K.R. interviews the legendary Power Electronics unit

So far in 2008, Brethren has released a 10″ MLP entitled “The Chosen”, and you’ve also been a part of the Revolutionary Command “New Era” LP, lending your vocal abilities. How has the feedback been on both releases to date?

The feedback has been positive. There have been only a couple of reviews and personal emails that have been negative. The criticism focused at great length on the content and lyrics, with very little about the music.

On the contrary, I have also had a few people highly interested in the content of “The Chosen” and they ask for additional information. I highly recommend The Culture of Critique: An Evolutionary Analysis of Jewish Involvement in Twentieth-Century Intellectual and Political Movements by Kevin MacDonald along with MacDonald’s other works.

Under what circumstances did you choose to end your first project Bound, and what led to the creation of Brethren? Could Brethren be looked at as a continuation of Bound or do you consider it an entirely different entity altogether?

It was always understood by CYN, the other member of Bound, and me that we would record one album and be finished. I attempted to add more political elements into my earlier endeavors, but CYN had no interest in politics and did not want any of his music to involve anything racial and/or political. Bound originally had no vocals. I tried to get CYN to record vocals once, but he wasn’t interested, so he suggested I give it a try. After a short vocal demonstration, he changed his mind and said, “We should use vocals.”

I especially liked the tracks on “Final Signs” with vocals and thought of how I could use them to be the vehicle for my political views. So, Brethren was born in December of 2001 when I performed the song “Color.” The only remnant of this performance is a video recording. Brethren is in no way a continuation of Bound as it had no racial or political elements whatsoever.

Bound “Final Signs” has never been officially released. I made 50 demo copies and three tracks from it are featured on Fresh Blood Vol. 3 released by Open Wound. Because it has never been officially released, I am often asked about Bound and its possible similarities to Brethren. If people heard “Final Signs” and the other early projects I was involved with (such as Surrounded By Unlit Energies) it would be clear that those projects and Brethren are clearly separate entities.

Were you always into industrial/post industrial music? When you began recording music were there specific musical acts, writers or other artists who had a direct influence on you? What was the initial founding vision of Brethren in its early days and has it evolved much since its first inception?

I began listening to industrial music when I was 13 years old, picking up any band that was labeled industrial including Psychopomps, Einstürzende Neubauten, Chrome, Foetus, Skinny Puppy, Throbbing Gristle and Laibach, to name a few. Cleopatra Records and the Isolation Tank catalog had a huge impact on what I purchased. When I was 15, I was introduced to Merzbow through the Release Your Mind compilation and at 17 was introduced to Whitehouse with the help of the intriguing description in the Isolation Tank catalog. I later purchased five Whitehouse albums at Mindwave, an experimental music shop in Ohio, at very high prices. I listened to and still enjoy many different styles of industrial music so it is hard to pinpoint any direct influences, but I liked the clear, upfront vocal style of Whitehouse and Grunt’s deep growling vocals on the track “Symptoms Of The Disease” (the first Grunt track I ever heard) much more than the distorted and buried method.

The initial image of Brethren was created for a live setting in a hurry. In December of 2001, some friends played live for my birthday and after some persuasion, I decided to debut the song “Color.” Afterwards, my friends encouraged me to play live a few months later in March at Fluctuation 23, a live show featuring some of Akron’s noise artists. It was held at Archetype Group Studios in Akron, Ohio. I felt Brethren was not just an expression of me, but racially conscious Europeans everywhere, which is why I covered my face. I saw Brethren as faceless. Since this original inception was designed for a live setting and that phase has long been abandoned, Brethren has evolved into something more personal. However, it remains an outlet for my racial and political beliefs.

Describe your aims and methods when making music, what goals you hope to achieve with it, and what feelings you wish to evoke from your audience.

My aim is to convey politics through power electronics. When making music, I create songs as opposed to just sounds that create an atmosphere. My goal is for each song to make a political point and urgency is the feeling I wish to evoke.

How did you choose the name “Brethren” for your project, and what significance does it have for you?

After some thought about what I would name my project, I awoke one morning with the name Brethren in my head and thought it was perfect. I felt the name Brethren would represent camaraderie among fellow members in the same struggle. Brethren focuses on political aspects important to all people of European descent wherever they may live.

Given the aggressive nature, the themes explored and the ideas expressed, has your music ever created any real controversy for you? Has finding distribution ever been a problem? How has the reaction been from the general Power Electronics & Noise fan base?

My views have caused controversy in my personal life, but not because of Brethren.

Distribution has never been a problem. Most, if not all, of the major distributers of power electronics have carried Brethren. The reaction has been extremely positive. I think most people who purchase a Brethren release or a project Brethren is a member of know what they are getting into. I’m pretty sure most of those who oppose Brethren’s message just don’t buy it.

Your projects are, without any doubt, serious in their message, intentions and conviction – something which I personally hold a high level of respect for. Does it bother you when some artists utilize these similar themes and imagery as nothing more than a way to attract attention and gain notoriety, for the mere reason of making a name for themselves and selling more units?

