As a genre less defined aesthetically than on terms of propaganda, NSBM bears the mark of Cain that stigmatizes bands that express a certain ideology. On the basis that music is pure Will, this article focuses on contrasting a split by Der Sturmer, Malsaint and Blutkult with Spear of Longinus on the grounds of understanding and conviction to their ideas, or, to be less dramatic, on how the need to express grander statements creates grander music.
Great metal bands have either derived inspiration from the bloodthirsty aspects of extremism or creatively cultivated their own ideals, and rarely were the ones to blindly follow. After all, the feanorian spirit of the true artist thirsts for transgression, adventure and critical thinking, which often, yet not always, is translated into originality, harmonic movement and a great metapolitical message that longs to be sang, purging the sterile dogma of ideology to accept infinity, nihilism and freedom through understanding of the natural laws.
Therefore, there can be no tolerance for political correctness in metal; herein nothing is sacred, not even God. Metal celebrates power, thus metalheads are stricken by awe before figures and symbols which radiate strength, often regardless of their position on the political spectrum. However, an ideology that is anti-egalitarian, obsessed with the past and perceived as inimical to society, resonates better with metal, since they are both rooted in the same brutal aspect of primitive reality, which, in truth, might be but the only reality.
Clearly, the main pitfall of such a genre is virtue signaling, stemming from the need for acceptance or sociopathic behavior, combined with lack of talent or effort. However, we shall find that the intent behind the lyrics might truly be important, since the ideologic direction of the following bands is analogous to the quality of the music. Thus, we will not endeavor to investigate any lyrics in detail, but we shall rather focus on the overall message. Having clarified our standpoint, let us begin with the review.
Der Sturmer/Blutkult/Malsaint – Split (discogs)
Overall, this split is worthy to enjoy with beer with a group of friends, as it evokes a feeling of concert atmosphere: you have the headliners, a band that opens up the moshpits and the local band that infrequently makes you look at your watch, because it’s worthless. Alas, the quality of this material does not often reach the apex of previous songs written by those bands, as Blutkult and Der Sturmer had perfected their craft on other records, while Malsaint stands out as a confused band that cannot mix its various influences.
Kickstarting the split with a brave dose of hate, the brew of Der Sturmer mixes violent riffing in Doric punk structures. This masculine music is excellent for stabbing people in the throat. Their doctrine and music therefore are on the lines of “fire and axe” and embrace a timocratic glorification of strength manifesting in headbanging and boiling blood.
Usually, on other works, the band focuses on the transcendence of the Self through conflict, and although this transition is rarely happening in their compositions, they stand on a higher level of skill than most of their brethren, mostly because of their minimalistic and convincing riffs. On contrast, in this split, the idea to be articulated focuses most of all on violence. Perhaps it was not in the plans of the band to say something more, yet this attitude reflects on their work, which might sound non-contemplative, representing an almost materialistic aspect of their ideology.
I further recommend Transcedental Racial Idealism, which is a solid album for beating up helots. “Erasithanatos (The Tragedy of Heroic Pessimism)” is a fine example of the minimalistic style they are working on. In addition, herein, they have their own space to communicate more heroic and ambitious propaganda and this is often reflected on their music and highly philosophized lyrics.
Although initially promising by introducing themselves with a patriotic sample, Malsaint quickly sets off with a minor chord tremolo riff that sounds terribly average. Furthermore, trying to pry into their music, one can picture a naif atmosphere of French nature that fails to deliver any message. Then they include successful, but still mediocre, chord passages and top up the track with Filosofem-style keys that sound totally out of place and make the riff and style-salad masters Peste Noire sound like Richard Wagner.
In order to improve their musical vocabulary, it would be preferable for Malsaint to focus on using strumming volkisch chords more often, imitate more specific bands to begin with and expound their technique and imagination by studying more black metal bands on the DMU archives.
Blutkult are the German headliners of this record, who play glorifying chords representative of the violent nature of the universe, on which melodic leads of staggering beauty are added, in the same way that one beholds natural life on which he gives meaning by embracing a worldview of heroic self-sacrifice. The band does not fail to deliver feelings of awe and melancholy that arise when one beholds a stolen classical statue in a European museum. A truly special band, that transforms oi influences to create minimalistic sculptures of beautiful harmony.
