torstai 19. toukokuuta 2022


Veriyhteys (Blood Connection / Bloodline) is the information channel of the Finnish counterculture. Our collective focus mainly on Finnish music and politics, but often in the European context. This is why it’s justified to publish this interview in English because it has interest to all white activists. 

We do not take a position on Nigel Brown's political opinions and his relationship with the former bandmates – but as defenders of free speech we let him tell things as he has experienced them. This interview was conducted by RL online chat on 18-19.5. 2022.

Hello Nigel and welcome to the Veriyhteys interview! I think many RAC followers  know you quite well because of your involvement in many famous bands in the scene. I stumbled upon you on Facebook, where you wrote critical comments about the Corona lockdowns and the other things happening in this Clown World. You’ve been involved in the White movement since the 1980s, and you still don’t seem to have given up the cause. Unfortunately, many skinheads of the same age group have already given up, but you still believe in White survival. What makes you keep fighting?

I am still dedicated to the cause as I am a man of principal, and 'once your eyes are opened you can never close them'. My eyes were opened in 1985 and I can't ever close them. Principal is everything to me and I try to live my life in the footsteps of my grandfather who was my Mentor.

You live with your family in Brisbane, Australia, which I believe has been the hometown of your youth. Can you describe a little how multiculturalism has changed the character and atmosphere of the city as well.

I have been living in Germany with my german fiancé since the end of 2018. I was born in northern QLD Australia and then moved to the Capital Canberra when I was 2 years old where I grew up and lived until I was 18. I moved to Brisbane when I was 18 and lived there on and off until 2018. 

Multiculturalism has completely changed not only Brisbane but the whole of Australia. It had a white Australia policy up until the late 70's. Since then with the influx of all the different cultures and races has dragged it into the cesspit it is today. Brisbane is typical of all Australian cities today, a cesspit with no true Australian culture or identity anymore. My childrens Highschool in Brisbane for example has 2000 students and over 65% are non-white.

White Lightning from Brisbane was, to my knowledge, one of Australia’s first RAC bands. It recorded an album in 1987, which was released in 1990 by the legendary French record label Rebelles Europeéns with the title "Destiny". You played in a band at the time, but were you involved in the studio recordings of the album? In its own ruggedness, the album is one of the toughest Australian RAC releases ever. What do you think of the record and the band in general? Do you have any good memories of those times?

White Lightning (WL) was from Canberra not Brisbane. I joined the Band in 87 after playing a gig with my Band at the time Order of the Boot in Melbourne, as the members of WL were there that night too. Ironically at the end of the night Damian Paxton (aka Chumley) the singer of WL approached me and asked me to join WL and so did Jim King the singer of White Noise from Perth who also asked me to join White Noise. I had to make a decision and as White Noise were 3000 km away on the other side of Australia I chose WL. 

I played all the guitars for the WL recording, on the only LP released by Rebelles. Chumley made all members of the band pay for the recording and we were promised to get our money back + some copies when the album came out, but sadly I never received one Cent back nor a copy of the album, which is why I later re-recorded the album (We Rule) in 97 in Wales UK with Billy from Celtic Warrior

My time with WL was fun for the most part but I realised in later years they were using me. I think the album was good but I personally thought Chumley's voice lacked balls. I think Billy and I did justice to all the songs and improved them when we recorded it 10 years later in 97. Only one member of WL was a good bloke in my opinion, Shane Wilson the bass player. They later went on to form a 'grey zone' skin rock band THUG but I think the music was not to my taste.

White Lightning in the 80's.

What was the RAC scene like in Australia in the 1980s? Do you remember any bands worth mentioning other than White Lightning? At least in Finland at that time, the White Noise from Perth was highly valued. It was probably also Australia’s first RAC band. Did you gigged with White Noise or did you ever have a chance to see this cult band on stage?

Jim King singer from White Noise was a Personal friend of mine and a really good bloke and in hindsight I should have chosen to join White Noise as they were in my opinion Australia's greatest WP Band ever. I played 2 White Noise covers in 'Order of the Boot' and Jim King sang one of them on stage with us in 87 'Violence in our minds'. Great memories.. The RAC scene was big in Australia in the 80's with Melbourne, Sydney and Adelaide boasting the biggest numbers of WP Skinheads. They were the golden years in OZ. Open Season was another great band at the time from Sydney.

Bands such as Open Season, Fortress and Death's Head emerged in Australian scene in the 1990s. I think they were much more radical than the bands of the previous decade. Especially the brutal Open Season still enjoys unwavering cult popularity all over the White world. Did you know the members of this band and what do you think of Open Season’s straight-in-your-face attitude?

I played one gig with WL in Sydney in 87 or 88 and Open Season headlined the night. It was a great night, packed venue. I didn't know the band personally. I liked their straight in your face approach with their music and lyrics. I am not a fan of Deaths Head but Fortress was surely Australia's greatest band post 90's.

What do you think of an Australian from the film Romper Stomper, one of the most famous skinhead fiction on the big screen? 

Romper Stomper was a reasonably accurate portrayal of the Skinhead scene in Melbourne as they employed a couple of real WP skinheads from Melbourne for research for the movie (one of them was a friend of mine who is now dead), however like all Skinhead movies it is laced with political correctness and Propaganda and a narrative that painted the WP Skinhead subculture in a stereotypical way by the director, which is no surprise as the film would never have seen the light of day if it hadn't, as it would have been banned.

