Vánargandr interview part 1

Vánargandr, previously reviewed in these pages, is the avantgarde occult noise project of one 'Draco Fenrirsson'.  Who, in addition to Vánargandr, also has a vast knowledge and experience of Satanism.  In particular, it's history in New Zealand.  This interview goes into depth on both these topics.
Note that this is a pretty heavy read, so I recommend opening Google and Wikipedia tabs in your browser so that you can research some of the names and terminology as you go. It's also the longest interview ever published on Subcide Webzine.  So much so that it's test the size limits of 'Blogger' and meant I have to post it in two parts. ...I'll post part 2 in a few days, but in the meantime get your head around this!

1. I understand you have been involved in various Occult groups in NZ over the years and are quite knowledgeable in the history of such things here. Could you please give a run down of your involvement in this and an over view of where you are now personally?

I have been involved with various things over the past 20+ years or so, and levels of involvement have differed greatly during that time. I will keep this rather brief, but also advise that there are some details that I will be purposefully laconic on, or exclude entirely. The groups and individuals which I have been involved with have largely reflected the ethos which I have held and sought to develop over time; they have been, and are, consonant with the continuing goals which are held, especially as it is realised that we seek to establish something not on sand, but rock, and build not for now, but for eternity, and we must acknowledge also that the goals which we have will not occur within our own causal timeframe – hence, we are the sowers, and cultivators, of seeds, and indeed the term “Aeonic Seeding” has been utilised with just cause previously.

Initially, domestically based, I had some involvement with the then Order of the Left Hand Path (OLHP), which certainly had an influence on the nascent ideas that I had already been formulating prior to contact. The Magister, Faustus Scorpius, became a good friend of mine, albeit we ultimately ending up moving in drastically different directions, as reflective of what we each felt were most important to the aims and goals that we each had and have.

I contributed to a large number of issues of the quarterly journal “The Nexus”/“Western Destiny” between around 1997 to 2002, which was originally a vehicle for OLHP and then to some extent (early on) Ordo Sinistra Vivendi (OSV). FS and I, alongside another comrade, also provided a Western Occult axis to a local occult journal by the name of “Circlecaster” as well, which was pretty much a representation of the quagmire of the NZ Occult Movement and its morbid fascination with those things non-Western, and Magian, in origin. This in particular ended up causing something of a furore, with the usual myopic accusations of being “intolerant” etc etc, albeit the points that were raised and put forward for debate were never acknowledged by those they were directed towards, and that particular journal finished when we were only just getting started.

At the time that The Black Order of Pan-Europa (TBO) was active, I was involved in other activities of my own, and wasn’t able to sacrifice the time that this demanded, which I was already dedicating in short supply elsewhere. In 2000 however, I did edit a compilation of articles culled from the internal, members only, journal called “The Flaming Sword”, which as I recall was around 60 pages or so in length. This was done in conspiracy with the original founder of TBO, Wulf Grimwald, and published by Black Axis Productions in collaboration with Realist Publications, with forewords written by WG and I. There were a limited release of these also with black covers and an embossed silver wolf hook cross. This particular publication will not be reissued, and somewhat disappointingly, it is also on floppy disc, which is “somewhere”, given that the HD files have long been deleted.

Around this time I produced a sole copy of a journal entitled “Black Axis”, which proposed to explore the European Psyche, and also featured lengthy interviews with a handful of “metal” bands/labels (Animae Immortalitas, Kristallnacht, Donar’s Krieg, AMSG Productions), although the articles therein were the main focus (material featured articles by 2 Grand Masters of TBO and a leading member of the White Order of Thule). I then moved onto Ansuz Transmissions (AT), which reproduced the Order of Nine Angles (O9A) archives in facsimile from the original MSS, including reproductions of “The Self Immolation Rite”, “Eorthe”, and also the exclusive production of “Sappho: Fragments” from the master tape which I still have, somewhere. AT was closed because new opportunities and possibilities were beginning to evolve which I wished to focus on, and it had become a full time job at that time which I was unable to continue to any logical conclusion.

Somewhere along the way I was also involved in the revived Church of Odin, although it folded before I was able to activate the Sinister Division that I had envisioned, but in saying that, again, I was involved in another, more “political”, group then as well with people that lived in my area, which was more of a priority, although it subsequently collapsed when I declined leadership of it.