Many times I blame the interviewers for not asking questions that would solidify an artist’s position on certain political matters. Without some sort of published manifesto or direct communication, it’s hard to know exactly where many power electronic artists stand on specific issues. Many power electronic artists use WWII and the Holocaust for shock value. These themes are not so shocking to me because those two topics are two of the most prominent historical topics in the mainstream media. The major difference is in the intent of the people using them. Power electronic artists use them in a fetishistic manner; the media uses them to cause a guilt complex. Both do a great job of achieving their goals.

When I discovered a group was using politics as shock tactics, it used to bother me, but it doesn’t any more. If I buy an album that I don’t like, I don’t have to live with it. Records aren’t like politics. You can throw records into the trash and they never bother you again. Politics, however, get planted, grow roots and get bigger until they not only affect you personally, but future generations. You can’t escape them.

At what age did you begin to form your view of the world and identified what you would consider its problems. What is something you were aware of from an early age, or did certain influences / events lead you to the current racially conscious mindset you have today?

I developed a racial consciousness in my late teens from my personal experiences. There were never any extreme circumstances such as getting mugged or assaulted by non-whites, but I saw that races were different and that race mattered. It wasn’t until a couple years later, I began to read and be influenced by racially conscious individuals.

If you had the option to change one thing about the modern world as it is, what would you change?

I would change the Jewish dominated media ownership. It propagates messages that while positive for Jews have dire consequences for European Americans.

Would you consider yourself a spiritual person? Does any form of religion play a part in your private life or are you completely opposed to it? Have you ever taken an interest in the Occult? Your views on the various concepts of the afterlife?

Yes, I consider myself spiritual/religious, but those aspects are personal, between my family and I.

No, I have never taken interest in the occult.

To live on through my kin is my afterlife.

In today’s current Power Electronics scene, which artists do you see as the most interesting and important? Are there others spreading a similar message as yourself that you can recommend? And what are the most important musical releases to you personally, in Power Electronics and beyond?

There are many power electronic artists that I find interesting, so it would take up too much room to discuss why each one is important to me. Yes, I believe there are power electronic artists who spread a similar message, but would rather not name them specifically. I do not like to lump artists together ideologically because as soon as you do this, people assume you are all exactly alike and cannot disagree. This is especially the case with bands that hold racial views. People have a very narrow understanding of their views due to the media, so it’s best if these artists are seen individually as opposed to collectively.

Some important musical releases for me on a personal level include: M.O.D. “U.S.A. for M.O.D.” was one of the first CDs I ever owned. My brother bought it for me when I was 12 years old when I received my first CD player. I bought Psychopomps “Assassins DK United” when I was 14 years old and that had a strong impact on me at the time. The “Release Your Mind” compilation was the first time I heard noise, at 15 years old, thanks to the Merzbow track.

Two very important power electronic groups for me are Whitehouse and Control Resistance. Whitehouse because it was one of the very first power electronic bands I ever heard at 17 years old and Control Resistance because it was the first power electronic group I heard that dealt with racial topics and delivered a message with conviction. As a result, both groups were highly influential to me.

Grunt’s vocals on “Symptoms Of The Disease” from the Grunt/Sickness “Symptoms Of The Disease” split album was an inspiration. I remember hearing the deep vocals when the CD started and being blown away.

Skrewdriver was the first RAC band I ever heard. I found Skrewdriver online during college in 2001 late one night, while staying the weekend with my girlfriend (now my wife). I immediately loved the band.

Organized Resistance’s “Day of the Rope” album was inspired by Dr William Pierce’s book “The Turner Diaries”. Obviously an inspirational book for yourself, care to share some words about “The Turner Diaries” and Pierce’s lesser known work “Hunter”?

The themes expressed in The Turner Diaries and Hunter are mirrored in many ways within multiracial societies. The books are meant to both educate and entertain and if you keep this in mind, they can be of great value. According to the U.S. Census Bureau, “Whites, who now make up 66% of the population will be a minority before the earlier projected date of 2050. Whites will most likely slip to minority status 8 years earlier in 2042.” The theme of violent revolution in a racial context is consistent with the current state of affairs.

What can we expect from Brethren in the future? Are there plans for another release from either Organized Resistance or Revolutionary Command?

Brethren “Within Death You Will Be Free” CD – reissue on Audial Decimation Records is out now. Brethren “Kingdom Coming” 7” is coming soon.

No concrete plans as of now for new Organized Resistance releases. “New Era” is the one and only album by Revolutionary Command.

I’ll end this interview on that note. Thank you for your insight into the world of Brethren. Any last words?

Thank you for this opportunity and if anyone ever has additional questions, feel free to email me at brethren14[at]aim[dot]com.

