Counter-Currents
  • Private Events
  • T&C
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
  • Webzine
  • Books
  • Podcasts
  • Donate
  • Paywall
  • Crypto
  • Mailing List
  • About
  • Contact
  • RSS
    • Main feed
    • Comments feed
    • Podcast feed

LEVEL2

  • Webzine
  • Books
  • Podcasts
  • Donate
  • Paywall
  • Crypto
  • Mailing List
  • About
  • Contact
  • RSS
    • Main feed
    • Comments feed
    • Podcast feed
  • Private Events
  • T&C
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
Print March 4, 2020 8 comments

Death in June’s The Rule of Thirds

Scott Weisswald

1,784 words

Released 12 years ago yesterday, March 3rd, 2008, Death in June’s The Rule of Thirds is a somber and introspective record that tussles with the concepts of aging and death, love lost, and the decay of the surrounding world. It’s recorded in the characteristic stripped-back, solemn, guitar-centric style of Douglas Pearce, Death in June’s sole constant member, and made complete with sample work that successfully jars one back into consciousness after falling into the meditation-inducing hypnosis of the album’s simple, yet remarkably beautiful melodies.

The Rule of Thirds is the first original studio release from Pearce following his collaboration with noise-and-martini-peddling Boyd Rice, 2004’s haunting Alarm Agents. Pearce shows a significant degree of maturation in the span of these 4 years, something especially noticeable when Death in June’s discography as a whole is considered. Alarm Agents was a guidebook for the living to become one with their soul; The Rule of Thirds is a rumination on what one has left to do afterward.

The Rule of Thirds opens with the sparse, yet still warm, “The Glass Coffin.” With nothing other than spacious strums, the tweeting of birds, and Doug P’s trademark deadpan delivery, “The Glass Coffin” conjures imagery of witnessing the passing of the world from some distant vantage point; one where there’s plenty of time to ponder the significance of buzzing flies, final ceremonies, and the importance of grief. “The Glass Coffin” treats death and loss as inevitabilities worthy not of tears, but of celebration. A common charge leveled against the work of Death in June is that Doug only knows a handful of chords on the guitar that he plays ad infinitum. This is true, and is apparent on “The Glass Coffin.” But such criticism is more a betrayal of a listener’s want for depth; there are only a few different sounds you can paint the scene set in “The Glass Coffin” over. Call them sacred, if you will — all the more grounds to welcome their repeated presence.

“Forever Loves Decay” is the second track, and it melds an unmistakable optimism with sobering depression. “Forever Loves Decay” is not a whine, however; it’s more of a triumphant casting-off of that which a person no longer needs. Pearce, wizened by his years yet susceptible to the same traps that plague any human being, proves he is more than ready to watch those unfaithful to an unnamed cause — a relationship, a movement, a worldview — drift away, like “honey in the sun.” “Forever Loves Decay” puts some of Pearce’s more unexpected musical influences on display, like the 60s pop-inspired chord progression and the found-sound sensibilities of the echoed clapping in the background.

“Jesus, Junk, and the Jurisdiction” is the song most explicit about growing old on the album. With shimmery guitars and a hiss-filled vocal sample — “carry on living for a bit longer” — Pearce tells the tale of his journey from a bright-eyed youth to the man watching himself gray in the mirror with each passing day. The world changes around him with an equally hurried pace, but Pearce evidently feels like he’s been caught in less of a whirlwind and more of a cruel game of watching his influence on the planet get passed down without credit to his name: “I have lost what you have found.” This may also reflect Pearce’s struggles with writer’s block that plague him to this day. Pearce is also not simply observing his aging, but comparing it to a point of reference. “I’m as gray and white as you” is deliberately vague. He may be likening himself to a mythical figure, to the listener, or to Europe itself; after all, it would be foolish to disagree that the mother continent isn’t beginning to see a creak in her knees.

