Why you should listen to Profanatica

Logo of Profanatica

Article by Lance Viggiano

Black metal emerged as a reaction to the trend of death metal which had already established a musical vocabulary and through that achieved a higher degree of technicality as well as abstraction.

These bands took inspiration from the proto-black Hellhammer, Venom, Bathory and Sodom. The music of these early hybrid bands was quite unlike what became the second wave of black metal or death metal in that its motifs were simple yet concrete; overlaid onto a structure which juxtaposes seemingly unrelated motifs next to one another in an uncomplicated and often superficially nonsensical form. Yet, the result was surprisingly successful as a visceral and chaotic experience of raw, concrete, sensory imagery.

The black metal to follow refined this approach through retaining much of the simplicity and visceral nature of the earlier music while placing the motifs in a more logical format through phrasal composition, in which each riff has a shape created by its phrase and these form a language within each song. This and the trademark atmospheric riffs driven by waves of reverb and tremolo picking – largely invented by the Norwegian bands of note – came to define the public perception of black metal as a genre. Consequently, the Norwegian sound moved away from the rhythmic lineage of rock to music to something closer to the traditional western sensibility: harmony and melody over static, invariant rhythm as famously codified by the experimental gothic sensibilities of Transilvanian Hunger.

Profanatica, from what can be intuited from rare interviews, had strong reactions towards both the Norwegian sound and death metal itself. As such their music took on a different character which has not garnered the band near as much acclaim. The Norwegian sound is, after all, is the standard against which all black metal music is held. Given the fact that all genres are imposed by observation after the fact, it seems that the difference between Profanatica and the Norwegian giants is not one of quality, but of a band not fitting within the aesthetic boundaries of a genre that the audience expects. That and the mad rush for Norwegian black metal pushed Profanatica to the boundaries of the black metal movement where its influence on artists and hardcore fans tells a different story of its importance.

Much like the Norwegians, Profanatica refined the approach of its influences by emphasizing an incoherent structure and seemingly random construction. The motifs themselves are anything but abstract; often sounding vaguely familiar if not recycled both literally and intuitively. The listener will detect a clear sense of familiarity with the image of a particular motif, yet its contextual placement is such that it reveals a new perspective on something familiar. To draw a metaphor, it is as if one obtains a view of the same landscape from the peak of different mountains. This freedom of association allows a particular feeling, idea or image to be used as appropriate, anywhere in a song without sounding out of place. That particular innovation is unique to this band alone.

Structurally, Profanatica develop the proto-black method by emphasizing its motif contrast and non-rational composition. The infamous “Weeping in Heaven” demonstrates this technique through a collection of riff ideas which bears little relationship to one another, nor are treated in such a way that might cause the music to blend seamlessly. The contrast is emphasized which leaves the listener in a position to experience the music on an intuitive level. The result speaks to the body and it speaks towards the id. Logical progression, causality and abstract musical language are rejected abjectly. Profanatica embraces the rhythmic tradition of non-Western forms; using it to give meaning to chaos and incoherence of raw experience. Where one might perceive conceptual weakness and compositional immaturity in the early black metal music, Profanatica matured their approach to the point of strength.

The greatest contrast between the Norwegian sound and their influences lay at the relationship between the subject and the perceiver. The musical component of the proto-black bands described the emotional reactions to a phenomenon portrayed, resulting in the internal discourse one expects when reacting to the representations given to them by their nervous system. The Norwegian sound attempts to paint the external world through its musical discourse. The valuations of the perceiver are never absent quite absent and serve to describe the relationship of the internal world to the external. It asks the question, “where do we fit in the image of the world as presented?”

In a sense it attempts to categorize a dark forest in nonverbal symbols. Profanatica, resting firmly in the proto-black tradition, presents the terror of a solitary human being in a forest without describing the forest itself through its musical symbols. The dialogue then, becomes a matter of internal sensation which is untamed and instinctual. In terms of artistry, that innovation ultimately expanded the initial range of expression without reasoning categorically about it.

The effectiveness of this particular approach may be observed on the medley from the Grand Masters Sessions release. The track consists of portions of the band’s demo material stitched together to form a single track. A listener familiar with Profanatica’s back catalog will no doubt sense the familiarity of the material yet what is most striking is the functionality of the piece as a whole. Despite being composed from entirely different songs, the song involves juxtaposition of each motif and its partial ordering, and as a result manages a level of unity as a stream of consciousness which reveals new perspectives on the material through context.

Profanatitas de Domonatia (2007) distills the familiar Incantation sound made famous on their debut record Onward to Golgotha – which Paul Ledney had a strong hand in developing – by stripping the material down to its most basic instincts. The result is a fierce and destructive force of will whose aim is deconstruction.  The follow up Disgusting Blasphemies Against God saw the band barbarizing the famous emotional sensitivity of black metal’s melodic heritage and assembling those remains into hideous totems. The record’s defining characteristic is, after all, something of a crescendo implying the process of construction, perhaps out of the remains of that which its predecessor tore down. The latest record, Thy Kingdom Cum, lays siege to its two previous approaches by simplifying its rhythms to the point of idiocy while contorting its melodic forms to the point of mockery. The defining character of its predominant motifs is laughter which can be gleaned easily in the opening moments of the track “False Doctrina.” The aforementioned qualities are not something which need to be abstracted from the music; they are clear and obvious.

Profanatica’s approach is much like an uncivilized warband conducting raids on the civilized. Such groups are as much a tribal patchwork out of violent young men as they are a patchwork of the spoils of their activities: contradictory compositions of the basic human and technological components of a greater civilization whose assemblage is entirely pragmatic and allows for them to serve functions other than intended, but no less effective than their original purpose. Out of elements bound tenuously is something effective, something purposeful, something deadly. The world this music operates in is one which is defined almost entirely by nature rather than one defined by humans.

Where proto-black metal is defined by its visceral nature and deconstructive character, Profanatica embrace the ignorance in a brash display of unconcern for the perfume-soaked intellectuals which decry those outside their borders. Dwelling within the primitive backwater fringe has its advantages by bearing immunity to the abstract and desperate silliness of the rest of the genre. The similarly-goaled war metal attempts to reach back into black metal’s foundations but does so in a way which reduces the motif as an objectified emotion or image into pure texture reducing its communicative efficacy. The work of Ledney and company retains the concrete sensory experiences which drove metal in each of its original incarnations and were later given musical scrutiny before completely fossilizing, allowing their art to pick the last of the low-hanging fruit of metal as a form while others languish in petty revivalism, soulless displays of technical mastery, or vapid experimentation that desperately seeks revitalization by looking to external music genres; copying but not transforming its clichés.

