Further to my previous post on Neanderthalesque music. The blogger known as Iranian for Aryans has just responded in that thread including the following points.
These are my views on the subject:
1. If you support non-classical music you’re suspect.
2. Those who say they “like” classical music are disingenuous, for the most part, since they don’t listen to it.
3. Burzum and the other [Black Metal] groups are abominable.
4. If society loses its original and healthy musical heritage, it cannot use something sick, demented, and ugly to revivify itself. The latter is too ugly and evil. Why not go back to the Masters? They are assured of being sane, beautiful, and progressive.
Thank you for putting our views so succinctly. These are my very personal views:
He who dances classical ballet can dance everything, even if he loathes a specific dancing genre. Similarly, he who can understand the most abstract forms of classical music can understand every music genre, even if he loathes a specific genre.
As I said in the previous post, music has been my native language. I understood atonal Ligeti at the age of ten. So let me be a little arrogant for a moment.
Analogously to those people who have an unusual development of the sense of olfaction to the point of “smelling” human moods—or so they claim—, I believe I can “decode” the moods of all musical genres, however disgusting I find some of their tantrums, and therefore the genre, that they represent. On the basis of this intuitive and unheard of psychological knowledge, the following is my interpretation of black metal.
Since the late 1960’s I interpreted rock as a “psychorragic” manifestation of an extremely pissed off generation with regard to their parents’ traditional, and often engulfing, culture. Like heavy rock, I feel that the black metal promoted by notable white nationalists is but the acting out of anti-traditional, anti-Christian sentiments among its fans.
Don’t take me wrong. Psychorragic rebellion is good. There’s nothing wrong with volcanic eruptions of rage after one’s own dignity has been crushed by the surrounding culture. However, if instead of using that sickening music to vent their legit rage the metalheads wrote books like my Whispering Leaves, where I expose both my parents and their abusive culture—cf. my blog Fallen Leaves—, the psychorrage would be healthy, controlled and genuinely artistic. But since the metalheads’ musical reaction only conveys unprocessed trauma, I’d dare to claim that it collides with psychopathology (for my explanation of unhealthy rage in contrast to my healthy rage see e.g., here).
Of course: those whose mother tongue was not classical music won’t be able to “read” the psychological whys of those headbangers who enjoy emphatic beats, amplified distortion and especially deafening loudness. But shouln’t the fact that their music so patently damages our hearing be enough for white nationalists of sound mind to see the genre for what it is?
8 replies on “Why do nationalists support non-classical music?”
For myself, I believe there’s a strong correlation between the appreciation of classical music and one’s level of intelligence. Less intelligent people (in general) are drawn more to the primitive clangs, bangs, squeaks, and shrieks of ‘Heavy Metal’, while better educated, higher-IQ individuals are drawn to the more complex compositions and instrumentations of classical.
Heavy Metal is essentially ‘working class’ music, classical the music of the cognitive elite – and never the twain shall meet. William Pierce hated it, but that did not stop him from pandering to the knuckleheads among his supporters, with such sterling gems as “Vaginal Jesus” and “Grinded Nig”.
As I see it, the movement for white freedom will be comprised of all social classes, even the proletariat. If Heavy Metal sends them into bloody battle one day, to be slaughtered in the name of their betters, then so be it. They – and Heavy Metal – will have served their purpose.
But do you know headbangers who are willing to go into bloody battle to be slaughtered in the name of their betters, or is all of their “music” just a frenetic acting out of their emotional issues?
In contrast to their acting out I accept that those who, like Covington, use old folkloric music with racial and even civil war overtones will join us in the guerrilla war.
The problem with Pierce’s failed approach, trying to take some mileage from defective people—fans of literally deafening music (you can imagine how handicapped a warrior with diminished hearing would be to our cause!)—, is that it’s similar to, say, trying to take some mileage from nationalist lesbians for the creation of a white movement. If the Martian city you depict in your novel is the epitome of the most sublime form of urbanization for the white people, you cannot use, at the same time, headbangers, lesbians or other pretty freaked-up whites for the creation of that Parrishesque sanctuary.
I am no fan of Covington’s Irish folk music. But I am able to “decode” its inner meaning. And I acknowledge it can stir some nationalists for real militant action.
In contrast, and still using Covington’s jargon, I see headbangers as mere GUBU freaks.
I concur, Chechar. We are attempting to extract perfume from a bucket that is filled with excrement.
