This cassette arrived in a care package I had eagerly
awaited, and it was definitely worth the wait as it's right up my alley!
The tape features the demo album of the American band
Violent Impulse. While there are no track titles, the artwork makes an
impression. The DIY vibe definitely adds to the gritty feel of their music.
The cassette has two sides, each containing the same three
songs.
Violent Impulse emerges from the depths of the American
underground, bringing fresh energy to the RAC and Oi scene. Their debut demo is
a raw, unrelenting punch to the gut - exactly the kind of intensity we've been
waiting for in newer releases.
The standout for me is the vocal delivery - gruff and
unapologetic. The fast rhythms and hard-hitting lyrics create a sound that
truly feels like an impulse, driving you toward violence.
If this is just the beginning, expect to hear a lot more
from them. Keep an eye out - these guys are here to make their mark!
Check them out on Bandcamp. You can listen to their song “Time" here. If you’re interested in buying the tape,
contact Kick To Kill Records -
kick2killrecords@gmail.com.
We greet Sergio, the guitarist of Jolly Rogers,
Irreductibles, Thumbscrew, and Last Chance. I hope I haven't forgotten any of
the bands/projects you play for, comrade. Can you introduce yourself briefly to
our readers?
First of all, greetings to everyone reading these lines. As
you correctly mentioned, I am a guitarist for the bands you listed. I am a
composer/lyricist in Jolly Rogers and Irreductibles, although the other members
of the band are the ones who truly embellish and complete the songs. I merely
lay the foundation. I joined Thumbscrew for their latest album, "Pride of
Pain," but in this band, I only receive orders, hahaha. It's a pleasure
for me to play with them because I've been a fan since their beginnings.
We begin our interview with Jolly Rogers' latest album,
"Poesía Irreverente"... Can you tell us something about the album's
creation and recording process, any anecdotes?
Well, we recorded this album with a new lead guitarist,
although he joined shortly after our second split album (Ojos en un mundo
ciego) was released, so he has been with us for five years now. And the truth
is, there was a significant change, especially in terms of composition. In the
previous albums, it was more old-fashioned, in the rehearsal room with few
changes to what I composed. This time, it was much more elaborate, and each
member contributed their own touch, especially in the guitar composition. We
also gradually composed in a "home" studio before taking it to a
professional studio. Everything took longer, but I believe it was worth it.
Was it easy to turn the most iconic Spanish
"copla" into a rock anthem?
Well, the truth is that it was quite challenging. It's a
style that is very difficult to adapt to rock; it seems simple, but it's not,
especially when it comes to adapting the rhythm for the drums.
Your lyrics have always been impactful and inspiring. Who
writes the verses?
As I mentioned before, I write the songs, although for this
latest album, a good friend helped me and wrote most of the song
"Forajido." He is also helping me with some of the new songs we are
composing. He is an excellent lyricist.
Just out of curiosity, why were the first two albums of
Jolly Rogers released as splits with Irreductibles instead of full-length
albums? What do we need to know about the other band, and why do they sound so
similar to Jolly Rogers?
I don't believe they sound alike. Personally, I think they
have different styles, both in lyrics and musical composition. However, I
suppose you have some valid points because we're not the first people to be
told this, especially by those outside of Spain. The main reason for releasing
them as splits instead of individual albums is that the same person composes
for both bands. Releasing ten songs for each band would be a lot of work and would
create a significant difference between one album and the other.
What interesting details can you share about your live
concerts, both locally and in Europe? You have played twice for VFS in Italy in
2019 and 2022. What are your memories of these events, and how did the
concert-goers receive your performances?
Due to personal reasons, Jolly Rogers cannot attend all the
concerts we would like to. We have been invited to play in many countries, but
we have only been able to perform in Spain, France, and Italy for the reasons I
mentioned earlier. We played once in Germany, but it was an exception. We have
played many times with VFS, many times. We share a great friendship, and we all
have wonderful memories, especially from the two Ritorno a Camelot and Defend
Europe shows. They were spectacular, both in terms of organization and the
bands that played, as well as the audience turnout. These people are a great
example of how to do things right.