September 2008 http://www.plaguehaus.com/home/2010/10/07/brethren/

Brethren

It is really hard to describe the creations, sound, lyrics and overall conception of an artist from USA - Brethren. It is solid, rectified charge of hate of which sincerity you cannot doubt. At the same time it is not just spitting of flat slogans that lost their meaning long ago and cliche phrases - it is refined and sometimes ironic observations or peculiar manifestos. Of course ultra right wing ideas, symbols, allusions and philosophy of Brethren is not acceptable by everyone, but also it is the eternal object of discussions - why hate or exploitation of one or other group of people is OK and "forgivable" or even "true" up to the limit where race and nationality stands. It is a pleasure to present one long interview with Brethren. Have a good reading.


November/December 2008

* What about your background as a person? You were working at a mental hospital? Or maybe you are working there now? Is it bound to your education? Just a little peek behind the curtains, to see the person behind Brethren, Organized Resistance and other projects.

During my undergraduate studies, I worked with a small group of mentally handicapped males who lived together in a house, not a hospital. This did not inspire my career path, which is best kept private.
As far as my studies go, I will graduate with a master’s degree in a year or so. I will continue toward a doctorate a few years after that, not because it is required in my field, but because I enjoy academics and yearn to learn more.

* The coming of power electronics to your life. It is surely not something like you see an ad on TV or accidentally stumble upon a power electronics club. And I guess your career as a musician didn't start from power electronics or am I wrong? The names like "Bound" and "Gokuraku Ojo" and maybe some other that I don't know? What could you share about them?

I began listening to industrial music when I was 13 years old, picking up any band that was labeled industrial including Psychopomps, Einstürzende Neubauten, Chrome, Nine Inch Nails, Foetus, Skinny Puppy, Throbbing Gristle and Laibach, to name a few. Cleopatra Records and the Isolation Tank catalog had a huge impact on what I purchased. When I was 15, I was introduced to Merzbow through the Release Your Mind compilation and at 17 I was introduced to Whitehouse with the help of the intriguing description in the Isolation Tank catalog. Another notable release would be the Christmas Sampler 1998 tape on Gauge Records that was given out for free at a local noise show. It was a black tape with a white insert of just song tracks and band contacts, which featured many of the Akron noise/industrial groups such as Contamination Diet, Black Mayonnaise, Malpa, Evil Mechanical Dog, Succor, Hasthur, Season of Discontent and Latex Bondage. A year or so later, I purchased five Whitehouse albums at very high prices at Mindwave, an experimental music shop in Ohio. It was then that I began researching power electronics.
Below is a brief description of my pre-Brethren projects:
Gokuraku Ojo was a short-lived experimental-noise project I was involved with in my late teens before I ever bought my synthesizer. I just had a microphone, guitar and a few pedals, which I still happen to use to this day. The other two guys were more into making humorous stuff and it never had any focus. I never liked the name, but from the handful of names they came up with, Gokuraku Ojo was by far the best. I was responsible for the noise aspect with the use of feedback and guitar noise. CYN created the main sound of beats and rhythms. The other member played guitar, violin and recorded some vocals. I have fond memories of this time. We would get together and record a couple times a week for a few months, before stopping to concentrate more seriously on other projects. CYN and I started Bound and the other member moved to Cleveland and joined a noise-rock band. In 2002, less than 50 self-released CD-Rs were distributed of selected tracks entitled “Cased Antiquity.”
Bound began immediately after Gokuraku Ojo in 2000 and ended in 2001. CYN and I met once a week to record. Our sound contributions were equal, but CYN edited the tracks himself for me to give the final OK. We had hours of sounds and sessions recorded, which took a great deal of time to edit and break down into songs. There are elements of both noise and power electronics in Bound, which also featured my first vocal tracks. We selected a wide range of topics and created songs based on them, so there are a variety of lyrical themes. I tried to implement some political themes, but CYN wasn’t interested. In 2002, less than 50 self-released CD-Rs were distributed of the Bound album “Final Signs.” Three tracks were later featured on the Open Wound compilation, “Fresh Blood Vol. 3: Contaminated.”
One Eye Has Threeheads is a project I recorded in 2001 with my brother. It was based on the Japanese toy line Micronauts. I did all the music and my brother contributed some grinding, vocals and other found sounds. My brother did the cover art and chose all the artwork. Many tracks are noise, but the album is better defined within the murky experimental category because it has calmer songs as well as beat-driven tracks. We mixed down the tracks in 2002 and in 2004 self-released less than 25 pro-duplicated, shrink-wrapped CD-Rs of the album “Sounds of the Microverse.” My brother also handmade 15 copies with Micronaut figures glued on the colored cases.
Surrounded By Unlit Energies is a project I did with Mike of Black Mayonnaise in 2001. These recordings are in a darker vein. They are nothing like either of our solo work. The weather, along with sleep deprivation, played a key role in these recordings. We recorded all night long, well into the morning hours and finally mixed the tracks down in 2002/2003, and released a 50 CD-R self-titled album in 2005.

