Tuesday, 27 October 2009

Sniper interview

Interview with legendary Finnish band conducted just a week ago. Thanks a million to Hungarian comrades from NS Revolution HC blogzine for letting us publish the English version of the interview.


Sniper was founded in January of 1997 in Kuusankoski, a town situated in the southeast of Finland. Why? Because in that time in Finland haven’t any WP – bands, only Mistreat, and we wanted to get our message to be heard. We were and we are, very worried to where this country is going on. On that time back in ’90 s, Finnish government made ( bad ) decisions to take here more and more refugees mostly from Africa and they also founded refugee centres to many Finnish town. That was then main reason why Sniper founded. We wanted to say with band and music what we think about that kind action and also that we are against refugees and all kind multiculture. We also wanted to get more peoples to notice and thinking what is the best to this land., and best way to get our message thru was spearing our message with music. We wanted and still want to influence peoples mind that they not accept everything what politics and media feed them. There is always alternative to start thinking with own brains and to fight against multicoloured filth.


The band’s name was inspired by the most successful sniper during WW 2, namely Finnish Simo Häyhä. He shot over 505 enemies just in few months in Winter War against Russia 1939-1940.


Not much,line up has changed couple times in early days, but current line up formed 1998 when I ( Tappo – drums ) and Kokko ( lead guitar ) joined the band. Jamo ( rhythm guitar ) joined our mirth company 2007 and Korkki ( vocalist & bass guitar ) founded band and he is only original member.


Mostly we are played in Finland all of these years in local Blood & Honour events but we are also played in Denmark, Sweden and 2 times in England. We are played with bands like Mistreat, Unborn – SF, White Minority, Bully Boys, Whitelaw, Blackout, Brutal Attack, Bulldog Breed, Pluton Svea, Jungsturm, Odins Eye and so on….There is so many bands that I can’t even remember all of them.


First Sniper publication was 12” picture vinyl in year 1998 named Power is white, after that we are released 10 cd’s named:
The moment of truth 2002, Waiting for the good times 2002, Praise & prelude to a new world 2003, In hate of the Russian ( split with P.W.A.) 2003, Sotaa! ( first full-length Finnish language RAC – cd ) 2003, Born to war 2004, One last stand 2005, All hits…No misses! (the best of ) 2005, Hail the white race! 2006 and On the road to victory 2008.
Our songs are also released some collection cd’s like: Die Besten soldaten vol. II and Blood & Honour vol. IV.


Once a week.


Respect for the Finnish war veterans and disgust in communism are two of the main themes in our songs, another themes are refugees, battle songs generally, media, reds, police, eternal friendship, race traitors, politics, white sluts and so on…Oi, we have also few lovesongs!


We are not very active politically, but our lyrics are mostly very political. We supporting B & H organisation and also all the extreme right parties and organisations + all kind war veterans organisations are close by our hearts.


No, not yet, but we are sure that one day police and politics and also media try to stop us because we speak the truth! Soon we are too big threat to them that they will make new laws where they try to stop us spearing our music and political views. Sooner or later they take a tough line on our music and lyrics. But we still carry on, what ever it takes!


Early days our music was mostly some kind punk rock with heavy sounds, nowadays it is mixed music with different music styles like hardcore-heavy-punk rock - rock’n’roll,! Heh,heh ( what the hell that even means! :)!)..We play also few southern style songs but mostly our songs are honest outspoken rock’n’roll! We had got influence to our music from many bands like: Skrewdriver , Motörhead, Lynyrd Skynyrd, Stahlgewitter, Landser, BFG, No Remorse, Brutal Attack, Mistreat, list is endless….Fact is that everything what we listening influence to our sound.


In Finland is about 500 – 1000 skinheads, we have here Blood & Honour organisation in few towns and also few club houses. Here is lots a different skinheads groups but we are not very united, sometimes we have meetings with drinking and having fun and maybe 2 to 3 times in year B & H Finland organizing some gigs. In Finland are also lots of people who are supporting us and think like us but they don't show their point of view so straight like we do. At the moment here are these WP – bands: Mistreat, Sniper, IVA, White Minority, Vapaudenristi . We have here also few NS– movement but Skinheads / National socialists are not very united.


We think European scene coming bigger and bigger every day, it is already strong and getting stronger and stronger every day. People who are organizing all kind gigs and events are doing very good job! There are coming more and more new bands to our movement. More people joining us because they finally understand to where politics action leads. More blacks and all kind non – whites flowing in Europe and we are soon second class citizens. Non-whites get more and more rights and our freedom of speech is soon a history if we not fight back! About Hungary scene, we are really sorry but we don’t know much about it! We know that there is very strong scene and you arrangements “Sons of Europe”- concert in every year and some another gigs too. That is all what we know but we really want to know more of your scene! It would be very great to play in your country some day!


More gigs, more cd’s and more fighting for our race and for our rights. Let’s try to keep Europe for us! We don’t want just sit and watch until Europe be in ruins and is full of non – Europeans problems and whole continent subscribe be urban decay.


Thank U for questions! Racial Greeting to our Brother Nation!
Sniper contact : sniperband@suomi24.fi

Monday, 26 October 2009

Saturday, 24 October 2009

Faustrecht interview

Few weeks ago you have played in Hungary on "Sons of Europe" fest. What are your impressions of this gig and the atmosphere on this night?

It was really great to see that the European youth was united at this evening. And there where no fights. I hope this will happen again next year. This festival is an important thing for us all and should be continued anyway.

Did playing in a band make you feel younger? Will you ever reach the day when you will be too old for this :) ? What do your families think about your music commitments?

