Luciferian Rites – When the Light Dies (2015)

luciferian rites - cover

Luciferian Rites play black metal in a style that at first calls to mind middle-period Graveland. The hand-strum technique outlining chords is also in line with Immortal’s At the Heart of Winter and less obviously with Burzum’s technique. Immortal haunts this monument of an album in its most aggressive parts, but it is the commanding voice of Fudali that we hear echoing through the halls. Once the first impression has passed and the inventory of recognizable influences has been done, though, the individual beauty slowly comes out. It does not reveal itself, as this is very subtle music. It is the listener that must tune in, must hang on to the song, the album, and hear as every inseparable and utterly dependent — and necessary — part of its construction works together to create the transcendental black metal experience.

 

Drums play an incredibly important role here, lending an eloquence not even Immortal or Graveland, from whom Luciferian Rites borrow their musical language, show. The Achilles’ Heel of When the Light Dies is that songs start and end in strong statements that only serve as such because nothing comes before or after them, respectively. After a song starts, though, it is carried through a seamless transition of sections whose single riffs appear to be the most simple but that brought together create a magnificent super-riff. This could go on and serve as the song itself, but the band will often take a break in the middle, only long enough so that it counts as one. Unlike most other bands who use this structure, Luciferian Rites does not do this as a means to restart a song that has ran out of gas. Instead, in this brief moment the listener’s attention is brought back from the stupor of the first part of the song into conscious focus, only to renew the journey.

 

Some will say this album is seen in a positive light on this site because it adheres to old school precepts. Simple-minded people prefer simple explanations, it relieves them from the burden of having to think analytically. The truth is much more complex. Luciferian Rites excels in the subtle art of coherent, sensible, and purposeful composition, independently of the style. In their effort to find simple explanations and excuses not to have to face judgement and challenge their own views and the status quo, composition choice is equated to musical style. To some degree this is true, some styles have been built upon essentially flawed concepts (see Deathcore). But it is not true to the extent that we excuse bad composition by calling it stylistic difference, because “we are just different, but no one is superior”. This misplaced humanitarian impulse drives art to starvation and highlights gimmick and novelty acts as the masses of casual listeners turn their heads towards momentary satisfaction.

 

When the Light Dies is a strong candidate to the Mexican metal pantheon, standing in quality besides the best of legendary countrymen Avzhia and Cenotaph. Calling to mind the sensibility of Ancient’s Svartalvheim, Luciferian Rite’s sophomore release expertly builds on the classic works, sweeping aside accusations of retro-worship in a confident gesture of originality.

 

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May 2015: The decent and the rescuable

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This is a “best of the month” list for this month, but making the title “Best of May 2015” sounds like giving too much of a spotlight for such a short span of time, and devaluating the word “Best of” somewhat, in my opinion. Therefore I chose a title to reflect reality more clearly: these are the only albums we heard of on this website this month that were decent enough to not be considered utter disgraces to the metal genre (those were in the SMRs or were ignored). The “decent” are those that show consistency in style, coherence, a direction and a clear artistic voice and goals. The “rescuable” are those that are still confused in their composition — unclear, or that seemed to be impeded from development by their own approach to music-making (or that of their own genre).

 

The Decent

  • Ascended Dead – The Advent                                      review
  • Blasphemic Cruelty – Crucible of the Infernum      review
  • Exhumation – Opus Death                                           review
  • Luciferian Rites – When the Light Dies                     review
  • Necrophor – Exterminatus                                          review
  • Nekromanteion – Cosmic Horrors                             review
  • Perversor – Anticosmocrator                                      review
  • Shroud of the Heretic – Unorthodox Equilibrium  review
  • Undead – False Prophecies                                           review

 

The Rescuable

  • Blind Guardian – Beyond the Red Mirror                review
  • Bureviy – Concealed Beyond the Space                     review
  • Dew-Scented – Intermination                                     review
  • Maruta – Remain Dystopian                                       review
  • Undergang – Døden Læger Alle Sår                           review
  • Wende – Vorspiel einer Philosophie der Zukunft    review
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“Black Magic Evocation of the Shem ha Mephorash” Occult Book Released

Some classical music incorporated morbid themes, but most metalheads look back to Black Sabbath being the first to incorporate occult themes into their music. Tony Iommi and Geezer Butler have both been noted for dabbling in the dark arts, while their vocal counterpart Ozzy Osbourne publicly denounced any Satanic undercurrents. Their label Warner Bros was more than likely the cause to establish their occult image in the press. From this point on, the dark arts have been subject matter to innumerable musical acts and has become steeple in the extreme metal community.

Gilles de Rais from US Black Metal band Teratism has released his grimoire, “Black Magic Evocation of the Shem ha Mephorash“.

Excerpt from its press release via Negativity Records:black magic evocation

“The Shem ha Mephorash or Explicit Name is a list of 72 angels derived by ancient occultists. Combined, these spirits are believed to comprise the secret name of the Creation of the Universe. Now, for the first time, these angels are uncovered and illuminated, presented with detailed information and spirit signatures, enabling witches and left-hand-path magicians to access their energy and interact with them through ceremonial conjuration and black magic. In essence, Black Magic Evocation of the Shem ha Mephorash dissects the Abrahamic creator Deity into 72 segments and empowers brave witches everywhere to ritually evoke them into conscious interactive manifestation. Included are exhaustive tables of hours, days, weeks, months, planets, elements, and sacraments, all the information needed to bring the spirits of the Shem ha Mephorash, the most powerful name in western occultism, to life within the magician’s ritual chamber.”

 
Q&A with Gilles de Rais:

Where do you think the occult first gained momentum in Metal?

I don’t know: Black Sabbath? But that thread really goes back to the Blues, which is a form of apostate gospel sung by those who wanted to get drunk and laid on Saturday night more than they valued getting saved on Sunday morning. Moreover, the idea of magick hidden in music (or music as a form of magick) goes back to the dawn of civilization. The book of Genesis talks about the fact that music and musical instruments were invented by Jubal, one of the sons of Cain, the first murderer and a symbolic type of the Antichrist. Even though the book of Genesis is fictional, its poetry, symbols and imagery derive from archetypes in the shared collective unconscious going back to before Sumeria. To quote the old adage: the Devil writes the catchiest tunes.

You go by the saying ‘Do What Thou Wilt’, which stemmed from Aleister Crowley’s teachings. My personal take on this saying is more of a metaphysical one; meaning that we should harness our wills into the most impactful manner possible. Then again, there must be meaning behind our wills. If they are aimless, they shouldn’t be focused upon. How do you equate this saying in your day-to-day life?

The statement “Do What Thou Wilt” is misunderstood. Everyone seems to want to take orders and always looks for some new commandment. It is not a commandment. It is a simple admission that the laws of physics provide the limitations of human experience, not what your priest, pastor or rabbi tells you. It is simple, elegant, flatly amoral statement and should be left as such and not tagged with any asterisks, addendums, modifications or apologies. The morality should come from your own conscience and the fact that the temporal lobe of your brain gives you the ability to ponder the consequences of your actions and act accordingly.

What inspired you to write this grimoire?

I wrote it to consolidate the wisdom of a growing library of books on the occult — 700+ and counting — that I have collected over a lifetime, and from my knowledge of those books, synthesize a functional, cohesive, unique system of left-hand-path meditative and mystical Satanism as a way of providing a foundation of legitimacy to creating music under the titulary umbrella of Black Metal, which I personally believe begins and ends with the transmission of Satanism and demonology.

In the process of researching for that book, on which I am still working, I attempted to gain some understanding of the Shem ha Mephorash (Shemhamphorash) due to the fact that (1) it is ubiquitously referred to in Satanism and black metal, and (2) i could not find any authoritative, complete books on the subject. This book (Black Magic Evocation of the Shem ha Mephorash) is the result of my findings.

How would you differentiate Luciferianism and Satanism?

Etymologically, Lucifer means light bearer and the name primarily refers to Satan as the descending archangel who brings forbidden illumination to witches (and mankind). Satan means “adversary” or “accuser” and it refers to the role of Satan as an enemy of the herd, as a liberator from the commandments, restrictions, subjugations, and shackles of the right-hand path, and an instigator of insurrection against the tyranny of Light and the murderous blindness it engenders in its devotees.

Esoterically, some schools view Lucifer as Satan in his “pre-fallen” state as an archangel, and so their roles often differ in terms of how they are approached in occult ritual when accessing the two figures within this specific mythological paradigm.

Generically used, however, the two words can be interchangeable because you are drawing water from the same well. It should be noted though, that my answers are terribly condensed and incomplete, and that these two words also have as many meanings as there are practitioners of both disciplines.

What literary work would you impose on our readers that are interested in the Dark Arts?

Start with the Bible and the Koran to gain a healthy sense of contempt and rage for the mindless, savage, hysterical, phobic herds of the Right-Hand Path. When you are sufficiently outraged and ready to take action and see what the sitra ahra (other side) has to offer, you might begin Three Books of Occult Philosophy by Henry Cornelius Agrippa, which is a graduate course on Western occultism. In terms of taking the elevator all the way down to basement level 666 and drinking the poison of Sammael right out of the genie’s bottle, go to Amazon and enter “Satanism” and “Black Magick” and enjoy.

Is there a direct correlation to your book’s subject matter to Teratism’s lyrics?

That’s best left for an interview with Teratism. They’d flay me alive and put me on their altar if I went into that here.

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Under a Toltec Moon – Memories on Mexican Metal

1. Introduction
2. A desert walk
3. Nahuatli steel
4. Pactum: M.O.D.L.
5. Mortuary: Blackened Images
6. Transmetal: Amanecer en el Mausuleo
7. Cenotaph: Riding Our Black Oceans
8. Shub Niggurath: The Kinglike Celebration
9.  Sargatanas: The Enlightenment
10. Aztec rites of darkness
11. Xibalba: Ah Dzam Poop Ek
12. Funereal Moon: Beneath the Cursed Light…
13. Avzhia: The Key of Throne
14. Demolish: Remembering the Cabalisticae Laments
15. Argentum: Ad Interitum Funebrarum
16. The Chasm: Conjuration of the Spectral Empire
17. The resurrection of the necrocults
18. Necroccultus: Encircling the Mysterious Necrorevelation
19. Yaotl Mictlan: Guerreros de la Tierra de los Muertos
20. Infinitum Obscure: Sub Atris Caelis
21. Denial: Catacombs of the Grotesque

Written by DevamitraObscuraHessianPearson and Xavier with Eduardo (Shub Niggurath / Necroccultus), Demogorgon (Avzhia), Marco (Xibalba) and Joel (Mortuary)

Introduction

In Mexico the god appears; thy banner is unfolded in all directions, and no one weeps.

