Review: Cadlag Live Tape

By now, noise is a resource that has been massively depleted, strip-mined and re-processed by both corporate and underground forces, both leaving increasingly vast acculumations of toxic sludge in their wake. The cassette culture re-birth of the last few years has intensified the over-(re)production and dilution of noise as a technique. It's increasingly hard to innovate and to introduce any freshness into noise, and very few even try to do so, with many preferring to (continue to) churn out conformist hipster/improv noise mannerisms and 20th-generation mike feedback squalls in the hope of acquiring cult status or transient critical respectability. 

So it's refreshing to deal with a release which doesn't just manage to avoid almost all of these pitfalls, but instead simply treats them as if they didn't exist. Cadlag is a Slovene collective featuring members of PureH, Dodecahedragraph, TGWFYTD, Extreme Smoke 57 and the transparently-named Earslaughter. They cite sources from grindcore to industrial to live electronic experimentalism blended to produce “drone oriented grid-landscapes and cacophonic palletes of industrial sonorousness, overall fuelled with spasmodic eruptions and convolutions of noise-paroxysma-mathema-machinations.” Another key distinguishing feature is the use of TV noise and VHS signals as part of their soundscapes. Appropriately, the release is available on cassette, VHS and 5-inch reel tape. 

The two 2013 performances documented here took place at Ljubljana's Noise festival 2013 and the Speculum Artium Trbovlje New Media Festival. In recent years, Trbovlje (birthplace of Laibach) has hosted an increasingly active experimental media and sound scene and this release is a signal of the intensity of some of the actions taking place there. 



The Ljubljana recording, Infundibulum instantly distinguishes itself from run-of-the-mill noise by manifesting a soundfield of very rich shimmering waves. The first 7 minutes manage to be both cavernous and serene. This is followed by a longer noise section which is mostly kept fairly tightly focussed (especially considering this was a live performance). For a while guitars emerge and it flirts dangerously with rockist cliché, but this drops away and is smoothly absorbed back into the wider noise field of rumbles and drones. 

Speculum is (even) more immense and cavernous and it functions perfectly as a live recording in that it very swiftly makes you feel that it must have been incredible to be physically present experiencing this onslaught. To use the old TG slogan, this must have been “Nothing Short of a Total War” that would have put many industrial and Power Electronics groups to shame. There are explosions, laser zaps and even what sounds like a stuka sample. You can sense (or at least imagine) the rippling, traumatised air and the straining sound system. In the final crescendo colossal but also poetic drones emerge before a dead stop and stunned/tentative applause. 

 http://music.pharmafabrik.com/album/cadlag-live-tape

Alexei Monroe interviews Uwe Schmidt on the re-release of Matter by Lassigue Bendthaus

This article first appeared in Trebuchet magazine

Last autumn saw the re-release of Matter by Lassigue Bendthaus, a strikingly innovative album that was the first release by Uwe Schmidt a.k.a. Atom™ and a thousand other aliases.

Alexei Monroe spoke to Schmidt about the album, its sources and its relation to the development of electronic music….



Alexei Monroe: You’ve said that Lassigue Bendthaus was already anticipating acid and techno, and this is certainly clear with hindsight and it soon became clear for listeners who followed you from LB into your techno/acid/ambient productions.

What was the reaction to the “newness” of the sound back then? Although there were similarities with Front Line Assembly and other contemporary industrial groups, there was already much that was audibly new and different, not least in the futuristic sheen of the sounds….

Uwe Schmidt: Back then, to me, I have to admit, I didn’t perceive said difference really, but I was pretty convinced that Matter was a kind of classic “EBM” production. In other words, those differences were invisible to me by the time. Also, when i started writing the songs for Matter, “techno” (or whatever you want to call it) hadn’t arrived on the event horizon just yet.