Although “72 Schweinefressen” exhibits the most convincing pig-squeals ever heard and the music is revitalizing and refreshing, inspiring the listener to fight to honor his blood, the vision is thoroughly accomplished and the world remains in a stationary state of eternal beauty. This is not bad, yet Blutkult’s swiney orgasms of accomplished triumph on this split reflect on the compositions which do not go anywhere but are caught in a perpetual motion of glory. As with Der Sturmer’s longer works, monotony is the enemy here.
In truth, I would appreciate this more if it was not for the more complete “Die Letzten Wahren Deutschen Ritter.” For example, “72 Schweinefressen” is a nice song but it is definitely lesser than Der Herrscher kehrt zuruck on which it is based. The latter, changes direction towards the end, is more experimental vocally, it is shorter, the sound structure is more detailed and the drumming is reminiscent of angry pulsing panzer engines. Generally, this band is highly unique and evokes a sense of beauty, standing a head above most worthless virtue-signaling NSBM bands.
Overall, Der Sturmer and Blutkult are very strong representatives of their ideals. They exhibit glorification of strength and self-sacrifice respectively, and they have an attitude of self-overcoming. Contrasted with disoriented Malsaint, they have a clear vision and simple statements they want to express, which are translated into appropriate music that makes an impact.
However, although the above commands might suffice, one can expound on more topics to build a more complex statement, that contains more messages than the aforementioned bands, creating holistically better music in the process.
Spear of Longinus – The Yoga Of National Socialism (discogs)
Spear of Longinus is the band that tears up the veil of Maya and becomes fully enlightened to the shamanic pagan mysticism of blood and time.
Their music is more than a form of propaganda, being more alike to a Zen master who slaps you in the face to realize the truth. To begin with, the clean oi riffing and technophobic melodies invoke an atavistic character, from when their ancestors were living inside forests, feasting on acorns and raw deer flesh, a music so unconventional that becomes rejuvenating in its call for freedom. The structure of the record is meaningful and logical, as it slowly silences the vocals to indicate that the listener now enters into deeper mysteries, which cannot be articulated with words. The minimalistic compositions say more, with less, and the laconic spirit is satisfied.
The Yoga Of National Socialism exhibits superior artistic merit than the previous split, and also the full-length works of the previous bands which use the same tools that they use on the split, not only because it is a (small) full-length, but because it has a more grandiose vision: its inspirations go beyond national heritage or war history and embrace spirituality, Hinduism, conspiracy theories, war and natural disaster, just a few topics that expand their musical vocabulary and help them employ a larger skillset and write more interesting works.
Another aspect of SOL’s superiority to all NSBM is the lack of politically extreme keywords. The music speaks for itself, and is way more metal. Why?
Because, metal, as we said, is war music. And SOL go the entire way into primitive tribalism, destroying everything that could remain to reassure us, offering a musical landscape of conflict, yet of strong tribal emotions, religion, beauty, love and reverence for nature and the universe. The way the present their views makes them appear not stagnant and dogmatic, but alive and refreshing.
Metal is music that reflects upon reality on a meta-political level, while political ideologies focus on a smaller portion of reality. Our love for metal lies in the fact that it bears all those things that society denounces and does not want to speak about, and the more of them it bears, the more powerful it becomes. In contrast, political music and other forms of protest music want to express fewer things, use fewer techniques and care more about the message than the music, ignoring the fact that good music can speak of things that the feeble human speech cannot make manifest. This is exactly what Spear of Longinus has to offer, and that is the reason they are among the masters of this genre.
To conclude, the above suggest a correlation of ideological concepts with quality of sound. It was shown that the more intricate and concise the message is, the more interesting the music becomes, if musical talent is already existent. A limit to this article is the smallness of the sample. However, this can be expounded upon in a future article.
Finally, regardless of the faults of their ideologies, in an age of domestication, mental lobotomy and totalitarian silencing, the effort and courage of those musicians to record and perform must be recognized. One cannot help but hail the triumph of the noble spirit, which, regardless of race, pursues the truth; for when the howling wind of a nuclear winter will silence the meaningless chatter about “love” and “peace,” all idols will lie broken and hollow, but the truth remains. Forever.