The Hymn of Tlaloc

Goedel’s law tells us that no logical system can anticipate all of the demands of reality, because reality as an inarticulated mass of events and causes is naturally bigger in scope than any description of reality. The fallout from this is that every society loves to have a no man’s land, an anarchy zone and a lawless frontier. It’s hard to talk of Mexico as a singular entity when it is comprises so much more. It’s a former Spanish colony, containing the vestiges of two of the greatest empires to walk the earth — the Aztec and Maya, both of whom were warlike, enjoyed human sacrifice, and compiled more learning that any modern group would voluntarily undertake. In addition, it’s also part very learned place, part chaotic third-world disaster, and part anarchy zone. From this ferment comes some of the best metal to grace the earth. After Scandinavia and the US, Mexico produces the most quality underground music. And even more, the Mexican bands seem to “get it”: they can reconcile a nihilistic morality, technological warfare and even gutter-level fighting sensibilities with the arch, elegant and imposing formality and bravery of the past.

A desert walk

Muerte. That word, in Mexican art, embodies religious and historical streams of life so much more than the anglosphere’s clinically worldly emphasis on death as medical phenomenon. This muerte is a gate to antiquity, a divine storm, a holy mystery – contemplation of its secrets connects the Catholic superstition, still so powerful and affecting to common people, to the cruel and decadent rituals of the Toltecs and Olmecs, when no purpose higher could be envisioned than to bleed for the gods. Glimpses into Mexican tradition most often involve the morbid signature of supernatural belief in a strange form of unearthly life, represented by the skull worship of the Day of the Dead and the various devil masks and bizarre colourful monsters decorating the fiestas, as in embodiment of death metal aphorisms such as “the past is alive”.

It would be fairly easy and obvious to point out social ills, crime rates and poverty as motivating factors for religiously oriented fatalistic thoughts, but for the psychologist and the occultist the pathology of the morbid mind is not only a reaction, it is also a cause itself, deeply ingrained in behavior and culture. To go into this sphere in depth would require another kind of a broader study and it is hardly of interest to most of our readers, so we shall mostly be occupied with the mythical, visionary image of Mexico, closest to us who are far away. It is the land of the eagle and the scorpion, of the peyote cactus and tropical steam, of the sea and the canyon. As we see everywhere in the world, the landscape becomes the structure of the mind, which gives life to stories and archetypes showing the apparent chaotic complexity of nature in symmetrical solutions. And musically, what can offer better representations of the occult-mathematical beauty of life than the hymnals of muerte: Death Metal and Black Metal?

To this day, Mexico has not produced vapid mainstream metal sensations nor hard rock imitations to speak of, at least not ones that would have entered our awareness. It’s as if the inward drawn nacional spirit shuns the idea of establishing false identities and masks of life through exports, but instead entertains the Mexicans with whatever art or entertainment the local masses wish to be produced – but this is a realm mostly obscure to outsiders. Even in order to scratch the surface of Mexican rock and metal, one needs to stress the importance of such luminaries as Luzbel and Transmetal, names mostly unknown even in cult metal collector circles. As a more recent example, the astral and progressive death metal of The Chasm has certainly been gathering well deserved praise and attention in the underground, but as a phenomenon it’s still far from gracing the cover in Terrorizer or Decibel magazine.

Nahuatli steel

As the youth of the world tripped in the pseudo-spiritual chemical bliss of the 60′s, the seeds were sown in Mexico as well with an interest towards Rock music merged with esoteric and mystical themes, but true to its violent century, the nation oppressed its bravest minds, declaring them “communist”. Thus was quenched the initial surge of Heavy Metal, as clubs were closed, magazines censored and subversive content in radios minimized. Everywhere else the initial 70′s where the pivotal time for the realization of all kinds of “satanic” and “occult” music manifestations, so in the case of Mexico it took at least a decade to recover from vandalism espoused by the government.

As the wave of Americanization hit Mexican youth culture in the early 80′s, it was inevitable that some unique voices would rise against manipulation and show their own kind of “metal mass”, inflected with the Catholic superstitions and violent streets they saw all around them with innocent, idealistic eyes. Two names especially can not go unmentioned: the original thrashers Death Warrant from Ciudad Juarez and the more classical but frighteningly psychic Luzbel from Mexico City, one of the greatest metal institutions to rise from the sand of Mexico and a prophet of Doom Metal themes and aspirations.

Huizar, the maniac behind Luzbel, managed to also put forth with his comrades at Escuadron Metalico label a series of compilations which in the mid-80′s showed the sounds of the new metal generation inspired by, mainly, American thrash metal and European speed metal. These “Proyecto” vinyls featured Transmetal, Ramses, Six Beer and practically everyone else who dominated the end of the 80′s when finally Mexican metal was too strong to be quenched by sporadic police raids and random accusations of blasphemy and iniquity. These troubles were akin to an anvil upon which the hammer of the light bringer shaped and pounded the minds that were to break free of the shackles of social upbringing and even “humanness” itself.

Eduardo: Well, to have a live appearance was not easy at all, because many people in Mexico (until this day) are a very difficult audience towards the Mexican bands. But we showed them that we were true about our ideals and that we gave 666% in every show! So we got the support of all the metalheads and they gave us in return a total storm of headbanging and full support. These were unforgettable moments to Shub Niggurath.

Joel: There was a small metal scene hungry to hear more extreme metal, so we always had great support from the beginning. I think there were more people supporting the scene than there is now supporting new metal bands, it’s a weird thing! Authority and “normal” people, as usual here, they didn’t understand our music. Sometimes the police were around looking to bother us, came up to the rehearsals and trying to get us, but never had luck, hahaha! And the people, those normal people, were the ones to send the police. I remember a show in Guadalajara or Leon in which the flyers had a circle in our logo and said: Watch out, Catholic, don’t assist! That was really funny.

Already before the decade was over, the most evil of the bands inspired by Thrash, namely Mortuary, Pactum, the inimitable Toxodeth and Transmetal (who tightened their sound album by album and still continue to do so after more than 20 years of career) had overtaken the gap between the international underground and the Mexican one. Suddenly the Judas Priest and Scorpions influence as the mainstream Mexican sound was replaced by a streetborn brutality and occult gore visions that would have made Slayer shudder. Studio and recording conditions were hardly ideal, but creating an easily digestible sound was hardly the intent of these iconoclasts, who repeated the slightly anterior efforts of the Brazilian scene in unleashing a torrent of noisy darkness easily mistaken for hardcore punk as the antithesis to forgetfulness and ignorance in adult human life.

Joel: Musically, our influences were basically Slayer, Venom, Possessed, Celtic Frost, and some classical masters. Lyrically important were the things inside my mind, my way to see this life, and obviously some great writers like Nietzsche, Poe and Lovecraft influenced us. Before Mortuary, each of us were playing in various bands songs of the bands that influenced us. When I was a child I studied some basic piano as well.

Eduardo: Also I had musical experience before Shub Niggurath: we created the Death Thrash Metal band called Tormentor. This was the origins for the unnameable abhorrence later known as Shub Niggurath.

Pactum – M.O.D.L.

A mob of confusion, alike crawling insects, attacks the strings as early blasphemists Pactum struggle to make sense of violent, anti-religious ideas called forth by their satanic subconscious in Mexico City’s extreme response to Bathory and Sarcofago. While the anally raped vocalist rants meaninglessly on, the guitars manipulate suggestive, dischordant layers of picked notes and speedy runs that often sound chaotic but on a closer listen reveal an affinity with classical construction much like the early methods of Burzum and Ildjarn to call forth elegance from pieces of degeneration. Be it dissidence, incompetence or imagination that made Pactum to mangle the pieces of thrash they built upon nearly inrecognizable, the originality and harsh, spontaneous electric discharge that carries these songs onwards makes for a curious and surprising listen for those who are able to listen to the nearly unlistenable. In “M.O.D.L.” the band has discovered one of the valuable early lessons of black and death metal, that of desecrating the sanctity of rigid social structure by defying musical conventions and bringing the expression closer to the fractal noise of nature.

Mortuary – Blackened Images

The elaborate and malign death metal of Mortuary is one of the most recognized funereal voices of early Mexican scene in cult circles and totally deservedly so, as the melodious and grinding old school sound hasn’t dated one bit but preserves the vital energy field of the times when death metal was not taken for granted, the quest for the ultimate density and sobriety. The rhythmic intensity brings to mind the debuts of Morbid Angel and Vader while the gloomy melody disposed as the interconnector of the more thrashing riffs is without question Central or South American in character (think: “INRI”). Joel Alanis’ voice escapes the trap that caused problems for many a thrasher, holding the rhythm of the syllables in position when reciting the blasphemies in English, and his powerful roar commands the fast, climactic and concise songs effortlessly to their logical conclusions. Even today Mortuary’s short but perfectly articulate album could serve as a protocol for building enjoyable but deep death metal, one that incites both head-banging and heart-scrutiny as the ultra-infectious “Reign of Dead” and “Asphyxiation” attack your brain with sensations from beyond and memories from the depths of the layers of mental programming.

Transmetal – Amanecer en el Mausuleo

As the inaugural saints of muerte spread their leathery wings over Michoacán and the 80′s were drawing to a close, Mexico’s silence was ruptured by these mangled, hellspawned shouts and nearly arbitrary riff structures envisioned by the scene’s godfathers Transmetal as the path leading to the aerie of the future. Simple and pitiless like a less experienced Sepultura or Slayer debut, this early collection sees Transmetal attempting to bludgeon their way through a barrage of speed metal in an endless call-and-response of rhythm riff and hoarse barking. Germans had invented most of these figures and refrains as early as 1984 but the untamed desert frontier of their homeland does bestow Transmetal with a rancor bringing it closer to the most subterranean and spontaenous garage punk bands that had the chance to practice their instruments on brief relapses from fighting social corruption. The sketchy but decisive melodies of “Temor a la Cruz” and “Fuerza Invisible” hardly represent an international or even local pinnacle of art, but they were enjoyed by a legion of punks and metalheads for their absolute breakup with the more mainstream appealing qualities of traditional heavy metal.

