Piss Poor Poet Found in the Dustbin of History

Guest Post by James Cavanagh

Of all the crimes, political and aesthetic, committed by neo-folk musician Tony Wakeford, surely the 1984 EP 'Songs of the Wolf' by his group Above the Ruins, released first as a cassette and later on vinyl and CD, has to be the most unforgivable. The utter dreariness of the music and the banality of the lyrical content are impossible to convey in words. Perhaps Wakeford intended to lead a great Fascist victory by simultaneously boring and depressing his opponents to death. Probably in June.

Recently some new research has turned up an unacknowledged collaborator on that Above the Ruins EP.

At the time of the recording of 'Songs of the Wolf' Wakeford was a paid-up member of the National Front and fronting Richard Lawson's Iona (Islands of North Atlantic) group. He was also following the same Fascist Gramscian cultural strategy that many suspect he still operates to this day. In his introduction to the Iona-published volume of poetry 1957: Before the Storm, by Paul Comben, (also published in '84), Wakeford opens with the following sentence: "The volume you are now holding in your hands is the first book to be published by 'Iona', an independent, non-political organisation dedicated to the preservation of our Norse and Celtic heritage." The term 'non-political' seems a little disingenuous, given that Iona is unequivocally described as a Nazi organisation by Searchlight magazine and others.

Wakeford's close friend Richard Lawson has a long history in British Fascism. He was a student organiser for the National Front in the late seventies, and part of the Strasserite faction that split with the NF and went on to found the National Party. He would go on to found the Transeuropa collective, attacked by Searchlight for anti-Semitism and for its entryist tactics in infiltrating the Green movement. In 1995 Lawson launched Fluxeuropa, and collaborated with Fascist activist and musician Troy Southgate on Alternative Green magazine. In 1997 Transeuropa launched Radical Shift magazine, whose raison d'etre according to Searchlight was to "delegitimise anti-racism, anti-fascism and liberal democracy in favour of... ethnic separation, bigoted regionalism and chauvinistic nationalism". Lawson was best man at Wakeford's wedding in 1998.

Wakeford closes his short introduction to 1957, Before the Storm with this sentence: "Above all else however, Paul (Comben) tells me that he wants people to think about what he has to say in the latter poems, whether they eventually agree with him or not." The poems he refers to are broadly speaking nationalist in nature, often concerned with class, as opposed to the earlier poems which are ostensibly about love and war. Again the awfulness of the poetry cannot be over-emphasised. Michael Croshaw reviewing Before the Storm in Scorpion at the time complains about Comben's "shoddy attempt at exact rhyme... " and suggests Comben might have "found a niche as a lyricist for Victorian ballads". He has a point. Take, for example, the young-fogeyish reactionary moaning about sixties culture in 'War':

And bang on time it did all that as once it did to Rome
I saw the whiskery young men go naked in the square
So I locked my mind at '55 and did my living there.

The clumsy versification goes on interminably throughout the book. I won't bore you with any more than is necessary. In one poem, a jaunty little nursery rhyme entitled "Progress", Comben berates some unnamed Socialist state for creating a homogeneous, servile society in thrall to a dehumanising government, closing with this sparkling stanza:

It's best to be humble
And do as you're told
To think as you're taught
And die when you're old
For such is the meaning
Of Marx and his word -
Wine for the Reds
And chains for the Herd.

For anyone who has had the misfortune to listen to Songs of the Wolf these words will be familiar. On closer examination of the poems in 1957, Before the Storm and the lyrics of Songs of the Wolf it becomes apparent that Wakeford has 'borrowed' from Comben's poems for some of his song lyrics. Comben has found his own 'Victorian balladeer' in the bulky form of Tony Wakeford. For example the song 'Roses' borrows from two of Comben's poems, 'Roses' and 'Crosses', with some other lyrics interspersed between them. But it is Wakeford's appropriation of the words in the afore-mentioned 'Progress' that really reveals Wakeford's state of mind at the time. Examine the way Wakeford amends Comben's words in the third verse for his own purposes:

Paul Comben

Mechanized, Centralized
Kept to your place
All the same manner
And all the same face
Freedom is freedom
From dissident views
Eyes full of nothing
But authorized news.

Above the Ruins

Mongrelized, centralized
Kept to your place
All the same colour
And all the same race
Freedom is freedom
From dissident views
Eyes full of terror
And authorized news.