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Profanatica – The Curling Flame of Blasphemy (2016)

profanatica the curling flame of blasphemy

Article by Lance Viggiano.

Profanatica return with a tuneful reinterpretation of their sophomore album, Disgusting Blasphemies Against God, refined by the sensibilities of the successful Sickened by Holy Host / The Grand Master Sessions EP compilation. The band presents a newfound confidence in ambient noise by using amplifier feedback as its own instrument in a more integral fashion than previous releases. The Curling Flame of Blasphemy opts for a slow burn approach where literal variations in tempo are suggestive rather than experienced. The result is ceremonious yet there is no culmination of the ritual, no climax; the whole procession ends on a dour note which does not feel conclusive regardless of its efficacy.

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Profanatica’s The Curling Flame of Blasphemy Out Now on Cassette

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Profanatica‘s new album, The Curling Flame of Blasphemy, has been released early on tape by Hells Headbanger Records for jaded eighties headbangers with old cars and cassette decks. Profanatica being one of the few bands still releasing quality material in this age of rehashed mainstream pandering makes this worth checking out. A higher quality CD version for the audiophiles is coming out in late May and the LP for the hipsters in early August.

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Profanatica reveal The Curling Flame of Blasphemy

profanatica the curling flame of blasphemy

Profanatica have revealed the art and track list for their upcoming album The Curling Flame of Blasphemy. One of the few fruitful artists in current metal and a mainstay of our best lists, drummer Paul Ledney (also a founder of Incantation) and guitarist John Gelso have spent the third millennium refining the first wave.

Track list:

1. Ordained in Bile
2. March to Golgotha
3. Magic & Muhr
4. Black Hymna
5. Host Over Cup
6. Rotten Scriptures
7. Yahweh Rejected
8. Bleed Heavenly Kingdom
9. Vile Blessing
10. Curling Flame

Track six, “Rotten Scriptures” may be previewed on Hells Headbangers Compilation Volume 8.

Scheduled for an early summer release, the frequently “funderground” label promises that The Curling Flame of Blasphemy will be another:

metalucifer heavy metal bulldozer

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Interview: John Gelso (Profanatica)

In all avenues and aspects of creative expression, different levels of effort produce different results. Moderation, pandering, or creating something merely unique enough to warrant attention result in transience; conversely, truly going for it” and channeling an inhuman energy to produce a horrifyingly powerful result results in a longer lasting relevance. This is the essence of extremity. In roughly three energetic bursts of activity throughout the past two decades, Profanatica (or its shadow project, Havohej) has created some the most “extreme, black, and ungodly music imaginable,” reducing metal to its most atavistically energetic and trance inducing form. We were able to catch up with Profanatica guitarist John before a most impious performance to discuss amongst other things, the band’s motivation in writing their full length Profanatitas De Domonatia as well as the relationships between art, philosophy, and religion.

Is art different from entertainment? If so, how?

To me, art and entertainment can be one in the same, but art should be one’s personal expression. Entertainment is looking into someone else’s expression. In essence, art is doing and entertainment is observing.

Can heavy metal/black metal be art?

Absolutely. Creating music is art and should be about the realization of the best of your true self and to a certain degree, your sense of uniqueness.

Does entertainment imply passivity from the listener?

Yes. Those being entertained, the observers, they are like parasites. They aren’t moving their own energy out. They’re just feeding off other people’s creativity. Of course, the exception is a live performance where the audience can add to the experience of “the art.”

So everyone should give the world everything they have to offer and create in any way they can?

Right. Everyone should express their true self to the fullest extent that they can. Although, not everyone is capable or they might believe they don’t have anything to express. they rely on others. So, it’s like a passive versus aggressive situation. Aggression, art, is letting out your own energy, as much as you can. The passive aspect, being entertained, is taking from what other people put out.

The unconscious egoism of the individual in the crowd appears in all forms of crowd-behavior. As in dreams and the neurosis this self feeling is frequently though thinly disguised, and I am of the opinion that with the crowd the mechanisms of this disguise are less subtle. To use a term which Freud employs in this connection to describe the process of distortion in dreams, the “censor” is less active in the crowd than in most phases of mental life. Though the conscious thinking is carried on in abstract and impersonal formula, and though, as in the neurosis, the “compulsive” character of the mechanism developed frequently – especially in permanent crowds – well nigh reduces the individual to an automaton, the crowd is one of the most naïve devices that can be employed for enhancing one’s ego consciousness. The individual has only to transfer his repressed self feeling to the idea of the crowd or group of which he is a member; he can then exalt and exhibit himself to almost any extent without shame, oblivious of the fact that the supremacy, power, praise and glory which he claims for his crowd are really claimed for himself.

– Everett Dean Martin, The Behavior of Crowds

I feel like some concepts, such as the Freudian notion of “Id”, are too abstract to be effectively communicated with words. They manifest in actions, expressed in the energy transmitted. Using music as an example, an artist can use the word “hate” in their lyrics and the listener might be able to comprehend on some level if they can understand these lyrics, but the idea would come across so much more universally and effectively if the music itself were to actually sound venomous, hateful, etc. I’ve always thought of Profanatica as one of the best examples of this; expression of raw emotion via the most simplistic possible means. How do you feel about all of this?

I agree with you. The energy of the music needs to match the lyrics. It should all be one unit. With Profanatica, a lot of it is about expressing frustration and hate, specifically with religion and morality. You shouldn’t rely on the ideas of others for your own idea of what’s “right” and “wrong”. You should make your own rules. Be your own god; make the world as you see it. To a certain degree, worship yourself. Treat yourself as a “god” or “goddess.”

This view seems to parallel Satanism, to some extent. In some forms of “Spiritual Satanism” and “Luciferianism”, all ideas pertaining to a god beyond the self are viciously blasphemed and rejected. The individual is then built up to be the one supreme being of its own reality.

I see your point. Simply put, I myself don’t like labels. I’ve always found them confining. Most humans have this “need to belong” and this “need for order.” I say it’s all bullshit. That’s why I say I follow no religion. Not Christianity or Satanism. All labels are man-made and are not natural. I am what I am. I believe in what I believe in and that’s it. I follow my own free will. To me, it doesn’t make sense to trade out one symbol, god, for another. After all, the concept of “Satan” is just a product of Christianity originally developed to inject fear into people. Very much the way the US government are using “terrorists” to inject fear into us. The fact is, fearful and needy people are much easier to control and manipulate.