I wrote the first tracks around 1987, and worked on the album all the way up until 1989, then recorded and mixed it in 1990. In the course of that process, “techno” appeared and so it only had a minor impact on that particular record, while on the other hand it had a big enough impact on me to make me stray away from “industrial” and “EBM” altogether, once Matter was completed.

Sequences and tight percussive programming

What I expressed on Matter therefore, I think, had more to do with what I liked most about electronic music, which are sequences and tight percussive programming, something that became more popular via “techno” later on. So, in way, looking back at it, I coincided with the flow of things, rather than I consciously took part in it. From a distance, certain features of my early work stand out clearer today than they did at the time.

AM: Were you already aware of/involved in dance music as you were recording this album?

US: When I got into that type of music, and even more so, began to make music myself, there wasn’t really any dance music scene to start with that I would have found inspiring. “Techno”, “acid” and all that didn’t yet exist, on one hand, while on the other hand, I was way too absorbed in making music myself to bother with “social” activities.
Like I said, half way through the production of Matter, “acid”/”house” appeared and defined what we know as “dance music” today. Back then I was a lot into post-modern philosophy though, which was kind of more futuristic than the 80s were. Finally, when “techno” arrived, it was the perfect soundtrack to the futuristc philosophy I was into. Everything then started to resonate – music, philosophy/sociology, etc. and “EBM” or “industrial” turned into an 1980s sensation, while “acid”/”techno” reflected the future.

AM: As an EBM/industrial listener, I slowly began to switch over to techno from late 1991 and within a couple of years those styles seemed very old-fashioned compared to the newly emerging sounds. Did you slowly switch away from industrial/EBM elements because you felt there were greater creative possibilities in the new forms of electronic music?

"the ultimate sci-fi attitude of a society that was heading into the postmodern apocalypse"
US: I felt that “techno” was simply much more resonant with the 1990s and my vision of things. “Techno”, in fact, was a revelation when I first heard it or experienced it around 1990. So, my moving away from industrial/EBM actually happened pretty quickly. However, there were productions of mine which fell into the moment of transition,  and hence reflect both sides of the spectrum I was interested in back then.

Much more than “possibilities”, to me “techno” simply was a cultural revolution in the sense that it had a totally different attitude and feeling to it, compared to everything that happened in the 1980s. It was apolitical, for example, while on an emotional level it was “colder”, less passionate than the 1980s ever were, without being “grim” or negative. To me, that was the ultimate sci-fi attitude of a society that was heading into the postmodern apocalypse.



AM: What were your primary influences at the time you recorded Matter? At times there seems to be a trace of Cabaret Voltaire‘s more electro tracks….

US: Yes, there was a lot of Cabaret Voltaire on it, most certainly. Still, I think that Matter, as much as any other production of mine digested all sort of things, not only music. My contact with so-called “industrial” and “EBM” was rather brief, since, due to my age, I discovered it relatively late. Basically “industrial” as such had ceased to exist and transformed into “EBM” some time during the mid 1980s. Therefore it seemed almost like “history” to me.

Perhaps “EBM” can be seen as the transformative link that brought “industrial” to “techno”… however that analysis may be concluded, my contact with both genres was short, yet intense.

AM: The production was very advanced for its time – what were you doing that was different? Can you tell us more about how you produced the album?

Technique and technology

US: I think the difference was that I had no idea whatsoever how to “do things”… that is, mainly out of a lack of interest or possibilities, paired with ignorance, I was on my own when it came to the technique and technology I was able to use to concretize my ideas. There wasn’t really a blueprint to electronic music production, you see… there weren’t online blogs or manuals.

One received very little to no information at all about how other musicians would do things, technologically or artistically. In a way that was very liberating, because I had to come up with methods. My economic means were very limited, since I basically had no income and worked out of my bedroom, where I had accumulated a handful of very basic machines.

Fortunately right around that time “analogue” gear had gotten really out of fashion (1985 onwards), since sampling and “fm synthesis” (Yamaha DX-7) were the hottest thing. Many, many musicians sold their analogue gear cheaply and so I could buy synths for a bargain price.