Tags: Black Metal, blutkult, Der Sturmer, Malsaint, nsbm, review, spear of longinus, TYONS
70 thoughts on “Levels of NSBM Initiation”
I don’t have a problem with people speaking truths, like that Jews belong in Israel, liberals have a mental health problem and need to be physically removed, racial differences are real, third world races have lower IQs and higher crime, that democracy sucks, and that socialism is for the weak, etc. etc.
However, I really don’t want to join a cult, and I feel like neo-Nazism is as much a cult as Leftism is. You have to bleat the ideology and buy the stuff and “support our guys,” and then everything is going to be fine despite having done this for a century with bad results.
Black metal was great because it addressed the spirit of change to the natural, not the methods including politics. Politics is yucky. Aim for changing how we think about life itself, and then we can turn to politics and quite honestly throw it out with the rest of failing democracy, Judaic faiths, tolerance, equality, etc.
>jews belong in Israel
stopped reading right there. no the fuck they don’t.
they belong in camp/furnace xd
laughed my fucking ass off
Funny, but murdering people will fuck us up spiritually and mentally.
We’re not murderers. We just want Western Civilization back. We know that for that to happen, all the Other groups need to go back home.
“all the Other groups need to go back home.”
Yup… and if we could only ask them nicely and demonstrate to them the advantages of doing so through rational, carefully-thought out arguments… they’ll nicely pack their bags and go back home.
Jesus fucking christ, you talk like you don’t know what the kikes are like.
If a tiny group like the Jews did this to you, you are weak and need to die out. Seriously, they are a minority which thanks to higher IQ and nepotism has gotten quite far, but who let them in? Who keeps buying their products? Anti-Semitism is a brain virus, and the sooner you set yourself free, the happier you will be.
ALL HUMAN GROUPS tend toward degeneracy through “we love everyone” pretense. It’s part of the human social condition. When you have a purpose, you have a hierarchy than can oppose that tendency, but otherwise, people come together in committee/herd behavior and tear civilization apart. That’s what ate the West, and it’s why black metal is anti-humanistic.
I totally agree. That was the point of the article and it was inspired by this interview:
I really appreciate it when bands, although confused, try to create their own meaning, that’s metal. Cults have no place in metal – although Extreme Agression is also a very good album, albeit cut away from the mythical. In fact, even metal shouldn’t be a cult, because it gets turned into a marketplace, as you can see.
Above all, that’s also why DIY – Dealing with it! is such a great listen.
DRI was DIY from the sound of those first couple albums. Recorded on a jambox in a garage…
is that Savitri Devi in the photo who wrote the book “Lightning and The Sun” ?
Spear of Longinus is elite cult shit. Hail Loki! Hail Surt! Hail Baldr!
No man shall spare the other.
That’s quoted from a bunch of Nordmen living in their Nordwood.
Soldiers already lost in a war that becomes
Ever more total, ever more occult
We bear at the very edges of this world
The spiritual arms and the most enigmatic
Destiny of military honours
From the beyond: in the ranks both visible and invisible
Of the Black Order to which we belong
Those whom death has struck down
March on side by side with those who are still standing
“Their music is more than a form of propaganda, being more alike to a Zen master who slaps you in the face to realize the truth. To begin with, the clean oi riffing and technophobic melodies invoke an atavistic character, from when their ancestors were living inside forests, feasting on acorns and raw deer flesh, a music so unconventional that becomes rejuvenating in its call for freedom. The structure of the record is meaningful and logical, as it slowly silences the vocals to indicate that the listener now enters into deeper mysteries, which cannot be articulated with words. The minimalistic compositions say more, with less, and the laconic spirit is satisfied.”
Tell us about the music, fuckface, not about your homoerotic imaginings whilst listening to the music.
You don’t get out much, do you?
Yes, somebody wants to be a writer for Billboard or Rolling Stone magazine it looks like.
Ionnas is an excellent writer and there is no need to make ridiculous personal attacks like that. Rather than insult him why don’t you try adding to what he has written instead of your pathetic attempt at belittling him.
“Ionnas is an excellent writer”
If what you by ‘excellent writer’ is a) autistic, b) naive, and c) overly descriptive with little information content/objective analysis, then you are to be agreed with.