If there is a style of metal one thinks of in regards to Mexico, it must be Death Metal, in its brutal but most oblique forms, the sonic heir to Aztecs’ solar blood rites and Toltecs’ shadowy sorceries, an amalgamation of heretical thought inspired by Crowley and Lovecraft with a deep respect for the sacred and universal forces of nature which permeates the continuity of godforms in Catholic religious language in shades of traditional paganism which it overtook in surface but never in spirit. The first of these classics was undoubtedly Mortuary’s famous “Blackened Images” (also one of the earliest important Mexican releases sung in English) but no underground Death Metal maniac would forget the splendid, churning visions of Shub Niggurath (“Evilness and Darkness Prevails”, “The Kinglike Celebration”) or Sargatanas (“The Enlightenment”) either, not to mention the virile luminary Cenotaph (“The Gloomy Reflections of Our Hidden Sorrows”, “Riding Our Black Oceans”) whose lifeblood still runs in the veins of the most prized names of today’s underground (The Chasm, Denial and Hacavitz among others feature former Cenotaph members).

Demogorgon: Our ancient strain of blood has always been important to us, as on it are real human sacrifices and that is something we deeply connect with. We are proud of it and it deserves all of our respect. But anyway, we are mostly influenced by European Black Metal.

Joel: Definitely the legacy of our past has been influential in what we do, also the current situation in which the country has plunged. All the ups and downs of the past of our culture influence us directly or indirectly. The difference is the window from which we look at it, it’s definitely not the same as for the rest.

Eduardo: Mostly these bands’ message is about Death, destruction and occultism. If I’m not wrong, only Xibalba took our cultural roots into his concept – they even wrote “Unique Mayan Black” on their debut album. Cenotaph, Mortuary, Shub Niggurath, Tormentor, Deus Mortis, Deadly Dark, Necrophiliac and Pentagram among others were influenced by the Florida and Scandinavian scenes when they built Death Metal during the late 80′s and the early 90′s. My influences have always been bands like Morbid Angel, Deicide, Bathory (old), Sodom (old), Nihilist, Therion (demos), Thergothon, Winter, Necroschizma, Bolt Thrower, Slayer (old) and H.P. Lovecraft’s masterpieces. In Shub Niggurath, Arturo (who handled vocal invocations) was always in charge of the lyrical concept. Regarding “Evilness and Darkness Prevails” I only did the guitar solos, after that I had to leave the band. I have nothing to do with “The Kinglike Celebration” – for me this is not the real Shub Niggurath. For me, this was just some kind of project, without Arturo there, I am not sure about the result.

Cenotaph – Riding Our Black Oceans

Coming off the back of an excellent debut in the form of ‘The Gloomy Reflections Of Our Hidden Sorrows’ and losing a prominent member in the form of Daniel Corchado, Mexican horde Cenotaph radically altered their sound aesthetically and showed a refinement of production and to a smaller extent, musical technique. Whereas the first full-length resembled a prototypical version of Nile, with an exotic though nonetheless esoteric and original take on New York death metal (think Incantation, Morpheus Descends), ‘Riding Our Black Oceans’ owes its musical framework, when speaking of instrumental technique, to European metal, most notably the first two albums of At The Gates, with a much more classicist approach to melody. With the outgoing of previous throatman Corchado a new vocal makes itself at home, not far from the tortured howls of Anders Friden. The same sense of aggression is also present in this work, but is less of a catharsis than the aforementioned Swedish band or the German act Atrocity, and has a motive towards evoking a nostalgic depth, rather than a psychological-emotional one. The percussion is chaotic and structurally brings to mind a more rigid and maze-like ‘Beneath The Remains’ by Sepultura, with more adventurous battery that evokes their ‘Morbid Visions’ record. Acoustic guitars embellish and interlock with these intricate arrangements, and are an obvious nod to Mediterranean and Southern European music. This stylistic admixture works brilliantly, rather than being a work that is merely imitative of an established style, it works the more obvious traits for its own ends, borrowing rather than copying. Cenotaph make a very distinct and profound work here, one of the finest releases to come out of Latin America.

Shub-Niggurath – The Kinglike Celebration (Final Aeon On Earth)

From the extra-dimensional plane of unspeakable horrors that’s revealed in our nightmares by black, arachnoid creatures, prying open our sub-conscious to witness terrible visions, comes this brutal classic of Lovecraftian Death Metal. As a later album in the old-school tradition, ‘The Kinglike Celebration’ has the strength of dynamic and coherent composition under the unmistakeably nefarious atmospheres that could only come from the first generation to be instructed by the likes of Possessed and Sepultura. Unlike more recent acts such as Portal that also delve into the Non-Euclidean realm of Howard Phillip, this work remains an highly geometric one, as if to frame the malevolent world of the Ancient Ones within the scope of human cognition, enabling the sensations of fear and awe and involuntary submission to the higher, evil will. The symmetrical structure of these songs oversee a central melodic theme being deconstructed with the horror of trembling and ominously churning, Deicidean riff-work that builds to a majestic revelation of cosmic power, usually embellished by eerie synths. From this expanse, the band reintroduces the central riff, re-contextualising it through powerful lead overlays and purposeful percussive and rhythmic enunciation, with the crescendo-inducing prowess of a Classical symphony. Shub-Niggurath advance the pulsating Slayerisms of Deicide’s first album to encompass thoughtful formulae of occult melodicism and awaken the unspeakable entities of the grand, cosmic hierachy.

Sargatanas – The Enlightenment

These blasphemers from Guadalajara were around as early as 1986 according to their biography. Only denizens of the infernal layers know what they must have sounded like back then, but their full length revelation is also nothing less than ancient and horrific, of deeply atmospheric and disturbed vision of extended, simple and dragging death metal torment. Shunning the eloquent melodies of Cenotaph and likewise the rhythmic energy of Mortuary, Sargatanas withdraws into ascetic and morbidly elongated tremolos pillared by blasphemous growls mostly maintaining the emotionless, yet commanding tone of satanic artifice, as a stone statue summoned to unholy life and crushing Christians with no haste or passionate compulsion – determinate, almost peaceful. The meditative quality is carried to the extreme in mid-paced or even slower songs such as “Fear and Suffering” or “The Proclamation” (featuring drum patterns motivated rather by ritual ambient than Dave Lombardo) making it even somewhat plodding. The band barely animates for a gloomy rendition of Possessed’s “Satan Curse” in a version that sounds like bubbling lava or tremors preceding an earthquake and one of the most delightful tracks on offer, the chaotic “Satanist” whose main riff recalls Rimsky-Korsakov’s “Flight of the Bumblebee” and as many other tracks on here, is seemingly randomly interrupted for a mock satanistic prayer. In any case, this inward bound attraction and solitude of vision will open only to deepest underground death metal cultists and fans of subtle terror based on psychological expectation and illogical mood cues, examples of which are found plenty in Mexican horror movies and early black metal in the vein of Samael and Barathrum, which undoubtedly heavily weigh on Sargatanas’ study list regardless of this band’s origins being placed even further back in the dimension of time.

Aztec rites of darkness

Without prior knowledge it would be easy to assume that the Black Metal biosphere of Mexico would have been overtaken by bulletbelted battalions fueled by alcohol and sexual lust, but instead some of the most purely mystical and meditative classics of the 90′s underground arose from under the wings of Guttural Records, the all time prime supporter of Mexican occult metal who still keeps cranking out occasional re-releases of material whose quality is, occasionally, simply beyond our dreams. To name some, if you have not heard the most moving moments of Xibalba, Avzhia, Funereal Moon and Shub Niggurath, you don’t know how astral and insane Black Metal can simultaneously be while resorting neither to “progressive” nor “raw” clichés, instead being alive with the fervent force of Mexican demons that feast on the souls of succumbed sorcerers, the experience and experiment being total.

Marco: We have been listening to Metal music for a long, long time. We began by listening to a lot of ’70s bands (Purple, Priest, etc), we experienced the radical change and the explosion of the new bands from the ’80s (Venom, Bathory, etc.) and we just grew with the evolution of this music through the end of the ’80s and the beginning of the ’90s. I think all of this music has influenced us a lot. Books that have inspired us throughout all of this has been ancient literature from the pre-Hispanic cultures of our homeland – with special focus on the Mayan topics mainly, though we also like H.P. Lovecraft’s books. In those days, there were not many bands like us around. I remember that on the few gigs we had, some people were just staring at us, and some other were just enjoying the sound. It was really small and we just seem to get more attention from other countries than ours. Sometimes, regular people were inventing silly stories about bad things happening to them simply because we were about to play on that day. I don’t think the media was focused on this kind of extreme music back in those days, as it is now.

Demogorgon: Avzhia was formed with influence from Death, Thrash etc. Metal, absorbing and swallowing the blackest of these styles of Metal to form a dark and melancholic sound. Musically we were influenced by the old school of Black Metal, bands such as Bathory, Celtic Frost, Hellhammer, etc. and ideologically for example Emperor, Dissection, Satyricon, Black Crucifixion, Grand Belial’s Key, The Black, Tormentor, etc. We were never schooled musicians, we started doing it simply like we felt at the time in the earlier 90′s and we’re still doing music the same way. Avzhia was the only Black Metal band playing in the midst of a lot of Death Metal bands, we remember brutal mosh pits and hostility… so when Avzhia took the stage the audience seemed to be taken by a great fucking depression! In the early 90′s it was a big challenge to keep moving forward into the majestic world of Black Metal.

Xibalba – Ah Dzam Poop Ek

Like Cenotaph, but in the context of a Nordic black metal band, Xibalba take obvious cues from mid-period Darkthrone and Burzum’s ‘Det Som En Gang Var’, and use various aesthetic tricks to distinguish the artistic and ethnic context herein, whilst also succeeding in not letting grandeur overwhelm the beauty of their work. Flowing, harmonic riffs, much like an upbeat version of ‘Panzerfaust’ work their way through catchy, waltzing rhythms that would fit nicely into balladic pieces, sounding just as apt as an interpretation of ethnic, triplet based patterns, transferred onto the modern drumkit. Samples to introduce particular songs use ancient Mexican folk music to accentuate the ‘Mayan’ character of this record, this is done sparingly and is non-excessive, charming and ensnaring. This album is strictly traditionalist in its execution, but successfully incorporates unique, exotic elements into its framework, retains its dignity without compromising it’s honesty. This was released in 1994 and was a time where many metal acts were on the verge of signing artistic death warrants by trying too hard to be different. Xibalba continued the legacy of black metal’s orthodoxy and breathed new life into it.

