The ugly contemporary human pollution

"You say it’s good to get a change of scenery. What scenery? New buildings? New cars? New freeways? New shopping malls? Go to the woods or a park? I saw a tree once. The new ones look the same, which is fine. I even remember what the old ones look like. My memory isn’t that short. But it’s not worth going to see a squirrel grab a nut, or fish swimming around in a big tank if I must put up with the ugly contemporary human pollution that accompanies each excursion. The squirrel may enliven me and remind me of better vistas but the price in social interaction isn’t worth it. If, on my way to visit the squirrel, I encounter a single person who gains stimulation by seeing me, I feel like I have given more than I’ve received and I get sore.

If every time I go somewhere to see a fish swimming, I become someone else’s stimulation, I feel shortchanged. I’ll buy my own fish and watch it swim. Then, I can watch the fish, the fish can watch me, we can be friends, and nobody else interferes with the interaction, like trying to hear what the fish and I are talking about. I won’t have to get dressed a certain way to visit the fish. I needn’t dress the way my pride dictates, because who’s going to see me? I needn’t wear any pants. The fish doesn’t care. He doesn’t read the tabloids. But, if I go out to see a fish other than my own, I’m right back where I started: entertaining others, which is more depleting than visiting the new fish is entertaining."

Anton Szandor LaVey

 

 

In Solitude and Suffering

"True action, good and radiant action, my friends, does not spring from activity, from busy bustling, it does not spring from industrious hammering. It grows in the solitude of the mountains, it grows on the summits where silence and danger dwell. It grows out of the suffering which you have not yet learned to suffer."

Hermann Hesse from Zarathustra’s Return, A Letter to German Youth written to dispirited German youth in 1919 and later included in his 1946 anthology, If the War Goes On.

Asgardsrei 2019: A Stormride & Tribute to an Eternal Legend

Fullmoon Ancestry

In order to fully understand the importance of this year’s Asgardsrei festival, one must understand the impact that the Blazebirth Hall scene, and in particular, its most prolific artist, Kaldrad, had on both NSBM (National Socialist Black Metal) and the overall sound of Eastern European black metal.

I never met Kaldrad, and I never attended any of the few live concerts he performed at. Nevertheless, his music has been a large part of my life. The soundtracks to my life these last two decades could easily be summed up by such NSBM album compilations as the Night and the Fog series (I-III) and the Hammerkrieg compilation (all having been banned on Ebay and Discogs for the last several few years). The latter album was probably my favorite, it being a compilation of many Blazebirth Hall bands.

“Blazebirth Hall” (BBH) was a moniker summarizing the various bands, projects, and artistic output of a small group of black metal musicians from Russia, particularly Ulv Gegner Irminsson and Kaldrad. Along with some session musicians (usually covering drums), these two musicians adopted the atmospheric sound of early Burzum and took things a few steps further in regard to song composition, recording production, and lyrical subject matter (incorporating nationalist themes into the genre’s typical themes of nature, winter, paganism, etc…). The songs became longer, the production rawer, the guitar riffs more droning, and the lyrics and iconography became more “politically incorrect.”

Ulv Gegner was best known for his two main projects Raven Dark and Vargleide. Unfortunately, these projects only released a few demos as Ulv passed away in 2005. While these were quality releases, they were not as well known as Kaldrad’s projects: Forest, Branikald, and Nitberg (sometimes featuring Ulv Gegner as well).



Kaldrad had a larger output of releases and was known for both his operatic vocals, unique songwriting, and for mixing RAC (Rock Against Communism) sounds into his later albums and projects (particularly Forest’s In the Flame of Glory, Branikald’s Triumph of the Will, and all of his Vandal albums, Kaldrad’s RAC/Thrash project). While not labeled as part of the Blazebirth Hall cannon, Kaldrad also participated in Temnozor, a pagan metal band that would draw inspiration from Kaldrad’s own BBH projects.

Sadly, Kaldrad passed away in a tragic car accident earlier this year. Immediately, many bands, artists, and fans posted their admiration online for Kaldrad and his BBH projects. The band M8l8th, who has organized and performed each Asgardsrei festival, immediately created a charity fund for Kaldrad’s family and proclaimed early on that this year’s Asgardsrei would be dedicated not only to the spirit of Kaldrad, but would also play some songs in tribute to Kaldrad through their side project band, A-kvlt.

Due to these announcements, and along with some delays in both festival updates and the start of online ticket sales, there were many rumors about this year’s lineup of bands. Early on, it was hinted that some big-name bands in the black metal genre had been booked as headliners. However, it would be reported later on that these bands backed out due to political and social pressure (i.e., their record companies). Nevertheless, the final line-up was eventually released in mid-October, and as a longtime fan of the genre, I was both surprised and pleased. The final lineup is as follows:

Saturday:

BBH/ Kaldrad tribute
A-kvlt
Evil
Kroda
Seigneur Voland
Sielunvihollinen
Svarga
Selbstmord

Sunday:

Wodulf
Stutthof
Goatmoon
Baise Ma Hache
M8l8th
Frangar

Last year’s festival had two full days of music on the weekend with the Pact of Steel conference and an exclusive Peste Noire acoustic set that Friday. This year, there were only two full days of music on the weekend and an MMA tournament Friday evening. I did not attend the MMA event, but people that attended it told me that they enjoyed it.