The racist tone of Wakeford's amended lyric is clear, particularly in the substitution of 'mongrelized' in place of 'mechanized'. Obviously Comben's nationalist politics, objectionable as they are, were not explicit enough for Wakeford's purposes here. Nonetheless, it is interesting to examine where the long-out-of-print volume is to be found nowadays, and where it was originally distributed from, so as to recognise its perceived political position. An online search turns up Comben's book on a couple of sites, described as 'nationalist poetry'; one being a seller on ebay called 'Patriot 77', specialising in far-right literature, and the other the Final Conflict site, which bares the strap line "Brought to you by the people who brought you Nationalism Today". Nationalism Today was founded in 1980 by Nick Griffin and Joe Pearce, editor of National Front youth paper Bulldog. A small sticker on the back of Before the Storm reads "Burning Books, 50 Pawson Road, Croydon, Surrey". Burning Books was the publishing outlet of the National Front at the time.

Of Paul Comben and his identity little can be found. He seems to have disappeared after publishing another volume of nationalist poetry titled Occupation, published by Capstone in 1987. The publishers also have vanished. Occupation, like Before the Storm, crops up for sale on far-right websites occasionally.

In 1985 Wakeford was to contribute a track from the Songs of the Wolf to National Front benefit album No Surrender, Volume 1, alongside tracks by other overtly Nazi bands like Skrewdriver and Brutal Attack. Members of Above the Ruins included Liz Grey (Sol Invictus), Ian Read (Current 93, Death in June, Sol Invictus, Fire and Ice) and Neo-Nazi Gary Smith (No Remorse, Sol Invictus). (No Remorse were infamous for releasing Barbeque in Rostock, a eulogy for petrol bomb attacks on immigrant housing in Rostock and the subsequent deaths, which opened with this verse: "Didn't want their town filled with scum, So they got together and made petrol bombs. Then one cold, starry night, They set them filthy Turks alight!") The ATR song on the original cassette release that was donated to the NF benefit album was dropped from subsequent vinyl and CD releases in feeble attempt to bury history. The original cassette release of Songs of the Wolf turns out be published from a British Monomarks box number belonging to Michael Walker, New Rightist editor of The Scorpion and flat-mate to Roberto Fiore, convicted Italian Fascist terrorist (and now leader of the Italian neo-Nazi party, Forza Nuova).

The outpouring of disgust provoked by the release of Songs of the Wolf plagued Wakeford for over two decades and eventually he felt forced to make a statement expressing regret that he had ever been in the National Front. He obliquely suggests that his involvement with Fascism was a brief youthful folly. No mention of Songs of the Wolf, Above the Ruins, or the contribution to the No Surrender Volume 1 is made, and the reasons for his regret are not given.

"For the few who are interested in such things, Many years ago I was once a member of the National Front. It was probably the worse (sic) decision of my life and one I very much regret. However, I have no connection with, sympathy for, or interest in those ideas nor have I had for around 20 years."

This statement was made in February 2007. And note that he was still selling Songs of the Wolf from his Tursa website in February 2007, listed under 'Clearances' rather than the band name. In my opinion this makes his dictum untrustworthy in the extreme, especially in tandem with the rest of his subsequent activities. As far as Wakeford is concerned it is the last he will say on the matter. Despite having 'regretted' his past long-term involvement with Fascism, Wakeford is apparently happy to appear with Sol Invictus on a compilation called With Friends Like These, released in 2010 on his own label Tursa in collaboration with another label, Kaparte. The compilation features music from, amongst others, While Angels Watch, Richard Moult, and Rose Rovine e Amanti, all who have been involved with Fascism themselves, either directly or through collaboration with overtly Fascist bands. Angels Watch have worked with British Fascist activist Troy Southgate, and Ian Read from Above the Ruins is a band member. Rose Rovine e Amanti have worked with Von Thronstahl, an overtly Nazi band. Moult (aka Christos Beest) was a Hitlerist and member of both the Order of the Nine Angles - a Fascist Satanist organisation, and Reichsfolk, a Nazi organisation. Both were founded and fronted by arch-Nazi Satanist David Myatt. With friends like these indeed...

To bring things even more up to date, Wakeford's post-ATR band Sol Invictus are booked to appear at the Slimlight (a venue well-known for putting on neo-Nazi and Fascist bands) on 25th June 2011. They will perform alongside While Angels Watch, Sixth Comm, Joy of Life and Freya Aswynn. Patrick Leagas (aka O-Kill) from 6 Comm was a founder-member of Death in June. Gary Carey from Joy of Life, with its swaztika-style logo, has worked with While Angels Watch and Death in June. Dutch occultist Freya Aswynn is a long-term collaborator with Leagas, and released the single 'Wolf Rune' with the far-right French band Les Joyaux De La Princesse, who are described by Christoph Frangeli of Datacide as celebrating "an increasingly crystallized, extreme right-wing ideology”. She was also involved with a racist campaign against Black opera singer Willard White, organised by Scorpion in 1989.

