on the sole quality that they are more melodious. See Sir Roger Scruton's comments on REM. A controversial topic, this one. What is the real difference do we think? A genuine question.
This is one of the most disturbing presentations on modern music that I have ever watched. As I wrote to one of my friends a while back, the young fellow has the mannerisms and dead speech of - in what I hope is merely my grim, slanderous euphemism - a trauma-controlled Monarch victim, and what he actually implies is subtle horror. I'm somehow betting he's a Leftist also. The term 'midwit' comes to mind with this dopey hippy. I wonder who put him up to this:
I would suggest that J.S. Bach is both positive and eloquent as a recovery agent.
Alternatively, picking a few more from my CD collection, I would also think of Anton Webern, Arvo Part (sorry about the missing umlaut), Alban Berg, Johann Hummel, Samuel Barber, John Adams, Steve Reich, Philip Glass, Frederic Chopin, Sergei Rachmaninov, Edward Elgar, Franz Liszt, Johannes Brahms, Max Bruch, Sergei Prokofiev, Alexander Borodin, Franz Berwald, Edvard Grieg, Wilhelm Richard Wagner, Ludwig van Beethoven, Anton Leopold Dvorak (again, pardon the missing accents), Pyotr Ilyich Tchaikovsky, Bedrich Smetana (darn accents), and Alexander Glazunov.
Anyone familiar with Classical music can work out my general tastes from those composers. There are a few outliers, and indeed a few may be trimmed in later years on account of Jewish influence, but most have something in common, and appeal very much to me. I also have a fondness for Gregorian choirs.
To be honest, most post-war musicians are complete morons. Also, I am of the belief that the invention of the electric guitar is closely related to the death of decent composition and the rise of juvenile and inadequate music tastes, as well as a deluge of sub-standard records.
I am also not a fan of Fashwave, and have commented on the narrow-minded nature of its listeners, as if Beauty were to be assessed via a dogmatic feminine instinct that corrals post-war Expressionist Modern Art (i.e., all modern popular music) into a single mode of understanding, and quietly note to myself that if my own work in this acoustic medium were to consider that last great generation of the Old World wistfully leaving their family homes to be senselessly obliterated in ritual Zionist Luciferian blood slaughter, theirs would seem to inch blithely closer to the bordellos of Otto Dix, all smooth, vacuous adolescent melody and a safe, twee complacency, bereft of dramatic tension.
I notice that they do not understand my own approach to artistic music and seem to have been trapped by a mimetic fetish for the 1980's, and not the grand, poignant, impassioned efforts of a century before. They appear to be emulating New Wave with aspects of Dance (and especially Trance) and Club culture drawn from the 1990's, whereas I have taken upon myself the task to reclaim Industrial music, in all its varied sub-categories, from the severity of that moronic regression that grips this experimental mega-genre and lead it back into a folkish neo-Classical. A form of Archeofuturist retro-Punk for those who despise Punk.
As analogy, it is as if these Fashwave aficionados (and, as usual, we can apply NAXALT) were a throng of Mozart’s well-heeled courtier friends, pattering out endless variations on his Piano Concerto no.16 before an adoring crowd of men in wigs and I was a mere adolescent Penderecki who, having had his wild fun for a few years, softly returned to the record shop and picked up a second-hand ‘Greatest Works of Beethoven’ Naxos CD for £1, coming to a sudden startling yet powerful realisation.
Still, inevitably, they take a very superficial and boorish analysis of my sounds, and thus often compare me to the unrepentant degenerate poseur and ‘tortured artist’ Trent Reznor, of the 1990's Industrial Rock band Nine Inch Nails. Even to a mainstream Industrial musician that is a very weary comparison. I cope with this, but often wish they could consider my subtle point, or be a little more interesting.
That said, I admit the 'Endzeit Electronics' influence on my early work. The projects :wumpscut: and Throbberstalk (more so the latter) certainly played their part. As did an enthusiastic British band called Katscan, although, as usual, they never quite went far enough.
In the meantime, oh those poor, wretched, persecuted National Socialists! If only they'd let him into their Music Academy, none of this would have happened.
True Himmler's quite a good book, by the way. I often feel that may be my end, as I empathise with the basic personality type of that chap.
I'm a very frustrating musician, even to myself.