Montréal, November 30, 2024—Last night was the second of three nights of the Messe des Morts black metal festival, at the Théâtre Paradoxe, in Montreal’s Ville-Émard district. An anti-fascist demonstration was held to denounce the chronic complacency of the festival and many fans of the genre toward the National Socialist Black Metal (NSBM), or neo-Nazi, current that infuses this milieu, particularly the presence in this year’s program of at least four bands linked to this current by their themes, affiliations, and collaborations.
As a result of a campaign to pressure the promoter, Sepulchral Productions, and the venue’s management, Paradoxe, three of the problematic bands—Horna, Sargeist, and Chamber of Unlight, those with the clearest links to NSBM—were denied entry to Canada as a national security threat, according to the promoter’s press release. Two other bands, Conifère and Phobocosm, had withdrawn from the program in the days leading up to the festival, for “obvious” reasons in the first case and “personal” reasons in the latter.
Nonetheless, the Swedish band Marduk, whose thematic obsessions with the military exploits of the SS and Wehrmacht during the World War II, which we’ve already addressed elsewhere, not only managed to play their scheduled gigs but also filled open slots on short notice, performing on all three nights of the festival.
Outside the theater, some two hundred people answered the call and joined the demonstration organized by the Montréal Antifasciste collective, the culmination of a sustained campaign of denunciation and mobilization that lasted several weeks. The diverse and combative crowd included residents of the neighbourhood, Southwest Montréal community groups, and a number of autonomous contingents gathered behind the banners of the SITT-IWW and the local chapter of Independent Jewish Voices.
A lot of pork on the hoof for the Messe des Morts…
Unfortunately, from the outset, the demonstration was surrounded and paralyzed by a massive police presence: several hundred officers on foot, on bikes, in cars, and on horses, spread over two city blocks, forming a tight perimeter around the theater. Although some fifty comrades managed to temporarily thwart this force, it proved far too imposing for us to effectively and sustainably challenge. At around 5:45 p.m., the demonstration was rendered immobile on Monk Boulevard, less than a hundred metres from the theater. The police then set up a checkpoint further south, triaged people and directed ticket holders down a parallel street that allowed them to bypass the unsafe perimeter and reach the theater entrance. It’s fair to say that on this particular evening the police literally carried the fascists’ water. It’s worth noting that a number of the SPVM officers on the front line were wearing the “Thin Blue Line” patch, a recognized far-right symbol. Wearing it is discouraged, but it has not yet been prohibited by the police service.
As absurd as it may seem, the local neo-Nazi milieu’s steroid-ridden mascot turned up at around 6:00 p.m., to “troll our small gathering.” After a tense five-minute standoff, he left with his tail between his legs. Under the circumstances, a physical altercation would inevitably have triggered a brutal and disastrous police intervention. We commend our comrades for keeping their cool in the face of this flagrant provocation.
(An aside, in passing, to the politicians—and the media—who have hallucinations of antisemitism every time there’s a Palestinian solidarity demonstration: the real antisemites, the fucking neo-Nazis, are right in front of your face, and you choose to send your rabid dogs to protect them.)
After an hour on site chanting antifascist slogans (“Siamo tutti antifascisti!” “Ville-Émard en a marre, des fachos et des bâtards!” [Ville-Émard has had its fill of fascists and bastards!]), we understood that there was nothing more to be accomplished by lingering in this suffocating trap, and the group pulled out and marched south on Monk Boulevard. The SPVM tightly flanked the procession, with the riot squad boxing us in on both sides. A hundred meters from the Monk metro station, a platoon commander, annoyed at a comrade’s legitimate protest, inexplicably decided to lead his men in a violent charge against the front row of the demonstration, swinging batons and whacking people with shields, as well as making liberal use of pepper spray. The point seemed to be to make sure everyone knew who was in charge! The demonstrators then dispersed into the metro, the riot squad with them every step of the way.
The Montréal Antifasciste collective would like to extend its heartfelt thanks to all the people and organizations who took part in the campaign of denunciation campaign and in the mobilization.
A Campaign with a Positive Balance Sheet
As we explained in our October 27 article, Montreal’s anti-fascist community had not felt it necessary to mount a denunciation campaign against the Messe des Morts in recent years, as it had done in 2016, because the programming did not present any particularly problematic groups. The 2024 event, however, was a provocation.
In early October, we contacted the administration of Théâtre Paradoxe (a social economy enterprise) to encourage them to take the necessary steps to prevent the questionable groups from performing at their venue. Unfortunately, all our diplomatic efforts came to nothing, as the theatre’s administration claimed to have no manoeuvring room as a result of a contract with the promoter of the Messe des Morts, the real culprit behind this grotesque fiasco. So we had no choice but to keep our promise to demonstrate outside of the festival.
Pivot : « Le collectif Montréal antifasciste dénonce un festival de musique black métal »
La Presse : « Tirs groupés contre un festival de black métal »
Whatever one might say about Friday night’s events, which were entirely dominated by the SPVM, we feel we’ve achieved the campaign’s broader objectives:
- two of the four bands targeted, those closest to the NSBM scene, were unable to play at the festival;
- we effectively alerted the community of a problematic situation; in particular, the Théâtre Paradoxe administration, which clearly knew little about the vampire it had invited into its home;
- We exposed the flagrant contradictions that permeate the black metal milieu, causing welcome discord between complacent aficionados and anti-racist fans of the genre;
- Our actions had major financial consequences for the festival’s promoter, whose activities over the years have shown an unquestionable sympathy for NSBM.
At the end of the day, we can look back on a positive campaign. In the coming months, we will be maintaining communication with the Théâtre Paradoxe administration to ensure that the 2024 edition of the festival is the last to take place in this venue. We’ll also be keeping up the pressure on the festival’s promoter, who has once again demonstrated complacency toward a hateful ideology and its manifestations in the black metal genre, despite his claims of political neutrality.
Of course, we’ll also remain constantly alert to ensure that Montréal remains resolutely anti-fascist.
—the Montréal Antifasciste collective