Regarding the audience response, we have always been very
happy. We have felt at home wherever we have played, both on and off the stage.
Irreductibles played once in my homeland, Bulgaria. Did you
have a good time in Sofia?
Well, it's one of the places I have the best memories of,
and that's saying something because we haven't had any complaints wherever
we've been. But this one was special, the concert was a lot of fun, and I loved
the city. Good food, good beer, and the bars and restaurants didn't close all
night. What more could you ask for? Hahahaha.
Jens Brandy from Enfstufe is a big fan of yours... Any ideas
for a joint project with the legends of the German skinhead scene?
Yes, we have a good friendship, and we have played together
with the different bands he's been in. There are some things in the works, not
with Jolly Rogers, but with another band, and there are also some ideas with
Jolly Rogers and another good and legendary German band. But we can't reveal
anything yet because it's still very early. Hopefully, everything will work
out.
Shifting the topic to Thumbscrew... I saw you in Edinburgh,
and you were amazing, surpassing the rest of the bands that night! Can you give
a brief introduction to the band's history, members, recordings, etc.?
As I mentioned, I joined the band for their last album. The
band was formed in 2008, but they didn't rehearse much. Eventually, they
released a few songs in 2012 with more of an Oi! influence. Then the band sort
of dissolved, only to come back later with a new guitarist/composer (Javi) who
introduced a much more punk rock sound. The singer and bassist have been in the
band since the beginning, while the lead guitarist joined around 2017, if I'm
not mistaken, which is when the band took that stylistic turn. There have been
several changes in drummers, and currently, Ivan is in the lineup. He also
joined around 2017 with some breaks in between.
Correct me if I'm wrong, but the song "Bad Mother
Fucker" could easily be confused with a Dropkick Murphys song. Are you
influenced by this band?
No, there is no specific influence from a particular band,
but naturally, the person who composes the songs is heavily influenced by
American punk rock, and it shows in some of the tracks.
I listened to Thumbscrew's latest EP, "Rex Pelagius /
Perros de la Guerra." Two things I immediately noticed are the more metal
sound and the fact that you sing in Spanish, rather than the usual English. Can
you share more about this record? Will these songs be part of a future album,
and what can we expect from you?
There were two songs that deviated slightly from
Thumbscrew's style, they had a more metallic sound, and we wanted to create
songs with a Spanish historical theme, so we did it in our language. It was
more of an experiment than an evolution for the band. The next album will
follow the style of "Pride of Pain," aiming to improve upon it but
maintaining a similar approach and sung in English.
Thumbscrew has a split album with Last Chance (titled
"Patriotic Resistance"), the other band you play for. To be honest, I
can't stop listening to their 5 songs, which I think are incredible. Please
introduce the band. This is their only recording so far, what can we expect in
the future?
It's a project I had in mind for a long time, a musical
genre that I really enjoy playing and listening to. I wanted to have a band in
English as well because the language lends itself to that style. I had the
musicians, but I was missing a vocalist who was comfortable with the language.
In the end, a Portuguese friend living in Barcelona stepped up, we tried it
out, and it was perfect. His vocal range fit what we were looking for. We
released a split album as an introduction along with Thumbscrew, and now we
have enough songs for a full-length album. However, we have encountered some
unforeseen circumstances, and we'll be inactive for a while. But we promise to
come back with a new album and stronger than ever.
What do you think about the Spanish RAC scene? Are you
influenced by any of the bands? What are your favorite bands?
I have commented on this many times; I believe that the Spanish
RAC scene is experiencing a good moment. There are bands with a long
trajectory, followed by new ones that are emerging with strength and
determination. These bands have personality and each has its own lyrical and
musical style. Some of the newer bands include Los SDR, Eterno Combate, Last
Chance, Lobera, Bulldog Glory, Skinstorm, Kontrol Rutinario, Revuelta, among
others, while more established bands include Post Mortem, Pugilato, Iberian
Wolves, Nemini Parco, Brigada Totenkopf, Thumbscrew, Jolly Rogers,
Irreductibles, and even though they are a recent band, directed by a veteran,
El Vandalo. We have great bands, and while some may appeal more to some people
than others (which is a good sign), the important thing is that we have the
spark for years to come. I'm sure I have left out some bands, and if so, I
apologize, but it's impossible to remember them all.