The universe could be argued to be composed of tangible things, like substances, and intangible things, like designs or ideas or “natural laws” which are enforced through substance but are not substance. How do the two correlate?

It’s all interconnected. Ideas come at different times for different reasons. The universe wants you to do what’s best for you and to apply yourself to the fullest possible extent; to move everything forward as a whole. If you apply yourself, good things and good ideas will come to you. If you want something to happen, you have to go and do it yourself.

They have also those songs of theirs, by the recital of which (“baritus,” they call it), they rouse their courage, while from the note they augur the result of the approaching conflict. For, as their line shouts, they inspire or feel alarm. It is not so much an articulate sound, as a general cry of valour. They aim chiefly at a harsh note and a confused roar, putting their shields to their mouth, so that, by reverberation, it may swell into a fuller and deeper sound. Ulysses, too, is believed by some, in his long legendary wanderings, to have found his way into this ocean, and, having visited German soil, to have founded and named the town of Asciburgium, which stands on the bank of the Rhine, and is to this day inhabited. They even say that an altar dedicated to Ulysses, with the addition of the name of his father, Laertes, was formerly discovered on this same spot, and that certain monuments and tombs, with Greek inscriptions, still exist on the borders of Germany and Rhætia.

– Tacitus, Histories

Do you believe natural selection should have primacy over technology?

Define natural selection.

The idea that only the strongest members of a species will survive in the long run.

I don’t think the popular concept of natural selection is necessarily accurate. Whatever you want to achieve, you can. Strength is in the mind not the body. With that, the human species is not living up to half of its potential. This is what is lacking in the world. I think that’s why there’s a lot of hatred for mankind. A lot of this can be seen in black metal. I believe this hatred is because it (mankind) isn’t necessarily doing the “correct” thing. There is so much more that it should be doing. So many better things and that’s what’s frustrating. The problem is that we’re basically just not challenging ourselves enough and this allows a few greedy individuals to get away with bad choices that affect many. I believe religion is the catalyst for this numbing of the mind that’s been going on over the last 2,000 plus years.

Profanatica’s newest release takes the high-speed, long-riff, motif-based style (similar patterns appear across different songs) that had been pioneered with incantation, and adds to it melody like one might find on a Gorgoroth album; what prompted this change, was it what you always wanted to do, and do you see it as a fusing of constructive (melody) and destructive (rhythm) properties?

Interesting perspective, can’t say I really got into Gorgoroth. Musically I didn’t feel there to be any major change in what we’re doing, other than tuning down.

It’s all based upon feeling and being in the moment. I still draw my influences from the same bands I listed to in my earlier years. Paul and I wanted to pick up from where we left off.

Interview by Michael Dean

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An Involution of Easter

Bill and Ted found themselves wandering through the middle east, somewhere. The time machine had finally shorted out when Ted connected it to his iPad, causing a brief detour through 1968 Christopher Street in New York and a Royal Navy frigate in 1780 at rum ration time before crashing somewhere into this Semitic wonderland.

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Memo From Prozakhistan (07/11/16)

invoking_the_spirit

Greetings, fellow metalheads,

Times seem grim. The orcs have taken Osgilliath and approach the gates of the white city. Western Civilization is still dying, accelerated by democracy and consumerism, but rotten to its core with a lack of hope. Metal once gave that hope by showing us an alternate morality comprised of effective realism and epic mythos. Many of us want to live in that time again, but it will not happen through democracy or consumerism. We must choose our leaders and then all of us participate in restoring and advancing the greatness we have known.

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On Well-Defined Genres

On Well-Defined Genres

Article by David Rosales.

I. The Myth of Progress

Each epoch in human history is affected by the myths that define its own attitude; myths that could be defined as foundational illusions on which the dogmas of the time are based. For us, that myth is progress itself and the consequent air of superiority that comes with it. Having arrived at a postmodernist stage, this criticism of modernity is nothing new, but at the same time, nothing has been done about it so that we still suffer the same symptoms. This is one of the maladies of postmodernism: an even greater contempt for other epochs in its supposed abstraction from prejudices, which creates an illusory special place whence a new prejudice against everything and all is provisioned, whence nothing is actually properly addressed or solved only haphazardly patched over.

We call it the myth of progress not because we believe that improvement is impossible, but because the word has become so much a staple of modernity that it is assumed that our “progress” applies to many more areas than it actually does. The only clear advantage we have over humanity in the past is our clear technological advantage, summarized in more precise knowledge of scientific mechanics1. We have a bigger sword in hand and know how to use it.

The average, modern man also considers we have a moral advantage over the barbarism and superstition of the past. He does not consider his own moral assumptions as spurious. That is always reserved for the other. This contradiction is especially obvious in the secular humanist values that currently dominate the sphere of Western politics and popular opinion. Religion (by which they are usually referring to Christianity and sometimes to Islam if the critics themselves be Christian) is vilified as leading to a dulling of the senses; Catch phrases originally belonging to the Marxist left (“opium of the masses”) are embedded into popular consciousness.

Both the left and right base their ideologies on different interpretations of the modern myth of progress and the false sense of moral superiority thereof. The humanist values that both presume to uphold were born out of Christian Reformist philosophy. Consequently Aristotelianism (philosophy for those not philosophically inclined) plays a prominent role in modernist attitudes, contributing a materialist kind of Naturalism. All this is patched up with some apparently arbitrary morality (actually completely arising from popular Judeo-Christian thought) designed to make individuals feel safe and good about themselves independently of reality. This is secular humanism.

II. Predestination and Inevitability

What we may take from this realization is that no matter how much we learn, possess or discover, we are still products of the most recent past. We are the result of the uninterrupted flow of historical events, from a hypothetical primordial cause or an infinite set of cycles, to the present. The degree and the nature of success of independent enterprise of any kind is wholly dependent on the variable states at that point in time within the cosmic flow of events due to the immensity of the world with respect to a single human being and the fact that individual wills reside within individuals only.

The degree of success obviously refers to the magnitude of the same: its overall effect throughout the course of time. The nature of success depends on how success is defined. Whether you judge it by its popular acceptance, its practical application by the rulers irrespective of the opinion of the masses, by its effects correlation with the original goals of the enterprise. Quantization of success leads to lossy reductionism so an integral assessment of degree of success is based on relatively arbitrary judgements. In parallel, the judgement of the nature of success is based on ideology, itself dependent on how individuals choose to interpret reality and to what degree that interpretation follows logically from that reality. This interpretation is applied to a perception of reality, not to reality itself. This is a distinction too few make, unfortunately leading to grave misconceptions where perception and interpretation are confounded

Words may provide false solace in that colloquial language expressions seldom express what we mean precisely. Words are misleading. The statement “We are products of our past” may be taken far more lightly than it ought to be. Many take it to mean that our present physical conditions result from the decisions of our predecessors, which is true. However, a popular belief is that our minds may roam completely free and that our freedom of choice and thought (supposedly superior that of animals) grants us the power to change the current tide of events. What is not often mentioned is that the force necessary to break this tide of social developments is proportional to the degree of change to be implemented.