Externally, I have been involved with, and collaborated with, members of OSV/Order of the Deorc Fyre also, as I lived quite close to a couple of them. Contacts along the way in New Zealand also lead to contacts with various other groups, e.g. O9A, the White Order of Thule (WOT), the Corona Borealis Foundation (CBF – post WOT), OJB to name a few. Interestingly, I was asked to become the editor of WOT’s journal, “Crossing the Abyss”, as I was in regular contact with one of the founders, although I had to pass due to lack of facilities, and was also asked to head CBF for Australasia, who also used a slightly revised version of TBO’s “Articles of Faith”.

At the time of writing, there is continued discussion about the resurrection and re-invigorating of The Black Order of Pan-Europa, which may make an external presence again in the near future. This is partially because the outer Order was destroyed by internal schism before it managed to achieve any of its aims, and because the vitality of the Order and its ethos remains. Some of the old ideas of the Order will be discarded, although the original mission statement, in large, remains relevant. I would envision that this would accordingly include a deeper dynamic, i.e. with a specific Arts Division, which already has a vehicle in the Order of the Black Sun, and accordingly, the Temple of the Dark Earth will perform something else…

Currently, and briefly, I am something of a Drecc, and Vánargandr represents one facet of this by which the Sinister Numen is presented. Importantly, Vánargandr also only represents one part of what I am involved in, and what I undertake, and there are still other activities, including physical and practical ones – be that via experiences or ordeals.

2. Leading on, how have those things influenced Vánargandr? What do you try to convey through its sound and imagery? Why have you chosen to work with sound/noise scapes as opposed to a more musical approach?

Vánargandr seeks to convey, communicate, cultivate and promulgate Sinister Numen and Black Magick. As has been stated from the start, Vánargandr is, and always will be, a Satanic work, influenced by the Acausal, and the above experiences, influences, amalgamations, integrations and developments have worked with this, whether conscious or unconsciously, exoteric or esoteric. As ever, the formula is: Incipit VITRIOL…

The form employed is moreso representative of the Acausal, which by its very nature appears chaotic, albeit also limitless in its delivery and execution. The essence is that we wished to present something beyond the limits of the current forms of popular musicology, to add a more ritual aspect, and to also transcend the limitations of verbal communication (“uerbis fallantibus, loquitur musica”). I dislike most modern forms of music nowadays irrespective, especially since most are nothing more, but often quite less, than entertainment, and not works of art, nor swords of death and do no re-presence anything whatsoever.

A couple of the first releases by Vánargandr could have been considered more “musical” in their delivery (e.g. “Ok Vigs Fotum Ver Skiptum” and “Under Twilight Skies”), but this has been abandoned since 2002, although there are a number of unreleased and unfinished recordings from this particular era. It would also be convenience and ease to employ a more musical approach, or to use instruments to try and communicate the Sinister essence, so the challenge is to create something from the mouth and flesh of the living Nexion.

3. Could you please give a run-down of the Vánargandr discography with a brief description of each release. Also including forthcoming titles and what can be expected of them. How can these (all releases) be obtained?

Throughout all recordings that we have made, there have been enduring ideas and themes – that being, in part, to “forge not works of art, but Swords of Death, for therein lies Great Art”. There has been consistently a Sinister essence to all works, a consideration of musick within the Western Ethos, the use of Sinister Chant on several works, and “poetic” renderings of track titles to encompass a consistency of Spirit and focus within. In relation to presentation, there has been no conscious effort to be “unique” per se, but congruent again, with the enduring ethos behind. Thus, of course, the incrementing usage of images of Death Worship and indeed, Aeonic Death Magick on the whole. That such is not evident to some, is merely an indication of their lack of cognition, and lack of comprehension of such things for the greater part. Contagion. Veiled insidious poisons. There is no compromise, no alignment to fluctuating trends, no search for vacuous vainglory, just as there is no desire to cultivate proselyting vassals and the vicarious… Hence the reason also, for the absence of a “logo”, self-indulgent “promotional pictures” and other things – because this simply does not matter. The essence here also is that Vánargandr is a work which doesn’t seek the glory of “the self”, especially as it is acknowledged that in sowing such works of Death, that the causal being is irrelevant.

That which causes expression of itself via the implementation or provocation of acts which in their design achieve long-term aims beyond the causal death of an individual; changing aspects of a society by significant creations and thus changing a whole race of people - fulfilling the Destiny or Wyrd of the ethos of a civilization. Acts that inaugurate a New Aeon. The causal nature that is dictated by the essence of things - “fate”, etc.