This site has always been pro-autist. Well, and weed, eugenics, nationalism, and elitism. I guess the autism fits right in, but it doesn’t mean the autists are wrong.
clean oi riffing
technophobic melodies (okay this one could use some further explanation. If someone can expand on this, I would be interested. Something to do with “primitive tribalism”? Would it be something like the opposite of tech-death?)
structure logical, slowly silences the vocals
that’s telling us about the music.
I appreciate the imagery even though we probably are not getting the same images from it.
Technophobic melodies means, in my view, that they are not slick jazz/rock style friendly melodies, more like old folk melodies which sound like they are equally at home in dissonance and consonance, and bend not toward the ear but toward some kind of naturalistic expression.
Thank you. This makes some sense to me.
Apologies for not replying on the comments. First of all, there are only two editors working actively at the moment. As you can imagine it is quite time consuming.
Concerning the comments, most of them have been praise (which I really appreciated, but there is no need to reply to that!) and some of them have been blame. I pay a lot of attention to the latter, so that I can further develop as a writer for the site. Indeed, I have made a few faults and my writing style has been unclear. In my defense, I aimed to provoke enthusiasm and compress the basic idea of a work among words, in a way that does not spoil the music 100%. I can blame my inexperience and enthusiasm for that.
However, I believe that the kind of expressions used at certain points in the comments should not be tolerated, especially versus readers who actually, contribute rational and well supported opinions (see the previous article). Versus me, well, they don’t have much of an effect, but even now I am wasting time making a comment to state the obvious: trolling is idiotic, rational arguments are not; rational arguments are freedom of speech, while unwitty trolling is slavery to speech, both for the modern hermit that provokes it, and for the ones responding, even more so for the ones reading. Don’t let the comment section become Youtube or 4chan. I say that we should be elitists with our time, as well as the music.
If you want elitism, we can start at the comment section. Because reviewers come and go, including me; yet the culture of the website stays. And as a long-time reader, I know that some aspects of this culture are beneficial, while some hold the site back, a mere shout in the dark, when we could be evangelizing our message to more and fuck up the funderground, which directly or indirectly, is the main reason we are here. And the reality of our points, that metal is an offshoot of romanticism, that the structure of some metal songs is superior to others, that we should make comparisons between bands and a musicological as well as passionate approach to music will be 1000% more effective to spread the word of DMU.
Enjoy the rest of your day Autistic assassinator. Don’t let the friction burn your hand.
And to all serious readers, thank you for your time.
“And the reality of our points, that metal is an offshoot of romanticism, that the structure of some metal songs is superior to others”
I’m glad you brought this up, because it basically encapsulates why your writing fails.
1. Take the first half of your sentence. If you really think metal is an offshoot of romanticism, then you wouldn’t think NSBM is in the true ‘spirit’ of metal. Why not? National socialism was totalitarian and collectivist. Romanticism was about the political liberation of the individual.
2. Now take the second half of your sentence. In your present article, you completely failed to show why the structure of NSBM songs qualifies them for entry in the canon of metal that is ‘superior to others’. Why did you fail to do this? Because you didn’t talk about musical structure in the vocabulary of musical theory, at all, really. Instead, you essentially waffled on about your phenomenological experiences whilst listening to said NSBM music. Your writing about the actual musical structure was all tip and no iceberg.
Not really. Romanticism was divided into several groups, and expressed complex views on this topic. Many of them viewed the individual as an instrument for emotions from beyond to play through like an Aeolian harp. Others were clear in their admiration of the ancients, who were fashy in a way that Hitler’s butch fops could never aspire to being.
“Byron first took his seat in the House of Lords 13 March 1809, but left London on 11 June 1809 for the Continent. A strong advocate of social reform…”
“Beethoven was born a commoner… Furthermore, Beethoven was thrilled to hear that Napoleon, a supposed enlightened ruler, might come from France to free central and western Europe from the bonds of hereditary rule; so much so that he originally dedicated his 3rd symphony to him. But when he heard news that Napoleon had renamed himself “His Imperial Majesty Napoleon the First, Emperor of the French,” Beethoven became violently angry,7 and ultimately renamed the symphony “Heroic Symphony, composed to celebrate the memory of a great man.”8”
“A radical in his poetry as well as in his political and social views, Shelley did not see fame during his lifetime, but recognition of his achievements in poetry grew steadily following his death. Shelley was a key member of a close circle of visionary poets and writers that included Lord Byron, Leigh Hunt, Thomas Love Peacock, and his own second wife, Mary Shelley, the author of Frankenstein.”