Marco: I think “Ah Dzam Poop Ek” is a great album, we express the essence and the atmosphere of our past in every song. Maybe it could have had a better production, but in the end that is the sound that captures the environment we are related to. And it’s good to stay away from a trite, standard and expected programmed sound. We hope to release our new album soon.

Funereal Moon – Beneath the Cursed Light of a Spectral Moon

Easily one of the most obscure and horrifying symphonies ever composed on the Mexican soil, the drug-addled, hypnotic and twisted black ambient scenarios of Funereal Moon despite the Guttural Records connection bear little resemblance to the warm crusted ground of Xibalba or the quasi-Nordic beauty of Avzhia – or any other formal black metal for that matter. If you have heard some of the unsane abstractions concocted by the French black legionnaires or Texan congregation of Equimanthorn on their mostly private tape mayhem, you might have an inkling of what to expect. Subsonar synths throb, cheap reverbs multiply growling voices to comical intensities, layers merge into a ritual cacoon of violent concentration in a macabre crescendo of not-so-subtly erotic (especially in the hideous “Vrykolkas (White Irish Eyes)” backed by whiplashes and female moans) palpitations begging for release through the dagger of the proponent. When synthetic guitars and mechanically stumbling drumscapes kick in to approximate occult metal architectures, the effect is close to what Black Funeral evoked years later in the industrial black metal revivals of “Az-i-Dahak” and “Ordog” – here achieved without any excess stylistic measures, simply thrown in your face in the name of blasphemy and contempt. Cheesy and immature to the extreme, but at the same time mercilessly compelling like an exploitation movie, these desolate voices of sorcery seem somehow one of the closest to the alienation and horror of the Mexican “Nocturnos dominion”, where immoving cacti stand upon the chaparral as guardians of twilight and coyotes raise their chant to the bloodred moon, all ensorcelled by the forgotten spells of Tulan sorcerers.

Avzhia – The Key of Throne

From out of Mexico City’s chaotic and concrete urban sprawl arose this monumental Black Metal album as a statement of militaristic and natural order, inextricably linked as they would have been to the inhabitants of Tenochtitlan, the former capital of the great Aztec civilisation. Avzhia here develop the ritualistic and prolonged, ‘Pentagram’ by Gorgoroth-like phrasing of ‘Dark Emperors’ into even grander arrangements panning across vast battlefields and landscapes, bringing keyboards to the foreground for a sense of epic melody that resembles Graveland’s ‘Creed of Iron’ being guided by the expansive compositions of Emperor. There is none of the lead guitarwork that’s central to ‘In The Nightside Eclipse’ in forming esoteric musical themes, so the symphonic majesty of ‘The Key of Throne’ is simply and effectively accompanied by the fullness of sweeping powerchords and this approach brings a lot of primitive but intelligent flavours to the sound and the composition as far as bringing the themes to a successful conclusion is concerned. When stripping away the keyboards from the guitars to reveal the simple beauty of an idea, almost Punk-like riffs of the sort Impaled Nazarene are infamous for are unleashed in a warlike clash of thought and action. With the inclusion of the keyboard, there’s a sense that Avzhia might have heard Skepticism’s ‘Stormcrowfleet’ as the same feeling of ethereal beauty and earthy power is evoked. The bass plays an important role as well, during the drawn-out riffing, reminiscent of Primordial’s ‘A Journey’s End’, folkier parts can be heard echoing underneath like a dormant race building its power to strike, and strike it does as the full instrumental ensemble combines to reiterate this idea. Perhaps this is Avzhia’s vision, like the Norwegian Black Metallers once possessed, of Satan’s adversarial power conquering the modern, Christian lands, once again appeasing with the blood of fallen enemies the ancient gods who had long ago died for their race.

Demogorgon: To analize this album, well, it contains too few tracks but each one of them satisfies us and yes, there’s both ideological and musical evolution – but as always, firmly obscure roots that define Avzhia.

As the populist variants of Nordic Black Metal and Gothenburg Death Metal grew in volume and number, so did the attempts at “romantic” or “psychedelic” sound in Mexico, mostly misguided through a lack of coherence and real inspiration beyond the mundane wish to belong in a clandestine good-looking cult of gothic clothes; an unfortunate occurrence of middle class commercial mentality in a society otherwise unnaturally divided and polarized (the shades of civil war never left, nor the even deeper bloody roots of muerte culture). Prominent American label Full Moon Productions signed Argentum for their one interesting album, “Ad Interitum Funebrarum”, while many in the vein of cloak-and-hood-gothic Demolish and the rather interesting Black Vomit toiled in obscurity. The Chasm, a masterful brainchild of Cenotaph alumnus Daniel Corchado, advanced from Mexican beginnings to dominate the forthcoming decade (now in Chicago) with a progressive (structural, non-gimmick) Death Metal tour de force. Another relocator was the grinding, blasphemous and simplistic “bonehead black metal” group Morbosidad, whose several drummers died in accidents.

Demolish – Remembering the Cabalisticae Laments

To be honest, and there is a reason to be because we are not here to create empty hype and false promise, most of Mexican metal of the 1990′s was comprised of worthless copies aping whatever neo-gothic metal trend was looming in the world at large and it’s nowhere more clear than in this compilation of the successive 1995 and 1997 demos of Demolish and the progression from mediocre to bad influence. The bouncy, hyper-emotional and lethargic black groove of the first part “Reinforcement Laments from the Lamb” (That’s just about what I emitted halfway through this concoction!?) is an incriminating example of heavy metal dressed as black metal, enveloped in saccharine keyboards which occasionally would inspire a vomitous reflex from even that top hatted abortion of Dimmu Borgir (old). Suffice to say there’s a lot of Anne Rice-y occult romance and affective screaming and bombast with hardly any musical surprise or moment of interest, as they would probably distract from the singular intent of securing the attention of fat gothic Wiccan bitches. I guess you might be into this if Covenant’s mercifully forgotten “In Times Before the Light” or earlier Cradle of Filth was the best thing that ever happened to you in black metal. The older more creeping old school death metal influenced occult metal in the earlier recorded second part “Artis Cabalisticae” includes violent moments of hope, but not enough to convince any further than, say, that first EP from Portuguese womanizers Moonspell. Hardly any Toltec spirit here, so move along.

Argentum – Ad Interitum Funebrarum

Hooded Wallachians prowl the crenellated wall tops of ancient castles, Mediterranean bards wield their lutes as metallic Paco de Lucias and some thin, wimpy goth called Philix Pherboreon (is this a Harry Potter character?) attacks the cheap Roland determined to reign as nocturnal dominion over every Mexican black metal wannabe circa 1996. With surprising class and flair, Argentum’s hymns to darkness remind one that the atmospheres descended part from “The Principle of Evil Made Flesh” and part from “Goetia”, might not stand the highest in today’s black metal elitists’ repertoire but today, sounds more exciting and unique because of their severe emotional and dimensional indulgement in a nearly forgotten quest – to compose music, not meaningless random noise or robotic riff patterns. The band is undoubtedly at their peak with the sustained moods of “Enter an Encysted Hibernation” and other slower pieces such as “The Serpent’s Lament” which traces the ethereal scents of the black lotus much as My Dying Bride would have if they had obsessed with black metal during the time of their first album. When the bands decides to thrash onwards in speed, and yet retain the “gloomy” keyboards in “Mortuus Infradaemoni”, it’s undoubtedly a bad choice, sounding ridiculous and swamping their intentions of occult credibility observed with “Lections on texts including English, latin, Catalan, Creol, and Ancientdark Language & Spanish”. The question mark imprinted by this upon one’s brain is better than mere satisfaction, though.

The Chasm – Conjuration of the Spectral Empire

The Chasm’s fifth album in a productive and populated discography continues their journey through the astralic realms of the dead, traversing a heterogenous soundscape much like the cultural topography of Mexico itself. Where Corchado’s work with Cenotaph was inspired by the rhythmic power of Swedish Death Metal, this album is more in tune with not only the melodicism of old troops from Gotenborg like At The Gates, Unleashed and Dark Tranquility but the morbid disharmony of Norsk Black Metal classics ‘De Mysteriis Dom Sathanas’ and ‘Under A Funeral Moon’, which owe much to the Latin American primitivism of Sepultura that also goes into the sound of ‘Conjuration of the Spectral Empire’. The expansive melting pot of sounds and styles is guided by Shamanic visions that peer into the inpenetrable abode of Mictlantehcuhtli, coloured and contrasted by the opposing principles that intersect this psychic plane, giving this album a vast sense of direction proportional to the longing for ancient wisdom in a world torn from the continuum of tradition. From the very outset of ‘Conjuration…’, the winds of the Chihuahuan desert are conjured by guitars and effects, bringing to mind the main theme composed by Ennio Morricone for the nihilistic Western classic, ‘The Good, The Bad and The Ugly’. Each song develops from or towards a single, clear and always beautifully poignant melodic idea, fusing the structural framework of early Dismember with the technique of Technical Death Metal bands like Cynic and Atrocity and their insistence on rhythmic and melodic interaction, although the use of inverted powerchords amidst the South American chaos and Melodeath flourishes, to create a more sombre atmosphere recalls the obscure Black Metal of Mütiilation’s second album. The Chasm avoid the pitfalls of Melodic Death Metal by having this focus, removing themselves from the tendency of bands to resemble a Scandinavian folk riff-salad with no conceptual reasoning behind it. Instead, songs qualify as movements and the phrasal development therein demonstrates an awareness of Classical music that restores the grand aspirations of the Swedes and therefore stands alongside the likes of ‘The Red In The Sky Is Ours’ and ‘Like An Everflowing Stream’ as monuments to the primal, cosmic darkness of our true, inner nature.

Through the international contact and amalgamation of principles brought about by simultaneously World Wide Web access and the extent of educating the young generation in English language (movies, videogames and music being elemental and important here) the new millennium saw Mexico closer than ever to its northern neighbour. Youth factions such as the hated “emo” culture would have been out of place in 1980′s conservative Mexico, but despite clashes between groups they are widely approved today. All in all, it seemed to weaken the unique characteristic of the Mexican underground which was the tough rebelliousness in speed metal and occult/mystical lyrical tendency in Death Metal. In other words, too many corpse painted posers (such as the unending repertoire of Azermedoth Records) and uneventful, funny “goregrinders” (Disgorge, the original of this style, still continues to exist) infected the underground.

