Quote from Timothy Fitzpatrick on July 15, 2024, 22:02

Bard Hans Sievers, aka Alexander Dugin

messie_anatol

June 28th, 2014

When I first heard about Dugin.
In 1985, I started an emigrant magazine, Mulleta, published by the artist Vladimir Kotlyarov (Tolstoy).
Letters from Moscow from one person were published there, describing the life of the Moscow literary and artistic underground of the early 80s. Subsequently it turned out that these were letters from the collector Leonid Talochkin. I met him in the 90s. His collection is now at the Russian State University for the Humanities.
There, in one letter, I was interested in the following passage: “In Moscow, a group of Satanists was formed, students of Yuri Mamleev, who decided to publish the magazine “Inferno.”
Everyone takes a consistently Satanist position. I am not on the same path with them. I do not wear a cross as an ornament.
The group consists of the journalist Igor Dudinsky, the philosopher Dzhemal (someone else was mentioned) and the boy guitarist Sasha.
Their teacher Mamleev, who is now in Paris, allegedly repented of Satanism and became Orthodox. I don’t believe it here in Moscow. was a heavy tank that crippled hundreds of fragile young souls."
Then in the next letter from Talochkin to Tolstoy - “The idea of ​​​​publishing the magazine “Inferno” was covered with a copper basin. The boy-guitarist Sasha, from whom the magazine’s materials were collected and on whom all the editorial work rested, his parents put him to rest for a long time in the Kashchenko hospital. He is a cool schiz. It turns out that they regularly put him to “rest” in Kashchenko....".
By that time I had heard about Dudinsky from Natasha Shmelkova. He later became Tolstoy's co-editor on Muletta. Mamleev, I read stories in the Parisian magazine "Ark". I didn’t know anything about Dzhemal then. And about the boy guitarist Sasha.

One of Dugin's songs performed by him - http://ololo.fm/search/%D0%93%D0%B0%D0%BD%D1%81+%D0%97%D0%B8%D0%B2%D0% B5%D1%80%D1%81/%D0%92+%D0%A1%D0%BE%D0%B2%D0%B5%D1%82%D1%81%D0%BA%D0%BE%D0% BC+%D0%9F%D0%BE%D0%B4%D0%B2%D0%B0%D0%BB%D0%B5

Hans Sievers is the creative pseudonym of Alexander Dugin, under which in the 80s he made several dozen audio recordings in the genre author's song. The main theme of the texts is the symbiosis of Gothic surrealism, Soviet reality and European literary traditions.

Alexander Dugin (born January 7, 1962) - candidate of philosophical sciences, doctor of political sciences, leader of the Eurasian movement, creator of the Russian school of geopolitics.

Born in Moscow, in the family of a GRU lieutenant general and a doctor. In 1979 he entered the Moscow Aviation Institute. In 1980 he joined the “Yuzhinsky Circle” of the writer Yuri Mamleev, was a member of a number of esoteric societies, as well as the National Patriotic Front “Memory”. In the period from 1990 to 1992, he worked in the declassified KGB archives, preparing a number of articles and books, as well as the TV show “Secrets of the Century,” broadcast on Channel One.

From 1993 to April 1998 - ideologist and one of the leaders of the NBP. Since 1998 - Advisor to the Chairman of the State Duma Gennady Seleznev.

In 2000, he taught the course “Philosophy of Politics” at the International Independent Ecological and Political Science University. Since 2001 - Chairman of the Political Council of the Eurasia movement. Since 2002 - Chairman of the Political Council of the Eurasia Party, since 2003 - Leader of the International Eurasian Movement.

Opposes globalism and a unipolar world. Believes that Russia can only be an Empire. He highly appreciates the role of Vladimir Putin, believing that he managed to stop the suicide of our country. In order for Russia to finally move away from the abyss, he proposes to revive the oprichnina and the tsarist dictatorship - “at least for a while.”

He has a sharply negative attitude towards the “orange” authorities of Ukraine. Declared persona non grata in this country.