Much of what has been stated here has long been in the public domain, dispersed over websites, promotional material, in books and the press. But the discovery that this dismal petit-bourgoise Fascist poet Paul Comben contributed lyrics to Wakeford's most politically heinous work, totally uncredited, reignited the feeling that Wakeford has built his career on Fascist politics and dishonesty. A quick glance at his current activities, in light of his hand-washing statement four years ago, only reinforces my conviction that he is a liar, and that his motivations have remained the same, even if he has dropped the outright Nazi propaganda of Songs of the Wolf in favour of the Evolaian aesthetic Fascism so loved by his fans. After all he has records to sell, gigs to play and books to balance.

Troy Southgate, the New Right and Old Nazis

Troy Southgate
Not Right Wing. Not Fascist.

In an attempt to provide Fascism with some Green credentials and a gloss of anti-authoritarianism and even Socialism, 'National Anarchist' Troy Southgate (who also runs the neo-Classical / post-Industrial group H.E.R.R, and is a member of the groups Seelenlicht and Horologium^*) has created some of the most bizarre ideological hybrids conceivable, grafting bits of Anarchist and Socialist phraseology onto his hard core Racist and ultra-reactionary politics to try to recruit from the Anarchist and Green milieus. He has denied ever being a Fascist ("I am not and have never been a Fascist of any description" - WMTN? Comment), and in an essay, 'Revolution vs. Reaction', he says that "it is quite certain that we have nothing in common with the intellectually bankrupt legions of the modern Left, but then neither do we owe any allegiance to those on the Right. Many so-called Nationalists are content to describe themselves as being 'right of centre', or even on the 'Far Right', but it must be stated quite categorically that true Nationalism has absolutely nothing whatsoever to do with Right-wing politics." [Southgate, Tradition and Revolution, p68].

If you took Southgate seriously as an ideologist you might therefore be a little surprised to learn that - as someone who "has absolutely nothing whatsoever to do with Right Wing politics" - he is somehow also a founder and the Chairman of the 'New Right' (NR) group, the aim of which is to "unite the disparate strands of the British Right and get everybody pulling in the same direction" [Dan Ghetu, 'Interview', Synthesis], and which, in a clod-hopping, British Empricist manner, is trying to imitate the continental Nouvelle Droite and become a focus of far-Right ideological innovation. You might be even more surprised to hear that, despite his claims to be against Fascism (which is 'reactionary'), this group collects together not only extreme anti-Semites and other racists, but also, er, Fascists in a discussion group aimed at forging a new image for the, er, Right. The following is an extract from an article about the NR taken from the latest edition of the UK anti-Fascist magazine Searchlight ('New Right, Old Nazis'). The article begins by discussing last month's NR meeting at which Martin Webster - the Chairman of the National Front (NF) during its 70's heyday, who boasted that his party were "forming a well-oiled Nazi machine in Britain" - gave a speech full of traditional Nazi anti-Semitic rhetoric.

"The New Right group was formed by Troy Southgate, a man whose life has been an odyssey across the far right scene since his imprisonment as an NF street thug in the 1970s.  He has dabbled in far-right music, National Bolshevism and similar movements that emerged in the former communist states during the 1990s, various Green Anarchist outfits and a blend of far-right paganism and satanism.

He was a founder member of the International Third Position (ITP) together with Nick Griffin, now leader of the BNP, and other NF 'Political Soldiers' in 1989. Like Southgate and his followers today, it was heavily influenced by the Italian mystic and National Socialist Julius Evola, a man so extreme that the Italian fascist dictator Benito Mussolini had him locked up twice. Evola's wartime exile was lived out in the company of senior SS men and after the war he mentored Roberto Fiore, who in turn acted as political mentor to Nick Griffin while on the run in the UK from a terrorist conviction in Italy. Griffin still works closely with him in Europe.

Southgate left the ITP in September 1992 and from then on changed political affiliation as often as his underwear. In the middle of this decade he and a small group of others, including the quasi-intellectual Jonathan Bowden, created the New Right group with the aim of inspiring old thinking in a refreshed way. Its meetings... gave London's far right the chance to hear pagans, Muslim converts and leading figures in Europe's far right and beyond. 