* Brethren and Organized Resistance seem to share similar ideas (I'm in shame, but I haven't heard your project "Revolutionary Command", but I have the feeling that the idea is also similar). And power electronics scene I'd say is rather aware of such themes as racism and nationalism when it comes not from simple exploiting side, but from serious attitude as I think is yours. Are there still taboos left in the scene, or it is simply still offensive even for offensive people. Or maybe some people simply don't understand that? What are your thoughts?

Yes, Revolutionary Command is in the same vein.
Yes, there are taboos left, especially when considering the approach. Although many taboo topics have been dealt with, the right delivery and approach from an inspired artist can always breathe new life into topics like never before.

* All in all, now it seems that every corner of sick/perverted/gross/beautiful/etc. side of humanity is exploited in power electronics. Are there still possible progress in some way or the same stylistic faith awaits power electronics scene as let's say metal scene where it is divided in infinite numbers of genres, subgenres etc.

Just like in every genre, as artists bring new approaches and sounds, people will inevitably develop new terms to categorize them.

* Do you think that it's possible for a style like power electronics to become mainstream? Like what happened with metal or some other kinds of music where a small part have taken a path that leads towards popularity and money. Or are the themes and sounds of power electronics too "non-human" to become such?

With the right marketing and advertising, anything can be mainstreamed. It took less than 50 years to mainstream homosexuality in the US, so why not power electronics?

* Who are you in your projects? Are you a pessimistic prophet, foretelling the future of humanity or a fighter with one wish for human kind to open their eyes and see what's happening around? Or maybe just the middle point - an observer, stating facts and watching life floating as is?

I am all of the above. It just depends on the song and subject matter. I usually become inspired and write frantically only to later edit the lyrics into songs.

* What about "Organized Resistance?” I understand that you are not the only one behind that project. Are there any future plans for this project? Or was it just a one-album collaboration?

My role in Organized Resistance is as the vocalist/lyricist. I also contribute samples and artwork. There are two other members: Earl Turner, who creates most of the music and Oscar Yeager, who contributes additional sounds.
It is still an active project. The next release depends on Earl Turner. Earl has been very busy with other activities over the past few years.

* What about politics? You seem to have this topic in most of your lyrics through what I've heard. Would you see yourself in politics for some political stream? What about the upcoming president elections in USA? Will you participate or do you think there is no one to choose from?

I could see my involvement in politics growing over the years, but my wife is the better candidate. Her ability to convince is astounding.
The upcoming elections are a joke. The two major party candidates are status quo politicians. I am voting for a third party candidate, and who I am voting for is best kept private. Even though I would disagree vehemently with many of their platforms, any of the third party candidates would indeed bring some real changes to very important issues such as foreign policy.
Unfortunately, our practice of democracy in the USA is shameful. We have two candidates that are often so similar that one cannot truly choose. The system is extremely biased against third party candidates, who are restricted from participating in debates. This makes it very difficult and expensive to even get on the ballots. Ironically, the U.S. government tries to forcefully make other countries accept democracy when ours is in need of some serious reform.
As I said, the two candidates are for the status quo: unconditional support of Israel and continued support of the WTO, NAFTA, UN, and other entities that erode our sovereignty. They both support mass immigration and offer no real solution to the legal and illegal immigration problems. Whoever gets elected will appoint the same cast of Jews as recent presidents have. They have both pledged allegiance to AIPAC. Both are for more out-of-control spending and more government. Both voted for the Wall Street bailout and favor allowing the Federal Reserve to print more money out of thin air. Neither candidate discusses the out-of-control welfare system. Because neither is for a real change in foreign policy and interventionism, their discussions on economics are a joke. Our foreign policy, including our unconditional support of Israel and our troops being stationed all over the world, are where we spend the most money. Both candidates refuse to cut spending on our empire around the world or to departments that are unnecessary and insufficient. They both want bigger government and are globalist in their outlooks. Therefore, the U.S. will continue on the same path with little to no change at all.

* In your lyrics and all the conception you examine thoroughly the politics and ideologies. What would be the perfect doctrine or the world order by you? Maybe simply not knowing much and not caring about most of the things happening is the perfect site for human kind. They work, have almost no intellectual challenges, they believe everything what is being told within the media, they have money to have their bellies full and have "complete life" by their understanding.

Every race has the right to self-determination. This is a perfect doctrine.

* Idea above music or music above the idea?

They are both equal. Music is the catalyst for the message and the message is what brings the music to life.

* How does the creative process of Brethren go? Do you write lyrics and then make sounds or do you make sounds and then get an idea of what this piece should be about?

Lyrics always come first and inspire the sound. The way I construct music changes all the time. One thing that hasn’t changed from the beginning is that I record and then spend a great deal of time constructing and editing the tracks. An atypical example would be “The Chosen” 10-inch release on Freak Animal Records, which was inspired by an article. The lyrics of this release are the full text of the article.

* Deathkey seems to be one of those so called "white power electronics" bands/artists. Do you consider yourself in the same boat as Deathkey or no? Which artists/projects would you consider most important/influential/best for you in the scene (not only in power electronics of course)?

