Italian publisher Tsunami Edzioni has released Wolves Among Sheep: History and Ideology of National Socialist Black Metal, a book by Davide Maspero and Max Ribaric detailing the rise of this tributary of the black metal movement that officialized many of the right-wing and traditionalist leanings of black metal as a whole.
The publishers offer the following FAQ about the book and how to obtain it:
We’ve been silent for some time, but that’s because we have been busy sending orders and replying to e-mails. The response to the book has been great so far, and we thank everyone who purchased a copy.
We compiled a brief FAQ for all those who need some information regarding the book and how to obtain it. We hope you’ll find it helpful.
IS THE BOOK IN ENGLISH?
Yes, it is. The whole of it.
IS THE SPECIAL EDITION STILL AVAILABLE?
Yes, we still have some copies left.
HOW MUCH DOES THE BOOK COST?
It depends on where you’re located.
Europe and Mediterranean Basin – 38 Euro
Americas, Asia, Africa – 43 Euro
Oceania – 50 Euro
Europe and Mediterranean Basin – 46 Euro
Americas, Asia, Africa – 52 Euro
Oceania – 60 Euro
HOW CAN I ORDER?
By making a Paypal payment to: info[at]tsunamiedizioni.it
HOW CAN I GET IN TOUCH WITH YOU?
Via Facebook messages on this page or via e-mail to: wolves_info[at]tsunamiedizioni.it
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National Socialist Black Metal (NSBM) remains controversial because global civilization has shifted leftward since the late 1940s with the fall of fascist regimes in Italy and later France, National Socialism in Germany, and Nationalist movements in Japan. However, starting in the 1990s when the 1968 generation took power in politics and media, a counter-movement has arisen which is critical of democracy, equality and diversity.
Sometimes this movement is merely anti-liberal, as with Michel Houellebecq in France, or libertarian as with the Tea Party and Neoreaction, but often it takes a more potent form. The original black metal bands from Norway, Sweden and Finland embraced the idea of nationalism, or a society being defined by its indigenous people, and rejected the morality of pity, equality and pacifism. Others took this farther and explicitly endorsed the older belief systems, not just National Socialist but the traditionalism of Julius Evola, the nationalism of pre-war Europe, and the monarchism and naturalism of völkisch conservatism.
During the early 1990s, when this material first emerged, I was unwilling to play such bands on the radio when I learned of their beliefs. Later digging found the nationalism of Bathory, the pro-Hitlerian sentiments of Morbid Angel, and the generally conservative — realism plus a belief in transcendentalism — surging through heavy metal. Then came Lords of Chaos and the interviews of Varg Vikernes, tearing the lid off any obscurity that black metal had regarding its anti-humanist views. For that reason, I report on them as they are part of the black metal movement and heavy metal, and it is better to have such things in the light than darkness.
Tampa melodic death metal band Brutality plans to release its full-length album, Sea of Ignorance, the followup to its 2013 EP Ruins of Humans. Pre-order begins on December 1, 2015 and the official release date is set for January 22, 2016. Copies may be ordered from the band website.
California doom/punk band No God Only Pain has published its latest round of stickers featuring artwork inspired by the Hellraiser films combined with grim realism from life experience. In addition, the band has announced that it will change direction from its fusion of black metal, doom metal, punk and classic metal to “roadhouse dark metal,” embracing all that is in feral atavistic realist rock from The Doors through Motorhead as well as its own influences.
“Meeeeester Crowley, what goes on in your head?” came the wailing voice from the radio. Louder than that, I could hear the fluorescent lights above, and the beating of my heart. The texture of the paint on the walls seemed to break into a kaleidoscope of demonic faces. And I deserved all of it, because I had put myself here, smoking the tobacco of the Great Beast, Aleister Crowley himself.
The decision happened several weeks ago when I was reading about Crowley, a life-long pipe smoker, and his odd preferences for tobacco. Never a huge reader of Crowley — I’m more into Anton Long and Aldous Huxley for weird metaphysical science — I became interested when I read that we have no solid record of what he actually smoked, only a network of hints through his writing and rituals.
