Believe it or not, skinheads weren't the earliest agitators for Nationalist Rock music. The May 1968 French student protests provoked young French activist and musician Jack Marchal into forming the Groupe Union Défense along with Alain Robert and four others at Panthéon-Assas University in Paris. Members of the GUD would later go on to join the Ordre nouveau, who in turn would go on to form the Front National. Ever the prolific artist, Jack Marchal created the GUD's mascot known as the Rat noir popular in Fascist iconography.
Among the first of these bands to form was Italy's Janus, whose LP's cover was illustrated by Jack Marchal. While many of Italy's prominent progresive rock bands were strongly affiliated with communism, most famously Area and the Stormy Six, others on the furthest fringes of the genre sang from entirely different hymn sheet. You know, Fascism. Janus, formerly Janum, were affiliated to the Neo-Fascist MSI party, regularly playing live at their amusingly-named "Hobbit Camps," named after the musician fellowship's shared interest in Tolkien. The band's history is somewhat turbulent. Most of the original copies of their debut LP "Al Maestrale" were destroyed in a fire at the only bookstore bold enough to sell their work. Their original guitarist was even killed in a political riot the year this album was released.
Years later, Jack Marchal would collaborate with fellow Frenchman Olivier Carré (no relation to the politician of the same name) and Janus band leader Mario Ladich to release an album titled "Science & Violence". I would describe the music here as the Fascist analog to Pink Floyd's early material, especially "The Piper at the Gates of Dawn" and "A Saucerful of Secrets".
Meanwhile, one bold Baden-Württemberg band sought to sing the glories of their Fatherland. Ragnaröck might be the earliest known post-war National Socialist rock band to ever record and release music. Much like their spiritual Italian brethren Janus, Ragnaröck went right while the vast majority of their fellow countrymen went left.
Formed in the late '70s, Ragnaröck was a project of Dietmar Lohrmann, son of the NPD's then-President of Markgröningen. The band was featured in one article by die nationalkonservative Zeitschrift, but relatively little is known about their activities. The NPD-affiliated magazine Mut distributed their music. After breaking up, Ragnaröck languished in obscurity until their music was discovered by Frank Rennicke who then reissued it in various formats. Their music was considered too tame for the party's base. Judging by the massive success the NPD had in recruiting skinheads, it was all too obvious Ragnaröck was playing to the wrong crowd. Even so, it didn't stop Rock-O-Rama was from trying to cash in on their name.
Fast forward to the '80s and '90s and you've got the explosion of French Rock Against Communism that following the rumblings in Britain. Following the split of Ultime Assaut came Vae Victis, the Celtic Rock band frequently credited as the origins of Rock Identitaire Français. Unlike the aggressive, churlish nature of many a skinhead band, Vae Victis was much tamer, especially on account of Carine as lead female vocals. The lyrics were more focused on folklore, national identity and history.
Among the first of these bands to form was Italy's Janus, whose LP's cover was illustrated by Jack Marchal. While many of Italy's prominent progresive rock bands were strongly affiliated with communism, most famously Area and the Stormy Six, others on the furthest fringes of the genre sang from entirely different hymn sheet. You know, Fascism. Janus, formerly Janum, were affiliated to the Neo-Fascist MSI party, regularly playing live at their amusingly-named "Hobbit Camps," named after the musician fellowship's shared interest in Tolkien. The band's history is somewhat turbulent. Most of the original copies of their debut LP "Al Maestrale" were destroyed in a fire at the only bookstore bold enough to sell their work. Their original guitarist was even killed in a political riot the year this album was released.
Years later, Jack Marchal would collaborate with fellow Frenchman Olivier Carré (no relation to the politician of the same name) and Janus band leader Mario Ladich to release an album titled "Science & Violence". I would describe the music here as the Fascist analog to Pink Floyd's early material, especially "The Piper at the Gates of Dawn" and "A Saucerful of Secrets".
Meanwhile, one bold Baden-Württemberg band sought to sing the glories of their Fatherland. Ragnaröck might be the earliest known post-war National Socialist rock band to ever record and release music. Much like their spiritual Italian brethren Janus, Ragnaröck went right while the vast majority of their fellow countrymen went left.
Formed in the late '70s, Ragnaröck was a project of Dietmar Lohrmann, son of the NPD's then-President of Markgröningen. The band was featured in one article by die nationalkonservative Zeitschrift, but relatively little is known about their activities. The NPD-affiliated magazine Mut distributed their music. After breaking up, Ragnaröck languished in obscurity until their music was discovered by Frank Rennicke who then reissued it in various formats. Their music was considered too tame for the party's base. Judging by the massive success the NPD had in recruiting skinheads, it was all too obvious Ragnaröck was playing to the wrong crowd. Even so, it didn't stop Rock-O-Rama was from trying to cash in on their name.
Fast forward to the '80s and '90s and you've got the explosion of French Rock Against Communism that following the rumblings in Britain. Following the split of Ultime Assaut came Vae Victis, the Celtic Rock band frequently credited as the origins of Rock Identitaire Français. Unlike the aggressive, churlish nature of many a skinhead band, Vae Victis was much tamer, especially on account of Carine as lead female vocals. The lyrics were more focused on folklore, national identity and history.