While there has been no active effort to do so, there has been an avoidance and disdain for some of the “commonalities” of the attendant genres and milieu, even if such we don’t consider that Vánargandr fits within a specific genre per se – i.e. we don’t use samples, midi software or other “orthodoxies”, because again, it is more of a challenge to create something from the mouth and flesh of the living Nexion – to imbue the Sinister Numen, the Dark and genuinely Evil.

And again, if it is not clear, there is no desire to create “music for entertainment” the transient trend, the “consumer” and even the misnomer of “art for art’s sake”. Suchlike already is the rule, disappointingly, and not the exception.

The following discography should be considered incomplete, as the full discography of Vánargandr hasn’t been recorded previously as it’s again regarded as unimportant on the whole. Essentially, what which was, has been, and will not be again. The synchronic and diachronic should be considered… The dates of some releases might be “slightly” incorrect…

Promo Rehearsal 1997: The “founding” 2 track rehearsal tape, featuring “Age of Fire” and “Luciferian”. Very rough improvised recordings, using anachronistic techniques, layered vocals, and lots of tape hiss. The methodology employed herein was developed over a number of preceding years, and the recording was purposefully rushed in order to retain a sense of the raw and “bestial”.  Following this release, there was the proposal that we do a split demo with a French project with whom we had a philosophical connection, however this was cancelled due to issues on our side. Said project dissolved soon thereafter regardless.

Promo Rehearsal II 1999: A rough and harsh stab in a more Abruptum/Burzum (neo-classical era) vein. 2 untitled tracks recorded on keyboards. “Droning” and “avant-garde” are two words that come to mind. Never properly released, although bootlegged by someone that it was sent to in Hellas.

Rehearsal 9 July 1999: A continuation of the above direction, also including a rough initial version of the “Blood Dream” track which would be formalized in the guise of the 1999 Promotrack.

Promotrack 1999: Recorded in a more “ambient” direction using keys and an improvised studio set up. Sent to some fucker in Belgium who signed Vánargandr for a cassette release and an appearance on a compilation CD, but who promptly disappeared and changed direction. This particular track also laid foundation for one of the tracks on “Ok Vigs Fotum Ver Skiptum” in 2001/02.

Promotrack II 2001: Initially recorded under a different project name, which was subsequently amalgamated into Vánargandr’s broadening raison d'être. Further work was completed on said track, “Traversing the Abyss”, with versions featuring elsewhere in both live and studio forms. Incidentally even “hailed” by one of Brian Lustmord’s former collaborators.

Ok Vigs Fotum Ver Skiptum CD-R I 2001/02: Debut full length album, recorded using keyboards in a more “musickal” direction. Very rushed recording completed in a matter of hours. Basically 3 really fucking long tracks, plus intro/outro and interludes which came to about 70mins. Came with booklet, and the first 20 copies in handmade black sleeves.

Promo Rehearsal III 2002: Rehearsal tape(s) recorded and disseminated when Vánargandr was first contemplating live performances. Various versions exist, none with the same (improvised) material. Mostly recorded using harsh effects, keyboards and a limited sampler (self-made samples).

Under Twilight Skies CD-R 2002: The final work of Vánargandr utilizing keyboards and a “musickal” approach. Was to have been released by a French label that disappeared after being sent the master. Recording started immediately following “Ok Vigs…”, with around 90minutes of material created – so it ended up being a 70+minute CD with 2 tracks left over. This album elaborated a lot on some of the promise which was indicated in “Ok Vigs…” and it was felt that, ultimately, this particular direction had run its course. The recording itself was completed over several months, requiring the appropriate “frame of mind” to be maintained throughout this period.

Valtivar CD-R 2005: A “compilation” album of sorts – 2 tracks from our live debut in 2002, 2 exclusive tracks, the full version of “From Within the Great Void” (which featured in an edited form on “Tests for the Sensory Impaired” compilation released via Club Bizarre) and a couple of remixes from the stalled “Kozmos Rost” album. This was to have been issued by another French label, which also disappeared. Handmade black covers with black text. One of the few releases also to feature the Vánargandr logo drawn by Rexor of Altar of Perversion.

Unofficial Promo 2006: 2 advance tracks from “Praeparet Bellum” in original form plus a special recording of “Traversing the Abyss”.

