Peste Noire

Interview with Famine of the Black Metal band Peste Noire
 

- Conducted by Travis


Transcending Obscurity (Travis): First, thanks for this very rare opportunity. There aren't very many other English Peste Noire int
erviews, to my knowledge, whether that can be attributed to the effort of translating or an inevitability of the band's notoriously clandestine nature. On that note, just as commentary on my end, I appreciate that secrecy because it poses such a stark contrast in response to the idol worship of careerist rock music that has long since bled into black metal.

I've heard somewhere that 'Folkfuck Folie', while retaining Peste Noire's distinct sense of melody, displayed more thrashy, direct, and less baroque side of the music in a conscious attempt on the band's part to weed out trend-hoppers who may have inexplicably misassociated Peste Noire with the so-called "depressive" black metal movement that was so prominent at the time. Is there any truth to this?

Peste Noire (Famine): Yes. I wanted to get rid of all the trendies that had jumped on the bandwagon after La Sanie was released. I did so by creating a truly appalling album. It worked quite well. It was therefore a very good album.



TO: Aesthetically 'Ballade cuntre lo Anemi francor' certainly possesses an element of "differentness" in contrast with previous Peste Noire material, with harmonica, more of a rockish mid-tempo rhythm section, expanded usage of clean vocals and more intermezzi, yet it retains the band's black humor and baroque lead guitar dynamics. The most significant progression, to my ears, is that the immediate atmosphere of the album is much more militant and anthematic than the previous ones. Does this in some way relate to its lyrics?

Peste Noire: Yes.

 

TO: Furthermore, for English speakers so often left in the dark about the band's complex, metaphysically apocalyptic lyrical themes, how would you describe the new album thematically?

Peste Noire: Boyscout satanism, in a very typically French fashion. Most of the lyrics are traditional military songs and some consist in chants royalistes (royal chants). All I did was corrupt these texts by singing praises of Evil dedicated to Satan, thy king. I also used one of Verlaine's poems, an author whose life and works I admire. ‘Requiem pour Nioka' is a tribute to Audrey's German Shepherd that recently passed away. A great dog he was; he bit quite a few foreigners you know…

 


TO: In the digipak edition of 'Ballade...', a note was included regarding the affiliation some perceive between Peste Noire and the National Socialist movement. Care to elaborate for non-French-speakers (myself included) to lay to rest any ambiguity about this matter?

Peste Noire: I will simply state, as an admirer of French culture, that Peste Noire is not linked to Nazism despite what has been abundantly said. I felt the need to set things straight since the main question surrounding Peste Noire was ‘Is he a Nazi or not?'. Why would I be a neonazi when the Nazis did all they could to take over France and fuck its citizens over, a nation they had no respect for whatsoever? I say this with sincere passion for French culture since my case is special : I am partly of German extraction and one of my Alsatian ancestors voluntarily fought alongside the Nazis in Norway. I share all the characteristics of an Aryan man, from the colour of my eyes down to my blond pubic hair… Hell, I could easily be a neo-Nazi with no complex whatsoever (I always chuckle when black-eyed, dark-skinned mongrels want to give me lessons on what National-Socialism is all about and consider me a degenerate). Racist I am not. Call me instead a racialist. I do not like the imperialistic and supremacist aspects of Nazism. The way I see it is that all cultures have the right to exist, although separated from one another…nonetheless they all have the right to exist. After all, there is a heavy Germanic influence in France, the best example being the origin of the country's name, which comes from the Germanic tribe called the Franks… Nazi Germany's will to subdue the French and the Slavs was simply retarded; Germany, which lies at the heart of Europe, being itself an ethnic melting-pot of Slavs, Celts and many other peoples. It's hilarious that the person who inspired Hitler the most, Gobineau – a Frenchman! – considered Germany as the most bastardized country of all Europe, claiming that the last true Aryans were to be found in England and Scandinavia. When, in the past, I used swastikas or other Nazi symbols, it was exactly for the purpose of symbolism : the symbol for the final and decisive battle against all that is prevalent in today's modern world : the irreversible victory of cross-bred jewmerican liberalism and everything it stands for, i.e. stupidity and the absence of values. Nazism, now more punk than ever, represents the perfect anti-symbol to present-day dominant ideologies (the masochistic human rights movement and cosmopolitan capitalism).

 

TO: Is there anything to say about the lineup changes?