“Blake was not active in any well-established political party. His poetry consistently embodies an attitude of rebellion against the abuse of class power as documented in David Erdman’s large study Blake: Prophet Against Empire: A Poet’s Interpretation of the History of His Own Times. Blake was concerned about senseless wars and the blighting effects of the Industrial Revolution. Much of his poetry recounts in symbolic allegory the effects of the French and American revolutions. Erdman claims Blake was disillusioned with them, believing they had simply replaced monarchy with irresponsible mercantilism and notes Blake was deeply opposed to slavery, and believes some of his poems read primarily as championing “free love” have had their anti-slavery implications short-changed. A more recent (and very short) study, William Blake: Visionary Anarchist by Peter Marshall (1988), classified Blake and his contemporary William Godwin as forerunners of modern anarchism. British Marxist historian E. P. Thompson’s last finished work, Witness Against the Beast: William Blake and the Moral Law (1993), shows how far he was inspired by dissident religious ideas rooted in the thinking of the most radical opponents of the monarchy during the English Civil War.”
“Coleridge was also a profound political thinker. While he began his life as a political radical, and an enthusiast for the French Revolution; over the years Coleridge developed a more conservative view of society, somewhat in the manner of Burke. Although seen as cowardly treachery by the next generation of Romantic poets, Coleridge’s later thought became a fruitful source for the evolving radicalism of J. S. Mill.”
Thanks for playing
You’re relying on modern interpretations of a handful of Romantics, not the full genre. That’s two fatal flaws.
What a weak response.
Why don’t you produce some evidence for your claims?
“Greatest composer of the Romantic era, vehement antisemite.”
Most of the Western greats were anti-Semites, but also class elitists, benevolent xenophobes, and generally scornful of humanity. This does not mean they would have endorsed insane cruelty toward Jews, only maintained the belief that each ethnic group needs its own nations, and that Israel is the place where ethnic Jews belong. Right now, the only thing standing in the way of that kind of sanity is the threat posed by Palestinians.
If there was one minority group you could genocide, what would it be?
I would exterminate idiots worldwide, and that’s a majority, so I can’t think of one. Diversity sucks but individual groups vary. You could take any group, pare out the stupid and bad, and start revitalizing it. I wrote it about this long ago:
Genocide is not my thing; eugenics is. Only when we assume that diversity is natural (it isn’t) do we start talking about eugenics in terms of races. The right answer is to separate the races, then kill off the weak in our own, making it stronger. I wouldn’t even genocide the Irish despite many indications that it’s a good idea.
Examples of you reporting simply on your subjective phenomenological experiences whilst listening to the music, as opposed to the music in-itself:
1. “This masculine music is excellent for stabbing people in the throat”
2. Their… music therefore are on the lines of “fire and axe” and embrace a timocratic glorification of strength manifesting in headbanging and boiling blood.
3. The band focuses on the transcendence of the Self through conflict, and although this transition is rarely happening in their compositions
4. I further recommend Transcedental Racial Idealism, which is a solid album for beating up helots
5. they have their own space to communicate more heroic and ambitious propaganda and this is often reflected on their music and highly philosophized lyrics.
6. on which melodic leads of staggering beauty are added, in the same way that one beholds natural life on which he gives meaning by embracing a worldview of heroic self-sacrifice.
7. The band does not fail to deliver feelings of awe and melancholy that arise when one beholds a stolen classical statue in a European museum.
8. the music is revitalizing and refreshing, inspiring the listener to fight to honor his blood, the vision is thoroughly accomplished and the world remains in a stationary state of eternal beauty.
9. They exhibit glorification of strength and self-sacrifice respectively, and they have an attitude of self-overcoming. Contrasted with disoriented Malsaint, they have a clear vision and simple statements they want to express, which are translated into appropriate music that makes an impact.