Layering sequences

Still, I only had a cheap digital drum machine and one synth (Moog Prodigy) and a four track cassette tape recorder to compose and outline Matter. Later for the production I managed to get a friend’s sampler too, but basically that was it! With such a small amount of technology, and almost no compositonal experience, I could only compose music by layering sequences on top of each other, without being able to really structure the tracks. I built each song by tape splicing hundreds of individually mixed segments into one final composition, I had to structure the songs in my head, planning to do the final arrangement and structure in the professional recording studio in which the album then was recorded. The Moog sequences were conceived on and played by the drum machine, and were then recorded onto 16 track 1/2 inch tape, together with all the other elements, such as vocals, sampled drums, and so on.

Basically, the sound of Matter is the sound of the Moog Prodigy, since it was the main synth used for the production. Once all the material was recorded, I decided that the method of arranging the songs had to be done by building (mixing) all the different sections of a song, one by one, (basically muting/unmuting elements) and then splicing them together on 1/4 in tape (studer).

In the course of the production I not only had to deal with and learn the basics of analogue recording and mixing, but I also learned the technique of tape splicing in order to be able to build the structure of a song myself, instead of depending on a studio engineer. So, instead of programming each section of a song, record it and mix it like that, I built each song by tape splicing hundreds of individually mixed segments into one final composition, which up until that point had only existed in my head.

Back then I had already been very interested in and fascinated by sequencing, hence it became my main focus on that album. I hadn’t been interested at all in keyboard playing for example, but rather enjoyed the use of abstract “input interfaces” such as the Yamaha drum machine, on which is programmed everything. In other words, I did not input the sequences or melodies using a normal keyboard, but used the 2x12x3 “pad” matrix of the drum machine instead.

It was a very abstract way to compose music, since I never touched the topic of “harmonies” or “musical notes”… everything was just “rhythmical sound”, that either “worked” or “did not work”. It was that very same idea which then fascinated me so much, the moment “techno” or “acid” came along: it just worked with sequences and rhythm, and in a very linear manner.

The whole idea of “tracks” hadn’t been put in words at that time, nor had it been conceptualized really (with a few exceptions) and “layering tracks” instead of “composing songs” was the ultimate thing to me. Looking back at it, even though I was not conscious about it at all at the time, Matter had much more in common with “techno” than I had thought.



AM: Was there a specific ‘philosophy’ behind Lassigue Bendthaus? There’s an interesting split between the more recognisably ‘industrial’ tracks and the ethereal, ambient textures (for instance on the first part of ‘Transitory’ or ‘Laternslide’) that would find their way into later LB releases and Atom Heart works.

US: I guess there must have been some sort of grid behind “Lassigue Bendthaus”, yet I feel unable to piece everything back together from today’s perspective. Back then I had been studying physics, philosophy and sociology, yet was very into art as well. I think it was a blend of all that, plus the music I listened to, that I brewed into my first musical idea.

I was very young, and absorbed and digested everything eagerly with a certain blend of impatience, ignorance and euphoria. I was interested in post modern philosophy/sociology on one hand (such as the writings of Jean Baudrillard) to a very big extent, while I was into physics as well.

The cherry on the cake may have been the fact that I had played drums, before I got hooked on drum machines, so the entire rhythmical approach to music and the new technology that enabled incredible possibilities, kind of interlocked with the abstract ideas behind it. I wouldn’t necessarily use the word “philosophy” though, to describe the grid in which I was operating back then.

Like I said before, everything I did was very intuitive and on a practical level, very often not reflected at all. Almost more important than any philosopher’s theory was, for example, the impact a “linn drum” had on me when I first heard it on the radio. The fact that one could program rhythms, instead of playing them, basically got me hooked on electronic music. These obsessions drove me much more than any theory ever did.
Naturally, the musical style in which said obsession surfaced may just be seen as a minor detail in the overall picture, and hence later releases show similar, if not identical themes and mutations thereof. For somebody thinking in genres and styles, that may seems strange, yet for a human being trapped within himself, it is the most normal thing.

