Constantine Charagma and Erica Frevel The Deplorable Word (2016)

Very few works that presume to connect human beings with energies or entities come across as applicable. More often than not, a lack of honesty would appear to be disguised behind impractical demands that defeat the purpose of a magical working as a shortcut. Despite what detractors have had to say on the matter, Martinent Press has excelled in its publishing of books that the reader can take as they come. A reader can survey a relatively cheap copy of any of the titles and judge the contents therein by what they propose, the author’s revealed character in words and style, and whatever insights they are revealing. Interestingly, Martinet Press leaves it to the public to do their own sifting, allowing no-nonsense heavy-weights like Tempel ov Blood Liber 333 lie on a bookshelf beside the more compilatory and derivative works like A.A. Morain Scithain. In the case of the present booklet,  keywords that come to mind upon ‘meeting’ the writer(s)’ character on paper are sincere and honest, energetic and powerful, juvenile and wasteful, obsessive and unstable. But this is only a sympathetic, literary and psychological appreciation, of course, and nothing else.

We find that sincerity and directness is, in fact, at the forefront of the authors’ concerns here, the main concern being the quick leading of the interested individual to the right state of mind: towards at least an aural and psychic clarity regarding alien expectations. As is common within the grimoire tradition, The Deplorable World juxtaposes different literary genres without any transitioning device. The only criteria to the inclusion of each of these parts is what they may bring the reader in terms of an apprehension of the topic at hand. The progression from one section to the next shows a plan designed to implicitly (secretly) address diverse mental requirements in the minds of those seeking after content. However, those looking for fetish antiquary items or page after page of turgid and inconsequential “lore,” with no relevance or substance other than the mirage of words, will have to invest at least several hundred dollars more.

And so, the work opens up with a rather tepid work of light fiction the only value of which is providing a verbal illustration of the situations and atmosphere . Fortunately, the fiction is the first and the weakest section of this publication. The authors proceed from there to references of the Abyss in ancient lore, in a compact section with more substance and referential value than entire books by other, more prominent “occult authors.” Towards the middle, we are presented with plain and simple descriptions of the relevant cosmos and entities, doing away with poetics or any of the masturbatory word diarrhea that is the staple of prominent “occult publications.” Finally come the procedures themselves, starting from simple meditation techniques, advancing towards libations and communion, on to astral exploration and full-out, blood-sacrifice portal opening.

“Magically relevant or GTFO!”

Symbols and procedures lean towards stupor or frenzy, without necessarily naming them so. To those who would get discouraged by the rather unnecessary —even detrimental— opening work of fiction, the rest of the booklet provides concrete working after concrete working, the requirements of which are mainly the capacity for mental focus and a willingness to bend a conventional grasp of sanity in thought and action. The mental investment demanded demands energy, energy that is directed and consumed. Some may leer at the prospect, but they are also those who would not see beyond the intermittent purposelessness that plagues the path of any discipline which develops practical abilities before intellectual understanding or “knowledge.” In this way, we may see in The Deplorable World a potent handbook to develop a raw, focused connection to a cosmic darkness that is ultimately, despite our poetic allusions, beyond explainations.

There is here an unquestionable obsession with violence, that is at the same time juvenile and uninterested. In this, it at once complements and contrasts the involved insights that Georges Bataille derives from what he terms ‘sensuality’. And while this unthinking and ultimately self-defeating drive towards destruction, abandonment and forgetfulness constitutes the praxis, it could be argued that it will remain short of what an evolving human being can become psychologically, physiologically and psychically. For where it used to be a facilitator, there is a point where shock becomes a crutch. If instead of utilizing the capacity for self-shock and channeling towards increasingly potent and predictable results, the practitioner falls into a mindless and never-ending one-upmanship game of inner destruction beyond utility and for their own sake, these methods may instead become a glaring obstacle for the individual’s growth if not understood and assimilated. That such fixation with what the practitioner assumes to be the ultimate “preternatural” reality, and that such obsession with acts of cruelty and violence, can be experienced but transcended into a dynamic exploration and development of the totality of being, is perhaps a first key towards true attainment, or what some call adepthood.

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Liana Saif The Arabic Influences on Early Modern Occult Philosophy (2015)

The present book explores different mystical and metaphysical ideas related to astrology and magic that fall under a philosophical framework that assigns the living cosmos a hierarchical order of influences that make the mechanics of the cosmos possible. The works studied here are chosen for their inherent worth, but here also for their influence over the developments in Western Occult Philosophy of the Medieval and Renaissance periods. They are termed ‘Arabic’ by virtue of the language the authors wrote the works in, although some of these authors were not themselves Arabs at all. Furthermore, Liana Saif strikes a very insightful balance in that she strives to truly understand this tradition of occult thought from the inside out, as a coherent system of thought from its own vantage point and not in relation to later philosophies.