Let’s talk about your memberships in British RAC bands in the 1990s. You joined Paul Burnley’s No Remorse in the early 1990s. How did this happen and what releases did you play with?

I joined NR in December 91 from memory after arriving in London from Australia in November 91. I had a Skinhead friend from Brisbane Pete Stowe who was already in London at the time who was friends with 'Watford Pete' a BNP activist who was friends with Paul Bellany (Burnley). Watford Pete asked my friend Pete Stowe if I would be interested in joining NR as they were looking for a bass player at the time. Pete Stowe had told Watford Pete that I had arrived in the UK and that I was ex lead guitarist from White Lightning in Australia. I said yes to the offer and was very excited at the time as NR was one of the greatest Bands in the World to me at the time, so the offer was somewhat surreal. Watford Pete arranged for a meeting in a pub in London the following week with Paul. The meeting was a success and Paul agreement to trial me for a rehearsal with the Band. The rehearsal was a success and I was an official member of NR after that night.

I recorded Under the Gods, The winning Hand, Ian Stuart tribute CD and The best of No Remorse as well as Demos (some of which featured on NR rarities Rare Remorse).

No Remorse

While in No Remorse, you performed all over Europe. Is there anything memorable to tell about these concerts?

Of all the Concerts I played with NR in the UK, Spain, Sweden, Germany, Poland, Czech Republic, the Netherlands and the USA, all were fantastic with individual Highlights but the pinnacle of those years was without a doubt Brandenburg Deutschland 1992 with over 2 500 Skinheads in attendance. The festival was professionally organised with a fantastic sound and light system, venue, beer and food stands etc .. I really felt like a popular Mainstream rock musician that day when we got on stage and the crowd exploded! Amazing memory! USA 94 was also extremely well organised and totally professional thanks to George Burdi. Many laughs backstage, on stage, before and after each concert with the Band too. Best years of my life.

Brandenburg gig in 1992.

No Fear was a joint project between you and Paul after the breakup of the original No Remore. "Still Got The Power" is still a great record! Do you remember anything about making this record and the songs?

I recorded No Fear with Paul in Eskilstuna, Sweden, for Midgård Records in 1998. We recorded in the same studio I recorded two Pro Patria (project) albums in and the mini CD Pitbull power with Jocke Karlsson in. The engineer was a great professional guy. We were in Eskilstuna for 2 weeks from memory and it was all work every day in the studio from memory. After we  finished I flew back to Australia and Paul back to the UK and I didn't hear from him again until 2020...there was no FB in those days and my only means of contact was by snail mail and he moved and I moved so we lost contact. 

I loved this recording still and I think its highly underrated. I play 'The pied Piper' (which was written about Charlie Sargent C18) live in my ballads set currently. 'Leon Degrelle' was another great track but I think our version of Rahowa's 'Victory day' was one of the best tracks on the album. The girl who sang on that was the same singer I recorded with on one of the Pro Patria albums, who later distanced herself from the WP movement after the No Fear recording.

Are you in touch with Paul Burnley anymore? If so, what is his situation today? (hint: if Paul reads this post I would be willing to do an interview!). To the best of my knowledge, he has not turned his back on white identity and is still fighting the neo-totalitarian System of the West.

Yes I am in contact with Paul still and politically he like me is a man of principal unchanged. He distanced himself from the scene in '99 because of threats made to his family by C18. All of the slander directed at him is unwarranted and false. He is guilty of no crimes. He is a man of integrity and honour and my best friend and brother. He never turned his back on his ideals and still fights the System and our age old enemies but in a more intelligent, mature and sophisticated way today. I can ask him for an Interview but I can't promise anything. He prefers to remain anonymous under the Radar these days to protect his family and to ensure he remains free to continue the struggle.

Ian Stuart Donaldson died in the Fall of 1993. Did you ever have chance to meet him or did you ever see Skrewdriver live? What do you think about ISD’s legacy for the RAC movement in general?

Not only did I meet Ian Stuart but I also played around 6 Gigs in the UK with NR where Skrewdriver headlined. The most famous gig being Waterloo in London. Early in '93 Ian contacted me privately at a pub I was working at in North London and asked if I would be interested in filling in for Stigger for a Ballads tour with him in Italy in the summer as Stigger was unable to go. I was overwhelmed and couldn't believe how blessed I was by the Gods as this would have been the pinnacle of my life, so of course I said Yes! Ian sent me a cassette with the set for me to practice and I practiced the set every day for over a month. Sadly a couple of weeks before the tour Ian contacted me again to tell me the tour had been cancelled so I missed my Chance of playing for Skrewdriver 😢

Later that year of course Ian died 😪 He was a remarkable man, warm, friendly down to earth, funny and not in the least bit afflicted with an Ego Problem (like so many other singers and musicians in the WP music scene). When he died it was a global tragedy as he really was the pinnacle of the pyramid and held the 28 scene together. It was never the same after he died and the RAC scene became (as it still is today) fragmented and divided like a headless chicken. I can only Imagine how big the 28 scene would be today world wide if he were still alive.

I'm not sure, but did you ever play in Celtic Warrior? How did you get to know CW’s Billy Bartlett?

