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.