Interview KPN-V (English version)

La MEsnie Herlequin

le 1 avril 2013 par Sale Famine - Catégorie: Toutes les news - commentez


KPN-V Interview

Deformed and Horrible on the One Hand, Buffoon-esque on the Other



By L’Atrabilaire (Knight since 2003; L.M.H Canal Historique)


L’Atrabilaire: Before this interview, let’s remind ourselves of Peste Noire’s recent history.

May 2011; There’s a brawling atmosphere, the farmyard’s all in a stir, the new PN is here! What is it called? L’Or Pur à l’état Dur I think. The forums are going crazy. Where can I hear it? WHERE?! QUICK! Who is going to do the first review, WHO?! Chop chop, hurry up – will it appear in a webzine? Quick look it’s on Youtube! The iPods are seething to get a hold of it – it’s just a huge WTF. Ah, there you go – the lyrics are uploaded onto! Fuuuck, but what has Famine done to us? Vroum, prout. Immediately the reactions rush together like flies around shit. Vroum, prout, the forum intelligentsia are hanging around with their monocles and floppy hair, guffawing at Famine’s witticisms, vroum, prout. They despise this new album before actually listening to it. We think of Famine as the king of Fools; people are incensed that someone with such a talent makes such an apparently poor use of it, if only he was like Neige – he at least knows how to behave himself! L’Ordure is the work of a pissed musician that recorded when he was drunk and fucked up, that’s what we think. The artist and his ‘oeuvre’ are inseparable; therefore as bad art deserves a beating, so the bludgeon must come down on Famine’s arse. Ah Famine, the ‘enfant terrible’ of French BM! Ah Famine, the scoundrel that we love to hate! The only Ordure [scum] you see – is him!



Upon listening to the album, various people are shaking in horror; from the European ‘BM purists’, besotted with ‘tradition’ and allergic to change or innovation, to the ‘Fantano-ricans’ [1] who chase changes and trends but know nothing of real Tradition. Some are sickened by the music, others by the lyrics, and many by both. The ‘Righteous League of Metal Guardians’ try to understand this heretical work…they criticise Famine for his private indulgences [2], whom they classify as a ‘social outcast’. Bah, we can say the same about the first European vernacular poet, William IX of Aquitaine, a.k.a. ‘The Troubadour’, who was excommunicated (= kicked out of his community) by the Pope for being a randy old goat, despite having served Christendom during the Crusades [3], and world culture through his poetry. So, has Famine likewise served France through his BM? [4] Only a few firebrand oddballs with bizarre tastes had their interests piqued by this oeuvre and have tried to appreciate it on its own merits. Some state that geniuses are always linked to strange behaviour, and that talent can only manifest in the realms of excess, feverishness and eccentricity. We don’t remember the geniuses that work the daily grind, have a family life and enjoy the odd herbal tea. But, whatever…

I’m saying that this album wasn’t well received (apart from by a few weirdos)…People judged L’Ordure to be an incoherent mess, like a bad transgender operation it didn’t know what it wanted to be…Was it a Mr Bungle pastiche? A Nationalist version of Stupeflip (a French rap/punk/everything band)? Didier Super after chemotherapy treatment? With the Eurodance beats, complex song structures, we’ve even heard some talk about ‘avant garde’ music (?!) – that military term which reveals the rigid herd mentality of those who use it.

Certainly, PN has always been an effortless mix of Black/Folk/Oi/Rock, assembled with a perceived arrogant ease, a ‘Pesto’ sauce seasoned with what Baudelaire called the Gallic salt [5]. PN has always been ‘White’ metal, but with a whiff of ‘négritude’ (not ‘reggae’, like Famine announced at the house of DC [Diabolical Conquest webzine] in 2009, but some ‘zouk, ska, rap and blues’), and what of it! 1000 years ago, the troubadours didn’t hide their sand-nigg/Andalusian influences. If we look more closely, you see that with L’Ordure Farid offered to the BM scene a real 21st century harām art [6] [7]. This opus is the modern face of PN, the ‘CURRENT democratic world’ [8] and consequently the sound of chaos, the decay of a ‘Clockwork Orange France’ [9].

Ardraos / Batterie, accordéon

Ardraos / Batterie, accordéon

L’Ordure is an album of excess in which all the forces of being are unleashed, where all impulses are fulfilled and sated as fully as possible. This unbridled creativity is manifested with the aid of a plethora of instruments; one can’t express the Indian concept of Kali Yuga [10], also called the ‘Iron Age’, a period of ‘final decadence’, through making some sort of recycled and boring  BM – with all due respect to those try-hards churning out catchy riffs .

But don’t cry. L’Ordure is not a completely cynical effort. In ‘Casse Pêches…’ Famine imitates the crowing of a cockerel, the symbol of ‘Eternal France’, the only animal that can sing whilst standing knee deep in shit. Essentially one must have a sense of detachment to express joy, despite the decomposing state of today’s France. Also, the cockerel announces the dawn, the awakening of a people. In Nordic mythology it is Gullinkambi, the cockerel with the golden crest that heralds Ragnarök, which sees the renewal of the universe… thus L’Ordure is a call for revolt.

Ardraos et Famine à table

Ardraos et Famine à table

Now, let’s turn to the questions:

  1. Why this album, that seems such a hodge-podge? Why do this now, after you earned your stripes with Ballade? You’ve lost your mind, or what?
  2. Just like Rabelais and Baudelaire  (who spent their lives respectively trying to dodge the pyre and the prison cell), you too have provoked the indignation of the ‘guardians’ of good taste and similar whiners through ‘poetically incorrect’ lyrics, which in their eyes are frankly immoral – notably the savage ‘Cochon carotte et les sœurs crotte’, that certain killjoys can’t listen to the full way through, and the diptych ‘Casse, Pèches/J’avais rêvé du Nord’ with the punch lines that would make the viziers of multiculturalism weep. What is your defence against the hostilities of these cattle?
  3. L’Ordure is endowed with a powerful, rich, well-balanced, beautiful sound…in short a really ‘aristocratic’ production that we don’t often hear in the Underground nowadays. Some miss the sound of the old days, considering the new production too polished…too good in fact to be Peste Noire. Do you agree or not?


L’Ordure had as its only motto: no modesty. I followed the pagan maxim ‘Do what thou wilt’ (in Rabelaisian: ‘Fay ce que vouldras’), and effectively I fucked around. On top of this I wanted to offer two things:

1. To give those old grannies in Black Metal who talk of nothing but blasphemy, a true blasphemy, this time against these dunces;

2. To give those virtuous priests of the pseudo-nationalist right, a truly national Art: scatologically Gallic.

It’s hard to find a mythology and set of tales which are exclusively French, whose origins are explicitly French, most of these tales are also found in other European countries. Researchers have basically detected three of truly French stories, in which:

Once upon a time there was a half chicken, pecking at some manure. He found a purse full of gold coins. At the same moment the king passed nearby, and having no more money, said to Half Chicken:

‘Can you lend me that purse’?

‘Fine’ said Half Chicken, ‘But on the condition you pay me interest.’

The king takes the purse, but Half Chicken waited a long time without getting anything. Half Chicken said one fine morning:

‘I’m going to reclaim what’s mine.’ Walking down the road, Half Chicken came across his friend the wolf.

‘Where are you going Half Chicken?’

‘I’m off to find the king. He owes me one hundred crowns.’

‘Will you take me with you?’

‘Gladly, wolf; climb up into my arse.’ And then, further down the road, they come across the fox.

‘Where are you going Half Chicken?’

‘I’m off to find the king. He owes me one hundred crowns.’

‘Will you take me with you?’

‘Gladly, fox; climb up into my arse next to my friend the wolf.’ But, at the moment of arriving, they were stopped by the river.

‘Where are you going Half Chicken?’

‘I’m off to find the king. He owes me one hundred crowns.’

‘Will you take me with you?’

‘I’ve got no more space, river.’

‘Oh, but I will make myself small, teeny tiny.’

‘Climb then up into my arse and try to fit as best you can between my friends fox and wolf.’ They arrived like this to the king’s palace.

‘Toc! Toc!’ They hammered at the door.

‘Who’s there?’

‘It’s me, Half Chicken, who has come to reclaim my money and interest.’ The king bids him enter, but instead of receiving him properly and returning both the money and interest that he owes him, he sends him to the chicken coop.

‘Ah, so that’s how you treat me!’ fumes Half Chicken. ‘Fox! Get out of my arsehole!’ The fox climbs out of Half Chicken’s bum and eats all the other chickens in the coop. The king then sends him to the sheep pen.