Peste Noire: I put together an entirely new line-up based on what I needed. Actually, the only person remaining from the old line-up is me, which doesn't change a thing since Peste Noire has always been me. I am still on good terms with old members Indria and Winterhalter, I consider them friends, but our views concerning Peste Noire simply began to differ too much. I don't have much of a team spirit, and the idea of being part of a “group”, a democratic entity requiring certain compromises on my part, was getting more and more distasteful to me. I have always preferred recruiting talented session members that could contribute with their own personal style for a brief moment only. I have no regrets regarding what I accomplished with the old line-up, they are part of Peste Noire and its history, but it was time to move on. And, above all, gain more freedom. Concerning the new members contribution, Sainte Audrey-Yolande de la Molteverge wrote three interludes and Andy improvised his drum lines after having listened to the songs once. The way it should be.

 

TO: It's my understanding that you have expressed some disdain for playing live? Care to elaborate?

Peste Noire: It all depends on the conditions, which, in most cases, are bad for Black Metal music. Recreating a typically Black Metal atmosphere is very difficult, especially when it comes to finding the right sound and place to perform such a gig. In a live setting we are forced to bring out the METAL, rock'n'roll, and punk elements to the detriment of the BLACK and mystical elements of our music. All I can say is that I preferred by far playing in front of a handful of individuals in small venues located in small villages in the middle of nowhere or in shitty bars, than in huge venues with big and bland sound that is only good for Death Metal bands. The most interesting part of playing shows is travelling for free. Actually, my fondest memories of our Canadian tour were driving with AKITSA band members and enjoying their delightful black humour, rather than the gigs themselves. Speaking of which, AKITSA is a kick ass live band; no wonder these hooligans managed to piss off today's crowd of nu-BM scenesters that are attracted to warm, feel-good, bedroom Black Metal.

 


TO: I detect a hint of Charles Baudelaire in Peste Noire's almost literary angst--the band's aesthetic and the music's tone strike me as vaguely melancholic, yet simultaneously carefree and sardonic. Is this accurate? Are there any influences that may surprise listeners?

Peste Noire: « Carefree and sardonic » , most definitely. Those are the elements which our fanbase forgets or ignores. As you stated above, they «  have inexplicably misassociated Peste Noire with the so-called "depressive" black metal movement ». Lots of people take PESTE NOIRE way too seriously. Ballade… is a very joyous, colourful and carnival- like album. There is a lot of Bruegel and Rabelais in my music. With regards to the ‘carefree aspect of my music, none of our albums were done to please people. We don't give a rat's arse about our fans. We only respect ourselves and do what we do only for our own pleasure. We are part of no clique (which is why all these different cliques hate us so vehemently; mainly the orthodox and « War metal » movements, which, by the way, can suck my cock). Not too long ago, a friend of mine told me : “There are hypocritical peace treaties between bands from the same geographic/myspace scene, and since you are part of no scene, people can shamelessly criticize you, and you can criticize whatever you wish.” There are in fact certain towns/message boards where absolutely everyone hates us (Paris or the Warlust forum, for example), and some others where we are praised. They can all kiss my ass. If I want to record reggae music, I will record reggae music. Now that I come to think of it, the next Peste Noire album will be pure reggae. We like to have a good laugh in Peste Noire. For example, the guitar sound on Folkfuck Folie is the result of a bet between me and a friend, which was to create the ugliest and most irritating sound possible, in order make the album unlistenable after having heard two songs. You have to be mentally unstable to go through the entire album. Concerning my influences, I am very fond of nihilist rap with lyrics dealing with black supremacy and the white sexual slave trade, now that's my kind of thing. Honestly, until Folkfuck, my influences were mainly of the literary kind; I had read a lot of mediaeval literature, especially the Matter of Britain, I had even started specializing in that particular field until I was locked up, which put a halt to everything. Now that I have given up reading and strive instead for blissful ignorance, my influences are far less virtual. I travel a lot around France. I drive around in my car with Sainte Audrey-Yolande de la Molterverge, going along small country roads in the Périgord, Bourgogne, Touraine, Pyrénées and Haute-Loire regions. I love to ride through these areas at any time of the year and of the day, with Black Metal playing at maximum volume in the background (or Dark Folk, Bat Cave or mediaeval music…). That puts me into a fucking trance. When I hit the 180 mark, I become possessed by Satan. All these visions, these odours from all these landscapes, ruins and forests in France, I bring them all back home and spit them back out again in my music. That is how Ballade was created, overall a very spring-like and sunny album... I urge all true PESTE NOIRE fans from outside of France to visit the areas I mentioned above, especially those located in central France, the most mediaeval of all… Come to the Roi de lOiseau festival in September in Puy-en-Velay. There you shall experience the divine.

