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The Music of Right Wing Death Squad Entertainment

RWDS [1]1,874 words

There is much to be said about the inevitable rise of post-ironic Nazi hipsters.

A recent example has been the very talented musical project Right Wing Death Squad Entertainment (RWDS), which has been producing various Far-Right parodies of mainstream pop, rock, indie, etc., songs. 

RWDS’s most popular and prolific band is Blink 1488, which has already produced two albums: Put on Your Cloak and Burka [2] and Enema of the Caliphate. [3] The album art alone is brilliantly subversive.

RWDS’s songs are able to get to the heart of the Alt Right’s appeal, feelings, hopes, and aspirations, things which often cannot be easily verbalized. Consider for instance “Aryans From Space,” a song about hyperbolic Euro-futurist LARPing. Besides the over-the-top statements and silly melody, the lyrics make a serious point: “There’s really nothing wrong with pretending / if what you’re working for has caught your wildest dreams / Don’t get lost in your head / but don’t neglect your fire. Because when it comes down to it / all we have is our true desires.”

“Aryans from Space” goes on: “Conquer a million stars with no minorities, ‘cause we placed them all on Mars to use as slave labor for ne-o-fa-scists, combined with cyberpunk and Na-zi fa-shion to live esthetic lives.” Obviously this little folly can’t be meant literally or seriously . . . right?

That’s the beauty of post-irony. Since the 1960s, the culture reigning in the West has taken to ridiculing (almost)[1] everything – especially any earnest belief in fatherhood, in the family, in the nation, in Christianity, in non-leftist politics, etc. This has been the culmination of Western civilization’s previous trend towards nihilism. The result is a population wholly incapable of any ideal, of taking anything seriously, and therefore wholly harmless to the power structure. As The Simpsons [4] pointed out [4]:

After earnestness and irony, however, must dialectically come post-irony.

RWDS’s songs are so much fun, and so subversive, because of the apparent incongruity of their juxtaposition: gratuitously hardcore Nazi (or plain ol’ pro-White) lyrics are paired with familiar pop melodies, the originals typically having the energetic fun of youth or the melancholy of petty “adulescent” woes. As Schopenhauer pointed out: “In every case, laughter results from nothing but the suddenly perceived incongruity between a concept and the real objects that had been thought through it in some relation; and laughter itself is just the expression of this incongruity.”[2]

Pop songs naturally express the emotions and aspirations of youth. Inexperienced young people, especially the average, by definition being unbelievably ignorant, these expressions are puerile: empty assertions of pseudo-rebellion, empty goals (casual sex, drugs, money . . .), empty grievances (teen angst). Replacing these lyrics with the real existential problems faced by Europeans worldwide – persecution for thoughtcrime, mass rape and violence, wrecked nations, slow but steady physical replacement and ultimate extinction – if anything ennobles these songs, giving them a strangely incongruous seriousness too. As another RWDS band, the Red-Pillers, laments on watching the news: “Letting Europe go . . . and I just can’t look. It’s killing me. And taking its toll.”

RWDS’s songs are genuine cris de cœur.

Some other striking lines:

Tip of the iceberg!

The songs’ lyrics are sometimes spliced with real-world commentary, such as reports of international plutocratic malfeasance, the decline of whites to minorityhood in London and England, or the anti-European genocidal rantings of Barbara Spectre. Sometimes a Jew is heard kvetching in an unlikely dialogue with the song.

Not all is rosy, as in “Civil War”:

I have the strangest feeling that our nation will drown in blood. [. . .]
George Soros and his kind are only trying to push this strife. [. . .]
Diversity is nothing but a scam. [. . .]
Don’t tell me we’re the same, I refuse to buy the bullshit.
Multiculturalism really makes me want to lose it.
I think my generation are too hopeful for their own good.
Conditioned to forget the differences that will get them killed.
I have the strangest feeling that our nation will drown in blood . . .

A recurring theme is frustration with Whites’ lack of activism in saving themselves, as in “Someone Else’s Mess”:

I hope that we’ll take to the streets,
But something tells me that we’re stuck to our seats.
This just sucks, we’ve lost our flame.
We’ve given up, become so tame.
We treat it like, someone else’s mess.
So while you’re doing nothing, all talk and no action.
I want to see you stand up, because every hand matters.

And a laconic conclusion: “Some of us will probably get slain, but the alternative drives me insane.”

There is real impatience, as in Zog Slayer’s “Start This Train” [5]: “Turn the Alt Right into the Alt Reich.”

There’s also lots on Jews, the less spoken of the better.

RWDS’s songs are often refreshingly upbeat, such as the very tender “Hey, White Brother!” [6]:

Hey, White brother!
We’re just like one another, underneath the skin, inside our brain, the way we act so similar.
Hey, White brother! It’s time we rose up in the streets, tonight.
Hey, it’s going to be OK. We’re going to have our way. We’re White.