‘Ah, so that’s how you treat me!’ fumes Half Chicken. ‘Wolf! Get out of my arsehole!’ The wolf climbs out of Half Chicken’s bum and strangles all the sheep in the pen. Upon seeing this, the king throws Half Chicken into the oven where a huge fire had been lit.

‘Ah, so that’s how you treat me!’ fumes Half Chicken. ‘River! Get out of my arsehole!’ And the river flows out of Half Chicken’s bum, swallows up the king’s palace in no time at all, and today not even stones remain.

Paul Delarue concludes (or rather, concluded, because he is dead) that this tale was French in origin, due to its originality, its humour, and its scatological character – and due to its popularity in France no less than 82 versions have been identified. Similarly, the Isérois [those from the Isère region], believe that the giant Gargantua created ‘L’Aiguille de Quaix’ [Lit. The peak of Quaix; a tiny rocky peak in the region] by taking a massive shit. This is France. Here are the old roots of France. All this is to say that, the use of humour, originality and scatology are what distinguish L’Ordure from the other styles of Black Metal played in Europe. ‘Cochon Carotte et les sœurs Crotte’ may well be seen by most French nationalists as degenerate art, but even this title is more French than they are. To be a nationalist doesn’t oblige you to have a side parting and a stick up your arse. Exuberance is not solely the domain of leftists. I consider myself a true German, a pure Frank (Frank = a free man in the Middle Ages), and if I want to make zouk-techno with a pornographic character, then I will make a zouk-techno with a pornographic character, as a White. The neo-Nazis are tarring us with their cult of clean shaving, righteousness and cleanliness. I like to have a bit of dirt in the house, I am polygamous, I fart at the table, and I drive better when pissed than when sober. That doesn’t make me any less French. It is significant that the Italians, who have a tradition of Futurism, the avant-garde and revolution within their right wing, and where many anarchists have rallied with Fascism, have given L’Ordure a warmer reception than the old reactionary, repressed Catholics of the French guard – even when they pretend to be pagans, rest assured they are nothing more than Christians, refusing all experimentation, all excesses, all freedom, basically all real Art; preferring instead the pagan metal with flutes or epic black Viking metal that’s made for men who love other men.

Veurmin / Carnyx

Veurmin / Carnyx

As for the criticisms of the album being incoherent and inconsistent, this is only the case if one fails to listen to the lyrics. The music follows the lyrics, word for note. The movement ‘J’avais rêvé du Nord’ in which urban rap is followed by flights of romance and epic hymns, for example, is explained by the text as beginning with a civil war, a dream of liberating the North, and finally that liberation by force of arms. L’Ordure was criticised for its text, whereas it is in fact essentially a textual album. The music is almost secondary in this album. I firmly prefer the text to the music of L’Ordure.

And on the point of ‘overproduction’ for PN, this overproduction with the warmth and natural charm that is the secret of Muvida/Green Studio and their sound engineer Thomas who is a titan of competence and hard work (a rare thing in this business it must be pointed out), are from my saying that I wanted a contemporary urban feel, almost industrial, for just this album; the production for the new PN is a lot rawer. With L’Ordure we purposefully went from the castle tower to the project tower-block. The indigestible recycling of all contemporary music styles (zouk, rap, techno, dance, industrial) in a ‘Pesto Negroid’ sauce and the overloading of disparate elements was done to reflect the current France; an open air dumping ground, a Babylonian melting pot. So logically one doesn’t find the rustic nostalgia of Ballade – and of the new album. In fact that was kind of the point….

Dunkel / Guest vocals

Dunkel / Guest vocals


From within the ramparts of Avignon [Occ: Avinhon], Florida Occitana, you have dreamed of the North (‘Rêvé du Nord’). We now find you holed up alone, deep in a thick mountainous pine-forest at the ‘mesnie Herlequin’ (‘House of the Harlequin/Devil’), a short distance from the ‘Chasa Dieu’ (‘House of God’ in the Auvergne dialect of Occitan) [11] in the North…of Occitània. In the Middle Ages the black death drove people out from the towns, sources of infection, into the healthier countryside and towards healthier rats; the reader will wonder what unbearable modern plague has provoked your exile to the pagus arvernicus [lands of Auvergne] of Vercingétorix. More specifically, all this implies yet another change in line-up for PN, with the integration of new drummer Ardraos, and the recent departure of Indria, ‘best bassist in the universe’, to do an ongoing world tour with the award-winning PN sales rep to international markets – Neige. ‘Fidschi Fidschi, gute reise’? Explain.


I have moved to the central lands, Auvergne, which is where Ardraos is from. Since I had already met him at a concert in Auvergne and saw his drumming was killer, and moreover since he plays in about a quarter of the French RAC groups, the decision was easy to make…

Despite my eternal respect for this individual, yes, I have finished my collaboration with Indria. So that I don’t have to re-write this, I will copy/paste more or less the response I gave to Nuclear War Now when a guy asked me about the subject of an ‘ethnic contradiction’ of an Asiatic PN bassist:

  1. Fuck you. Indria in PN was a bit of (black) humour. Alas I fear the NS have no sense of humour.
  2. At one point I measured my elitism equally with my nationalism. Indria was the best bassist around. His bass lines never intruded on the white European soul of my music; that resided in my riffs, which a bassist must follow. In any case, his presence had no more effect on the overall architecture of my songs than the Egyptian sphinxes of the Loire castles had on making those castles Egyptian. It added a sprinkle of exoticism, strangeness, which sat well with the gothic spirit of PN. It didn’t in any sense make us an Asiatic group, if that’s the meaning of your question.
  3. PN has always practised misinformation. We don’t give out an explicit message, only signals (sometimes gigantic), dotted here and there in the middle of a huge pile of crap and bullshit (like the jokey notes in the first version of Ballade which everyone took seriously). You must always read between the lines. I see little point in getting banned for taking responsibility for my ideas. ‘Courage without cunning is suicide’ said David Lane, and he knew something about that having been sentenced to 190 years in the slammer. In contrast to openly NSBM bands which were short-lived [12], I achieved success by muddying the waters with subterfuge. Like Zeus, I swallowed Mêtis [first spouse of Zeus - represents cunning & wisdom] to defeat Goliath. Other than being a brilliant bassist and noble man that I will never speak ill of, the dark-skinned Indria was the perfect reason to prevent people from obstructing us – and he had the intelligence to play the game, or to not give a fuck, as it was the music that mattered most. I will give you one example of this; during our tour of New France [French Canada] we took the plane disguised as hippies. Despite these precautions we were stopped by Canadian customs on the pretext of us being a ‘neo-Nazi’ group (thanks to the little pricks at ‘Spirit of Metal’ and their crossed out swastika signs). We were strip-searched, told to turn out our bags and our boots were passed through some scanners. In my bag I had ‘An Essay on the Inequality of Human Races’ by Gobineau. One of the customs officers said:


- Wha’ you got in yer bag?

- A book

- Whassit ‘bout?

- A book about inequality…between people, human races, everything, it’s not racist.

- Alright alright.


Another officer then tried to trap me, by asking in a friendly way, if we weren’t just a little bit Nazi, just a touch, a smidgeon, that it wasn’t so bad and that they were a bit too. To answer I pointed at Indria with my finger, and we were free to go on our way.