My first task then was to figure out what Mr. Crowley was indeed smoking. Lore holds it that he smoked “straight Perique soaked in rum,” but this leaves much open to interpretation. Perique originally referred to the tobacco that Pierre Chenet, having learned the method from the Choctaws, would press and ferment in barrels in what is today St. James Parish, Louisiana. This thousand-year method reduces acidity and sugars in the tobacco so that the body can absorb more of its indole alkaloids.
Unfortunately, after that time the use of the word became muddled. Some blenders coined the term “Perigue” for any Burley which had been pressed and aged, creating a fermentation effect. Sailors used to pinch some of the raw tobacco from their cargoes, soak it in rum and wind it tight in old sails to press it. And as Perique production dropped off in the 1950s, not only did some inferior substitutes arise, but many blenders phased it out of their blends, creating more confusion.
This left we step one to pipe smoking union with the Great Beast: figure out what he was actually smoking. Smoking the “real” Perique from St. James Parish seems unlikely because Perique is used in tobacco blends like a condiment in food. It has a strong peppery and fruity taste, and smoking it alone would be like drinking hot sauce or eating raw onions. Perhaps he smoked the Perique of the sailors, or “Perigue” of ingenious tobacco makers. But as with all things in his life, the clues are hidden and numerous, stretching across time and space…
This deepens the mystery, as Perique is mentioned nowhere else in the book. Crowley mentions ordering “rolls of black Perique” which he then cuts manually, bringing to mind the Perique of the sailors and not of St. James Parish. But even that cannot help us, because St. James Parish Perique could also be delivered in “rolls” or “ropes,” a popular method of curing, storing and transporting tobacco. Ropes remain popular to this day, and are prepared as Crowley describes: cut into thin slices, or “coins,” they are then pushed apart with friction or “rubbed out” to produce thin-cut leaf tobacco.
So that tells us nothing, basically.
Perique remains popular today, by the way. Smokers favor it for its deep flavor and strong Nicotine content, as well as the way it can complement other flavors like Virginias (sweet) and Burleys (nutty). But to smoke it straight is unheard of, although a few brave volunteers have tried it. For that reason, many smokers are skeptical that Crowley actually smoked it straight because it is an abrasive, disquieting experience that would not have been much fun — and Crowley was a known hedonist.
This returns us to the question of what Perique Crowley was smoking. If he was smoking rum-dipped and sheet-pressed tobacco, he would have been enjoying a much milder blend than the St. James Parish Perique. But if he was smoking the St. James Perique, it seems unlikely that he was enjoying the pipe at all. Then there is the complicated term “soaked in rum.” Did he mean actively wetting it with rum? Or did this merely refer to the rum used in the sailor’s recipe, and indicate that it was not St. James Perique at all?
Admiral Fitzroy, by no means the least of English poets, was wont to observe — at least he was always putting it on his barometers — “Long foretold, long last: Short notice, soon past.” So please settle down in that Oxford Basket Chair, draw the table close, for you’ll need that jar you bought at Bacon’s in your first teens because Calverle hypnotized you into doing so, fill the old Meerschaum (the nigger with the hat is the sweetest) with the pure Perique of St. James’ Parish Louisiana, throw some coals and a log or two on the fire, and put your legs on the mantlepiece; for if the laws of weather apply to literature, this ought to be a terribly long chapter.
You can smoke a pipe, and find the port, while you wait; for I’m in no mood to write it just now. Do you realize it’s half past three in the morning?
Not only does he tell us what his Perique was — the St. James Parish variety — but by using the word “pure,” he puts emphasis on the fact that this is the Perique he wants, and nothing else will do. In a strange twist of fate, the use of St. James Parish Perique may strengthen his narrative, because if it were shipped to England it would most likely be in ropes to keep them moist for the journey, especially since Perique is sensitive to light (like the Great Beast himself) and so is often stored in forms that hide most of the leaves from the light.
(The unfortunate verbiage in the above quotation describes his Meerschaum pipe. Meerschaum is a soft semi-gelatinous stone when wet, and clever people carve things into it, then let it firm up as it dries. He is undoubtedly referring to the subject of the carving and not an actual person.)