 

TO: I think it would be interesting to hear your thoughts on Neige's extremely polarizing Alcest project. To me, it seems like something mildly feminine and soft needs only the vaguest association with black metal to make insecure kvlt kids all over message boards point and scream "sellout " and/or "gay."

Peste Noire: Musically-speaking, Alcest is alright, and based on what I heard of Neige's new material, I believe that the best is to come. Now concerning the concept, i.e. light, faeries and children, no thank you, not my cup of tea. I tend to share DIAPSIQUIR's view on the subject; children are here to suck us off. In fact, I'd like to seize this opportunity to set things straight not with Neige, but with his pathetic groupie fan club. All I'd like to say is: please, fuck off. Get the fuck out of my way, stay clear once and for all. Stop listening to Peste Noire you bunch of cock-sucking, friend-seeking, internet groupies. When will you learn that PESTE NOIRE is the complete opposite of ALCEST and that there are ABSOLUTELY NO associations to be made between both bands? Black Metal musicians are scarce. When Peste Noire began, I had no drummer. Neige was there and I hired him just like I would have hired any other decent drummer to EXECUTE Black Metal. Neige never had any influence on my music in the slightest way possible; I write everything and I tell people what they must do over MY riffs. This was exactly what happened with Neige, ask him! The most absurd idea spread by idiots is that La Sanie des siècles is better because Neige was more involved in its recording and production, yet the fact is that the album was recorded without Neige, in 2005, when I had kicked him out of the band. His picture isn't even on the back of the album! Only by the end of the recording process did I bring him back in to perform 2-3 well-placed guest appearances (only a few vocal lines; he never once played a single guitar riff except those on  “La Césarienne”, which was the only song he ever wrote for Peste Noire and will ever have written). To claim that Neige is an important figure in Peste Noire is the same as saying that the person who plays the triangle in SOPOR AETERNUS AND THE ENSEMBLE OF SHADOWS is the main man in SOPOR. Those who, at best, influenced my music were Winterhalter and Indria who were given artistic freedom to write their own lines, and who were more present. Actually, I wish to distance myself from ALCEST, PHEST, LES DISCRETS, etc. I don't hate them (why would I hate them if I don't even listen to them), but I have absolutely nothing to do with them and Peste Noire shares nothing in common with that ‘scene', that would be my worst nightmare!! Our lives are different and so are our tastes, friends, ambitions, views, and so forth. I don't spend time in the same places. I don't even spend time with them. I am nothing like them. They are rich, idle, with hardly any responsibilities on their hands; they use their parent's money to pay for recording costs. I am poor, I write with a sense of urgency, I record using very crappy equipment. I do not sing about the inherent beauty of the decadent, post-apocalyptic industrialized mechanistic urban sprawl nor do I see from afar the bluish factory lights in the night; I worked night shifts in factories, and I know exactly what kind of damage mass production can do. I don't write teenager poems about the subject from the balcony of a rich Parisian apartment, I just want to destroy all that, and I know exactly what I'm talking about. Now let me reiterate: I hold no grudge against Neige and his friends, but it just so happens that if Neige or his friends refute these facts, which are nothing but the truth, in one way or the other, I will be forced to shave their heads, take a picture of it and post it on the internet. I'd prefer not having to do that. I hate to take it out on weaker individuals, but if they choose to go against truth, I will be forced to perform such an act as I cannot tolerate lies. I therefore swear on my cat's life before the whole world: if they deny these facts I will shave their heads. This is no joke, and there is no need to repeat myself. Concerning the recent link that was made between PESTE NOIRE and the band called LES DISCRETS, there is a big misunderstanding: LES DISCRETS was the name of the graphics company that did artwork for two releases ( Lorraine rehearsal and Folkfuck Folie ). The computer graphics designer discussed here inserted the name LES DISCRETS everywhere across the layout (not a very discrete way of doing things if you ask me…) to indicate that his company did the album's artwork. Since the computer graphics designer started his own band, also called LES DISCRETS, currently on Prophecy's roster, featuring my ex-drummer (the only one I have respect for including Indria…), people link me to that band, yet there is nothing in common between us two.