There was also a conference held Friday evening, where Hendrik Möbus was supposed to give a talk as he did the year before. However, news quickly spread that he was held at the German border by security forces and was not allowed to enter Ukraine. Similarly, it was also reported at this time that the Russian band Black Death were also denied travel before departing a Russian airport to Kiev. Likewise, one of the guitarists from the Greek band Stutthof was also reported to have been denied travel to the festival. The details were few and far between, but these sudden and surprising incidents made many people realize that any one of us could be confronted and questioned at an airport or border, only to have our freedom of travel taken away.

Day One: Saturday

As with last year, this year’s festival also took place at The Bingo Klub in Kiev. I still feel that this club is the perfect place for this type of concert with the right size, location, and atmosphere.

Once I checked in and walked into the venue, I immediately recognized friends and other people I met at last year’s Asgardsrei festival. In many ways, these concerts are a lot like the various Nationalist events and conferences held each year throughout Europe. You can watch a speech or concert online, but it doesn’t give you the same feeling of experiencing it in person surrounded by a community of people just like you. More importantly, you get to socialize and connect with people from around the world. At this year’s festival alone I met and talked with people from Canada, the USA, England, Ireland, Norway, Finland, France, Belgium, Germany, Poland, Lithuania, Italy, Greece, and of course, Ukraine. I still keep in touch with people I met at last year’s festival and even get to practice my foreign language skills by communicating with some of them in their native tongues.

After catching up with everyone and browsing the band shirts and other merchandise for sale, the concert floor opened up, and I made my way to the front for the first band.



Selbstmord was the first band to play Saturday. Selbstmord is a Polish band that has been making demo tapes and splits since the late ’90s. While they do have some traits in common with the typical Polish black metal sound, they incorporate a lot of chugging riffs sometimes reminiscent of death metal bands. Many people I talked to were curious how their performance would turn out, as footage of Necro, Selbtmord’s vocalist and guitarist, emerged online where he performed guest vocals for a Dark Fury concert earlier this year. That performance was “unique” to say the least. Nevertheless, Necro and the rest of Selbstmord played an amazing set, showcasing their musical skills and intensity as a three-piece band. They played both old and new songs, and drew in a larger and more responsive crowd as they blasted through their set.



Svarga, from Ukraine, was the next band. To talk about Svarga, one needs to first talk about Stellar Winter Records. Stellar Winter was a Russian label that was one of the first labels to properly distribute all the BBH demos and side projects onto CD around the world in the mid-2000s (other than the arguable bootlegs of ISO-666). At the same time, Stellar Winter also released albums from such up-and-coming artists as M8l8th, Kroda, and Svarga. So while some bands became increasingly well-known and popular, others remained obscure.

I greatly enjoyed the two albums released by Svarga by Stellar Winter Records and also recently enjoyed their recent release, Spirit of the Land. Svarga has a sound similar to other Ukrainian black metal bands, and this was the first time seeing them live. They mostly played songs from their new album, mixing melody with more live aggression, which I greatly enjoyed. They also played a cover of Temnozor’s “Vranakrik,” as a tribute to Kaldrad, which the crowd definitely enjoyed. They put on a great show with great sound and stage presence, and I look forward to seeing them in concert again.

Sielunvihollinen has only been around for a few years, but already has an impressive catalog of sought-after albums and demos. They are a Finnish band who sing most of their lyrics in Finnish, and have an extremely unique and melodic approach to riffs and songwriting. Each song has guitar riffs and melodies that will be stuck in your head for some time. This was my second time seeing them in concert, and both times, they put on and energetic and entertaining performance. They even had the crowd singing the chorus to one of their most popular songs in Finnish: “Tämä Kansa, Tämä Maa” (this People, this land).



In my opinion, no band exemplifies the French NSBM sound better than Seigneur Voland. Their songwriting, guitar riffs, and vocals make each and every song impactful and memorable. While playing a few rare concerts in the mid-2000s, they surprised many fans by playing at Finland’s Steelfest this year. While I greatly enjoyed that performance, many fans criticized the choice to put them on the outdoor stage during daylight hours. At Asgardrei this year, they played a similar set and gave another strong performance. I often heard the crowd singing along to the guitar riffs, and even non-French speakers were able to shout along to the spoken-word sections of some of their classic songs, particularly “Sur Les Ruines et Le Cendres de Sion.”