It must be highlighted that the Arabic treatises explored in this book are of a ‘rational’ character, even if treating of magic and astrology. As Alfred Ayer —who would nonetheless be against notions of magic, said regarding systems of thought— explained in Language, Truth and Logic about philosophy and metaphysis: the only requirement for them to be valid is coherence. From then on, the connection that a system of thought has to ‘reality’ has to do with how its accuracy is gauged, and so how it is applied to achieve any kind of results. In the case of these Arabic influences, “knowledge of resemblances, analogies and sympathies,” played the role of mechanistic causality in these system, even though the system was treated as a living organism in which forces —dynamis, according to Georg Luck— are spirits with volition in a graded hierarchy of beings of descending intellectual power and self-awareness.

Astrology is said to be first of all dependent on a knowledge of astromony. But whereas astronomy attempts only a mathematical calculation of the movements of the heavens, astrology seeks to find causal relations between said movements and the states of beings on our ‘sublunar’ plane (basically, the planet Earth). To this end, many a creative rule of resemblance, sympathy and anipathy is applied, but with the ultimate end of finding a sense, not of feeding superstition. If the conjured explanation is unable to provide a satisfying unifying pattern of ideas with the actual manifest movements, then it is invalid. Furthermore, and most obviously, if within the parameters of the worldview no actual predictions or results are achieved from any presumed astrological knowledge or magical working, these are not supposed to be valid either. It is in this sense that astrology and magic are treated rationally, from its own chosen metaphysical premises.

Liana Saif tells us that explanations based on “causality,” even those that are now deemed “scientific,” do not in any way invalidate interpretations of a spiritual or semiological kind. In this regard, Carl Jung has stressed that human reality lies within phantasia, and neither in the purely physical nor the mental. What this means is that we percieve and act in a world that comes together between the two, and which phantasia eventually follows its own rules and patterns independent yet fed by the upper and lower worlds of the physical and the mental, correspondingly. And so, if a consistency of signs and meanings is achieved from an observation of nature in relation to the human mind and its ability to perceive details, then the efficacy of magic has thereby been attested.

The book itself is pleasant to read in many respects, not least of which is the fluid prose which, while academic in tone, is not bogged down by a lack of style or attention to clarity. What makes the present work powerful and congruent in that respect is that the author uses all modern advantages of systems and knowledge in the service of better understanding and explaining the worldviews and metaphysical propositions of these medieval Arabic thinkers on occult philosophy. It is exciting and fulfulling to read Liana Saif move seemlessly into the mentality of medieval occult thought with full attention and in an apparent “inner comprehension,” even as if she held a stake in this alternate “world,” only to then slide out and provide respectful commentary in the light of modern academic research.

“…the natural way of doing this is to start from the things which are more knowable and clear to us and proceed towards those which are clear and more knowable by nature.”

—Aristotle, Physics


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Decieverion – Decieverion (2002)



2002 Era Horrificus

Decieverion start out making what can precisely be described as dark metal, an amalgam of death, black and heavy metal techniques underpinned by extreme metal vocals which can be of a variety of kinds. The purpose of this music is first and foremost to take the listener through sights both bleak and destructive, but also moving and pensive. To this end, dark metal, and so Decieverion, adopt a variety of techniques which, while not disparate or incongruous, make it hard for the critic to place them within one style or genre. Unlimited by such restrictions, the music wanders around seemlessly without great contrasts being perceived as outright offensive. On the downside, the lack of stylistic focus gives this music an altogether weak voice, even if execution is enjoyable and profficient. Incumbered by the liberties and confusion of dark metal, Decieverion tread a middle path that allows for the transmission of varied emotionality at the expense of clarity and elaboration towards depth. A final valuation of the present work reveals that the greatest treasure to be found here is one of countless things to say subsumed under a same aura and personality.