Well, at the moment we don’t feel too old for this at all. The music that we make is an important thing in our lives and will be continued as long as possible. Alright, after a weekend with a great gig we feel very bad at Monday morning and sometimes think, why we do all this. But at next Friday everything bad is forgotten and we go on.
Our families have no problem with our kind of living and our weekend activities. And this is good and very important to us!

One of your famous songs is “The love of my life” dedicated to the skinhead cult. What is the situation in Germany in the skinhead scene? Do you have a lot of young people or they follow the new wave of Hate core bands like Moshpit?

At the moment the Skinhead Scene in Germany is way down, and not many younger people join the scene. The new direction is Hate Core and to be an “Autonomic Nationalist”. All in all in the south of Germany where we live we have a good and strong Scene. But in the north of Germany, and especially in the East, the Skinhead Scene is as good as dead. Which we think is a bad thing.

Faustrecht does also songs in Spanish? Why you are doing this, are you a Multilanguage band?

We made these Spanish songs as a thank you for our friends and comrades in Spain. Every time we played there, it always was a weekend full of comradeship, hospitality and a great experience to us. On the other hand, I (Michi) like the Spanish language very much and I am trying to learn it.

What is the level of political correctness in Germany and why the re-press of “Klassenkampf” cd was seized by police?

The level of political correctness is the highest in the world in Germany, I think. Everything’s that got something to do with patriotism is criticized and not liked. Every kind of opinion which is not in common with the point of view of the state is persecuted and in most of the cases banned. So I think you can imagine what the situation here is. Not only the re-press of the “Klassenkampf”-CD was seized by the police on this day, also everything else our producer had to sell at his shop. He had a House search by the police. So the re-press was not the reason for that.

What do you think about the problems between German and Polish nationalist? Do you think about a possible end of this conflict in nearest future?
Well, the Polish people also belong to Europe. So far, so good. The problem is that most of Polish Nationalists hate Germans. The reason is Second World War, I think. At the moment I see no solution for this in the near future.

What is your opinion about Islam in Europe, and especially in Germany where you have millions of Turks?
The Islam doesn’t belong to Europe and should be kicked out of here. But I am no “Fan” of any Religion, but if I had the choice, I would prefer Christians. Not because I believe in God or something like that, because it has more in common with Europe as the Islam. Yes, we unfortunately have millions of Turks and also many other Moslems. Every big City here also has a mosque.

What do you think about the future of the skinhead scene? Will it remain, or it will fade away?

I hope and I fight for a great Comeback.

As far as I know some of you are fans of TSV 1860 Munich. Do you remember the Bulgarian footballer who played for this team few years ago?

Of course I remember Daniel Borimirow. And yes, we are fans of 1860 Munich. Fuck Bayern Munich!

What are your future plans, any upcoming gigs, albums or splits?

Next year we are planning to release a new album, we will see…

Any final comments?

Thanks for the interview and for the interest in our Band. Good Luck for the future of your Web Zine! Keep up the fight!

- F A U S T R E C H T 2 0 0 9 –

Tuesday, 20 October 2009

Frank Rennicke interview

Interview with the most famous German nationalist folk singer scanned from Final Conflict magazine - issue # 36 CLICK ON IMAGES TO ENLARGE!!!

Friday, 16 October 2009

Interview with Sven, Flemish drummer

From 3rd issue of "Skinhead magazine" (in english)

Give us a brief introduction of yourself, in your own words.

Hi there, and thanks for this interview, what an honour. Well... I'm Sven, most of my friends call me Svenne; I'm 27 years old. Live in Bruges, Flanders ( NO Belgium).

When did you first begin playing drums? Were you a child with a toy-drum?

I started playing drums at the age of 15 and no I didn't have a toy drum, I started "playing" on mums pots and pans.

What was the first band you played in?

My first band was a heavy metal band in the style of Iron Maiden. I think I was 17 at that moment. We did some gigs and were pretty good. But I was getting more and more involved in politics so I called it a day.

Do you play other instruments? Would you like to play other one?

I only have time for drums, other instruments are impossible to combine with work and all my bands.But the piano is my favorit instrument next to drums.

You were involved in Stormwolf; is still this band active?

Yes I was involved in Stormwolf and we made a full album with the old stuff and some new stuff. But the band died a slow dead. We couldn't find the correct people to join the band and continue playing.Maybe one day . . . Stormwolf returns. Never say never.

What are the bands you are currently working on?

I play in 4 bands these days: Kill Baby, Kill!, Les Vilains, The Pride and Headcase.

Who and what band influenced you?

For me bands as Guns 'n Roses, Iron Maiden, AC/DC influenced me the most in the early years. After a few years I tryed different things by listening to more extreme metal bands, such as Death, Cannibal Corpse, Ancient Rites, Absu, Ancient and other bands. Drummers as Mike Portnoy, Derek Roddy, George Kollias, Mikke D and Matt Sorum are people I look up to.

We interviewed Aufbruch recently whose drummer is also the singer, could you do it too? Would you like to do it?

All my respect to those who can sing and play drums at once. But I simply can't do it just because the drums in bands like KBK and Headcase are just not so simple, so I have to be focused.Would I like to sing? Nooooo, I'm not the kinda guy who wants to be singing for an audience. They would run away as gast as possible. I like to sing in the shower, and I continue doing that in there. hahaha.

Have you a favourite song which you love to play?

With KBK I like playing Give Back The Oi! cause the people just go nuts on that song, don't know why ? hahahaLes Vilains: Belgique Hooligan for the same reason as KBK, Headcase: Falling just because its so fun to playThe Pride, hard one. I like to play most of the songs but Skinhead and some new stuff are my favorites.

What was the last concert you played?

