Aryan Skynet

In the midst of the spew of generically Trump-trashing pseudo-solemnity about “Russiagate” and the Alt-Right cash-in books exposing the it-can-happen-here threat posed by 4chan and dudes in MAGA hats, one recent offering stood out as something that might be worth my time – even if only for the proverbial LULZ. In Dark Star Rising: Magick and Power in the Age of Trump, the prolific popularizer of esoterica Gary Lachman throws his sorcerer’s cap in the ring to confront the disturbing question of whether Trump’s election was not the work of Russians alone, but the doing of Russians and magicians.

The problem with Lachman’s book from the outset is that he…

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Garden of the Finzi-Continis 7

I never thought I would say it, but recently I saw a holocaust film that I found to be rather aesthetically alluring and traditionally beautiful to the point where I watched it no less than three times in one week to make sure that I was not hallucinating. Of course, leave it to Italy—a country that has somehow managed to elevate sleazy horror, western, and action genre trash to the level of art—to be responsible for such an inordinate cinematic work that seems like it was made with more intent than to simply spread the gospel of the (anti)Occidental post-religion of holocaustianity. Indeed, Il giardino dei Finzi-Contini (1970) aka The Garden of the Finzi-Continis directed by Italian neorealist maestro Vittorio De Sica (Bicycle Thieves, Umberto D.) is an excellent example of what happens when a real artist projects his own humanity onto the plight and suffering of an alien people that could not have done a better job on their own, but of course it was naturally produced by chosenites, including Arthur Cohn, Gianni Hecht Lucari, and Artur Brauner. The first film that the auteur directed after becoming estranged from his regular screenwriter Cesare Zavattini, De Sica’s strangely delectable feature is based on the semi-autobiographical novel of the same name by Ferrarese Jew Giorgio Bassani, who notoriously loathed the film adaptation. On top of being uniquely unkosher in its direction and overall execution, the film features the patently absurd novelty of featuring highly attractive (and mostly blond) Aryans with mostly noble demeanors portraying rich spoiled Jews that are just too decadent and terminally introverted to sense the rise of fascist antisemitism. In short, the film was clearly made to cater to tendencies of a naive all-goy audience, as if it would be too much of an aesthetic risk to feature real live Jews portraying Jews (at the very least, they could have cast handsome half-heeb Vittorio Gassman). In fact, while the film features characters sporting Star of David necklaces, synagogues, and various references to the growing tide of Hitler-inspired Italian fascist antisemitism, I was never able to truly able to embrace complete suspension of disbelief and sincerely feel that I was watching a movie about the holocaust, thus underscoring De Sica’s innate dedication to humanism and cinematic art. In short, I was somehow able to rather enjoy the film despite its Hebraic holocaust theme.

[Read the rest of Ty’s lewd review at Soiled Sinema.]

Aryan Skynet

Hello, Hipster Racist

I’m a 21-year old guy from Russia, I’ve been reading your blog and AryanSkynet for quite a bit, so Ive got a few questions for you if you dont mind:

1) From what I have read, I can assume that you are for an all-White ethno-state in the US, but what about other races, in particular the Black people who have been citizens of this country for many generations for now?

You ask me about other races, but what about Whites? I advocate for my race, my ethnic group – Whites, Americans. America was started for my family and I, we are the “posterity” of the Founding Fathers. The United States were founded for us, as the Founders spelled out explicitly in the Constitution.

I’m strongly anti-slavery. Bringing Africans to the North American continent was an awful crime against humanity. I wish it had never happened. I…

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Second Coming

Richard Wolstencroft, the Aussie behind the classic underground Boyd Rice vehicle Pearls Before Swine (1999) – a movie that any weirdo reading this should stop and watch right now if they never have before – is back with the second installment of The Second Coming, the first volume of which was finished in 2015. Part of an even grander series that Wolstencroft calls the “March on Rome” trilogy, the two halves of The Second Coming comprise a magickal diptych of miscegenated and mutated gleanings from Crowley, Manson, nuclear physics, social Darwinism, Faustian racialism, and William Butler Yeats, whose poem “The Second Coming” provides the inspiration for a nebulous plot involving a global conspiracy of revolutionary dissidents attempting to usher in a new age of unmediocrity through occult, scientific, degenerate, and quasi-fascistic skullduggery. If such a revolt against the modern world is to be successful, The Second Coming indicates, its principal stumbling block will be the mutual distrust of the various elements necessary to bring the new order into being.