Despite being a BNP officer until the end of last year, Bowden has regularly chaired and addressed New Right meetings without any objection from Griffin. Audiences... comprise a mixture of boot boys, pagans, well-to-do Jew baiters and several BNP councillors.

The long list of speakers reads like a who's who of far-right extremists. They have included Alexander Dugin... Dr Tomislav Sunić... the Holocaust denier 'Lady' Michèle Renouf... Michael Woodbridge... and... Norman Lowell.
...
It is not only old nazis who attend new Right meetings. Matt Tait, the BNP's Bletchley organiser, acts as the New Right student organiser...
...
While Southgate remains on the fringe of the far-right music scene in Britain, he has a big fan club among nazis, pagans and other oddballs in eastern Europe" [Searchlight, December 2010, pp14-15]

So there you have it, Southgate - who has "never been a Fascist of any description", for whom "Fascism itself was and remains a bastardised form of Capitalism" [Southgate, Tradition and Revolution, p103], and whose beliefs have "absolutely nothing whatsoever to do with Right-wing politics" - is a founder of the 'New Right' and organises meetings at which the speakers are almost exclusively Fascists, old and new, like Webster, Bowden, et al. Frankly, when he says that he's not of the Right and not a Fascist Southgate is either the most confused political ideologue in recorded history... or a liar trying desperately to infiltrate the Anarchist and Green movements to turn them toward Fascism. What do you reckon?


* According to Wikipedia,"He has also worked with Sweden's Survival Unit, Holland's Erich Zahn, the Canadian project, Funerary Call, the Italian projects Ouroboros, Bonebound, Silent Cathedral and Sala Della Colonne, the Polish projects Elvatorium, Ollin and Desert Divinity, and the German bands, Sagittarius, Von Thronstahl & The Days of the Trumpet Call.

Peter Webb: Statement on Neo-Folk and Post-Industrial Music

Peter Webb has made this statement in response to criticisms made on this blog and elsewhere (presumably Stewart Home's site). It is good to see him start to clarify his position at last since, even if unintentional, the absence of criticism in his book surely lent some credibility to the guilty parties. I'm happy to be able to post his statement here on his behalf as the basis for further discussion and clarification. This statement has also been published on the ICRN blog by Alexei Monroe - Strelnikov, 11/10/10

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Boyd Rice, Dave Tibet, Tony Wakeford,
Doug Pearce and Michael Moynihan

I have been alerted to the contents of this blog Who Makes the Nazis? and one other website and feel that I have to respond to the criticism and confusion that seems to link my work to some kind of support or covert agreement with some of the ideas that are discussed here in the Fascist, Conservative Revolutionary or Traditionalist sphere. I firstly want to make clear that my work in Exploring the Networked Worlds of Popular Music (2007) is partial and a discussion and description of some elements of the Neo Folk/post-industrial music scene in amongst chapters on hip-hop, Bristol’s music culture, the Independent music production of Crass and a variety of house music labels and musicians dealing with each other, writing credits and the wider music industry. Therefore it is not exhaustive or comprehensive and does not fulfill the remit of discussing the ideological/political implications of this scene (Webb, p105) in much detail, this is something I had always intended to fulfill in other pieces of work. Sites like Who Makes the Nazis? are one set of views on the political implications of this scene and whilst I feel my work and reputation are being crudely represented within them they do have a place in presenting information on this scene. My position politically is one of opposition to many of the political/ideological elements of this scene and below I present some comments on that.

Christopher Browning in his book Ordinary Men: Reserve Police Battalion 101 and the Final Solution in Poland (1992) describes the events that led to the deaths and deportations of tens of thousands of Jews from Poland in 1942. The focus of the book is on the German order police (Ordnungspolizei), battalions of drafted middle-aged reservists who couldn’t fight on the frontline and who were used to police Polish cities and also to round up and kill Jews en masse. This group who had no particular affiliation with Nazism (but had nationalist ideas) were attached to units led by SS men. The executions were carried out by large groups of officers, mainly by shooting their Jewish victims one by one in the neck after they had been forced to lie down in forest areas used for the killings. Browning tries to examine how this group of men who came from ordinary backgrounds and jobs had been turned into mass executioners able to kill tens of thousand of Jews in cold blood day after day whilst in Poland. His explanation suggests that a combination of Nazi Ideology, peer pressure, the situation of the war (even though these individuals had not experienced any fighting before their part in the killings), conformity and indoctrination were responsible. Only a minority refused to take part in the acts and as they developed they became routine and were even joked about. The point of Browning’s book, if we accept its thesis, is that ordinary men and women can become detached killers and brutal racists through a mixture of ideological leadership (in this case from those who had gone through SS training) and the power of group conformity. The reason I discuss this is that, like Stanley Milgram’s obedience and authority experiments or Phillip Zimbardo’s Prison experiment, Browning alerts us to the importance of group dynamics and conformity or obedience to a dominant set of ideas or norms that are pushed to the foreground in a group (either politically, socially or culturally) and often followed uncritically and obediently by the majority of the social group involved.