Kroda barely needs an introduction, as they have become one of the most popular and well known Ukrainian black metal bands, within the last decade. Their long song compositions, mixing Ukrainian folk elements with various styles of black metal, have earned them a large fan base around the world. They played a very long but captivating set with many of their longer songs from their last three albums. The graphic and video backdrops fit perfectly for each of their songs, often showing footage of blizzards, snowcapped mountains, and endless winter forests. They even played some encores after showing a video of one of their previous on-stage rituals. In fitting tribute to Kaldrad, Kroda closed by playing their famous cover version of Branikald’s “A Stormride.” I know people that came to the festival for the social aspect who don’t even like black metal, and even they said that they were impressed by Kroda’s performance and enjoyed their music.

To me, the Brazilian band Evil is a black metal institution. They have been recording demos since the mid-’90s and have done many splits, and even some collaborations, with many legendary bands of the black metal underground. I first came across Evil with their split with Moonblood, simply titled “F**k Peace, We’re at War,” and I was immediately drawn to their unique and uncanny sound.



Evil also played at Steelfest this year, but it was eventually revealed that their performance at Asgardsrei would be their last concert ever. To say that they went out with a bang would be a gross understatement. They played all their classic hits and received long applause and cheers after each song. As a three-piece, they had a great live sound and gave a great performance. It was quite an honor to witness their last stand on stage, and I’m hoping they release live material of this performance in the near future.



Up next was the combination of A-kvlt and the Kaldrad/Blazebirth Hall tribute. A-kvlt, being a side project of some M8l8th members, have not made many public appearances and there was much anticipation among the crowd about seeing them perform. Right away, you could tell that all the members of A-Kvlt are extremely talented musicians, particularly the drummer, who would eventually perform an intricate drum solo near the end of their set. A-kvlt can be described as a more technical, frantic, and intense version of M8l8th. They played a mesmerizing set, playing the crowd favorite “My Odal,” and also a very lengthy new song, which the crowd also enjoyed. At the end of their set, the stage crew quickly setup extra microphones for guest vocalists to join A-kvlt in performing their Kaldrad tribute.



The first three tribute songs were from Forest, one of Kaldrad’s main projects. Among the guest musicians to perform vocals was vocalist/guitarist Warlord from Evil. The crowd was very enthusiastic as these three songs were some of the most popular and well-known songs by any of the BBH bands, often being covered by various bands. The next two songs were from Vandal, Kaldrad’s project that incorporated various styles outside of black metal. For these two songs, Sokyra Peruna vocalist Arseniy Bilodub would perform the majority of the vocals. These two songs were both slower paced, and many people in the crowd clapped their hands and sung along to the choruses. The final song was “Death and Glory,” written under Kaldrad’s Nitberg project. This was a fitting choice to end the set, as it is an epic song that truly encapsulates how great an artist Kaldrad was and also the impact he had on this genre. Looking around at the end of the song, it was amazing to see everyone clapping and singing along to the main chorus.



The set list for the tribute was as follows.

Forest: “Einherjers Reich”
Forest: “темню над землёй”
Forest: “The Fatelancer”
Vandal: “In the Fires of War for Power”
Vandal: “Valhalla”
Nitberg: “Death and Glory”

The first night ended sometime after 1 a.m. While last year proved difficult for many people to get taxis after the concerts each night, this year people were more prepared by ordering taxis in advance or through ride-sharing apps. I went to the bar at my hotel and found many people from the concert socializing and chatting about their favorite performances that night, along with the bands they were most looking forward to the next day.

Day Two: Sunday

The second day started much later in the afternoon than originally scheduled, most likely due to the fact that the opening band, Black Death, was stopped from traveling to the concert. Therefore, the first band to play on Sunday was the Italian band Frangar. Frangar played last year and was definitely one of the highlights for me, as their live show is as energetic and fun as their music. Frangar plays black metal mixed with RAC and Italian lyrics. Last year, they brought and used and air siren on stage with the vocalist used an old-fashioned microphone for some of the songs, adding even more aesthetic atmosphere to their war video footage on the large screen behind the stage. Last year, they closed their set by bringing various Italian supporters on stage to sing “Avanti Ragazzi di Buda.”



As the curtain rose, Frangar stood with two groups of Italian compatriots as they sung an old Italian military song juxtaposed to sounds of Artillery and bombs in the background. They then started their set and quickly got the crowd active. They played many of their popular songs, including “Fare Quadrato,” along with some new songs which the crowd enjoyed. The air siren was kept on stage the whole time and was used a few times between various songs. At the end of the set, the same two groups of Italian fans came on stage to sing a rendition of “Come Il Vento,” a song by Intolleranza, an Italian RAC band. During this song, the entire floor was filled with people singing along, cheering and saluting.