This is essentially a no-budget undertaking – the only money spent seems to have been on travel expenses for the mix of dully mundane and dangerously exotic locations – but what makes The Second Coming a must-see film is the assortment of oddballs Wolstencroft managed to assemble to participate in his production. There are too many to name, but readers may be especially interested to know that proto-Alt-Right hate scene legends Jim Goad and Boyd Rice both have small but perfectly cast and hilarious roles as players in the satanic conspiracy. The phone conversation between the two of them, short as it is, is one of the greatest moments ever stitched together for a movie. A gloriously off-the-wall Kim Fowley, Shaun Partridge, and late Feral House publisher Adam Parfrey also have cameos in The Second Coming, in case the foregoing was not already enough to entice the viewer. In my book, I briefly discuss the potential for the emergence of a white nationalist cinema. Is Wolstencroft’s The Second Coming the realization of this ideal? Well … not exactly. Wolstencroft is too individual a creator and too perverted a reprobate for that. The Second Coming does, however, gesture vaguely in the directions that such a cinema might undertake to explore if it ever emerged from the wilderness of its online chaos. Both volumes of Wolstencroft’s epic can be accessed through Affirmative Right – free to view for a limited time.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – The DEFINITIVE Alt-Right statement on Hollywood!

 

 

Aryan Skynet

Joyce

Regular readers of Aryan Skynet may be aware that lately, specifically in the comments under my post “Carl the Cuck, Continued”, there has been some controversy over the Patrick Little candidacy and the matter of whether or not white advocates need to confront the realities underlying the “Holocaust”. As the author of a book that treats the subject to less than the expected degree of reverence, to put it mildly, I am perhaps not the most qualified person to stake out a workable third position on the “Holocaust” Question that would allow white advocates to move beyond it without either fully embracing or rudely transgressing the conventional historiography on the subject. It is, however, in this spirit that I submit Andrew Joyce’s remarks on the significance of the “Holocaust” for his own generation. Prefacing a review of a book by the Jewish scholar David Cesarani in the Winter…

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Aryan Skynet

Protocols of the Elders of Zanuck is a book about the movie industry as a means of convincing and thereby controlling the American people. It is also a book exploring the ethnic dimensions of this program of cultural parasitism” – Rainer Chlodwig von K.

VoltaireSunglassesRainer Chlodwig von K.

Rainer Chlodwig von K. of Aryan Skynet and Ideological Content Analysis has done yeoman’s work in researching and compiling a 649 pages tome (hereafter POTEOZ) that meticulously dissects the cancerous tumor that has metastasized out of Hollywood and affiliated centers of cinematic “entertainment” and now infects the global multitude and particularly the modern man (sic) of the West. This encyclopedic work required thousands of hours of viewing films from “classics” to obscure B-movies and everything in between. While most of us surely have enjoyed movies and will admit that they have had a pronounced influence on our lives and the…

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A new book from Brandon Adamson is an underground literary event, gents, so hitch a ride.

AltLeft.com

Available in Paperback here

and eBook (pdf) here

Skytrain to Nowhere is an imagination driven and esoteric volume of free-form poetry. The book documents the author’s experiences, thoughts and observations while riding the skytrain at Phoenix Sky Harbor International Airport over the period of several weeks. Since the skytrain is only designed to transport travelers between various terminals and parking facilities at the airport, someone spending nearly 50 hours riding it purely for recreation and artistic inspirational purposes is highly unusual (to put it mildly.) Aside from occasional quirky anecdotes about various passengers, the poems mostly deal with themes of motion, the passage of time, and nostalgia. The author grapples with these issues from a retro-futurist perspective. Skytrain to Nowhere celebrates the realization that our vitality hinges on our ability to always keep moving, while recognizing we are unwilling or unable to leave some things behind on the journey.

Purchase

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No offend Chinese women!

Aryan Skynet

Tiananmen Square Really?