Dark metal moves, as its name directly implies, towards themes “of darkness.” In short towards the less pleasant, the less visited, but no less crucial aspects of our lives and minds that are often neglected but which are more decisive to human experience than the parts that are “positive” or “nice,” —human delusions not withstanding. Furthermore, dark metal as a whole tends towards personal sensations of frustration or desperation, rather than the painting of mythological outlooks. In this there is the advantage of being able to raise a sign that says “I have seen and I have lived.” The disadvantage is that in taking up the space and time to represent this subjective, changing and capricious individuality, the comprehensible link that would make the music self-evident through structures and style to others becomes blurred and debilitated. Instead, it is the bleeding emotionality that seeps through the cracks that impressionistically transmits a holistic image that can only be captured by intuition. Furthermore, the commonplace nature of the expressions used ensures that it is the intuition of a human unencumbered by layers of abstractions and “artistic” demands that finds the emotional clarity found herein as the Decieverion’s most important asset.

Decieverion then moves between passages that hint at black metal, at death metal and at so-called doom metal, in a way that many would interpret as a that of an undefined underground metal. But being these stylistic differentiations within an ultimately united genre, a prudent mind can fuse them together without the slightest hint of incongruity. Sufficiently intelligible complexity is achieved by smoothing out the textures of adjacent sections, and using contrasts in this texture as narrative markers, rather than as tools of shock, which would have destroyed the music’s credibility. The rightful complaint to be made is not so much that the styles are mismatching, because they are taken back to the power chord, as well as the multi-purpose percussion style that is founded upon the rock-based extremisms of underground metal. As such, and in order to attain stylistic variety, Decieverion errs on the side of more mainstream genres. To summarize, Decieverion let themselves be understood by choosing the more comprehensible popular aspects of metal, as far as they go, while developing a narrative by extending songs that connect sections through a proper minding of texture and by protecting the integrity of tonality.

If music is to be ultimately interpreted as an art of communicating what words cannot describe, then the art of Decieverion is accomplished at that of the transmission of experience-based insight from individual to individual. While other works leave great impressions of great art, they are ultimately impersonal and lacking immediate relevance to the majority that behold them in awe.


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The Craft of Metal #2: Abominations of Desolation

Abominations of Desolation (1986) appeared during the fertile years of death metal as the first full-length release from Morbid Angel but was relegated to demo status during the period when the band became more well known. All the songs except “Demon Seed” were re-recorded on later releases.

The true first Morbid Angel album reveals the genetic material that the band would then expand for the next three releases during what would be their musical prime. It shows the band at their peak from a compositional point of view owing in part to the combination of Azagthoth’s and Browning’s genuine belief in the Necronomicon and the focus on making their music the soundtrack to their beliefs.

The incredibly diverse riffcraft shows the band absorbing influences principally from Hellhamer, Angel Witch, Slayer and Mercyful Fate. Unlike their influences, the band plays fully developed death metal with long tremolo picked passages, single picked notes, fast alternate picked open strings playing against moving power chord progressions, even playing with other diatonic chords from time to time and combining the whole in a varied amount of ways depending on the needs of the songs. Notably absent is the influence of speed metal which would appear on the more streamlined Altars of Madness (1989). None of the bounce nor the rhythmic interplay of their contemporaries is in evidence here; the band does not accentuate the offbeats nor do they use the choppy syncopation of their more well-known peers.

From the heavy metal that was so influential to this record Morbid Angel brought the device of guitar solos, not as an ornament or an embellishment, but as a central piece within the composition that works closely with the rhythm guitars playing underneath. Here is a band with a limited number of technical tools derived from previous bands but combined in a large variety of ways that sets the standard for all of death metal and allows the band to create much more powerful melodies that can be interconnected in maze like arrangements.

Contrary to popular belief Morbid Angel never attempted to create atonal music as they obviously do enjoy smashing one note or power chord and then making the whole sequence invert the relationship formerly established. However, on a much subtler note Trey Azagthoth does have the ability to play with tonality in the most twisted of ways. Take for example “Chapel of Ghouls” and how the low chugging has a particular power to it and never sounds like the chugging between riffs from any speed metal derived band. That is because the chugging note is not the actual root note of the song but what is referred to as the subtonic. This is the last note in the natural minor scale and demonstrates a lack of desire to lead into the root note of the scale. Rather than a rhythmic embellishment, we are treated to an integral note in the many motifs of “Chapel of Ghouls” and how the band managed to truly convey power and occultist ideology through simple yet effective musical choices.

Chromaticism at this point in time had already been a widespread technique but Morbid Angel decided to apply their own twist on it. Rather than create fully chromatic passages the songs are derived from the minor scale and its variations but with added streams of three or four chromatic bursts. This really did obscure the tonality of certain passages, and gave birth to the myth that Morbid Angel played atonal music to make the band seem much more intellectual where in reality the young band did even better than that: they adapted tonality for their own style and to this day very few bands have been able to emulate these techniques efficiently.