Browning’s work is useful here as it gives an insight into how strong ideological elements within a social grouping can heavily influence the way that grouping continues to act and think. Even though there is clearly no direct comparison to the events that Browning describes and a small music scene (Neo Folk/ post industrial), the idea of dominant figures in a social situation gaining peoples obedience and shaping their actions through ideological hegemony is important for this discussion. Both situations, do however, contain ideological positions that foreground elitism and disgust, demonization and contempt for an 'other' group (e.g. Jews, gypsies, the ignorant mass population). The chapter I wrote describes elements of this milieu as accounted for by some of its members and through some of my engagement with it over a number of years; it focused particularly on the three musicians of the band Death In June and their various musical projects since two of them (Tony Wakeford and Patrick Leagas) left and Douglas Pearce continued the project to the present day. The chapter does not delve consistently into the various ideological elements of the scene and I suggested that it was beyond the remit of this particular piece of work as I think it would require a book or series of articles in their own right to really discuss the full extent of the ideologies that are referenced by this milieu. That said however it is an omission that needs rectifying. I wish to state clearly that within the milieu there is a clear timeline that runs from the incarnation of Death In June through to the current output of bands like Von Thronstahl, Allerseelen, Orplid, Blood Axis etc that leads its audience to look at thinkers from the three ideological and philosophical areas previously mentioned i.e. Fascism, Revolutionary Conservatism and Traditionalism. The artists themselves have clearly explored and would subscribe in some cases to elements of the worldview of Julius Evola, Savitri Devi, Ernst Junger, Moeller Van Den Bruck, Armin Mohler, Oswald Spengler, Rene Guenon, Francis Parker Yockey, The Strasser brothers and particularly in the present configuration of the milieu, the European New Right and the work of Alain De Benoist and associated thinkers around him.

Douglas Pearce stated in an interview with Zillo magazine (1992) that:

“At the start of the eighties Tony and I were involved in radical left politics and beneath it history students. In search of a political view for the future we came across National Bolshevism, which is closely connected to the SA hierarchy. People like Gregor Strasser and Ernst Rohm who were later known as `second revolutionaries, attracted our attention” (Forbes, p.15)

He has not discussed this topic in great detail again, never wishing to publically account for his political or ideological position, but it is prophetic and telling in its indication of ideas that are still referenced and linked to by leading artists and fans of these bands and some of the various webzines and magazines that have given space to them (e.g Heathen Harvest, Occidental Congress etc). It also seems clear that these were the ideas that DIJ were engaging with around the period of 1981 – 1984 when Tony Wakeford was a member of the National Front and part of the group who were being referred to as Strasserites and Third positionists. The milieu of neo-folk is littered with references to these thinkers, to the political project of the New Right and the third positionists that came out of the fracture of the (UK) National Front in the early 1980s. DIJ, in name, referenced the `night of the long knives’ and the culling of the leadership of the SA and also in the dates put on the first two releases: SA 29 6 34 and SA 30 6 34, Tony Wakefords post DIJ band Above the Ruins were a direct reference to Evola and contained lyrics that echoed the third positionist direction of the NF, the title of the first Sol Invictus album was `Against the Modern World’ a reference to Evola’s work `Revolt against the Modern World’ (1996), Current 93 referenced Francis Parker Yockey’s `Imperium’ (1969) work on the album of the same name in 1987 and Savitri Devi on the album `Thunder Perfect Mind’ (1992). As the scene develops many bands reference and provide links to this range of thinkers maybe most clearly in the compilations Cavalcare El Tigre (Eis Und Licht, 1998 a reference to Evolas work of the same name) featuring Von Thronsthal, Alerseelen, Orplid, Blood Axis, Waldteufel, Camerata Mediolanense and Ain Soph amongst others and more recently the Von Thronstahl album `Sacrificare’ which alerts readers of the CD liner notes to look at the work of Moeller Van Den Bruck and Joseph-Marie Comte De Maestre one of the founders of a European Conservatism that put its trust in emotional allegiance to an unquestioned authority; usually a form of hereditary monarchy.

