Two Up-and-coming Contraterrene Bloggers You Need To Watch

1. Another bullet in the cake? No, this time I consume the cake. I finally saw "Hate Rock" the long waited for-- actually 23 hours download-- documentary about us. The presentation of the documentary appears much harder than what the video states in truth. Prior to watching this video I requested for impressions to individuals who saw it on the cable television in the United States and all their remarks have been extremely unfavorable. I was caught days ago while answering to some concerns on the phone. I classified this documentary as antifascist propaganda, due to the fact that this is what it seems checking out the intro on the sites (SMG productions and Discovery Times) and this is how individuals explained the program to me. I need to state rather, after viewing the work, that it is a "documentary" and not the ultimate show about the "absolute evil". If I ever missed out on anything or did not understand anything or if you just want to publish a comment (including the expected "go to hell"), you can send a message to my forum (you do not need to register) or to my e-mail address: viking@ashtree.org Contents Length constraint (about 1 hour) and absence of time make also the best of the videos a minimal work. You must have asked yourselves: what to consist of and what to leave out? How to delineate the entire documentary? So, this is the section in which I will note (I will go beyond!) your "made 30s, why not 31?", all excellent guidance for somebody who'll try to write a book-- perhaps-- about hate rock in future, and I guess a number of the things I will write down here were maybe purposely left out, not just forgotten. I have actually seen you pointed your attention to our more or less extreme faces, the "user interface", so how music is spread out, how performances are arranged, what different images we utilize, the persecution we get and so on ... it's a great video, but I think in precog some cases it is too "visual", it frequently proposes some tunes with "effect" lyrics however does not enter into their deep significance, imaging people outside currently learn about our beliefs (only in Detroit rather you captured a bargain of descriptions about some aspects of white power music or when you spoke about the 14 words) and often it leaves too much towards descriptions of political organizations forgetting it is a documentary about music and it confines the "white power" motion into the racist thing excessive. Question primary: what is a racist? And on a greater level: what is a nationalist? It would have been fascinating to understand how a tune is born, in what scenario. From the documentary we seem to want ethnic cleaning primarily or only and above all ... and you sent my tune "Do not go round with the Jews", for example (I'll take myself as example, because I know myself), which is not a tune about that subject, however about the problem of social integration. You selected from my interview my declaration "I say I'm not a nazi, I'm a fascist, I must defend my italian history" ... I must comment, with or without that sentence my position does not alter: I'm a so-called "white power" songwriter anyhow, so the statement-- drawn out from a long conversation-- is redundant in this context. You talked a lot about persecution versus our music, definitely life. I believe you totally explained what takes place to our bands and organizers. Shawn made extremely clear arguments about it and Erich of Resistance added that music sales assist the activities, but what's missing out on between these parts? It's quite clear that people like the Big Jews or the Communists maltreat us (Death to ZOG! Individuals yelled.), but nobody clearly revealed some opinions about the factors. Hegemony for instance? What does it indicate? What could the interests be? (I know it's difficult to talk mostly about it in such a video without falling out of the circle of the subject, however possibly a little idea might be provided).