That left only one mystery: the “soaked in rum.” He could not have meant that he drenched the tobacco in rum and then lit it because it would not have burned owing to the high water content in rum, although he would have gotten a blue alcohol flame. That suggests that his use of the term “soaked,” much like it is used today, refers to a “top flavoring” or an alcohol-based flavoring sprayed over the top of the tobacco before a final drying. Tobacco is very sensitive to moisture and molds easily, making it toxic, so alcohol is used by the water in it must be allowed to evaporate. Rum is about 40-80% alcohol.
This means that Crowley bought his Perique, cut it into leaves of a size he could smoke, and then soaked it in rum but then dried it before smoking. At last I had my recipe for going insane with the best of them. As I made preparations, I wondered if I would end up in a strange photo, making horns on my head with my thumbs, my gaze straight ahead and fixed as if on some demonic world beyond.
Step 1 was to acquire some blender’s Perique, which I did from Rich Gottlieb over at 4noggins. It comes in two forms, granulated and long ribbon, but the long ribbon is stronger so I got that and sliced through it a few times to make it easier to smoke. Then I put down a plate and dumped the Perique on it, watering it loosely with rum (some Captain Morgan’s I found under the couch) until there was some standing liquid in the plate. That, I thought, should be an adequate definition of “soaked.”
Step 2 was drying. The plate went into the cupboard and was sealed away for several days, only exposed to the light for a daily turning. The rum gradually evaporated entirely, leaving dry and stiff leaves. Sitting in my kitchen, wishing to ancient gods that I had an EMT team present in case I had made this tobacco blend wrong, I loaded up an old faithful pipe — I have no other kind — and gravity-filled it with these strange leaves, then dumped in some more and tamped the top. Time for Step 3. I took a deep breath, lowered the flame, and drew in the thick and ethereal smoke.
Pipe-smoking is not like cigarette smoking. It is more like playing a trombone or transcendental meditation: all in the breathing. The smoker starts with a blaze that sends up a lot of smoke, which is why smokers take short puffs at first; pipe smoke is not inhaled like that of cigarettes, but kept in the mouth, so short puffs are need. Then, the smoker draws on the pipe like sipping air through a straw, about every ten seconds filling the mouth with smoke and exhaling a few moments later. This keeps a steady stream of flavorful smoke through a cool pipe, delivering measured doses of nicotine to the nervous system. After a few moments when the paint screamed at me in ancient Syriac incantations, and the stove looked like the face of an Aztec war god, I settled into a normal rhythm.
And…? you ask. How was the Great Beast’s tobacco?
Good. Very good, in fact, so much that I’ve done it several times since. The rum both sweetened the Perique and removed some of its peppery edge, leaving it with a flavor more like strong brandy. The drying also reduced the wetness of the Perique so that it burns better, and somehow gave it a smoky flavor like Latakia or Dark Fired. While the Nicotine level remained high, it was more on par with my regular tobacco, Royal Yacht, and not as extreme as many ropes or the utter skull-crusher that is the Cotton Boll Twist. And the flavor toned down the spice in the perique while making its fruit flavor less extreme, giving it the complex scent and flavor palate of a fine wine, or at least what I imagine wine above the $7 limit tastes like.
I kept smoking. Strange — I was enjoying this! The flavor had gone from plum or fig to something like a dark berry dried in the sun, or even grapes at the edge of becoming raisins, but with that extra kick of spice that made the tobacco taste more vivid than sweet. The smoke curled around my head and for a moment I thought it spelled out something in Kabbalic and Alchemical characters, but then it dissipated. I shook my head clear and kept on smoking. The Great Beast may not have taken my soul, but he knew how to make a tasty tobacco blend.
Like the band with whom it shares members, Cóndor, the hardcore/thrash band Personal Device — the name refers to “antipersonnel devices,” not Fleshlights — makes music with a lot of promise that sells itself short by demonstrating theory instead of creating experiences.