From Boyd Rice’s continuous references to Ragnar Redbeard's Social Darwinist `Might is Right’ text and his appearance on Tom Metzger’s Race and Reason Cable TV show (where he discusses White Nationalist/power music mentioning DIJ, C93 and Above the Ruins) to Tesco distribution (Neo-Folk and Marital Industrial distributor) selling books such as De Benoist’s `On being a Pagan’, John Michell’s `Confessions of a Radical Traditionalist’ and the Evola inspired `Handbook for Traditional Living’ published by Artkos (who also publish work by Troy Southgate the National Anarchist/3^rd Positionist and racial separatist), through to Michael Moynihan’s publishing of Seige (1992)  the work of James Mason the American National Socialist Mansonite, there are continuous and clear signposts to writing and work in the fascist, traditionalist and conservative revolutionary tradition. There are many other examples of this tendency within this scene and to clearly outline and discuss these specific elements of this milieu would need a fairly exhaustive work, which, I am sure, will be produced by many different writers and commentators. I am currently finishing a piece that deals with some of these elements but my intention here is to state clearly that I have no political, ideological or philosophical sympathy with any of the ideas of Fascism, traditionalism or conservative revolutionary thought. My interest in this milieu stems from my own immersion and interest in anarchist punk, post-punk, gothic music and various dance music scenes that provided clear links to sets of ideas, artistic practice, political activism and lifestyles – my own politics has come partly out of these types of engagement and could be described as a type of humanism derived from a combination of post Marxism, anarchism and libertarian thought but clearly driven by non-elitist, democratic and egalitarian principles all of which are clearly totally oppositional to the ideas presented by some of the key members of this musical milieu and in fact openly despised by some of them.

The reason for starting this piece with reference to Browning’s work is that although the neo-folk and post-industrial milieu is inhabited by a variety of different political, philosophical, spiritual and lifestyle ideas, practices and supporters there is a clearly significant and dominant use of the ideas of some of the most elitist, racist, conservative and traditionalist thinkers from the 19^th, 20^th and now 21^st centuries, those ideas can lead to and provide a strong conformist group dynamic. Some people will be drawn to these ideas through their engagement with this milieu and some will take these ideas forward to develop a type of political engagement. I would hope that further discussion of these ideas and illumination of their potential social and cultural impact will break many individuals from that engagement and get them to look to develop their own work with a different set of reference points. So even though I think that this blog has taken my work completely out of context in terms of what it suggests should have been the focus of my chapter and of some fairly crude slurs on my reputation I would suggest that `some’ of the material here is useful. Whether individuals in this milieu are active politically or not the main point here is that the use of these thinkers in the forefront of the reference points used by the main bands as they have developed over the years leads to the creation of a group dynamic and conformity to this type of thinking amongst a significant section of the audience and new bands that emerge. This element of the milieu is one that I feel is highly problematic and one that needs opposing critically within the scene as well as from outside.

Peter Webb, October 2010

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Bibliographic References
Browning, Christopher (1992) Ordinary Men : Reserve Police Battalion 101 and the Final Solution in Poland, New York : HarperCollins
Devi, Savitri (2000) The Lightning and the Sun. Lulu.com
De Benoist, Alain. (2004) On Being a Pagan. Ultra Press.
Evola, Julius (1996) Revolt Against the Modern World: Politics, Religion and Social Order in the Kali Yuga. Inner Traditions Bear and Company
Evola, Julius (2002) Men among the ruins: Post-war reflections of a radical traditionalist. Inner Traditions, Bear and Company 
Forbes, Robert (1995) Death In June: Misery and Purity. Jara Press 
Goddrick-Clarke, Nicholas (2000) Hitler's Priestess: Savitri Devi, the Hindu-Aryan Myth and Neo-Nazism. New York University Press
Silfen, Paul Harrison (1973) The Volkisch ideology and the roots of Nazism; The early writings of Arthur Moeller van den Bruck. Exposition.
Southgate, Tory. (2010) Tradition & Revolution: Collected Writings of Troy Southgate. Arktos Press.
Spengler, Oswald. (2007) Decline of the West. Open University Press
Yockey, Francis Parker (1969) Imperium: The Philosophy of History and Politics. Noontide Press