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.

Goatblood – Adoration of Blasphemy and War (2015)

GOATBLOOD - Adoration of Blasphemy and War - cover

Wearing the mantle of blasphemous black metal, Goatblood play metal in the time-honoured tradition of grind-tinged black metal dancing the line between Sarcófago and Blasphemy. As most bands playing this style, Goatblood is automatically benefited by the immediate focus this restricted expression affords: a clarity in direction in accordance to its single-mindedness. Songs are consistent in expression as well as coherent in their narrative, blasphemy overspilling and music driving it — not quite deep enough.

The only obstacle towards excellence faced by Goatblood here is they are too content, or perhaps too shy, about developing songs. Most of them stop after a handful of simple riffs, ending not in a closing gesture a climax or even a complete development but an apparently arbitrary riff after which the band had no idea (or no time?) what to write. Rather than the defilement of Profanatica, Goatblood only half-whispers hidden desires to break free from dogmatic religion. Not brave enough to move forward, Adoration of Blasphemy and War is a collection of half-songs, or ideas for songs that have not yet been completed.

Hells Headbangers unleashes free digital compilation Compilation Volume 8

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Underground survivalist label Hells Headbangers has released a free digital music compilation entitled Compilation Volume 8. Featuring cover art by maniac visualizer Antichrist Kramer in clear homage to Blasphemy Fallen Angel of Doom, the compilation provides free listening to introductory tracks to a number of bands from new and old undergrounds alike.

Hells Headbangers described it thus: “30 TRACKS TOTAL featuring brand new songs from upcoming albums by DEATHHAMMER, PROFANATICA, DEIPHAGO, DESTRUKTOR, NYOGTHAEBLISZ, CIANIDE, SCYTHIAN, BARBATOS, NOCTURNAL BLOOD, DIAVOLOS, BONEHUNTER, PERVERSOR, ABYSMAL LORD, and NEXUL, songs from newer EP releases by FORCE OF DARKNESS, DEMONA, The HAUNTING PRESENCE, DWELL, SHED THE SKIN, as well as material from earlier releases in 2015 and mid-late 2014 by SATANIC WARMASTER, GOAT SEMEN, ATOMIC AGGRESSOR, ABOMINATOR, DESTROYER 666, OCTOBER 31, AEVANGELIST, PERDITION TEMPLE, EXECRATION, GOUGE and The LURKING CORPSES.”

Lucifer Rising: Sin, Devil Worship & Rock ‘n’ Roll by Gavin Baddeley

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Among the many questions that journalists have struggled to answer, the fascination of some rock music and most heavy metal with Satan has ranked highly among them. Some take the pejorative view that it exists merely to offend, but others see in it the desire to create a counter-narrative or opposing philosophy to modern society itself.

Gavin Baddeley, a journalist who covers rock and populist metal alongside occult topics, delves into this project with a book that is both flawed and highly informative. Like a high school text, it begins with a history of Satanism and the occult with a focus on biographical fact and salacious detail more than philosophy. This gives us a vague view of Satanism that keeps the mystery alive, and nudges us toward the LaVeyian view. In this, the paradox of Lucifer Rising: Sin, Devil Worship & Rock ‘n’ Roll reveals itself: it is a journalistic exploration of the surface, namely what people say about the phenomenon of Satanism in music, not an explanation of their motivations.

Witness for example this exchange with Bathory’s Quorthon:

How did the Satanism get into your music?

When we first started, we had no ambitions to make records or write songs — we just wanted to cover Motorhead songs, because that’s what we’d grown up with. We’d just left school, so while other bands sang about drinking beer, fucking women and riding motorcycles, we didn’t know anything about any of that because we were too young. But we did have an innate interest in the dark side of life. It wasn’t purely Satanic from the beginning, it just grew into that. It was a protest, revolt thing — we knew it would upset people one way or another. If you look at it today, it all seems so very innocent. The main inspiration came from a Swedish horror comic called Shock. It was just the blood and gore thing, with a tongue-in-cheek approach…I didn’t have much of an academic knowledge of Satanism, though that came later as I got deeper into it. I started reading into the Christian side of it, too, which is when I decided that it is all fake, so the Viking elements started coming into my work.