Dog Korolenko about Alexander Dugin (Hans Sivers)

/ Reviews / Music < You are here
We are driving along the roads of Europe
Hans Zivers. Blood libel. Ur-Realist Records - Arctogaia-records, 2000

Date of publication: September 28, 2000

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Augustine says that we can help ourselves think about time if we start from the completeness of the whole - for example, the song that I undertake to sing from beginning to end. It, in itself whole, then unfolds in time. What kind of song is this? An early Christian hymn? Or human life? Or that praise of God, which turns out to be “the whole age,” totum saeculum, the history of the world? Like Aristotle, in Augustine we know time by the change of the soul: time is a changing soul, outside of which there is no measurement of time. This is not psychologism. The song that Augustine speaks of is essentially the same as the melody (tone) of presence, as Heidegger defines mood in his fundamental ontology.

Vladimir Bibikhin, "Mir"

The name "Bloody Libel" was invented by Patrikey Lisidze. So he advised me to christen my group “Inhuman Music”. We didn’t tell anyone about this - only Lisa. And now a year after this conversation, Ur-Realist Records, together with Arktogeya, is releasing a record of new - “well-forgotten old” - songs of the sad esoteric chansonnier Hans Sievers. The insert is decorated in Gothic style. The picture is written in red on black - what do you think?.. Magic, as always.

I know the term “Blood libel” from Studia Corolenciana: the liberal Russian press of the 1910s called it the accusation of a famous people of ritual infanticide. The sacramental motif of the killing of infants is present in several of Sievers’ songs, but there it is woven into completely different contexts. Moreover, in its subtle virtual pre-existence, the album has a different name - “Bottles of Lies” (a collection of songs in real audio). For a long time I did not understand the meaning of both names and the connection between them. There was some kind of literary mystery in all this.

The name was also mysterious - Hans Sievers. The solution seems to lie not only in Evers's gothic style (the album includes the song "Ewers," about fairyland), but also in the "German Society for the Study of Ancient German History and Ancestor Heritage," known as the Ahnenerbe. The founder of this institute was the prototypical Meister aus Deutschland - a scientist and philosopher of the Faust type, a skull reader and seeker of Atlantis, Hermann Wirth. In 1939, the Ahnenerbe came under the jurisdiction of the SS, and the tougher “Hans”, Sievers, became its general secretary. I know from myself: a historical pseudonym is always an expanded metaphor. The hybrid of Hans Evers with the powerful heir of Wirth means the continuity of the warrior and the sage, the Kshatriya and the Brahman, the idea of ​​integration into power as a necessary step towards the implementation of a gigantic spiritual super-project.

According to the insert, Sievers' songs from 1981-1984 were recorded on "amateur audio equipment" in 1986 and are now released as "a tribute to the history of the Moscow creative underground of the late 1970s - early 1980s." Time is indeed important. Vysotsky died in 1980. This death - and the very work of the “Tagansky bard” - marked the crisis of Russian art song, its gradual loss of its original claim to express some deep, extreme essence. Russian “rock”, or more precisely musicalized rock poetry, is now beginning to act in this capacity: the music was not extreme and less “rock” than Yuri Antonov. In this situation, projects bordering between rock and art song/chanson were bound to appear. And they appeared.

Shcherbakov appeared to give the author's song a second wind by enhancing the culture in it, for which attempts the techies, which could not be fooled, declared him almost a “philologist”. Allusions to disturbing themes of Western literature and versification balancing act in long picture songs and reasoning songs are the common path of Shcherbakov and Sievers, in this they are allies. Only the first one mutters the same things, “human, all too human,” while the second one is metaphysical, “beyond good and evil.” From pure "art songs" he moves towards rock. Already in the Russian sense of the word.

