Does Sup Forums listen to RAC, NSBM or other genres of White Power music?
White Power Music
Benjamin Nguyen
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Luke Robinson
Bump
I love Skrewdriver and Johnny Rebel!
Ian Scott
fuck off faggot and let the real national socialists take overa
Bentley Myers
Above the Ruins - Progress
Anti-Marxist/(((diversity))) post-punk
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Jaxon Long
never heard of any of those faggots
Chase Gutierrez
anything from thr German natsoc band "landser"
Angel Phillips
terrible branding.
that symbol is the flag of degenerates
Asher Reyes
Would you like some Post-Punk with your Oi!?
Now here's a band with a fascinating bit of history. Before getting elected to the Front National's central committee in 1997, Robert Ottaviani began his career here as Ultime Assaut's lead vocalist. He has since attempted to distance himself from his past:
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Decking the cover is a crude illustration of an Arno Breker statue raising a sword in front of a blazing silhouette and some classical architecture.
Characteristic of most releases from Rebelles Européens, gritty reverbed rhythms drive the music like their fellow countrymen Légion 88 or Chauves Pourris. The songs here are consistently midtempo and have a strangely ethereal quality which ends up soundling like a French version of "Second Empire Justice" by Blitz. The mostly Oi! A-side is a complete drag, and all too many songs string you along with a few neat intros, but then drag you down in the conventional third-rate Oi! you're tired of hearing.
The music becomes much more interesting when the album delves deeper into Post-Punk on the B-side. The closer "L.V.F." has some neat Ska strokes while "Chômeur 80" bursts forward with Hardcore energy. Unlike the French pirate vocals of Légion 88's Alain or Kontingent's Laurent, Robert has this intoxicated, off-key moan which ranges from tolerable to grating. "Segneur Barbare" is perhaps his best performance since he keeps it at a volume just above a whisper. The instrumentation helps, too.
Highlights: "Guerriers Païens," "Chômeur 80," "Paris," "Segneur Barbare," "Les Cosaques," "L.V.F"
"Guerriers Païens"
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Full album ("Guerriers Païens" missing):
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Grayson Clark
Battle Zone have a sense of musical sophistication and songcraft that far outstrips other RAC bands of the era like No Remorse and English Rose, indeed some of these songs are so good it makes me wonder why this band are relative unknowns - but then I suppose they were playing in a crowded market. It’s a sophistication that sadly doesn't cross over into the lyrics department but ho hum. Battle Zone are a bit of a funny band in this sense with vocalist Alex Ellui later renouncing racism (and politics of any kind) when he formed two new international versions of the band: Battle Zone Peru based in Peru where he currently lives and Battle Zone USA with Phil and Perry of The Templars, two projects that sadly for Oi! fans haven’t amounted to any new records. You gotta feel a bit bad for the guy really, it must be hard fighting to keep the spirit of your old band alive all the while kicking yourself for some regrettable lyrics you wrote back in the day. Not that he needs my sympathy or anything…
Things get head achingly confusing here when the band whip out a cover of Bob and Marcia’s old reggae tune ‘Young, Gifted and Black’ entitled ‘Young, Gifted and White’ complete with saxophone. Most amusing to me is ‘Rent Boy’, bashing gay skinhead fetishists - ‘You claim to get turned on by our style of dress!’
The opening track strikes me the most; it's hard hitting with bulldog power and with Alex’s gravelly bark at the forefront, it makes you feel ready for war. Throughout the quality never wavers - this is as hard as Close Shave but boasting tighter musical arrangement. You gotta dig that rather surreal album cover too.
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Jordan Parker
European classical music best white power music desu
Adrian Howard
Funny how people love to talk of the glories of classical music neglect the fact their composers were often as fucked up as artists living today. While musically a genius, Mozart chronically mismanaged his money and took great pleasure in scatological humor. Without a lick of business sense, Mozart could neither sell himself nor his music to any appreciable degree. The notoriety his music continues to bask in is entirely posthumous, and scholars still can't explain away and contextualize his fixation on scatological humor or the fact he was a terminal fuck-up.
Face it, folks. There's a reason why most artists live on the periphery of respectability.
Ryan Torres
rac is ok but i prefer nsbm and wp/racialist/etc. noise
Jacob Johnson
Johnny Rebel, Vaginal Jesus, Anal Cunt
Josiah Evans
The only inherently white music is classical. Reminder that Richard Wagner was Hitler's soundtrack to the invasion of Poland.
Connor Mitchell
See
Jonathan Cox
The invasion of Poland was one of the stupidest things Hitler did.
Cameron Martin
After a long period of hesitation, I finally buckled down and gave Kontingent 88’s debut album a proper listen. Despite my disparaging remarks made in my review of their superior sophomore, “Au service de nos ancêtres” still has its own charm. It was certainly much better than I was initially led to believe*. Unlike their skinhead contemporaries, Kontingent 88 stood out from the pack as an Oi!-inspired RAC band channeling Hard Rock and Heavy Metal, transitioning from their demo days as a brutish Nazi Punk band to something rather promethean. Metal was still foreign to the far-right music scene in 1989 even with the release of Kahlkopf’s “Soldat” that same year, so the transition from Oi!/Punk to Metal could very well have started here. Also unlike many of their contemporaries, the boys themselves didn’t look like your typical Aryan übermenschen. In fact, take off the white power t-shirts and they'd fit right in at your high school's D&D club. Their musical prowess certainly compensated for their unassuming appearances.