9If I have to clarify my personal ideas that are reflected in PN: I remain staunchly a right-wing anarchist. The idealising of ‘the people’ that goes on in the National-Revolutionary and völkisch movements bother me a bit, because this so-called ‘people’ – a herd of materialistic sheep, only united by an interest in cars, their bank accounts, their willies, and shitty leisure sports – are somewhat responsible for their own enslavement by the system. The democratic parliamentary system plays on the wilful and voluntary ignorance (voluntary because these days it is easy to find everything online) of the majority, who are too silly, too soft, too servile to revolt against it because they’re busy watching ‘Deal or No Deal’ on TV. The notion of ‘the people’ is almost a dirty word to designate those who subscribe to preconceived ideas and staid beliefs.  I love my race and the white people have produced wonders when guided towards greatness, but amongst them, I refuse the oppression of the majority, the brainless multitude over the individual. I know that power does all it can to brutalise people and reduce them to consumer vegetables. But in doing this, this power is merely exploiting a popular weakness. If tonight ‘the people’ had the choice between watching ‘X Factor’ and a documentary about their ancestors, they would definitely choose ‘X Factor’. ‘The people’ cover their ears when they hear Black Metal. ‘The people’ close their eyes in front of a work of art [13]. ‘The people’ watch ‘Gangnam Style’ by their billions on Youtube. I have values, I love my race more than the others, I have a sense of honour, duty, justice, and I fight our society because it perverts these notions, but honestly ‘the people’ can go fuck themselves, white or not. I’m out here alone in this deserted countryside to escape the encroachment of the African, as well as the ‘face’ of the people, its bullshit, its prejudices, its herd mentality. In the extreme right there reigns a naive idea of popular solidarity, especially with regard to peasants. ‘The earth does not lie’ and all that; all this is really an urban fantasy. There are no greater rogues, crooks and swindlers than those ‘of the land’ (but my Rouergat [inhabitant from the Occitan region of Rouergue] interviewer halts me in my tracks, puffing that it’s only those peasants from Auvergne…my mistake). I discussed this the other day with the racist owner of a pub in some remote little rural place. I told him that, when the urban black tribes move out into the countryside to devour and rape everything, the locals, mainly hunters and farmers, would join together and carve out enclaves of white resistance. He then laughed and told me ‘My dear little fellow, the people I see them every day, the families, clans, I hear them talking against one another: the day a civil war breaks out each white family will take the opportunity to steal a square metre of land from the other white family by shooting them. They will all be dead by the time your blacks arrive, goddammit believe me!’ So, the people – ok, but governed by a healthy aristocracy who knows how to make them be the best they can; this aristocracy can be drawn from the ranks of the people, which is why I subscribe to the concept of ‘Popular Aristocracy’ developed by Guillaume Faye in ‘The Little Handbook of the European Partisan’ [‘Le Petit Lexique du Partisan Européen’], which suggests ‘the government of a people by its best elements, or a good category of people, who have nothing to do with ‘classes’, which also show a high degree of ethical, spiritual, anthropological, psychological and intellectual qualities held by the people, the aristocracy thereby being the true ‘essence’ of the people. Every society has an elite. But the elite refers only to those in a position of power, without considering their values – or makes reference to values which to us are negative. So today the criteria of the selection of the elite are based on bourgeoisie values – capital interest, economic position, financial power, their populist appeal – or those of technocracy, a purely technical knowledge of those who control institutional apparatuses. In contrast, the aristocratic values, which also incorporate these economical hierarchies and technical know-how, emphasise above all the character, the exemplary nature, leadership based on service.’





In the beginning Black Metal was an experimental and non-conformist style of music. When Mayhem, Sarcofago or Hellhammer smashed the rules of Thrash and Punk around 25 years ago, when Burzum or Emperor integrated elements of classical music into their music, or when Mysticum or Thorns dabbled with industrial sounds, it was pure experimentation. They invented a style without knowing it. Nowadays creativity has dried up, for the past few years we’ve had reissues of anything and everything on CD, on blue vinyl, or green, yellow, goose-shit coloured, you want it you’ve got it…there’s nothing new, fresh, or interesting. Apart from a few rare pearls, for several years BM has had the creative level of the herd, as we hear the same recycled riffs invented by Burzum/Darkthrone/Mayhem…churned out by thousands of similar groups who have never been able to free themselves from imitating their influences (i.e. they limit themselves to listening solely to other Black Metal groups, unlike the former bands who had a variety of stylistic influences, an appreciation of the broader metal culture and also a real musical knowledge); basically ‘apprentice groups’ who write ‘study’ albums in ‘homage’ to their favourite ‘master’ group. Like for example, when PN was born, I remember that few metropolitan BM groups dared to use French, opting instead for English, and musically everyone wanted (and still wants?) to sound Viking/Norwegian/Swedish, American, Slavic, or something else, but never French. Few people can/will accept themselves for who they really are…We see that despite everything you have developed a uniquely personal sound, invented a ‘Pestenoirian’ style that is unmistakeable yet which changes from album to album, to the point where you now find bands copying PN! How did you do this? Is it due to some enchanting visions of a wonderful sparkly fairyland you had in your childhood? No? Perhaps you are able to inject a good dose of colour and nuances into the usual black monochrome of basic BM, and unlike the same undifferentiated emotions as those up-their-own arse clones, you have managed to express the multiplicity of man (his joy, sadness, anger…), a man who, in truth, ‘is wholly and throughout but patch and motley’ (Michel de Montaigne: ‘Essays’ (1580), Chapter XX)…like the Harlequin? Your new album seems to reaffirm that this time again you apparently will not be sponsored by B’nai B’rith…Will you define what precisely is your style?

I have my own ideas on the subject, but first and foremost let me say the speciality of black metal fans – who are even further down in the ranks of the people; the social class that corresponds to Black Metallers is not even the same as the laboratores [Latin term for labouring classes in the Middle Ages], because they live mainly off of social welfare or pocket money given to them by mummy and daddy, without ever having done anything in their lives – is to have a small brain that can only recall ONE single dimension in an album, as diverse and complex as it may be. Three thrash riffs in Folkfuck folie = Folkfuck folie is a thrash album. One techno beat in L’Ordure = L’Ordure is a techno album. Three humorous lines in L’Ordure and I’m doing a Gronibard [French joke-band] album, and out the window goes all the poetic and aristocratic dimensions present in L’Ordure. As always, don’t listen to the people and make up your own mind. With ten years of hindsight, I’ll tell you what I make: Black grotesque. Not grotesque in the profane and insulting sense, but in the literary sense. Forgive me for providing a definition but black metal fans are such idiots that they need a manual in order to understand music, so I’ll begin:



Originally a term used in the world of fine-art to describe those paintings which depicted fantastical scenes of Antiquity (tendrils, chimeras and hybrid beasts, Satyrs, Titans and Cyclops) found in grottos (hence the origin of the word) and caverns; in brief everything that represents the image of contortion, frantic squirming, the warping of my riffs which were dedicated to the Cyclops of W.A.R and to the Satyr of Satyrs; the sex addict Pan.

As a result there came about the figure or caricature character that excited laughter: Famine the Magnificent, ‘the Patrick Sébastien of French Black Metal’ (from the forum of Nightfall in Metal Earth), the ‘Dieudonné of Black Metal’ (from an old blog…black-metal-music-of-satan.html).

The gnomes, the dragons of the Apocalypse, the Medieval Sabbath, the witches of Macbeth, BUT ALSO the Harlequin (whose name is descended from that which I use in my label: Herlequin = the devil) and Sganarelle, all belong to the category of grotesque: deformed and revolting on one hand, buffoon-esque on the other, that is entirely Peste Noire.

Victor Hugo wrote that the grotesque opposes the sublime, as darkness does the light, as PN opposes Alcest, which made me lay out the origins of PN in our magazine which will go to press shortly:

‘I played in ALCEST. In the beginning. I composed the best riff in ‘Tristesse Hivernale’, the searing riff of ‘La Forêt du Cristal’. But at the behest of Neige, ALCEST became an Eden of elegant and overly nice fairies, the pastoral dream of a tender hobbit’s brain. To put it bluntly, ALCEST became a fairytale country. So I had to carve out my own path…I took a shit in those cute flowery groves, sodomised the fairies, and put those elves to bed with a dose of rat poison to allow the song of the toads to flourish. Yes, I made PESTE NOIRE…because PESTE NOIRE was born only to fuck shit up.’

(Diary of PN)

Lazareth / Clairon et trompette

Lazareth / Clairon et trompette

So, I repeat (for the benefit of the Black Metallers):

Grotesque = 1) The deformed and revolting on the one hand, 2) buffoon-esque on the other.

However, if the Black Metaller is crazy only about the world of ‘Medieval Sabbaths’, apocalypses and wizards, if he doesn’t search for anything more in BM than children’s stories and has secret dreams of entering into a Harry Potter world, then he can’t access the buffoonish, the crazy, the humorous, the sarcastic, or step back and take a critical view; in short he can’t access the adult world. He only values the fantasy themes which one finds in the series ‘Goosebumps’, or the epic genre of ‘The Lord of the Rings’. Everything else he classes as ‘not noble’. However the grotesque is Louis-Ferdinand Céline, Shakespeare, Lautréamont, who skilfully marry obscenity, vulgarity, humour and the downright bizarre to a noble and consistently elevated writing style. Céline is dark and filthy and witty and beautiful and grand like Black Metal should be. However the Célinian orality of PN’s texts (or of Diapsiquir) in the eyes of the BM public sit next to that of rap made by monkeys. And when I imitate the cries of a cockerel, our national mascot who sings whilst being knee deep in shit as you say, I am passed off as a comic. If we look closer, we find that the Black Metaller is a Satanist Christian who fights life, matter and the nature of the world: he hates joy and poop (the ‘joyous substances’ as they were known in the Middle Ages), omnipresent in PN, as he considers these things ‘too low’. He is a kind of priest who accuses me of being a buffoon, whilst in make-up [corpse-paint] he cries out on the Arte channel in order to inspire fear, and makes my grand-mother laugh out loud; to the point that KFC has made an advert:

If I am a half-clown, he is an involuntary clown, but a full-blown one, which is even worse. That which he deems low and not serious, we consider noble. A perfectly grotesque group like Woods of Infinity – both members of which are not singing on the new PN by chance – is ludicrous yet sad, naive yet profound, monstrous yet beautiful, human, too human for Black Metallers.