As for whether I feel influenced by any band, I don't think
so, at least not directly. But if I had to name one, it would be Estirpe
Imperial, without diminishing the importance of any other band. All the
patriotic rock bands I grew up with have influenced me indirectly in some way,
but Estirpe Imperial and possibly 7 Muelles have a special place.
How do you see the future of patriotic rock in Spain and
Europe?
In Spain, we have new bands with young people coming in with
a lot of strength, something that I think is not happening in Europe. That's
the problem; there's a lack of youth, not only in music but in all areas. We
need a generational change.
Are you and your bandmates interested in football? Which
teams do you support?
Some of us may be interested in the world of football, or
maybe not. But if that's the case, it's on a personal level. As a band, we're
completely indifferent. We don't take a stance for or against it. It's a
personal decision for each individual. But as a band, we're indifferent.
What is your personal view on the ongoing war in Ukraine?
Well, there are strategic and economic interests that
benefit the usual suspects. It's an organized and prepared war where
politicians are puppets manipulated by the elites. The only victims are the
Ukrainian people who are fighting to protect their homes and families while
being attacked by some and sold out by others.
In your latest album, the song "La Resistencia"
talks about the political tension in the streets of Barcelona in recent years.
How do you see the future of Catalonia?
I've also mentioned this several times; it was a phenomenon
that is currently deflated. They will probably fuel it again when they want to
divert public attention to do something of their own. It's a beast that has
been fed by both the left and right in the central government, and it continues
to be fed today. It kept people entertained for a few years, but the circus is
over because it's no longer of interest. But the curtain will rise again, and
the clowns will return, that's for sure. Family divisions will reemerge, and
tension will return to the streets because society is foolish and follows
wherever the herd goes.
Any final words? A message for our readers and your fans?
Where can they get albums/vinyl/t-shirts from the bands you're part of?
Thank you for the interview. I have liked the questions,
off-topic, and anyone who wants any of our albums at Tuono Records, they have
copies, and t-shirts and merch on our Facebook or Instagram. Regards, STAYING
STRONG IN A WORLD IN RUINS.
Check out the Bulgarian patriotic brand "Ratnik",
which was a victim of the latest restrictions by Meta who deleted their
official Instagram profile with more than 7 000 followers.
The brand was founded in 2019 and offers a great variety of
T-shirts, hoodies, sweatshirts, cargo pants, etc.
We say Hello, to M. of Blutzeugen of the top German bands in the last few years. First of all, I would like you to share your impressions of your recent visit to my Fatherland Bulgaria.
Hello, my friend, and a greeting to all readers of your blog. The short trip to Bulgaria was accompanied by some problems, four musicians of our band were banned from leaving the country and the Bulgarian authorities went crazy there, probably on an order from Germany. Despite everything, the event was very successful. I met new friends and we visited many interesting places in Sofia. At this point thanks for the hospitality.
My impression of the current situation in Sofia was like a journey through time in my youth in the GDR. Many ruined houses and contaminated sites still bear witness to the years under communist rule. These traces have been erased in Germany, in Bulgaria probably only in places on the Black Sea that are interesting from a tourist and economic point of view.
Few words about Blutzeugen... When it was founded, who are the band members, your present discography, etc...
Blutzeugen was founded in 2010 from the remains of another band. Member information are not important. We have released four albums so far, three of them have been indexed in Germany and so official acquisition is prohibited.
The direct translation of the band's name in English is "Martyr". But there is a historical background behind Blutzeugen as well. Could you please provide more information about this to the non-German readers?
The group name refers to all martyrs who fell in the fight for a free Germany, dedicated their lives to the fight and, despite years of persecution or imprisonment, stood and stand by their ideals unbroken.
You are experienced musicians, your albums have a very good productional level. Are there similar bands in your genre? Have you often been compared with Gigi and Stahlgewitter?