This struggle between established flow and forced change occurs not only on the physical plane but on the mental one as well. The state of thoughts and conceived possibilities are wholly dependent on both social exposure (all-around learning) and genetic proclivity2. Our thoughts are dependent on the past and subject to it. In opposition to this naturalist point of view stands the idea of our minds arising from an immortal spirit emanating from a divine source standing outside the universe. Modernism is against anything supernatural, so it arrives silently this contradiction only to casually avert its eyes from it.

III. Innovation and Establishment in Metal

Most of us understand metal as a non-complacent artistic movement that tends towards innovation in order to reformulate itself so that it is never trapped by convention. This reluctance the genre displays to entrapment by academic stiffness has worked miracles and produced true masterpieces of contemporary art, unrecognized as such by the public at large and masturbatory academia. Nevertheless we must be on guard, since that same rebelliousness may hinder the movement and ground it in something that is more of a childish rejection of discipline. Childish as Metal has moved well beyond its birth rites and is now rather well-defined in its limits, even though these cannot be formulated in a scientific manner.

The impetus towards forward movement coupled with an ignorance of true artistic relevance results in an exaggerated attention toward overtly “progressive” outfits and a dismissal of those which seem aesthetically grounded in tradition. Logic plays little role in this ideological and emotional thought process. While it should be easy to conclude that traditional aesthetics are surer to produce higher quality results given the collectively accumulated experience they embody, there is a tendency to think that what is of the past belongs to the past and that today needs an “updated” version. There is an Apple product consumerism applied to the general expectation of artistic expression here.

Metalheads arbitrarily select contradictory dogmas by which to shape their judgement of the art, reflecting the values of the modern and post-modernist contexts up-to-date headbangers inhabit. According to these “progressive” revisionists, genre guidelines and ideology must evolve and evolution means progress. Progress must lead to secular value. Music, furthermore, must reflect this openness and disavowal of encumbering tradition. In opposition to them stand the masses of staunch metalheads that may not complicate themselves with artsy wordiness, but who are intuitively connected to the deeper nature of metal, and defend its traditions through emotion.

IV. The Value of Well-Established Genres

As previously mentioned, the value of tradition is the collective experiences it represents. It is the result of trial and error, the remembrance of individual illumination, and the time-tested efficiency of its connection to human nature3. Tradition is a powerful weapon on which greatness is built but it is also only wealth and potential. Each generation and individual must utilize it to manifested their energy in motion.

That genres and movements decay is not an effect of tradition, but of what Prozak likes to call “crowdism“. In attacking tradition and glorifying the scene, we would only be achieving exactly the opposite effect of what we presume to. This follows directly from a reluctance to place responsibility on individuals and instead blame abstract concepts such as institutions, ideologies, and traditions. Tradition blossoms into works of great beauty when well-tended and lovingly nurtured, showcasing a wondrously creative fecundity possible only at higher levels of development.

The quality in fertility of worthy traditions may be obfuscated from common understanding as to understand higher-level concepts and representations, one has to have grasped the basics. Most people do not have the disposition towards investing effort to perceive and appropriately receive these higher qualities. Instead, they opt for superficial variations of what they can already understand. Artists that have been forgotten given such a short-sighted mentality include classical and romantic Nordic composers such as Franz Berwald, whose emotionally-stirring symphonies are virtually unmatched in their compact efficiency and inconspicuously thorough treatment of emotions.

In metal, the false dichotomy between traditional stagnation and innovative flare has wreaked havoc: only a handful of people seem to appreciate quality and creativity irrespective of the degree of adherence to traditional aesthetics. Tradition is best appreciated as a more abstract concept that can be traced from the aesthetics. Judgement of quality should not be independent of either, but flexible in taking account of an overall context. The following are a few albums whose adherence to a traditionalist but creative paradigm has won them little love from the masses. These have remained in relative obscurity despite their meaningful contributions to metal:

divine_eve-vengeful_and_obstinate
Divine EveVengeful and Obstinate (2010)

profanatica-thy_kingdom_cum
ProfanacticaThy Kingdom Come (2013)

serpent_ascending_-_the_enigma_unsettled
Serpent Ascending – The Enigma Unsettled (2011)

atlantean kodex the golden bough
Atlantean Kodex – The Golden Bough (2010)

empyrium-into_the_pantheon-cover
EmpyriumInto the Pantheon (2013)

Written on the morning of the 22nd, April 2016, close to the land where the sun rises, while listening to Iron Maiden’s ‘Somewhere in Time’.

Notes
1 Theories on the origin and underlying nature of reality in physics and chemistry continue to remain metaphysical even if supported and represented in equations. This is an important point towards realizing the limitations of quantification-based science and the illogical idea that if one cannot measure something visually with a ruler then it isn’t relevant.

2 The idea of genetically-based mental faculties is ignored and frowned upon by modern dogma. It is detested and rejected despite severely inconclusive experimental data demonstrating natural differences, not a lack of them. An emotional vilification ensues because the idea of inherent (and therefore beyond our control) differences in capacity does not bide well with the religious commandment that “All men are created equal.” This same idea has been upheld by pseduo-scientific theories produced under both democracy and communism, political paradigms that are themselves entirely dependent on the truthfulness of this concept. It is difficult to avoid seeing a clear conflict of interests here; an out-of-hand scientific protectionism of dogma through sponsored and biased logistic and political support is the rule.

3 The perception of patterns and the effects of music through their interaction with our biological make-up in the ever-moving sequence of its unique states in time.

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5 metal bands that took their blasphemy seriously

metal-blasphemy

Assuredly, I say to you, all sins will be forgiven the sons of men, and whatever blasphemies they may utter; but he who blasphemes against the Holy Spirit never has forgiveness, but is subject to eternal condemnation. — Mark 3:29

Many metal bands feature occultist or Satanic imagery and lyrics. However, some metal bands took this Bible verse as a challenge and created blasphemy on a theological level, denying God with a philosophical basis.

Since metal has always been fervently anti-dogma and a firm believer in a boundaryless existence, the notion of sin is, in itself, a sin. Here are five anthems of rejection that took the final step and committed the unpardonable sin.