“Idolatry” is a love song in the most exquisite fashion. Pearce makes endless reference to the cosmos, thinly veiled euphemisms for the dynamics of fetish and submission, and compares the object of his desire to a deity of his own fashioning — idolatry. “Idolatry” smacks of bittersweetness on account of the strength of its metaphor. One gets the impression that the relationship in question — whether it was real or imagined — didn’t work out. This is apparent both in lines like “You’ll always be Universe to me,” a promise that implies the existence of intervening circumstances, and because the passion that pours from Pearce’s lips are not typically seen in romances that resolve amicably. The happily-married couple lives contentedly, not in constant throes of lust. A love cut short, or perhaps never requited, has no such opportunity for devotion to become a habit. It lives on as painful, exciting, and mystical limerance. If you’re not quite over your ex, I would recommend skipping this track.

You can buy Greg Johnson’s The White Nationalist Manifesto here

“Good Mourning Sun” may be the album’s most beautiful track. It revels in its own juxtaposition and homophonic play on words; Pearce’s refrain of “Good Morning Sun” in the chorus is both a greeting to the break of daylight and also a string of adjectives. Watching the sunrise has been a habit of Europeans for quite some time; we’re often willing to sacrifice sleep for it. Pearce tells of life’s struggles, but can’t help but be overcome with joy at the sight of the caring Sun’s warm glow. Without it, we’d not be here to feel pain, but we also wouldn’t be here to see it peek over the horizon and paint the sky magenta.

“The Perfume of Traitors” is the flipside to the exuberant love expressed on “Idolatry.” Doug’s staggering lyricism seems to imply the payment of one’s deceased lover’s journey across the river Styx, and comforting them with the knowledge that despite there being no God to save them from their fate, the two would be rejoined in the afterlife and will exact their revenge on the world above later — “God is now here.” “Traitors” is certainly the most plaintive song on the album, and serves as an excellent midway point, for it demarcates the break between Pearce’s more sentimental (it would be disingenuous to say uplifting) tracks in the album’s first half and the lamentations that will follow.

“Last Europa Kiss” is a post-apocalyptic memoir. It has some of the album’s best prose — “I’ve not forgiven, nor forgotten / the fallen or downtrodden” — and a surprising degree of clarity from Pearce, known for his nebulous writing and obscure philosophy. Pearce states repeatedly that “we” are “the future,” and his refusal to “forgive” those who’ve fallen in the past suggests the intent, or at least desire, to carry out the deeds his forebears failed at realizing. Occult imagery, like burning brush and metaphorical doors, are used to drive the point home: Pearce fashions himself as an agent of chaos. It’s difficult to argue otherwise; the man has a habit of sparking protests at his shows or placing cursed invocations at the end of his records. “Last Europa Kiss” is a bold refusal to abandon these methods, even if it means losing the very thing you love. “Kiss” may be a form of catharsis for Pearce, who resided in Australia at the time of recording — and still does — and has ceased touring since his final performance in Israel, in 2017. He seems to have anticipated a need to leave the continent, and potentially never return, long before such a move became necessary.

Title track “The Rule of Thirds” opens with another sampled bit of dialogue: “Alles in Ordnung!” and maintains an impatient chord for its entire length. Pearce has strong words; he promises the insolence of the universe for those that dare to defy its laws, including that of death’s inevitability. Pearce, so gentle in diction and speech, even manages to make such a vulgar line as “a golden shower for that sacred cow” into something that sends chills down the spine for its mystic implications. The urgency in Pearce’s voice is hypnotic and forceful, making this song one of the album’s most gripping.

“Truly Be” follows, and it is the album’s most incoherent work. It also lacks the same invigorating or haunting guitar work that dressed other songs, making “Truly Be” into a less-than-memorable spectacle. We can’t always be perfect, and Pearce, as seemingly supernatural in style as he is, is no exception.

“Their Deception” is both a denouncement of the endless wars of the 21st Century and a suitable preface for the track that follows. Pearce is not one to name names but is exceedingly skilled in communicating his meaning through the lens of folk heroes and interpersonal relationships. The poignancy of “Their Deception” is in the contrast of the martyr and the false homage paid to him by those who believe not in his cause but in his usefulness. For this reason, “Their Deception” is suitably melancholy, as it is a reflection on the brave souls lost to the machinations put into motion by those lacking a soul at all.