Examples of you beginning to get into actual musical analysis, but saying barely anything:
1. trying to pry into their music, one can picture a naif atmosphere of French nature that fails to deliver any message. Then they include successful, but still mediocre, chord passages and top up the track with Filosofem-style keys that sound totally out of place and make the riff and style-salad masters Peste Noire sound like Richard Wagner. [what is a mediocre chord passage? Why do the Filosofem keys sound totally out of place?]
2. it would be preferable for Malsaint to focus on using strumming volkisch chords more often [what is a ‘volkisch’ chord?]
3. reflect on the compositions which do not go anywhere but are caught in a perpetual motion of glory [why do the compositions go nowhere, based on musical theory? By the way the rest of the sentence is simply cringe]
4. “72 Schweinefressen” is a nice song but it is definitely lesser than Der Herrscher kehrt zuruck on which it is based. The latter, changes direction towards the end, is more experimental vocally, it is shorter, the sound structure is more detailed [why does ‘changing direct’ towards the end make a song better, from the perspective of music theory? Why does the fact the latter song shorter make it better? What is a more ‘detailed’ song structure??]
Basically, If someone was marking this, you’d be failed for overtly subjective meanderings as opposed to objective analysis.
Helots were the slaves of Sparta. Good use of that term. Most of humanity needs to be enslaved or purged.
NSBM is a completely unneccessary label, and most of it is garbage anyways.
Most are going to miss the subtlety of your point, but it’s this: black metal is more fashy than the fascists, and making a separate genre so people can receive “safe” propaganda is pointless. You always could be a Nazi (or worse, like me) in black metal without having to announce it to the world. The music and its imagery speak enough.
you say ”regardless of race” to let everyone know you guys at death metal underground are not racist because you scared of being called racist like everyone else fucking pussies
Read as many times as necessary and eventually you may understand that Ionnas is not in the slightest talking about these accusations. His political views have nothing to do with this piece.
honestly dude fuck you
That sounds like what a Arab would say.
Der Sturmer is one of the worst bands with the least to offer that I’ve ever heard. Spear of Longinus is at least weird enough to be a little novel. As a rule though, NSBM is almost always far below average. Why would I listen to these bands or a band like Absurd when I can just put on Amebix or any other half-decent crust band instead and get the same thing but better?
Neo-fascists are great at convincing themselves terrible music is good. At least this shit isn’t neofolk or martial industrial though.
Early Absurd is great!
No it isn’t, lmao
Good point, I am convinced.
Are you posting this from a round hut while eating bush meat?
What does Absurd have to do with Crust? They based their sound on oi! like Endstude and Landser (as well as Manowar/Danzig, not that that influence came through much). Typical “elite” metalheads who don’t know the first thing about punk other than 2 token crust punk bands they’re allowed to like.
know your hardcore!
listen with your fucking ears and not what you’ve read, absurd doesn’t sound like oi! at all, but the releases people listen to do sound like second rate crust
btw if absurd was actually an oi! band they’d probably suck even worse than they already do because oi! is an irredeemably garbage subgenre
Not to mention The Exploited.
I think you meant to say that Absurd have SOME songs or riffs that are performed in the oi punk style?
Absurd’s guitar and album productions sound like hardcore/crust/punk with a metal edge sound.
and yes, I like them, blast them loud on the stereo or computer every now and then… even if I know fuck all how to understand the German language.
They borrowed more from RAC as a broad genre than Oi as a smaller one, and RAC was more like underground metal, grinding and abrasive, where Oi is more like Skrewdriver and sounds like energetic punk with melodies derived from traditional Scots animal husbandry songs.
First couple Absurd albums are great. Simple, but great. Haven’t heard Der Sturmer but I tend to avoid bands with over-the-top names. It’s like a grindcore band calling itself Joseph Stalin.
Check out Nitberg. The only reason ‘Donner Wetter Donner Wyrd’ isn’t canonized as a 90s nsbm classic is because, well, they were about 1 year too late to release it in the 90s. It’s one of those precious few Russian albums where that lo-fi approach acts as a prism that adds dimension to the songwriting–skaldic singalong beerhall stuff (at face value) twisted into the sort of genuine “dark atavistic past” vibe you get from Blood Fire Death or Vikingligr Veldi.
