I have found commentators on the Right to be deeply polarised concerning modern popular music. There are those who think only Classical music is real, and anything made after the 1890s equals noise, from Arnold Schönberg onward. Then there are those who say that, actually, even today we can find positive developments in modern popular music, even if they are not to everyone’s taste.
In earlier writing about music, I have concentrated on Black Metal, whose cultural roots I traced back to the Völkisch movement of the nineteenth century—although, of course, one could, if determined, keep excavating deeper into time without limit. The album under review today, however, does not belong to the Black Metal genre, but would be classed as Neo-Classical, with a few hints of Martial Industrial (the two genres overlap, and are contiguous, and in key ways ideologically congenial, with the more Völkisch forms of Black Metal; and indeed disaffected Black Metal fans have been known to “graduate” to the more refined Martial Industrial, Neo-Classical, Neo-Folk, Dark Ambient nexus of genres, which are not always sympathetic to the miscreants on the other side of the divide).
Heroica is as apt a title for this album as one can imagine, as it swirls with neo-Romantic beauty and heroic pathos, somewhat reminiscent of Beethoven. Their music is synth based, and has the epic quality of an epic film soundtrack, but the approach to composition, the melodic development, and the dark atmosphere, is pure nineteenth-century Classical, with apocalyptic rhythms and some diversions into Electro Pop on tracks two and eight, complete in the latter case with male narration and angelic female vocals. Despite the obvious heroic feel, however, this is not as martial as H.E.R.R.’s The Winter of Constantinople, let alone Kreuzweg Ost’s masterful Edelrost. Neither does Heroica have as modern a feel as the latter two albums, the former being almost entirely instrumental.
Winglord is designed to fill the listener’s mind with images of “Europe’s slumbering grace and splendour”; and it is, according to the press release, “about the longing for a more heroic spirit—and a worthier way of life . . .” These are certainly welcome sentiments in present day Western society, and may herald an eventual turning of the tide when one considers that this is not one isolated case, but part of a thriving network of modern popular music genres, comprising hundreds of artists, predicated on the comprehensive rejection of the values of 1789. The power of music is not to be underestimated, for it can, under the right conditions, rouse feelings of a violence and of an intensity that transcend all rationality, that can defeat any logic, argument, or economic imperative. Few other forms of human expression have such power.
Visit Winglord’s website and listen to a few samples (here is one). And if you find that you would like to hear more in this vein, support the work of this talented musician, and buy his music: do not steal it and do not make it available for thieves to steal; buy it, offer to pay double even, and play a part in pulling modern popular music in a positive direction.