“My Rhine Atrocity” follows, a regaling of some undefined crime against humanity on the banks of the Rhine river. Pearce’s repeated cry, “let the blackbirds kiss me,” and its escalating urgency as it melds with the warped samples of carnival music and guitar strumming make for one of the album’s most dazzling and upsetting moments. The precedent set by “Their Deception” makes “Atrocity” even more painful, for one can only wonder just how many martyrs were created by the doom Pearce spells out for us. “Atrocity” is an unanswered prayer for nature to avenge the crimes of man, for they cannot be undone. In Pearce’s own words, “time lost is never regained.”

“Takeyya” is the penultimate track. It is a reference to the Islamic concept of taqqiya, an endorsement of lying or denying one’s faith when admission to it endangers the believer or the religion as a whole. “Takeyya” tells the story of memories, lives, and ideas washed away with the passage of time because no one chose to defend them. Pearce makes use of the term “the Bloody Underground” multiple times, suggesting that the cultures, people, or even gods that exist outside of the mainstream are bound for only two possible ends: absorption or destruction. A sample of a man reading the famous Kipling line “what do they know of England, who only England know?” is repeated throughout the song. If one were to ask Pearce, seemingly nothing.

“Let Go” ends the album drowsily, with Pearce’s reverb-drenched strumming melding with ambient instrumentation and sampling to create a woozy wall of sound. Pearce tells us to “let go” for the track’s four minutes before a French vocal sample closes the record out alongside the faint strikes of a distant drum and industrial hum. Maybe we should.

 

Related

  • Counter-Currents Radio Podcast No. 445
    The Writers’ Bloc with Kathryn S. on Mircea Eliade

  • Rammstein’s Deutschland

  • Memelord Dalí
    Remembering Salvador Dalí
    (May 11, 1904–January 23, 1989)

  • Robert N. Taylor of Changes:
    An Interview

  • Killing Joke’s The Death & Resurrection Show

  • Ianva, the Kiss of Italian Neofolk

  • A Bit of the Good Book —
    From an Ethnonationalist Perspective

  • M8l8th’s Reconquista

Tags

apocalyptic folkDeath in JuneDouglas Pearcemusic reviewsmysticismneofolkreligionScott Weisswaldthe occult

Previous

« Richard Weaver’s The Ethics of Rhetoric

Next

» The Three Faces of the Joker

8 comments

  1. Fenek Solere says:
    March 4, 2020 at 9:48 am

    Early Death in June material is something really very special
    Best
    FS

  2. The Rememberer says:
    March 4, 2020 at 7:50 pm

    Momento Mori

  3. Petronius says:
    March 5, 2020 at 5:46 am

    Please do a review of my favourite DIJ album “The World That Summer”. The REALLY good and unique material ended with “Rose Clouds of Holocaust” (1994)…

    1. Fenek Solere says:
      March 5, 2020 at 8:30 am

      Dear Petronius,
      That is a great double album but I actually think their earlier stuff was better still! I will talk to Scott about working on something because DiJ do certainly deserve more credit than they get!
      Best
      FS

    2. Scott Weisswald says:
      March 5, 2020 at 10:59 am

      It’s funny; my tastes in DI6 tend to skew to the opposite of what popular opinion is. Alarm Agents and Brown Book are probably my favorites, with Thirds being up there as well alongside Summer and Guilty. I have commemorative reviews planned for all of these. I wouldn’t necessarily say that Pearce lost his edge after Holocaust, since All Pigs Must Die is a genuinely chaotic work and was revolutionary for the genre in the early 2000s. I actually plan on beginning work of a history of neofolk, beginning after the dissolution of Crisis. For that reason, I may also not be writing as many reviews of new releases, save those of important cultural note or anything from Pearce in the time being, which may be more likely than some think.

      TL;DR fret not, you’ll see more on Pearce and company soon.

      1. Tom Gower says:
        March 6, 2020 at 3:40 pm

        It would be great to see some reviews on some of the albums of Der Blutharsch, Derniere Volonte, LJDLP and such like.. The whole martial industrial scene seems to have disappeared with Derniere Volonte now a dark wave/ synth project and Der Blutharsch now some psychedelic rock band. Of course these bands are still producing some great stuff and some might argue that they have matured musically.