AM: There is a vague air of techno-pantheism sometimes, was this obvious to you?

US: Not at all!

AM: Given that industrial is now seen as aesthetically and sometimes also politically compromised or tainted, it’s interesting to see you place such emphasis on Matter as the first release in the Atom™ series. Could you comment on the influence of industrial in your later works and on how you view industrial now? Is it something you’ve left behind or do you still find value in it? Do you think some who discovered you later are going to be surprised by your industrial past?

US: Those are a couple of questions in one. I will try to separate them. As for my being influenced by industrial in the early days, let’s say that I got in touch with it relatively late in its development, when the pure industrial had already transformed in something else (EBM). I would say that I wasn’t that much influenced by industrial as such, but rather by an atmosphere, which is partly shared… the atmosphere of the late 1980s.

When “techno”/”acid” appeared – that breaking away from the 1980s was a much bigger influence on me, than the 1980s, “EBM” or “industrial” ever were. What I really thought should have been left aside, was exactly that political/social attitude industrial had. The 1990s, in my opinion, where unpolitical in the traditional sense, yet, by that absence of political attitude, highly political in its core.

Postmodern philosophy

This you may understand a bit better when understanding postmodern philosophy, which defined the absence of political interest as the ultimate political act. In all that, “acid” and “techno” reflected that new era of hyper-politics. The dancefloor, the lack of lyrics, the reduction of everything to an individual (not “social”) event, it all made much more sense to me than the old, 1980s attitude of “social criticism” through lyrics and words.

Now, talking about today, I think the 1990s and early 2000s are long gone, and I have a strong feeling that what the world needs today is in fact a re-definition of that edginess that industrial provided. What I think is lacking today are truly radical artists, in the sense of people who are not sucked up by the environment they are perceived in.

I miss art that does not care about the market, the media, the critics, the value, and so on, but truly just cares about itself. “Industrial” in that sense was radical, because it was willing to create something outside any known market… which was its ultimate power and achievement.

In that sense, I would like to bring uncorrupted art back into today’s world and “industrial” is an inspiration for that. You may see such development as a movement of “thesis, antithesis, synthesis”: it was necessary to push away from industrial, go through its anti-pole, and now , on the next level, create the synthesis of the first two steps.

I think “techno” and “industrial” can learn a lot from each other, always given that both are not seen as “styles” but as methods.

To the last part of your questions, well, given the fact that my overall catalogue/archive contains a huge variety of musical styles, I think that “surprise” is a continuous experience when exploring it.

AM: What are the next releases in the series? Have you selected based on what you see as your most important works or also based on listeners’ opinions?

US: There are two releases in the pipeline right now. The 1992 release I-repetitive digital noise, probably the first “techno” work of mine, and the 1994 Orange (Monochrome Stills), an ambient album which sort of announced my releases on Rather Interesting : the label I founded shortly after. I still don’t know which releases will then be next in the sequence, yet would like to re-release an album or two around February 2014.

Statement by Peter Webb of I.C.R.N. on Neofolk

Following some recent hostile commentary on his work on Neofolk, Peter Webb has asked us to publish the following statement. It is possible that both parties may be somewhat over-stating the ideological/conformist power of the scene - certainly some insidious ideas are being re-circulated, but it's unclear how many political converts such groups win in this way. From (somewhat distant) and anecdotal observations of the scene, we have the impression that listeners are tiring of by-numbers Neofolk accompanied by rightist references and that the movement may have passed its peak. It's also worth remembering that now Neofolk is a codified 'style', some producers probably make such references as an act of aesthetic rather than ideological conformity. Constant banal propaganda can sometimes have the opposite effect to that intended by its creators. Nevertheless, there are important and legitimate questions to be considered here...

