Interview with Panczel Janos

 

Panczel H. Janos is the main musician of Hungarian "sacral post-industrial" band KRIEGSFALL-U. He is also active in side-projects ZEBAOTH and LIGHTCORN.

You describe music of Kriegsfall-U as "sacral post-industrial". Could you explain us this term?

When we commenced our work with with Kriegsfall-U (K-U), I wanted to remain within the limits of the industrial musical genre. We do think, however, that the era of classical industrial bands (Test Department, SPK, etc.) has already come to an end by the second half of the ’80s. Now we live in a „post-industrial” age. In the message of the band putting the encounter with the sacred and transcendent in the foreground enjoys absolute priority; this is why we included “sacral” in the definition of our style. We wanted to differentiate ourselves in some fashion from the other industrial, post-industrial, EBM-industrial, harsh-industrial, and who knows what other types of industrial groups. Hence the “label” which I think is rather fitting.

The radical critique of so-called "modern Western culture" was the main theme of the industrial movement from its beginning. But it seems that bands like Throbbing Gristle, SPK, Whitehouse, etc. attacked this "modern culture" from a "leftist"/"revolutionary"/"post-modern" point of view. Nowadays Kriegsfall-U, Von Thronstahl, Green Army Fraction, Parzival, Lonsai Maikov and other projects use some methods of "industrial music" to spread a message which can be described as "traditionalist" and they concern themselves with themes like national/European identity, faith, heroism, honour, etc. Do you think that it is a paradox? Or maybe these bands found the real power and essence of this music?

I would be hesitant to say that. Musically, I was very much inspired by classical industrial bands, but “ideologically” (if they embraced any ideology whatsoever) I could not identify with any of the above-mentioned groups. We live in a modern age; nobody is immune to decadence and corruption, but in the industrial scene these are very much present, and many have sunk rather low in this regard. Some of the bands you mentioned are Christian but not industrial (Parzival, Lonsai Maikov), the VT is only partially industrial anymore (although it is still excellent), and while the Green Army Fraction is radically industrial, on many points they are closer to neo-paganism, which is not our way. Among the modern musical genres, I find industrial to be one of the most inspiring but there are many examples when it is used for selfish reasons, or downright destructive and sick things. After all, for many it is only music and entertainment. For us it is different, we consider our message just as important as the music. These two must be seen as inseparable.

Could you tell us something more about the side-projects of K-U members? I mean Zebaoth, Our God Weeps, and Lightcorn.

Our God Weeps is not a side-project, and the others simply just happened. We did not want to force everything and at all costs into the uncompromising, rather belligerent, but at the same time, explicitly religious and philosophical concept of the K-U. Lightcorn was a collaboration with the band Dark Water Memories (Kálmán Matolcsy) and Balázs Kiss (Cawatana), in which everybody contributed something to the music, and for this reason it is much more personal than the K-U. The lyrics and the greater part of the concept were mine here as well. I am very disappointed that this project basically remained without any response because I consider it one of the best and most spiritual products in which I had the privilege to partake. Furthermore, I am of the opinion that the quality of the music and the production was 100%. Zebaoth is the radical version of K-U; the Christian and combatant atmosphere is even more emphatic in it. Musically it is orchestral-industrial, and thus it is somewhat different from K-U; it contains more classical influences, and it is also a bit more personal. I think that projects are basically a good thing, despite the fact that many people criticised me, asking: “Why not K-U?” The Labels did not want to put them out either, saying: “People won’t buy them.” At this point, I have lost a great deal of money on them, although artistically I hope that I was able to produce some quality material, and this in the end is much more important for me.

You are active in the monarchist movement. Tell us something about the situation of monarchists in Hungary. What are the relations between monarchist/conservative circles and nationalists?