  4. Dazz says:
    March 5, 2020 at 9:15 am

    A joy to see DIJ review and I second Petronius request of earlier (and better) DIJ albums…however did you not see any connection with “My Rhine Atrocity” and the occupation of the Rhineland after both world wars?

    Negro French troops siring ‘Rhineland bastards’ is well known, but also 1945 American Rhine Meadow Camps/Rheinwiesenlager where German soldiers were placed as ‘disarmed enemy forces’ rather than as ‘POWs’ so that they never had to be bound by Geneva Convention in their treatment of them..the numbers of death is debated (0bviously American downplay), but millions suffered in the camps.

    1. Scott Weisswald says:
      March 5, 2020 at 11:00 am

      I did, but I think Pearce’s intent here was to contextualize that within the history of bloodshed along the riverbanks more generally.

Comments are closed.

If you have Paywall access,
simply login first to see your comment auto-approved.

Note on comments privacy & moderation

Your email is never published nor shared.

Comments are moderated. If you don't see your comment, please be patient. If approved, it will appear here soon. Do not post your comment a second time.

  • Recent posts

    • Neema Parvini’s The Populist Delusion

      Greg Johnson

    • Europe’s Eastern Shield

      Nicholas R. Jeelvy

      4

    • Céline vs. Houellebecq

      Margot Metroland

    • White Identity Nationalism, Part 3

      Neil Kumar

      2

    • White Americans’ Racial Consciousness is No Longer an Unknown Quantity

      Beau Albrecht

      15

    • The Tex-Mex Misfit Massacre

      Jim Goad

      18

    • White Identity Nationalism, Part 2

      Neil Kumar

      3

    • Counter-Currents Radio Podcast No. 448
      The Writers’ Bloc with Karl Thorburn on Mutually Assured Destruction

      Counter-Currents Radio

    • The US Spring Primaries are a Sign that White Identity Politics is Here to Stay

      Cyan Quinn

      6

    • The Union Jackal, May 2022

      Mark Gullick

      5

    • White Identity Nationalism, Part 1

      Neil Kumar

      4

    • Counter-Currents Radio Podcast No. 447
      New Ask Me Anything with Greg Johnson

      Counter-Currents Radio

      3

    • On Racial Humor

      Spencer J. Quinn

      26

    • Facts on the Ground

      Hamilton T. Burger

      4

    • Counter-Currents Radio Podcast No. 446
      James J. O’Meara on Hunter S. Thompson

      Counter-Currents Radio

      2

    • O Manifesto Nacionalista Branco:
      Parte 3, Genocídio Branco

      Greg Johnson

    • The Worst Week Yet:
      May 15-21, 2022

      Jim Goad

      24

    • Lauren Oyler’s Fake Accounts

      Anthony Bavaria

      6

    • The Copypasta Apocalypse
      From Jesus to Gendron, via Brother Stair

      James J. O'Meara

    • The Life & Death of a Patriot:
      Personal Reflections on the Great Replacement

      Veiko Hessler

      2

    • Remembering Richard Wagner
      (May 22, 1813–February 13, 1883)

      Greg Johnson

    • This Weekend’s Livestreams
      James O’Meara on Counter-Currents Radio & Karl Thorburn on The Writers’ Bloc

      Greg Johnson

      4

    • The Counter-Currents 2022 Fundraiser
      Every Man an Editor

      Greg Johnson

      7

    • Against the Negative Approach in Politics

      Nicholas R. Jeelvy

      6

    • What Christian Nationalism Looks Like in Current-Year America

      Robert Hampton

      25

    • “Should War Be Criminalized?”

      Greg Johnson

      5

    • O Manifesto Nacionalista Branco:
      Parte 2, Extinção Branca

      Greg Johnson

    • Morálka lidské mysli Jonathana Haidta, část druhá

      Collin Cleary

    • Animals & Children First

      Jim Goad

      41

    • The Great Replacement Prize

      Greg Johnson

    • Remembering Julius Evola
      (May 19, 1898–June 11, 1974)

      Greg Johnson

    • Counter-Currents Radio Podcast No. 445
      The Writers’ Bloc with Kathryn S. on Mircea Eliade

      Counter-Currents Radio

      2

    • O Manifesto Nacionalista Branco:
      Parte 1, Introdução

      Greg Johnson

    • Extremities:
      A Film from Long Ago that Anticipated Today’s Woke Hollywood

      Stephen Paul Foster

      10

    • The National Health Service:
      My Part in Its Downfall

      Mark Gullick

      10

    • Male Supremacism in the United States?