Incantation – “Rotting Spiritual Embodiment” (Onward to Golgotha)

Taking a mortalistic approach, Rotting Spiritual Embodiment claims that the Holy Spirit dies with the body that it inhabits, thus affirming an absence of all metaphysics and a sheer physical basis to life itself. This form of materialism proves more dominating than even atheism as it denies the basis for a holy presence and argues instead that it is mere physical illusion. The crushing and darkened power chords seem to compel the embodiment — the physical form of the spirit — further and further into obscurity.


Holy apparition, seeking death to save.
Sins of the flesh, the cadaver is unfit.
Penetrate the mind and body, spirit is incarnated.
Spiritual entrapment.
Spiritual deformity…

Foolish ghost of god.
Embodied with the putrid corpse.
Trapped within the flesh.
Forever rots in misery…

Morbid Angel – “Blasphemy” (Altars of Madness)

A call to arms for blasphemy and a declaration of a life free from the clutches of religious dogma, this song takes a straightforward approach to blasphemy through invective condemning God and arguing for his invalidity. It also directly blasphemes the holy spirit in the chorus. Complete with Satanic and Thelemic philosophy, this is a sonic symphony straight from the fiery depths.


I am the god of gods
Master of the art
I desecrate the chaste
Writhe in the flesh

Blasphemy

Chant the blasphemy
Mockery of the messiah
We curse the holy ghost
Enslaver of the weak
God of lies and greed
God of hypocrisy
We laugh at your bastard child
No god shall come before me

Blaspheme the ghost
Blasphemy of the holy ghost

Do what thou wilt shall be the whole of the law
Rebel against the church
Drink from the chalice of blasphemy
Rise up against the enslaver

Immolation – “I Feel Nothing” (Here in After)

Immolation, while anti-religious, never took much of a Satanic approach to their opposition. They present their views from a more atheistic standpoint, and in the pulverizing song, “I Feel Nothing,” Immolation pose the question: Where is the Holy Spirit? The song describes a person who cannot feel the Holy Spirit within them and they refuses to force themselves to believe, so they reject its existence along with the rest of the trinity.


Your prayers,
I don’t feel them in my heart
It is not hate
That I stare coldly at the son of god
I can not force the blood of Christ
To flow through me
God is love and his love is dead

Drown your sorrows in prayer
But your prayers will never change the world
I separate myself
From those who chase the spirit
I can’t fall to my knees
And pretend like all the rest
This is a soul that doesn’t need saving

Their paradise not mine; an illusion I will not believe
Divine presence of perfection, turns sour in my gaze
Why should I feel compassion for the suffering of your God
For all the pain he allows, I give him what he deserves

In the name of the Father,
In the name of the Son
Where is the Holy Spirit, I feel nothing
As I stare upon the crucifix, I feel nothing for a God I never knew
I refuse to embrace, and live by his word

I take not of his body
I take not of his blood
I don’t need salvation
Or his forgiveness
I don’t want his kingdom
My kingdom is here

http://www.youtube.com/watch?v=AEb8S49w-Oc

Deicide – “Behead the Prophet (No Lord Shall Live)” (Legion)

When you think of blasphemous death metal, Deicide undoubtedly comes to mind among the first few entries. Not only does the band name advocate the murder of God but the entire approach of the band denies any form of inherent or mystical order. In “Behead the Prophet (No Lord Shall Live),” Deicide describe the Holy Spirit as foredoomed and proclaim a devilish victory over the holy.


Deny resurrection, behead the Nazarene son
Foredoomed holy spirit, our war at last be won
Legion crush Jehovah, see through the faceless dog
Untie our world from Satan
You know it can’t be done

Wipe away this world of unworth
Decapitation, Satanic rebirth
Off with his head to sever his soul
Beheaded prophet the suffer is yours
“Forever…..”

Virgin, mother murdered, once warned but now is dead
Destroyed heaven’s kingdom, in flames the righteous fled
Legion, thou has waited, to face the sacred dog
Satan’s revelation, this world will always be ours

End of god the way it must be
Behead the prophet, let Satan free…

No god, no lord shall live
What always has should never been
No god, no lord shall live
Behead the prophet and we win

No man to begotten, infant Jesus dead
End of god forever, cast among the souls of Hell
Thou who has imprisoned, suffer by your own demise
Execrate the revelation, MASTER SATAN RISE!

Deny resurrection, behead the Nazarene son
Foredoomed holy spirit, our war at last be won
Legion crush Jehovah, see through the faceless dog
Untie our world from Satan
You know it can’t be done

No god, no lord shall live
What always has should never been
No god, no lord shall live
Behead the prophet and we win

No man to begotten, infant Jesus dead
End of god forever, cast among the souls of Hell
Thou who has imprisoned,
Execrate the revelation,
MASTER SATAN RISE!

Havohej – “Dethrone the Son of God” (Dethrone the Son of God)

Concluding this list is a cold and blasphemous sermon from the great Paul Ledney of Profanatica, Havohej, Incantation and Revenant among others. To go too far in depth about this piece would be to undermine its experiential value to new listeners. I’ll say only this: “Dethrone the Son of God” is the spirit of rejection translated into a litany embracing hell over the “pure” but delusional spirit of believers.


Rip the sacred flesh
Sodomize the holy asshole
Drink the red blood of the mother of earth
Masturbation on the dead body of Christ
The king of Jews is dead
and so are the lies
Vomit on the host of Heaven
Masturbate on the throne of God
Break the seals of angels
Drink the sweet blood of Christ
Taste the flesh of the priest
Sodomize holy nuns
The king of Jews is a liar
The Heavens will burn
Dethrone the son of God
God is dead
Holyness is gone
Purity is gone
Prayers are burned
Covered in black shit
Rape the holy ghost
Unclean birth of Jesus Christ
Heaven will fall
Fuck the church
Fuck Christ
Fuck the Virgin
Fuck the gods of Heaven
Fuck the name of Jesus

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Interview: MkM (Antaeus)

Editor’s note: this originally appeared in issue #3 of the zine “voices wake us…” (“Voices Wake Us…” Zine. $1ppd. voiceswakeuszine@hotmail.com) but it can be disseminated freely so long as this notice remains intact.

Questions by “Voices Wake Us…” Zine.
Answers by MkM (vokillz).

First off, what is your name and what part do you play in the band (instrument or vocals, etc.)?

vokalist, disease holder of AntaeuS. Satanik stigmata & preacher of the Void. 27 years old up to this day, non dead to most humans. Frontman & main voice for AntaeuS, I do speak for Him.