The arrangements here push the riff as being above all else. Multiple melodies form these songs that flow in such a fluid manner that this would inspire the Norwegian scene in their compositional choices. The melodies vary in tempo and in note selection yet the transitions never sound forced as the band will lengthen the note duration when speeding up and shorten the note duration when slowing down. This allows for these motifs to mutate without being held back by rhythm. The influence of Mozart is subtle but is ever present in the way the band designs the arrangement of each song. At first each song has a primary melody that either begins the composition or is introduced by a motif of minor importance. A development then occurs either through a new riff that either takes the previous motif and transforms it or through an entirely new riff accompanied with a tempo change to push the tension even further along. Eventually the music arrives at an apex where all the tension is released before it concludes on the main motif that has now become a revelation.

Let us look at “Angel of Disease,” which has a simple heavy metal motif in D# minor without any chromatic notes. It is then warped to a slower riff that is barely in D# minor but has been deformed entirely by surrounding chromatic notes and this continues the momentum of the main motif as the cycle repeats one more time before branching out into a palm muted stream of single notes working in opposition with the secondary motif leading us to the grand climax of the song. The solos Azagthoth performs obey the underlying riffs and, through a combination of insane melodies that are at times atonal whole tone jumps or some very unique arpeggios like the diminished seventh which is an endless stream of minor thirds, create some very unique sounds. The solos through their madness show a strong logic where they reinforce the arrangements either by providing the climax or by creating even more tension upon the chromatic segments.

Abominations of Desolation takes the underground metal that evolving at the same time and use it to make the first truly mature death metal record. Surprisingly the heavy metal of the past is still very present in this band though it remains a device for the creation of the more consonant motifs, yet one can only wonder what the avenue explored by the only song to not appear on future records “Demon Seed.” The extravagant heavy metal didn’t seem to be in accordance with the band’s future works but what we have here is a Judas Priest style composition that plays with its dual identity, and it would take a few years before the European bands would develop this style further.

Where the influence of future country singer David Vincent would push Morbid Angel to explore grindcore and speed metal whilst taking influence from this album, Mike Browning was able to channel the band toward creating a powerful piece of art that is still to this day not fully understood and that neither musician has been able to recreate. There are far too many elements in this album to effectively analyze in such small an article as this is, but it reveals the power held by the common beliefs of two above average individuals, as well as reveals the magic that happened in that incredibly short period time only to disappear back to the depths of hell.


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Statement from DEATHWAVE NEXION Record Label and Publishing House [MMXVIII E.H.]

D.A.R.G. : the statement below came to us from the leadership of Deathwave Nexion, and is published here as part of our continued support of outstanding music by people fostering genuinely dark philosophy through adversarial action.

Statement from DEATHWAVE NEXION Record Label and Publishing House:

Whilst remaining largely driven to the release of Neoclassical, Electronic and Ambient records, as detailed in the past and present efforts, our nexial decision to begin incorporating Heavy Metal bands into our cadre has come with no easy discernment. Purposefully aimed at quality over quantity, we have thus far approached or have been approached by artisans who we can collectively say are ‘masters of their craft,’ and no such lower tier of delivery should be permissible if our full weight of promotion and esoteric pairing are to be present.

We have selected a small group of individuals, each with their own sublets from which they are respective champions, but maintaining a shared lineup throughout. These are: DECIEVERION, a classic Black Metal act from Pennsylvania, and no stranger to the nightspirits of yesteryear; SHADOWS IN THE CRYPT, a ‘Sinister Cult’ from Pennsylvania whose sole purpose is to create the most menacing, hate-driven anthems of Devildom, and SERPENT OV OLD, the masterful effusion of many-years of learning through hardships and grief.

These three bands share one common thing among themselves: the members, whose efforts in the genre of North American Black Metal, and especially that which has thrived within the tri-state area, has existed and proliferated independent of genre-trends, subcultural infiltration or consumer interest. Nay, this Unholy Trinity has been, each respectively the bastions of inspiration, and each collectively, the circle of tradition, from which in the darkest times of the Black Metal genre’s foolery, have held down the fort for all of those whom have stayed pledged in allegiance to the dark.