Yes I played in CW, I recorded the first album with them at Mark Sutherland's studio in London in 92 or 93 (can't remember which year) I also lived with Billy his Gf and my ex wife in Billy's flat in Wales for over a year. I met Billy at a gig I played with NR (can't remember which one) in 92 and we got on well instantly. Ironically he was also called Nigel and he was a Leo like me so we had a lot in common, he had a great sense of humour and I liked him a lot and we became brothers very quickly. He invited us to move from London to live with him in Wales and to join CW so I accepted the offer.

With Billy you re-recorded White Lightning’s old songs and released an album called “We rule” in 1998. What was the idea of this?

As mentioned in an earlier question, yes, I re-recorded White Lightning's album with Billy in Wales in 97 including a new bonus track. 

In 1996, you did a fantastic folk rock record with Billy on a project called Broadsword. Your project made two records, but especially the first album "God of Thunder" is an amazingly fresh and innovative record, a true masterpiece. Can you tell us something about making that record and its songs?

Broadsword was a great project with Billy and the first album was recorded in Adelaide Australia by an engineer called Tony Nesci who also recorded a Henry Rollins LP the previous month and an LP from 'The Mark of Cain' at the same studio ironically. Tony didn't know about our political persuasions hence why he agreed to record our album. He put the sounds of Sea gulls and Whales on the 'Wales' track as he thought the song was about Whales. 

It was a masterpiece musically in my opinion at the time of the Album's release, I think it was the best Billy ever sounded. The songs were political but delivered in a more subliminal way. The second BS album was recorded at Mark McCormack's studio in Melbourne, the same studio Fortress albums and Ravens Wing were recorded at and it was a completely different sound to the first album being predominantly a rock album and not a ballad album. I am proud of both albums still to this day. God of Thunder quickly became quite famous globally and paved the way for a professional Mainstream folk/ballads sound in the RAC music scene.

Another great project was the Australian Ravens Wing, played by you and the metal band Deströyer 666 musicians. On your only album ”Through the looking glass….”  songs was sung by no one else than Fortress's Scott McGuinness. How did such a mixed congregation end up making a common record? And who was responsible for the wonderful female voice?

Ravens Wing is still to this day the Apex of my music career. I was living in Melbourne at the time where Scott McGuinness lived. We had known each other since the eighties as Scott had been a close friend of my younger brother Paul (who was killed in 93 when he crashed the plane he was flying in Papua new Guinea) who was living in Sydney at the time. Scott and I trained in the gym together and we spent a lot of time together in that time. He was friends with Deströyer 666 and it was Scott's suggestion that he I and them collaborate on a music project together. I agreed and so Ravens Wing was born. The female singer featuring on the recording was the girlfriend of one of the members of Deströyer 666. Scott and I later recorded 4 Tracks together after Ravens Wing as a side project titled 'Southlander' ( 2 of which appeared on Rock-O-Rama's re-pressing of Ravens Wing LP as bonus tracks in 2020).  Ravens Wing was a true masterpiece and Mark McCormack as previously mentioned, was the genious engineer behind the recording.

Fortress in Sweden, 1996.

According to Discogs, you have also played in Fortress! Was it just concerts or were you in the studio too? Fortress is, I think, the best RAC band in Australia, so I’d love to hear what you think of the band.

I only played in Fortress for the European Tour in 96 (4 Concerts in 4 countries), I was never a member of Fortress before and after that tour and nor did I ever record anything for them.

I think Fortress is on par with White Noise as Australias greatest RAC band ever. I like all  of the recordings except the recent recording Brothers of the Storm which in my opinion lacks the fire and passion that Scott had delivered in his previous recordings with Fortress. I fell out with Scott for personal reasons in 2000 and we have not spoken since.

Fortress in Sweden, 1996.

In addition to playing the guitar, you can also sing. This becomes clear on your first solo album featuring Wolfseye. Wolfseye's album "Winter" (1998) is quite non-political as Ravens Wing. Was the first solo release of personal subjects a considered change or were the songs born as if by nature? Especially ”Ripped off” is really touching song with catchy composition.

The Intention of Wolfseye was to deliver a political message still but in a more subliminal fashion, with the aim of appealing to a larger mainstream audience. All the songs have a political message bar one 'Cheated' which was a song of lament I wrote about my late brother Paul Brown. 'Ripped off' was written by me about Billy's (CW) father in Wales who I was friends with.  He and his wife, like so many other pensioners in the UK at the time suffering and struggles, as a result of the rotten System touched my heart and angered me hence the reason I wrote the song for Billy's parents.

Can you tell us about your involvement with other bands like Nemesis.

I collaborated with John from Nemesis and recorded the first album for them in Glasgow Scotland. I had met John previously when I visited my friend Jamie (the distributor and editor of 'Broadsword' magazine) in Glasgow one time and Jamie asked if I would record a project with John and I agreed to. I flew over from Australia in '98 to Glasgow for 2 weeks in '98 to record it. John has a great voice and I liked working with him.

Do you know anything about the Finnish RAC scene? Your favorite bluewhite band?

I only know of Mistreat sadly to say and I never had the fortune of seeing them live nor meeting the Band. So of course my favourite blue white band is Mistreat! And then 'Lordi' as number two (jokes 🤣) why wasn't Mistreat in Eurovision song contest instead of Lordi?? 

In the musical sense, you have spent an almost completely quiet life in the 21st century. Has there been any special reason for this, such as work, family and children?

I walked away from the RAC scene after my last recording Retaliator - I stand alone ( a project with Billy from CW, 2 LP's) recorded at Mark McCormack studio in Melbourne, to focus on my family (I went on to have 4 children with that woman, my now ex-wife between 2001 and 2012). 