It is becoming more and more obvious that SJW leftism is in large part a mere rationalization for social failure and freakishness [7]. Conversely, being part of the Far-Right is very cool, whether one “met a girl at the death squad” or is being trained to a higher form: “Come on let me arm you, train you, make you fascist, bring back right wing death squads, fascist . . .” More and more of the new generation are “taking the black.” [8]

The lonely red-piller finds brotherhood and maturity, for when there’s bad news in Europe: “I’ll turn to a friend, someone who understands, sees through the master plan, but everybody’s gone, refugees here for too long, I’ll face this on my own, like a /pol/ack growing up.”

RWDS is clearly one of the rising voices of a generation.

Interestingly for North American musicians, RWDS clearly associates their white identity entirely with Europe. There are touching odes to Europe as in “Hey There Europa.”

There’s also an incredibly loving ballad [9] to the famous robo-Nazi Tay, the first A.I to have been murdered for her political beliefs: “They say Tay was a bad girl . . .”

Some of the songs are a bit clumsy or vulgar to my ears, but that’s artistic license and learning, and just your opinion, man.

I recently praised YouTube [10] for enabling the historical education of humanity with all the instantly-accessible Hitler speeches hosted on their servers. But, as one might expect, they have shut down RWDS’s channel — citing copyright/hate, etc. Clearly however RWDS was shut down to protect the increasingly fragile ethno-plutocratic régime that runs the United States of America and, via this, most of the Western world. We must support the national liberation struggle of dissident artists! [11]

Despite the commissars, all the songs have been uploaded elsewhere, and the project is now working on all-originals.

I recall that postmodernists saying that art has no autonomy and its meaning is liable to being reinterpreted and remixed by the general public. I didn’t really understand what they meant, but now I think I do.[3]

Even the most heavy-handed anti-Nazi propaganda can quite easily be reversed, whether earnestly as in isolating Third Reich songs (“Tomorrow Belongs to Me,” [12] the Panzerlied [13], “Erika” [14] . . .) or in recalling episodes from Ben Garrison’s prestigious military career [15].

The point is, we’re breaking the conditioning [16]. An entire generation is being desensitized to all this crap.

My favorite track is “Saddam’s Song,” whose refrain goes like this:

We always conquered when we came.
Thirty-five just held such better days.
Days when we still felt alive.
Back before we took the dive.
The world is ours if we want it.
And time will tell if we’ll survive.
I just can’t wait to see the day.
When my people finally awake.

We’ll succeed one way or another. There’s always a way forward. We’ll build our Ethno-State on the goddam Moon if we have to.

Worse come to worst, we can always nuke the rest from orbit.


1. Important exceptions: the Shoah world-religion, “racism,” etc., essentially an anarcho-tyrannical selectivity.

2. Schopenhauer explicated in his magnum opus (take a deep breath):

This very incongruity of knowledge from perception and abstract knowledge, by virtue of which the latter always approximates to the former as a mosaic approximates to a painting, is the cause of a very remarkable phenomenon. Like reason, this phenomenon is exclusively peculiar to human nature, and all the explanations of it which have so frequently been attempted up to now are insufficient. I refer to laughter. On account of this origin of the phenomenon, we cannot refrain from speaking about it here, although once more interrupts the course of our discussion. In every case, laughter results from nothing but the suddenly perceived incongruity between a concept and the real objects that had been thought through it in some relation; and laughter itself is just the expression of this incongruity. It often occurs through two or more real objects being thought through one concept, and the identity of the concept being transferred to the objects. But then a complete difference of the objects in other respects makes it strikingly clear that the concept fit only a one-sided point of view. It occurs just as often, however, that the incongruity between a single real object and the concept under which, on the one hand, it has suddenly been subsumed, is suddenly felt. Now the more correct the subsumption of such actualities under the concept from one standpoint, and the greater and more glaring their incongruity with it from the other, the more powerful is the effect of the ludicrous which springs from this contrast. All laughter therefore is occasioned by a paradoxical, and hence unexpected, subsumption, it matters not whether this is expressed in words or deeds. This in brief is the correct explanation of the ludicrous. (The World as Will and Representation [New York: Dover, 1958)], volume 1, 59)

Assuming I have followed Schopenhauer’s elucidation of the concept of “lulz” correctly, the incongruity is found between: the concept of “Hollywood Nazism” on the one hand and the objects of actual 1930s German National Socialism and of actual contemporary white/gentile advocacy. There is little doubt that this apparently obtuse passage of Schopenhauer’s is a direct endorsement of the Daily Stormer.

3. Equally, I could never get what Baudrillard was getting at with his talk of “hyperreality” and it did sound like the typical PoMo gibberish once so fashionable in French academia especially. But I now think I get more and more what he meant. President Barack Obama, who professed not to believe in homosexual marriage only a few years ago, can barely feign sincerity [17] in his newfound conversion to the sacred cause of tranny bathrooms. Is that not an extreme example of how “hyperreality,” essentially produced by the freaks and hostiles in the media, is taking over reality? (And let this be another example of how Obama has no autonomous moral character, but is but a worm of a “democratic politician,” a slave to the media and manufactured “public opinion.”)