One thing you notice immediately at Asgardsrei is just how popular M8l8th is, and for good reason. While M8l8th’s setlist last year focused on their recently released album Reconquista, this year they had stated online that they would be playing their debut album By the Black Wing in its entirety. This was an album released in 2004 by Stellar Winter Records, and is known for its seamless blending of raw-yet melodic black metal with high-pitched vocals that are delivered in an almost hysterical manner. The album is also technically complex, so I was curious how it would sound live.



As always, M8l8th gave an incredible performance, playing their debut album with flawless skill and precision. The crowd always goes crazy for M8l8th, and not surprisingly, they also draw the largest mosh pits. When they played the song “Scum,” also from their debut album, the mosh pit almost doubled in size and expanded into the crowd near the stage. After finishing their debut album, they finished by playing some of their most popular songs, including “Tears of Autumn” and “My Native Land.” Both songs have slow parts and clear vocals that the crowd clapped and sang together. It wouldn’t be Asgardsrei without M8l8th, and I look forward to seeing them again.

Baise Ma Hache is a French black metal band, that while being around for several years, have recently gained a large online following within the last two years. I had heard their name but never heard their music until I saw them perform at last year’s Asgardsrei festival. I was quite impressed by their musicianship and style, sounding like a mix between Peste Noire and Absurd but with their own identity.

It seems like this year’s performance was more intense and focused. They played a similar setlist but the songs sounded more aggressive this time. As with last year, they also sang the German military song “Wir Sind Des Geyers Schwarzer Haufen,” but with French lyrics that many in the crowd were still able to sing along to. This also acted as the intro to the song “F.E.R.T.” which was clearly a crowd favorite. All in all, another great show.



Within the NSBM genre, Goatmoon is arguably the most popular. Blackgoat Desecrator, the main person behind Goatmoon, maintains a sound that is accessible and catchy while also writing quality and memorable songs. More importantly, it is clear that he stays true to himself and his artistic vision without compromises or apologies. Goatmoon played an amazing setlist at last year’s festival, and this year was no exception.



While last year’s setlist focused on songs from their latest album “Stella Polaris,” this year Goatmoon played a variety of older and more recent songs, along with songs not always played live. Naturally, it wouldn’t be a Goatmoon concert without such classics as “Black Metal Winter,” “Alone,” “Storming Through White Light,” and “Voitto Tai Valhalla.” Everyone in the crowd knows these songs and it is truly amazing to look around and see everyone shouting the chorus to “Kunnia, Armageddon.” All the live musicians of Goatmoon are extremely talented and play with a lot of energy, and Blackgoat always gets the crowd excited. If Goatmoon played at every future Asgardsrei, I would enjoy seeing them each and every time.



Stutthof is a Greek black metal band that has never played live before, making this year’s Asgardsrei their first show ever. They have a more atmospheric sound that compliments their occult lyrics and imagery. Having heard that their guitarist was prevented from traveling to the festival, I heard that the vocalist had to practice playing the rhythm guitar parts while performing vocals in less than a day. Suffice to say, many people were curious how their performance would turn out.



As the curtains were raised, the lights went dark as a gust of fog engulfed the concert floor from the stage, showing through the mist a three-piece band surrounded by candles and banners of esoteric iconography. Even without a bass guitarist, the sound was full, yet eerie in a good way. They played songs from both of their full-length albums, Towards Thy Astral Path and And Cosmos From Ashes to Dust. Having heard these albums when they were first released, I was really impressed on how well they sounded live. Watching them perform was like witnessing and occult ritual, and I hope they play live again in the future.



The last and final band of the evening was Wodulf, a side project from the members of the Greek NSBM band Der Stürmer. Der Stürmer has played various concerts before, but Wodulf has only played a few times in the recent past. I’ve been listening to them since their 2003 demo Wargus Esto, and also greatly enjoyed their follow up album From the Corpsegates. So naturally, I was excited to finally see them live. By the time Wodulf began their set, it was past midnight and many people had already left the venue. However, this allowed a dedicated set of fans to get closer to the stage.



Wodulf consisted of just three individuals: Jarl von Hagall on vocals, Hjarulv Henker on guitar, and a session drummer. The crowd up front was excited from the very beginning of Wodulf’s set. Towards the second song, however, technical problems arose as high-pitched noise and feedback kept coming from Hjarulv’s guitar speakers. Despite continuing on through their set and checking the settings of the speakers between each song, the hissing noise didn’t go away. They ended up having to change both the guitar head and speaker in the middle of the set.



Nevertheless, Jarl von Hagall did a great job interacting with the crowd during this time, encouraging the crowd to shout and put their fists in the air. While some people left the concert floor during this time, a large part of the audience stayed near the front to show their support. The equipment was eventually changed, and Wodulf continued their set. They played songs from both their demo and full-length album and gave a great performance, given the circumstances. Out of all the bands, I actually enjoyed Wodulf the most and had the most fun during their set. There was a real “underground” atmosphere to their performance and a lot of people in the front near me would also express the same feeling.