The other reason I walked away was because of false rumours that had circulated about me stating that I was a drug dealer and paedophile! I was furious as these were completely unwarranted and false allegations, with absolutely no substance and evidence to support back them, purely vicious rumours. I was so angry and dissapointed with former friends betrayal, who stuck daggers in my back so quickly I said 'Fuck you all' and I walked away to focus on my family. 

I challenge anyone still to this day to provide a shred of evidence to support these false unsubstantiated allegations. The core of this I believe stemmed and originated from jealousy. I was not the only prominent RAC musician targeted with false allegations at the time (ie. Paul B, Jimmy from Squadron, Kev Turner from Skullhead, Alex from Battle Zone to name a few).

I decided to come back in 2012 when I re-connected with my old friend Martin van de Grind from the Netherlands (the organiser of NR concert in Holland '92) who I found on FB after over 15 years, and came to Holland with my family end of 2014 and played a new years eve ballads show there for him (live recording on CD was released by a german Label of this show). I started writing songs again in 2012, I wrote the Cross my heart songs in 2015.

While your views are “radical” in the eyes of a corrupt system, you have sought to avoid unnecessary aggravation and adolescent provocation. Especially your latest acoustic solo record, the mini-album "Cross My Heart" (2020), is a very mature ensemble. What got you back to music?

There was a calling inside me as to why I started writing music again that I put down to the gods, divine intervention in 2015, as from 2000 to 2014 the music had completely died in me.

So the Inspiration for 'Cross my heart' came after my family holiday to Europe in 2014/15 and I wanted to write a ballads album with a mature subliminal political thematic. 'Tomorrow' and 'Cruel beast' are two examples of an underlying political message from the Cross my heart recordings.

Are you still listening to new RAC music and skinhead rock? How do you think RAC has changed over the years? What are your current favorites?

I listen to new RAC music as friends often share new music with me. I really like Blutzeugen and Stahlgewitter from Deutschland, I also really like Hundriver from Hungary who I played a show alongside with in Budapest earlier this year. I think the RAC music scene has become much more professional in its style  diversity and delivery these days. I am not a big fan of hardcore hate music nor of traditional Skinhead Oi. I like progressive and interesting music and bands.

Have you any plans making new music in near future?

I am recording a follow up LP to my solo project Nigel Brown - Cross my heart (mini CD 6 Songs on, released 2020) in June next month and also starting a recording project with the singer of Irminsul from Spain next month. I am also involved with another recording project with another well known singer from the past that will be on CD in the next 2 months, but our identities will remain anonymous for that. I have 2 other offers with other musicians from the scene here in Europe who wish to collaborate and record with me this year too, so I am busy again musically.

I suppose that as a musician you want to hear sometimes something else as just political music. What kind of music do you prefer on your turntable?

I like any music (with exceptions of course - no Hebrew or African music) that gives me goosebumps... I like to listen to European folk music, traditional pagan and Nordic music (that feature traditional and medievil instruments) some metal (black etc.) and rock and progressive rock metal. I also like the mongolian (!) Band 'the Huu'.

At the beginning of the interview, I mentioned that I came across you on Facebook because of your political posts. Which politics interest you the most at the moment?

There is only one thematic political topic that interests me currently (which is what I play songs about in my Anonymous music project) and that is the CABAL. The group of Zionists and their puppets that control the World. Nothing else matters and any other political issues are merely smokescreens the CABAL has put up to shadow their Agenda as distractions to the real issue, that being Global mass genocide to reduce the World's Population and to enslave forever all survivors of humanity. This is the true coming Holocaust, the darkest hour in human history.

You have been strongly opposed to Corona restrictions / lockdowns. What do you think about the whole mess? What makes Corona disease and its treatment so suspicious?

Agenda 2030, the WEF, Klaus Schwab, Bill Gates, Elon Musk, Jeff Bezos, the British Royal family, the Pope and the Catholic church, Israel, the USA (government), Nato, the Rothschilds, the Rockefellers, BlackRock and Vanguard...THE CABAL says it all in one word! Pure evil that control the world who manifested the plandemic (nothing more than another man made strain of the flu) and its MRNA vaccines (not vaccines at all but gene altering poisons). The whole charade was orchestrated and manifested by the CABAL in order to enslave the World, destroy the worlds economies, introduce a one world government, global digital currency, global digital ID and mass genocide (through the MRNA vaccines) in order to reduce the world's Population.

Nor do you accept the narration of the mainstream media in the conflict between Russia and Ukraine. Why?

The war in Ukraine is another of the CABAL's smokescreens I referred to previously. It was written in Agenda 2030 that a war would follow the plandemic followed by global economic collapse. So far everything is running to schedule like clockwork, like a well oiled machine. Putin is a member of the CABAL as is Zelensky. Kolomoisky (Jewish Oligarch) and Israel are behind AZOV. 

The whole Pantomime is so full of contradictions, hypocracy and paradox it is a joke and I can't understand how blind so many in our scene are to the realities of this "War'" which are staring them in the face. It is controlled Opposition and Propaganda of the worst kind, textbook Orwellian 1984, yet the sheep and many of the 'enlightened and awakened' fall for it. I know friends of friends here who tried to enter Ukraine to join the fight against the Russians only to be turned back at the border (because the CABAL wouldn't want them reporting to the outside world that all was not as it seems, as they would have us believe in Ukraine). I feel for the poor Ukrainian civilians and Russian civilians caught up in the middle of this like meat in the Sandwhich. Sadly Holodomor may happen again at the hands of the CABAL. 😢

Views that deviate from the official narrative are often branded as conspiracy theories. What do you think about this? Do you think this is a way for the political class and the mainstream media to defame those who spread embarrassing information? Personally, I believe that the growing number of critical views indicates a lack of confidence in a System that has deceived the general public for years, for example in immigration question.