Khvostenko appeared, who, like Sievers, sought to transcend the forms of art song and rock into a kind of European-Russian meta-chanson. According to Verbitsky, Sivers belongs to Mamleev’s Yuzhinsky salon, that is, to one of the main Moscow branches of the underground-samizdat continuum of the late 70s - early 80s, or, as it was called, “underground”. Khvostenko also enters this orbit. His infernal Orlandina, found in Zaragoza, a flute and a cloudy day, fearless couplets about the Last Judgment, endless Boschian half-animals and insects, the mysticism of the Vodka River, the Eurasian steppes of Lev Gumilyov and Khlebnikov - all this is already very “hot”, closer to the topic of our conversation . Now this, in the words of Shish Bryansky, “a cunning cultural grandfather,” through his work with “AuktYon” has joined rock, but rock itself is gradually losing its role as an extreme underground and is preparing to give way to the still almost undeveloped “new songfulness”. That’s when a meeting with the “Young South” bard seems relevant.

Hans Sievers has, as the French say, prèsence. Unearthly charm in the voice. A variety of rhythmic and metric figures on the guitar (blues, bossa nova, swing, smart-ass, waltz, rock and roll) and strange melodies, chords, seemingly random, but in fact carefully verified. The lyrics contain metaphysical anxiety cum grano salis: here there is “the seed of the terrible [in the feminine gender - P.K.] Satan”, and “red vampire-rr” with an energetic guitar pa-ba-ba-bam, and even “magical sex // with a shepherd named Rex." The songs contain many serious literary allusions, but they do not turn into an end in themselves for the author. Who from the 90s can you compare him with? Maybe with Shish Bryansky? They are very different, but Shish, like Sievers, processes his predecessors like Pushkin, gives birth to something new and remains for many years not recorded and known under his bard name only for a narrow circle.

Sievers presents an independent path of synthesis of bard and rock songs with its simultaneous integration into a high European context. This context itself is openly stated as more than “literary”: rather philosophical-mystical, esoteric. The intonations of the masters of the author's song are carefully taken into account and slightly travestyed, for example, in Vysotsky's hysterical hoarseness and prolongation of sonorants ("...evil accord-r-rd") in the opening album "Astaroth", in "Ahasfera" and other songs, but poetry, of course, smoother, more literary than Vysotsky’s, for which we are still sometimes ashamed. In “The Old Master,” Okudzhava seems to be babbling ironically (“let’s, let’s, let’s, let’s...”), in “Moscow-1982,” Galich’s insinuatingly accusatory intonation suddenly turns into a desperate cry of the “other” Vysotsky, not the “poet.” and-citizen,” and Nietzsche’s man-god: “But I will be a king here, // But I will be a monarch here, // I will drink this pain // In my white hands.” Hans Sievers goes far from the usual balladism of those Vysotskys, to the ambient spirit of another ballad, the “gothic”. In this alchemical sublimation of the heritage of mainstream Russian bards, the esotericism of their genre crystallizes, which, if they had it somewhere, was unconscious.

Reading rock contexts is especially interesting. Listen to the third song of the album - “In a Soviet basement...”. "...During the week, during the week // He catches a big trout, // And in the evening at nine, the heavenly maidens // Joyfully share the bed with him. // In a buttoned tailcoat, in a buttoned tailcoat // He solemnly drinks kefir , // And the dogs bark, and the crayfish back away // In the darkness of Soviet apartments." Isn’t it true, somewhere we heard such a tetrameter amphibrach-waltz, and even individual ends of quatrains? Clue. So, "Triangle" was released in 1981. And so, while one infernal old man is “sliding down the roof…” to die tomorrow like a dog, the other, “black as a cat,” is dancing in a Soviet basement with a book in his hand (a cheerful deception of expectation “in the hands of his Walter. .. Scott”, fraught with the metaphor “book = weapon”), and then dies, but in fact does not die - “and looks sadly out the window, // and looks anxiously out the window.” This old Master (apparently, it means some of the magicians of the Yuzhinsky underground, there were plenty of them there) is the real antithesis of the old man Kozlodoev, who should be soaked in the toilet. Many years later, Dugin will invite Kuryokhin to cut a cool cut-up: they say, shouldn’t we mix BeGe’s old “romantic” songs with his current self-satisfied Guruan carts? And Kuryokhin will answer: “They won’t understand.”