That was in December if I can remember with Les Vilains and The Pride somewhere in Flanders.Good gig, had lots of fun and the people enjoyed the gigs so that makes my day to

Was 'This is Belgium' concert a special night for you?

Yes, I think I lost one of my testicals that night cause of the cold, hahahahaha. Special? In a way it was as it was the first "big" concert of The Pride and I believe we made a good impression.

What's best or your favourite make-design of drum?Best drum?

I prefer my Tama, love to have a DW and I like my drums full of cymbals hahahaHave your drums at home?

Do your neighbours love your music?

Ooooooooooooo yes. My drum is in the attic of my house. I have to look at it at least once a day, just loooove drums. I try to play every other day.My neighbours??? I think they love music and mine too. They like to invite "friends" to come listen. To bad these "friends" are dressed in blue, hahahaha. But they can fuck off. I'm allowed to make "noise" till 22 o'clock, but I'm not inhuman so i try to play at a reasonable hour for only one hour.

I saw your myspace and read: Don't judge a book by his cover'... have you been judged by people for being skinhead?

Who hasn't hahahahaha How many hours do you spend with computer every day? Waaaaaaaaaaaaay to much, you could say I'm addicted to it.

You've recorded the KBK new album last week, any good studio anecdote?

This is a hard one to answer, I don't play on the records. I only do the live action.

When will the new Les Vilains album be ready?

The million dollar question, Suck has the lyrics ready, we just don't find the time to start rehearsing. Sorry.Maybe this year, maybe next year, maybe . . .I hope we can make one for the end of the year.

Thanks a million for your answers. Your last sentence?

"Be yourself, not who you want to be !"and for the drummers out there, "Keep the beat"

Thursday, 15 October 2009

B&H New Zealand magazine

First issue of the zine of B&H New Zealand. Inside you can read interviews with: Legion of St. George, Blood Red Eagle, Xenopfobe, cd reviews, gig reports, articles, etc. We publish this item with the permission of the editor of mag.

Video from "Sons of Europe"

Great video made by our French comrades keeping memories from "Sons of Europe" 2009 alive. Full gig report you can read HERE

Wednesday, 14 October 2009

Report from Slovenian ISD Memorial

3rd October 2009
When we were told about ISD memorial in Slovenia we decided to go a day earlier and help Slovenian comrades everything they might needed because they help us alot in August when we had our gathering. So two of us from Rijeka went to Slovenia on Friday and after 2,5 hours trip with train we arrive to Ljubljana. After we met our comrades we went to town of Žiri. There we spend the rest of the day ( with Laško:D). We woke up early in Saturday morning for a meeting in local pub where we spend night before, and after few drinks we picked up all stuff that was needed for the gig we went to Domzale where the gig should take place. After arriving to gig place we helped Slovenian comrades to preapare hall for the gig.

Around 8pm concert started, first band was Hungarian Tar Had, I saw them already few times in Hungary but this was their best performance that I ever seen. After them Slovakian Project Vandal come to the stage, they get crowd going, dancing and singing with them, this was my first time I hear them live and I was impressed.

Third band of the night was Garotta from Varese (Italy), they play tradicional italian Oi/Rac but I didn´t listen them much because I go out to get some fresh air and to speak with comrades. Last band of the night should be german Ohne Worte, but unfortunately they couldn´t make it to the gig because of the problem with police.

Suprise of the night was when guys from Skullcrusher took the stage acompanied by Project Vandal drummer and preformed few of their songs after 2 years of absence from gigs. On the gig it was cca 150 people from Slovenia, Croatia, Austria, Slovakia, Germany,Hungary. It was great time with great comrades and thanks once again to Slovenian comrades for their hospitality, see you soon again.


Monday, 12 October 2009

Death's Head interview

When was the band formed? Did you spread your demo around widely or only to select people and labels?

Andrew and I originally formed Deaths Head back in ’99, and we remained the driving force between line ups until he threw in the towel a couple of years ago. Since then I’ve sort of carried the Deaths head banner by myself, chasing people around and poking them with pointy sticks until they agreed to record with me haha. Our original demo was just a rehearsal recording we did one night. We recorded it on an 8 track to cassette in the room (and drank a good few beers as well). We never really “released” it or sent it to any labels, we just copied ourselves and gave it out to our mates so they would know our stuff when we played live. All up I think we only ever did about 50 of them, so if you’ve got one hang onto it, I don’t even have a copy of it.

What was the general feedback of your demo?

I don’t think anyone actually listened to it, though now it is a bonus on the end of the “Metal Skin live” cd that came out last year haha, We got our first cd released with Panzerfaust by recording half of it and just sending it to them, they like what the heard and told us to record some more tracks for a full length. I paid for that recording out of my own pocket because I was just having so much fun with the band. It was a pleasant surprise when the cd got picked up and I got the recording money back.

What is the current line-up? Have there been many line up changes?

Sadly Deaths Head is a line up of one at the moment, I’m writing all the songs and then getting some other comrades to help me out in the studio. Its always been hard to keep members when the scene sees so many people come and go. I would love to get a full line up happening again so I could play some shows, but unless we get some new blood come in its going to be a hard ask. There are people out there who would help me for a live show but the distances involved make it near impossible, so it would have to be a very important show.

Have you been involved with any bands before Death’s Head?

I have been involved with a few since Deaths Head, but DH was my first band, and will always be my favourite, I hope to keep it going for years to come yet.