TO: The band famously shuns the internet--there's no official band site, Myspace, or anything of that nature (and of course, there's the relative lack of interviews). This isn't an entirely uncommon attitude in a genre that for the most part perceives beauty and a sense of "purity" in the archaic, but is there a deeper reasoning for your desire to limit the band's internet exposure? I'm unsure of the logic behind it other than that it conflicts with the band's "vision of black metal" (according to scattered Peste Noire bios of dubious merit).

Peste Noire: Let's give first hand examples then… I hate the fact that everything is done using a PC these days, hence making the end product unbearable, whether it is in terms of production (done by kids in their bedrooms), listening experience (on fucking PCs) or people's tendency to write spontaneous opinions on forums without even thinking things through. Those computer sounds are the total opposite of Black Metal… The Internet is what has drawn Black Metal to the masses, a new age where everything is accessible to all types of fools at any time of the day, a new era where misanthropes gather at online communities wanting to make as many friends as possible. The occult, underground and elitist movement which the BLACK LEGIONS embodied is no longer possible: some idiot will inevitably put demo tapes on the Internet, making the sound quality even worse, and everyone who puts their hands on it will get a boner, totally oblivious to the fact that the artist behind the music wants them to die. This is what happened with my poems which, after having gone through the dirty hands of illiterate internet masses, were poorly transcribed: not only do these hoodlums make ten mistakes per verse, they completely omit the fact that some excerpts are in italics or they remove punctuation. When I hear how these people managed to ruin the sound of my songs by putting them on myspace or youtube, I think I'd rather die than be the composer of those songs. If I were some random guy who'd find out about PESTE NOIRE through the sound files found on the Internet, I'd have a good laugh and I'd stop listening to the music immediately. ON BEHALF OF MY BAND, I DEMAND THAT ALL INDIVIDUALS WHO CREATED PESTE NOIRE MYSPACE PAGES DELETE THESE PAGES IMMEDIATELY; MY MUSIC IS NOT MEANT TO BE LISTENED TO ON A FUCKING COMPUTER. The reason I record my albums on old equipment certainly isn't for them to be listened to on a bloody COMPUTER. In the interview that will be featured in the vinyl version of Folkfuck (soon), I also give the example of some simpleton who put the first song of our set at Lyon on youtube, during which there was no sound in my mic and where we clearly showed our disgust to the point where we just left the stage. Getting that video removed or having control over everything is impossible anyway, I've got better things to do than that… Plus I don't even have an Internet connection at home; I can only access it at some girlfriends' houses. To summarize, because of the Internet, the worst scum can now do anything it wants with your music. It isn't the content on youtube that pisses me off that much, but rather when losers take some really bad pictures and create bad slideshows with them. We are the ones who asked for the ‘Spleen' and ‘Mort Joyeux' videos from our Toulouse gig to be put on youtube to counterbalance all the other low quality videos that were stolen. These videos are very dark and have an extreme sound, and they represent very well what the band is like, as opposed to those other videos which did not and it is up to us to decide what should be made available and what shouldn't when it comes to our music. Another example: I like to listen to the new AMESOEURS on my stereo, the sound is terrific, due to the crystal clear production and sound engineering, but when I hear what it sounds like on youtube, I would go nuts if I were in the band! The sad truth is that most people listened to AMESOEURS album on youtube for the first time and stated their opinion on the album based on that! With sound quality that was totally ruined (probably to ease their inferiority complex)! On La Sanie des siècles, we had decided to go for a very wide sound with a strong guitar presence widely spread out across the sound spectrum. This type of sound, that we willingly exaggerated, only comes out well in stereo on larger speakers. Yet for some reason, some people set the songs to mono on the internet, meaning that one can only hear the vocals and drums (which were already quite loud in the mix), both of which sound very dry and shitty. It's the same for certain mp3s. This whole system of defective downloading and immediate consumption (with people writing reviews based on listening to an album for the first time on a computer) truly makes me puke. The CD, as an object, is no longer a sacred item which one would have to wait for, which one worked hard to be able to purchase and listen to on a good stereo system also purchased after time and effort; this nice valued object (though vinyl records were even more beautiful… Reduction in size and quality is the name of the game these days) that can be appreciated on many levels, which was in fact the