Raven and Melkor / Guest vocals

The Black Metaller is a new kind of Mormon, forbidding himself to laugh on the pretext of being ‘truly evil’. Yes BM expresses ‘Evil’ shit, and so, this is a reason not to smile? PN has also expressed a certain pleasure and joy in Evil, for us cruelty is not negative. We love and take life in its entirety. This ‘joy in Evil’, as defined in the German term schadenfreude (joy caused by the misfortune of others, by the misfortune of parasites like you if possible), exists in life, not in death you bunch of cunts. These filthy priests of Black Metal who speak of nothing but death, suffering and suicide, are no more than bird droppings on the same level as the Rap scum: they shit on life as the Rappers shit on France, without ever doing us the honour of leaving either.

Then, other than grotesque I also assert that I create a black metal that is both Gothic and ‘fantastique’ [see:]. ‘Fantastique’ in the sense of being great, giant, awe-inspiring, unprecedented, never before seen, almost unbelievable…but also in the sense of having a supernatural darkness (in opposition for example to the supernatural light which is equivalent to the wonderful, that of Alcest for example), the ‘fantastique’ encountered in the tales of chivalry, those of the Matter of Britain.

And ‘gothic’, not in the sense of the music called Gothic, but in the sense of the English Gothic novel, from whom the term was adopted by that music scene. Some have described PN as ‘Mediæval Black Metal’. This is not completely false, but not entirely true either. The Middle Ages pulse through my veins (the surname of my mother means ‘within the walls of the castle’, and that of my father means ‘blacksmith’, which means that my paternal ancestors were already pretty metal in the Middle Ages), and we integrate genuine medieval elements (manuscript texts, the hurdy-gurdy, etc.).


L’Atrabilaire / Hurdy gurdy

Nevertheless there is not a great deal of medieval structure in your music; they are not particularly modal and you don’t particularly seem to me like someone who has studied the Ars Nova and the Ars Antiqua. Remember as well that the medieval period stretched from the 6th to the 16th century, that may help the understanding for those people who whined that the cover art on the repressed edition of Ballad is not ‘medieval enough’, whilst the references within the album to Verlaine (19th C), Pujo (20th C), and the scout movement (20th C) are definitely NOT medieval. It’s about as medieval as those medieval polkas written in the 19th & 20th century that you hear in those pseudo ‘medieval fairs’ which abound today, but which are in fact well and truly festivals for mindless wankers.


Yes, I was going to say:  However, there isn’t anything particularly medieval about the structure of my music. It’s less my music than my imagery, texts, the atmosphere I want to crap out that is medieval. That’s why I prefer the epithet ‘Gothic’ in the literary English sense and not in the sense of ‘Goth music’. The history of music is what it is, but I think that ‘Gothic’ as a style of music usurped this lovely term, which should have been allotted to Black Metal. The Gothic novel reflects a love of the macabre and of the Past, it situates its stories in the Crusades (a constant theme in PN) and in Medieval aesthetics (haunted castles, crypts, prisons, graveyards, nocturnal landscapes…) with a strong supernatural presence. An atmosphere of horror reigns over everything. The plots involve diabolical pacts, imprisonment, torture, suicide, etc. Black Metal exploits this universe more fully than ‘Goth music’ does. Black Metal has more of a grimacing mouth like a gargoyle, as opposed to ‘Gothic’ music, with its well-groomed ponces made up as women who sing far too much in tune. We are disguised as savage warriors, like the Picts, and we sing loud and off beam – at least in PN. To call art ‘Gothic’ was a derogatory term, used to designate the barbaric and strange aspect of French art (or art from the Île-de-France), since Gothic art originated in France. A barbaric art, of FRENCH IDENTITY so…it couldn’t be more appropriate for PN. I’ll go even further: if Peste Noire is Gothic BM, the last Peste Noire is Flamboyant Gothic, that is to say ‘the exaggeration and decadence of Gothic art’, according to the ‘Manual of French Archaeology’ by Enlart, whose refinement is carried to an extreme in the midst of a period of war, anarchy, and questioning: buggering all straight lines, an abundance of curves and counter-curves of guitars and cries like arrows shot from the fiery bowels of hell, music constantly rising and falling like flames, samples of fire, technical virtuosity, exuberant ornament – medieval drums of all kinds, tambourines and bells, beer bottles and samples galore, music full of veins with sounds of prickly plants and cabbages, a diabolical bestiary of a thousand voices made by freaks like Arawn of SACRIFICIA MORTUORUM (FR), Ravenlord and Melkor of WOODS OF INFINITY (SWE), W. the east European who wishes to remain anonymous although deriving from the National Black Metal movement in his country (proof that abroad we/PN are seen as more unacceptable than those usually seen as being beyond the pale), Khräss from ZEPULKR (FR) and the female singer Audrey (FR), grafted onto my alcoholic and stretched gargoyle cries, which peak, sometimes intolerably, to sodomise your ear dry – I don’t use reverb – like a spire, without respect for the laws of dynamics or standard mixing, where the height of the architecture makes the keystones dangle uselessly, threatening the stability of the whole edifice, risking its collapse on your head like the chapel at Senlis.

Veurmin / Lituus

Veurmin / Lituus

Archaeofuturist, as well. On a Brazilian – LOL – was indignant that she heard gunshots in a Mediæval BM group. This bitch, she said that they didn’t have firearms in the Middle Ages. Firstly, what does she know? Secondly, the logo of LMH is a knight clutching an AK-47. I made a wife-beater with a hooligan on the front wearing a knight’s helmet. KPN, it’s the return of the natural laws – ethnic, aristocratic and brutal – the return of the pre-Modern laws from before the Enlightenment, with the methods of the present: guns and electric guitars. It’s ‘re-enchanting’ the ultra-rational modern world by re-introducing archaic supernaturalism into the cold monotony of the daily grind. The basis of La Sanie des siècles is made from traditional melodies, simple and popular, but its form, its sound, is that of greasy industrial metal.

Gothic, ‘fantastique’, grotesque, archaeofuturist BM, well… I hope it doesn’t sound too pompous.

Audrey / Chants rock et lyrique

Audrey / Rock and lyrical singing

Let’s talk about Satan. I take BM very seriously, very very seriously indeed, and I have read numerous fanzines where very dark and mysterious groups advocate ‘Satan’, ‘Evil’ etc. A summary of their views are: 1) ‘We must kill all men.’ 2) ‘We advocate suicide through drugs and booze.’ 3) ‘We are a danger to society because we advocate DEEEAAATH!’ To which the ‘reality principle’ answers: 1) Really? You’ve never hurt a fly. Personally I had my teenage crisis like everyone else but I grew out of it…at 15? 2) False. You’ve been saying that for 20 years and you are still not dead. Moreover, it would piss off your wife and Job Centre if they heard that. 3) False. You can put on concerts to ‘spread evil’ and call for the ‘death of humanity’ AS YOU WANT and WHEN YOU WANT and WITHOUT CENSORSHIP all the way from Oradour-sur-Glane to Tel Aviv, whereas those ‘life lovers’ and ‘tree huggers’ as you call them who defend their people which are in danger of disappearing, are censored, persecuted and hunted down. The anti-Bolshevik chant ‘Horst Wessel Lied’ is banned in Germany, and the albums of Graveland are censored, but not the BM which says ‘Exterminate Humanity’ [14]. And you would still go along with calling PN a ‘joke band’? To tell the truth our Satanists venerate by choice the Jewish Satan of Hollywood that is designed to scare kids in films and distract Antifa, the Satan of the Oscars, ‘the biggest Jewish celebration of the year in America’ according to Woody Allen, the protestant materialist and capitalist Satan of Anton LaVey which is now permitted to parade on the Grammy podiums, or on Caribbean cruise ships, this Biblical Satan that is embodied by Lord Berberian [Michael Berberian = head of Season of Mist], whose brogues all the ‘Exterminate Humanity Satanists’ kiss in devotion (I prefer his wife!!!). On the other hand, it is unsurprising that most hardened Satanists quiver as soon as you mention real ‘Evil’ such as paedophilia or Nazism. So, PN, Satanist or not?