Eduardo: Certainly this isn’t an easy way to get money, fame or groupies. If that’s what a band is looking for, it’s just a bunch of shitty losers. You should work because you love what you are doing, and doing this just to be a sell out and gain a living from the people who manage you is a completely Shitty attitude. Underground Death Metal is for true warriors who eat, shit and talk metal, and love it as a son! To know all the underground beasts that still dwell on the catacombs of the worldwide scene and support them as brothers… In Europe it’s awesome how the Metal way of life is still the way for the chosen to die with their boots on. Metal in Europe is bigger than other music styles without the need of being in a popularity contest. Metal is for metalheads and that’s it.

On the other hand, in Mexico, Metal has been taken as a trend. Every single metal subgenre such as death, thrash, black or speed has been invaded by stupid bastards with childish ideas and only commercial purposes. This is not only certain individuals, as even labels have mutated into money makers – signing bands created to give a commercial and false name to metal. They think that they know everything and even take the image of the old gods as costumes. Please! All those denim jackets full of patches from Possessed and Slayer, just to name a few, worn by kids of 18 years and claiming to be “thrash ’til death”! Jajajajajajajaja! Or the new trend of “old school death metal”? Please, when those bands were out, nobody cared about them! But now everybody is looking for those bands, jajajaja! Only the true ones we’ll meet at the end of the road. The other ones will escape to the next trend, because they never really belonged to us!

The resurrection of the necrocults

This is not to say Mexico’s soil doesn’t still bleed black at the desolate fullmoon hours. Old bands all the way to Luzbel are still sporadically active and the promised Avzhia offering “In My Domains” is one of our most awaited forthcoming releases in several years. Infinitum Obscure featuring The Chasm’s Roberto Lizárraga is a throwback to the days when death metallers weren’t afraid to expose religious mysticism, supernatural fervour and psychological “dark” addiction in one package, while Hacavitz and Yaotl Mictlan bring back the Aztec themes but do not retain the climactic level of Xibalba’s “Unique Mayan Black Metal”. Satanists who preach the ontology of Self and the theurgies of netherworlds remain plentiful, Denial and Necroccultus (both featuring scene veterans such as Supplicium’s Isaíah Huerta, Shub Niggurath’s Eduardo and Cenotaph’s Oscar Clorio) being probably the best of the bunch, and also for example Ravager enjoys wide exposure and releases on prominent European metal labels (while Avzhia sadly toils without a record deal).

Demogorgon: Look out for “In My Domains” – this album is strong in itself, riff by riff. It’s raw while plentiful in melodic interludes, grim voices and depressive atmospheres. We do what satisfies us, then other metalheads can satisfy themselves with Avzhia’s music. It’s great to meet true people when we do shows. Avzhia is always going to exist in the dark side of true Black Metal and we will keep doing our work full of darkness of our Lord Sathanas. Grim, cold, melancholic and depressive are characteristics of what Avzhia is! Only the true emperors live, eternal life to Black Metal! See you soon wherever you are… on “In My Domains” tour.

Marco: We just like the sound of a good song, no matter what style it is. As long as it reflects honesty and passion, clearly away from the rules of the mainstream. We have made this music since the ’90s, and still I can have ideas for a song that sounds great, even when there’s hundreds of bands around. You just need to find the right notes and stay focused on the path. This music has been really distorted from the original roots. What makes it worth I don’t know, but maybe just to know the right path is still there and the fact that we’re contributing to it. I think it depends on the integrity and personal convictions everybody has. It’s all part of finding personal freedom or spiritual release.

Joel: We are satisfied with the music that we did. It represents the things we felt at that time, and it’s a real condition that still prevails. Songwriting for us has been a natural change in the evolution of the band, as new songs have the seal of Mortuary but are definitely not the same. We have an evolutionary progress, you’ll see.

Necroccultus – Encircling the Mysterious Necrorevelation

On the footsteps of Irapuato bands such as the Paradise Lost influenced Supplicium and the Chasm-ic A Perpetual Dying Mirror the mad inverters of music decided to go for an irate, warlike sound most akin to Vader’s most brutal incantations. For a fan of Sargatanas and earlier Shub-Niggurath, there are plenty of morbid mental cavities to succumb into in atmospheric death-thrashing of “Mirage of Death” or the more Northern sound of “Descent To Requiem”, actually close to Absu’s early efforts in mingling Swedish death metal and the more ritualistic and sensual sound of ambient black. As regrettably is the case with neo-death metal, there is a great temptation to succumb into a patterned safe manifestation of used riffs, which no longer have the capacity to shock or inspire but the most fresh and innocent listeners. One can only imagine what impact “The Necrosphere Within” would have had in 1987, but the lack of a honest exploration of death metal horizons arouses the question how long can “formulaic death metal” be “death metal” at all, since the genre was incepted to scare the listener into an acceptance of devious un-life. In a hodgepodge of riffs, the social instinct takes over and the music loses the “death-feeling”. A slight rescue is obtained by preserving much of the doom character of the members’ earlier bands, as well as wicked and proficient guitar solos. In total, “Encircling the Mysterious Necrorevelation” is far from bad, but it also lacks the essential magic and forceful intellect characteristic of Mexican metal peaks.

Yaotl Mictlan – Guerreros De La Tierra De Los Muertos

Yaotl Mictlan in a similar respect to Xibalba borrow stylistically from European black metal. Their debut full-length contains a battle-hardened ferocity not unlike Graveland’s ‘Thousand Swords’, and in attitude resembles a less esoteric version of the classic Polish black metal acts. Musically this has the precision and sharp execution of Enslaved’s ‘Frost’ album, but with is overlaid with meandering, arpeggiated guitar forms that bring to mind a more rock-inclined take on Burzum’s first album. True to backdrop, the band bring elements unique to their Mexican heritage to the fore, in the form of wind instruments, percussives and acoustic guitar passages that are distinct within flamenco music. This is no doubt a unique approach, and firmly grasps a sound it can call it’s own, though lacking the cohesion and charge to put them in the same tier as Xibalba or Avzhia. As a result of this, ‘Guerreros De La Tierra De Los Muertos’ comes across as a tiresome listen, but not without the occasional flourish of excellence. Now signed with Candlelight records, it will be interesting to see what results their next release will artistically yield, as there are moments of promise here.

Infinitum Obscure – Sub Atris Caelis

Often referred to as a clone of The Chasm, Infinitum Obscure do indeed share more than a few identifiable traits with their fellow Mexicans, most notably the tremolo picking and those galloping triplets that lend so much power and vigour to the rhythm. There is something that ultimately separates the two bands, however; that being the conceptual direction each band embarks upon: while The Chasm invokes a strong, dark atmosphere that emphasizes the mystical, esoteric passage through some evanescent portal, Infinitum Obscure are far more direct in organizing a forceful rhythm in such a way as to remain concentrated on a single, grounded idea, often reinforcing this focus by frequently returning to familiar themes. So, while their main inspiration might take flight into stranger landscapes, Infinitum Obscure are quite content to portray the lost chasms of this world with an evocative atmosphere of imaginative melodies and, most importantly, direct and uncompromising riffing. On ‘Sub Atris Caelis’, Infinitum Obscure’s sophomore album, these points are emphasized more clearly, making it their definitive accomplishment to date. The need to shake off the burden of being a mere clone band is eminently present; the band tasks itself with creating something altogether their own, resulting in a real sense of the epic emerging from the patterns interwoven throughout the record; each song is striking at something profound, grasping wildly in the search for solidarity. The consequence of these compulsions is an album that sounds like it is still very much in The Chasm camp; while really it has taken several progressive leaps forward, leaving us with a work of art brimming with the self-confidence of autonomy.

Denial – Catacombs of the Grotesque

Some of the most impressive new death metal from anywhere in the world, this churning, impactful and bodily animalistic accomplishment from former Cenotaph and Shub Niggurath madmen is not a joke. What Cannibal Corpse always intended with their chromatic, bass-heavy and relentlessly rhythmic one dimensional stream of riff becomes an amalgamation of melodic motifs and devastatingly experimental squeals in the hands of these  perpetrators, as the background noise boils and envelops much as the classic “Onward to Golgotha” did, while the constant, FX enhanced, ridiculously monstrous voice of Ivan Velazquez intones all the perspiring tension of underworld nexus, the twilight threshold of life and death where sorcerers and demons whisper secrets to the warrior, offering true and false guidance, representing the violent archaic generations that waged war on Mexico’s bloody soil and continue to make many lives into living hell. I have alluded to the monotone nature, which is probably intentional and it hardly detracts from enjoying this cryptic abomination for further and further listenings, as the heights such as “The Pestilent Pits of Disgrace” or “Necrotic Invocations” are deceptively complex mazes of chords and melodies disguised as straightforward infernal metal by the tight manner of production and the guitarists’ sparse use of leads or interludes. Most importantly, the unrelenting hopelessness of these afterworld visions will force the listener to abandon the illusion of safety and immortality that makes the common man succumb to faulty, immoral decisions from day to day, thus achieving one of the highest principles of death metal: mental change (abomination). One would hesitate to lift such a recent work to the hallowed pantheon of Cenotaph and Mortuary after a brief listening span, but if a candidate is chosen from this tournée, this must be it.

It can be said that while Mexico’s metal offerings are not especially plentiful, they are generally interesting and spirited while the best of the country are just about the best these genres have ever seen, on an international scale. Mexicans’ natural groundedness coupled with the mystical tendencies is an excellent standpoint for witnessing the oblique directions of Death and Black Metal from an unpretentious, furious, “Luciferian” angle. It’s almost a surprise there isn’t so much more of it, even though I’m surprised if any reader of this article gets a sense of scarcity regarding items of interest in Mexican metal. So, that being said, it’s about time we leave you to contemplate the mysteries of Toltecs and Satan in the consummation of the extreme, Romantic and evil compositional systems of these modern Mexican warriors and dreamers.

Marco: I think this music is very individual and very personal, and it can take you to a spiritual level, if you listen carefully. Our ancient cultures are based on spirituality, so that’s the point in our just making this weird mix. One song can take you to the top of the pyramids, and reach for the skies, and another one could take you to a scenario of a war against the conquerors. In the end it’s all about finding your own roots, it’s some kind of, another, resource to open your eyes and to step away from the enslavement of social rules and moral unconsciousness (Christian superstition included). In the end the people in power need a dormant society, so they can keep on corrupting, spreading corruption in every corner, and people are just playing the game. Only the connection to your roots will set you free.

Joel: It’s a matter of self confidence in all the things we do, the feeling of greatness inside, the feeling of power, to reach new levels in the extreme brutal metal music we make! I’m not here to convince anyone to do anything, we are selected persons, we the whole scene… the others, the weak, must die!