This book is paradoxical because while it explores Satanism as a phenomenon, it accidentally hits a lot of other interesting notes about rebellion in general and the dislike of modern society held by metalheads. Its strength lies in its interviews with many leading figures not just in heavy metal but in various forms of occult rock and populist shock-rock. Once the reader gets through the Wikipedia-level introduction to Satanism through famous people accused of being evil, the book runs through a competent history of evil rock music and heavy metal, touching on the important acts with an uncanny ability to find thought-leaders in this area.

As it ventures further into heavy metal, this volume provides a detailed exploration of the death metal and black metal years which recite the major facts, provide some new details, and avoid rampant speculation. At this point as a reader I found myself liking this book, despite having been annoyed by the first chapters of history, and found its insights were greater than one would expect from a journalist outside of underground metal. There are some missteps but sensibly Baddeley allows the book to essentially trail off into interviews with interesting people who are vaguely evil, and does not police forms of Satanism to enforce an agenda. Thus the paradox again: a surface view of Satanism, but many ideas are allowed to emerge to show us the background thought behind those drawn to this general direction, even if no coherent philosophy emerges and so most of it seems like a trash heap of comedic contradictions, bold assertions, mistaken and inverted Christian notions and the like.

Some moments are simply good humor, such as this interview with the legendary Paul Ledney of Havohej/Profanatica/Revenant/Incantation:

What do you think of love?

I don’t know — I love sodomy

Many of the interview questions are excruciatingly obvious and repeated, but this is how Baddeley breaks down his subjects and gets them to finally articulate the core of their thinking on an issue, much like frustrated people often give the best summaries of an idea after they have tried to express it repeatedly to others. This both provides some insight, and creates a lot of redundancy in the interviews which add to the confusion of the topic and the consequent tendency of the reader to zone out. Still there are some exceptions, like this cutting to the chase with Varg Vikernes of Burzum:

Why do you and Euronymous have such a great hatred of the Church of Satan?

Satanism is supposed to be something forbidden, something evil, something secret, something people don’t know anything of. You go to America and in the telephone directory you can see ‘Church of God,’ ‘Church of Jesus’ and ‘Church of Satan.’ You call, and a woman answers, ‘Church of Satan, may I help you?’ You think, ‘This isn’t Satanism! Some stupid fuck is trying to ruin everything.’ The superstitious part of it falls apart. The Church of Satan deny Satan, they say He doesn’t exist, yet they act as if He did, they rebel against God. They call themselves Satanists because He also rebelled against God, but they’re basically light- and life-worshipping individualists.

How interesting that he picked up on individualism as the dominant trait of mainstream Hollywood Satanism. It is as if the ultimate rebellion is to transcend all barriers, including the final one in the self. The interviews in this book are often like metal itself, half amateurish lazy drop-out and half insightful dissident looking for a way outside of the tenets of modern society. In that much of the value of this book emerges, not so much as a study of Satanism itself but as a look at the psychology of opposition, with Satanism as a helpful focus that covers for the real story, which is a revelation of discontent with the philosophies of our time. While Lucifer Rising: Sin, Devil Worship & Rock ‘n’ Roll does not dig deeper than that, as a read-between-the-lines experience this book is worth its weight in gold and reveals far more than it could under its ostensible topic.

Resurrecting the best of the underground

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It is a seldom-known fact that you get more of what you allow to exist. In a musical community, this means that whatever albums sell enough to attract some audience will produce imitators.

When a community is thriving, this means that good albums replace bad. When a community is dying, it means that labels pump out thousands of near-duplicates in an effort to reap profit.

The community that proves intolerant of the bad is a good step, but the community must act in the corresponding opposite, which is to celebrate the good. To hold up all that is excellent means that more of it will come, because it is rewarded.