As soon as you begin grouping individuals, bands and organizations, people begin to see them as having the exact same views and outlook, thus becoming less individualistic and more or less something people can pigeonhole. This occurs even more so with politics. I would like Brethren, Deathkey and any other band to have the opportunity to be seen as individual groups that people can make up their own minds about.

* "Savage inequalities" and my thoughts from this album. To paraphrase G. Orwell - "All are equal, but some are more equal than others". By this standard democracy works now I think. And the more people that are liberal, the more standards and limits and "do’s" and "don’ts" come out. Why is there such a need for all to become so equal? Is it easier to control or maybe under that "equality" skirt hides potential inequality and rules of minorities? Or what? Isn't it simply working against the laws of nature?

I definitely do not see multiracial/multiethnic countries as being easier to control. In fact, historically they always fail. First off, the number of organizations and agencies required to attempt to control multi-cultural societies is astounding. The amount of money and resources that are poured into the many organizations, educational institutions, books and media exposure are grounds for any rational person to conclude that a society such as this requires too much damage control and conflict management.
People are essentially tribal and desire to be around people who are most like them. They naturally divide accordingly when left on their own. Diversity is certainly not a strength. Even after seven years of attending multiple liberal universities and reading numerous opinions on the topic I have never found real, concrete evidence as to how diversity makes a society stronger. Wherever diversity exists there is conflict. Some examples would be the conflict between African Americans and European Americans as well as the conflicts in prisons between African Americans and Mexican Americans. Other examples include Mexican Americans and European Americans clashing over illegal immigration and historical grievances, the tensions between French-speaking Quebec and the majority English-speaking population in Canada (Nelson, 1994), tribal warfare in Africa, ethnic conflict between Jews and Palestinians, conflict between Germans and Jews, conflict between Spaniards and Conversos (Spanish Jews who lived publicly as Christians to avoid persecution), biblical Jewish persecution, anti-Semitism in Egypt in 5th century B.C. (MacDonald, 2004), anti-Semitism in Persia in 5th century A.D. (MacDonald, 2004), and anti-Jewish attitudes in Muslim society from Muhammad’s time up to the present day (MacDonald, 2004).
In fact, resource competition between Jews and Gentiles is a great example of racial/ethnic conflict. It is one of the main themes of Jewish history after the arrival of Jews in Europe around 1,000 A.D., continuing to the present day with Jewish and Gentile conflict over the Middle East and the powerful influence of the Jews in American politics through organizations like the American Israel Public Affairs Committee (AIPAC), Anti-Defamation League (ADL), Jewish Defense League (JDL), American Jewish Committee (AJC), Zionist Organization of America (ZOA) and Washington Institute for Near East Policy (WINEP).
In Europe, ethnic and racial conflict can be seen today between Europeans and Arabs as the result of loose immigration policies. In Belgium, ethnic conflict resulted in changes to its constitution (Nelson, 1994). Czechoslovakia broke into ethnic states after Soviet influence ceased. In Bulgaria, ethnic conflict resulted in efforts to expel its small percent (8.5%) of ethnic Turks (Nelson, 1994). In Yugoslavia, after the death of Tito and Soviet threat ceased, a civil war erupted resulting in ethnic separation (Nelson, 1994). Europeans and Gypsy or Romany people, whose origins can be traced to India, continue to conflict. These are just some of the many examples of conflict as a result of diversity.
I believe strongly in traditional democracy as set forth by my American forefathers. These principles have been warped in order to fit a multicultural society. Democracy was developed by Europeans and is being forced into a one-size-fits-all model.
Equality was promoted at the turn of the century by Jews, who were highly aggressive and intense in their efforts to promote equality, multiculturalism and loose immigration policies. The “need for all to become so equal” as you put it, allows Jews to remain safe in their host lands. Jews became even more intense in their efforts to promote equality and cosmopolitanism after World War II. Lawrence Auster (2004), a Jewish conservative, describes the logic as follows:
"Now when Jews put together the idea that 'all social prejudice and exclusion leads potentially to Auschwitz' with the idea that 'all bigotry is indivisible,' they must reach the conclusion that any exclusion of any group, no matter how alien it may be to the host society, is a potential Auschwitz.
So there it is. We have identified the core Jewish convictions that make Jews keep pushing relentlessly for mass immigration, even the mass immigration of their deadliest enemies. In the thought-process of Jews, to keep Jew-hating Muslims out of America would be tantamount to preparing the way to another Jewish Holocaust."
Jared Taylor’s reply to David Horowitz (2002) explains how this idea of equality put forth by Jewish intellectuals is not out of principal, but is rather a Jewish act of self-preservation, a historically Jewish characteristic.
"Mr. Horowitz deplores the idea that 'we are all prisoners of identity politics,' implying that race and ethnicity are trivial matters we must work to overcome. But if that is so, why does the home page of FrontPageMag carry a perpetual appeal for contributions to 'David’s Defense of Israel Campaign'? Why Israel rather than, say, Kurdistan or Tibet or Euskadi or Chechnya? Because Mr. Horowitz is Jewish. His commitment to Israel is an expression of precisely the kind of particularist identity he would deny to me and to other racially conscious whites. He passionately supports a self-consciously Jewish state but calls it 'surrendering to the multicultural miasma' when I work to return to a self-consciously white America. He supports an explicitly ethnic identity for Israel but says America must not be allowed to have one. If he supports a Jewish Israel, he should support a white America."