In the beginning, the voice of our singer was compared to Gigi, because of the style of our music, by the second album at the latest it has been done and currently I wouldn't compare any other band with us
What was your inspiration/motivation to use Arno Breker work for the design of the booklets/covers of your albums? Do you have any explanation why the vast majority of his sculptures were destroyed after the end of WW2?
We see Blutzeugen not only as a pure music group; we convey our worldview and values with the lyrics and the presentation of our sound carriers, textiles, etc.
Arno Breker's works perfectly present the type of people, who we want to help regain its deserved place in the precedence.
The intro of your song named "Volksverrat" includes a media report talking about gypsies from Bulgaria and Romania living in BRD. What's the level of this problem in Germany?
Germany is described by official authorities as an immigration country and all the forces of the current rulers and the powerful who work in the background are used to destroy everything that is traditional and at the end we shall perished from the face of the earth.
The population groups mentioned in this report are only a small part of the whole problem. No state can play the welfare office for the whole world. All the insane resources expended to feed all the newcomers are ruining our country. As mentioned at the beginning, this is their plan, which has been pursued since 1945.
Is it a problem to organize a concert in Germany? Why all the major music events are at distant locations, far away from the big cities?
Official events are possible in Germany, of course only in compliance with many, sometimes crazy conditions. There are still concerts without registration, but mostly only in very small, private settings. The pressure of the system is very high in this regard. The reason why most of the events take place in rural areas is simply, because there are still many non-brainwashed people who also work with us and it is sometimes more cumbersome for the state to cause us problems there.
Do you remember any funny stories from your concerts? Could you share those stories with the readers?
We probably experienced the funniest story at one of our first concerts. This took place in a private house; the living room had been emptied and could probably be re-prepared afterwards. The police then came at a later hour and the homeowner hid in the toilet and lost some bodily fluids in his clothing in fear.
What kind of music do you listen to? Any oldschool bands from the 80/90s in you setlist? Can you recommend any new good bands from Germany?
Our taste in music is not limited to any area, what we like is listened to. It should correspond to an artistic minimum and it should be handmade, so we can't relate to electronic music. In my personal list for all time, will always be the groups that a man grew up with, as such as Brutal Attack, Skullhead, Skrewdriver, Bound for Glory, ADL 122, Störkraft, Böhse Onkelz and many more. I could continue this list with "mainstream" artists as well. There are many new groups in Germany, but I don't want to single them out here.
What is your opinion on the subcultures within the Nationalist movement in Germany? Are they helpful to gain more support from the youth, or are they limiting us from spreading our ideas outside these specific subcultural movements? Have you ever been a skinhead?
I was a skinhead myself for many years and still have many friends who continue this path. In that fact we should never associate one thing with the other one, this means its political work and its affiliation to a certain scene. I don't care how someone dresses or what music they listen to as long as they have a healthy attitude towards life and can speak up and speak their mind. I think it's right and important that there are supporters of national concerns in almost all "subcultures" in Germany and that we also supply them with music and other things. We must win the youth where they are and not limit one's field of activity to a small cult-like circle.
As a person involved for more than 30 years in the movement, what is your view about the people involved in the German Nationalist scene… how did they evolve since the 90s?
In the 1990s there were mostly only skinheads in our movement, many things were more political and violent. Especially in the area of the former GDR everything was new for a large part of us and the hatred of the state, communism and everything foreign erupted unchecked. The state fought this with ever tougher countermeasures. Many prison sentences, many dropouts and traitors were the result. Nowadays, as I said, all areas are "occupied" and the appearance is much calmer. The negative thing about today's movement is that many no longer values what they got everything can be found or bought with just a few clicks on the internet. As a result, the personal initiative, whatever as a political activist, musician, organizer, lyricist, etc., is clearly sung. But this is a problem for society as a whole and probably wanted by the rulers since people can’t longer create anything for themselves is easier to control.
Few words about OPOS records? What kind of bands do you usually sign with? Apart from CDs the label also produces vinyl. Do you think that the vinyl-collecting mania is back after years of absence?
I think the self-knowledge of the forming one’s own will should be one of the most important pillars in the formation of basic intellectual development of every human being.