Funny how most of the Conspiracy Theories are now FACT. The CABAL has sought to distort and hide the truth as always and when people discover that something stinks and they start digging to find the truth, they are immediately branded as conspiracy  theorists and their evidence is removed by 'Fact checkers' (which are owned and controlled by the CABAL) from Mainstream media. Yes of course it is a way for the CABAL and their puppets to seek to discredit us for attempting to reveal the truth. 

Yes there is a growing number of people globally now who are awakening simultaneously  to their deceptions and lies and this is on an exponential rise now.. The wheels are slowly beginning to fall off the wagon. Even liberals are beginning to awaken to the deceptions and turn to a more conservative position. The immigration issue is one such example now, as the sheer numbers of immigrants being forced upon the Western world is having a detrimental affect on indigenous White cultures and is affecting and changing the lives of the traditional inhabitants for the worse in most cases, which in turn now fuels the tide of liberals who are swinging to a more conservative position. This may be the biggest error the CABAL has made.. Time will tell..

How do you see the future of Western civilization? Is there anything left to save? Or should we focus only on the survival of our own family and local community?

I wish I had a crystal Ball, as all I want to see is my children free from the prison that Australia has become and be able to fly here to us (without a Mandatory vaccine Pass) in the future. Apart from that I see most of the world falling victims and dying as a result of the toxic MRNA vaccines they have taken. The remainder I see as enslaved forever by the CABAL.. That is one possible Scenario.. The other being that the survivors and those that resisted the CABAL and never complied to any of their demands, will defeat the CABAL aided by the Gods and Nature and we and our children will be the seeds for the next Phase of humanity and like a Phoenix rising from the ashes we shall rise and defeat the CABAL, for they like their predessors in the falling of Rome have sought to become Gods and destroy the souls of man but this goes against the laws of nature and I believe that nature shall Triumph again and Good shall Triumph over Evil.

I believe the majority of humanity is beyond salvation now and we should only focus on our families, our close friends, those who have awakened and all those who have resisted the CABAL to this point. Those who have not awoken by now shall remain asleep and are therefore beyond salvation and therefore it is pointless to waste our time and energy trying to save them. You can lead a horse to water but you can't make it drink...

Do you have anything to add that didn’t come up in my questions? Thanks for the interview!

I think I have pretty much covered all that is important to me now, so I thank you for the interview and I urge all readers to never lose hope and to continue our struggle. We shall be victorious and a new era for humanity shall commence, free from the shackles of tyranny and oppression and for the first times in our lives will we know and experience what it is to be truly FREE! We must secure a future for our children. We owe that to our ancestors! Thank you!

keskiviikko 11. toukokuuta 2022

Pyhä Kuolema: Uusi panssaroitu Suomi LP (Anima Arctica, 2021)

Viime vuonna ilmestyneen Pyhä Kuoleman kolmannen albumin Uusi panssaroitu Suomi saattaminen päivän valoon oli pitkä prosessi, mutta yhtä kaikki palkitseva niin tekijälleen Mikko "Riimu" Pöyhöselle kuin levyn hankkineillekin. Julkaisun viimeistely on huippuluokkaa, mikä kuuluu sekä ammattimaisen harkitussa soundissa kuin levyn ulkoasussakin.

Tyylillisesti Pyhä Kuolema nivoutuu luontevasti eurooppalaisen Neofolkin traditioon, joskin tällä levyllä sukelletaan suomalaisuuden syvään päätyyn tavalla, josta ulkomaalaisten on vaikea saada täyttä ymmärrystä pääosaa näyttelevän runollisen suomen kielen vuoksi. 

Vaikka levyltä kuuluu edelleen kaikuja genren tunnetuimpien brittinimien soundimaailmasta, PK:n sisäistäminen vaatii kuulijaa heittäytymään ennen kaikkea kielen vietäväksi. Albumista voi toki nauttia kieltä ymmärtämättäkin, mutta tällöin kuuntelukokemus jää jotenkin vajaaksi, sillä musiikin "esoteerisuus", salattu olemus, piilee monitulkintaisen rikkaassa suomen kielessä. 

Mollivoittoinen musiikki iskee välittömästi solumuistiimme, mutta vasta lyriikat ovat avain suomalaisuuden ja kotiseudun myyttiselle ymmärrykselle, jota moderni runonlaulajamme purkaa meille laulu kerrallaan. Ja laulua kelpaakin kuunnella, sillä edellisiin julkaisuihin verrattuna "Riimun" tulkinta on entistä sointuvampaa, rikkaampaa ja vapautuneempaa.