Highest hails from Deathmetal.Org to Joel of Mortuary, Marco of Xibalba, Demogorgon of Avzhia, Eduardo of Necroccultus and last but not least Noe of Guttural Records for providing in-depth thoughts from the original perpetrators of real Mexican Metal! All of these bands are active so look out for forthcoming events of true massacre of the highest order.

Once you decided to come to Mexico you should have put all your petty fears away. Your decision to come should have vanquished them. You came because you wanted to come. That’s the warrior’s way.

– Don Juan Matus

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Interview: Camazotz and Paraplethon (Spear of Longinus)

Black metal drew to its camp many who experimented in extreme metal and punk but found themselves alienated by the ideas of the mainstream. Like fellow hybridizers Absurd, the intelligent Spear of Longinus found they wanted to borrow bits from many genres of extreme social rejection, and hoped to unify them around an ideology which explained both solid reasons for disliking society and suggested something positive in its stead. A roving ANUS.COM representative in Australia was able to catch up with these gents and exchange a few words.

In a time when it is popular to be ultra-black-metal in the modern sense, your music seems to have older inspirations. What bands and eras inspire your creation?

Camazotz: nowdays I listn to all kinds of stuff, though my ‘heyday’ was that fine time during the 80’s when the metal scene was at it’s best, say 82-89 or so. Sure there have been great releases at other times but the highest concentration was around these times especially as I like a lot of the punk/hardcore gear that was getting about at the time too. For example Discharge, The Exploited, etc etc. 80’s metal would of course be the likes of Destruction, Bathory, Frost, Possessed. Etc so in light of that , musik in this stlye must be alive with energy to get my enthusiasm. Modern proponents that have done this would be stuff like, Darkthrone, Burzum and earlier Emperor releases.

I feel that good metal should be more punk than metal to be good metal, if you can follow.

You see most modern metal feels lifeless to me, it has no particular focus apart from just being metal, whatever the hell that just exactly is …

Of course stuff like Wagner and trancendental compositions greatly inspire us now. For example Tibetan vocals, Indian sitar etc.The different ‘tribal’ styles that we still have which are in fact relics of occult teknikues/principles put into practice.

Paraplethon: Inspiring music would be that with a passion, a driving urge… honesty and integrity, that has something to say – either of a temporal or numinous nature, and has the ability to… affect and effect. THAT is inspiring, something of the like worth emulating. Metal, generally, hardly ever has any one of such worthwhile traits, let alone all of them, so at most it’s vaguely interesting but rarely inspiring…

The ‘outer reflects the inner’, the ‘muse-ik’ being one of the records of who, what and where we are – nothing more, nothing less.

What inspires the creation of individual songs: real world events, or thoughts and emotions?

Camazotz: ahhhhhh now that’s a profound question comerade, quite bluntly this stuff is a direct result of the dualastik clash between maya/atman, matter/antimatter.
what the Gnostiks call dualism.

What to us is ‘real’? is a chair real? Or, is the impression we receive of the chair , the chair(real)? If so, then what is the ‘origional’ chair, actually?

It is a result of the luciferian urge to regain the trancendental ‘throne’. The path of fools.

This material world is the ‘result’ of other ‘events’, the point being to get back to the ‘real’.

RISE.

Break down ALL barriers, in fact, to die is best!

DIE

DIE

DIE, MY DARLING, die within oneself.

LIBERATION. The return to PLEROMA.

Paraplethon: Define ‘real’.

It seems you have attempted to blend the spiritual and the political into a single entity; to many of us, these seem inseparable in the first place. How did you come to the realization that this was the path for you?

Camazotz: the path told us so… obviously!

Yes these things are inseperable, just as matter is spirit. Energy, in a different format. BUT, they are of course something totally different to each other at the same time. That’s where things get tricky and humans fall apart, they loose unity/focus and ability to progress. This is the inbuilt striving to attain the “overman”.

The clash of the Titans!

This is touched upon briefly and enigmatikly in our track ” the lay of spartazen “, which will be included on the upcoming release “…And the swastikalotus”.

Paraplethon: Inseparable is the word. The recognition dawned with the realization that ‘All and Everything’ is inseparable. Vague allusions to begin with, experiencing it first-hand is… makes it so much more of a certainty… a most profound experience.

In this respect, it is not enough to say that we are dealing with a purely material and economic conquest. That view seems very superficial, for two reasons. In the first place, a land that is conquered on the material level also experiences, in the long run, influences of a higher kind corresponding to the cultural type of its conqueror. We can state, in fact, that European conquest almost everywhere sows the seeds of “Europeanization,” i.e., the “modern” rationalist, tradition-hostile, individualistic way of thinking. Secondly, the traditional conception of culture and the state is hierarchical, not dualistic. Its bearers could never subscribe, without severe reservations, to the principles of “Render unto Caesar the things that are Caesar’s” and “My kingdom is not of this world.” For us, “Tradition” is the victorious and creative presence in the world of that which is “not of this world,” i.e., of the Spirit, understood as a power that is mightier than any merely human or material one.

This is a basic idea of the authentically traditional view of life, which does not permit us to speak with contempt of merely material conquests. On the contrary, the material conquest is the sign, if not of a spiritual victory, at least of a spiritual weakness or a kind of spiritual “retreat” in the cultures that are conquered and lose their independence. Everywhere that the Spirit, regarded as the stronger power, was truly present, it never lacked for means – visible or otherwise – to enable all the opponent’s technical and material superiority to be resisted. But this has not happened. It must be concluded, then, that degeneracy was lurking behind the traditional facade of every people that the “modern” world has been able to conquer. The West must then have been the culture in which a crisis that was already universal assumed its acutest form. There the degeneration amounted, so to speak, to a knockout blow, and as it took effect, it brought down with more or less ease other peoples in whom the involution had certainly not “progressed” as far, but whose tradition had already lost its original power, so that these peoples were no longer able to protect themselves from an outside assault.

– Baron Julius Evola, On the Secret of Degeneration

What experience or realizations do you hope to communicate through your music?

Camazotz: more light.

Buddhism, in the summarization of Herr Nietzsche, is a self-denying religion, where it seems that most of the western tradition is self-affirming, although not perhaps in the ultra-limited-focus of self-based religions (Judaism, Christianity). In your view, how do Buddhism and National Socialism spring from the same origin?

Camazotz: everything springs from the same source.

All good and evil, is in fact, evil and good.

But we can play with words all day, frederika and bhuddhism say the same things, they’ve used the same kinds of terms though with different definitions attached. Like we said before, this is where the humans cease to function appropriately.

For example the term ‘ego” some use this to denote the highest qualities , while some use it to denote the lowest infrastructures.

The “self” in the purest occult definition is a separate atom, free from its contaminated restricted material existence. ( Karma.)

The “self” is the purified/liberated “being” , free and purified of the gross material contamination. The actual “self” cannot be restricted to the tri-dimensional realm, that we are currently chained to.

This is alchemy, all of egypt.

Primal christianity eg. Gnosis, is probably the mediator needed here to make sense of these issues.

The goal of national socialism , the result that is intended to be achieved , is the superman.

The superman is the overman, the man that has overcome his limitations and regrown to a super (from our present involuted state) level of being.

A bhudda, or, bohdisatva depending on the level achieved.

Angel or Archangel, if you’d like to use these terms.

Some resonate with the uber and untermenschen terminologies, its all the same .

I would at this point encourage humans to find a nice rock under a tree on a mountain by a stream amd meditate your brains out on these issues.

Paraplethon: It is perhaps self-denying in order to be truly self-affirming; the movie ‘Fight Club’ deals with these concepts pretty well.

The terminology may differ between Buddhism and NS, or between NS and any other traditional philosophy, though ‘terminology’ is just that – an outer husk whose only use is an attempt to describe, or in some instances plainly label, the ‘inner guts’ – the unseen thing within that is the whole value and point to the philosophy. And further than that, NS being a modern re-formulation, in such a dire time and circumstances, was and is bound to be different.

Where they are similar, one and the same even, is their concern with the development of a greater wo/man; the advancement of wo/man, and the means by which to get there aren’t really all that far removed either.

The foundation of every true State is the transcendence of its own principle, namely the principle of sovereignty, authority, and legitimacy. This essential truth has been variously expressed in the course of history; if this truth was not recognized, the meaning of everything that belongs to political reality would be misunderstood, or at least distorted. Through the multifaceted variety of these forms we always find as a “constant” the notion of the State as the intrusion and the manifestation of a higher order, which is then actualized in a power. Therefore, every true political unity appears as the embodiment of an idea and a power, thus distinguishing itself from every form of naturalistic association or “natural right,” and also from every societal aggregation determined by mere social, economic, biological, utilitarian or eudemonistic factors.

In previous eras it was possible to speak of the sacred character of the principle of sovereignty and power, namely of the State. For instance, the ancient Roman notion of imperium essentially belonged to the domain of the sacred. This notion, in its specific meaning, even before expressing a system of territorial, supernatural hegemony, designated the pure power of command, the almost mystical power and auctoritas inherent in the one who had the function and quality of Leader: a leader in the religious and warrior order as well as in the order of the patrician family, the gens, and, eminently, of the State, the res publica. In the Roman world, which was intensely realistic (or, I should say, precisely because it was intensely realistic), the notion of this power, which is simultaneously auctoritas, always retained its intrinsic character of bright force from above and of sacred power, beyond the various and often spurious techniques that conditioned its access in different periods.

– Baron Julius Evola, Men Among the Ruins

Do you see the individual as existing outside of a political and social context, or necessarily as part of one, even when attempting to avoid the issue?

Camazotz: the individual is in fact multidualastik.

The idea is to be a part of this world, but not of it.

Be separate and observe, but also be productive and interactive.

This is the key. You need both polarites to proceed. Balance.

The individual or ‘self’ not to be confused with the human organism, should be somewhat “above” the mechanical systems, overseeing, if you will. Guiding.

You will after some time of practicing these tekniques be conscious of the seperation/observation, then you can really get to work.

Politiks and social environment are unavoidable, they are necessary for the revolution.

At the base end of the scale, they are the extent of most peoples ‘realities’. They are therefore necessary tools to be utilised. Fortunately those who ‘know’ can work towards something numinous.

