This little book (130 pages) is a collection of essays published by Troy Southgate through his own publishing house Black Front Press. BFP has a somewhat outdated Blogspot, a more up-to-date Facebook page and a “storefront” at Amazon.co.uk where I linked the cover to. Unfortunately, Amazon does not list all BFP titles and the current title is not (yet?) available there. Ordering from BFP is easy though, each title, whether it has 130 pages or 550, have the same price. When you live in Europe, 15 pounds includes the book and postage, also when you order more titles at the same time. Make a Paypal payment and Troy and Carole take care of the rest. A plus for ordering through BFP rather than Amazon, is that Troy signs the books before shipping them.
On to the book then. The forword fortells the fall of our society, just as the Roman empire eventually fell. Few people dare to speak of this event. Many of those are to be found in the musical scene that the book calls the “neofolk, industrial & neoclassical underground”. 11 Musicians from that scene wrote a few pages. Some of these texts are merely musical biographies; other texts are more interesting and draw parallels to spiritual development and music, one text is more like a spiritual biography and the wonderfull closing article combines all these elements and puts the whole ‘political issue’ in perspective.
The book seems somewhat radical with a not-too-easy thinker as editor who names his publishing house “Black Front Press” which publishes titles by/about men scorned by many and also publishes political books. Does that not make a too easy link between the music scene and unwelcome politics? Some contributors, I figured, would not fear such a connection, but I was surprised to find a nice text of Francesca Nicoli of Ataraxia here. Another surprice, and a very nice one too, is Christopher Walton of the late Endvra and now of TenHornedBeast, with a very personal story about his spiritual path. Also noteworthy is the opening text of Gerhard Hallstatt of Allerseelen who tells us how Allerseelen came to be. The text of Robert Taylor (Changes) tells us a few things about his musical endeavors and early American Asatru. The abolute highlight, though, is for “the only Jew in the village”, Richard Levy, who explains how a Jew can develop a Nazi fetish yet still remain a leftish politician, how he sees the controversial project Death In June and criticise the hollowness that the scene soon developped and plagues to this day.