Pyhä Kuolema on luottanut musiikissaan aina minimalismin voimaan, jossa mies ja akustinen kitara ovat tuoneet tarinat kuulijan iholle. Uutukaisellaan tätä konseptia on muutettu sen verran, että mukaan on otettu eteeristä rautalankakitaraa, bassoa ja pianoa. Mistään muhkean kuorrutetusta soundista ei silti ole kyse, vaan muutokset on tehty hienovaraisesti ja tyylillä. Ajoittain jopa bändimäiseltä kuulostava soitto on enteillyt Pyhä Kuoleman uutta muodonmuutosta myös livenä, jossa reppu ja reissumies on korvautunut  tavanomaisella rock-kokoonpanolla. Silti Pyhä Kuolema on kaukana rockin räyhäkkäästä äänekkyydestä, sillä se on asenteeltaan lähempänä nostalgista iskelmää ja Unto Monosen kaihoisia Satumaa-tangoja yhtenäiskulttuurin ajoilta.

Levyä kuunnellessä ei voi välttyä tunteelta, että sen melankolinen pohjavire kumpuaa syvältä suomalaisesta kollektiivisesta alitajunnasta, vaikka välillä musiikin yleiseurooppalainen henki antaakin siihen oman lisänsä kuten paikalliskulttuuria ammentavassa kappaleessa "Savon linnut". Klassisinta Neofolkia edustaa ehkä vain laulu "Nykyaikaa etsimässä", jossa kuuluu saksalaisgenrelle tyypillinen uhmakkuus, puhesämplet ja melodisesti tarttuvat sointukulut. Myös kappaleen profeetallisiksi osoittautuneet lyriikat voisivat olla hyvin joltain Orplidin levyltä, sillä ensimmäisessä säkeessä lauletaan:

Suursota muusana luotien konsertti raikaa

Verta ja kauniita hulluja, viiniä, taikaa

Tarttukaa toimeen, on ryntäys alkava Euroopan ylle

Uudesti syntynyt kuoleman ruhtinas nauraa

Historiaan sidottu kohtalonyhteys eurooppalaisuuteen jää kuitenkin vain mausteeksi levyllä, jota voi pitää yhtenä aikamme onnistuneimpana suomalaisen neofolkin ilmauksena. Suomalaisuuden eri kerrostumat ja näkökulmat paljastuvat  kuulijalle varsinkin avausraidassa "Ensimmäinen leipä ensimmäisestä viljasta" ja sitä seuraavassas kappaleessa "Aavesaattue". Myyttistä suomalaisuutta edustavat puolestaan laulut "Metsämies" ja  "Konetuli ja Tähtisäde", joista jälkimmäisessä on selviä kaikuja suomalaisilta tanssilavoilta. Kappaleen tunnelmaa avittaa taustalla kuultava kepeä rautankakitara ja sämplenä lisätty puhe, joka kuuluu luultavasti Pöyhösen isälle (1946-2012), jolle koko albumi on omistettu. Isän muistoa todistaa myös levyn päättävä monitulkintainen "Pyhän isän kuolema".

Kansallisromanttisesta hengestään huolimatta Uusi panssaroitu Suomi ei ole poliittinen levy, vaan Pyhä Kuolema liikkuu mystisen realismin tasolla, jossa on lisäksi mukana vahva henkilökohtainen ote. Levyssä ei ole mitään julistavaa, vaan se kertoo vähäeleisellä mutta runollisella kielellään kylmän pohjoisen ihmisestä, jonka on Pentti Linkolan sanoin "sanomatttoman katkera pakko rakastaa tätä isänmaata". Ei ole muuta vaihtoehtoa.

Arvio: RL

maanantai 9. toukokuuta 2022

Ääri-Savon vappu 30.4.2022: Vapaudenristi, Sudentaival, Hiidenlintu

Apocalyptic Rites festivaaleista tuttu Savon Karkeakulttuuri ry on vuodesta toiseen näyttänyt miten kaikkia odotuksia vastaan ja lukemattomista vastoinkäymisistä huolimatta on mahdollisuus edistää todellista vaihtoehtokulttuuria. Pienimuotoinen vappukeikka juhlisti merkkipaalua omaehtoisen ja riippumattoman toiminnan kestävän kehittämisen saralla.

Saamme usein kuulla uutisia miten avokätisesti valtion ja säätiöiden tukemat kulttuuriprojektit murenevat heti kun rahoitus loppuu. Antifasistiset projektit ovat kestoltaan yhtä olemattomia kuin transujen kyky riidattomaan yhteistyöhön ihmisten kanssa. 

Ääri-Savon maaseudulla järjestetty tapahtuma oli esimerkki miten mielekkäästi järjestetty kulttuuri ei ole riippuvainen valtion tai yhteiskunnan tuesta. Se osoittaa myös vahvuuden, joka syntyy kun kulttuuri ja toiminta on osa elämäntapaa ja -katsomusta. Ihmiset eivät etsi tekosyitä antaa periksi. He näkevät haasteissa mahdollisuuden kehitykseen ja uusiin toimintamalleihin. Tavoite ei ole jäljitellä kulutuskulttuurin yhdenmukaistamaa viihdekulttuuria. Sille on synnytettävä vaihtoehtoja. Kulttuuritapahtumien valtavirta on vallassa olevan ajatusmaailman mukaisien hampaattomien sirkushuvien tarjoaminen, joita kulutetaan kuin mitä tahansa suuryhtiöiden tarjoamaa turrutusta. Tätä ei tarvitse jäljitellä, kuvitellen että se on se mitä ihmiset haluaa ja ennenkaikkea tarvitsee.

