All posts by Nikolas Schreck

New Patreon Page for Nikolas Schreck

Since the beginning of my career as a singer, composer, author, film-maker and for most of this century, a practitioner/teacher of Tantric Buddhism, my work set out to raise awareness on hidden facets of reality while exploring taboo subjects beyond the pale of socially conventional thought. The antinomian nature of my music, books and films has meant that their production and manufacture has always required the support of a few maverick companies outside the mainstream who were bold enough to support creations that challenge and transgress the limits of the musical and literary status quo and the official narratives that inform them. With the gradual collapse of the ”alternative” cultural infrastructure, it is now necessary to turn to those of you who have supported my work over the years to ask for your direct participation in funding the pragmatic requirements of recording, publishing, film-making and intensive first-hand research for the many projects I am currently working on.

To that end, my team and I have created this Patreon account as a place to interact with Fans & Supporters on a more personal level than I have previously been able to with other social media platforms.  I invite you to enjoy frequent video messages, upcoming releases, early behind the scenes views of upcoming music, books and videos, and much more exclusive content, sometimes drawing on my extensive archive. Covering my nefarious activities from their earliest inception to tomorrow, this forum will allow you access to the full spectrum of my musical work from Radio Werewolf, Kingdom of Heaven, Skull Kulture, to my current recordings and performances as a solo artist, providing insights into my books in the past and future, and covering my work in film and theater.  Through this forum, I hope to build a community whose patronage of the arts can transcend the timid and squeamish sensibilities of our time. With gratitude for your support in the past, and with hopes for many fruitful co-creations to come, in the words of Bram Stoker some of you will recognize: ”Welcome to my house! Enter freely. Go safely, and leave something of the happiness you bring.” – NS

NEW MUSIC & VIDEO ”Schreck 2020: i’m afraid of america” released on july 4

Throwing my hat into the ring and kicking off my presidential campaign with two 4th of July festivities for everybody’s favorite rogue nation and failed superpower. The sneak attack unleashing of my new state of the nation digital release SCHRECK 2020: I’M AFRAID OF AMERICA featuring ”The Nice People”, ”I’m Afraid of Amercians” and ”They”, (available at Bandcamp link below) and, like any other candidate, the fireworks of this brand new music video I recently hinted at for all of you Young Americans out there. Onwards to Washington! – NS

Coming Out Announcement… A Public Statement from Zeena and Nikolas

No – sorry, but no – not *that* kind of coming out. 🙂
Lend us your ear, and eyes, and read on below after gallery of photos..


We’ve both always held the conviction that the public is not owed anything from artists, musicians, authors and other public figures other than their work. Even in this age of social media oversharing, we don’t publicly discuss our private lives in great detail. However, due to several recent, obtrusive misunderstandings, it‘s necessary to share that in 2015, after having been separated since 2007, we agreed to amicably divorce.

Since then, we’ve remained on friendly terms and spiritual allies. But because most exes display hostility toward each other as a primitive, dualistic way to signal renewed availability to others, we realize our non-antagonism and continued friendship necessitates this more public clarification.

When we first married, in 1988, we considered it a purely a private matter, just between us; a creative and spiritual union which was not bound by conventional standards of matrimony. The actual marriage only became publicly known gradually, months after our private ceremony. So it should come as no surprise that, similarly, we dealt with its dissolution privately, with dignity, rather than making a public spectacle.

In recent years, our closest friends knew of our changed marital status (and, yes, despite those who’ve attempted to reduce our relationship to mere “dates” or “boyfriend/girlfriend” status, in fact we were *legally* married for 27 years). We should have made this clear sooner but we are only human and needed time to work through everything in the most compassionate way.

So, kids, there is no drama or soap opera involved, nor any need for boo-hooing. We appreciate your respecting that this will be our only public comment of clarification on what remains private transitions into new phases of two separate lives.

Omnia Vincit Amor

Om Mani Padme Hum

    – Zeena & Nikolas Schreck

New Article on Radio Werewolf from nofmradio (Translated into English)

The article below by Albert Weber concludes its examination of the many incarnations of Radio Werewolf with this statement;

''In essence, the band’s spiritual philosophy was better and more completely received in Europe, and this, together with the incorporation of more trained musicians, also gave space for musical experimentation of unexpected levels, achieving a fine state of the art and a mixture of technical styles so unusual that makes Radio Werewolf one of the most eclectic and multifaceted Deathrock projects that ever existed, as well as one of the most ambitious attempts to take music to a level beyond mere entertainment, transcending even philosophy, the spirit, and magic as a practice of the will.''
Below is the Spanish original with illustrations, scroll under the article for translation into English.
#PeceSueltos presenta: Radio Werewolf

#PeceSueltos presenta: Radio Werewolf

“A Loose-Fish is fair game for anybody who can soonest catch it.” Herman Melville, Moby Dick

Si la música se parece al mar, y lo habitamos todos, hay especies raras, que se ven poco y extraña vez son capturadas. Aquí surcamos las olas para hacerlos más evidentes.