An impish Satanism rather than a hardcore Satanism. I don’t like paedophilia or drugs, nor the Ayrault government (the French State being the most Satanic of these three, and this is beginning to be common knowledge). I would like to practise my form of Satanism on them. If Satan was a wild beast – let us put him as a lion – then I would be a cat, a Satanist who wasn’t too nasty. And if I was a cat, I would be Zouzou.

Zouzou 1

Zouzou 2

Zouzou 3

I don’t want a cult of hard drugs, rather one of blonde beer (one of the songs on my new album is a tribute to blonde beer); I don’t want to fuck children, but teenagers. This is different. My form of Satanism is explained most directly in my articles ‘A Necessary Ruthlessness’ (‘La méchanceté nécessaire’) and ‘The Other Age and Outrage’ (‘L’autre Âge et L’outrage’) published on LMH, which expresses the need to return to finding pleasure in wickedness among this bloody White race, which has become softened and castrated. And if by Satanist you mean anti-Christian, then yes I am, with the proviso that I quite dig traditional Catholicism, from which I draw my entire aesthetic for PN, which is anything except Christianity: rootedness vs. Christian universalism; judeophobia vs. a Jewish god; a sense of hierarchy and elitism vs. New Testament egalitarianism; racist crusades (one has only to read the ‘Song of Roland’ to see that it would make the writings of Vacher de Lapouge seem like SOS Racism communiqués) vs. victimhood and love for one’s neighbour; love of beauty and luxury vs. the clochard-esque poverty advocated by Jesus. If white Christian art gives me a raging hard-on (typically it was made by whites for whites, on top of pagan temples….also white in origin [15]), the content of the New Testament makes me literally puke.


Peste Noire has been around for 12 years now, for 10 of which it has been totally absent from the internet. But, as Aristotle said ‘Nature abhors a vacuum’, and thus we saw fake PN Myspace sites, fake PN Facebook accounts, fake Last FM/Youtube profiles, fake albums/concerts/news, fake t-shirts, false use of the LMH address(es) to speak to your groupies…people who took advantage of your absence/carelessness/not-giving-a-fuckness/autism, who sucked from the golden teat of your work, spoke in your place in order to make internet friends or make a name for themselves off the back of your music. We see now that your arrival on the internet ( coincides with your will to reclaim your group, re-occupy your territory, to have total control. I’ve got it right? Would you say you’ve watered down your views on the internet?


Absolutely. I would add that the reclamation of my own group on the internet was not entirely accepted by those that had robbed me of it however. In thinking that I was behind the (unofficial) Facebook page of Peste Noire, certain subscribers of the page who themselves had a Facebook account, thought it was scandalous that it was I behind the page and that I was replying to anyone (anyone being other subscribers to the page like themselves). In short it was not me who answered, but it is rather funny to see that these subscribers, who themselves have personal Facebook accounts don’t support the possibility of me having one. I have had the internet since 2011, and had for a long time denied its use out of personal choice. The internet is a great source of alternative information, and I cannot thank it enough for allowing me to listen to a radio programme such as Méridien Zéro each Sunday evening. My aversion to the internet is not due to the downloading, which easily allows the diffusion of non-commercial music, but to the improper use, even downright massacre of the sound quality of musical works by the stupid goddamn plebs. My work ‘Dueil Angoisseus’ has received some 300,000 views on Youtube [16] with an inaudible and unacceptable sound quality, a sound like a fork being dragged across a plate, whilst on the CD the track is heard correctly. As I can’t fight against people putting up my tracks on Youtube, we created a fake profile in 2011 – Anastasie – in order to put up L’Ordure in HD quality and my texts without mistakes (because Black Metallers can neither read nor write, and they don’t know how to copy out things from a booklet). That same day, some guys had re-uploaded the video onto their own channels, this time in low quality. At that time Youtube didn’t allow you to put up videos longer than 20 minutes like ‘J’avais Rêvé du Nord’ in HD. So it was divided into two parts. Now half the sites that reviewed L’Ordure speak of J’avais Rêvé du Nord 1’ and J’avais Rêvé du Nord 2’, which appear as a single track on the CD. This means that half the sites that specialise in reviewing music base their reviews on the sounds they hear from Youtube, which was not made for listening to music and on which the sound quality is clearly bollocks. There, that’s what gets on my tits about the internet. And I want to say to the hundreds of Black Metallers who reproach me for making Black Metal for groupies and for making love to women who like my music, stop e-flirting with Anastasie, because Anastasie is a friend, and that friend is a man. We will make our official Youtube channel, not from desire but through obligation because if whether we do or not people will listen to us on Youtube, and so it may as well be with the closest possible sound to the original songs.

Little by little the UGBM scene (of quality, the one that sells) is becoming totally bought/sold by the money changers (mainly Season of Mist, ‘The Godfathers’). We also see artificial BM groups completely fabricated by labels, like Malcolm McLaren did back in the day with the Sex Pistols. All this little world, the ‘Brotherhood of Metal’, pay to be on the cover of ‘big’ metal magazine that are sold in supermarkets to gullible kids, that of course ensures eulogistic reviews, and guarantees undeserved recognition by fake plebiscites at the end of the year (i.e. ‘Best BM of 2013 is…’) in these shitty magazines in exchange for some Euros or buying some advertising space. In short, it’s nothing more than pure prostitution and racketeering. You’ve chosen freedom/authenticity and you finance/sell your AOC work [AOC = ‘Controlled Designation of Origin’, a French term that designates a high level of quality from a specific region, such as is used for wines or cheeses] that you composed, played, recorded, conceived, arranged without going through middlemen, that results in a direct link between ‘producer and consumer’. All the same you need some real guts to resist the forces of Mammon (money) and to keep your independence in our current crisis condition in the music industry. Yet they still criticise you? Why? Let’s see…you are boycotted by the media/forums/mainstream magazines (moderators of some ‘big-name’ forums have forbidden anyone to speak of PN), you aren’t distributed by major companies (except for your first two albums in some cases, but you don’t have the rights to them), you’ve never played it safe by making the same album twice and none of your albums resemble each other, you nail your colours to the mast every time, and take risks (L’Ordure), it’s so that… you could become… commercial? Say that you haven’t yet found the secret of living without food… Famine? How does your label work? Explain to us ‘Famine, king of enterprise’, we are curious….

Antumnos / Flûte traversière

Antumnos / Flûte traversière

To summarise this seriously: there are 5000 people who buy BM in the world. And 900,000 people who download albums for free. It is these 5000 people, roughly 0.5%, who stop BM from dying. On one side you have the Black Metal stamp collectors, purchasers that allow the bands to live but don’t listen to the music because they don’t want to wear out their vinyls (I responded yesterday to a friend who asked what for me was a Black Metaller; ‘One who has 1000 CDs, 2000 cassettes, 3000 vinyls, and a Walmart hi-fi to listen to them, or even just a computer’). But these people have the merit of keeping the genre alive, and the ‘aesthetic-collector’ aspect is part of the world of art. On the other side, we have the self-proclaimed fanatics, who know all the lyrics, productions, deeds and gestures, but who never buy a CD in their life and listen to music on MP3 ripped from Youtube onto their Ipod. How does my label function? My cash flow is limited so that involves short production runs which incur high production costs.

The underground micro-labels, which sell little, are undeclared income (so they don’t pay tax) as well as being operated by kids [17].

The big labels run on the economies of scale, so they produce big runs at a low cost.

Me, with my little label, I have nothing but disadvantages:

- Our political line prevents us from getting bigger.

- I work entirely through a self-financing basis (it’s tough to get loans from banks) = no big runs so no economies of scale.

- And I face a titanic tax burden of our robber State (which becomes more and more rapacious by the way); a burden from which the micro-labels are free, because (I repeat) their income is undeclared.

Some people want an underground (of quality), outside the system (yet still of quality), without accepting the consequences of this: in the end the price will be more expensive that Season of Fists or some micro-distro. That’s life. But because I’ve got such a big heart and some people aren’t unemployed by choice, for the next album there will be two versions: a special ‘PS’ version (‘Social Parasite’) priced at 8 Euros (which is the equivalent of two 4-packs of Bavaria 8.6, or a 30 pack of Gauloises Blondes/Bleues); and a super-deluxe version at 30 Euros, for the hard-working elite: a DVD-sized Digibook with lyrics, a 24-page booklet where each text is illustrated (some hand-drawn), plus an outer overlay embossed in hot gold, rather superb. Know that it’s only that latter type that allows me to live. My last album is worth three times that which is happing in the current BM scene: instead of buying three turds at ten Euros each, buy a PN album at 30 Euros. Do you complain when a car salesman tells you that a Porsche costs more than a Renault Twingo?…Our dear Black Metallers, who speak ONLY of being elite, should open a dictionary at the word ‘elite’, and learn that in the history of mankind the elite rarely experienced a lifetime on social welfare, receiving free healthcare from the NHS. Because when you think about it, I pay so many taxes that when they buy one of my CDs, ultimately they are doing nothing more than giving me back some of the money that the State steals from me to pay them to do fuck all.