Statement on Neo-folk and Post-industrial music in response to Whomakesthenazis.com and a.n.other `commentator’!

I have been alerted to the contents of this blog www.whomakesthenazis.com and one other website and feel that I have to respond to the criticism and confusion that seems to link my work to some kind of support or covert agreement with some of the ideas that are discussed here in the Fascist, Conservative Revolutionary or Traditionalist sphere. I firstly want to make clear that my work in `Exploring the Networked Worlds of Popular Music’ (2007) is partial and a discussion and description of some element of the Neo Folk/post-industrial music scene in amongst chapters on hip-hop, Bristol’s music culture, the Independent music production of Crass and a variety of house music labels and musicians dealing with each other, writing credits and the wider music industry. Therefore it is not exhaustive or comprehensive and does not fulfill the remit of discussing the ideological/political implications of this scene (Webb, p105) in much detail, this is something I had always intended to fulfill in other pieces of work. Sites like whomakesthenazis.com are one set of views on the political implications of this scene and whilst I feel my work and reputation are being crudely represented within them they do have a place in presenting information on this scene. My position politically is one of opposition to many of the political/ideological elements of this scene and below I present some comments on that.

Christopher Browning in his book `Ordinary Men: Reserve Police Battalion 101 and the Final Solution in Poland’ (1992) describes the events that led to the deaths and deportations of tens of thousands of Jews from Poland in 1942. The focus of the book is on the German order police (Ordnungspolizei), battalions of drafted middle-aged reservists who couldn’t fight on the frontline and who were used to police Polish cities and also to round up and kill Jews en masse. This group who had no particular affiliation with Nazism (but had nationalist ideas) were attached to units led by SS men. The executions were carried out by large groups of officers, mainly by shooting their Jewish victims one by one in the neck after they had been forced to lie down in forest areas used for the killings. Browning tries to examine how this group of men who came from ordinary backgrounds and jobs had been turned into mass executioners able to kill tens of thousand of Jews in cold blood day after day whilst in Poland. His explanation suggests that a combination of Nazi Ideology, peer pressure, the situation of the war (even though these individuals had not experienced any fighting before their part in the killings), conformity and indoctrination were responsible. Only a minority refused to take part in the acts and as they developed they became routine and were even joked about. The point of Browning’s book, if we accept its thesis, is that ordinary men and women can become detached killers and brutal racists through a mixture of ideological leadership (in this case from those who had gone through SS training) and the power of group conformity. The reason I discuss this is that, like Stanley Milgram’s obedience and authority experiments or Phillip Zimbardo’s Prison experiment, Browning alerts us to the importance of group dynamics and conformity or obedience to a dominant set of ideas or norms that are pushed to the foreground in a group (either politically, socially or culturally) and often followed uncritically and obediently by the majority of the social group involved.

Browning’s work is useful here as it gives an insight into how strong ideological elements within a social grouping can heavily influence the way that grouping continues to act and think. Even though there is clearly no direct comparison to the events that Browning describes and a small music scene (Neo Folk/ post industrial), the idea of dominant figures in a social situation gaining people’s obedience and shaping their actions through ideological hegemony is important for this discussion. Both situations, do however, contain ideological positions that foreground elitism and disgust, demonization and contempt for an `other’ group (e.g. Jews, gypsies, the ignorant mass population). The chapter I wrote describes elements of this milieu as accounted for by some of its members and through some of my engagement with it over a number of years; it focused particularly on the three musicians of the band Death In June and their various musical projects since two of them (Tony Wakeford and Patrick Leagas) left and Douglas Pearce continued the project to the present day. The chapter does not delve consistently into the various ideological elements of the scene and I suggested that it was beyond the remit of this particular piece of work as I think it would require a book or series of articles in their own right to really discuss the full extent of the ideologies that are referenced by this milieu. That said however it is an omission that needs rectifying. I wish to state clearly that within the milieu there is a clear timeline that runs from the incarnation of Death In June through to the current output of bands like Von Thronstahl, Alerseelen, Orplid, Blood Axis etc that leads its audience to look at thinkers from the three ideological and philosophical areas previously mentioned i.e. Fascism, Revolutionary Conservatism and Traditionalism. The artists themselves have clearly explored and would subscribe in some cases to elements of the worldview of Julius Evola, Savitri Devi, Ernst Junger, Moeller Van Den Bruck, Armin Mohler, Oswald Spengler, Rene Guenon, Francis Parker Yockey, The Strasser brothers and particularly in the present configuration of the milieu, the European New Right and the work of Alain De Benoist and associated thinkers around him.