Conclusion

Asgardsrei is an event that just has to be experienced. It’s the combination of the music I grew up listening to along with a gathering of like-minded individuals around the world who share my worldview and interests. If you told me 10 years ago that I would get to see all my favorite bands in one festival somewhere in Eastern Europe, I wouldn’t have believed you. As much as I enjoyed last year’s festival, I actually enjoyed this year’s Asgardsrei more, for reasons that are difficult to explain. Perhaps a main reason is that there were many friends that I was looking forward to seeing again. Or maybe this year’s lineup offered a lot of rare and obscure bands that I never thought I would see in concert.



The best explanation, however, would be the importance of this year’s festival being dedicated to Kaldrad and the Blazebirth Hall scene. So many bands that played this year clearly drew inspiration from Kaldrad and his various projects. So it was amazing to see all these bands, and fans from around the world, come together to honor and remember Kaldrad through his music and life’s work.

I’d like to thank all the organizers, staff, and bands for putting on such an amazing festival. I’d also like to thank all the people and friends who I’ve met these last two years. I look forward to seeing all of you at Asgardsrei next year, where I’m sure Kaldrad will also be, in spirit, and in the flame of glory.

Source

 

Spare Not Thy Sharpest Blades - Tribute To Kaldrad

At Night The Winter Solstice Barbatos Productions Presents:

"Spare Not Thy Sharpest Blades.Tribute To Kaldrad" (CD digipack)

NSBM compilation dedicated to the Russian skald
Boris Podsoblyayev (Kaldrad).
25.08.1974 - 27.04.2019

Limited to 666 copies.
First 28 copies in wooden box (CD+Tape)

01. Into the Breast of Breath (Depths Of Despair)
02. The Mead of Misanthropy (Rodovest)
03. As a Shade Above This Land (Vrildom)
04. In a Storm of Desire (Nothing)
05. Ashes and Fire Before Revealed Horizons (Imšar)
06. To Asgard Flames by Valhalla Blaze... (Groma Glas)
07. Hearts of Fire (Haatkou)
08. Meine Ehre Heisst Treue (Betula)
09. Where the Truth is One... (Nüchtern Reich)
10. Roars of Hammer to Valhalla (Temnojar)

Barbatos Productions releases:
www.barbatosprod.blogspot.com
Barbatos Productions distro:
www.barbatosprod.blogspot.ru/p/distro.html
Telegram-channel:
http://www.t.me/barbatosprod

A Gift of Nature

The twenty-fifth of December: the Birthday of the Gods

DIVESTED of all explanation, the announcement of the fact that the time of the birth of many of the incarnated Gods and Saviors of antiquity was fixed at the same period, and this period the twenty-fifth of December, celebrated all over Christendom as the birthday of Jesus Christ, would sound marvelously strange, especially when it is noticed that this period formerly dated the birth of a new year—the birth of King Sol. And when we find that the ancient pagans were in the habit of celebrating this venerated twenty-fifth of December as the birthday of their Gods in the same manner Christians now celebrate it as the birthday of Christ, we are driven to admit that something more than mere fortuitous accident must be adduced to account for the coincidence.

Robert Taylor informs us that nearly all the nations of the East were once in the habit of rising at midnight to celebrate the birthday of their Gods, on the twenty-fifth of December. And to this statement Mr. Higgins adds that, "At the first moment after midnight of the twenty-fourth of December, the ancient nations celebrated the accouchement of the queen of heaven and celestial virgin, and the birth of the God Sol, the Infant Savior, and the God of Day.

Bacchus of Egypt, Bacchus of Greece, Adonis of Greece, Chrishna of India, Chang-ti of China, Chris of Chaldea, Mithra of Persia, Sakia of India, Jao Wapaul (a crucified Savior of ancient Britain), were all born on the twenty-fifth of December, according to their respective histories. Chrishna is represented to have been born at midnight on the twenty-fifth of the month Savarana, which answers to our December, and millions of his disciples celebrated his birthday by decorating their houses with garlands and gilt paper, and the bestowment of presents to friends. The Rev. Mr. Barret tells us, "It was once common for the women in Rome to perambulate the streets on the twenty-fifth of December, singing in a loud voice, "Unto us a child is born this day."

The twenty-fifth of December, then, it will be observed, was marked as the birthday of the incarnated Gods, Saviors, and Sons of God, of many of the religious systems of antiquity, long prior to the birth of Christ.

And why his birth was fixed at that date is not hard to account for. According to the celebrated Christian writer Mr. Goodrich, the Christian world had no chronology and recorded no dates for several centuries after the commencement of the Christian era. (See History of all Nations, p. 23.) No event of their history was marked by dates for nearly four hundred years. Hence, the time of Christ's birth is altogether a matter of conjecture, as is also every other event noticed in the Christian bible. This is proved by the fact that the ablest Christian writers and chronologists differ to the extent of thirty-five hundred years in fixing the time of every event in the bible. A Mr. Kennedy presents us with three hundred different chronological systems, by different Christian writers, all founded on the bible, and proving that the date of its various events are inextricably involved in a labyrinth of doubt, darkness and uncertainty.