Now to the real questions. Black Metal’s legendary “first wave” included so many legendary bands like Mayhem, Darkthrone, and Immortal. Many conclude that the evolution of BM ceased after this period, so what do you think Antaeus’ relation is to the progression of the art? Is it justifiable to be merely more extreme? Can anything be added to the music at this point that has not been done already?

Black Metal does mix both ideology & musick, on this level, I would have to point out that most of nowadays bands have no linkz with the real meaning of this Art.Immortal never really took part of the bm kult, though their sound is very similar, their concept would be more based on northern landscapes, while bands like dark throne & mayhem had a more nihilitic death feels to the lyrikz & the aura was a bit more depressive in most cases.

We are payin hommage to those bands of the second wave, for their dedication in the early days & the message they did spread. We do evolve in the same vein, we hold the same message & our speech is based on hatred, denial of life & anything that would be related to “holyness” any religions wise, anything “human” related would be a target.

Black metal = SataN in its most strikt vision, we here speak of death, total death & the praise of the vortex that would swallow all. Though the utopia of such an ending is known of us, we do work in this way, spreading our disease & disgust of life and the concept related to it.

Sound wise, we are more extreme than the suscited bands, we couldn’t perform the same of art, for multiple reasons : we do breed violence more than depression (as individuals) & we do perform what we are & breath. The band is composed of 5 individuals more or less evolving on the Hate path. Me & Set being at the forefront of this, & since we are the main composer (him for the music & I being the sole responsible for any lyrikz & propaganda), we are the trademark of AntaeuS.

Also our approach is more destruktive than the “90s” gloomy approach of darkness, while they were opening gates of despair, we are opening gates of torment & pain.

Both are as effective, I truely find my inspiration in both, but violence is our key, our vektor.

Feel his pulse through us.

We are one stone of the edifice.

Black Metal is like a kathedral of Hate, it is not a question of evolution, the “evil”ution within takes place within the rankz of devotee evolving & praising the kult.

You have expressed dissatisfaction with the Cut Your Flesh and Worship Satan album as being too rushed in the studio. To me, I can say I do not think it harms the record and adds to the urgency of the album. However, you have a new album coming out and will this be different and in what way a “representation” of the band that we have not already seen?

Somehow you are right, now that the album is older to my ears (two years or so) I get to listen to it in different perspectives, not rekalling all the shitty detailz about its conception & its spreading.CYFAWS was a gathering of mostly old trackz, like demos & reh tracks, all gathered on the same full lenght. Only one track never appeared anywhere before the cd release (though I am not even too sure about that now, I should check the live tape on chanteloup creations…) also the cd had three different rekording on it, which was a bit messy & made it sound more like a recollection than anything else.

Now, I think that baphomet did allow the band to put all together the most efficient earlier track of the band (inner war, devotee, nihil khaos…) but a rerecording of the whole album would have been best, now that would be the main complain about this lp.

Also this album did cost us a lot of money, but I do not fool myself, it is the same way for many bands around here, still having labels to cash on your work without being fair to the band is something I will never tolerate. That made me freak out, the band never got a fuckin cent out of the sale of the band, considering it did reach around 3000 copies (which is amazing to us, we never expected this much) one could easily guess that we got massively fucked on this one.

DE PRINCIPII EVANGELIKUM the newest release presents a more compact release, being composed on a two years basis, the whole has a more “united” strukture & lyrikz wise, that did allow me to have something fully solid. This time the lyrikz are included, I had the time to type all in time so people will finally get to understand what lies behind antaeus, though it will remain obscure to most or simply fucked up.

DPE is less easy to get into, it took me a few month to get into some trackz myself, having one hell of a hard time to lay vokalz on those & get the whole strukture in the reh’ room

The band does reh’ around 6/7 hours per week in the reh’ room & more when we get nearer to live exp or studio rekording. We get ridd off a lot of material, our work is very serious & we are making sure to have the most efficient offering to the black metal kult.

I think that one thing that would lack on DPE would be the intro sektion that are truely important to me, this time the drummer & I did lack time to meet & do something of my taste, that is my main “negative critic” to the new album. Next release shall see a return to those sonic landscapes & all the frustration that did hide behind those.

Many BM bands are one-person projects (Burzum, Bathory, Taake, Krieg, Ildjarn, eventually Emperor, and at times Darkthrone). What is the band construct of Antaeus? How does the song-writing process work and who does most of the “legwork” for the band, ie: setting up gigs and record-related business. Any comments on past members or development of the band over time?

You would mention there strongminded individuals that had one hard time finding the right members to perform their art with, or simply couldn’t deal with others, due to ego conflikts.I was just a session member in the early days, being too busy with my zine & my distribution (& my former band)

When AntaeuS turned into a virus in me, I felt like it had to evolve further than the limitations that the main man back then had for it. I think that all took shape when I got hold of all the strukture of AntaeuS, getting set as main guitarist was the best move ever, since we have known each other for years & we had the same musikal taste (for the early 90s sound, nowadays we tend to listen to different aktz yet our basis are the same).

Drum wise, we decided to get ridd off the drum machine & never changed since.

Bass & rythm guitar wise, we might have had more than 20 different members within the band, but in 98 we did finally find the right one, being also involved in Eternal Majesty with whom we did a split demo back then. I did know them since they were working a lot with SPIKEKULT (since their first demo, “dark empire”).

Since then, the line up is perfekt & all of us are united & work on the musikal struktures.

For all the rest, interviewz, ideals, propaganda, kontaktz, ALL is done by me & me only. Mostly due to the fact that I am the only one speakin & writtin in english.

That does take a lot of my time, due to this I did stop all others implications (my zine, other bands & even spikekult for some months/years).

We do not seek gigs really, since conditions are always fuckin ridiculous or awful, I try to avoid to the max getting to play live, though we had two or three great shows since 94; mostly over the two past years.

Getting gas money & some beers seems to be the VERY best we could get in europe, even if we perform in front of 300 people… the cost to rent a place is so high that none could ever pay the band.

A couple reviews I’ve read of CYFaWS, while positive, have accused the band of not bringing anything new to the table. Stylistically, I would say that Antaeus is a) faster (I’d say only Krieg is as fast), b) more “grind”, c) less atmospheric, d) more brutal and divided into penetrating structures of noise than in an “epic” sense of many bands. Agree? What is the aesthetic you are going for here, other than just “fast.” Because it is definitely a unique and not just a retro sound.