Famine und Audrey

Famine und Audrey

Always on the theme of ‘He who leaves his place loses it, he who remains takes advantage’ (contact the members of the Black Legions for them to explain the concept of being sodomised in absentia), on the LMH website you fume against the labels that bootleg PN: ‘The bullshit is really FULL ON. These are recordings that are costly (time taken to compose and record the material), these are recordings that form the reputation of the group, it’s the reputation that sells CDs and t-shirts, people download what can be downloaded (CDs) and buy those things that can’t be downloaded (t-shirts, patches etc). And when I have no more money having pissed it all away on my recording (new PN), they (these official labels) have some money to release just t-shirts without having financed the recordings or designs which I paid for instead of them. I’m being fucked over.’ Anything to add?

With regard to bootlegs, I refer to this NEWS.

The only things you need to know are:

-THAT since Ballade Cuntre Lo Anemi Francor, the only official source of information is found on my site, WHICH IS HERE.

-THERE exist three PN cassettes produced by Roman Saenko of Drudkh/Hate Forest on his label Night Birds Records:

La Sanie des Siècles – Panégyrique de la Dégénérescence TAPE (co-released with Todestrieb records)

Lorraine Rehearsal TAPE

Folkfuck Folie TAPE

-THERE also exists a cassette version of Ballade cuntre lo anemi Francor, released by OT of Akitsa on his Tour de Garde label.

-AND THAT the works of PN before Ballade cuntre lo anemi Francor were produced by De Profundis and in co-production with Ahdistuksen Aihio and Northern Heritage for the first two vinyls. The Lorraine Rehearsal vinyl was also produced by Mikko Aspa (Clandestine Blaze) on Northern Heritage, and the Mors Orbis Terrarum vinyl was by Debemur Morti.

All the rest were produced by my label La Mesnie Herlequin, and can be found on my WEBSHOP, where at least the titles can be found for reference, that is to say it will be listed even if sold out. In other words: if you buy a t-shirt, a coffee mug or a swimsuit which is branded as PN which you do not find HERE, it is a fake and you are killing the artist (which may be a choice; that I understand).

Lots of fans, all around the world, have been clamouring for PN concerts for years. There have not been enough PN concerts and already we are at the arrival of the 5th CD. It is said that it’s only in a concert that you see band properly, and so ‘real’ bands must play concerts, if not they are ‘false’. What do you think?

Hahaha, no, it’s not in a concert that you see what makes a group. A Metal concert, and even worse one of Black Metal, is incomprehensible if you haven’t listened to the album beforehand. It’s a sonic chaos in which you can’t detect a quarter of which is really being played. BM requires a warm, analogue sound, filthy and dusty (the demo ‘A Sorcery Written in Blood’ by Gorgoroth and ‘Remains and Vampires’ by Mütiilation are for me the alpha and omega of what is the Black Metal sound), and that sound can’t be replicated live. Some tracks sound better on CD than they do live, and vice versa. There will be some PN concerts, but they will be rare, for my style, contrary to brutal groups like Revenge, is better suited to CD than played live.

Kräss / Guest vocals

Kräss / Guest vocals

This is the last question, so points towards the ‘future’. Tell us more about this new album, and the future of PN. And speaking of the future, talk about that of France, a subject about which you seem inexhaustible and one which also preoccupies the great Varg Vikernes (Burzum) who called for everyone to vote for the Front National in 2010 [18]. L’Ordure predicts that a great French civil war will come, between us and them, due to the colonisation that has already started: ‘Montreuil-sous-Bois’ (Seine-Saint-Denis, in the suburbs of Paris), the ‘second largest Malian town in the world after Bamako’ is nicknamed by its inhabitants ‘Mali-sous-Bois’ or ‘Bamako-sur-Seine’ (at least they have a sense of humour!). Nevertheless, would you agree more with the opinion of General Bigeard who said in relation to Kosovo that ‘the real war is elsewhere, where nobody sees it. The real war is going on in maternity wards.’? As I know you to be altruistic, and I suppose that your pastoral isolation has strengthened your inner wealth and your great Wisdom, what about the future of the white race in general inspires you, at this time when only 2% of the world population is made up of white women of child-bearing age (and this does not mean that they are all desirable, eh)? The lineage of the Arverni, an illustrious Trojan ancestry according to the Roman poet Lucan (who must have been pissed at the time), can it be saved? What does your horoscope say on this subject? For the teen girls on Tumblr who mistake Neige for you, hasn’t it failed?

The last Peste Noire is called ‘Peste Noire’ because it’s a synthesis of all that I have done; there’s a dash of La Sanie, a pinch of Folkfuck Folie, a spoonful of Ballade, a sprinkle of L’Ordure and perhaps a few other things in this last opus horribilis. The circle is complete. Besides delivering a rap album, which I seriously consider, I don’t think I can renew myself anymore. In 2030 under current conditions, 35% of the population of Auvergne will be over 60 years old. I must now dedicate myself to the only function that matters to me: the repopulation of the countryside through sexual reproduction. The blond gene is recessive; it can disappear at any moment. I must disseminate my Aryan genes across France and Europe before it’s too late. So I’ll conclude with a text by David Eden Lane:

Our wise forefathers, and mothers, did indeed structure their social and religious teachings on nature’s laws. And nature’s laws do indeed declare that superior males should have many mates and many offspring, while inferior males do not deserve the pleasure of either mates or offspring.



However, our forebears also realized that the needs of a structured society required that certain instincts, as well as the most primitive natural law, had to be tempered with reason and common sense.

For example, if all men fought to the death over women with very few surviving the carnage, the number remaining could not defend the tribe or race. So laws and rules of conduct were necessary.

Over eons of time the monogamous family structure proved to be the most beneficial, providing security for women and children, and the basis of an orderly society.



However, this does defy natural law which declares that the best must breed the most. So what was the answer devised by our ancestors?

The solution, as always based on observance of natural phenomena, was to divide men into three classifications: Thralls, Karls and Jarls.

Thralls have always been the slugs of society. Today some examples are government employees, word-twisting preachers, welfare bums  [ed.; Black Metallers] and politicians, to name but a few. In a natural world they have no right to the pleasures of a woman, or to reproduce. They should rightfully be enslaved, deported or executed.

Pire / Violoncelle

Pire / Violoncelle

The second classification was the Karls. In times past they were farmers, metalworkers and what we would now call a « Citizens militia. » [ed.; The people as defined in my second answer] They are the salt of the earth and the backbone of a civilization. Today they are ranchers, farmers, inventors and craftsmen. They should and must pass on their genetic inheritance with a wife and children. And monogamy is the time-tested best marriage structure for the Karls who make up the largest mass of an Aryan society.


The third classification was the Jarls. Jarls are few and far between. Jarls are superior men who prove their right to rule by demonstrations of tribal (now racial) loyalty, by service to the folk, by courage, perseverance and determination. The survival of the folk depends on the wisdom, courage, altruism and genetic makeup of Jarls. And because they are so rare, their genes must be passed on in abundance. Thus polygamy is nature’s desire for true Jarls.

Instinctively women know this to be true. Thus we see so-called groupies jumping into the beds of rock stars [ed.; Famine from PN]


Lane told you to suck me

and sports stars or other celebrities, even though they know they are just one of many in a virtual harem. And even though the celebrities of this age are scum. [ed.;  Famine from PN]




Sans titre

The true Jarl who sacrifices and fights for the life and welfare of the folk deserves a multiplicity of the most beauteous maidens of the folk:

Not only so that his genes and their beauty unite in grand offspring, but also because sexual pleasure is the proper reward for a defender of the folk. Again, all our folk instinctively know this as they forgive the sexual peccadilloes of presidents like Kennedy or Clinton. And again, even though our politicians are falsely perceived as Jarls.


Hopefully the above will clear up any misconceptions or misapprehensions about polygamy. The rewards of multiple beautiful maidens must be earned by exceptional service [ed.: La Sanie des Siècles, Folkfuck Folie, Ballade cuntre lo anemi Francor, L’Ordure à l’État Pur, Peste Noire] to the folk, before the pleasures are claimed.

The rewards are necessary in order to inspire our young men to heroic deeds in this desperate age. But this does not endanger the common family structure of our folk overall.