I see you have not stopped releasing quality albums. Could you tell us about the new Death’s Head offering “Kriegslied”?
I recorded “Kriegslied” (lit. Warsongs) late last year as Deaths Heads fourth full length album. It is a World War 2 concept album. Each song tells a different chapter in the rise and fall of the Third Reich. While each song is wholly separate and stands alone when the cd is taken as a whole I would hope the total is greater than the sum of its parts. All up its 9 new tracks and should be out sometime in the next couple of months on BHS Services in Hungary. I hoped to release in Germany, which would be fitting due to the subject matter, but unfortunately they recently tightened their laws again, so I think the whole album is illegal there.

Are you working on any new Death’s Head material at the moment?

I have the next Deaths Head project written, it is another concept album this time based around the old Norse legend of the Death of Balder. The intention for this one is to have the separate parts of the story as distinct parts but have the pieces all joined together, so in essence it will be one long song. The parts of the songs are all written and I hope to record it later in the year. Two concept albums in a row might sound a bit wanky but I wanted to do these projects for a long time but other band members didn’t. Now there’s no one to tell me know so I can indulge myself. After that I’ll get back to the familiar Deaths Head format.

How long does it take to put a song together?

For me not long I will always do the lyrics and music separately. As for the lyrics a word or phrase will trigger a few lines and from then the song will just take off and usually be written in an hour or so, sometimes quicker. It is rare that I will ever go back to an unfinished song, if I don’t finish it on the spot it goes in the bin, though I might re-write some stuff when it gets put to music. As for writing music, I’ll just fool about on guitar, making up riffs until I have something resembling a song and then I’ll go to the lyric pile to find something that suits, I don’t sit down or set out to write anything or I just freeze up.

What are your musical and lyrical influences?

Depends on what I’m listening to at the time, I like a lot of different styles, metal, rock n roll, even folk and country. As for lyrics I just write down what comes out, I don’t know where I get my ideas. I mean I try to be original, but at the same time the message has been getting spread for 60 years.

Is there any difficulty finding a recording studio to record pro-White music in Australia?

Luckily there are plenty of studios here, and most producers are businessmen. Whatever they may think of our views personally they have to make a living. Personally, when I am in the studio, I don’t keep any secrets but I don’t force my views on anyone either. The producers and I might not see eye to eye on most subjects but we are both there to do a job in a professional manner, hell we can always talk about the weather and shit...

You played the Australian ISD Memorial with the Bully Boys that must have been a great show, the line up was brilliant! Not having our own memorial concert here in New Zealand yet can you give us some insight into how the gig went?

We did play that show back in 2004 and it was a great gig. On a personal note I think we played one of our best sets ever, which can be heard on the “Metal Skin Live” cd which was professionally recorded at this show. It was great to see the Bully Boys, a long time favourite of mine, and they were a good drawcard as well ,so I caught up with some faces I hadn’t seen in a long time, all around a great gig. There is a very good dvd of this show that came out recently, I haven’t seen it yet but it features Fortress and Bully Boys, Deaths Head and Blood Red Eagle didn’t make the cut as far as I know, which is a shame but it still shows what most people want to see I guess.

What are your memories from playing in New Zealand?

Very few I got pretty pissed haha. No seriously I love New Zealand and try to get over there whenever there is anything on. I have met many good people over there and made many good friends. The gig we played over there was my first visit to NZ and after a warm welcome from the customs people at the airport it was a non stop pleasure to be there. The band were treated like royalty and the gig was a great time, even though most people didn’t know who the hell Deaths Head were haha.

Will we see Death’s Head playing live shows again in the future?

At some point I hope so, but its hard to say. In the near future probably not but you never say never y’know. I would definitely love to play DH live again if the circumstances ever permit.

I have heard you plan on re-pressing your first album “Onslaught” ? Any news regarding that release?

I got contacted by some people a good while back, we’re talking a year or two now, about repressing “Onslaught” and we came to an agreement, but since then I have heard little news so it seems to be in limbo at the moment. Hopefully it will come together soon as I still get a few people asking me about that cd and I don’t know of anyone who still has any of the old Panzerfaust release kicking around. The repress will be remastered and will be the original format with the song “Higher Power” on it which Panzerfaust cut from the original album.

I enjoyed the split album “Blood on my hands” how did Kilgore come about?

I have always enjoyed rock n roll, and after doing Deaths head for so many years that was always so serious I wanted to do something a little more light hearted and fun. I had just started teaching myself guitar at the time and the rock/country/punk style came out of that, simple chord driven songs with some fancy Rock lead over it, and some take the piss lyrics, it was either going to be good or an abortion...personally I think the split is rough but the sound came into its own on the full length ‘.44 magnum opus”. The split basically was using Deaths Head to give me a chance to record Kilgore, but it has gotten to the point where I can record Kilgore on its own merits now. Most of the feedback has been very positive.

I hear talk of a new Kilgore album. When can we expect that to be out?

No idea when it will be released, there is always some down time between when we record and when the cd is released, it depends on the label, but I plan to be in the studio in the next couple of months. 10 more tracks in the style of the first full length, I am looking forward to it.

What would your advice be to any young Comrades wanting to start up a pro-White band?

Just do it, I’m not sure whether it is a good or bad thing, but ours is a very scene based movement, and people are a lot more likely to come and see a band , have a few drinks and make new comrades that way than they are to go to a rally or a meeting. WP musin is still the best way we have to raise funds and spread our message, and in my opinion even a crappy band is better than no band at all. The best advice I can give anyone wanting to start a WP band is practice as much as possible and when you start to do gigs and stuff, don’t let it go to your head, playing in a band doesn’t make you better than anyone else.

I have checked out your youtube page many times and I see you have been doing a lot of editing. Can you tell us about the “Terror Australis” DVD?