* What about live performances of Brethren? Do you have many concerts/gigs? Do you prefer live performances or recording sessions?

The live phase of Brethren lasted two years, from December 2001 to December 2003.
I am rarely asked to play live. I have been asked to play a few times here in Ohio at private events but declined. I declined two shows in Germany due to the cost of travel. I don’t have the money to do such things and just couldn’t justify that for one or two shows.
In regards to live shows versus recording sessions, I prefer recording sessions, because with live events you have to rely on other people for certain aspects. As the old saying goes, if you want something done right, you have to do it yourself. I like to do everything at my own pace. That way if anything goes wrong, I have only myself to blame.

* Have you had any accidents during live performances because of the themes of yours? I guess it's really hard to have a concert together with left-wing artists or "art" thingie artists.

No physical accidents, but we have had some people concerned and/or confused about Brethren’s message during the live shows. Beside the two private events and The Greatest Show on Earth at The Lime Spider, all the live shows were at a left-wing art warehouse known as Archetype Group Studios. My wife and I organized and arranged many of the live events there and had a good relationship with one of the two owners at first as we were very helpful and accommodating with cleaning up and preparation. The mild problems arose when Brethren performed and my girlfriend at the time (now my wife) performed a DJ set. When Brethren performed, members of the audience were asking about lyrics and political views. There were a few women yelling things like, “Let’s see some lyrics” and other minor incidents like that, but nothing major.
The main problem happened when my wife (girlfriend at the time) played quite an eclectic DJ set consisting of really anything under the sun such as Britney Spears, Madonna, Marvin Gaye, Lolita Storm, M.O.D., Whitehouse, etc. When Skrewdriver’s “White Power” came blaring over the speakers, people immediately started dancing, yelling things like “Nazi punks fuck off” and giving salutes. It was just a lot of fun if you ask me. The white guys had a romp by giving salutes and moshing and the leftist punks had a good time taking a stand against “evil Nazis.” Hell, it was the only time during the night people seemed moved by anything.
Just a side note: The song that followed “White Power” was Marvin Gaye’s “I Heard It Through the Grapevine” in which the only black guy in the venue came up to my girlfriend (now wife) and complimented her DJ set. He was there during “White Power” and didn’t seem bothered by it in the slightest.
After that, when I tried to organize another show there we were basically banned, since they kept trying to make us meet impossible demands such as only play music that they deemed suitable along with paying to use the venue. When I explained all the different music that was played and all the different political views expressed, he said that it didn’t matter, that we could never play “White Power” or anything like that ever again, so that ended our short-lived relationship with Archetype Group Studios.

* What about black and white? Aren't the whites guilty themselves for the current situation? I mean the support for the third world countries, corporations, having their cheap power of work in there, "supporting" the economics with a teardrops from their huge budgets, the religious invasion to speak the word of "one and only god" etc. etc. What are your thoughts?

It’s very hard to determine whether or not people are happier, because whites are not allowed to express themselves due to being called racists, Nazis, anti-Semites or any other ad hominem attack used to stifle debate. Current generations have known nothing else, young people are growing up without a sense of racial pride and history is being revised to fit the current multiracial climate as to not offend the ever-growing minority groups. Due to this climate of fear and political correctness, whites react with the only thing they can get away with, white flight. They may disguise this in certain politically correct terms such as economic decline or suburban sprawl, but the fact remains that whites and all other races for that matter turn to tribal instincts and the yearning to be around those who are most similar to them.
Yes, it would be easier if races lived in their respected lands. It wouldn’t be a solution to all problems, creating some sort of peaceful utopia, but it would be beneficial to all races. It would also give individual groups a sense of pride and dignity. Multiculturalism strips this from all groups involved by forcing them to water down their cultures in order for them to fit into a multicultural and pluralistic society.
Without force, separation will be the natural progression of things regardless of the policies that are being put forth. It’s just a matter of when these notions of multiculturalism will come to a head. We are headed toward Balkanization of the Unites States. In attempting to promote peace, many whites flock to ideas such as multiculturalism that were formulated and popularized by Jews. After World War I and World War II and during the Civil Rights era Jews argued that their ideas were good for all, even though they have dire consequences to other groups. This sense of cosmopolitanism and universalism is a common thread in Jewish politics. White Europeans do not often hear any alternative philosophy and they do not understand why these policies are disastrous and breed more hate and conflict than ever before.
The only way to ensure the idea of multiculturalism stays intact is through governmental force. For example, there are a growing number of hate crime laws and political views are being criminalized through the erosion of free speech. Otherwise, neighborhoods, towns and states will continue to naturally be divided and ethnic conflict will spiral out of control.