In March of this year, Aryan Skynetspotlighted the race-based resentment engendered by the presence of African students in the Soviet Union. As an article published today at The Unz Reviewcorroborates, the Russian frustration with blacks was not an anomaly within the communist world – nor, as will probably not surprise Skynet readers, was the bloodshed of Tiananmen Square precipitated by spontaneous popular unrest alone. “The idea that any elite – let alone the child-worshipping Chinese – would murder its own children for demonstrating peacefully over legitimate grievances is even sillier than the notion that they were demonstrating about democracy,” begins Godfree Roberts in “Tiananmen Square, 1989 – Revisited”. Instead, the students “were demonstrating about money and sex,” he suggests:

1989 was a most uncommon year: the fortieth anniversary of the founding of the People’s Republic, the seventieth anniversary of the May Fourth Movement, the…

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Phteven 0

Phteven Universe, for the uninitiated, is the musical project of Pilleater, one of the more individual and idiosyncratic racial thinkers to have carved out a niche for himself online. An original, challenging, confounding, and often obnoxious figure, Pilleater in his now substantial body of Alt-Leftish critical and creative work explores a wild frontier at the margin of the Alt-Right without ever really being of it, putting in occasional co-host appearances on Robert Stark’s Stark Truth podcast, writing books, and doing everything from comedic impressions of Alt-Right figures to music reviews on his frightening YouTube channel.

Pilleater

Pilleater

Musically, the oeuvre of Phteven Universe is not entirely separable from its creator’s perverted boutique ideology of “Asian Aryanism”. Even the name, referencing as it does a grotesque viral canine meme and a Japanese-influenced Cartoon Network TV series, is expressive of Pilleater’s interest in internet subcultures and Asiatic hybridism, conveying as well the sense of whimsy that characterizes much of Pilleater’s output.

The first, self-titled Phteven Universe album advertises itself as a vaporwave release – and there is certainly some memorable vaporwave on here – but to pigeonhole Phteven Universe as a vaporwave artist, while this perhaps is useful as a marketing niche, is to do a disservice to the eclecticism of the tracks. This one opens with effervescent waves of peace, melancholy, and inspiration wafting in with wetness and the sounds of birds – only then to plunge the listener into a morbid cityscape with soundbites expressing contempt for the soulless corporate mentality.

Phteven 1Then comes a sassy succession of late-80s-sounding Terminator-X-style hip-hop sounds and quaint computer noises. Keeping the scenery in flux, the album evokes a windswept expanse of blue desert followed by a slick retrofuturistic club beat, after which the listener is treated to a truly inspiring vapor track sampling the Commodores’ “Easy” over determined pulses of synth ascending into triumph. The vocal is spaced out – way out – so that the listener can believe it and feel it when told, “I wanna be high – so high.” This moment alone was so glorious that I actually felt a bit bad about having paid so little to own this awesome tape.

The second side of Phteven Universe is another eclectic nostalgia trip, launching from a disorienting opening into a sample of the once-ubiquitous “You’ve Got Mail” announcement and leading into an earnest, ballad-style piano number, followed by the inarticulate moan of a man ripped painfully out of a comfortable but no longer accessible past, both sad and soothing. Then the album gets crazy again and shifts into some oriental synth cutesiness followed in succession by slick, ritzy, high-rise vanilla elevator funk, a track with aggressive percussive elements resolving into a pastel chill session, and then “Fuck Off Melissa”, a nasty track evocative of a futuristic mutant sex club and reminiscent of Cabaret Voltaire of the era of The Crackdown.

Phteven 2

The second release, おさかなといっしょ – which, if Google Translate can be trusted, comes out as “With Fish and Lettuce” – consists of a first side inspired by primitive video game soundtracks and a second side that recreates what I have to imagine a night out at the gay disco must have sounded like in the early nineties. It had me thinking of C+C Music Factory, but Pilleater is very particular and autistic about his club music obsessions and probably has something else altogether in mind. The creepier and more interesting first side, which apart from nostalgia bears no immediately apparent relationship to the second, gives the haunted impression of bad AM radio reception and a lonely, neglected vintage Nintendo game that seems to ask with a touch of menace, “Hey, kid … why don’t you play me anymore?”

Illicit, the third Phteven Universe release, opens with some busy, hectic, alien-sounding material somewhat reminiscent of Prodigy or Ministry’s classic “Stigmata”, warning the listener, “There is no future.” This is followed by more distorted video game sounds in keeping with the material on おさかなといっしょ, but this time mining a more baroque melodic vein. From here Illicit turns dark again, with chaotic, repetitive cacophony evocative of a malevolent universe. As eclectic as Phteven Universe, however, Illicit never settles into a single style for very long and progresses through guitar discordance, African chanting, more homoerotic club music after the fashion of おさかなといっしょ’s second side, some funky programming and S&M percussion, industrial sounds, high-NRG dance, and a disjointed jumble of childhood memories, blips and beeps, gothic electronica, KMFDM-style angst, and – most hilariously – a sample of Jamie Stewart’s Stark Truth appearance in which the Xiu Xiu artist hissily unleashes on the Alt-Right.