George Orwell kirjoitti jo vuonna 1940 seuraavaa:

”(…) lähestulkoon kaikessa ”edistyksellisessä” ajattelussa, on pidetty ääneen lausumattomana lähtökohtana, että ihmiset haluavat ainoastaan helppoutta, turvallisuutta ja tuskan poissaoloa. Sellaisessa elämänkatsomuksessa ei ole tilaa esimerkiksi isänmaallisuudelle ja sotilaallisille hyveille. (…)

Ihmiset eivät halua vain mukavuutta, turvallisuutta, lyhyitä työpäiviä, hygieniaa, syntyvyyden säännöstelyä ja tervettä järkeä. Ainakin ajoittain he haluavat myös kamppailua ja uhrautumista, puhumattakaan rummuista, lipuista ja sotilasparaateista. (…)

Fasismi ja natsismi ovat psykologisesti paljon tarkkanäköisempiä aatteita kuin mitkään hedonistiset elämänkäsitykset. Siinä missä sosialismi ja hieman vastahakoisemmin myös kapitalismi, ovat sanoneet ihmisille ”tarjoan teille mukavaa elämää”, Hitler on sanonut heille ”Tarjoan teille kamppailua, vaaraa ja kuolemaa”, ja kokonainen kansakunta on heittäytynyt hänen jalkojensa juureen. ”

Parhaimmillaan kansallismielinen kulttuuri edellyttää tahtoa olla mukana jossain mitä et voi yksinkertaisesti vain ostaa. Vaikka tarjolla ei olisi kirjaimellisesti vaaraa ja kuolemaa, on tunnelma jotain aivan muuta kuin nalkuttavalla äänellä julistettu turvallinen ja esteetöntä tila. Tarjolla on jotain vaihtoehtoista, joka ylittää hedonismin pyrkimykset ja tarjoaa haasteita, kokemuksia ja elimellisen linkin käytäntöihin, jotka liittyvät maailmankatsomukseen. Tekijöille on tekemistä, osallistujille osallistumista.

Ääri-Savossa on aina osoitettu, miten orgaanisesti muodostunut ryhmä on terveempi tapa toimia kuin toimintakykyisiä halveksuva tasa-arvon kultti, joka aina kaatuu omaan mahdottomuuteensa.

Illan ensimmäisenä soittanut Hiidenlintu julkisti äskettäin saaneensa levydiilin albumia varten. Yhtye osoitti keikan luonnetta korostavaa sinnikkyyttä ja periksiantamattomuutta soittamalla keikan huolimatta rumpalin sairastumisesta. Kahden päivän varoitusajalla setin opetellut sessiorumpali hoiti homman asiallisesti. Toisen kitaristin lisääminen kokoonpanoon on tuonut lihaa luiden ympärille ja vanhatkin kappaleet soivat paremmin kuin koskaan aiemmin. Hiidenlintu on hyvin aikakauden kotimaisten Black Metal yhtyeiden tunnelmissa, mutta on selvästi saamassa lisää omaa otetta. Livetilanteessa edukseen olevalla yhtyeellä on mahdollisuudet yllättää albumilla, sillä Suomesta Veljille Ukrainan -kokoelmalta löytynyt kappale osoitti ilmaisun ja tuotannon vahvistuneen edeltävältä julkaisulta.

Sudentaival on saanut pientä nostetta keikkojen ja Harbinger albumin myötä. Veriyhteys on noteerannut yhtyeen keikkoja useamman kerran. Uusia kappaleita oli tullut settiin mukaan ja yhtye veti taattua settiään. Edellisen Apocalyptic Rites -keikan humoristiset elementit ovat olleet poissa ja Sudentaival on keskittynyt olennaiseen. Raakaa rääkymistä ja mieleen iskostuvia tarttuvia kappaleita.

Illan viimeisenä Ääri-Savon vakiovieras Vapaudenristi. Yhtye oli lisännyt settiin neljä kappaletta lisää, joista osa löytyy äskettäin uudelleenjulkaistulta Vapaudenristi/Pyhä Kuolema split-CD levyltä. Mukana oli splitin molemmat omat kappaleet, harvoin keikoilla kuultu Tuhkaa ja vakiokappaleisiin kuuluva Soihdut. Samaan aikaan uudelleenjulkaistu Ikuinen Kuolema -albumi oli edustettu paremmin kuin aikoihin. Vanhan Maailman Demonit ja Ilta Ulkona oli palautettu settiin mukaan usean muun kappaleen oheen. Tavallista pidempi setti ei sisältänyt lainkaan lainakappaleita. Mukana oli myös useampi kappale kesällä ilmestyvältä Kultainen Häkki albumilta. Hyvä äänentoisto ja sopiva miljöö sai yleisön pysymään tiiviisti lavan edessä.

Apocalyptic Rites festivaali palaa taas kesän lopuksi tuttuna ajankohtana.

Arvio: VY

tiistai 3. toukokuuta 2022

Let’s party like it is 1933! 23.4.22 Ehre, Tupe Karppinen & Turvonneet Huulet, Goatmoon.

Hauskasti nimetty iltama oli jo vuoden toinen keikka Ukkometsossa. Keikkapaikka on profiloitunut monipuolisella tarjonnalla. Ukkometsossa on usein nähty monien eri musiikkityylien edustajia samoilla keikoilla. Osa olettaa Ukkometson olevan tiukasti poliittinen, mutta keikoilla on soittanut myös epäpoliittisia ja linjaltaan vaihtelevia yhtyeitä. Sama koskee yleisöä. Monenkirjava yleisö on löytänyt Ukkometson. 