One last point, however. If this is the time of Ragnarök, then the coming chaos will be such that civilization and its structures will be irrelevant. At that time remember, « What is good is right. » Morality will consist of reproduction and survival and little else. [ed.;]. »



Haec sine dubio familia Herlichini est…

PS from L’Atrabilaire: Ah, to all the groups that I interviewed and all potential readers: the magazine will be released the day that Famine writes a PN Manifesto that he is satisfied with…

PPS: Thanks a lot and big up to Martin & Monica from London for the top-notch English translation. Represent!




Very Brief End Notes by L’Atrabilaire


1. / Anthony Fantano, worthy representative of right-thinking American hipsters in thick-rimmed glasses, flannel shirt and a neck-beard. In an ideal BM world, the untermenschen of the US hipster scene (and other such Hunter Hunt-Hendrixes) would be taken from their useless circle-jerk sessions and turned into useful house-slaves, bound to serve us – cleaning ‘La mesnie’, washing the dishes, ironing, cooking…..well, maybe not cooking, they are American after all!

2. Without even speaking of gang-bangs or swinger parties, the Black Metallers of today stick to the same line as Wlad of Vlad Tepes from the Black Legions who in ‘Kill Yourself zine #2’ said that he did not have a girlfriend, because that would not be evil enough (LOL).

3. William IX of Aquitaine (Occitan: Guilhèm de Peitieus; French: Guillaume de Poitiers/d’Aquitaine; c. 1071  -1126) was also a descendent of Odo (Occitan: Eudes), Duke of Aquitaine (c. 700 – 735), the Aquitanian (i.e. from the ‘country of the waters’ according to the Romans, owing to its numerous sources) which had given the Muslims a good thrashing beneath the walls of Toulouse on 9th June 721. His victory signalled a decisive halt for the Islamic expansion in the West (all the Europeans who love saucisson [i.e. pork] and mini-skirts should re-read the beginning of the sentence several times; without Odo we may not now be able to enjoy these), just ten years after the first Muslims crossed the Gibraltar straits. The Emir of Cordoba, Essam ibn Malik, kicked the bucket in Toulouse. All Muslim historians call this event the first great tragedy of the Muslim empire and the caliph of Damascus proclaimed a day of commemoration called the ‘Festival of the Martyrs’ Field’, which was celebrated for almost 400 years from Cordoba to Damascus. Pope Gregory II called Odo the ‘Saviour of Christendom’. ‘As for the alleged Battle of Poitiers (led by Charles Martel as the legend goes), so dear to our textbooks; it does not appear in any contemporary chronicle, Latin or Muslim. It would have been at the most one of the customary raids led against the northern shores of the Mediterranean or the Pyrenees. But for ‘France, eldest daughter of the Church’, it had to be a Frank that stopped the Muslims at Poitiers!’ (Jòrdi Laboissa, ‘A History of France: The Sham’, 2007). The Battle of Poitiers, at best, has been ‘built up’ from being the destruction of a powerful Arab raid that wanted the pillage of an important Abbey. It was not a question of territorial conquest according to Gilbert Sincyr who wrote ‘Islam Against Gaul – The Field of Martyrs’ (2012). The circumspect scholar might want to consult these sources: ‘A General History of the Arabs in Spain’ by El Maqqari El Tlemceni 1591 – 1642; ‘The Complete Works’ by Abderrahmane Ibn-Khaldoun El Hardrami, 1332 – 1406 (La Pléiade); ‘Isidore of Beja’s Chronicle’, 751; ‘The Continuations of Fredegar’, c. 750; ‘The Annals of Aniane’, 710 – 778 by Sydney Forado. It may be no coincidence that the introduction to L’Ordure (itself an introduction to ‘Casse, Pêches…’) is in Occitan (Languedocian dialect), the language of Toulouse and of the last Dukes of Aquitaine. Also because of Occitan’s anti-Jacobin side of course (the French Republic is a bitch) and the desire to re-appropriate a sacred language that has fallen into the hands of Marseillais mongrels with Pernod-Ricard bucket hats. Relearn history with LMH!

4. ‘Nobody is a prophet in his own country’; this reminds me of this quote by Anatole France: ‘My poor stepfather had been much insulted by the official scholars, and he suffered, not knowing that man rises to glory on a pile of slander, and that, for anyone who thinks and acts, it is a bad sign to not be vilified, insulted, menaced.  He had not sufficiently noticed that, at all times, those who honoured their country through their genius or their virtues suffered contempt, persecution, imprisonment, exile, and sometimes death. These considerations weren’t taken into account by his genius ’ (France; ‘The Bloom of Life’, 1922).

5.[The Frenchman] is an animal of the Latin race; filth does not displease him; in his home, and in literature, he is scatophagous. He dotes on excrement. The litterateurs of the coffee-house call that the Gallic salt.’ (Baudelaire; ‘My Heart Laid Bare’, 1887).

6. In Arabicharām (حَرَام is) ‘illegal; illicit; forbidden; inviolable’ but also ‘sacred’; in contrast to halāl (حلال), ‘permitted, licit’.

7. In ‘Trifles for a Massacre’ (1937) Louis-Ferdinand Céline, notorious for outraging literary critics during his lifetime, prophesised that if the Americans won the second world war the Jews would make the Whites dance to ‘Negro music’. Céline called it ‘The ‘Blanc Boula [i.e. ‘Bamboula’ with Whites] – He was right. In 1945 the rural youth of France (here in Rouergue) still had fun with homemade white local music, shown here in an age-old local bourrée: From 1940 onwards look what utter brainless pseudo-African shite – promoted by our Masters – they dance to, both in the countryside and in the city since the metro-sexualised, de-cultured and urbanised youth of today listen to the same ‘music’ everywhere due to the ‘cultural standardisation’ of France/Europe/the whole world after WWII:

8. In 2006 Famine explained: ‘(…) The Beautiful, the grand, the nobility, arise when PN evokes the European PAST (which this melancholy is nostalgic for) with a Black Metal that follows the tradition of the Ancients (BURZUM, MUTIILATION, VLAD TEPES). And hate, terror, DISORDER, madness, arise when we evoke the CURRENT democratic world. This disorder is expressed, naturally, in less usual and conventional forms.’ (Interview with PN, Zero Tolerance mag., USA, 2006)

9. According to writer Laurent Obertone, France today sees 13,000 muggings, 2000 assaults and 200 rapes every 24 hours, based on figures from the French National Observatory on Delinquency.

10. ‘They kill children in the womb of women, men marry other men, and women, the women, they feed cows with meat, the heroes and warriors are mocked and banished, the kings are thieves and the thieves become kings.’ (Kali Yuga, according to the astronomical treatise Surya Siddhanta; Kali Yuga begins (began) at midnight on the 18th February 3102 (2013?) according to the proleptic Julian calendar.  On the 25th February 2013, 14 countries allowed homosexual couples to marry. Case closed.)

11. ‘Chasa’ [‘house’] was (badly) Frenchified into ‘chaise’ [chair] (?!) as if God would place his arse in it, see the absurdity of certain phonetic translations during the Frenchification of Occitània…

12. Honour to the scene of Toulon and AMSG Productions which were condemned to prison for trivialities that seem ridiculous today, now that the mouths have finally opened thanks to the internet. Some of them were even sentenced for ‘apology for crimes against Humanity’, a charge which the most ‘evil’ Black Metallers ranting about Satan and the death of Humanity [see footnote 14] normally dream about; alas, their calls for ‘Humanicide’ go unheeded by police. In fact they go no further than popular metal magazines in which these evil spawns of Satan are expressing their oh-so-dark posturing (without censorship of course, unlike the NS ‘lifelovers’) and it does not gain them the prestige they desire.