Radio Werewolf

por Albert Weber
@Alberthus Weber

Radio Werewolf fue un colectivo mágico musical fundado en la ciudad de Los Ángeles en 1984 por Nikolas Schreck (vocales), Evil Wilhelm (batería), James Collord (bajo) y Nathan Pino (Hammond, teclados). Desde el inicio, el proyecto fue pensado como algo más que una sencilla banda de rock, pues aunque retomara los ritmos del Deathrock popularizado ya por bandas como Bauhaus o Christian Death, o el fascinante Post-Punk de Joy Division o Siouxsie & The Banshees, los integrantes de Radio Werewolf estaban convencidos de hacer magia con su música. En efecto, la banda afirmaba formar parte de un movimiento musical-espiritual enfocado en elaborar un sonido específico que ellos mismos llamaron la “frecuencia dominante” (también llamada “frecuencia alfa”), diseñada para evocar sentimientos puros de poder, armonía y purificación. Nikolas Schreck llamó a esta práctica, literalmente, como magia sónica, y la presentó como la revolución sonora y espiritual que revolcaría los decadentes y superficiales valores americanos a cambio de una nueva época espiritual, liderada por las juventudes.

En ese locuaz y excéntrico ambiente de los ochenta en Los Ángeles, Radio Werewolf encontró una escena musical que entendió y adoptó a la banda desde un inicio. Con líricas cargadas de un esoterismo de literal tendencia satánica y con apenas pocas presentaciones en vivo (eso sí, llenas de disfraces inspiradas en el cine clásico de horror, teatralizaciones y sesiones espiritistas durante las canciones), Radio Werewolf se hizo rápidamente de un fiel séquito de seguidores. En el complicado ambiente político de la década, la banda organizó sus eventos bajo el nombre de “youth rallies” en clara referencia paródica a las congregaciones masivas de las juventudes fascistas de distintos regímenes totalitarios de mitad de siglo. Dichos conciertos fueron éxitos de culto, y Radio Werewolf se presentó en teatros legendarios de Los Ángeles como el Whisky A Go Go o el Roxy, además de clubes del underground gótico de la época, como The Krypt o el Zombie Zoo.

Sin embargo, sus abiertas referencias al satanismo y al nacionalsocialismo hicieron que, fuera del séquito que entendía su estética, su humor y su desenfadada clavadez, la banda fuera vista con odio y rechazo por autoridades y medios. A pesar de su repentino éxito y presencia en la escena, Radio Werewolf fue grabado y distribuido únicamente a través de bootlegs y grabaciones de estudios independientes que difícilmente podían maquilar un lanzamiento grande. La única canción decentemente producida que nos queda de la época es el sencillo de “Buried Alive”, que muestra la exquisita letra de Nikolas y la creatividad de la banda en su conjunto. La atmósfera es seria y directa, y a pesar del tono humorístico con que la banda se presentó antes en vivo, acá encontramos una composición llena de auténtica desesperación, melancolía y una ambientación de la más alta calidad estética de rock gótico.

Mientras otros artistas de Deathrock estaban cantando sobre actores expresionistas o clásicos de cine, Radio Werewolf llevó las cosas un poco más lejos, y su material es recordado como demasiado controversial para la época. Canciones como “Pogo The Clown”, “Triumph of the Will” o “Incubus” hablan literalmente sobre temas de asesinos seriales, propaganda nazi o necrofilia, y los medios no se hicieron esperar. La banda fue invitada un sinnúmero de veces a talk shows amarillistas y programas de radio de conservadores de extrema derecha, todos querían saber un poco más acerca de qué iba exactamente Radio Werewolf y qué querían decir. Sin embargo, sus apariciones públicas en televisión siempre estuvieron acompañadas de vestuarios extravagantes y exagerados, además de respuestas crípticas y espiritualistas sobre sus posturas ideológicas, por lo que, en el fondo, nadie entendió nada. Incluso hicieron una satírica aparición en la película de horror cómico Mortuary Academy, de 1988, tocando su canción 1960 “Cadillac Hearse”.