Do you have experience with censorship? What's the craziest thing you've experienced in the so called democratic and free countries?
We have had many experiences with all forms of censorship. I see this as a weakness of the system that lashes out with such senseless measures. Anyone who wants to read, see or hear things will still find a way. In so-called democratic systems, I see censorship as a distinction.
Which projects from the German nationalist scene in the last few years do you consider as the most valuable? Kampf der Nibelungen, Haus Montag Pirna, Der Dritte Blickwinkel, etc?
Every project is an important part of the whole. We support 100% of everything that serves physical and mental training. In these areas it’s clearly to see which projects the state classifies as particularly dangerous, see all the bans and problems which events such as the Battle of the Nibelungen are preparing for.
What is the situation with Antifa in Germany? Do you have a workable strategy against Antifa?
Antifa is partly officially, partly unofficially supported and financed by the parties that are in power in Germany currently. In general, they have free hand and do not have to fear any major penalties because all means are permitted in the fight against the right. There is no strategy against an opponent who can draw on information from the secret service, etc. The most important principle should be to network more and to discuss important things by word of mouth again.
I would like to add that these created terms are right/left bullshit and only serve to stifle the anger of the people at the real culprits in trench warfare. Unfortunately, this rigid world view is too rigid and the laughing third party is sitting more and more firmly in the saddle.
For the last nearly 3 years the whole World has been in the chains of Covid-19. What is your view on this matter and mandatory vaccination? What was the political and humanitarian outcome of Corona hysteria?
A virus grown in a lab that has taken the powerful great strides closer to their goals. All fundamental rights were undermined, new suppression and surveillance laws were created. Nobody denies that this virus, which is dangerous for some sections of the population, exists. By simple means, this pandemic would have been defeated long ago. Trying to hide from it with a face mask and immature vaccinations is absolute nonsense. New variants of the virus are constantly being formed, people's natural defense mechanisms are being lost and this madness never ends. The only helpful strategy would have been to maximize the spread at the beginning of the pandemic. The economic consequences of this are an even more extreme gap between rich and poor and below and above ... as has already been mentioned several times, nothing happens by accident.
Your view of the war in Ukraine?
The real sufferers in this insane war are the Ukrainian and Russian people. On one hand a despot, caught in his communist fantasies of new Soviet Union, against the slaves of NATO/ EU on the other side.
In the end there will be only losers and US supremacy in the world will be greater again. Natural resources of Ukraine definitely play an important role as well.
Alright, it's time to finish this long interview... What can we expect from Blutzeugen in the near future? Any upcoming gigs or a new album?
New performances and music are in the works...so you'll be hearing from us.
Thanks for your answers. Any final message to the readers of the blog?
New print of the book is available NOW. If you still haven't got a copy, do not hesitate to contact us. For more information and orders directly from the author, write to: skrewdriver@abv.bg
The long wait is over!!!
The new book on Ian Stuart &
Skrewdriver is finally available in English. "Mother Europe's
son" contains 300 pages talking about the history of the world's
greatest RAC 'n' Roll band!
We say "Hello" to Mr. Daniel Schweizer, the first and probably
the last individual outside the skinhead/Nationalist scene/movement who will be
interviewed for this book. Can you please introduce yourself briefly?
I was born in Switzerland in
1959 and studied cinema in Geneva and Paris. I was an assistant director and
worked with directors such as Robert Hossein and Andrzej Zulawski before
abandoning fiction to devote myself to documentary film. I have directed about
twenty short and feature films which have been awarded and selected in many
international festivals such as Leeds, Rio, Vancouver, Locarno and received the
Grand Prix of the International Film Festival on Human Rights FIFDH and the
Best Director Award at the Pyongyang Film Festival. I am known for my three
films on skinheads and the extreme right, Skin or Die, Skinhead Attitude and
White Terror, which were broadcast on the main European television channels
before I became involved in the defence of the Amazon forest. As a filmmaker
and anthropologist, I have been accompanying the struggles of the main
Amerindian communities for over twenty years in their demands for the
preservation of the land. I have made several films with indigenous peoples: Dirty
Paradise, Dirty Gold War, Amazonian Cosmos. I am currently preparing a
documentary in Sumatra with men and orangutans on the protection of these great
apes threatened with extinction.