13. In 2007 Joshua Bell, one of the finest musicians in the world, played Bach incognito in the Washington DC metro and nobody deigned to be interested (he collected $32 in 45 minutes) whilst the day before the Jarls paid around $100 to see him play in a theatre in Boston Symphony Hall (

14. The ‘Exterminate Humanity’ BM is divided into two large categories: The BHLBM and the BM prole. The BHLBM is ‘The BM bourgeois’ that BHL would fancy [Bernard-Henri Lévy = a French Israeli ‘intellectual’ and author = a Yahweh-sent pro-mass immigration zealot in France, closing his eyes to the apartheid/right of blood citizenship/imperialist theocracy happening in Israel. Everyone has a similarly self-righteous Zionist ‘intellectual’ clown in his own country, teaching rights-of-man virtues with a preacher’s attitude. So instead of ‘BHLBM’, which is specific to France, you can also use your own native Zionist philosopher(s) to create a catchphrase that designates bourgeois BM in your country!]. So, BHL said: ‘Of course; we are resolutely cosmopolitan. Of course, all that is local, ‘béret-ed’, bourrée [dance from the central parts of France (Auvergne, Rouergue, Bourbonnais, Anjou etc.); see footnote 7 above], biniou [Breton bagpipe], in short quintessentially French or chauvinistic, is alien to us and even odious. And one of the principle merits of Europe, in my eyes, is its function as a machine to cool the national passion.’ (Globe, 1985) because the BM bourgeois is not interested in the people it belongs to, its past, its future. The main concern of the Bourgeois, who does not know the true reality of his people since he stays in nice areas moving only between his plasma TVs and the bank, is material enrichment and personal safety, NOTHING ELSE! And as long as his inheritance is assured, he will not take any risks for his race, will he?…His friends the foreskin eaters, clustered around Paris like a handful of crabs round the bollocks of Merovech’s descendents, would take umbrage. The BHLBM is therefore internationalist and as evasive as possible in its message; it writes in Latin-like pseudo-esoteric gibberish or in Kabbalistic and qliphothic gobbledygook to honour Rabbi Ron Chaya. BHLBM opposes prole BM (War/bestial metal etc) which hates France and the Whites just as much (and includes the aspect of self-masochism). But they are similar because ‘the whole dream of democracy is to raise the proletariat to the level of stupidity attained by the bourgeoisie. This dream is partly accomplished. They read the same newspapers [= watch the same TV programs (nowadays)] and have the same passions [= play the same video games (also nowadays)]Gustave Flaubert wrote in 1871. Except that the BM prole knows the reality. Sometimes the grandson of an European immigrant, his reality is painful (a wage-slave in a factory, eating MacDonalds ‘gastronomy’, living side-by-side with the mass immigration coming from Africa and the every-day happy idiot). He wants to destroy everything because his prole reality is ugly: ‘Because they could not succeed themselves, they wish every-one else to be ruined; then from this aversion to the progress of others and despair of their own their mind becomes incensed against Fortune, and complains of the times, and retreats into corners [rehearsal rooms] and broods over its trouble until it becomes weary and sick of itself.’ (Seneca, ‘On Tranquillity of Mind’ (c. 63 BC)). The BM prole tried to read some Nietzsche, a de rigueur reference in BM, and often quoted him as a reference point, because he thought that he was Satanic (being the author of ‘The Antichrist’), but he stopped when he understood (or was told) that Nietzsche was in fact against Nihilism, and against people like him. Of white women, the BM prole sees only fat Tracys in the supermarket and the figurehead-whores offered to Papuans on TV, so he dreams only of rape and annihilation. Having no culture, except the brainwashing propaganda served up on TV/mags by ZOG, he does not know of the previous millennia of great European culture, which would give him a source of pride. To him, Walt Disney is a re-enactment of the Middle Ages. A passive victim of 15 years of intensive ethno-masochism at the hands of the state schooling system, adding to twenty centuries of Judeo-Christian indoctrination, for the BM prole there is nothing to save because he cannot know or see what he would lose. His words in Engrish, produced directly from a reptilian brain, speak only of goats, sodomising nuns and imaginary wars against Christians [= against a good part of his ancestors]; an ‘aesthetic’ Satanism, but that could be permissible (art is an ‘artifex’ (Latin for ‘artifice’) if he just had a sense of aesthetics. Alas, the BM prole suffers generally from tinnitus, and as he can’t distinguish melodies, he just makes noise with his instruments. (

15. The honourable Pierre Vial says, the Auvergne kept, in the Middle Ages, clear traces of Gaulish heritage. The squat churches carry plane sculptures in stark contrast with the round bosses typical of the Romanesque tradition. Interlacing patterns and solar motifs perpetuate an ancient symbolic grammar carved into the stone. The Auvergne artists affirmed without complexity their originality, especially in the Haute [Upper] Auvergne where, notes Bernard Craplet, triumphed in the Romanesque period ‘a popular art, full of life, racy and even bawdy, whose verve was given free rein on the corbels along the apses.’

16. While we’re at it, the Swedish shemale that has the account ‘BlackMetalMusic’ refused to put a link to the LMH webshop in his video because according to him ‘Black Metal has nothing to do with money.’ He plays in the Alcest-worship group Monde Céleste who indeed have ‘nothing to do with money’, since they are particularly unsuccessful. Hey Nancy, don’t you make money from just uploading music made by other bands’ into your Youtube videos?

17. In this vein, one sees the emergence of small labels who have their strong merits, but who for the most part are developing a prole mentality such as the syndicalists of UNITE with their attitude of ‘money is dirty, it corrupts music’, ‘I get no financial benefit from this DIY recording on a 4 track limited to 50 cassettes all stolen from the supermarkets of Capitalist State’, ‘music is a hobby, you can’t live from it, it’s a contradiction, it’s a sin – return to working back at the factory (subtext – like I actually do)’ rewriting the story of BM to make it more like the HC/punk alter-globalisation movement (a style they would adopt if BM wasn’t oh so fashionable). But we could remind them of their master Euronymous, himself a friend of Communists, who said before they were even born; i.e. the exact opposite of them:  ‘There is obviously an antagonism between being ‘underground’ in the common sense of the word, and the original black metal ideas. If you start to look at how black metal bands were in the ancient days, such as Venom, Mercyful Fate, Hellhammer, Bathory, Destruction, Sodom, etc., you see that they had nothing to do with what is called ‘underground’. They were signed to big labels, they earned well-deserved money and were NOT submitted to the hardcore-laws which are ruling the ‘underground’ today. These laws say that you are not allowed to play death or black metal (!) if you don’t: (1) hate money and refuse to earn anything on what you’ve paid enormous amounts of blood, sweat, money and time for. (2) Are ‘openminded’ and have lots of ‘attitudes’, like being vegetarian, being into peace and love (Fuck off! War and Sodomy!), singing about pollution and other society lyrics or other things that are approved by the moral police (HC pigs). (3) You must absolutely not think that you ARE anything. You must creep for your fans (‘Oh, do you really like us? Thank you’, etc.), you must use most of your life answering thousands of letters or you are being called a ripoff, nobody of course thinks about the fact that it costs a band maybe $25 EACH day just for postage! These people obviously have never tried living on their own and feeling the PAIN of not being able to EAT because you use all your money on postage. « There are other moral laws too but I get too angry when thinking about this. The black metal bands of ancient times didn’t have to think about any of these shitty things, they could go for being BIG, having a huge stage show and earning big money. And nothing was wrong with that. Now, WE have been servants of the ‘underground’ for 8 years. Where do we stand today? We have NO money, sometimes not enough to eat. Our equipment is fucked up, shit, or non-existent. We don’t have proper places to live. This would be no problem if it had been a GAIN for the TRUE SCENE, but take a look at which people we have been slaves for: the underground today consists of short-haired children or trendies with white clothes and jogging suits, HC-moral-police-pigs, and a VERY small percentage of TRUE people. (…) « All these ‘underground’ rules look great at first sight – the music becomes a protest towards the commercial music industry. This is good of course. But on the other hand – they KILL the bands. After 8 years of being broke, I’m starting to become quite fed up. Why shouldn’t I live on the music? Basically I have the choice between two things – staying ‘underground’ and slowly taking the life of the band – in the end I’d have to quit and get myself a job, the band/label is a full-time job so I couldn’t do both. The other thing is to say FUCK OFF to most of the ‘underground’ principles and start to EARN MONEY. Then, I’d be able to make more music with the band, and release tons of great records with great bands. This is of course a much better gain for the true scene. This is why I’ve now decided to do things a little bigger. Still I hate to see big distributors getting their hands on the records, but I simply don’t have a choice. I’ve never wanted to expose this music to trend people, but I realise that I’m dependent on sucking money from them in order to make a decent living. And I have NO bad feelings about taking the money of trendies. This would also help the bands getting the money they deserve, maybe a few of them can even quit their jobs and start living on the music. » (…) « Of course there are limits, I HATE to see Earache bands with videos on MTV, and I was DISGUSTED to see Entombed playing a playback show for discokids on a disco show on Swedish TV. These people shall FEAR this music. We must return to the old days of Venom and the other ancient ones. They were big, but they were NOT commercial! Their music is still ten times more gruesome than all the Morrisound/Sunlight trend recordings of today. Another view – if we don’t do DSP much bigger, someone else will make a black metal label which will start selling good, and what happens then? We sit here, broke and without bands. That shall not happen. Everything may very well be big, but the TRUE ONES must control it.’ (Euronymous (1968 – 1993), ISTEN mag n°6, Finland, February 1992).

18. Varg Vikernes is married to a French Aryan, Marie Cachet. She shot the film ‘Forebears’ (, which was partly shot in the French countryside.

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