2. I believe the most important factor is implicit, however at the exact same time fragmented, in your documentary: this type of music is engine for activities! Truly there are harder criminal activities than "loving your own folk" in this world, however they are not maltreated. Is recruitment a possible reason for this persecution? You yapped about it, but you did not state it is-- surely it is-- a reason we are maltreated, or much better, there are opposite forces pulling people from other sides into their own gardens. Great ... In total simplicity you expressed so well the minute "prior to the concert" in Verona (likewise in Britain revealing true wedding rehearsal). It's direct, it's clear ... I'll compose more about it later in the editing area. Another great note about the performance in Germany (it was like you existed ready to be detained together with the skins!). I saw you noticed how web increased the sales and the dispersing of our music ... this is real. Anyhow, you didn't investigate about how our music is technically and creatively produced. (You should have seen that creative production is practically completely missing in this scene!) You revealed a recording studio ... but what about other services, live recordings and ... range recordings? You likewise talked insufficient about executive production: if you look thoroughly you'll find deep gaps amongst labels! You touched the MTV subject, but which are the essentials for being on MTV? And do we want to exist or are we preventing? (I personally was on the charts for many downloaded songs on mtv.it ... eheh! I'm terrible!). Or did you ask yourself: in regards to numbers does the white power motion produce and choose more musically knowledgeable bands or lyrically oriented bands? Which is the balance amongst these two elements? (Erich simply discussed something about it) Is there any sort of attempt/effort for an industrial product? Prussian Blue have an organization behind, they "aggressed" the media, they have a tv team supporting them, a network of advancers ... you talked about them, but did not notice this! And how would a music industry based upon political groups make difference from existing mainstream industries if it takes off? What effects does it take? You discussed bands, some in political groups, others external, however which are the distinctions between a band in politics and a band which is not? Is music more transversal when outside the celebration? What about the "fans"? How much do they spend? How do top seller products change according to age, country, income ... of purchasers? What about peer-to-peer and how does it damage our scene? How do fans connect and cultivate their interest (online forums, mp3-video-photo uploads, blogs and original websites ...)? The Turner Diaries: cutting that part there was location for all these aspects or for another band ... I would have picked Kolovrat or some other band from Eastern Europe. I appreciated the fact-- and now I'll be eliminated for this-- that you didn't point out Ian Stuart so much, but your analysis of "hate rock" has been modern. I liked a lot the line you followed, checking out the concerts and their backstages as self-talking environments. What's truly missing out on? I'm not the only one who states this: I believe you didn't focus at all on the metal scene, such as Burzum (whose cds are sold at your local Virgin Megastore!), or neofolk (I'm considered neofolk, however I'm not one of the exemplary artists who play this genre). You didn't talk about the pagan and christian subcurrents and their struggles (oh, so incorrect to have faith and politics together ... but this takes place!). And what else ... you didn't see there are some professionists who make this music and who are attempting their

3. way outside the motion. (I will not choose, due to the fact that I'm uncertain I am enabled). I'm sorry to state this last thing, since your work really should have many honours, however this documentary is still a "flouring" of white power music. I'm extremely critic about this, yes, like a spinster teacher, due to the fact that the effort was really promising and mature this time! So, genuine congratulations! My experience on the set and the remarks of the old aunties ... I need to award the professionality of those who dealt with this documentary, certainly in specific those 3 great men I pointed out on "Gloucester Road" (I don't understand the others ...). It was not my first time on television and on press in basic. Apart from right-wing press things, my relationship with the out-of-the-ghetto press has always been rather rainy ... do you remember, folks, for instance, my pics with the bottle or when (on Italian satellite tv) a prestigious reporter aggressed me and cut my hair? I have to state this time I was dealt with like a princess. I spoke, responsed to concerns, I was not aggressed, never ever disrupted and I have actually consumed and drunk. I was shown on the screen like a normal girl with a guitar throughout a possible normal moment of my life-- ok, Magnus and Katana are still chuckling on the flooring saying I walk like a duck. Likewise all the other individuals in the video are "men and women". I got some complaints via email about what I didn't say in the video ... you have to know, often I speak too much and I had actually promised my close mates of Ashtree aspects of defence topics and clinical reseach and paganism, because these are essential styles in our struggle here at Ashtree Records. You didn't pick anything of this and ok, it's your option. To those who state I'm revealed for a too brief time on this documentary I respond:. I have always attempted to fill my music with hidden messages and now I appear on this video as a subliminal message, so I don't see the issue! Audience. Some individuals said your documentary is too British. Well, in my viewpoint since you are British and the documentary was first produced for 5 and after that dispersed overseas, I think you might have some British audience. I want to jot down some individual observations and I wish to propose some brand-new hint for reflection and interest. Prior to investing cash on any television production, you should have an idea about the audience to which your item is attended to. It's difficult-- think-- it's difficult to find a guy who's got no interest or merely never heard of "hate rock", who takes a seat in front of the television and sees a program like this. It's not lack of knowledge ... it's