The next track is “Puberty Revolution”: the wild Chistyakovism in the voice before “Zero”, aggressively rhymed with the wet dreams of “Revolution” before “Civil Defense”, Mamon’s chaos and sur with the abacdede stanza before Petya’s metaphysical “three hundred minutes se-ek-sa” and “..it started so-so” (I want to shout in the old fashioned way: “dear father”). Indeed, a lot has been written in Russian rock about how the guys are not childishly sausage. But the subtle, subtle reality of Initiation was not always so clearly visible behind this “human, too human” wobble. The alleged real chain connecting Mamonov with Sievers is Shumov and Golovin.

The format of the original song is not only expanded by Sievers towards rock, but also deepens towards its real roots. In the Russian context, these are partly romances (with the only amendment that they were not performed by the authors), and even more so by Vertinsky, whose stylized and decadent imagery was developed, each in his own way, by Greben, Khvost, and Shcherba. Or even not Vertinsky, but Severyanin, with a nickname similar to the “sweet word Nord” and with “ego-futurism” absolutely sovereign, like the “ur-realism” of Sievers and Sternberg. Igor Severyanin’s decadent, flirtatious “elegant stroller” (the one that is elastically shalestel in the electric beigny) is taken by Sievers to the most unimaginable metaphysical threshold. "Oh romantic narcissist... // Oh aeonic Nazism... // pupils of forbidden orchids // He is called to ethereal sex", "Oh erotic whim...", "Oh euphoric cynicism...". "Effeminate jade fascist...". "Pervious perfumes, Madame Tudor's furs, // The sterile shine of toxic planets...". "Ster-ruptor of paranoid spher-r, Blind beryl-l of delirium stell-l...". In short, “a decadent Nishto flew from the buds of unopened daffodils.”

AP's European source, which she is not always aware of, is French chanson, at least in its most advanced versions. It was no coincidence that one transparently hinted at Villon, the other constantly went to Paris and sang with the Paul Mauriat orchestra, and some Sukhanov set it to the music of some Verlaine. Khvost, with his naive macabre Russian villonism (“Oh, why was I hanged, God, // I don’t know how I was hung, God, // I don’t know how I was hanged”), with Brassans’ Trompetes de la Renome, translated more freely than Freidkin's, with the popular Prisoner of Nantes, the French trace looks more reflected, realizing its connection with high poetry, with Baudelaire-Verlaine-Rimbaud. The French world is also important for Sievers, who gazes intently and restlessly at where “... Notre Dame cried // pa-a to you, pa-a to you, ma-adam...”. In many of his songs, a mixture of languages ​​openly dominates: “Ah, Hélène, ah, Hélène, // ou ta rob de matin?”, “Your veil awaits you, ta ville natal awaits you...”. Some kind of “unmanifested” French chanson is recognizable in many of Sievers’ intonations. But not one like Aznavour, not even the mocker and blasphemer Brassans, and not Brel, no, not software. Most likely, it is the spirit of other, then still hidden, performers. The archetypal chancon par excellence.

And so you and I, following this false French trail, are taxiing straight onto other, forgotten paths. And we drive along these paths and listen to Hans Sievers sing with the charming courtly and avant-garde intonations of Andrei Mironov:

In a wonderful morning mood
In a sky-blue Cadillac
We are driving along the roads of Europe,
Where the morning light is so beautiful.

Sky blue fascists
They greet us with their right hand,
You give them sly glances
and laugh joyfully in response.

Sky-blue fascists
In a sky-blue Cadillac,
On their armbands there are terrible signs,
And in their hands are huge cats

(Cadillac).