The “Terror Australis” dvd is something myself and another Aussie lad have been working on for some time. We finished it just recently and are looking for someone to handle worldwide distribution. In a nutshell it is a collection of videos, live stuff and film clips showcasing Australia’s WP bands, Its got unseen footage of Fortress, Bail Up, Ravenous, Deaths Head, Blood Red Eagle, Kilgore, Ultra Violence, Quick and the Dead, Spatter Pattern as well as some interviews and a few other bits and pieces, its pretty good if I do say so myself and should be out there soon.

You also provide the vocals for the band UltraViolence? Can you tell us about that band?

yeah, that first came about for the ISD gig in 2006, Pete from Ultra Violence in South Australia said they were short a singer and if I would help them out, I’ve always loved playing live shows and hadn’t had a chance to do it in a while so I jumped at the chance. We had a ball and it went down pretty well with the crowd as well, so we did it again at the midwinterfest in 2007. I’m always willing to help out wherever I can.

How is the Australian scene currently?

Much the same as always, still very small, Theres still a small core of dedicated people who make sure things get done. Things have picked up a littleover the last couple of years, with Final War from the States playing at the last ISD, which was a good show. We hope to get another international act this year as well, but best not to say too much about that. Things won’t change overnight obviously but so long as we don’t go backwards then we can hold our heads up.

What kind of laws do you have in Australia? I have heard of things such as pro-White websites being banned etc. Any truth to that?

To the best of my knowledge things like that have never actually banned, what usually happens is some commie faggot will complain to the server and the site gets shut down out of public relations. These queers are to gutless to do anything but work behind the scenes like that, its just the world we live in and one of those irratating things we just have to put up with. We do have vilification laws here, but its rare for anyone to ever get arrested under them.

What do you hope to see in 10 years time?

I’d just like to see the movement progress a little and not just die away or stagnate. Sadly except for parts of Europe the white race seems hell bent on destroying itself.

What would you like to say to the readers of this interview?

I’d just like to say cheers to all the B&H supporters out there. It is a worthwhile organization that needs all the help it can get, and also I’d like to say ehllo and thanks to everyone I have met over there for all the good times and warm welcomes.

How can fans contact you?

I can be reached at genocidal88@hotmail,com

Where can we purchase Death’s Head and Kilgore? What shops and distros do you support?

For cds I have a few, or just look around, most labels will stock something from Deaths Head or Kilgore. As for the labels I support, Rampage in the UK is good, Label 56 in the US and Final Stand records. Theres plenty of god places to by WP merch if you’re willing to look.

Thank you very much for doing this interview Jesse. It is indeed a great honour. All the best for future projects.

Thanks to comrade Dylan J. from New Zealand for sending us this interview

Thursday, 8 October 2009

George Burdi interview

Interview with ex RaHoWa vocalist, conduct back in 2001. Another story of a traitor!

In 1993, Canadian George Burdi started Resistance Records in Detroit, Mich., and quickly turned it into the largest distributor of racist music in North America, a firm that did as much as any other to spread the music that has also become known as "hatecore."
Along the way, Burdi, a member of the U.S.-based, neo-Nazi Church of the Creator (COTC), edited Resistance magazine, sang for the band Rahowa (short for "racial holy war," the slogan of COTC), and became one of the world's most visible racists.
Burdi was imprisoned in 1997 in connection with the beating of a female anti-racist activist following a fiery Burdi speech in Ottawa. Burdi says he did not personally kick the woman during the assault. After Burdi's release from prison, he cut all ties with the white power movement.
Today, Burdi plays in a band with two black members and is engaged to an East Indian woman. The Intelligence Report spoke to Burdi about his past, his own experiences with racism, and the white power music industry he helped to create.

INTELLIGENCE REPORT: What was your life like growing up?

GEORGE BURDI: I was born in 1970, and I grew up in a small, middle-class suburb of Toronto. I had a good relationship with my parents and was an altar boy at the parish.
In high school, I was the vice president of the student council and organized the dances. I was a popular kid, a straight-A student. I was on the football team, and I started a bodybuilding club. Everything was great.

IR: What were racial attitudes like in your family?

BURDI: My parents were Christians and accepting of everybody. I don't ever recall a discussion of race. My brother and I had black friends, and my parents fed them and treated them as if they were their own kids.
I was in the Chocolate Cake Club, a multicultural group of black kids and white kids. One of my best friends was Filipino. Until the end of high school, I had no racist leanings at all.

IR: So how did you get into racism?

BURDI: I was 18 years old. My girlfriend's father was into the movement, and I wanted his approval because I thought I was in love with his daughter.
He was really focused on World War II. He thought the Allies were unfair to Germany and that the Holocaust was wartime propaganda. At first, he wasn't talking to me about race or national socialism at all. He used to quote Napoleon, who said history is bunk; it is merely a version of a story written by the victors.
But racial literature isn't too far from Holocaust revisionist history, and eventually I came across it.

IR: How did that happen?

BURDI: I found a book in his house, White Power, by [assassinated American Nazi Party founder] George Lincoln Rockwell, and it shocked the hell out of me. I read it in a day.
I didn't start hating people right away; I was more looking for meaning in life. And here was this heroic challenge, in which my blood was calling me to rise up and save my people from destruction. That kind of epic theme really appealed to me.
When I was younger, I had liked playing Dungeons and Dragons and reading fantasy books like Lord of the Rings.
When you're young, you think you understand everything, and you want to share what you're thinking and get feedback. But I would bring up race and people would threaten me and call me a Nazi. They said that I wasn't allowed to think this, or that only bad people think this. I wanted an explanation.
People would say 6 million died in the Holocaust. I'd say, 30 million died under Stalin, but it's okay to be a communist. I had an argument for everything, but no one would listen to me or discuss it. It just galvanized my will.
It's funny, at the same moment that I was starting to read White Power, one of my black friends loaned me a tape of [black nationalist Louis] Farrakhan speaking.
I thought it was great! Here's this guy doing the same thing as Rockwell. He's looking after his people and promoting separation of the races, because higher culture [supposedly] is produced through homogenous nations.