main purpose of its existence. Listeners these days simply hook up to their high speed internet connection and download (=less money for labels =even less for the artist =bands receive less financing = less bands =less creativity), swallow and throw out the rest of your art in no time, just like they would do with a Big Mac; this is all based on the American fast-food type of consumption. When I realize that today's Black Metallers have never heard of VELES Night on the Bare Mountain, a masterpiece in terms of atmosphere, I just feel like putting an end to my musical activities altogether. They expect everything from us, from song writing to production which we must often pay out of our own pockets (AMESOEURS were granted a mere 800 euros for an album which cost more than 3000 euros to record and for which the label will cash in 50 times that amount). At least I got around that problem with Peste Noire by getting things done quickly… The first time I purchased SOPOR AETERNUSs demos and listened to them (the demos are to be found on the very impressive Ich töte mich jedesmal aufs Neue , doch ich bin unsterblich, und ich erstehe wieder auf ; in einer Vision des Untergangs... CD), I hated it. By the fifth listen, I still couldn't stand it. Today it is my absolute all-time favourite album… When Nietzsche claimed that philosophy must be ruminated, the same applies to music. With the Internet, the whole subversive, clandestine and terroristic side of BM has been thrown down the well, meaning that everything is now exposed for everyone to see, especially by police and central agencies… A form of Black Metal that is easy to spot and therefore much more inoffensive… All these geeky little four-eyed virgin Black Metallers with streaks in their hair that spend their lives on last.fm writing bullshit and coming up with all sorts of rumours about bands that came from their dearest fantasies… How is it possible to tolerate them? I recognize that the rumour mill has always existed in one form or another, but since the only people to post on the Internet these days are idiots (what else can they do in their rooms after wanking to pictures of gothic girls that they'll never fuck?), all they do is spread their false truths. Not too long ago an American cunt spread the rumour that I had fired Neige because I was jealous of his success. She claimed having met a friend of mine who had told her that in person at the DORNENREICH gig in Paris , and the news spread on the Internet like plague. Why would someone spread such lies? I always did everything I could to get the least visibility possible (small independent label, no promotion, no website, no myspace, no contact address, and how many interviews?) and despite all of that, many big sleazy labels and mainstream metal magazines from across the globe have tried to get in touch with me through contacts of mine. Neige was fired simply because he opted for something I chose to refuse. Again, I must reiterate that I do not have anything against him: his metal/shoegaze blend is good for media attention and big markets, unlike my Black Metal. I can only laugh my arse off when I see how proud AMESOEURS is to have displayed the FNAC logo on their myspace page given that they had to shell out cash from their own pockets to be sold to the FNAC (no joke!!)… The last thing I want is to become popular ; my music, in its essence and form, can NOT be popular, it is impossible and would be a contradiction. We do everything to make our music horrible and vile, it can only please to ugly hermits, I never understood the buzz around Peste Noire (and I agree with those who don't get it), maybe La Sanie was too nice? One day some bloke went bollocks because I agreed with him that my music was a pile of crap. He thought I was trying to make him look foolish in front of all of his friends that were cracked up (thinking I was humiliating him), yet that was not the case at all, I truly agreed with him. Audrey sang far too much in tune on ‘Concerto pour cloportes' with the soprano chant. We added some trembling effect on her voice so that it would sound out of tune. We are lovers of bad taste: the next album will feature excerpts of some really bad French pop songs, such as some light French music from the 70s that had ridiculously insipid lyrics. We found an 80+ year-old granny to do some guest vocals (I am not kidding) without having a clear plan as to what we will do exactly. So I was talking about the fact that people associated Peste Noire to Neige because he chose to be in the spotlight while I chose not to. Some American labels, like AQUARIUS RECORDS, actually put the sympathetic Neige ™ as the leading figure in order to boost their sales, to make Peste Noire more mainstream and normal. Let me quote:

A while back, it seemed like everyone, ourselves included, was totally obsessed with a French black metaller called Neige. Doesn't ring a bell? How about his shoegazey post-black metal outfit Alcest? Or his fuzzy black metal gone bliss pop combo Amesoeurs? His fracutured new wave black metal combo Valfunde? Or even his more traditional black metal outfit Peste Noire? Yep, you got it now.'

VALFUNDE and PESTE NOIRE, which are essentially my bands!!

