Youtube has given birth to many important nationalist figures, but perhaps nobody has quite fused together strong artistic style with their nationalism as well as Vertigo Politix. The distinctive authoritative voiceover, well researched perspective and engaging film-form has helped red-pill people by the million. The anonymous VP was kind enough to do a rare written interview with XYZ about their important work ….
Vertigo Politix has been a staple of dissident-right youtube for a long time … Various VP videos are bonafide classics of the platform … But we don’t know much about you … Your existence has been very private, secret and mysterious … What is Vertigo Politix in terms of a group of collaborators and how has it changed over time?
Originally began as several friends who had grown up together in the North West, separated by many years, but had come back to their hometown to escape the postmodern conditions of careers and urban exhaustion. All of us had degrees in various fields but, independently of one another, had backwards engineered decades of liberal left indoctrination and paradigms so that we had all arrived at the same place philosophically and politically. Our friendships had always been based on common interests, such as film or obscure music, and we preferred analog mediums to digital ones, having grown up in the 1970s.
Two of the three had been contributors to various online publications, but by 2016, wanted to pair visual and audio information with the ideas. After a brief period of learning production software, we more or less found what we each wanted to do within the group dynamic, and began making videos in January 2017.
I can remember the first time I saw a Vertigo Politix video … I was immediately struck by its intense style and atmosphere. I believe it was The Architects Of Western Decline. It opened with macabre screeching sound-design and rotating, swooping expressionist portraits of Frankfurt school figures. How did the Vertigo Politix Style come about, was it through experimentation or did you have a clear vision from the inception?
Regarding style and aesthetics, one group member is a fan of Lovecraft, one of German Expressionist film, the other with desolate classical music — so it all worked in a sense. But those are merely superficial tastes; our common feeling of dread at the prospects of European culture in the not-too-distant future has always controlled the color and shape of our work, and this can be incredibly heavy for those who are not already “there” in headspace.
Despite wanting to relay specific themes and messages in our productions, we had to develop a vocabulary with its own subliminal language to escape censorship. Having lost four platforms in the first two years, plus a Website, due to direct suppression, we evolved a way to make images and certain words chime so as impart ideas and emotions that would be critical of the postmodern social order, while inspiring nationalist feelings for European cultures and peoples that were positive in nature, while implicitly suggesting that a battle like no other was on the horizon. Desperation and a ticking clock are always set into our work, but in a way that they do not obfuscate the message being delivered. This makes our videos unnerving by design.
The Architects of Western Decline: A Study on the Frankfurt School and Cultural Marxism
There is some work you have done that diverges from having voice-over to being more loose and experimental. The series you made known as “Going>Postal” contains some of these films. These are dreamy impressions of reworked, manipulated archival footage, often with post-rock soundtracks. What are you hoping to express in these modes? How important is it to express nationalist ideas through art like this?
Esoteric meaning is the key to human consciousness. That is why our entire crew has used images and visual structures to tap into this. Film makers such as Lynch, Kubrick, and Tarkovsky have the strongest influence on my own personal style; and these directors had the strongest influence on the content of the first recovery channel, Going>Postal, after we had lost the third iteration of VPX, and then The Last White Man. When Going>Postal was created in 2019, two of the original members had just left, as family responsibilities took priority, and the realization that the early success of the channel was no longer attainable on mainstream battlegrounds. This was always part of our mandate: that public spaces were not to be conceded; for these were places where normal, everyday Europeans frequented, looking for answers; and we considered our material as a lifeboat to these wandering souls. Now, I am the only one left standing.
Now that your project is less of a collaboration and more driven by you as the central creative-figure, how has this changed things? What is this like on a personal level?
Time. Family obligations and a day job make for fewer hours, and a steady decline in production output has been the main result. Qualitatively, nothing has really changed; the same focus and breadth of subject matter are still there; but the likeliness of burn-out increases daily, and I intend to wind down the project by year’s end.
A lot of people realise that Netflix, Hollywood and our public broadcasters are pumping-out compromised content and pure propaganda. But people will always be hungry for entertainment and may inevitably find themselves back in this pipeline. As a cinephile, apart from other political videos online, what can you recommend people watch in the world of cinema that won’t kill the soul?
Personally, I have always viewed the British New Wave of the late 1950s and early 1960s to be underrated. Working class Brits struggling to make ends meet in light industrial factories, the cultural degradation they endured after the loss of an Empire and the war. Some great screen writing and direction made this film genre excellent. “Saturday Night, and Sunday Morning” and “The Entertainer” come to mind.
The French New Wave, on the other hand, is overrated, despite my respect for the cinematography of Henri Decaë and Raoul Coutard. However, “The 400 Blows” and “Fahrenheit 451” are must see cinema, both directed by François Truffaut.
The post-Hollywood, lower-budget American movies of the late 60s and 70s was the last great innovative period where the studios no longer had control over subject matter, and there are 100s of worthwhile films from that period which deserve attention, but you must hipwade through tons of drive-in B-flicks, heavy with cultural Marxist tropes, to find them. “Five Easy Pieces” and “Network” are landmark works from this period.
Today, with high quality camera gear and editing software relatively cheap, it is an opportunistic time for dissident right content makers to create films and docs that have real meaning. Anything can be achieved still; finding an audience and platform to showcase this, is another matter. With full-spectrum censorship across all levels of society, it won’t be easy to deliver specific content to a nationalist viewership that has been thinned out and stripped of its cultural framework. Old myths for new eyes may be a path out of this darkness; and it only takes one good film to change a million minds…
From the Going>Postal series:
”With Going the recent manufactured anarchy spilling all around us, the Detroit riots of the late 1960s serve as a grim reminder that the continuous social upheaval in America will likely never end; and this is by design…”
I cannot do this interview and not touch on what’s happening in America and the West right now with Antifa/Black Lives Matter riots, violence and social disintegration. And I really must give you credit for warning us for years that this was inevitable. So what do you see happening next, what are the possibilities and what course of action must be taken to defeat this enemy?
With regard to the present situation in America, there is no doubt that all of it is manufactured. This is what happens when a weak, democratic system and a liberal political class have abandoned their native founding stock, then imported hostile voting blocs from overseas, while divesting all responsibility in maintaining national values. This very same elite, unable to defend the country’s institutions, then allows foreign NGOs, corporate global interests, and a disruptive intelligentsia to steal the ship’s course which, in the case of the United States, is being deliberately driven onto a reef—and this is what we have been witness to for several years now, merely escalating this month. And it will not stop, because it isn’t supposed to. Europeans and heritage Americans desiring to hold onto their culture and ethnic homogeny will be marginalized, then, when sufficiently reduced to a voiceless minority, they will be economically and socially denied access to employment, medicine, and even justice.
If the recent attacks by Black and anarchist mobs are any indication, the liberal governments of the West will do nothing when actual genocide begins in the streets. We are less than 20 years away at the rate things are going. I have no real answers to this crisis; but the fate of the Kulaks and Old Believers during the early Bolshevik era are a grim memory of what is possible. We Europeans must become racially self-aware again, this time for survival; because the current century will be defined as one of identity politics, and our people will need to accept this. Those that have left the fold for the promised neo-liberal utopia are lost forever; and they’ll likely be the first to get shot behind the woodpile. For those of us who remain steadfast and true, we must know that speaking the truth, being compassionate towards and trusting of our own, and creating brotherly bonds with those around us who do understand the situation, are all we need to continue on; so that when the stakes are down, we shall at least know who our allies are, and that will always be a comforting thought…
Vertigo Politix YouTube channel.