Douglas Pearce stated in an interview with Zillo magazine (late 1992) that:

“At the start of the eighties Tony and I were involved in radical left politics and beneath it history students. In search of a political view for the future we came across National Bolshevism, which is closely connected to the SA hierarchy. People like Gregor Strasser and Ernst Rohm who were later known as `second revolutionaries, attracted our attention” (Forbes, p.15)

He has not discussed this topic in great detail again, never wishing to publicly account for his political or ideological position, but it is prophetic and telling in its indication of ideas that are still referenced and linked to by leading artists and fans of these bands and some of the various webzines and magazines that have given space to them (e.g Heathen Harvest, Occidental Congress etc). It also seems clear that these were the ideas that DIJ were engaging with around the period of 1981 – 1984 when Tony Wakeford was a member of the National Front and part of the group who were being referred to as Strasserites and Third Positionists. The milieu of neo-folk is littered with references to these thinkers, to the political project of the New Right and the third positionists that came out of the fracture of the (UK) National Front in the early 1980s. DIJ, in name, referenced the `night of the long knives’ and the culling of the leadership of the SA and also in the dates put on the first two releases: SA 29 6 34 and SA 30 6 34, Tony Wakeford’s post DIJ band Above the Ruins were a direct reference to Evola and contained lyrics that echoed the third positionist direction of the NF, the title of the first Sol Invictus album was `Against the Modern World’ a reference to Evola’s work `Revolt against the Modern World’ (1996), Current 93 referenced Francis Parker Yockey’s `Imperium’ (1969) work on the album of the same name in 1987 and Savitri Devi on the album `Thunder Perfect Mind’ (1992). As the scene develops many bands reference and provide links to this range of thinkers maybe most clearly in the compilations Cavalcare El Tigre (Eis Und Licht, 1998 a reference to Evola’s work of the same name) featuring Von Thronsthal, Alerseelen, Orplid, Blood Axis, Waldteufel, Camerata Mediolanense and Ain Soph amongst others and more recently the Von Thronstahl album `Sacrificare’ which alerts readers of the CD liner notes to look at the work of Moeller Van Den Bruck and Joseph-Marie Comte De Maestre, one of the founders of a European Conservatism that put its trust in emotional allegiance to an unquestioned authority; usually a form of hereditary monarchy.

From Boyd Rice’s continuous references to Ragnar Redbeard’s Social Darwinist `Might is Right’ text and his appearance on Tom Metzger’s Race and Reason Cable TV show (where he discusses White Nationalist/power music mentioning DIJ, C93 and Above the Ruins) to Tesco distribution (neo folk and Marital Industrial distributer selling books such as De Benoist’s `On being a Pagan’, John Michell’s `Confessions of a Radical Traditionalist’ and the Evola inspired `Handbook for Traditional Living’ published by Artkos (who also publish work by Troy Southgate the National Anarchist/3^rd Positionist and racial separatist), through to Michael Moynihan’s publishing of `Siege’ (1992), the work of James Mason the American National Socialist Mansonite, there are continuous and clear signposts to writing and work in the fascist, traditionalist and conservative revolutionary tradition. There are many other examples of this tendency within this scene and to clearly outline and discuss these specific elements of this milieu would need a fairly exhaustive work, which, I am sure, will be produced by many different writers and commentators. I am currently finishing a piece that deals with some of these elements but my intention here is to state clearly that I have no political, ideological or philosophical sympathy with any of the ideas of Fascism, traditionalism or conservative revolutionary thought. My interest in this milieu stems from my own immersion and interest in anarchist punk, post-punk, gothic music and various dance music scenes that provided clear links to sets of ideas, artistic practice, political activism and lifestyles – my own politics has come partly out of these types of engagement and could be described as a type of humanism derived from a combination of post Marxism, anarchism and libertarian thought but clearly driven by non-elitist, democratic and egalitarian principles all of which are clearly totally oppositional to the ideas presented by some of the key members of this musical milieu and in fact openly despised by some of them.