And recently, after Ballade … was released (!), when they noticed that Neige was no longer part of the band:  

‘while Neige did no doubt contribute much to Peste Noires sound' (How? Telepathically?)


Bunch of usurping whores… While Neige ® was spending hours on his myspace or answering all the interviews he received (compare the number of interviews each of us has done and in which type of magazines…now don't come and tell me I'm looking to become a rock star! Those are the facts you Big Mac-fed foolish bitch...), I was meditating in solitude, far away from people and their gossip, creating a world and a work made of authentic albums and of several writings (an unfinished 40-page manifesto unknown to all written in utmost secrecy), and now some people want to dispossess me of my own band, which I have been putting together for eight years, me being the one who took care of EVERYTHING since the beginning (song writing, concept, performance, lyrics, aesthetics)??? Because Neige proved to be the contrary of what Peste Noire stands for by exposing himself in mainstream media (even worse: because his simple presence has given my band a lot of exposure), some people associated him to a band whose purpose is to lurk in the shadows? That's absolute nonsense… I will say it once more: I hate all these ‘scrobbling' maggots that found out about my band because of Neige (something I had not expected) much more than Neige himself (whose only fault was to be himself). I really want them to fuck off. I would like to tell them the following: every time I see your little spoiled faggot suburban streak-haired faces on last.fm or myspace, I think of putting an end to Peste Noire given how painful it is. Your faces alone could cause the demise of my band. Another thing I despise about the internet is this disconnection with reality : Black Metallers threatening each other on forums, calling themselves warriors and ‘Lords' and talking about killing people when in everyday life the only people these wimps can hurt are monsters in their video games. If that… some Canadians had written messages on the Internet swearing they would break our bones during our Canadian tour, claiming that we advocated multiculturalism because Indria was in the band. They insisted: ‘We'll be there, you can be sure about that.' So where were you, faggots? We were waiting for you. We were even looking for you! Anyone had the chance to come up to meet us at each and every venue we played at. The only person that came up to me looking for trouble (I congratulate him for at least showing up) ended up with his face flat on the ground, KO in ten seconds. A single right hand cross that sent this insolent and presumptuous fool straight to the stars! The rabble can attest to that. I abide by the code of honour and chivalry, so to all those who repeatedly insult me on forums hiding behind their computer screen: I am available at anytime of the day for a fistfight or any type of sword or crossbow duel. I just purchased an automatic pistol crossbow. It's a mix between a gun and a crossbow, it's like a pistol but it fires arrows. I killed a goat with a shot in the stomach at point-blank range by alluring it with grass; the beast died three hours later. I will do the same with you. I know that you like grass, like all sheep do. And with the Internet there is also the problem with webzines: when a serious webzine is launched, three others close down and there's nothing left. How long will yours last? Moreover, I prefer paper zines; they have a better look, a better feel and they last longer. Ok, I'll stop here.

 

TO: You've been quoted as saying that black metal is inherently right-wing music. What about relatively recent left-leaning bands like Wolves in the Throne Room, who are all about environmentalism, feminism, etc.; despite writing black metal in every sonic sense of the word, do you think ideology holds high enough precedent to render these bands something less than black metal? I'm not asking because labels particularly matter, but to hear your take on the ambiguity surrounding this increasingly blurred style, and what defines it.

Peste Noire: Ecologism was born in an extreme right-wing context at the beginning of the 20th century as part of the ‘völkish' concept (the inseparable unity between folk and land, a land which should be protected as much as revered) of those who preceded the Nazis and who accompanied them. It is only later on that left-wing groups unjustly monopolized ecologistic positions; ecology is actually an apolitical idea anyway. I myself am actually quite ecological and I adhere fervently to ecofascism. Concerning feminism, one of the things I like the most about Nordic cultures, and specifically euro-pagan matriarchal cultures or societies, is the great respect towards women. A very important part of French mediaeval literature, which, trust me, I know very well, has to do with female supremacy. And it is a fact that the more south you go, the more women are despised, a form of hatred which turns into an obsession in middle-eastern countries. Right-wing misogyny is nothing but the relics of centuries of Christian misogyny which all began in the Bible. Ecology and feminism part of left-wing views? The arguments you bring forth are the same that have driven me towards right-wing views and ethno-nationalism. Now, I have never heard of WOLVES IN THE THRONE ROOM, but if they praise cultural blending, common ownership and equality of all human beings, then no, they have absolutely no right to play BM. They just have the right to make me laugh.