* Before the collapse of civilizations there always are similar signs. Like bursts of pedophilia, homosexuality and other forms of "non-heterosexual" life, uncontrolled immigration and emigration, uncontrolled consumption of everything, complete hedonism. And the power of Muslims is rising now. Is this the end of civilization as we used to know it? What is your opinion?

Yes, the civilization of old is gone. Progression is the key to the future. We must see the political and social climate as it is and attempt to carve out of it achievable goals. To focus on past historical regimes is folly. We must progress and move forward, if we are going to survive.
Muslims are a greater force in European-dominated lands due to loose immigration policies created by politicians and nothing more. Their power could be eliminated quickly with a new wave of immigration restrictions.
As far as their power in the Middle East, that too has been a result of Western powers such as the United States, which fans the flames of extremism in that part of the world with its support of Israel. Osama Bin Laden himself as well as all of the highjackers of 9/11 site this unconditional support of Israel as a key grievance. U.S. support is urged by the aggressive Israel lobby, which fights for the survival of the Jewish state. The prominent figures who formulated U.S. Middle East policy are Jewish and of course have loyalty to Israel first. This, like immigration policy, ties into the psychology of Jews who constantly push for policies that ensure their survival and protection, regardless of the outcome for other groups and countries.
Neo-conservatism, a predominant Jewish political and intellectual movement, has been a key component to the rise of Muslim extremism. Neoconservative politicians have isolated Arabic countries as terrorist, rogue states, but do not judge Israel with the same harsh standards. One prominent Jewish intellectual, Leo Strauss, who is considered by many to be a founder of neo-conservatism, describes his philosophy as such:
"Nothing short of a total transformation of imbedded custom must be undertaken. To secure this inversion of the traditional hierarchies, the political, social and educational system must be subjected to a radical reformation. For justice to be possible the founders have to 'wipe clean the dispositions of men,' that is, justice is possible only if the city and its citizens are not what they are: the weakest [i.e., the philosophic elite] is supposed to rule the strongest [the masses], the irrational is supposed to submit to the rule of the rational."

* What about media propaganda? Would you raise/how would you raise (or maybe raising right now) the children of yourself if any? Is it possible for a youngster to know what is what when propaganda goes only one way and all the brainwashing facilities seem to be working especially on those youngsters and parents seem to be much less influent than surroundings/school/media. I guess USA is extremely difficult place for such a thing?

Jews have power, ownership and influence of the media, to a much larger degree than any other ethnic group. The media I speak of encompass everything from record companies to movie studios to newspapers to textbooks. Jews’ hyper ethnocentrism helps shape public perception and decides what information gets to the public. If certain ideas, news or information could be hostile to their group cohesion or a possible catalyst for anti-Semitism, those ideas are not made public. The few Gentiles that break this Jewish pattern of media ownership have aggressive political views that coalesce with that of their Jewish counterparts.
Michael Medved, a prominent Jewish American radio program host, conservative political commentator, film critic, and author, notes that
“it makes no sense at all to try to deny the reality of Jewish power and prominence in popular culture. Any list of the most influential production executives at each of the major movie studios will produce a heavy majority of recognizably Jewish names. This prominent Jewish role is obvious to anyone who follows news reports from Tinsel Town or even bothers to read the credits on major movies or television shows. (MacDonald, 2002).”
Jewish power within the media is an undeniable fact. According to Finkelstein (2001), media ownership is quite apparent when one examines the content. For example, the Holocaust received 273 entries in the New York Times during the same period of time that the whole of Africa only received 32 entries. This is no coincidence –the Sulzbergers, who own the New York Times are Jewish. They put Jewish interests above all others and unlike other racial groups have a strong urge to combat anti-Semitism.
Joel Stein (2008), a Jewish columnist for the LA Times, in response to a poll released by the ADL which revealed that 22 percent of Americans now believe "the movie and television industries are pretty much run by Jews," down from nearly 50 percent in 1964, writes:
"How deeply Jewish is Hollywood? When the studio chiefs took out a full-page ad in the Los Angeles Times a few weeks ago to demand that the Screen Actors Guild settle its contract, the open letter was signed by: News Corp. President Peter Chernin (Jewish), Paramount Pictures Chairman Brad Grey (Jewish), Walt Disney Co. Chief Executive Robert Iger (Jewish), Sony Pictures Chairman Michael Lynton (surprise, Dutch Jew), Warner Bros. Chairman Barry Meyer (Jewish), CBS Corp. Chief Executive Leslie Moonves (so Jewish his great uncle was the first prime minister of Israel), MGM Chairman Harry Sloan (Jewish) and NBC Universal Chief Executive Jeff Zucker (mega-Jewish). If either of the Weinstein brothers had signed, this group would have not only the power to shut down all film production but to form a minyan with enough Fiji water on hand to fill a mikvah.
The Jews are so dominant, I had to scour the trades to come up with six Gentiles in high positions at entertainment companies. When I called them to talk about their incredible advancement, five of them refused to talk to me, apparently out of fear of insulting Jews. The sixth, AMC President Charlie Collier, turned out to be Jewish."