Relative to the time of Christ's birth, the "Encyclopedia Britannica" says: "Christians count one hundred and thirty-three contrary opinions of different authors concerning the year the Messiah appeared on earth—many of them celebrated writers." (Art. Chron.) Mark the declaration—one hundred and thirty-three different opinions as to the year Christ was born in; one hundred and thirty-three different years fixed on by different Christian chronologists as the time of the birth of the most extraordinary and most noted being, as Christians would have us believe, that ever appeared on earth. Think of an omnipotent God descending from heaven, performing astounding miracles, and presenting other proofs of being a God, and yet not one of the three hundred writers of that era take any notice of him, or make any note of his birth or any event of his life. This circumstance is of itself sufficient to banish and dissipate all faith in his divinity.

It is evident, from the facts just presented, that all systems of Christian chronology are founded on mere conjecture, and hence should be rejected as worthless. What event of Christ's life, then, can be accepted as certain, when no record was made of it till the time was forgotten, and none for at least half a century after the dawn of the Christian era, according to Dr. Lardner, when nearly all who witnessed it must have been dead?

We think the most reasonable conclusion in the case is, that Christ, instead of performing those Munchausen prodigies attributed to him—such as casting out devils, raising the dead, controlling the elements of nature, etc.—led such an ordinary, obscure life—excelling only in healing the sick and other noble deeds of charity and philanthropy—that he attracted but little notice by the higher classes, or by anybody but those of a similar turn of mind, till he was deified by Constantine, in the year 325 A.D. Hence, the time of his birth was not recorded, and was forgotten. Consequently, the twenty-fifth of December was selected as his birthday, because it was the birthday of other Gods, and because it was regarded by the heathen, from time immemorial, as the birthday of Sol, the glorious luminary of heaven, it being the period he is born again into a new year, and "commences again his journey and his life;" and because, also, this epoch was, as Sharon Turner informs us, in his "History of the Anglo-Saxons," the commencement of a new year up to the tenth century.

These events signalized the twenty-fifth of December, and made it a period of sufficient importance to lead the early Christians to suppose it must have been the birthday of their Messiah. Mosheim, however, confesses that the day or the year in which it happened "has not been fixed with certainty, notwithstanding the profound researches of the learned." So that it is still an open question as to when Christ was born. What day of the month, what year, or what century it took place in, is still unknown. This circumstance is, as before suggested, sufficient of itself to utterly prostrate all faith in the divine claims for Jesus Christ. What would be thought of a witness who should testify in court to the truth of an occurrence of which he did not know the year, or even the century, in which it took place, or who could come no nearer than one hundred and thirty-three years in fixing or guessing at the time. Would the court accept such testimony?

In the memory of Chiron (1976 - 2019)

https://www.youtube.com/watch?v=Qt7vRgnhTys



https://www.youtube.com/watch?v=r-dYtlxqU1Q

https://www.youtube.com/watch?v=pLSR_oo4vtQ

"Steathly entrada success
Wipe the jewish mess
Fucking zionist disciples
Semite rabid rabbi
I exceed excessive pain for you"

Joseph Gobineau, Race and Conquest

An aristocratic Frenchman, Joseph Gobineau (1816-82), moved in the same circles as Alexis de Tocqueville, and de Tocqueville was impressed by what he thought was Gobineau's charm and lively mind. Gobineau was a Roman Catholic with some liberal leanings. He held that morality was possibly independent of religious belief and that Christianity had added nothing morally significant to that which had been offered by Socrates, Plato and Aristotle. He thought that Jeremy Bentham had erred by accepting philosophical materialism, and, in a letter to de Tocqueville (dated October 16, 1843), he wrote that no religion was harmful if properly observed. Everyone, he wrote, wants "to perfect himself through a conception of duty" and "all have an immensely sincere desire to seek what is good."

Politically, Gobineau was conservative. He was offended by the attempt at revolution in France in 1848 and its "pillage and burning, and massacre." Gobineau believed in local rights over central authority, and he believed in personal honor, which he considered an attribute of his class. He saw ideas about equality, democracy and "the mob" as a threat to the well-being of the world. He associated these ideas with materialism. Like many aristocrats he was not an enthusiastic nationalists. And he was hostile to the new industrial capitalism that was on the rise. He yearned for the old aristocratic order, which he believed was marked by respect for family and for hierarchy. Politically he saw liberalism as dangerous because it encouraged a lack of respect for social order.