As with other Rebelles Européens releases, the hollow, tinny lo-fi production befits a Black Metal album far better than what the band aimed for. While lending a palpable crunch to the guitar tone, the stripped down intensity leaves the listener with an underpowered RAC album aspiring towards greatness. Even so, they make do with their limitations and upping the tempo brings out their best. Perhaps the album’s single most identifiable facet is Laurent’s vocal performance. His thick accent sounds exactly like a cartoon Frenchman complete with a slightly nasally, croaky voice punctuated by the occasional “hon hon.” How he managed to sound more human on the sophomore is anyone’s guess, but depending on how you feel, its charm will either carry you through or immediately turn you off after the first few minutes.
Xavier Barnes
The album opens with “Guillaume le Conquérant”, a song propelled by its mighty galloping riffs charging from start to finish before topping it off with its unforgettable chorus. Even with the production, the song is thoroughly engaging. Were this song covered by a band with better production values, you’d be hard-pressed not to tap your foot, pound your first and bang your head. Following the mighty opener is the somber “1789”, which, as the title suggests, focuses on the French Revolution. A down tempo and plodding Hard Rock song, the band laments the nation’s birth of democracy during that tumultuous, bloody era. Francophones will probably respond much more strongly to this tune, but to me, the song’s monotonous riffs and repetitive chords do little to project any sort of identity despite the lyrical content.
We’re then treated to “Le mythe”, an uptempo song delving into the Holocaust and the gas chambers. Featuring a songtitle leaving no mystery where the band stands on the issue, the track thunders along with its thrashy riffs and glorious tremolos, climaxing with non-stop energy before fading out. Succeeding on account of its dynamic progression, it only takes a couple moments to catch its breath before pummeling you again with its riffage.
David James
Two proceeding midtempo Hard Rock tracks include populistic rabblerousers “Halte!” and “Un Matin la Révolution”, the former barking anti-communist sentiments while the latter beseeches the presumably proletarian listener to break from the communist rhetoric and take up the mantle as defenders of the West. “Halte” follows the punky Oi!/Hard Rock convention established by their skinhead compatriots until it reaches its rather metallic solo and then promptly resumes with the formula.; a solid track, but far from outstanding. Despite what the lyrical description would lead you to believe, “Un Matin la Révolution” follows some rather plodding chords which carry the song until the very end where it changes for the solo. By then, it’s too late and out of place considering the rest of the song.
Then comes the album’s one of their two nastiest songs “Les fleurs du mal”. Uncompromising and full of spite, the band calls for the heads of all drug pushers for their presumed part in the western world’s decline. Full of broody, gloomy riffs and progression coming to a climax at the solo, the song highlights their penchant for dynamics.
But enough meandering in the midtempo. Back on our horses for “Unité Blanche”. Bringing back the metallic riffage established in “Guillaume le Conquérant” and “Le mythe”, the song gallops forward, pleading for all nationalists to unite under the same banner and fight. Not as strong as the other uptempo songs, the riffs engage you enough to keep you interested. Curiously, no live recording of this song has ever surfaced, and presuming they never performed it live, this would be rather unusual considering the straightforward, banging riffs would work as a crowd pleaser.
Jack Hill
Jacob Green
Cooper Smith
Dedicated to executed Fascist writer Robert Brasillach, “Notre Après Guerre” mourns the decadent culture of modern Europe. The riffage is reminiscent of “Halte”, with Oi!-inspired progressions but achieves much more dynamic on account of its mood-shifting, metallic soloing and galloping riffs towards the end. Even so, the song still feels unfinished, and after hearing the last section, you’re left yearning for more. Unfortunately, you won’t be getting it.
Hard Rock goosestepper “Germania” celebrates the Third Reich with its groovy riffs and footstomping beat. The song accelerates halfway through, letting the bass take over before soloing out. Despite the song’s attempt at anthem, it feels rushed and a bit dull, and you’ll lose interest quickly.
The album then closes with Muslim-baiting “Mohamed”. Standard Oi!/RAC riffs carry the song to the end as the lyrics threaten Muslims dependent on France’s generous dole with murder. “Mohamed” is what everyone who has never heard an RAC album expects from such a band; full of bald-faced bigotry, simple chords and outright nastiness. You’d be inclined to call this daring considering a song like this could never legally surface in today’s Europe without attracting attention from authorities. Regardless, the song isn’t even half of what these guys are capable of.
*For whatever reason, the band saw fit to edit out whole sections of the songs on the compilation “Integraal 2007”, which explains why some songs transition awkwardly and feel incomplete. The compilation did breathe some life into the sophomore's songs, but completely butchered the debut.
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Isaac Moore
Doesn't make it less inherently white.