You are the
documentalist who created "Skin or die" (1998) "Skinhead attitude" (2003) and "White terror" (2005). How did you interest in the skinhead
subculture and scene has started? How did you managed to get in touch with the
people filmed in your first documentary?
My interest in the subcultures of the skinhead scene came first from my
interest in garage-rock music, punk and then Oi. I first went to UK Subs,
Cockney Rejects and Sham69 gigs in the 80s and discovered a whole incredible
music scene in London. At the time I was making little videos and then I made
two feature films about the AIDS generation and young people on the edge. My
third film, Helldorado, was about punks in Geneva who lived in a
squatted villa and among them was a skinhead who introduced me to other bands,
including Skrewdriwer. At the same time there were concerts organised
underground by Olivier and that's how I contacted him, saying that I was
interested in this subject. I wanted to film these concerts that were taking
place in Switzerland and that's how it all started.
So, lets
gets started in chronological order from the first one "Skin or die".
(Hence, one of the main characters in it, Oliver from Switzerland sent his
regards...) So tell me about this one filmed almost 25 years ago...
The first concert I filmed was with the Polish band Konkwista 88 and the
French band Fraction Hexagone. It was a very impressive concert for me and
there was a whole police force in place to control this gathering. From then on
I understood that this movement was confined to a form of clandestinity and
that the media had quite preconceived ideas. From then on I considered the
extreme right-wing skinhead movement as an underground subculture and that it
was interesting to try to understand what was going on in a certain fringe of
the youth that had become radicalised. I then went to Warsaw to meet Polish
skinheads in order to establish international connections. In Switzerland there
was the emergence of the Hammerskins and the press was on edge with this
subject. Olivier put me in contact with members of Blood &Honour who were
exiled in Denmark at the headquarters of DNSB, the Danish Nazi party. It was
there that I first met Marcel Schilf and Marko Jasa Jarvinen. Marcel and Jasa
gave me a first interview and we promised to meet again. This was the beginning
of a long adventure where with their support, even though I didn't belong to
this scene, I was accepted like an ethnologist filming a wild tribe. When Swiss
television and ARTE saw my images, they agreed to co-produce this film "Skin
or Die", which showed exclusively the extreme right-wing skinhead
scene. The film quickly had a certain impact in the media and I discovered that
I was being watched by the Swiss secret service, the federal police, because
they didn't understand how I could have filmed this reality so closely with a
camera. At the same time there was a strong reaction from traditional or
left-wing skinheads who criticised the film and said that the media were only
interested in neo-Nazis.
So, when you
have finished your first film, what motivated you to proceed with this topic
and make the other two?
What motivated me to make Skinhead Attitude was to tell for the
first time the complex story of the skinhead movement with the different
musical and political influences that make up this proletarian subculture.
There was no film dedicated to the complexity of this movement. I wanted to
look at the beginnings in the 1960s and then the emergence of the far right with
Ian Stuart Donaldson. So I prepared a dossier and submitted it to various
personalities who could tell me this story. Marcel Schilf and Jasa read this
project and said OK to allow me to access the archives of the extreme right.
The making of this film became a road movie to meet people who had lived
through the stages of this musical and political culture. From Jimmy Pursey to
Roddy Moreno and then Del O'Connor of Combat 18, Ian Stuart's comrade Blood
Honour Scandinavia, the theorist Max Hammer. A story told as honestly as
possible by characters from the scene and which brings the traditional, the
left and the far right face to face.
Tell us a
little bit more about the process of makings those three documentaries. How
much time it took to film them, how many different countries/continents
and locations you have visited? Please be detailed if you keep track of all of
them.
The process of making these films was above all to ensure that they reach
the widest possible audience, because there is a taboo around this subject.