You do have a very valid point, Chechar. I agree that there is no guarantee that “head-bangers” who worship such musical abortions as Heavy Metal will actually fight in the streets when the time comes.
However, as a military buff, I have viewed many documentaries involving the US military fighting in Afghanistan and Iraq. In such documentaries the viewer often sees common US soldiers and Marines in their barracks/field-tents during their free time. What are they listening to between killing Taliban and Iraqi ‘insurgents’? I’ll tell you: the loudest, screechingest, shittiest-sounding Heavy Metal you can imagine. It sounds just like so-called ‘white power’ Heavy Metal, sans the WP lyrics.
These soldiers, with some exceptions of course, are scraped from the lowest strata of American society. Even so, they will stand up, fight, and even die if told to do so by their proper superiors. This tells me that our own proleterian hordes – like the proletarian hordes during Russia’s 1917 Revolution – will fight and die if properly commanded and led. Simple-minded men can be led into the meat-grinder, as they were during the Crimean War in October of 1854. As they have been in Viet Nam, Omaha Beach, and elsewhere.
Such men are cannon fodder and every society and every army and every revolution has utilized them. They are not meant to survive; theirs’ is – as the famous poem said – but to do and DIE.
Finally, I am glad that someone has had the courage to speak up on this issue, as you have. You may draw some serious flak from certain quarters for doing so, but stick to your guns.
I don’t share your flippant, dismissive, and supercilious attitude towards white sudras.
Exploitation of one’s people is more heinous than Jews doing the same.
No one will flock to your banner.
Sticking to my guns is my specialty. I only got heavy fire at Majority Rights because of my articles dismissive of 9/11 conspiratorial nonsense (Matt Parrot also got some friendly fire from the same quarters for the same reason). What I fail to understand is why someone as sophisticated as Greg supports Tarantino and, like Alex Kurtagic, also likes Heavy Metal.
It makes no sense.
The psychological profile of youngsters listening to Heavy Metal is in much better shape than those engaged with other forms of popular music. It is not uncommon for them to be the most interested in classical music.
“Researchers found that, far from being a sign of delinquency and poor academic ability, many adolescent “metalheads” are extremely bright and often use the music to help them deal with the stresses and strains of being gifted social outsiders.” (link)
“A study of more than 36,000 people worldwide showed that although the two groups may not share a taste in clothes or come from the same age demographic, their personality traits are “virtually identical”.
Professor Adrian North, of Edinburgh’s Heriot-Watt University who carried out the study, said he was surprised by the results.
“I was struck by how similar fans of heavy metal and classical music really are,” he said.
“Apart from the age differences, they were virtually identical. Both were more creative than other people, both were not terribly outgoing and they were also quite at ease.” link
Given this, there is no empirical evidence towards the claims uttered here of lower intellectual capabilities of Heavy Metal listeners. In fact, it suggests the exact opposite.
The best Heavy Metal is the closest there is to classical music in popular music; it employs a narrative form, dramatic presentation and a conceptual link with transcendent goods. And that’s what stripped apart Heavy Metal from mere rock and roll music of booze, drugs and sex.
Varg Vikernes is a norwegian nationalist as enamored with the Lord of The Rings mythos as yourself (he has even written an interesting exegesis of it) who has conquered the hearts and minds of many young Whites around the world and made them racially conscious.
Heavy Metal is no longer “working class music”, that would suit more the roles of oi!, RAC and other hardcore punk-derived music. Some of this more simplistic rock and roll music is really militant and compelling for political soldiers:
Stahlgewitter – Auftrag Deutsches Reich. link
Many of the most talented Metal musicians are classically influenced.
Quorton, the late Bathory frontman, listened to Richard Wagner in the 80s and that changed his musical output to a more völkisch nature in three albums. In his album “Twilight of the Gods” he even made his own interpretation of Gustav Holst’s “Jupiter, the Bringer of Jollity”, which itself was paraphrased as a patriotic anthem in England.
Bathory – Hammerheart. link
That said, these ramblings against against Heavy Metal music in general are not justified.
Please, Ered, give us a break. Our “ramblings” contra heavy metal “music” are thoroughly justified. Again, we have a case in point where instead of grabbing the minds of youth through exquisite classical music (the only music that is legitimately Western), we have culture distorters who defile it through their aural violations.
The skinheads bring whites to racial consciousness as well; so what?
All your ditty shows is yet another piece of evidence in favor of the view that our coevals are cultural nincompoops.
Enough with the ugliness!