Art contains ideas as much as any essay, and those who deny that are morons, but it is encoded through the sensual, emotional and intellectual experience of appreciating something of great beauty and power. This is how metal makes beauty out of ugliness and reveals to us the forgotten ideas of ancient history in a form we can now recognize. It is also why Christian, Nazi and SJW music falls short, because it is preaching and illustrating theory more than it is taking us on a magic ride through the world of its ideas in application.
Personal Device thrives when the band members get in touch with their inner rebellious but sensible youth. They bash out hardcore-based tunes with metal riff framing, sounding like Emperor covering Iggy Pop or G.G. Allin sometimes, and put these in songs with some breathing room a lot like early Suicidal Tendencies. Riff quality is very good. So is their ability to know when to bring on the power and when to let a rhythm ride to its natural conclusion. Moments on this album, like on Cóndor’s works, are so good they burst with potential and make you think you have discovered a new classic.
It is interrupted however by a tendency to demonstrate. Either they show how they can fit in a blues part, use an unnecessary spoken word piece, or expand song structures to include the non-relevant for the point of making a point, but it breaks the flow of the album and adulterates the good stuff. This also blighted Cóndor Duin: theory is only good when put into practice, in a way that converts the cerebral into the existential and experiential. At the risk of ruining this review by doing the same, I will step off that soap box and summarize.
This is a great album within another album. Many good ideas ooze from the fabric of En Puerto. Their first album however had more of a feeling of a garage project designed just to be music that the musicians — enlightened as they are by theory, and their theoretical background is known to me and quite substantial — found themselves liking, not just in “body” (how it feels and sounds) but in “mind” (what it delivers) and possibly in “soul” (how it makes poetic the condition of life). The best albums do all three, and their first was closer because it was less obsessively engineered in the front-brain and more unleashed from within. Moments of En Puerto do the same, and if they cut the rest out, they’d have an album on par with DRI’s Four of a Kind or Cryptic Slaughter Money Talks. Here’s hoping for album three.
This track calls to mind the more underground edge of the 1985-1987 period. Its roots lie in speed metal and hardcore crossover, with much of its riffing relying on the type of heavily-downpicked recursive patterns that Metallica would have used if they, like hardcore bands, wanted to quiver on the edge of dissonance. The trudging riffing picks up the pace and is balanced by full-on necrotic underground metal vocals, dropping into a mid-paced groove with lots of chromatic riffs with more abrupt changes that you would see in speed metal. The vocals tend to carry this with a full mucosal drip distorted as if shouts after a bombing raid as the city burns. Would like to hear more from this band.
On November 1, 2015, Finnish doom-death metal band Desecresy released Stoic Death, its recent offering of mid-paced atmospheric death metal with structure melodic rhythm lead guitar guiding the development of each song.
This album, the fourth from this perceptive and morbid band, promises to develop its elegant and immersive death metal which creates a dark sensation and develops it with both emotion and crushing nihilistic emptiness. Stoic Death will be a perfect midwinter album.
Remedies of Wolf’s Bane
The Work of Anakites
Passage to Terminus
Abolition of Mind
Cantillate in Ages Agone
The album can be acquired at the following locations:
Texas speed metal band Rigor Mortis, famed for their fast strum and melodic but savage riffs, have released Part 1 of the documentary about the band, Welcome to Your Funeral: The Story of Rigor Mortis, which covers the formation of the band up through 1987.
During their time, Rigor Mortis slashed out three albums and an EP, and influenced both death metal and black metal bands with their style and technique. The band describes the release with the following:
A film by Michael Huebner of 12 Pound Productions
Directed by Bruce Corbitt
Narrated by Philip H. Anselmo.
Running time is 110 minutes with 33 minutes of bonus material.
This is the story of North Texas-based Rigor Mortis and the meteoric rise of one of the most original and influential speed metal bands of all time. The stranger-than-fiction rollercoaster ride that has to be seen to be believed. This film takes you back to the earliest beginnings of the band, through their highly controversial signing to Capitol Records in 1987. The infamous Rigor Mortis…
The Texas Chainsaw Massacre Of Metal!
Cast in Order Of Appearance
Philip H. Anselmo
Turner Scott Van Blarcum
Plus of course we can’t forget… featuring the music of Rigor ‘Fucking’ Mortis!