Gobineau wrote that as he studied the "restless modern world" he found the horizons of his "inquiry" growing wider and wider and further into the past. Professionally he was a diplomat, and in his spare time he put the findings of his study into a book, a work of history, the title of which was The Inequality of the Human Races (Essai sur l'Inégalitédes Races humaines). These were times when others were trying to be scientific about race. At Leipzig, in Germany, in 1849 a work by Karl Gustav Carus had been published under the title On the Unequal Capacity of Different Races for Further Cultural Development. Also in Germany, the composer Richard Wagner, perhaps with no scientific pretensions, was proclaiming that race was the key to artistic creation. In Scotland in 1850, Robert Knox was attempting to be scientific with his book called The Races of Man. And in 1854 a book was published in the United States titled Types of Mankind, written by two men, Nott and Gliddon.



Gobineau intended to be scientific also. He believed that history could be scientific if properly done, and he made an effort to draw from reliable sources.

Gobineau wrote of white people – Aryans – having conquered India, and he assumed that these Aryans were superior to those in India that they had conquered. The Aryans in India, he claimed, had built one of the great civilizations.

Gobineau wrote that it was Aryans from India, moving to the Nile River, who had created the civilization of Egypt. He believed that Aryans had created the Assyrian civilization, which he described as including Phoenicians, Lydian, Carthaginians and Jews. He saw Aryans from India conquering their way to China had creating civilization there. And, of course, there was the great Greek civilization created by Aryans – the Greeks from the same stock as those great conquerors, the Medes, the Persians and the Bactrians. And there was the great Roman civilization, also created by Aryans. All the great civilizations, according to Gobineau, had been created by Aryans.

According to Gobineau, whites alone were culturally creative. Superiority, he believed, was demonstrated by conquest. Conquest was, he claimed, an expression of vigor and will-power by people with valor in their hearts. Whites he claimed have "reflective energy." Others, he believed were "never able to shake themselves from their impotence."



Gobineau believed that in examining the past he had discovered the laws of science governing the fall of civilizations. Degeneration came, he wrote, because conquerors always mixed with those they had conquered, polluting the purity of race of the conquerors, submerging the conquerors into the inferior body of non-Aryans. Jews, he held, had once been pure but had become a threat because they had been "bestialized" through mixing biologically with black Africans.

The first two volumes of Gobineau's book appeared in 1853. Two more volumes appeared in 1855. His views fit with the belief in Europe's primacy in the world. In The Origins of Totalitarianism Hannah Arendt was to write:

Nobody before Gobineau thought of finding one single reason, one single force according to which civilization always and everywhere rises and falls.

For Gobineau, as for the Roman historian Tacitus, Germans were heroic figures, with valor, a love of war and honor. Gobineau mentioned later Roman writers describing German invaders, and he wrote that the Germans "appear to us now as great and majestic as they were thought barbarous by the writers of the Later [Roman] Empire." Gobineau was one of those writers who believed that the Germans had made a great contribution European civilization after they had overrun the Roman Empire. This he believed was overturned with the Renaissance. The Renaissance, he claimed, marked a rejection of the Aryan-German cultural achievement.

Gobineau admired Prussia for being a purely German state, unlike Austria, whose empire embodied Italians, Slavs and Hungarians – a view that was to be shared by the Austrian born Adolf Hitler. Gobineau was to be celebrated by the National Socialists, but as with Nietzsche they would edit his work, removing his lack of hostility toward Jews.

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**Note: This blog doesn't necessarily agree with everything written in this article

The Law of the Wolfpack

"Now this is the Law of the Jungle –
as old and as true as the sky;
And the Wolf that shall keep it may prosper,
but the Wolf that shall break it must die.

As the creeper that girdles the tree-trunk
the Law runneth forward and back –
For the strength of the Pack is the Wolf,
and the strength of the Wolf is the Pack"

The Jungle Book, by Rudyard Kipling

Robert J Mathews: 35 Years in Valhalla

Robert Mathews was born in Marfa, Texas, 16th January 1955, the last of three boys born to Johnny and Una Mathews. His father, of Scottish descent, was mayor of the town and president of the Chamber of Commerce, and a businessman and leader in the local Methodist church. His mother was the town’s den mother.

His family moved to Phoenix, Arizona when he was 5 years old. An average student in grade school, he was interested in history and politics. At age eleven, he joined the John Birch Society. While still in high school, he was baptized into the Mormon faith.

He became a staunch anti-communist and active in the Young Republicans.

He formed the Sons of Liberty, an anti-communist militia whose members were primarily Mormons and survivalists. At its peak, it had approximately 30 members. After filling out his employer’s W-4 Form claiming 10 dependents (reportedly as an act of tax resistance), he was arrested, tried and placed on probation for six months.

After a falling out between the Mormon and non-Mormon members, the Sons of Liberty became moribund and Mathews withdrew from it. After probation ended in 1974, he decided to relocate to Metaline Falls, Washington. Matthews and his father purchased 60 wooded acres, which became their new home and a provided the family with a fresh start. Two years later, Matthews married Debbie McGarrity. He began to raise Scottish Galloway cattle. The couple adopted a son in 1981. Mathews later became a practising polygamist, and had a daughter with a woman named Zillah Craig.