Phteven 3

Side B continues with the eclecticism, getting underway with some pleasant hypnotica before launching into machine-gun-like percussion followed by more throbbing homo nightclub shenanigans. Next some breezy synth washes over an unobtrusive beat – one of the few soothing moments in Phteven Universe’s oeuvre – but the respite is brief, as the horizon darkens and gloomier tones return, followed by hip-hop and trance-like obsessions. It must be noted, too, that some of the ambient explorations and the disquieting ruminations on Illicit’s second side would seem to belie Pilleater’s cultivation of a clownish persona, so that the album is far from a mere hodgepodge of carnival weirdness. This is an album that at times expects and receives a listener’s serious attention. The creepy voice comes back again before Pilleater apostrophizes a “dream girl”, and ends on a bit of a Wendy Carlos note, with some classical synthesis.

Getting off to a fun start with some Moonman and dis rap samples and some soulful, moaning retard scat, Asian Girlfriend further develops the styles established on the previous Phteven Universe releases, with more naughty club thumping, baroque video-gamey electronica, discordant lo-fi dystopian cuteness, atmospheric electro-percussion worthy of old-school New Order, and more dark and whimsically primitive gaming, some of it sounding almost sentimental – or it would, at least, without the mutated robotic muttering over it. As with the previous albums’ smatterings of vocal passages, Pilleater seems not to be too concerned with whether or not the words are heard – except when it comes to needing help with his algebra homework; that bit gets the proper enunciation it deserves. The highlight of Asian Girlfriend, however, is easily the nasty dance number “Consent”. If you don’t like this one, it’s probably just because Pilleater can do, as he puts it, so many things – “and you’re just jealous!” The artwork alone would make Asian Girlfriend worth owning.

Phteven 4

Phteven Universe, again, is much more than a vaporwave fad-follower; but Pilleater’s commentary on the sociopolitical significance of vaporwave is key to understanding what he is attempting with his music and new Apocalypse Culture. “At its core, the vaporwave genre nostalgically admires the past: VHS tapes, electronic synthesizers, retro-futuristic cars, vector grids, vintage arcade games, bad consumer products, Japanese culture, etc.,” he writes in his essay “Fashwave Sectarianism vs. Vaporwave Hegemony”. At the same time, he concludes, vaporwave is “the music of the future.”

If vaporwave is inherently reactionary, nostalgic, and retro-futurist, it is already Right-wing. The whole thing is Right-wing. Not just the fashwave secession. What I would like to see is a critical discourse that accompanies and interprets the vaporwave genre as an essentially anti-liberal art form sprung from a sincere longing for the future we were promised but denied, without cutting itself on edgy National Socialist and Evola memes. Sure, people will try to trot out Capitalism and Schizophrenia, but it’s up to us to call out such errors in thinking. It is up to us to construct a dominant anti-liberal paradigm to eventually turn vaporwave discourse, and the music itself, against the globalist nihilism and transhumanist philosophy of Eccojams and Floral Shoppe.

Fashwave is dead! Long live fashwave!

Do Pilleater’s Phteven Universe project and Apocalypse Culture revivalism lend themselves to the construction of this anti-liberal paradigm? As Varg might suggest … let’s find out!

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

 

 

star wars flop

Disney’s Solo has flopped at the box office – evidence of America’s growing anti-Semitism, no doubt, and nothing to do with the quality of the recent entries in the franchise. Andy Nowicki discusses the Star Wars “anti-canon” here, here, and here. At Counter-Currents, Buttercup Dew finds that the later films “represent a failure of the liberal imagination.” Solo “is basically just a pulp-level caper film,” observes that same website’s Trevor Lynch, who adds, “At one point, it crossed my mind that maybe Disney had confused Han Solo with Indiana Jones.” Further:

Solo has plenty to irritate racially conscious whites. Alden Ehrenreich is twice as Jewish as Harrison Ford. Woody Harrelson’s character has a black squeeze. Space pimp Lando is supposed to be pansexual, but that is simply to say he is an actor. His droid has a sassy black Communist woman trapped inside it. Emilia Clarke’s Qi’ra is supposed to be something completely new: a strong, badass woman. But she’s actually no MaRey Sue. She’s simply treacherous and backstabbing. The leader of the marauders has a face from the National Geographic miscegenation issue. And so forth.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

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