What then separates the efforts of some small, underground, virtually invisible label, and its venture into the metal genre, from any other plastic theater? It is the fact that these “musicians,” are not just that, they are each individually, archetypes of the new aeon. The personnel surrounding the groups in question are antibodies within the mundane superstructure. Given to paths of sharp-living, recognizing no law, and no authority – foregoing the “normal” life which is emblazoned on the armbands of every reactionary, neo-Neckbeard; these are real criminals. They are dedicated to the dark deeds of the devil. In this, their journey towards restoration of principles once commonplace in Black Metal might yet see a renaissance, and in their seedings, might a new prototype of individual arise to stand before the failing species of man.

A New Sample Track from SERPENT OV OLD (2018 via Deathwave Nexion)

Many thanks to D.A.R.G. for the continued support and camaraderie, to S.R. Prozak and the Hessian stratosphere, and for their journalism, which has intersected with our work in the past, and with any luck will continue to in the future.

Deathwave Nexion
2018 Era Horrificus


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An Exercise in Linear Songwriting: Deeds of Flesh “End of All”

Although most likely viewed as a mere footnote in the immense catalog of Deeds if Flesh, “End of All” from Inbreeding the Anthropophagi is deceptive in that its brief run time and violent introduction mask the fact that it may be one of the only instances in truly linear songwriting present in the metal genre. Having heard the song countless times since its release but still not fully grasping the nuances of its composition, I decided to figure out how it’s played only to realize that aside from one brief moment where a segment of a phrase is repeated, there are no repeats of any kind in the song either regarding whole riffs or portions of melody. It had still somehow become a track that had tangible substance despite there being so little to retain in one’s memory, so I made a video of a playthrough of the track to point out what exactly is happening to give the song resonance where typical structuring would normally provide support. (more…)


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De Vermis Mysteriis / Azhubham Haani [Split] (1992)

Sweden’s Angramain’yo was responsible for various, interrelated black metal projects in that appeared in demos during the years 1991 and 1992. They were all rather primitive, clearly eschewing musicianship for musical elaboration on minimalist premises. In, Desentery, the artist appears focused on developing a clear structure for the crudest but expressive phrasal riffs, this flourished into the project for which he is mostly known: Azhubham Haani. The transition from the precursor to the actualized musical goal came in the form of a higher awareness of the ‘sound’ principle, utilizing structures to define areas of mood by variating texture, intensity as well as the vocal tone, the last within limited bounds. Somewhere in this journey we see the appearance of a singel rehearsal take from an alternate project called Daemonius. Contrary to the more dark cosmology of stars and blackened spaces depicted by the music and words of Azhubham Haani, Daemonius would rather attempt to formulate a mysticism of violent naturalism not unlike the spirit and musical approach of Ildjarn, however informed by the artist’s personality. Before serving prison for stabbing a man in the throat, Angramain’yo brought to our world the crown jewel of his underground metal achievements in the form of a veritable dark revelation: De Vermis Mysteriis.


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Death metal influence on power metal

After the initial explosion of Death metal, metal had finally made the breach into untapped territory. Gone were the tropes of previous influences and the race to reach new summits of musical expression had begun. On the sidelines the speed metal bands saw themselves pushed into irrelevance; hardcore had now evolved into Grindcore and heavy metal heroes had now degenerated into more commercial sounds in order to expand their fanbase in a world that had left them behind. The European power metal bands found escape in Tolkienesque fantasy and escapism. In America, the USPM movement was not interested in the more flowery interpretation of European power metal. Some of these artists recognized the power of the early Death metal moved by Slayer and sought to integrate it into their own music for greater effect. Here we shall omit the failures of bands that attempted such experiments like Satan’s Host or Iron Cross.


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Defender – They Came Over the High Pass (1999)

As the successive death- and black metal craze of the 1990s lost its grip over Scandinavia, many musicians started a journey back towards their earliest of musical infatuations. Often this meant a return to classic 1980s heavy metal, although filtered through contemporary developments in the metal craft and coupled, at least in the more auspicious of cases, with a melodic flair distinctive of the region. One of few interesting products of this slightly schizoid period is the one-man and seemingly one-off project Defender, brain-child of a certain Phillip von Segebaden. (more…)


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Blood Stained Dusk – Dirge of Death’s Silence (2001)

Upon listening to this album, the listener familiar with the classic Norwegian black metal albums from the first half of the ninetiess will undoubtedly be reminded of Emperor In the Nightside Eclipse (1994). But apart from the way in which the keyboards are used for effect, the first Blood Stained Dusk is quite distinct in songwriting approach and in the crafting of individual sections. And while less clear and profficient in expression than Emperor, relegating the present release to a lower tier, Dirge of Death’s Silence is still a highly suggestive and imaginative work of black metal.


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