My wife and I do plan on having children in the coming years, as soon as we finish graduate school. We plan on raising them to be racially conscious. I believe parents who teach their children to be proud of their culture, race and heritage can reduce media and external influences. Although we can’t avoid them altogether, we will do our best to ensure our children to grow up in a safe environment. When we purchased our home, the neighborhood, school district and demographics were all important factors in our decision.
What is best for our children is the core of our philosophy as a racially conscious couple; otherwise we wouldn’t care about politics, race or education. We would be more self absorbed by consumerism.

* What about the education system and the youth that are being educated? Maybe the youth simply doesn't have that fire needed for education for they are interested into how to have money and comfortable place in life and education is not needed at all? I mean not only academic education, but also self-education and all these things as self-enlightenment. It seems that nowadays it is simply not needed anymore. It is BORING and what is interesting - it's partying, drugs and the life of a vegetable?

Like democracy, American education has been so grossly manipulated that it is barely recognizable from the original intentions of the founders. Our education system has been forced to adapt to a multicultural society. The system has been revamped to absorb the massive amount of different racial groups. One example of the massive changes in education is the No Child Left Behind Act of 2001. This legislation made school districts more accountable for the achievement of various sub- populations of minorities. The groups are as follows: African-American, American Indian or Native Alaskan, Asian or Pacific Islander, Hispanic, Multi-Racial, White, Economically Disadvantaged, Limited English Proficient, Students with Disabilities and Migrants. If the majority of any one population is not achieving at the basic level, the entire district’s funding can be cut. For example, if the entire school district is white and there are 45 African American students who continuously fail, the entire district suffers. This is a perfect example of forceful governmental programs designed to warp institutions originally designed for European Americans.
Multiculturalism is taught intensely in every school in America. It’s the unofficial doctrine and it is inescapable, like the state doctrines of Nazi-era Germany and Stalinist Russia.
The history taught in schools is a watered down, politically-correct version of reality. Many times it’s what is not taught that is the greater crime than what is actually presented.

* Have you heard such a band "Prussian Blue"? What are your thoughts about it?

Yes, I have heard most of their songs and seen a DVD as well. Bands like Prussian Blue and Saga are the types of bands that will make the most difference. People need to see pro-white views in a positive light.

* What kind of literature/movies are you into?

I read mostly nonfiction. I enjoy many different genres of movies, but my wife and I are big horror fans.

* Pornography. Do you watch it/like it?

With the exception of musical items that have themes relating to pornography, I don’t own any. So many Jews are involved in the pornography industry and donate massive amounts of money to organizations such as AIPAC, JINSA or the settler movement in Israel and I try my best not to funnel money into areas that I know have a high concentration of Jewish ownership. I’m against the purchasing of pornography for political reasons. Politically speaking, pornography is a moral decision and should be treated as such. It is not a government’s role to dictate morality.

* What is your attitude towards drugs?

I do not do any drugs at all, but like pornography, taking drugs is a moral decision. It is not the government’s role to dictate morality. If someone wants to take drugs, so be it. The War on Drugs is a waste of taxpayer’s money and should be abolished. Like the War on Terror, the War on Drugs is waged against an ill-defined concept and is destined to fail.

* What book, CD, person and random thing would you take while going to the unknown island for a period of time?

Book: A medical journal. CD: Best of Beethoven as I can’t imagine ever getting sick of hearing it. Person: My wife. Random thing: First Aid kit.

* Your future plans with Brethren or other projects.

Brethren “Kingdom Coming” 7-inch on Freak Animal Records.

* Last words and wishes for the world or yourself or whoever.

“It doesn’t matter if immigrants are smarter, better behaved, better-looking, and superior in every way. I still don’t want to be replaced by them. I love the traditions of the West; not necessarily because they are superior, but because they are mine, just as I love my children because they are mine, not because they have high IQs.”- Jared Taylor
terror.it

1 Grunt – Wings Of Revolution 4:36
2 88MM – Funeral March Of The Cosmological Principle 6:09
3 Griz+zlor – Statue003 5:03
4 Brethren (4) – Zionist Axiom 4:01
5 Emil Beaulieau – The Wild Goose Goes 3:25
6 Mania (4) – Wake Up And Kill 4:26
7 Prurient – The Shortness Of Life 5:55
8 Grey Wolves, The Werewolf Ensemble – Awake! 5:04
9 FFH – Disposable Women 5:39
10 Green Army Fraction – Wielder 5:12
11 Fleshobedience – Defectives 4:02
12 Pain Nail – Watchtower 7:59
13 Nefarious Complex – Hymn Of A Psycho 4:13
14 Deathkey – Monolith 3:35

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