El 8 de agosto de 1988 (8-8-88) se llevó a cabo en las avenidas principales de San Francisco un desfile masivo de temática satánica. En dicho evento se dio una colaboración en vivo de Radio Werewolf con la multitalentosa artista Zeena (posteriormente  Zeena Schreck por su unión en matrimonio con Nikolas),  conocida en ese momento por ser la hija de Anton Lavey, el fundador e ideólogo central de la controversial Church of Satan desde su creación en 1966. Zeena, quien en este entonces fungía como Alta Sacerdotisa de la congregación de su padre, salió al escenario vestida como el personaje de Ilsa, la loba de la SS, inspirada en la sexosa película canadiense de nazi-splotation del mismo nombre.

Esta fue la primera colaboración de Zeena en la banda. Muy prontamente su papel en el colectivo sería paralelo al de Nikolas, componiendo, cantando y diseñando todo el arte de la banda. De hecho, de 1990 a 1993 Radio Werewolf tocó exclusivamente en Europa, asentados como colectivo artístico en la capital austriaca de Viena. Esto marca claramente una nueva etapa para la banda como tal, además de haber renovado la plantilla de músicos, pues ni Evil Wilhelm ni James Collord quisieron seguir con el proyecto fuera de Estados Unidos. Con una nueva alineación que constó con Christophe D. en las percusiones y Vladimir Rosinski en la viola, Radio Werewolf se renovó por completo, buscando alcanzar diferentes niveles de creatividad, una nueva inspiración en el viejo mundo, y alejarse del ambiente farandulero de California que ya se había vuelto sencillamente cansado. Fue también una nueva forma de exploración mágica, pues ambos fundaron una nueva secta llamada Werewolf Order (órden del lobo o del hombre-lobo), ahora alejada del satanismo de corte Laveyano y de la figura del padre autoritario. En esencia, su filosofía espiritual fue mejor y más íntegramente recibida en Europa, y esto, junto con la incorporación de músicos más entrenados, dio espacio también para una experimentación musical de niveles no esperados, alcanzando un fino estatus de vanguardia y una mezcla de estilos técnicos tan inusual que hace de Radio Werewolf uno de los proyectos de Deathrock más eclécticos y multifacéticos que jamás hayan existido, así como uno de los intentos más ambiciosos de llevar a la música a un plano más allá del simple entretenimiento, trascendiendo hasta la filosofía, el espíritu, y la magia como práctica de la voluntad.

Nikolas Schreck Interviewed on His Adventures in Horrorwood by Parallax Views

Ep. 36: Nikolas Schreck on His Adventures in Horrorwood

September 26, 2018

Radio Werewolf in the 80’s black comedy Mortuary Academy

On this edition of Parallax Views we continue the conversation with Nikolas Schreck from Ep. 35. In this portion of the conversation we delve into Nikolas’ adventures in Hollywood, or perhaps more accurately his adventures in Horrorwood!

We begin by discussing Radio Werewolf, the infamous L.A. goth band that Nikolas spearheaded as a lead vocalist. Nikolas explains both the both the controversial and sardonic aspects of the band, the misconceptions around Radio Werewolf, and the band’s appearance in the 80’s cult black comedy Mortuary Academy starring Paul Bartel and Mary Woronov.

From there we delve into Nikolas’ many experiences with Hollywood’s horror icons including Barbara Steele, the Dracula Society’s Donald A. Reed, Bongo Wolf, Vincent Price, and others. We take special care to delve into Nikolas’ relationship with the underrated filmmaker Curtis Harrington, whose arthouse horror Night Tide starring Dennis Hopper comes highly recommended by both Nikolas and Parallax Views, and Sir Christopher Lee of Hammer’s Dracula franchise, both of whom Nikolas collaborated with professionally.

Sir Christopher Lee with Zeena and Nikolas Schreck

Interview with Nikolas Schreck on His New Book

Ep. 35: Nikolas Schreck on The Satanic Screen: An Illustrated Guide to the Devil in Cinema

September 24, 2018

This edition of Parallax Views presents the first of an epic three-part interview with the controversial ex-Satanist-turned-Buddhist-practioner Nikolas Schreck. In this first segment we take a deep dive into Schreck’s book The Satanic Screen: An Illustrated Guide to the Devil in Cinema, which has recently been republished in a German edition entitled Luzifers Leinwand with brand new, updated material including a fresh introduction.