4. a situation like going back home, tired from work and simply relax with something enjoyable which depends upon tastes. You know, tv is still not "set" by audience (even digital terrestrial, which is sold like "power in the hands of the viewers!") anyhow the guy, who's God with the Remote Control, could pick a documentary about lions rather than sieg heil sieg heil ... You talked about "developing hate rock". Do you think hate rock is developing alone or is it accompanied by the number of people who have an interest in watching your documentary on tv? (Keep in mind, we offer cds due to the fact that there are fond listeners). I'll try to be clearer. I have the interest to know, whether you thought about to produce this video since there are a lot of people who want to understand more about the subject. Somebody yelled "another jewish thing!" ... no, I believe, instead, as Orwell's Big Brother teaches, the undesirable reality is hidden! You DO program hate rock, so I see no jewish conspiracy. MacIntyre. Donal, what type of name is that? Anyway, I believed MacIntyre was much worst, according to what my nice cooperator from our Press Room Neil Rush said: "George Clooney on holiday". Oh, God, I thought, What is it? I'm watching from far Italy. The times I was in Britain I never ever had the opportunity to see this male in action on television, so this is my very first time. I read his name and I browsed on internet. His images on his website do not make good impression of him as expert figure ... I'm not ending up being a bigot ... I would like to focus again on the intro written for this documentary. As I said above it seems a factious intro, describing words like "troubling increase of the racist and anti-semitic music industry". It holds true, I need to not connect the man with the words reported above, but-- this is a suggestions-- focus, Mac, due to the fact that you might fall into the popular tv trap of "kindness", a disease attacking media ... no one's safe! The history of times has taught: attractive = kind. Anyway, Mac, I understand you too little to go on discussing this. I discovered the location where you spoke adeguate. It was really "hip hop" design and in a particular method "opposed" to white power and given that you are an external audience (I'm not saying you're hip hop or black) the thing automatically matched somehow. I make sure, I wager 50 pounds, you didn't think of this, however the area was picked because it was more "streetlife" and more "bad macintyre". Video & Sound Modifying. I can not state much about filming, since I haven't got the requisites to speak about it, however I can state something about the editing, since it is a bit my cup of tea. There's very little to say in truth. It's an expert work and done by masters. I'm a little (some one would rather state "short") beginner-- even though somebody has the guts to pay me for editing stuff-- but I believe I need to analyze. I currently discussed it, however I ought to add in this area that the times used to explain the various moments of

5. the Verona event are as exact as a clock. Sometimes too much "tourism" (important, I do not deny!) cutting time for significative information. A "tourism" like the one in Detroit with descriptions of locations and local fauna is the excellent service. Sometimes maybe too long zoom in, zoom out on still images and ... I don't keep in mind,. I maybe remembered about some too slow shift ... but those are choices and tactical "fill holes" and stops briefly, modification of rhythm ... The "futuristic" images music causing title "Hate Rock" after the introductive speech resemble putting Madonna's "American Life" as soundtrack for a documentary about nuns. I don't know if this intro is stylistically in typical with other documentaries from your series, however actually here it is a punch in an eye. I believe the introductive speech was enough, because it was a sort of well done summary, it could result in title "Hate Rock" completely. The last 20 minutes of the program are much slower than the very first part. Is it my impression? Too long uncut videos, less motion ... in my viewpoint, after about 40 minutes play, such a video must get a much faster rhythm due to the fact that it resembles the audience-- I don't want to say it falls asleep-- is consuming 300g of pasta and after all this food you may get enough of it. In some cases various speeches of a same individual taken in different places, with too different sound backgrounds, are connected like a constant speech but the contrast is too apparent. You should have overlapped or attached more carefully or attempted to show the video (even half a second, don't require much) from which the ecological sound is taken. You may wonder "You, right you are telling me this ... have you ever seen your own stuff?". Yes, I have and I don't wish to remember.