Praeparet Bellum MCD-R 2007: Somewhere between black ambient and harsh noise. Original design of the “Praeparet Bellum” series was to craft harsh tracks under, or in the vicinity of, the 5 minute mark, especially as previously track lengths were normally around 10 minutes or more.

Spirit of the Dark Gate, Guide of the Black Sun CD-R 2007: First of 2 albums recorded under the thema of the Black Sun. Rough atmospheric album consisting of 1 track at 30 minutes+. 10 copies were to have been issued, but I minimized this to much less because I was heavily involved in another activity at that time.

Kozmos Rost CD-R 2007: Was to have been released through Sonic Tyranny (GoatoWaRex sublabel) but Dani disappeared in the interim. This was considered at that time to have been the apex of Vánargandr works, given that it was worked on for several years, but still remains unfinished to this day. There are some versions of the rough, un-mastered, mixes floating around.

Praeparet Bellum II MCD-R 2008: The second in the envisioned series of three. More harsh than the first, but again with tracks all around the 5minute mark.

Uralten Todgeist Promo 2011: 3 advance tracks in 2 different forms – original recordings and Oppression Remixes. 5 official copies made with translucent covers and insert card. Some other copies made with standard covers, omitting the remixes.

Tenebris I – III 2012, IV 2013: The first steps in a planned 9 part series encompassing the arduous Occult journey of the Abyss. First 2 rituals released on cassette only, although from Ritual III onwards it is likely that the CD-R medium will be employed due to the scarcity of cassettes and the unreliability of suppliers. Ritual III came in a black metal tin with embossed Vánargandr symbol and maggots (the maggots were used as a simple suggestion for death, given that carrion larvae are a generalised sign of death and decay, especially in (formerly) living matter such as flesh). Someone even got a live 5.52mm bullet in theirs… All Tenebris Rituals are accompanied by an original text which is relevant to that particular recording. It is possible that the complete Tenebris series may be re-issued as a complete set in the future, with individual art pieces.

Uralten Todgeist CD-R 2012: Death monument which has been in the works since 2010. 1 track originally recorded for VK/Vassafor for the “Obsidian Codex” DLP. Contrasted to earlier works, this one has a more focused and Death Industrial approach, which will be augmented in the future. Much more complex tracks than previously, and a solid foundation upon which further works will be built.

The following have also been recorded but remain unreleased:

• Lost in the Bloodred Eyes of Wyrd CD
• Spectres of Light Fast Fading CD
• Vánargandr MCD
• Incipit VITRIOL MCD
• In Entropy Enfolded (Spirit of the Dark Gate… Part II)
• Celebrating the Black Herald CD
• “The Air Thick with the Mist of Venom and Blood” (Track for split 12” with Altar of Perversion)

Early on, some material was also made available on-line through the late mp3.com, which provided at least a platform to present some ideas for digestion – i.e. the early version of “Somewhere Beyond the Stars” and the first working version of “Lost in Black Waters”.

Apart from this, intros/outros have also been recorded for several bands, i.e. Altar of Perversion (“Adgnosco Veteris Vestigia Flammae” 10” (which was actually dedicated to myself), and the forthcoming “Intra Naos” LP), Vassafor (“Obsidian Codex” DLP), Heresiarch (“Hammer of Intransigence” MLP) are the only ones of importance however.

There is presently only the Black Sun Cult edition of “Valtivar” available. A couple of copies of Tenebris III and IV and Uralten Todgeist may be available from a selected distributer.

At this time, there are several planned releases inclusive of the 2 split 12”’s with Vassafor, although it is hoped that the split with Altar of Perversion will finally come out, especially since it’s been in the works since 2003… Obviously there is a stark difference of musickal direction for both, especially since they come from “transition stages”. A theme, and title, has already been found for the next full length release, but details will not be disclosed at this juncture. The seeds of the fifth Tenebris Ritual have also been sown already. “Kozmos Rost” will be reworked and completed as well.

Contrasting to this, there is also another couple of more “orthodox” projects presently in genesis, one of which will utilize a more “primitive metal” approach, although this will be distanced, and act separately, to Vánargandr. It is planned, although it has been for some time now, to release a “metal” demo sometime during 2013 – this will be more of a Black/Death hybrid, however inspired by bands like Bestial Summoning in that it will be entirely “impromptu” and there will be no prior rehearsals of material, just one take recordings of instruments (i.e. guitar and (real) drums) and vocals, with no re-recording thereafter. Nowadays “metal” scene seems too over-rehearsed, too practiced and polished and less feral and cruel than it used to be. This is not to imply however that said project will necessarily be particularly “good”, however that misses the point also.