I do agree with those reviewz, still we never did claim to bring anything to new, so I sometimes wonder why we are accused of that, just like we were lyin about it.True, we are faster, though I would use “more brutal” instead, since speed for itself doesn’t mean much to us, tons of swedish bands are playin hyper fast, but both the drumz & riffs are without any effects on the listener.

Brutality & Hate are the main faktors in AntaeuS sound, we do hold this pulse & seek to create such aura within any rekording of ours.

Our epic approach might be linked to the tension we do put in the rekordin process.

The grind aspect cannot be denied as well, musik wise, some bands are truely unique to me, but the message, most of the time, would be simply ridiculous or be the opposite of my ideas.

Older grind bands had more of a dark or sick approach compared to today’s fun/gore/political bands.

Hate is a large concept of the band. Does this reach over into politics at all? Many BM are clearly fascist, a politics based on hate, while others are nihilistic (and in that sense, partially anarchistic). Views of politics in yourself and in the scene?

Hate is anywhere, but most politics would serve some instead of others, while we support the death of ALL; all those fascist bands are always a source of interrogation in my kamp. All those linked to black metal & openly using both the sigils of SataNism & those of Nazism are creating a nonsense to me.the nihilistic part is often dealing with one hope for a brighter future, built on the ashes of nowadays society & values.

I do not have any hope of this kind, the only hope I have is tattooed on my chest.

Let’s go back on the nonsense, I don’t care about NS bands as long as they are not linked with black metal. Politics would limit the initial meaning of black metal.

NSBM seems more serious to the young than the “inverted cross”, since it would represent something more “socially involved”, having to deal with values that would be more “linked” to todays world & having more impact due to the importance of sigils (ie : the use of swastika or SS sigils are full of meaning & related to happening that took place less than a century ago). Politics are giving black metal a more “humanistic” approach, which I don’t really understand. I would understand sadistik exekution using SS symbols or funeral mist for their vision of death in general, but as far as “human values” are involved, I simply don’t get it.

Any individuals mixin bm with ns should realize that there is already a scene for that, anything metal related is more or less viewed as “outcast” due to the code of life (destruktive, alcohol, aggression)…

anyway when I think of those teens doing “sieg heil” here & there with their beers & long hair, they would be among the first to enter the gas kamp that does make me laugh

Death is the main goal anyway.

In what sense is Antaeus a “do it yourself” band that controls the aspects of recording, promotion, management, and production itself? You are clearly dedicated to the underground, but many people are not familiar with the metal underground as much as the more-established and cohesive American punk underground. How does the underground work and how much is Antaeus a separate entity from outside control and influence of labels, promoters, etc?

A would be my band then, since I would be responsible for most of those aspects.Being honest, I am not too aware of the punk scene, though got to meet up with some labels from around here pressing punk vinylz & their scene seemed much more “supportive” & less “inner war” in between labels & so on. I might have a wrong of it though.

I would be totally dedicated to one aspect of the ug scene, which I could describe as the only real scene, with true sick freakz & not wannabes & morons of any kind that would pollute the bm kult.

those idiots are numerous & for the past years, I would have spent way too much time on those inbreed fags instead on workin on my code of life & supporting what had to be supported with the scene (bands & labels wise). Now we are viewed as traitors to most, since we did sign to Osmose.

Osmose allows us a studio rekording budget & having the whole distribution in their hand, I could never deal with that myself, my daily job takes around 50 hours per week now (compared to 70 h per week for last year) which makes it nearly impossible to cope with the mail & any correspondance in general. Even reh’ with the band got closed to impossible for me. All is getting better now, but as far as I am concerned, if A didn’t sign to Osmose, all would have stopped. I couldn’t go on paying 300 usd per month for the band, not having enough to cope for my own living cost.

Now we do loose less cash, but we still loose. So when I get to read that we did become fucking rockstars or sell out, I might ask to whom did we sell out???

A band selling 5000 copies (which even ain’t our case) could never live out of it, I am sure that you are aware of that, but many readers out there that did write us do think that we do earn enough money with the band to live with….

It was ok to reply to those questions the first years, but after a while, it killed me that most people wouldn’t get how it workz…

But hell, we are talking about fuckin labels detailz & how bands are getting fucked most of the time

Right now with Osmose, all is doing ok, we just did spend around 400 usd for this one, (lay out & mastering) since we did excess a bit the budget allowed for the studio rekording.

How is the French “scene?” Are there many bands, zines, or venues to play in? Are there a lot of posers?

Scene in france is not my fave subjekt, I did support many bands from around here in the past, being proud of my “local scene”, but all those bands did fuckin backstabb us for no reasons or so. “allies of today are the backstabbers of tomorrow”, thus I don’t mention too much about bands from around here.There is a fair deal of akts though, most of them are amateurish to the core & spending more time in front of camera or doing shirtz than working on the musikal parts.

All of them are envious little morons who are offended when they realize it is not that “easy” to have a cd out. They all think that demos are useless & that the underground is just a chat room on the net.

For the older ones, we had either conflikts with them or totally different views.

Apart from a few dozen individual in the whole france, we don’t get along too much with individuals from around here.

I had my fair deal of war around here.

In the newer band ; dark opus & aosoth are among my faves

DEATHSPELL OMEGA must be the ultimate black metal band the traditionnal way. END ALL LIFE is without any doubt the best vinyl bm label, they must have by now the CYFAWS on lp out, & that is one Honour for us to be on that label.

Zines? well 666 is the best in the extreme bm/dm way, eternal fire was killer too but defunct (or simply no newz from them since long), stregoica was kult in its dayz, now they are doing ordealis rekords which is very promising (killer work from their part), deadfuckinchurch is a good zine but he said that his final issue will be the next…

Some distro are great too, like paleur mortelle & warchangel.

AntaeuS will have a split 10″ with AOSOTH on Paleur Mortelle (akhaeus@aol.com) in the comin month btw.

Gigs wise, the audience is way better than any us gigs that I got to visit (& I had my fair deal of us deals over the three or four stayz I did over there), we usually get from 150 to 400 nowadays, but places are not so numerous & each venues does cost around 2000 to 3000 usd to rent for a night, with such prices, no bands would get any payment, asking for gas payment is already a dream for bands.

Due to that, in 2001, antaeus only performed live Once.

We did perform a bit more over the past months, with bands like nargaroth, taake, enthroned, eternal majesty…

The last hellish gig we did do was in Paris with taake & enthroned, our best set ever since 2001

In nov 002 we will be among the opening bands for the DEICIDE european tour, we shall desecrate new countries & I do expekt that tour I must say.