I am a monarchist and a Catholic; I have never made a secret out of it. I have also been the chief editor of a traditionalist and monarchist Catholic periodical (Miles Christi) for the last three years. I also run a monarchist blog on the public domain (monarchista.blogspot.com). In Hungary there are lots of people who consider themselves “radical nationalists”, there are others who place themselves in the “centre right” (whatever that means), and again there are others who support the so-called “democratic” conservativism, which in my opinion is but a putrid swamp. These are all very far from monarchism, especially from the kind of monarchism I, and along with me some other people, favour. With these groups we have no real contacts; they do not consider us “socially or politically acceptable”, and the situation is even worse with those in power, and with the leftist-republican-democratic factions. According to the Hungarian monarchists whatever happened since 1944 (the Nazi coup d’état of Ferenc Szálasi and the Soviet occupation) is illegitimate; the Hungarian nation has lost its original constitution, legal continuity, original form of government, special organising principles of public administration, and the so-called Holy Crown-doctrine. Instead of these, a foreign constitution and form of government was forced upon us that had absolutely no tradition in Hungary. This could only be accomplished with the help of a foreign (Soviet) occupying military force. The situation did not change much even after the fall of the Communist dictatorship (1989) because we did not return to legal continuity and the original form of government. Hungary was a kingdom for a thousand years, in comparison to this stability, within the short period of only 60 years we had at least five (!) different kinds of popular democracy, republics. Among these, two were established with the help and influence of the Communists, and two were explicitly Communist. We have nothing to do with these forms of government. In Hungary the original and proper form of government has always been monarchic, and it must be so again.

It is easy to notice that ideas of so-called "conservative revolution" and "integral traditionalism" become more and more popular on the martial/neofolk scene. It seems that a lot of musicians are inspired by writers, leaders, and philosophers like Junger, Evola, Guenon, Codreanu, Cioran, Mishima, Pound, etc. What do you think about this? Is it only a fashion?

I think that there are only a handful of bands who identify with these thinkers in the least bit. The greater part of the people only produces music and wants entertainment. Today they have fun in a drugged craze listening to neofolk, tomorrow to harsh-industrial and black metal, the day after tomorrow to rave or techno music. Among the names you listed there are some whom I respect (Mishima, Guénon, Jünger), but there are others with whom I cannot identify (Cioran, Pound), or I reject in many ways (Evola). The foundations of my own way are Jesus Christ, the teachings of Holy Mother Church, the Catholic apostolic tradition, and, in as much as I am able, I strive to obey and follow these. These are my primary influences, but then there are many Christian thinkers, such as St. Bernard of Clairvaux, St. John of the Cross, St. Augustine, József Cardinal Mindszenty, Prof. Tamás Molnár, etc.

What do you think about the present situation of the Catholic Church and traditionalist circles like the FSSPX and the so-called "sedevacantists"?

Personally, I reject the FSSPX, which may be strange to some since I confess myself to be a traditionalist Catholic. This institution, however, became schismatic, and their unity with Rome is a question that will have to be resolved in the future. After the Second Vatican Council, Rome made a lot of concessions to the modernist plague, which is very unfortunate. The critique of Msgr. Lefèbvre was well justified but he should have never broken ties with the See of Peter, especially not by ignoring the pleas of the pope! I very strongly condemn sedevacantism, and it must be rejected just as radically as modernism. Fortunately, the celebration of the so-called Tridentine liturgy is possible within the confines of the Catholic Church, this was permitted already by John Paul II, but recently it was completely liberated by the document “Summorum Pontificum” of Benedict XVI, whom I very much respect. To those who still adhere to the FSSPX I suggest that they turn towards “legal” options, which are provided by priestly communities (FSSP – The Priestly Fraternity of Saint Peter, ICR, Militia Templi in what I member, etc.) that are in full communion with the Holy See.

Tell us about nearest plans of Kriegsfall-U. Will there be a new Kriegsfall-U CD?

I do not have immediate plans. The K-U is not a “repertoire-band”, nor am I a professional musician whose livelihood depends on playing and producing music. I am of the opinion that the K-U had some real influence, and it will continue to yield this kind of influence. I am overjoyed that – as you have mentioned – it is popular even among Polish monarchists. I think that when I will again have a message to share, it will “materialise” in the K-U. I have lots of plans, even projects in an infant stage, but I am not the kind who likes to precipitate things; that is always a bad idea.

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