National Action neo-Nazi Terror Group: Connections to Neofolk Scene

On Monday, November 12th, 2018 the last of three trials against members of the neo-Nazi group National Action ended with convictions of three people, including Daniel Bogunovic and a couple, Claudia Patatas and Adam Thomas. They will be sentenced on December 14th.

National Action was a British openly neo-Nazi group founded in 2013. The group cultivated a militant image and notoriously carried a banner with the slogan “Refugees not welcome” and the hashtag #hitlerwasright at public demonstrations. Since December 2016 the group has been proscribed under the Terrorism Act 2000. Since then, however, they have continued to organise under different covers. They are believed to have prepared for a “race war”, plotted an assassination, and advocated violence against and extermination of Jews and “non-whites”. They also celebrated the murder of Labour MP Jo Cox. Following investigations and arrests, several court cases have led to convictions for membership in a terrorist organisation and other offences. Several members were sentenced to prison terms of up to eight years (various news sources here, here and here)

While the press was very much concerned with the fact that Patatas and Thomas gave their baby son the middle name Adolf, that they had a swastika-shaped cookie cutter and that they were dressing up in Ku Klux Klan outfits, the connection to the far right Neofolk music scene remained overlooked.

For the BBC story providing a more detailed overview of the National Action case click on screenshot:

A tumblr blog called harsherreality  has collected evidence that Patatas was a  “close associate of Death In June’s Douglas Pearce, Sol Invictus’ Tony Wakeford, Allerseelen’s Gerhard Hallstatt, fascist publishers Michael Moynihan and Troy Southgate and a host of neo-folk musicians and activists – most of whom publicly deny their fascist involvement.” [Read more →]

Just Say Non: Nazism, Narcissism and Boyd Rice

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“Boyd’s rather unimaginative sadism used to embarrass me, but then he explained it using words like ‘Weltanschauung'”
Lisa Crystal-Carver, Drugs are Nice [LC, p215]

I last saw Boyd Rice play (as ‘Non’) back in August 1981, alongside Throbbing Gristle (TG), Z’ev, Cabaret Voltaire and Clock DVA as part of the ‘Industrial Night Out’ at the Lyceum, London, which brought together the big cheeses of Industrial Music in what was to be something of a coming out party for the scene but turned out also to be its swansong (it was TG’s last UK concert; they broke up a few months later). At the time Rice presented himself as a Dadaist and prankster though his aesthetic was actually closer to the sub-Futurist ‘instant karma for kids’ noise-racket that Merzbow has since successfully appropriated and turned into a brand / ‘racket’ of his own. While TG boasted of making music from ugly noise, Rice tried to outflank them by serving up the ugliness directly, unfiltered by any obvious concern for form. In fairness Boyd Rice could be said to be among the key players of early Industrial Music, and as a result he perhaps has a shade more kudos than some of the complete musical non-entities we’re generally concerned with around here (Wakeford, Pearce, Moynihan, et al). Rice has declared his Fascism in a number of statements, in his art, and through public actions such as appearing in full Fascist regalia and holding a dagger in a photograph alongside Bob Heick, taken in 1989 to promote the latter’s organisation, the neo-Nazi skinhead party, American Front. He has also appeared on White Aryan Resistance founder Tom Metzger’s cable TV show Race and Reason, where he declared that his friends in Current 93 and Death in June were promoting a ‘racialist’ agenda and emphasised the importance of Industrial and Neo-Folk music for building the ‘Aryan youth movement’.
[Read more →]

Battlenoise! – On the Ideology of “Martial Industrial” Music

Martial Industrial is a small sub-section in and development from industrial music. It is a particular form of industrial focused on a mythisized “heroic” past. As a scene it is related to the Neo-folk and neo-classical as well as the power-industrial scene, by itself it is relatively tiny.
In the summer of 2007 a book titled “Battlenoise! – The Blows of Martial Industrial” was published by the Polish label War Office Propaganda in conjunction with the Hungarian MozgaloM. It was a translation from the Hungarian, the author preferred to be referred to only as “PHJ”.
The book caused a bit of an uproar in the concerned circles and after Albin Julius of Der Blutharsch threatened to sue for copyright violation, the book was supposedly withdrawn from circulation.
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WE MEAN IT MAN: Punk Rock and Anti-Racism – or, Death In June not Mysterious

PUNK ROCK AND ANTI-RACISM – or,
DEATH IN JUNE NOT MYSTERIOUS

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The hoary debate about punk rock and politics was recently given a boost by the publication of Punk Rock: So What? edited by Roger Sabin. (1) The editor’s essay ‘I Won’t Let That Dago By: Rethinking Punk and Racism’ is one of several pieces that raises the issue of punk politics directly. Claiming that there is a consensus about British punk rock of the seventies being ‘essentially solid with the anti-racist cause’, Sabin sees a punk alliance with the organisations Rock Against Racism (RAR) and the Anti-Nazi League (ANL) as providing the capstone of this myth. Sabin deflates what he sees as the fable of punk anti-racism by trotting out a few examples of unsavoury lyrics and media sound bites.
[Read more →]