      Margot Metroland

      2

    • Counter-Currents Radio Podcast No. 444
      Ask Me Anything with Greg Johnson

      Counter-Currents Radio

      1

    • Fallen Castes

      Thomas Steuben

      18

    • Work to Be Such a Man

      Morris van de Camp

      6

    • Be a Medici:
      New Patrons for a New Renaissance

      Robert Wallace

      21

    • Counter-Currents Radio Podcast No. 443
      Interview with Jim Goad

      Counter-Currents Radio

    • Das Manifest des weißen Nationalismus:
      Teil 5, Die Wiederherstellung Unserer Weissen Heimatländer

      Greg Johnson

    • Where Do We Go from Buffalo?

      Jim Goad

      42

    • Rammstein’s Deutschland

      Ondrej Mann

      8

    • If I Lost Hope

      Greg Johnson

      5

    • Das Manifest des weißen Nationalismus:
      Teil 4, Wie Können Wir den Weissen Genozid Beenden?

      Greg Johnson

    • Payton Gendron & the Buffalo Massacre

      Greg Johnson

      66

    • The Counter-Currents 2022 Fundraiser
      Between Now and May 20th, Give a New Monthly Gift and Receive a New Book!

      Cyan Quinn

    • This Weekend’s Livestreams
      Jim Goad on Counter-Currents Radio & Kathryn S. on The Writers’ Bloc

      Greg Johnson

    • Remembering Hinton Rowan Helper

      Spencer J. Quinn

      11

  • Recent comments

    • Giles Corey White Identity Nationalism, Part 3 After this magisterial three-part essay, at the beginning of which Mr. Kumar painstakingly described...
    • illtakemystand White Identity Nationalism, Part 3 For coming from a person of color, these aren’t bad ideas.
    • Nick Jeelvy Europe’s Eastern Shield The Macedonian census is bullshit. Data from the state health insurance fund indicates Albanians are...
    • Vikings Europe’s Eastern Shield An even more important topic is the Albanian Question. Having traveled to all Balkan countries last...
    • La-Z-Man White Identity Nationalism, Part 2 This is powerful stuff. I get the impression I am reading a foundational document of a new nation,...
    • Alex Europe’s Eastern Shield Way to go, slandering Hungarians.
    • Bookai Europe’s Eastern Shield Antemurale Christianitatis- What a waste that idea was for my fatherland in practice. Partitions by...
    • La-Z-Man White Identity Nationalism, Part 1 Neil Kumar is a great patriot. I confess I was wholly ignorant of the Tacoma Axeman and some...
    • Alexandra O. The Union Jackal, May 2022 I love England and have friends there who have invited me to live with them for a month or two at a...
    • Rangers White Identity Nationalism, Part 2 The decline of America occurred after Nixon opened relations with a godless and perverted communist...
    • Texas Chainsaw Makeover The Union Jackal, May 2022 Had Pankhurst's statue been taken down, that would have been my good news story of the year. I...
    • Enough Already White Americans’ Racial Consciousness is No Longer an Unknown Quantity This is what I really dislike about this movement. Your mind automatically goes there because you...
    • Ryan White Americans’ Racial Consciousness is No Longer an Unknown Quantity Does this just count White women giving birth overall, not only those giving birth to White children...
    • Shift The Tex-Mex Misfit Massacre Thanks, Ms. O.  I did.
    • Beau Albrecht White Americans’ Racial Consciousness is No Longer an Unknown Quantity I do see some room for hope.  The System is losing control over The Narrative.  As long as this...
    • Beau Albrecht White Americans’ Racial Consciousness is No Longer an Unknown Quantity The way I see it, if only a few speak out, they can come down on us individually (cancel culture and...
    • Beau Albrecht White Americans’ Racial Consciousness is No Longer an Unknown Quantity Positive messages can make a real difference.  Ages ago, what pulled off the liberal blinders for me...
    • Stronza White Identity Nationalism, Part 2 These are barbaric, grisly procedures which include mastectomy, hysterectomy, castration,...
    • Rez The Tex-Mex Misfit Massacre He will spend the rest of eternity in a prison not of this world.
    • Rez The Tex-Mex Misfit Massacre It turns out you were right! This newest generation of police mostly resemble social workers trained...
  • Books