Making a film about skinheads or the extreme right is often suspicious, usually
the media like to make short and sensationalist subjects about this disturbing
reality. For me, it was important to make films that could give a voice but
also show the complexity of these social movements. My position has always been
to say that I want to film reality as it is and as it is felt by these
characters. I am a storyteller who tells a story that is often hidden because
it is disturbing. With Skinhead Attitude we filmed in England, Germany,
Sweden, France, the United States and Canada because that was the axis of the
development and impact of this movement. White Terror then became clear
to me because from what I had learned and having access to a lot of archives of
the far right scene, I realised that this story was much more complex than I
had imagined and that the reality was beyond any fictional film. It was the
Kriegsberichter tapes that inspired me to make a documentary that shows that
beyond the clichés, the neo-Nazi and white power scene was much more structured
than one could imagine. From the Jasa videos produced in Finland, I wanted to
conduct an investigation like a documentary thriller that shows that the
Scandinavians are in direct contact with the Americans, the Serbs and the
Russians, that these different extreme right-wingers are part of an
international nebula that is waging a real political battle.
The question of the filmmaker's moral responsibility is one that breaks down
throughout the films that deal with the radical far right. My basic rule is
never to pretend to espouse a cause that is not my own, but to assert my right
to discover and apprehend a different social and political space. My
preconditions are to be able to attend events without any right of scrutiny,
neither during the shooting nor afterwards.
You have
interviewed and spend some time with Marcel Shilf and Jasa Ainaskin.
What are your striking recollections from those times and from them as persons?
In your opinion what was their main motivation for their activism?
Marcel Schilf and Jasa de Ainaskin were political activists engaged in a
radical struggle. There was a real complementarity between these "brothers
in arms". We spent a lot of time together in Denmark and talked about
cinema, and what we had in common was that we really liked Alan Clarke's film "Made
In Britain", a fictional film that dealt with the exclusion and
violence of young people who were marginalised because of their social
background. This character who could only exist by destroying and reducing all
his chances of reintegration to zero. Moreover, Jasa's short fiction film "Made
In Pori" was very much influenced by this film. At first it was the
cinema that brought us together. Even though I never shared their political
ideas and we were very different, there was a kind of respect between us.
Did you
became close with any of individuals involved in your documentaries?
With Jasa we kept in touch all these years and even when he went to prison.
We have always had a respectful relationship despite our differences.
Any funny
(or scarry) story behind the scenes while you were filming?
Behind the scenes there are many anecdotes like the one where we were
filming an underground concert in Poland and the police surrounded the building
and in order to preserve the footage we had shot, we were exfiltrated through a
secret passage and within minutes the police were storming the building. But
one of the highlights was in Klippan, Sweden, during the shooting of a weekend
gathering and concert under the aegis of Blood and Honour Scandinavia and there
too the police and special forces surrounded the camp and blew up the wooden
gate with a vehicle. At that moment my colleague and I were confronted by armed
police who put us all against a fence and forced us to keep our arms raised. We
were treated as extremists and this went on for over two hours in the sunshine
while the police searched the camp for weapons. That day Jasa said to me "Welcome
to the Swedish Nightmare".
Have you
ever felt unsafe/unsecure while filming those documentaries? What was the
"skinhead attitude" towards you at the gigs/rallies/socials you have
visited?
I never felt insecure or threatened when filming with far-right groups
because it was always very clear that if the organisers accepted our presence
at a rally, it was also their responsibility to ensure our safety. It was up to
my interlocutors to assess the situation and to know and to estimate whether
our presence could cause problems. It was very clear that I never acted as an
infiltrator and that if I had access to an event, I had the right and the
permission to film.
Only once did we have problems, it was in Canada in Montreal where the
Redskins were looking for us to break our equipment because they knew we had
filmed right-wing people. We have always been completely transparent and never
cheated or lied about the work we were doing.
As a
professional filmmaker /documentalist please share with us your honest opinion
on the Kriegsberichter video magazine. Not only about the content, but also on
its production and the way the audio and video elements were combined.