Paraplethon: The very term ‘individual’ presupposes such. Though, probably more-so nowadays than in the past a person is wholly defined by their interaction with certain groups of people – socializing, and by their working/financial position, both of which, generally speaking, are accepted as going on to form the basis of a person’s ‘political persuasion’ – the ideas and concepts concerning the nature of society, the person and the environment they hold to be true, ‘the best’ and seemingly self-evident, there is more to it than base temporal factors.

There is in each person a unique and most vital element to their being, this is the essential spark that travels from incarnation to incarnation, the immortal animator of our being. It is variously referred to as ‘the Ego’, by Gurdjieff and many others; ‘the Essence’, Yeats called it the ‘Anti-Self’, and in Alchemical circles its one of the things going be the name of ‘sulphur’. With the recognition of the essence, the awakening process, and the nurturing of it – bringing it forth into full flower – that’s when the doors of perception really start to open, when we discover our extra senses and so forth.

This process, that we just as might call ‘individuation’, is however barred; the path is blocked by our accretion, whilst physically incarnate, of shallow, hollow, most ephemeral notions of our identity – such as was mentioned in the ‘socializing’ and ‘social strata’ circles – the region of the cult of the personality. These ‘psychological aggregates’ are rooted in our all too willing reckless identification solely with the material plane when we find ourselves physically incarnate. So in order to uncover the real, hidden essence that is our being, where the realm of UNDERSTANDING is to be found, rather than just “knowledge of this, that or the other”, the false impression of what we believe to be our identity must be sloughed off to allow our being to breathe. It was in this area, the ‘Golden Dawn’ had a test wherein the candidates had to converse without using any first personal pro-nouns; i, my etc, etc…

So, yes, people CAN be individuals if they choose to put the effort in, otherwise yes, we can be defined by a social and political context. As for ‘avoiding the issue’, the making of petty excuses or whatever to not deal with the situation as it stands; ‘because’ has fallen; “now is the time of the Fall of Because.”

What is your feeling regarding democracy as a system of government?

Camazotz: seemed like a good idea at the time …..

as with any other failing, generally speaking it is the human factor that fucks it. the untermensch ‘ego’ . most systems have something to offer , at least in theory. but if there is a fault, the human scun will exploit it.

Paraplethon: It does appear to be a good idea in theory. Perhaps it works only on the small scale in practice; medieval Iceland for example.

The most valuable insights are arrived at last; but the most valuable insights are methods.

All the methods, all the presuppositions of our contemporary science were for millennia regarded with the profoundest contempt; on their account one was excluded from the society of respectable people — one was considered as an “enemy of God,” as a reviler of the highest ideal, as “possessed.”

We have had the whole pathos of mankind against us — our conception of what “truth” should be, what service of truth should be, our objectivity, our method, our silent, cautious, mistrustful ways were considered perfectly contemptible —

At bottom, it has been an aesthetic taste that has hindered mankind most: it believed in the picturesque effect of truth, it demanded of the man of knowledge that he should produce a powerful effect on the imagination.

This looks as if an antithesis has been achieved, a leap made; in reality, the schooling through moral hyperbole prepared the way step by step for that milder of pathos that became incarnate in the scientific character —

The conscientiousness in small things, the self-control of the religious man were a preparatory school for the scientific character: above all, the disposition that takes problems seriously, regardless of the personal consequences —

– F.W. Nietzsche, The Will To Power

Which ancient societies do you respect most, and why?

Camazotz: atlantean and lemurian.

These are the ones which I have the most vivid recollections of. They were superior to our present era as humans involute instead of evolute, as opposed to what the corrupt ones would have us believe.

These were what we would call ‘high’ cultures as they were organicly minded, of course the atlantean degenerated to a material teknology based system which set the mood for our current situation of disaray .

Organik civilisation is spiritual civilisation.

Blood and soil.

This level of being had a totally different outlook to the present. In those times the human was the teknology to be perfected, not , an outside material construct for humans to dump their shortcomings on to create even more limitations to the acheivement of human potentials.

Less is more.

You see energy is matter and matter is spirit. Therefore energy is spirit. So why would one externalise spirit instead of working internally/esotericly? Why would one waste their ‘quota’ of immediate potential on external materialism??????? This is why the great civilisations of old look so backwards to the uninitiated, the advance is hidden to them.

Stone,timber etc these natural materials are infinately more powerful to work with and beneficial as they are still the living energy of the elements/elementals which reside therein. Blood and honour.

Paraplethon: None more-so than others. There is something to be learned/gained from ALL quarters; it si a very general statement though we had something in times pat that we’ve definitely gone and lost in the 20th Cent. However, it doesn’t do to dwell on ‘what once was’ and forget to live; the present is the only time worth our energies.

Machiavelli says it is better to be loved than hated, but much harder to be loved by the fickle nature of populations. Do you see this as being a sentiment of the original “fascist” ethos?

Camazotz: naturally ’tis better to be loved than hated.

Hate will destroy you. This is not to be confused with a healthy adversity, which promotes growth and strength.

Naturally fascism recognises the way populations behave, I think everyone would know this wouldn’t you? The trick is to achieve FOR the people, especially if they do not at the time recognise what is best for them. Fascism does this.

Paraplethon: Not particularly… it sounds more like something out of ‘the successful propagandists handbook’ or something. The sort of thing anyone remotely concerned with having good PR would take note of… hardly a ‘fascist ethos’ as such.

The everlasting qualities of Varna and family traditions of those who destroy their family are ruined by the sinful act of illegitimacy.

– The Bhagvad-Gita

The fascia, from which fascism derives its name, is a bundle of reeds with an axe head attached at their center; the symbolism is in theory that while sticks break individually, together they are strong. Is there any unity toward a common goal in modern governments?

Camazotz: of course! It is a new world order after all!

We could go into all kinds of discussions regarding parties , wings and all manner of political doctrine, and really I think most of them do at least have something positive to offer.

But they fail because of the human element.

Humans are not perfect, we must perfect the humanoid psychologicly/spiritually, to reflect that in the social environment.

This is what the movement should be working at.

This is what okkult NS and Fascism is all about.

This what all religions are about.

This is the heresy we embrace.

This is the REVOLUTION we instigate.

This is what we practice.

This is what we preach.

Paraplethon: Yep, ‘strength through unity’, ‘united we stand, divided we fall’ etc…

The ‘common goal’ they’re intent on scoring is the complete enslavement of humanity as an identity-less, racially indistinguishable mass of automatons.

As dire as the current situation is, that we are here talking openly about their nefarious aims is proof enough we’re not yet living through our darkest hour, though it is very dim, very grim.

However, what we are witness to isn’t a particularly united/common front; there are those in varying amounts of agreement, from the rabidness of the US, Israel and Australia to the more wary French and Russians to those who remain definitely outside the fold; Iraq and Libya for instance. It must be pointed out though it isn’t only those countries labelled ‘evil’ by the worlds punch-drunk bully – the US, that remain on the outer; there is a semi-autonomous region of Siberia, perhaps the last place on the planet since the fall of Tibet, where governmental decisions are guided by spiritual elders, in this case shamans, whose aims are more along the lines of freeing the mind and spirit rather than enslaving and controlling them. And as for the recent US actions designed to stamp out any opposition to its aims as mentioned above, well Nelson Mandela makes it clear where he stands; “They think they’re the only power in the world. They’re not and they’re following a dangerous policy. One country wants to bully the world… If you look at these matters, you will come to the conclusion that the attitude of the USA is a threat to world peace.” Newsweek, 10th Sept. 2002.

It’s the Kali-Yuga, revel in the dischord and strife…

Have you had any problems with labels, fans, clubs or others because of your political views?

Camazotz: yes,

we have had some interest from a bike club due to us using “their” image.

We have had trouble with certain skin movements.

We have had trouble with the media.

We have trouble with %98 of the musik community finding it next to impossible to get gigs, advertising, label interest etc. and that is including the ‘pagan’ metal heretiks!

Also certain magikle societys in all their illumination, don’t get it.

Herr Nietzsche referred to Christianity as a great evil that, were it not to exist, would have to be invented. He also said “that which does not kill me, makes me stronger” in regards to experience — in your view, what is the experience — both personal and cultural — of overcoming christianity, and what strength does it create?

Camazotz: sorry this question was lost somehow.

Paraplethon: Firstly, ‘christianity’ is a VERY loaded word, so you would have to begin by narrowing your scope and define exactly what sort of christianity here is to be overcome. An example of how much variance/difference there is in the christian experience is Origen of Alexandria, a church elder of the 2nd or 3rd cent., who at his death was officially deemed a saint. However, some time later – a few hundred years or so, Origens position was re-evaluated, it was determined his Neo-Platonism didn’t sit well with what the church had become and so his writings were banned, or burned, his sainthood was revoked and he was declared a heretic. The rather drastic change in the opinion of Origen mirrors the devolution of mass christianity as a whole, culminating with the final purge of the esoteric aspect of the religion in the 15th cent. or thereabouts, whereafter the ‘Church of Rome'(and its offshoots…) were more or less just the outer husks/the misunderstood whispers, not much more than some meaningless moral code.

Esoteric Christianity, the real ‘inner guts’ of the movement – that which gives real meaning and value to all the rituals, practices and moralizing of that outer husk – the Roman Church, was forced underground.

So what aspect of christianity is to be overcome? The outer, exoteric branch everyone is familiar with? Fine, if you were to do so, you’d be taking the first tentative steps towards realizing that old maxim ‘Know Thyself’.

At its core, Esoteric Christianity IS a method, a philosophy of overcoming, of overcoming oneself – sounds somewhat similar to Nietzsche doesn’t it? Of course the terminology is different, but who cares for the terminology, it’s merely an attempt to describe the heart of the matter, there’s bound to be differing terminology as every ones experience os going to be unique to themselves.

However, the heart of the matter IS the same.

Europe is about to outlaw “hate speech” online through a program named Princip, after the assassin who started World War I. Of what do you believe this is a portent, and how do you think it will be circumnavigation?

Camazotz: I knew this was on the drawing board, but had no idea it was to be implemented at this point. Surely people can see that this is unbalanced?
anything can be circumvented. That’s how the whole internet thing came about in the first place. I feel the ‘left’ in all their glory should be assissted in their efforts to save the free speech that is still available. By that I mean whatever factions are still opposing these actions. In fact there should be more work with the ‘left’ alltogether.

This is ignorance in full flight.

This we must fight.

Lest we face the great night.(again &again&again.)

Ignorance can only breed ignorance, fear , restriction etc.

There must be dialogue/interaction with all factions and cults to make any progress in this world.