IR: What did your family think of your new racial interest?

BURDI: My parents were passionate about saying it was wrong, but they never had any reasons. I wanted reasons. Our relationship really suffered. They saw I was on a slippery slope to jail or maybe death.
Once I got involved in Church of the Creator [the predecessor organization to WCOTC], I'd see them every few weeks, tell them how they didn't know anything and then leave. We tried to keep politics out of our relationship as much as possible.

IR: When did you connect with the Church of the Creator?

BURDI: During my first year at university, somebody who had worked for [long-time Canadian resident and Holocaust denier Ernst] Zündel gave me The White Man's Bible [by COTC founder Ben Klassen].
I couldn't believe that that type of stuff even existed. I was turned off by it. The White Man's Bible makes Rockwell's White Power look like an Aesop fable.
But I couldn't stop thinking about it. It said Jews and every other race look after their own interests first and foremost, and that it should be your responsibility as a young white person to promote your race first and foremost.
Klassen was arguing that white people are the creators of civilization; that's why it's called the Church of the Creator.

IR: What was your involvement in COTC?

BURDI: I traveled to the States a few times to meet people, and to Montreal and Ottawa. I answered a lot of letters. I worked for two months on Klassen's church compound in North Carolina.
Klassen was a reclusive guy who lived in a separate house up on the hill. He would come down every morning, put his hand on your shoulder, say a couple of inspiring things to the three of us who were there, and then leave. I produced the newspaper Racial Loyalty, wrote letters, stuffed envelopes, that kind of thing.
People have this impression that there is a large, well-organized, brooding underground. In reality all these P.O. boxes are just P.O. boxes.
It's a glass tiger.
There are a few people in each town who get together once in a while, drink some beers, use racial epithets and then go home feeling good about themselves. Maybe they subscribe to a couple of publications.
There are a very small number of them, and it's not well organized.

IR: Tell me about your band Rahowa.

BURDI: I started Rahowa with some local skinheads in 1989, and we split up in 1997. We released two discs; the most famous was the second, Cult of the Holy War, released in 1995.
Gigs were very rare. If a [white power] band plays four or five times a year that's a lot. We probably played 15 to 20 gigs in eight years.
Only two of us were with the band the whole time; everyone else came and went.

IR: What were concerts like?

BURDI: They almost never made money. But the concerts were crazy. Friends would beat each other up and then laugh about it afterwards, with their eyes swollen shut and their noses broken and picking their teeth up off the ground.
A large percentage of skinheads, especially in North America, are really hard-core alcoholics. It's too much to expect them to put fliers on cars, but they'll jump at the chance to buy beer.
There's a real irony in the fact that Hitler would have exterminated most of these guys as social deviants.

IR: What problems were there with violence at concerts?

BURDI: I must have been in at least 15 riot situations with police and anti-racist groups. The worst one was in London at an Ian Stuart [Donaldson, a Briton who played a seminal role in the first stages of the white power music scene] memorial concert, probably in 1994 or 1995. I wasn't playing, but I flew over there with the band Bound for Glory.
The police shut down the venue, and the concert was canceled so we hit the pubs with maybe 2,000, skinheads from all over Europe. On one main street of pubs, we filled every pub — 300 or 400 in one pub, 150 in another, 500 in another.
There were about 500 or 600 people in the pub I was at. A skinhead was standing outside having a cigarette, and the cops told him to go back inside. They were worried about a conflict between the skinheads and the 2,000 anti-racists traveling all over London looking for us. He wouldn't go inside, and when the police tried to arrest him, he tore free and ran into the bar.
The police followed him in, pinned him down and beat him with their billy clubs. Here's five or six policemen, without guns, beating a skinhead, with billy clubs, in front of 500 or 600 drunk skinheads. Not a good decision, huh? Suddenly full pints of beer come flying from the back of the room at the police, and skinheads start attacking them.
The police got out, shut the doors and called in the riot squad to surround the place. The skinheads were going completely crazy. Suddenly the doors burst open and 70 or 80 police in full riot gear with helmets and shields and body armor came in and just started clubbing everybody in their path. They were just grabbing them and clubbing them, cracking their heads open.
I saw so much violence it was unbelievable. Guys ripped the giant chandelier out of the ceiling to throw it at the cops. The police were dragging people out like rag dolls, unconscious with their heads split open. It was unbelievable.
Apparently, some skinheads met anti-racists on the subway going home. One skinhead had his face carved with a knife, another ended up in the hospital with his jaw wired shut.

IR: How are skinheads different in Europe?

BURDI: German skinheads are smarter than the Americans, and they're often in it for different reasons. They have a stronger sense of national identity; they have been living there for centuries. Americans get involved more from a purely racial standpoint.
The Swedish skinheads were all raised hearing about warrior Viking mythology. The Swedes have the most going for them outside of the movement: they are the most educated, the healthiest, the best looking.
It makes a difference when skinheads don't look like social misfits. Most Americans Skinheads are totally isolated from the rest of society. They're not nearly as isolated in Sweden.

IR: How did you start Resistance Records and the magazine?