I actually consider it the second best BBH release these days, just behind a certain hard-to-spell Branikald album.
Check out Nitberg. The only reason ‘Donner Wetter Donner Wyrd’ isn’t canonized as a 90s nsbm classic is because, well, they were about 1 year too late to release it in the 90s. It’s one of those precious few BM albums where the lo-fi approach acts as a prism that adds dimension to the songwriting–skaldic singalong beerhall stuff (at face value) twisted into the sort of genuine “dark atavistic past” vibe you get from Blood Fire Death or Vikingligr Veldi.
I actually consider it the second best BBH release these days, just behind a certain hard-to-spell Branikald album.
Sounds like an AIDS festival:
“just behind a certain hard-to-spell Branikald album.”
Which one are you thinking of? Rdjandalir seems to be their most popular album on the internet, although I think Kladavzor / “Frost Vision” is their best. Although it’s been a while since I’ve listened to their stuff. They have quite the discography to delve into. I don’t really like any of the other Blazebirth Hall stuff as much.
It’s fucking Taylor Swift metal dude.
Blutkult sounded ironic, but they really are German, so it’s authentic irony.
Anyways, that shit’s illegal.
I think the writers here should keep a sense of distance and refrain from defending themselves and their writing. It would add to the mythos of the site. Just an opinion. Also, review the new Into Oblivion already
That album got a glowing review on Old Disgruntled Bastard amd I am curious the hear other peoples thoughts.
Another overlong…ah who cares. No riffs.
The writing here does not need to defend itself to upset people on the internet. Just go ahead and tell as close to the truth as you can.
Hey Ioannis, nevermind the haters that instead of writing articles themselves choose to write overlong comments that nobody reads.
I give zero fucks about how many metaphors you use or the esthetic qualities of the article itself. I’m here for the metal! As long as the reviewers have good judgement in their picks, it’s fine by me.
However, I’m afraid you’re mistaken with that Spear of Longinus album – overall it’s mediocre half-metal half-rock crap, I would call it ‘nirvana’ metal. It’s starts very good and I love the first punky song, but it finishes as a shitty disjointed piece after the first four songs let’s say.
The problem with NSBM (and NS) is that it is like the guy at the party who cannot stop talking about how cool Linux is. They make some good points, then couple them with insanity, and ask us to accept the insanity because we should agree on the good points. I don’t want socialism, and I don’t want dictatorship. Repression is also unnecessary. I do want to relocate all Other because they will be happier in their own lands and my people need everyone else gone. I want democracy dead, of course, because mob rule is insane and ends badly every time. What I do not want to do is sit around at some party talking about blacks and Jews instead of how to fix this society which is broken at every level and needs a serious mental reset then to get rid of 90% of what it does and replace it with wholesome stuff instead. I don’t think all white people are good, in fact, I don’t think “white” exists as a national category, since Europeans are so varied. Most white people need to be dead or enslaved. The remaining ones are pretty awesome though, and I want to live among my own group and leave other groups to do whatever they do back home. Undoubtedly, most of them should die, too. Earth has 8 billion people and an average IQ in the 80s, which tells you how much of a screwup equality has been.
This is the most retarded article I read on this site in a very long time.
You keep contradicting yourselves. How can someone embrace nihilism and the natural order of the word yet submit to ideological “power” worship based not on nature but on pseudoscience? this is a rhetorical question of course. You have to be a real retard to accept National Socialism as anything good or healthy. Saying this is not being politically correct, it is a refusal to be accept mental backwardness as the norm. Metalheads often confuse being politically correct with simply being “correct” (as in being ‘factually right’). If you accept pseudoscience, then facts do not matter to you, and if facts do not matter to you, you will embrace conspiracy theories about jews and lies about white people having better genes (I invite all you white snowflakes to stand in the sun, one spring afternoon, in Aberdeen Scotland, for 10 minutes, without any creams on your face. You can’t). It is not politically correct to say that most components of life (human, animal and plant) is made up of stupidity, including the Metal scene and Metal music writers.
I have to go now, my horny white girlfriend of Saxon+Dane descent is calling me to take advantage of her with my circumcised big brown cock.
Hahahahahhahaha hessians btfo^
Fucking hails comrade
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