The reason for starting this piece with reference to Browning’s work is that although the neo-folk and post-industrial milieu is inhabited by a variety of different political, philosophical, spiritual and lifestyle ideas, practices and supporters there is a clearly significant and dominant use of the ideas of some of the most elitist, racist, conservative and traditionalist thinkers from the 19^th, 20^th and now 21^st centuries, those ideas can lead to and provide a strong conformist group dynamic. Some people will be drawn to these ideas through their engagement with this milieu and some will take these ideas forward to develop a type of political engagement. I would hope that further discussion of these ideas and illumination of their potential social and cultural impact will break many individuals from that engagement and get them to look to develop their own work with a different set of reference points. So even though I think that this blog has taken my work completely out of context in terms of what it suggests should have been the focus of my chapter and contains some fairly crude slurs on my reputation I would suggest that `some’ of the material here is useful. Whether individuals in this milieu are active politically or not, the main point here is that the use of these thinkers in the forefront of the reference points used by the main bands as they have developed over the years leads to the creation of a group dynamic and conformity to this type of thinking amongst a significant section of the audience and new bands that emerge. This element of the milieu is one that I feel is highly problematic and one that needs opposing critically within the scene as well as from outside.

Peter Webb – October 2010

Bibliographic references:

Evola, Julius (1996) Revolt Against the Modern World: Politics, Religion and Social Order in the Kali Yuga. Inner Traditions Bear and Company

Evola, Julius (2002) Men among the ruins: Post-war reflections of a radical traditionalist. Inner Traditions Bear and Company

Spengler, Oswald. (2007) Decline of the West. Open University Press

Silfen, Paul Harrison (1973) The Volkisch ideology and the roots of Nazism; The early writings of Arthur Moeller van den Bruck. Exposition.

De Benoist, Alain. (2004) On Being a Pagan. Ultra Press.

Southgate, Tory. (2010) Tradition & Revolution: Collected Writings of Troy Southgate. Arktos Press.

Devi, Savitri (2000) The Lightning and the Sun. Lulu.com

Goddrick-Clarke, Nicholas (2000) Hitler's Priestess: Savitri Devi, the Hindu-Aryan Myth and Neo-Nazism. New York University Press

Browning, Christopher (1992) Ordinary Men : Reserve Police Battalion 101 and the Final Solution in Poland, New York : HarperCollins

Yockey, Francis Parker (1969) Imperium: The Philosophy of History and Politics. Noontide Press

Forbes, Robert (1995) Death In June: Misery and Purity. Jara Press

THE RED DISTRICT SYMPOSIUM (Past Perfect – Future Tense)

Trbovlje, S.F.R.J., 1979.

I.C.R.N. members Alexei Monroe and Peter Webb will be present at this symposium exploring the past, present and future of Laibach, Neue Slowenische Kunst and the NSK State. The event is co-organised by Alexei Monroe and Naomi Hennig in collaboration with Delavski Dom Trbovlje. Dr. Webb will be part of a panel session on the 24th discussing key Laibach actions. The symposium is FREE and will include presentations by some of the key experts on the subject, including Laibach's former manager Igor Vidmar. Further information on the symposium and associated concerts and exhibitions can be found here.