It’s nothing you’d understand, but I do have something to say. In fact, I have a lot to say, but now is not the time or place. I don’t know why I’m wasting my time or breath. But what the hell? As for what is said of my life, there have been lies in the past and there will be lies in the future. I don’t believe in the hypocritical, moralistic dogma of this so-called civilized society. I need not look beyond this room to see all the liars, haters, the killers, the crooks, the paranoid cowards — truly trematodes of the Earth, each one in his own legal profession. You maggots make me sick — hypocrites one and all. And no one knows that better than those who kill for policy, clandestinely or openly, as do the governments of the world, which kill in the name of God and country or for whatever reason they deem appropriate. I don’t need to hear all of society’s rationalizations, I’ve heard them all before and the fact remains that what is, is. You don’t understand me. You are not expected to. You are not capable of it. I am beyond your experience. I am beyond good and evil, Legions of the night — night breed — repeat not the errors of the Night Prowler and show no mercy. I will be avenged. Lucifer dwells within us all. That’s it.

– Richard Ramirez

Most BM has diverged into “symphonic,” commercial crap. I’m sure you have some ventings on bands like this (Dimmu Borgir, Anorexia Nervosa, Ancient), or on “retro” bands like Dark Funeral. To many, Black Metal must remain underground and elite, and yet within it are elements that are more palatable to the masses- a band like Immortal proving that BM can be commodified over time. Thoughts on this phenomenon in Black Metal?

Like anywhere, when you get an artistic style that would be perceived as elitist & underground, one will have the wish to “extand” it on a different level, for various reasons.Some considers that the message should not be limited to one handful of individuals

some seems to think that they would sell more rekords having an “evil” image Some just find it “cool” to use such imagery Others are living the black metal kult, on a daily basis.

Music wise, I am closed minded when it comes to black metal, not opening myself too much to new genres, though I did try to pay attention to all those bands poppin up & crossing goth, indus & so on with black metal.

I must admit that diabolicum & mysticum were the only one that did match my expektations when it comes to the aura created.

On the other level, I also pay attention to the “performers”, for example : Anorexia Nervosa is often quoted as fag band, mostly due to the COF sounding of the musick. But on a personal level, the frontman is really a sicko & is among those few individuals I consider. Yet he would be a bit too much “rock n roll” sometimes eh too much drugz & autodestruction for me (which does provide a smile, that does you an idea on how fucked the man can be) aktually I think that when you get to meet him, he would be more in his place belongin to sadistik exekution than anorexia (musick wise) Ancient & dimmu borgir never made it to me, not even one track from their early days (the ep of ancient was ok though).

You did qualify some elements of black metal as “palatable” for the masses, yet we have to redefine masses then, since those masses would be the “extreme metal scene” which is not that wide, only a few thousands people I would say.

Not something that could be play on the air of any local radio show & musical tv shows or whatever. We are not dealing with “pop” music. But I do agree, black metal did sadly evolve to a wider audience & that doesn’t mean that the real audience did grow bigger, just that it did expand to people that simply don’t get a clue of what real black metal is about.

Having some individuals to compare napalm death to dark throne amazes me… the only link between those bands is mostly in the instruments used & some beats. (& some would kill me for the “rythm” comparaison)

Anyway, on our level, like other bands, we remain an underground band, you will most likely always find “cyfaws” & “dpe” on cd format, but we will go on doing limited tapes & vinylz. Only for those few sick ones that are also the pulse of the band.

It does mean a lot to us to be supported by like minded individuals, band members or zine editors or just listeners.

I do not get much letters in that vein, but with those few with whom we share visions, getting to read some comments on AntaeuS work is always rewarding.

Our satanik audio violence would be a weapon & only some individuals know how to handle it & how to view it properly.

Carcass or Bolt Thrower? Pick one.

Fuck… Bolt Thrower

at least they didn’t change & “cenotaph” is an instant classic for me, such as the “in the battle there is no law” lp. carcass had amazing trackz but fuckin wimped out too much for my taste.

When can we expect the new album (on Osmose, right?) and will there ever be an American tour??

the new rekordin shall be out on sept 23rd in europe, so obviously a bit later in the usa, osmose doesn’t have a distributor over there I think, so most releases are available mostly through ug mailorders & so on. I doubt one will find it as easily as CYFAWS over there. I seriously doubt on the american tour thing, though I wish we could go over there & perform with bands like black witchery, thornspawn, krieg, demoncy, gbk & so on. Since we are doing a european tour for “DPE” in november, as opening band for Deicide, I am not nearly sure that no tour will happen until the next release (the third album that is).Having us on a european tour would mean getting the band on a bigger “bill”, having an headlining band that could make it possible. As of now, I have no big expectation about a us tour, since it seems nearly impossible, we are not “selling” enough to be pushed that way.

The Deicide tour is already something really expensive.

In the future, who knowz? but I wouldn’t be surprised if the band never gets to perform over there.

Bands like marduk, satyricon & others took forever to go to the other continent & most of the time, itz like a money vortex more than anything else.

Time shall tell, we still have to perform over here first, that is our territory & we haven’t visited more than three countries as of now (which would be like performin in three different states for a us bands).

To you, what is most important in sustaining black Metal into the coming years, as it is increasingly an “endangered” form of music?

I see it that way : Evil will never dies, it might change shape, as long as some form of Art will be dedicated to its “grandeur”, I see no problem with itBlack Metal has somehow a more raw approach to it, a darker incarnation meant to appeal to more extreme masses, thus a minority of individuals are truely meant to understand fully the concept behind this genre.

Black metal is nowadays marketed as a musical genre only, with gimmicks to help the sales. Many bands did take the opportunity to rise using those “eye catching” ideas related to black metal.

Your top 5 BM records?

DarkThrone “a blaze in the northern sky”
Funeral Mist “devilry”
Katharsis “666” + “red eye of wrath” demo
Blasphemy “fallen angel of doom”
Beherit “D. down the moon” (& oath of the black blood)those are the ultimategettin near to that, I’d add sadistik exekution (all releases), profanatica, demoncy, krieg… I’d easily give 20 names that would represent the whole list of bands I really support…. Giving 30 names would be impossible though. not enough bands have individuals matchin the right ideology one should have within the bm scene.

Thanks for the interview! Good luck on your upcoming record and in the inevitable Satanic victory over the forces of light. Have a nice day

Forces of Light are forces of lies as well, they are their own failure & we shall be the witness & the temptation for them.Take a look in the abyss & the abyss will stare back at you

For we hold the ultimate void, we shall go on, we are Omega.

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