BURDI: It was 1993, and I was 23. I felt artistic expression was more important for the movement than political organizing, and I had always had the most success with the band. A French label called Rebelles Européens had sent us money to record an album but then folded.
So we had the disc recorded and had nobody to release it, and fate kind of pushed me to start my own label. I printed up some mailers and let people know.
The intention was only to release Rahowa stuff, but I started getting demo tapes like crazy from other bands. I thought, hey, maybe I can release some of these as well. It cost only $2,000, to record a skinhead band, and it was easy to flip the profits from one into the next one.
Soon we had a magazine, five or six people working for us, and 12 or 15 bands signed. There have been all kinds of rumors about different people giving seed money to start Resistance, but in fact there was no one.
We established a viable model that other skinheads could follow, and the whole music scene grew from that. We explained it to anyone who would listen. Suddenly, it went from a couple of white power labels to a couple of hundred. I'm sure many were just a P.O. box and a guy living at his mom's house, but it worked.

IR: Was Resistance based in the Detroit area to avoid Canada's hate speech laws and take advantage of the American First Amendment?

BURDI: That's what people always thought, and we weren't ignorant of that benefit. But we would not have put it in Detroit if it had not been for the involvement of [American COTC member] Mark Wilson and some other original people from the Michigan area.
We were working jointly with COTC people from Wisconsin and Michigan, and the idea was to have a central location. Michigan was perfect because it was an equal distance between Milwaukee and Toronto.

IR: Did Resistance in the 1990s have a lot of licensing agreements with European labels?

BURDI: Yes, there were about 40 European labels we kept in contact with — labels in Poland, the Czech Republic, Yugoslavia, Sweden, Italy, Germany, Switzerland, France, England, Denmark, Finland, Norway, Lithuania, Russia.
I think there were even Bulgarian and Hungarian labels, plus there was the neo-Nazi Afrikaner Resistance Movement in South Africa. There were Australians and others, too.
We sent a lot of CDs to Japan, of all places. It might sound strange, but it was enough for us that Hitler had a relationship with Japan. They called themselves the white men of the east.

IR: Did you have contact with other organized racist groups?

BURDI: Yes, absolutely every single group in the U.S. and around the world would contact us for CDs. We got tons of mail, bags of it sometimes. There was no time for me to read it all.

IR: How did the finances work?

BURDI: If we sold CDs in bulk wholesale, profit would range from $3 to $6 [U.S.] on each disc. A CD cost $2.20 to produce, including a dollar for the band. They would retail for $15 and you wholesale them at $6 or $8 or $10. Small distributors could get a second income by buying 50 discs from us wholesale, and turning a $10 profit on each one.
From 1994 to early 1997 we sold more than 60,000 CDs and tapes, maybe as many as 100,000. The vast majority of sales were wholesale, and every quarter was twice the sales volume of the previous quarter. Our Web site went up in 1994, and each month we would profit a couple thousand dollars from that.
I lived on Resistance income almost exclusively. I still worked the odd part-time job, but I didn't keep them for too long. Every time a big media piece would come out about me, I would get fired.

IR: What about manufacturing the discs?

BURDI: When it came to pressing the discs, we had plants all over the world. Resistance had a regular pressing plant in Buffalo called ESP, but they haven't pressed Resistance for years.
The white power thing usually became a problem. A pressing plant would press our stuff for a while, then the volume would start going up and they would start getting concerned. They'd see something on TV about us and then quit pressing our stuff.
But there was always another plant available, always, and so that was never a problem. It works exactly as you might imagine. People think, "If I don't do it, somebody else will. So why shouldn't I make the profit?" Well, when plants rejected us, someone else always did make the profit.

IR: What was your relationship with Nordland [the Swedish white power music label and magazine]?

BURDI: I never actually met them, but I spoke to them on the phone and e-mailed them. They followed the successful model right down to the letter. I would have done anything they asked of me. We helped them with software training and setting up their Web site. We shared photos and all the little details of laying out a magazine.
We were doing it for altruistic reasons, and we weren't concerned with protecting our ideas. Even with the other American white power music magazine, Blood & Honor, there was no sense of competition.

IR: You became quite well known in the white power music world. What was it like when you went out in public?

BURDI: I wasn't the type of person to make a scene. I didn't dress shockingly or wear swastikas or try to upset people. I was more into writing letters and reading books. You will never find one person saying I called them a name or was rude to them or punched them in the nose.
Even so, I was recognized all the time. People thought I was evil, but I was still a celebrity. People would come and shake my hand and I'd think I had a recruit here. Then they would tell me, "I totally disagree with your views." I'd wonder, "Well, why are you shaking my hand and smiling like you are so happy to meet me?" TV has a strange effect on people. But no one ever started a fight with me.
In fact, just the opposite. I remember a two-hour live interview I gave to an all-black radio station in Detroit. After about an hour, the ratings were going through the roof. Television news crews came down to broadcast our interview live on TV. The phone lines were lit up continuously. It was pretty dramatic.
I told this guy how American blacks had it better under segregation, how they could control their communities and education more. The black music and culture was better then. I was really expounding Farrakhan's ideas. I said the reason I'm promoting this is because I want the same thing for white people.
A lot of Farrakhan supporters were phoning in and a lot of black people were really supportive.

IR: How did you come to leave the movement?

BURDI: It started during my time in prison. I had given a speech in 1993, and after the speech some skinheads attacked some of the anti-racists. In 1995, I was convicted of assault [in Canada] for my part in what became a riot. I was sentenced to a year in prison, but I was released on appeal after a month.
That month inside just made me more bitter and served to galvanize my will. For the next two years, I worked harder than ever before.
My conviction was upheld in 1997, and I had to finish my sentence. I was reaching burnout before I even went in. I felt my direction was pretty pointless. All the media exposure was tough on my parents. Things were really rolling, sales were going wild, but it was tough.
I would lay out the magazine until 7 o'clock in the morning and wake up in front of my computer at 10. I didn't have a life.