Together we are strong.

A good lesson in the cosmik principle of recurrence here don’t you think? Nothing should be repressed, this is the tao, more light.

Just what constitutes hate speech etc? The talk of fools.

It’s like this race question.

Those who want to be separate should be separate, those who want to mix should mix. Quite simple really.

A good analogy would be the olympik games, and the drug testing/bans etc.

I think there should be separate events where the competitors can shoot up absolutely any shit into their organisms they want. Hell they can even get nuclear powered bioniks in these events for all I care, go for it. We will see where that leads.

But there must be room for purity too.

I would recommend keeping records though, I don’t fancy getting lined up with a sheilagh that has had some kinda ape genetiks crossed so she can win a gold medal at gymnastiks or something.

Paraplethon: A portent? Orwells ‘1984’, Huxleys ‘Brave New World’ – that’s what a constriction on open dialogue and criticism is a portent of.

Do you have any interest in encryption? Or religious cryptograms?

Camazotz: encryption is a tool to be utilised like any other at the correct time and place. Aside from the allegory and symbols of regular occultism/ alchemy etc I’ve not really looked at encryption etc.

I take it you mean stuff like ‘the bible code’ etc?

I have read some on the ‘real’ jesus and such nationalist type things if you mean these?

Of course all secret societys have their encrypted ‘codes’ too.

Sometimes you will find things in our releases if you were to be vigilant.

Of course you can take that to another level in that this world is illusion , so through using the tekniques of the esoterik warrior one would be working in this fashion , ja?

“That’s all she wrote,” the Finn said. “Didn’t finish it. Just a kid then. This thing’s a ceremonial terminal, sort of. I need Molly in here with the right word at the right time. That’s the catch. Doesn’t mean shit, how deep you and the Flatline ride that Chinese virus, if this thing doesn’t hear the magic word.”

“So what’s the word?”

“I don’t know. You might say what I am is basically defined by the fact that I don’t know, because I can’t know. I am that which knoweth not the word. If you knew, man, and told me, I couldn’t know. It’s hardwired in. Someone else has to learn it and bring it here, just when you and the Flatline punch through that ice and scramble the cores.”

“What happens then?”

“I don’t exist, after that. I cease.”

“Okay by me,” Case said.

“Sure. But you watch your ass, Case. My, ah, other lobe is on to us, it looks like. One burning bush looks pretty much like another.”

– William Gibson, Neuromancer

Are there any similarities in your view between the Qabbalah (pre-Judaic) and the tree of life in Nordic religions?

Camazotz: you need ask? Of course.

Paraplethon: They are differing cultural descriptions of the same phenomena; physical worlds coming into being and the polarity to such.

Buddhism and National Socialism both emphasize discipline and a rational, non-superstitious, non-dogmatic approach to decoding philosophy, nature and the sciences. Is this congruent with the beliefs of the west at this time, or has a contravening force taken over?

Camazotz: the west has tapped into and let loose many principles/powers that have taken on their own momentum/agenda. Some of these do indeed work against the agenda of liberation but it’s all part and parcel of the package deal we bought off god at that clearance sale a few years back … it is all encrypted on that nordik tree of life you were alluding too b4 ha ha.

Be alert as the sentry in war.

Continue with the process and you will get the result.

What do you expect when we live so far from galatik centre? When it is within ones ability to upgrade to a double sun, you will still know the answer to yesterday, though not today.

The further you climb, the further you can fall.

Paraplethon: Rational? Non-superstitious? What form of NS are you referring to???

The very world we live in today is the consequence of 200-300 years of rationalism, denigration of superstition, and NS stood in direct opposition to this degenerate society; NS was a civilization unto itself.

Though what is ‘superstition’, being that most people have some sort of preconception. Superstition; tradition, myth, legend, perhaps a ‘cultural base’. Let’s go out on a limb and say perhaps all myth, legend, tradition(‘superstition’) is but a system existant to give us the means to negotiate our multi-dimensional reality at our will. THAT seems quite rational…

To attempt an interpretation of ‘superstition/myth’ purely from the physical/temporal point of view is quite ‘irrational’, though to do so would result in the conclusion that ‘superstition/myth’ IS itself quite ‘irrational’… whatever…

When you write lyrics, which is more important: exact meaning or the sense and sound of language?

Camazotz: that’s a funny question . As you will find that the ‘vibe’ or sense and sound as you put it. IS the exact meaning. Words can never give the truth, only a close approximation. That’s why letters have a kabbalistik corespondence, to get closer to what the real deal is. Also that’s why we need to utilise the layering of sounds with the words and such, to get as close as possible to the particular atomik rotational condensation as we can. Somewhere within the yin and yang polarities of that atomik field we will find the exact mathematical fraction hinted at.

You must do some travelling.

Do you read any philosophers or social theorists and if so, what doctrines do you find relevant to the current time and its discontent?

Camazotz: I rarely read at all these days. It just dosen’t hold my attention at all anymore. Now we work more practically with the meditations and such. The intellect rarely serves its master satisfactorally.

Simple observation and reflections will give you any informations that these types of pushers try to get thou addicted to. Only it will be pure and internally relevant to YOU and you’re peculiar frequency/orbit.

In addition to that, the big draw back is that people just go around adding all this information to their little brains, without actually utilising any of it or DOING anything. A bit of a waste of time really.

If I read anything now it is scientifik/okkult. Which is first applied on an intellectual level then passed on to the dan tien, then hopefully we can really do some work psychologikly. Which itself begins at the ritual level, then moves deeper.

Paraplethon: Chomsky, Hakim Bey, Alexander Dugin, Qadhafi… David Icke appears to be more daring and goes a bit further than the others.

In your view, is history a linear process with a clear end-point at which a triumph of development can be proclaimed?

Camazotz: if one followed this point of view , it could only be the triumph of death/dekay/involution. History is cyclik in both its ups and downs, every point is only a decimal on the way to another point . My answer to your question is , no.

Paraplethon: Think ‘cyclic’, in terms of ‘aeonics’, development, triumph, degeneration, decay, multiplicity, unity etc…

Saying that though, you’d have to have rocks in your head to still have faith in the ‘cult of progress’.

It seems in light of recent events, previously demonized political worldviews are gaining some ground in the mainstream, albeit in pieces separated from the whole, much as Christianity was absorbed. Do you think these beliefs will synthesize with current “popular knowledge” or will a splinter society be created?

Camazotz: a splinter society? Not for some time I’m afraid ( not in a positive way anyhow ), unless you want to count people such as Islam, Iraq and North Korea etc. we must promote the invisible empire, to be within the ‘system’ but not of it. To not be restricted by it, that is. Utilise it, be the master.

You must see that that is in fact the problem, society is too splintered. The sleepwalker cannot even see the line , neveralone know which side to stand on. Anything that has been assimilated has really been the grosser aspects of doctrines, with no depth to really make a positive difference. And who will lead this splinter society?

Paraplethon: Any ground gained is more likely the carrot dangled in front of us, so watch out for the big stick. They don’t seem like people willing to give up their power, or even share it around a little…

I’m sure people have asked this to death, but what do you think was achieved by the Al-Qaeda bombing in Bali in which 180 people, mostly Australians, were killed?

Camazotz: I guess they got rid of a few round eyes from their country. we got what NWO wanted.

Paraplethon: Al-Qaeda? Really???

About the only thing that was achieved was for 2-3 weeks sports wasn’t the most important thing in the lives of average Australians.

Of which work of the band are you proudest? Do you see an evolution in the process of your works?

Camazotz: we try not to stagnate. But then again a change is not necessarily a good thing, hopefully we can rebel in a positive fashion. I think the standard answer is that what ever is most recently released, is the best, ja!

Actually I try not to be attached to anything that’s been done, or will be done.

Paraplethon: The best thing about SOL is the concious attempt to influence others.

At least here in Texas, it seems to be hard to come by Spear of Longinus merchandise or recordings. Will this change at some point, and will you re-release older material?

Camazotz: older stuffs will be re-released as time goes by hopefully in ‘revamped’ formats. Just as soon as THEY let go, our stuff will be easier to get a hold of. Then we will also be featured on “top of the pops” wont that be grand ………. then the prism of perspective can take us away to the light cone.

What inspired the choice of band name?

Camazotz: hadit.

Has metal grown from the black metal experience, or are we in a lull between developments of metal and thus bands are turning to traditional, proven formulas for aesthetics?

Camazotz: metal has grown but it is also in a lull.

You will find that the traditional motifs will eternally recur, hopefully in ever flourishing octaves.

The humans are doing the best that they can…. Poor creatures

Paraplethon: Don’t have much to do with ‘metal’ anymore, listen to it now and then, that’s about it… ditched it when that whole ‘retro’ thing took off…

Camazotz: hear hear, fuck retro.

It seems many American Christians support Israel because in the Christian view, an “end times” is coming and one of the signs of its arrival is Jewish repossession of their homeland. Could this be one of those prophecies that is ultimately self-fulfilling and nothing more?

Camazotz: the material realm is not always a faithful reflection of the superior. In fact my kitty kat is black.

The most unfortunate thing is that humans do not understand the symbolism employed.

They mix up the metaphysical internal with the terrene external. Ignorance doom flux.

Join a kult and make it prosper.

Paraplethon: The ‘end-times’ aren’t peculiar to just christians, there’s quite alot that culminates in the period 1960-2040, or even prior if you want to count Crowley’s proclamation of the ‘Aeon of Horus’ in 1904 or whenever it was. Just what do the ‘end-times’ signify though, that’s the more interesting question.

To answer your question though, on the face of it, it would appear to be somewhat of a self-fulfilling prophecy, with the various other evidence pointing towards an ‘end-times’ however, it is safe to say there is something in the air.

In your personal lives, do you watch television, movies, play video games, or use any drugs?

Camazotz: no drugs

no video games

no tv.

Occasional movies.

All you have is your training, you must be what you are independent of external influences.

Paraplethon: Movies… especially the ones with the esoteric undertones…

Why waste time with that other junk – “all we have to do is decide to do with the time given us”, what will you do?

Please insert anything here i’ve missed or which has been only covered obliquely.

Camazotz: thanx for the time and space mate.

Metal is dead, long live metal.

Sorry we didn’t put enough energy into this mate, but hopefully people can get an idea about it all from this. Be a practical particle, be sincere, and HE will come.666.

Von sol
Doomcrust.

Paraplethon: Nah, that’ll do… Thanks.

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spearoflonginus@yahoo.com

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