Kriegsberichter the video magazine is the life work of Jasa who was a
talented editor but sometimes the content bothered me and we discussed it. Jasa
could have made fiction films as a director because he had talent, but he
channelled all his creative energy into his political struggle. He had a whole
audio-visual memory of the skinhead and extreme right-wing movement, which is
exceptional, and there is the question of the legacy of all these archives
which I hope will not disappear. With very modest means, he was a
man-orchestrator who produced, archived, edited and published a radical,
provocative and unique magazine.
You have
been both to Western and Eastern/Central Europe while working on the
films. What were the main differences in the mentality of the people in the
West compared to the ex-communist countries?
It's difficult for me to talk about the difference in mentalities, I knew
Poland quite well and there wasn't much difference for me. For Russia I didn't
stay long enough so it's difficult for me to give an opinion and answer this
question. It is certain that I would like to discover these other countries of
the former Eastern bloc.
You have
also filmed Traditional, "left wing'' and SHARP (anti-racist) skinheads. In
your eyes what is the difference between both radical sides of the scene, the
left and the right wing?
A difficult question. I think that in the radical far left and particularly
among the Redskins that I met, there is a posture that does not allow them to
understand that we can talk to each other. There is a form of dogmatism and
intolerance that makes everything black and white.
What was the
reaction of the main audience after your documentaries were broadcasted? Any
positive feedback and/or critics?
These films have all met with a fairly large audience either at festivals
or on television, which means that these controversial subjects arouse a form
of curiosity and interest. My films were well received because they took a
different look at these phenomena. These films put into perspective movements
that are poorly known and often frightening. I challenge clichés and try to
show the complexity of the world. I believe in cinema as an instrument of
knowledge and dialogue, for me making films is not to look away but to look at
the world as it is with good and evil. To face the world as it is and not as we
want it to be, the dignity of a filmmaker is to dare to look the truth in the
face.
At the end
of the day what would you answer if an "normal, ordinary man" asks
you about the right wing skinhead movement and the people involved in it? Do
they fit the stereotype which media spreads like "mindless bigots and
thugs"?
I would say that things are often more complex than we imagine and that too
often certain media have prejudices and seek above all to caricature the
representation of things. There are stereotypes that have a hard skin and that
the image of bigots and brainless thugs is an easy representation that may give
some people a good conscience but does not always correspond to reality. What
interests me is to fight against preconceived ideas and to show the complexity
of our world. I am not a journalist and I do not do short-term work but
long-term work to try to put the facts into perspective and also to propose a
reflection. I am not a judge or a prosecutor.
After all
these years will you be willing to make another documenetry some quarter of a
century after the first one?
This question is very amusing because for more than a year I have been
thinking that extreme right-wing movements had evolved, that in some Western
countries the criminalisation and banning of certain groups had driven some of
these movements underground. We can see this with the banning of the
Identitaires in France and Blood and Honour in several countries.As a result, some former Eastern Bloc nations
are now playing and will play a new role in the radical right-wing extremist
movement. Jasa and I had planned to make a new film twenty-five years after "White
Terror"in order to address what is developing today in the extremist
political movement, the new ramifications. I had articulated the title "New
Aryan Millennium" and he had written with his sense of humour: "That's
sounds good".
Mr.
Schweizer, thank you for your time and honest answers! Your last words and
message to our readers?
Through cinema and my movies I have always tried to raise questions that
would allow the viewer to better understand the world and the society in which
he lives. Are you willing to help me make a new film about the current
situation?
In Review: Jolly Rogers
Name: Poesia Irreverente
Tracks: 10
Running Time: 40:52 min
When you hear the name of Jolly Rogers you know
what to expect and their new album makes no difference. It consists of 10
songs, all in Spanish, nevertheless I hope one day the band will make a song or
two in English.
As usual there are some tracks, which make you sing in Spanish even if you don't
know a word. Those which will grab your attention from first listening are
"La tierra en que naci" ( "The land where I was born" in
English) and "Viva Espana", a cover of a famous and well known hit.
The performance is good as always, and the sound is very well mixed and very
much in the vein of the first two CDs, both splits with a band named
Irreductibeles. It comes with a 12 page booklet with all the lyrics and a
superb artwork! All in all this album will be a great addition to your collection
so don't hesitate to buy it.