Veriyhteys on keskittynyt esittelemään valkoista nationalismia ja roturealismia sisältävää kulttuuria. Se johtuu pitkälti siitä, ettei materiaali usein saa tavanomaisen musiikkikulttuurin sisällä huomiota. Moni yhtye ei ole sisällöllisesti kovin kaukana musiikkityyliensä valtavirrasta ja samaa eetosta on löydettävissä myös ns. Tavallisesta musiikista. Se pieni vivahde-ero on kuitenkin niin painava, ettei yhtyeet kuten EHRE voi saada palstatilaa tavanomaisissa metalli skenen julkaisuissa, vaikka lähes identtisellä sisällöllä varustettu Black Metal niihin kelpaa. Tämä kertoo että se pieni vivahde-ero on huomionarvoinen seikka.

Ehre on parantanut tasaisesti joka keikalla. Aggressiivista ja nykyiseen Suomalaiseen Black Metal ilmaisuun sulavasti sopivaa materiaalia. Nuoret miehet ovat taatusti kuunnelleet Goatmoon, Satanic Warmaster, White Death, yms. mainetta niittäneet Suomalaiset bändit tarkemmin kuin genren muinaiset klassikot. Tarttuvat ja selkeästi rullaavat kappaleet ovat taattua liveformaattiin sopivaa Black Metallia. Korvia repivä rääkyminen on edukseen ja lavalla on sopivasti meininkiä. Ehre on selvästi yksi niistä nousevista uusista nimistä, joka tällekin keikalle veti ikäistään porukkaa.

Tupe Karppinen & Turvonneet Huulet  soitti illan aikana kaksi eri settiä. Ensimmäinen koostui rautalanka ja humppa versioista radikaalin rockin kappaleista. Taitavien muusikoiden käsissä Sniper, Mistreat, Vapaudenristi, Skrewdriver, Sankar’hauta ynnä muiden bändien kappaleet taipuivat persoonallisiksi versioiksi. Moni kappale toimisi takuulla keskiolutbaarin lavalla. Taidokkaasti esitetyt versiot kappaleista kuten ”Elämästä kuolemaan” tai ”En aio kuolla” eivät tunnu suomalaisen iskelmän traditiossa kohtuuttoman radikaaleilta. Merkittävien RAC-veteraanien joukossa on useita bändejä, joilla suorasukainen viha ei ole ollut ensisijaista. Esimerkkinä Brutal Attack, jonka kappaleista merkittävä osa keskittyy veljeyden, yhteishengen ja elämäntavan erilaisten piirteiden käsittelyyn. Iskelmän parissa on paljon esimerkkejä kappaleista, jotka resonoivat vahvasti kansallismielisten parissa, vaikka niissä ei olisi mitään erityisen radikaalia tai edes ilmiselvästi vain nationalisteille ominaista sisältöä. 

Osa artisteista tykkää trollata punikkeja, shokeerata tai näyttää äärimmäisiltä, mahdollisimman paheksuttavien juttujen avulla. Vaihtoehtona tälle voi olla sisältö, jossa ei ole mitään rankkaa. Vain rehellinen suomalaisen miehen mielenmaisema, mitään häpeilemättä, mitään kaunistelematta. Siihen samaistuvia olisi pilvin pimein, jos tämän tyyppinen musisointi heidän korviinsa kantautuisi.

Goatmoonin keikka osui lähes päivän tarkkuudella yhtyeen 20-vuotis syntymäpäivään. 20 vuotta on kunnioitettava ikä Black Metal yhtyeelle, joka ei ole pitänyt vuosikausien taukoja uransa aikana. Goatmoon on ensimmäisestä levystään lähtien ollut poleeminen ja kulttimainetta nauttiva yhtye. Taatulla varmuudella esiintynyt Goatmoon sai tällä keikalla erikoista lisää tuodessaan setin loppupuolella vanhan rumpalin vetämään muutamia kappaleita. 2 bassoa, 2 kitaraa, rummut ja laulu. Siinä oli lavalla tungosta ja menoa. Ukkometsossa oli todella hyvin porukkaa. Sisään ei olisi paljoa enempää ihmisiä mahtunutkaan. Goatmoon oli selvästi se nimi, joka sai suurimman yleisön, mutta muidenkin aikana sali oli käytännössä lähes täynnä.

GM keikan jälkeen Turvonneet Huulet jatkoi ikivihreiden hittien setillä. Irwin, Badding ja useita ulkomaisten artistien tunnettuja hittejä sai usein yleisön laulamaan mukana. Monissa kappaleissa oli läsnä nykyisessä yhteiskunnassa paheksuttua epäkorrektiutta tai nostalgista, melankolista romantiikkaa. Turpeat Huulet oli valikoinut käsittelyynsä laajalla skaalalla kappaleita joista moni voi tavalla tai toisella löytää kosketuspintaa.

Soundit olivat koko illan hyvin asialliset. Etenkin Turvonneet Huulet soi kaikuvien laulujen ja heleiden kitaroiden kanssa paremmin kuin koskaan aiemmin.

Veriyhteys toivottaa Goatmoonille hyvää 20v. Syntymäpäivää ja Ukkometsolle tervehdys ensiluokkaisesta toiminnasta kansallismielisen livemusiikin rintamalla.

Arvio: VY

White Noise Radio! Podcast-jaksossa "Smacking them lips 2" WBS-festarin satoa

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