TO: Black metal bands frequently use Satanic imagery as a metaphor for individualism and personal freedom; conversely, the genre is often maligned for heavily nationalist leanings. I'm not criticizing these specific attributes, but rather, the juxtaposition of the two; aren't individualism and adherence to an abstract, collective concept like "country" mutually exclusive? And if the sentence regarding Satanism as symbolism doesn't describe Peste Noire, what does "Satan" mean to you?

Peste Noire: The purpose of my manifesto is specifically to explain the relation between my notions of Satanism and nationalism. How can five lines be enough for what took me 40 pages to explain? To sum it up in a simple way, albeit incomplete, I view Satan not necessarily as «  a metaphor for individualism and personal freedom » (Lucifer embodies this description more than Satan), but rather the pleasure to indulge in evil for the sake of evil; that which psychologists define as perversity : to take pleasure in committing evil in a voluntary and unselfish fashion, through the wells of intelligence and imagination (if the concept of evil takes on many different shapes and forms according to different historical periods and places in the world, the concept known as ‘Evil' and, more importantly, that of the ‘ love of Evil' have always existed, regardless of place or time, in every human being). Take masochism for example; man has no material gain in self-destruction, only spiritual pleasure. Degrading oneself or someone else and taking pleasure out of it at the same time, that is Satan: the union of Eros and Thanatos. Now why would it be impossible to love Evil and at the same time love one's country and people, haha? Oskar Paul Dirlewanger was a psychopath, a paedophile and a sex offender before he joined the SS. Think of the Romans and their gladiators; what happened in those arenas were pure experimentations of perversity, and this was nothing uncommon to them. Or we may also consider one of the lyrical themes in Ballade… , boyscouting. Back when I was a young boy scout, me and my comrades would love France and its landscapes; we would sing patriotic hymns in a brotherly way as we'd cross the forests and the fields. We were exemplary, loyal, brave and we stood together. Did that stop us from torturing animals, humiliating the weaker ones, hazing the newcomers, and sometimes piss on and even screw others? No, not at all. And didn't they deep down like what we did to them? I remember that after long and difficult excursions, some even would fall down on purpose so that we could abuse them. In any case, I hold a strong belief in racial determinism meaning that I will never be able to admire and understand another culture as much as my own. From an aesthetic perspective, above all. In my manifesto, I write the following: “I've never had a problem with Blacks per se , on the contrary but… I can't stand any music created by Blacks , no matter if it comes from America, Europe or Africa, or if it dates back from 50 years ago or yesterday, and whatever the style, which shows me how strongly Race and Culture are linked, the opposite also being true: I will always prefer Russian art over North African art, despite the fact that I am closer to Algiers than Moscow since I was born in Marseille.” I believe that race mixing, TO A CERTAIN EXTENT (since we all have mixed heritage in one way or another), weakens the individual. I also believe that there isn't much race mixing going on in Europe today ( Western Europe at least): instead its populations are being replaced by other peoples while it dies of weakness and old age. Unfortunately, I am led to think that if we let the current substitution-type genocide continue, our culture will be replaced and forgotten by one that is not as noble, as desirable, and as sophisticated as our own, and which, in my eyes, is incapable to understand our culture. If we do not protect our people and if we let it be assimilated by southern tribes at the rate things are going right now (everything is a matter of rhythm and proportion , the notion of contribution is no longer valid and is replaced by those of submersion and substitution), Mozart and cathedrals will have existed for nothing. I think that reality will be much less benevolent than you portray it your humanist dreams. Even behind a veil of perfect morality I will never appreciate their culture and they will never understand my own. Satan has nothing to do with this.


TO: Closing remarks?

Peste Noire: Please observe a minute of silence for France and Frenchmen that have become nothing but a horde of uncultivated pansies that are about ready to give up the fight. The only hope for the white race lies in Eastern Europe. Amen… Many thanks to Martin of Transcendental Creations for having translated this. And to everyone who hates us: I forgive and understand you, it must be quite hard to accept having a dick stuck in one's arse. Talent cannot be taught. You either have it or you don't. It isn't our fault if we're the best.

PS : I'm currently looking for female sex-friends. Send your photos and CVs there : fafaforyou88@hotmail.fr. To those males who'd try to pass themselves off as girls, you think I'd buy into your tricks? See you soon ladies!

 

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