“We are driving along the roads of Europe...” - secret, hidden, esoteric Europe. In the clutches of the bull Jupiter, to whom everything is allowed, she has terrible dreams. What are they talking about? About the game with Astaroth in "tarok" - "on universes and worlds." About the fairy “Annabelle” in the “magic castle of Maldoror”: “... and the blue child’s corpse // She cradles...”. About sacramental games on the island of Lesbos, where “the kingdom is parte-e-enogene-e-eza.” About how “I admired your white body // Crystal eye hanging in the dark.” About the virgin birth from the devil. About the structures of alchemical thought. About a sky blue Cadillac, a red limousine, a black Walther, orange and pink enemies, a crimson man, about the land of purple fairies and about the purple color that a beautiful lady is looking for in the Garden of the Hesperides. About the tragic “jade fascist” who awaits the night of long knives. About the “inflamed, languid silk” of the French actress, whom the “SA divisions” are attacking. About the black Saracen and the white rose. About infernal trips with the predatory Mother or the Harpy bird. About the Marquis de Sade, whose “...kisses from hell are // sweeter than sweet poison” and whose “your children scream at night one word: don’t.” About the toothless old lady Europe, aka little Helen, who has finished playing her infantile-infernal games. "Goodbye, Helen, // Your captivity will be eternal // In a round dance of wolves and hyenas... // There will be coffin lids, // There will be gnashing of teeth, // And viscous children's blood.. ".

Are you scared? Are you uncomfortable? Are you bored? You want to recoil: “Fascists, some kind of slander... Do we need it?” Dear humanists, wipe your glasses. Re-read the notes you took at university. This is your “history of European literature”, your favorite foreign country, n'est-ce pas? Only, maybe, before you didn’t pay attention to what was inside her. Silence dripped

onto the blue bracelet . The Master of the Evil Dream gave me violette . Violette gave me Paradoxical dreams, Affectionate, as an answer to the most terrible question. I slept for a very long time among the old books, and at night I downloaded Le berceau metaphysique. I walked for a very long time in transcendental dreams, And finally Violette blossomed on my lips. Violette - neon light,

Whispers of dead masters,
Violette - purple delirium,
In the secrets of mirror waters

(Violette).

Our Europe. She was always eager to go there, to the “secrets of the mirror waters.” And now it’s still a little torn. The same Foucault and Bataille are not just “postmodernists”. They are spirit-seers, mediums, transcendental meta-politicians. America has already abandoned all this, but Europe is still sad. And then a guess arises: what if this is not even Europe at all, but its embodied subconscious - Russia?

There is almost no Russia in these songs. Only there is a master in a Soviet basement, a glimpse of a policeman, Uncle Vanya and poor Liza from the school curriculum in “Puberty Revolution”. Another otherworldly Moscow 1982 in the song of the same name and some very vague shadows of Eurasia in “Cinderella”. The Russian language is only a surface, a transparent shell: the noumenal Hans Sievers does not sing in Russian. He sings in an all-European way, in the language of the “damned poets”, Lautreamont, Bataille, Serrano, Evola, Meyrink, Evers, Crowley and the mad Edgar Poe wandering around Europe incognito. In the metalanguage of tradition - not accidentally manifested as Russian: it is the Russian who is the “all-European” and the future of Europe, it is in him that the fulfillment of its violet and lilac dreams.

Where is he, what is he doing now? Will there be new songs?

I want more Hans Sievers!

http://old.russ.ru/culture/song/20000928.html

http://rusplt.ru/society/debranskaya-10104.html

Evgenia Debrianskaya about Alexander Dugin:
“Let’s take Dugin, he, in principle, talks about things that will never come true, about which he only dreams and dreams. He is driven by Campanella’s dream - the “City of the Sun” of our days. With all my heart I wish him to remain as he is. I don’t think that Sasha has any selfish motives. goals, in fact he is an idealist and a romantic."

More details http://rusplt.ru/society/debranskaya-10104.html

Source: https://messie--anatol-livejournal-com.translate.goog/381205.html?_x_tr_sl=auto&_x_tr_tl=en&_x_tr_hl=en