IR: What happened when you went back into prison?
BURDI: When a week seems like an eternity and you've got months ahead of you, it's easy to sit back and think about your life. I decided I was going to get out of the movement when I left prison.
The three biggest things for my decision were the pain I gave my parents, the futility of my cause, and the judgment of the 12 jurors [in the assault case], who were all whites.
I can't tell you what I did to my parents. My father had worked for 17 years at the same company, and they fired him because of me. My parents finally moved out of Toronto because my father couldn't get a job with me as his son. Every time he would get close to getting a job somewhere, it would fall through. They wouldn't return his calls. My time in jail was just a little bit too much for them to swallow, and I don't know if they will ever fully recover from it.
As for the jury, they convicted me not on the facts of the case [Burdi says he never physically attacked the activist], but because they disagreed with my views. And here I was, supposedly fighting this fight for white people like them. I started thinking that there must be something to their perspective.
When I got out in June of 1997, I started developing new ways of looking at life.

IR: Tell me about that process.

BURDI: I didn't want to think about anything political. I didn't want to think too much at all. I didn't try to reason through the issues and form a counter-argument to each one. Instead, I went soul searching.
I got into fitness and started eating healthy, organic foods. I started to practice fasting and meditation, and I went on a spiritual discovery. When we are children, we study every leaf and flower and insect and animal and every question. I reopened that process for myself. I had a total shift in paradigm.
If I go back to the movement now, and you can be my witness for this, then somebody should lobotomize me.

IR: What did people in the movement say?

BURDI: I visited the Rahowa guitarist. I told him it was futile and that I was leaving.
He said, "You're right, it is futile. But you might as well stay in the movement, it's all you've got."
But I completely separated myself from everyone I had known before. I didn't call Resistance down in Michigan, and they didn't call me. Some people tried every way to contact me, wanting to know if I was all right. I just ignored them all.
Eventually, the letters got fewer and fewer until they just stopped altogether. I have no idea where any of those people are now.
My friends today have only known me since I left the movement. I'm just George to them. As for my parents, every month our relationship is better than the month before.

IR: What's your perspective on "white pride" now?

BURDI: People find meaning for their lives in many different places. Some join Star Trek fan clubs, others join the booster club for their local sports team, and other people become [North American Free Trade Agreement] protesters.
The white power movement was a way for me to find purpose and meaning in my life.

IR: In what sense do you now feel racism is wrong?

BURDI: Racism is wrong because ... I should probably say hatred is wrong, anger is wrong. Hatred and anger are wrong because they consume what is good in you. They smother your ability to appreciate love and peace.
Another reason that racism is wrong is that you attach yourself to the accomplishments of white Europeans, instead of developing yourself and actually contributing to the society you live in.

IR: You didn't mention anything about racism hurting other people.

BURDI: Naturally, because I'm answering the question from a totally different perspective.
Have I spoken out against racism in the politically correct terminology that people would expect me to use? Maybe not. But am I against it? Completely and wholeheartedly. You've got your reasons why it's wrong, and I've got mine.
The biggest problem with racism is that it promotes fear and lack of understanding between communities.

IR: You sang a song called "Third Reich" that includes these lyrics: "You kill all the niggers, and you gas all the Jews; kill a gypsy and a commie, too. You just killed a kike, don't it feel right; goodness gracious, Third Reich." How does that song make you feel today?

BURDI: I didn't write the music or the lyrics for that song, I should say.
The lyrics are incredibly negative, incredibly destructive to everyone mentioned in the song. They do a total disservice to anybody who thinks that the white power movement has any ideals beyond guttural hate.
Frankly, I am quite ashamed that I ever participated in singing those lyrics. It would be impossible for me to make a personal apology to everyone who was ever affected by that song.
But the people who bought it, they wanted to listen to it and probably already had those ideas in their heads.

Friday, 2 October 2009

Support POW releases

Two new releases from сommonweath between "Kolovrat SN Records" and "X Day Records": "Elite brotherhood" (split CD: "Kolovrat", "Imperium", "October 15", "Attack") and "Support POW Worldwide" compilation will be released in foreseeable future.

"Elite brotherhood" is joint album between 4 known Eastern European bands, includes 16 previously unreleased tracks: brand new songs, cover versions and the new versions of old songs as well (4 tracks from each band). Totat time - 58 min. The majority of the songs were recorded exclusively for this project being prepared for the last 2 years. The half of the material of this spit CD is the last to date studio work of vocalist of "Imperium" and 2 musicians from "Attack" (ex - "Utok'), which they were able to finish before their arrest. This project became the charitable one because of this reason. All funds from its sales will be directed to the fund of support of our arrested Czech comrades. Split CD includes Russian - English "mirror" 30 page booklet with the reference to the listener, pictures, the lyrics of the songs/ explanations to them and other information.

"Support POW worldwide" international compilation was prepared during last 2 years as well. The project will be released as double CD with 36 songs from 27 bands ("Kolovrat", "Russky Styag", "Kiborg", "Vernost", "Protest", "Shtandart", "Nachtigall", "Kamaedzitca", "Lemovice", "Vinland Warriors", "Nachtkult", "Guarda De Honra", "No Surrender", "Invictos" and others) from Russia, Ukraine, Belarus, France, Spain, Portugal, Greece and Canada. Total playtime - 147 min. The style of participating bands vary from Oi!/ RAC to NSBM, from Hatecore to Industrial, from pagan metal to electronic music. The compilation includes many previously unreleased and absolutely new tracks. The booklet contains the information about right - wing prisoners (the info concerning their support as well) and fallen heroes of Movement. The project is charitable one - all financies from its distribution will be directed to POWs.