In the future there will also be a “return” to the roots of Vánargandr via cassette methodologies, however this will be utilized with “digital” forms and methods as well – in essence, although not the intended application is thesis + antithesis = synthesis, which provides a way forward (albeit the philosophical application is far more interesting and complex!). There remain a large number of hours of recordings archived on cassette which may also be resurrected and incorporated in “new” releases.

4. In November 2011 I saw you performing in support of Vassafor. As a back drop to this you had graphic vomit and piss porn projected on the back wall. What were you intending to convey with this? What else have you used or intend to use as an aesthetic to your live performance? 

Displays of material haven’t been consistent with our live performances, albeit this is also due to a lack of facilities for such things. The film used in Auckland was again one of Lucifer Valentine’s, as it was at the preceding show in Wellington in May. The design and intent was really to demonstrate the contempt of life on the whole, and the degradation of humanity… It is understood that at said Wellington show the audience was reviled by the screening, which again is more characteristic of those that profess but do not adhere.

Ideally however, this would not be a film, but part of the performance itself. Finding suitable persons to participate however is difficult, mainly due to the pain and suffering that is inflicted. Even locating people into receiving relentless sadism outside of a live performance is problematic (although not impossible), because most of those into it still like to maintain control of the circumstances. It’s hard for someone to scream out for help with a mouth full of their own shit, being choked with chains, with their ribs being stomped on however…

In saying that, we do wish to try and introduce a more ceremonial and ritual aspect to live performances, which is hinted at already via the use of ritual robes. There are several issues with this however, not least that this would require the addition of others to the Vánargandr live line up, which we are loathe to do. Currently we are wishing to try and recruit a particular person for live performances, although they are, unfortunately, not living on these shores at the time of writing (and were living in a different part of the country regardless), however it is envisioned that they would be an active participant, rather than a passive vessel, and thus ensuring that the current of Vánargandr is maintained and continued, rather than diluted and skewed away from. All things change however.

The final live performance of Vánargandr will occur in July 2013, having served its purpose at this point in time.

5. Could you talk bit about the material that will be included on the Altar of Perversion and Vassafor splits? What can listeners expect? How would you describe them?

The original version of the track which will feature on the split with Altar of Perversion was captured back in 2003 as indicated above, and is entitled “The Air Thick with the Mist of Blood and Venom”. At that particular stage, it marked a progression in the nascent development of Vánargandr away from a “musickal” approach, and more into what could be loosely termed “Black Ambient”. Part of this, and this development on the whole, was due to the disgust of the so-called “Dark Ambient” scene; it’s attendant romanticism, nostalgia and idea fixes which, vis-à-vis, Vánargandr, are redundant fragments of old Aeon spirit. Key parts in this particular track is the partial use of percussion for the first time, high pitched feedback, “dissonant” voices and a thick, oppressive, heavy atmosphere. The track itself is in a constant form of flux and development, and still provides a fitting accompaniment to Altar of Perversion. Given the age of the track however, it will be updated and partially re-recorded in the near future. It is still to be released via Ajna Offensive. We have, with some admittance, not listened to this track for several years now, although having recently done so it is felt that there is still a foundation to build upon and augment, rather than commence a new recording from scratch. This is due to the ethos captured within said track, its attendant atmosphere and the vitriol with which it was recorded, which continues to lie consonant with the founding and prevailing idea.

There are 2 splits to be completed with Vassafor, the first on Parasitic Records, and the second through Psychedelic Lotus Order. Both should be out in 2013 or early 2014.

The title of the track for the former betrays its content and direction – “Death and the Black Work”. This particular piece, again, marks a definitive progression and difference from other works – formative use of percussion and order disintegrating noise and vocals. The key, as with any split release, is to compliment and honour those on the other sides, to create work that is worthy of being considered in the same breath, rather than a pitiful ride on the power of their virtue and name. In part, this track also reflects some of the “older” influences on Vánargandr which have not been made evident previously – i.e. parts of acts like MZ.412, Brighter Death Now, Lustmord, Megaptera, Archon Satani etc but also of other ones like Arvo Part, Chopin, Ravel, Arca Funebris, Mordor (Swi), Mental Destruction, IRM, Novatron, Equimanthorn and so forth. The distinction is however that I haven’t listened to any of these acts or composers for a number of years now, so it will be more of a “reflective” influence than anything else.