Adam Wilson
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p good although i know skinheads are degenerate, prefer them over sjw's and lefty's though
Wyatt Adams
comfy posts m8
Tyler Richardson
Prior to the shared dominance of Neofolk, Martial Industrial and Folk Metal within the far-right music scene, evocative and melodically harmonious music rarely found itself manifested in Rock Against Communism. For over three decades, RAC, lyrically and musically, sounded primitive and thuggish; even the ballads of Ian Stuart and his contemporaries channel their working class frustration with a gruff timbre. Kontingent’s Générations futures proves an outstanding exception. Graduating from primordial Oi! origins, their sophomore’s minor key riffs played in unison with acoustics and quality Hard Rock a la The Cult all culminate in producing France’s finest RAC offerings. Only one of two records released on Rebelles Européens’s ill-fated imprint White Metal Records, Générations futures saw Kontingent’s last studio release before breaking up some time afterward, remembered by true believers and weirdoes like me.
A cleaner production marks the first improvement on Générations futures. Although a bit thin, the music here is much more listenable than on the predecessors. The metallic Hard Rock still recurs here, but it’s executed with much better precision and songwriting. The tracks run decent lengths which never overstay their welcome, and the enjoyable soloing breaks up the monotony as well as highlight the guitarist’s flourishes. Also highlighting the album is Laurent Malley’s performance as a vocalist. Abandoning the croaky grunts, he sings with a soothing timbre which only occasionally stumbles over some sour notes. He’s no Bruce Dickinson, but he conveys the albums themes with conviction that's worthier than the vast majority of his contemporaries, including the goat-voiced Saga. His singing certainly redeems his other role on bass; serviceable, but completely pedestrian.
Aaron Ward
>Fascist "music"
HAHAHAHAHAHhahahahahahahAHAHAHAHAHAHAHAHAHAHAHA
Logan Nguyen
As with the production, the guitars highlight the album’s songwriting. Brooding minor key riffs comprise the entire album’s length. The guitar tone is thick, heavy and a bit fuzzy, but not overbearingly so. The album’s Hard Rock reminisces of The Cult, but “Victoire” channels NWOBHM-inspired Heavy Metal with unhindered prowess. Also adding to the album’s aesthete are acoustic guitars played in unison with the riffage on two separate occasions. You'd assume the two would clash unpleasantly and compete with each other for dominance in the mix, but they mesh together in a balanced, evocative harmony.
I never expected the same band which produced shoddy predecessors like 1789 and Au service de nos ancêtres to leapfrog on their final studio release. I even questioned whether these two were the same band, but the rear pressing of this release and some shoddy live performances of these songs confirmed it. Whether or not your personal views diametrically oppose band’s message, the album is just a joy to listen to. A shame this would be their final studio release.
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Austin Taylor
Did someone say NSBM?
Colton Cruz
/nsbm/ master race reporting in
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Elijah Cruz
Y'all need more Spear of Longinus
Julian Watson
heard of them but not really my thing t b h
Eli Roberts
Heard anything ITT?
Parker Stewart
Nokturnal Mortum was pretty good. No idea what happened to them since Putin took an interest in Ukraine.
Thomas Gray
ENTARTE KUNST
Liam Stewart
Uh huh.
Classical composers were degenerates
Caleb Reyes
Yes, i like martial industrial, some NSBM (mostly Absurd) and a few Nordfront songs
Jose Gray
My guy.
Power electronics is the white man's genre.
John Gray
>Does Sup Forums listen to RAC, NSBM or other genres of White Power music?
Yes. Yes I do.
Anthony Price
not really previously familiar with anything, i listed to some tracks and enjoyed them. i am/was very into punk/hc but am not very familiar with much rac/oi as i was not as right-wing back in the day when i had time to voraciously devour music, before work and family problems took up a lot of my time. closest thing i probably am familiar with is certain right-leaning NYHC bands/songs. this song fucking rips
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this
no blues no jazz no rock no african rhythms and syncopation, just hate and anger
Samuel Morales
>This is a nazi
>Is actually an actor
2/10
Some more edge:
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Kevin Gutierrez
Christopher Clark
I'm a mothafuckin raver with that hard style flava
Jeremiah Williams
Muh nazi uniform. Muh hitler youth haircut. Muh ebil skinheads.
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Thomas Parker
If anyone wants to download WP/NSBM/PE etc., for free obviously, check this site out:
Also some of my fav artists are:
Brethren
Ethnic Cleansing
Goatmoon
Organized Resistance
Ossewabrandwag
Johnny Rebel
Slave State
Streicher
Terre Blanche
Ryder White
>white power music
please kys
Elijah Smith
Adam Allen
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my favorite.
Eli Sullivan
Christopher Fisher
They're degenerate filth.
John Hernandez
The only white power music is Bach, Beethoven and Brahms.
The rest is degenerate ear rape for prison tier rednecks.
Henry Hughes
I know some meme songs most germans I know also know about. Opa war Sturmführer, or Polackentango, Türke Türke was hast du getan.
Stuff like that, pretty catchy.