mementomori

I'll tell you, Lethe, as I've understood it, Tibet has been very influenced by the people around him (one above all, Douglas P., to whom we owe, for example, vaguely right-wing thought connotations found in those records from the late eighties, where Pearce had a hand). I think his turn to "Christianity" is due to his wife, but that's just my supposition. What remains constant amidst this parade of masks is the man-Tibet: a fragile, weak, insecure, hypersensitive person, dissatisfied with himself, in a perpetual search for answers. The figure of Lazarus has always been at the center of his poetic world, the idea of resurrecting, being reborn purged and no longer being able to make mistakes. This is why he has thrown himself wholeheartedly into ever-new systems of thought, into visions of existence that might justify pain on earth and then death. But rest assured, both Satanism and Christianity should not be understood in a conventional sense: it is here that the artist emerges, and here that his poetic world prevails, to the point of encompassing doctrine and transforming it drastically. The intellectual need for security, for a "right path" leads him to embrace the most disparate doctrines, but his poetic world is so strong that these doctrines are bent to it. Throughout his thought, constants have always been discernible, which have gradually taken on different names, but essentially have not changed. For this reason, despite the inconsistencies, I find Tibet's journey coherent.

Sheppard is great, but he should get back to making a bit of a mess... this is my favorite of the Sophia, which I've also seen live, and I have to say that the experience is worth it... anyway OK Computer is from '97, and it's from a high planet...

But who are those three sluts that look like our local Bananarama?

Well, we could declare this virtual brawl concluded (which, thinking about it, all started with that rascal of a bionic metalhead who threw the stone, stirred up trouble, and then disappeared, leaving us to tear each other apart for days...metalhead, you’re a genius of evil!!!)...what to say, although no synthesis was ultimately reached, it’s always nice to talk...I admit I raised my voice at times and I apologize for that, I dragged in goats and cabbages and I apologize for this as well, I didn’t hold back any low blows, but when you’re in the ring it’s hard to take hits and turn the other cheek...I love dialectics, I get heated about certain topics, I don’t always know how to circumscribe the issues, nor can I separate the right link from a more complex chain that I can’t help but pull on every time...so I also apologize for the logorrhea and stubbornness I’ve occasionally shown...I thank everyone, and particularly Hal (my ultimate "enemy” when we talk about Blutharsch) who, with his rigor, always pins me down despite my flailing, and Alessio (I continue to believe that we agree on many things, and it’s a shame to have clashed at these levels among comrades...after all, the richness of the left is also its diversity, debate, and dialectics)...at this point, the appointment is renewed for the next review of Blutharsch...with the new exchange of opinions, I hope not to fail in the third act...the challenge is not to make you angry (despite the premises, namely the Blutharsch, remaining all)...cheers!

Well, the music, I swear, it's quite explicit; aside from the gunfire, the drums, and the war film soundtrack vibe, if you hear a military fanfare or a general shouting in some insane German, there’s little room for doubt... I checked the site once, and I must say that doesn't hold back either... I read the interviews, and if it's not shameless, it sends pretty unmistakable messages, like slogans such as "many enemies, much honor." Finally, a friend of mine, who had the chance to chat with them directly, told me that in private, they didn’t hold back... on the website www.kronic.it you can find the interview...

OleEinae, this album is instrumental, with a few sampled voices here and there, but you can't make heads or tails of it... the complete lack of titles clearly reflects the intention to delegate the entire expressive impact to the suggestive power of the music...

I actually prefer this version to the original... I also discovered them through this song, and when I later heard the original, I was a bit disappointed... we can agree that the Sisters haven't had anything to say for a while now... commercial or not, I appreciated the operation... and the strange thing (unimaginable today) is that the video used to play on TV... one of the greatest anthems of dark music rightfully revitalized... they should make a new version every decade...

having an aesthetic attraction to violence, I swear, coexists perfectly with my disgust for real violence, and I am convinced that in Naples I wouldn't last two days, clumsy as I am. And perhaps it is precisely this lack of being a tough guy in real life that leads me to obsessively speak of death and violence, filling the void of a (thankfully) tranquil life. I want to clarify that with the colorful expression "nazi-transfert" I do not mean to immerse myself in the mind of a bloodthirsty Nazi, but in someone who has a romantic vision of war, who is ravenous for honor and blood, which I am not, hence the need for a transfert. The word transfert, erroneously borrowed from psychological jargon, is actually intended as a sociological exercise to better understand reality, by shifting perspective and thus grasping what we don’t understand. For example, Alessio, when you light a cigarette you should immerse yourself in the mindset of the guy working in miserable conditions on tobacco plantations, underpaid and exploited, perhaps in a condition not much better than a deportee in a concentration camp. But after a lavish lunch, do you really want to take away my pleasure of a little cigarette? A useful exercise, so, besides not giving money to Julius (who is an idiot), you also don’t give it to Philip Morris (who are murderers). I agree that it is a dialogue between deaf people, myself included.

Alessio, the cigarette speech was meant to emphasize that in real life (not the fake one of words, the web, reviews) there needs to be coherence with one’s ideals. A person who preaches well in public and behaves badly (or however the hell they want) in private doesn’t convince me and frankly scares me a bit, because it is precisely in the lack of awareness and in false consciousness that we risk a return to dictatorial regimes. Hal, there are codes, labels, conventions, and styles of writing: talking about romantic or decadent right-wing is not an interpretation, it has no value, but is a categorization that is, all in all, "objective": there’s the rough right and the romantic right, there’s Storace and D'Annunzio...only in this sense have I used this terminology, and the style that followed, not to interpret or dress a certain message in an added value...that's just how it is. It's like saying that the psychedelia of late Pink Floyd is dreamlike and that of Grateful Dead is lysergic (and follows a very precise style, how nice it is to get high on LSD, etc.)...it's not an interpretation, but a way to immerse the reader in the moods of listening. As for the issue of hurting sensitivity, I agree with you, but I think that certain people approached this review (of a band that had already provoked discussions for the previous review and therefore was already known by many for their right-wing ideas) with morbid curiosity or simple eagerness to polemicize. Just looking at the genre "industrial war" would have been enough to move on...

Kosmo, but the two realities are completely different: on one side, there is a mobilization that (in Northern Europe as in Italy) has its roots in the most genuine proletariat... a true neo-fascist in Italy is closer to Lazio or Celentano than to Der Blutharsch, who, as you rightly point out, belong to a different cultural legacy, more elite, in the sense that they are bored bourgeois trying to seek unconventionality in a very specific imaginary rather than in a political message. The industrial and dark imaginary has traditionally cultural roots in romantic and decadent literature, where political aspects, even in bands with the most straightforward messages, are distorted into symbols, brought back to existential themes, and even sublimated into esoteric settings that are thus difficult to interpret: a form, a pose sometimes, an "artistic" message at other times, but not a real call to arms (just think that the same Joy Division adopted a name inspired by a sector of Nazi concentration camps, yet no one thinks to label JD as an extreme-right group). It’s an imaginary that can be liked or disliked, but it doesn’t seem to have anything to do with neo-nazi hotbeds (which, I repeat, as much as they can mobilize in the social undergrowth, are likely to remain there; just look at Forza Nuova, which, for all its existence and its allure to certain majority political forces seeking votes, remains a negligible percentage of the Italian population... and considering that Italy, for historical reasons, is the quintessential fascist country...).