    • Kerry Bolton
    • Jonathan Bowden
    • Buttercup Dew
    • Collin Cleary
    • Jef Costello
    • F. Roger Devlin
    • Julius Evola
    • Gregory Hood
    • Juleigh Howard-Hobson
    • Greg Johnson
    • Jason Jorjani
    • Ward Kendall
    • Anthony M. Ludovici
    • Trevor Lynch
    • H. L. Mencken
    • J. A. Nicholl
    • Andy Nowicki
    • James J. O'Meara
    • Michael O'Meara
    • Christopher Pankhurst
    • Tito Perdue
    • Michael Polignano
    • Spencer J. Quinn
    • Savitri Devi
    • Fenek Solère
    • Irmin Vinson
    • Leo Yankevich
    • Francis Parker Yockey
  • Webzine Authors

    Contemporary authors

    • Howe Abbott-Hiss
    • Beau Albrecht
    • Aquilonius
    • Anthony Bavaria
    • Michael Bell
    • Alain de Benoist
    • Kerry Bolton
    • Jonathan Bowden
    • Buttercup Dew
    • Collin Cleary
    • Giles Corey
    • Jef Costello
    • Morris V. de Camp
    • F. Roger Devlin
    • Bain Dewitt
    • Jack Donovan
    • Ricardo Duchesne
    • Émile Durand
    • Guillaume Durocher
    • Mark Dyal
    • Guillaume Faye
    • Stephen Paul Foster
    • Fullmoon Ancestry
    • Jim Goad
    • Tom Goodrich
    • Alex Graham
    • Mark Gullick
    • Andrew Hamilton
    • Robert Hampton
    • Huntley Haverstock
    • Derek Hawthorne
    • Gregory Hood
    • Juleigh Howard-Hobson
    • Richard Houck
    • Alexander Jacob
    • Nicholas R. Jeelvy
    • Greg Johnson
    • Ruuben Kaalep
    • Tobias Langdon
    • Julian Langness
    • Travis LeBlanc
    • Patrick Le Brun
    • Trevor Lynch
    • Kevin MacDonald
    • G. A. Malvicini
    • John Michael McCloughlin
    • Margot Metroland
    • Millennial Woes
    • John Morgan
    • James J. O'Meara
    • Michael O'Meara
    • Christopher Pankhurst
    • Michael Polignano
    • J. J. Przybylski
    • Spencer J. Quinn
    • Quintilian
    • Edouard Rix
    • C. B. Robertson
    • C. F. Robinson
    • Hervé Ryssen
    • Kathryn S.
    • Alan Smithee
    • Fenek Solère
    • Ann Sterzinger
    • Thomas Steuben
    • Robert Steuckers
    • Tomislav Sunić
    • Donald Thoresen
    • Marian Van Court
    • Dominique Venner
    • Irmin Vinson
    • Michael Walker
    • Aylmer Wedgwood
    • Scott Weisswald
    • Leo Yankevich

    Classic Authors

    • Maurice Bardèche
    • Julius Evola
    • Ernst Jünger
    • D. H. Lawrence
    • Charles Lindbergh
    • Jack London
    • H. P. Lovecraft
    • Anthony M. Ludovici
    • Sir Oswald Mosley
    • National Vanguard
    • Friedrich Nietzsche
    • Revilo Oliver
    • William Pierce
    • Ezra Pound
    • Saint-Loup
    • Savitri Devi
    • Carl Schmitt
    • Miguel Serrano
    • Oswald Spengler
    • P. R. Stephensen
    • Jean Thiriart
    • John Tyndall
    • Francis Parker Yockey
  • Departments