We have, at the time of writing, yet to progress to the recording stage of the second split, albeit the thema has been found in Chaos Dissolution/Aeonic Death Magick. The intent will be to create something harsh and fittingly cruel and draconian; to contrast different facets and Acausal influences.

Key Of Alocer zine collection care of Kris Stanley

6. Going back to questions of the Occult, during my 20+ year involvement in NZ underground Metal, there have been two prominent characters who have shown up. One being Abaaner Incendium of 'Key of Alocer' Zine (93 - 95?) who later seemed to alienate a lot of people. The other being Kerry Bolton who was behind 'Order of the Left Hand Path' in the early 90s but later showed up as national secretary of the National Front (around 2004) and has apparently been involved in Christian groups at times. What has your take been on these things?

I used to regularly meet with both Abaaner and Kerry for several years, although severed contact with them some time ago.

Much like a lot of other people, I was in early contact with Abaaner during the initial Key of Alocer days (living as I was in a different part of the country), but found that there were a lot of flaws in his presented persona – kind of the erring feeling that there were things which weren't really there, which I confirmed with contact with a few other people at that time, and consolidated when I met him. The core is that he never got beyond his Christian upbringing, but failed to recognise it, and fell into the murky waters of the Abyss, becoming transfixed by his reflection therein; in Jungian terms his Shadow overpowered him rather than became integrated, and he failed to achieve even the early stages of Individuation, despite his insistence otherwise. Abaaner in the end was/is nothing more than a loser, a hollow shell for the wind to blow through; someone that thought that they were much more than they could ever be – but the same goes for all the self-proclaimed “elite” who never test nor prove themselves in the real world. The poor in spirit will always be the poor in spirit. Abaaner, in the end, also destroyed a perfectly good working Order by his incessant desire to alienate people, but even if he hadn’t, he would have led it to become a quiet tea party rather than an active, dynamic and resilient movement because he had neither the insight into, nor the understanding of, Aeonic Magick and the application required and demanded. Such things are difficult to ken when you don’t leave the house or similarly don’t want to go outside because the weather is inclement. There is no victory without sacrifice, and no sacrifice without bloodshed. This is even more so true, when one doesn't even have the courage to wield the sword at the start, let alone the strength the carry it.

In closing, Abaaner was also filled with

“…A kind of ‘Euphorie’ (Euphoria), in which the person over-rates himself, and imagines he has reached a phase of development which has only been stolen by way of an unconscious identification”

This is something that someone else identified in part, having completed a number of psychological studies.

Kerry’s name is one that seems to pop up constantly for some reason, although I have no issue in saying that I regarded him as a good friend for some time, and I used to visit him quite often because we shared so many ideas. His wife and I used to joke that Kerry was cultivating me as his prodigy as well, which felt like an honour at the time. My view at this juncture is that my relationship with him served a purpose, and nothing beyond that. Kerry is, and will always be to my mind, a torrid and tempestuous individual who oscillates in seemingly paradoxical ways, but always from a key foundation. A lot of people may be confused by the shifts that have occurred over time, but for those that know him, there is nothing to be confused about – especially if we draw some parallels to, for example given, a figure like David Myatt. One thing that should be understood through these seeming paradoxes is that Kerry has little tolerance for losers, time wasters and other vacuous beings – because there’s nothing to be gained in doing so; simply put, some people are, and always will be, disposable – there to be used until an end is met, and discarded as they should be afterwards, and without mercy or regret. I did end up working on a few things with Kerry, and wasn’t afraid to critique him when I felt that it was needed, but the same goes both ways as well.

I haven’t paid a great deal of attention to what Kerry has done in recent years, mainly because at the end of our contact we were moving in drastically different directions; i.e. our contact had served its purpose and will not be revisited again. Ultimately, there is no nostalgia, no warm memories to be reflected on; that which was, shall never again be, and shall not be mourned.

There was no surprise to see Kerry “pop up” as the secretary of NF, and much has been documented previously about his political involvements. See, for example “The Politics of Nostalgia” (1987) which documents things prior to OLHP, and includes the first presentation of the Church of Odin circa 1980.

Kerry Bolton (2004)

Continued in part two...