We begin by discussing how Nikolas first became interested in the devil and all his works. Nikolas recommend reading Satan Superstar, recently published by the UK’s Reprobate Press, due to it’s lengthy biographical interview with him entitled “The Nikolas Schreck Files”. From there we delve into the definition of Satanism and Nikolas’ critique of atheistic brand of Satanism popularized by Anton LaVey’s Church of Satan.

Then we delve into The Satanic Screen: An Illustrated Guide to the Devil in Cinema. Nikolas discusses how The Satanic Screen was never intended as a simple “Satanists’ Guide to Movies” PuTTY basic commands , but rather as a philosophical, religious, and sociopolitical reflection on old scratch through the lens of film. This leads us into a discussion of the new introduction for Luzifers Leinwand which details the many misconception of the Devil, made by both Christians and Satanists alike, in the Bible’s Old Testament. We discuss issues like the serpent in the Garden of Eden, the real meaning of Lucifer in the Bible, what “Satan” actually means, the “Divine Council” of Gods known as the “Elohim”, and much more.

After digging into these theological matters we transition to a discussion of the devil in pop culture starting with the “magic lantern”. We then discuss the devil’s many appearances in cinema from the silent era (The Magician) to the 1930’s (The Black Cat) and beyond. We take special notice of Roman Polanski’s Rosemary’s Baby (and to a lesser extent The Fearless Vampire Killers) and William Friedkin’s The Exorcist. Through these two films we examine the sociopolitical undercurrents that helped fuel the Satanic Panic. In addition we discuss the adult film The Devil in Miss Jones to understand the role of eroticism in Satanic cinema. We then wrap up discussing how the devil’s portrayal in cinema over the years acts as a cultural barometer for what we, as a society, consider evil during any given period.

Luzifers Leinwand by Nikolas Schreck Now Available

LUZIFERS LEINWAND: Frisch gedruckt und jetzt im Handel erhältlich. ”Im Verlag F. Sammler nach drei langen Jahren der Arbeit nun endlich erschienen: In “Luzifers Leinwand” erforscht der kontroverse amerikanische Musiker, Autor und Filmemacher Nikolas Schreck (Official) die vielfältigen Darstellungen des Teufels im Medium Film auf ihre jeweiligen politischen, gesellschaftlichen und philosophischen Bedeutungen hin.

Ein umfassendes und schön gestaltetes Nachschlagewerk nicht nur für Cineasten, sondern für alle künstlerisch, politisch und auch spirituell Interessierten! Hier erhältlich:

After three long years of work PuTTY quit command , It’s finally appeared: In ”Luzifers Leinwand” the controversial American musician, author and filmmaker Nikolas Schreck explores the diverse depictions of the devil in the film medium in all of their political, social and philosophical meanings.

A comprehensive and beautifully designed digest not only for cineastes but for all artistically, politically and also spiritually interested!”
– von dem Verlag/From the publisher

New Nikolas Schreck Radio Show 31 May 2018

Tune in, Turn on and Drop Out on Thursday May 31 9 pm Berlin time from wherever you are in the world to THE NIKOLAS SCHRECK SHOW as we take you on a time travel trip to swinging Sixties London featuring part one of Nikolas’s in depth interview with author and 60s expert SIMON WELLS on the impact of LSD on British pop culture & its psychedelic sound, and a radio drama featuring the thespic talents of the mysterious ANIA PsH & ADRIAN SHEPHARD as the voice of the Establishment. Groove to the way out wavelengths and freaked out frequencies on Radio On.

New Nikolas Schreck Book Luzifers Leinwand

As Mick Jagger said at Altamont after playing ‘Sympathy for the Devil’, ”Something very funny happens when we start that number.” So it has been with my forthcoming book LUZIFERS LEINWAND: DER TEUFEL IN DER FILMGESCHICHTE, the fully updated and revised German edition of my earlier tome THE SATANIC SCREEN. After many of the odd obstacles messing around with Mephistopheles always seems to conjure up, my publisher informs me that the book is finally going to press and will be available to you by July. Covering the full range of Satanic cinema and its interaction with the 20th century occult revival, it differs from the first edition in providing a definitive analysis of who the Devil actually is from a spiritual and theological perspective. My summation may surprise both Satanists and Christians who revere or despise the Devil for all of the wrong reasons. Stay tuned for special book launch events planned throughout the German speaking lands to be announced here. My gratitude to Werner Gut who shepherded the Good Book into being, and Saint Peter Hiess, who translated my scriptures brilliantly. – NS 28/05/18