Matthews began to read history and politics. One in particular, Which Way Western Man? by William Gayley Simpson, profoundly affected him. Matthews agreed with its claim of dangers facing the white race, and in 1982 he began an effort to attract white families to the Pacific Northwest, which he called the “White American Bastion.” He visited Richard Butler’s Aryan Nations a few times and he began to draw a circle of friends around him who held similar beliefs. In 1983 Matthews gave a short speech at a National Alliance convention, which was a report on his efforts around the White American Bastion and a call to action.

It received the only standing ovation of the convention.

In late September of that year, at a barracks he had constructed on his property in Metaline, Matthews founded (with eight other men) the group that would come to be known as The Order, which he called the Silent Brotherhood. They included his friend and neighbor, and a group from Aryan Nations: Dan Bauer, Randy Duey, Denver Parmeter, and Bruce Pierce; David Lane, Richie Kemp and Bill Soderquist (who later testified against the bruder), recent recruits, rounded out the group. None had ever committed a violent crime before or had done prison time.

The nine founding members of the group swore an oath that began:

“I, as a free Aryan man, hereby swear an unrelenting oath upon the green graves of our sires, upon the children in the wombs of our wives, upon the throne of God almighty, sacred is His name, to join together in holy union with those brothers in this circle and to declare forthright that from this moment on I have no fear of death, no fear of foe; that I have a sacred duty to do whatever is necessary to deliver our people from the Jew and bring total victory to the Aryan race…”

A motto on the Order’s crest reads “Brüder schweigen”. This means “Brothers remain silent” in German.

The first order of business, according to Mathews’ plan, was to obtain funds for the white resistance movement, and they carried off their first robbery (of a porn shop in Spokane) which netted them $369.10. They agreed that it was not worth the risks they had taken and so turned their attention to robbing armored cars and counterfeiting. They printed up some phony $50 notes and 28 year old Pierce was quickly arrested after passing a few. In order to raise Pierce’s bail, Matthews, acting alone, robbed a bank just north of Seattle. He stole almost $26,000. Some of The Order’s members, along with a new recruit, Gary Yarborough, carried out more robberies and burglaries, which netted them over $43,000. A subsequent robbery yielded several hundred thousand dollars.

Another recruit, Tom Martinez, was caught and charged for passing more counterfeit currency.

Then in July, 1984, they finally used a dozen men to rob a Brinks’ truck of $3,800,000. The robbers distributed some of the stolen money to various other organizations and people in need (some say that certain Farmers were given another opportunity at life). Mathews and the other members of the Order were eventually given up by Martinez, who had come under pressure after his counterfeiting arrest. After he revealed information regarding Mathews’s activities to the FBI, Mathews and several others were eventually surrounded in a small cabin south of Coupeville, Washington on Whidbey Island by over 500 agents on December 8, 1984. (Various sources state numbers of law enforcement agents between 60 and 500.)

Mathews refused to come out after an intense exchange of gunfire.

The FBI then fired several M-79 Starburst flares inside the house,starting off a box of hand grenades,Causing an explosion and killing Mathews.

Eventually over 75 people in eight trials were convicted of crimes connected to The Order. Charges ranged from racketeering, conspiracy, counterfeiting, transporting stolen money and armored car robbery. Ten people connected to the case, including Butler, Lane and Pierce, were tried for sedition but were acquitted by the jury.

Robert J. Mathews and his comrades have contributed much to the realization of a Territorial Homeland for our people, and have sacrificed what they could for the ‘existence of our people, and a future for White children’ in whose name, they were willing to give their lives, their fortunes, and their sacred Honour.

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The principle of "political liberty"

“The principle of political liberty, essence of the republican system, has destroyed not only the citizen’s respect for the laws of the state which he regards as the commonplace expression of a passing whim (no whim is permanent), but also and above all his respect for those other laws, profound and solemn; leges naturae, offspring of nature’s union with reason, laws in which the caprices of man or the citizen count for less than nothing. Oblivious, negligent and disdainful of these natural and spiritual laws, the French state threw discretion to the winds and exposed itself to the gravest dangers and corruptions.”

— Charles Maurras, 1922

Dracul va Domni Din Nou in Transilvania

"I have killed peasants, men, and women, old and young, who lived at Oblucitza and Novoselo, where the Danube flows into the sea, up to Rahova, which is located near Chilia, from the lower Danube up to such places as Samovit and Ghighen. We killed 23,884 Turks without counting those whom we burned in homes or the Turks whose heads were cut by our soldiers..."

- Vlad Tepes, letter to King of Hungary, 11 Feb., 1462

Farewell Slayer: 1981 - 2019

Monarchs to the Kingdom of the Dead! 

https://www.youtube.com/watch?v=OwsdbuxRc_s