    • Book Reviews
    • Movie Reviews
    • TV Reviews
    • Music Reviews
    • Art Criticism
    • Graphic Novels & Comics
    • Video Game Reviews
    • Fiction
    • Poems
    • Interviews
    • Videos
    • English Translations
    • Other Languages
      • Arabic
      • Bulgarian
      • Croatian
      • Czech
      • Danish
      • Dutch
      • Estonian
      • Finnish
      • French
      • German
      • Greek
      • Hungarian
      • Italian
      • Lithuanian
      • Norwegian
      • Polish
      • Portuguese
      • Romanian
      • Russian
      • Slovak
      • Spanish
      • Swedish
      • Ukrainian
    • Commemorations
    • Why We Write
  • Archives
  • Top 100 Commenters
Sponsored Links
Alaska Chaga Antelope Hill Publishing Imperium Press American Renaissance A Dissident’s Guide to Blacks and Africa The Patrick Ryan Show Jim Goad The Occidental Observer
Editor-in-Chief
Greg Johnson
Books for sale
  • Trevor Lynch’s Classics of Right-Wing Cinema
  • The Enemy of Europe
  • Imperium
  • Reactionary Modernism
  • Manifesto del Nazionalismo Bianco
  • O Manifesto Nacionalista Branco
  • Vade Mecum
  • Whiteness: The Original Sin
  • Space Vixen Trek Episode 17: Tomorrow the Stars
  • The Year America Died
  • Passing the Buck
  • Mysticism After Modernism
  • Gold in the Furnace
  • Defiance
  • Forever & Ever
  • Wagner’s Ring & the Germanic Tradition
  • Resistance
  • Materials for All Future Historians
  • Love Song of the Australopiths
  • White Identity Politics
  • Here’s the Thing
  • Trevor Lynch: Part Four of the Trilogy
  • Graduate School with Heidegger
  • It’s Okay to Be White
  • The World in Flames
  • The White Nationalist Manifesto
  • From Plato to Postmodernism
  • The Gizmo
  • Return of the Son of Trevor Lynch’s CENSORED Guide to the Movies
  • Toward a New Nationalism
  • The Smut Book
  • The Alternative Right
  • My Nationalist Pony
  • Dark Right: Batman Viewed From the Right
  • The Philatelist
  • Confessions of an Anti-Feminist
  • East and West
  • Though We Be Dead, Yet Our Day Will Come
  • White Like You
  • Numinous Machines
  • Venus and Her Thugs
  • Cynosura
  • North American New Right, vol. 2
  • You Asked For It
  • More Artists of the Right
  • Extremists: Studies in Metapolitics
  • The Homo & the Negro
  • Rising
  • The Importance of James Bond
  • In Defense of Prejudice
  • Confessions of a Reluctant Hater (2nd ed.)
  • The Hypocrisies of Heaven
  • Waking Up from the American Dream
  • Green Nazis in Space!
  • Truth, Justice, and a Nice White Country
  • Heidegger in Chicago
  • The End of an Era
  • Sexual Utopia in Power
  • What is a Rune? & Other Essays
  • Son of Trevor Lynch’s White Nationalist Guide to the Movies
  • The Lightning & the Sun
  • The Eldritch Evola
  • Western Civilization Bites Back
  • New Right vs. Old Right
  • Journey Late at Night: Poems and Translations
  • The Non-Hindu Indians & Indian Unity
  • Baader Meinhof ceramic pistol, Charles Kraaft 2013
  • Pulp Fascism
  • The Lost Philosopher, Second Expanded Edition
  • Trevor Lynch’s A White Nationalist Guide to the Movies
  • And Time Rolls On
  • Artists of the Right: Resisting Decadence
  • North American New Right, Vol. 1
  • Some Thoughts on Hitler
  • Tikkun Olam and Other Poems
  • Summoning the Gods
  • Taking Our Own Side
  • Reuben
  • The Node
  • The New Austerities
  • Morning Crafts
  • The Passing of a Profit & Other Forgotten Stories
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
Copyright © 2022 Counter-Currents Publishing, Ltd.

Paywall Access





Please enter your email address. You will receive mail with link to set new password.

Edit your comment