As we pass through the 20th anniversary of the demise of death metal and black metal, which perished in a flood of imitators who pushed the quality material to the periphery, it behooves us to celebrate the excellent and use it to push aside the rest.

What follows is a partial summary of the highlights of the last five years. These are albums that should be played loudly, given to metalheads at Christmas, forced onto MP3 playlists and constantly affirmed as excellent. This is the only path to better metal.

Blaspherian – Infernal Warriors of Death

blaspherian-infernal_warriors_of_death Underground metal began with Slayer, which mixed hardcore punk and heavy metal to make a new sound, inspiring in the next generation bands like Bathory, Hellhammer and Sodom who made a darker and more detuned sound. By the time the genre flowered in the late 1980s many bands integrated the Hellhammer style of bass-heavy thunderous material alongside the faster Slayer style of tremolo phrasal riffs. Picking up from that era, Blaspherian combines the thunder of Deicide and Immolation with the simplicity of early doom-death, creating songs that simultaneously use primitive parts and arrange them into more than the sum of those parts. A morbid and violent atmosphere emanates from this music as it rolls through a few basic riffs per song, setting up a Possessed-style verse chorus but then like Incantation and other old school acts, expanding on that context to create a ritual atmosphere. This mysticism of thunder and subterranean blackness pervades the resulting metallic onslaught which favors the dark, antisocial and evil side of metal. What defined the underground was this stepping away from the modes of seeing that most people use to look at society, and to instead associate itself with the bestial forces of nature and occultism that array against any form of order that has no goal but itself.


Beherit – Engram

beherit-engram When Beherit makes an album, the result will not only open full throttle on the ears of its listeners, but also change how we think of black metal. Its violent and simplistic early days took the deliberate primitivism of Blasphemy and Sarcofago and made from it violent amalgamation of dark moods and the unleashed human id which wants nothing more than to crush this overgrown, spoiled, decadent and indulgent world of directionless people and purposeless activity. With Drawing Down the Moon, Beherit created a standard that few bands could exceed, which was an album both inventive in its use of occult symbolism and distinct for its memorable, infectious and yet dread-intensifying riffs. After years and permutations later, Beherit returned to the fray with an album that aimed to expand the relationship between black metal and ambient music and operate as an album, moving us from one frame of mind to another through immersion in fragments of idea that add up to a whole picture. This is no trivial task! Engram begins in tribute to Venom and Bathory and ends in an entirely different style where hermetic atmospheres mingle with riffs that seem to use ancient numerology to achieve the balance between ear-addictingly hook-laden and a dark mood like atavism which creates a feral disconnection from the failed mentality of this world and transports us to another. The violence seems subdued at first but emerges in the mindset this album creates. It literally reprograms the mind, much like the thought objects that its title references. Better than most of its critics realized, Engram showed black metal a new way but that set the bar too high for most of the hack ‘n slash three riff crowd. It remains a testament to what this style can achieve even two decades from its foundation.


Sammath – Godless Arrogance

sammath-godless_arrogance-cover_photo Sammath always made quality black metal that favored the duality of the original work: primitive/barbaric and yet elegant/beautiful. Shocking as it is, black metal appears designed after the dictatorships of Stalin and Hitler, which favored fancy uniforms and grand ceremony as they bombed, murdered, and subjugated their way across the world. If you can imagine a beautiful warplane with graceful curves and an inner beauty, and then visualize it destroying 10,000 enemies without mercy or even a pause for a snack, that is the sound of the new Sammath. It combines the elegant melodies and song structure of the band’s first album with the battering ram war machine approach of their middle works, resulting in an album that has the melodic elegance of early Immortal but the attack speed of Morbid Angel. Not only that, but this album shows across the board upgrades in songwriting for this Dutch band, with no extraneous material and tightly integrated arrangements.


Graveland – Thunderbolts of the Gods

graveland-thunderbolts_of_the_gods Later Graveland inhabits the difficult zone between black metal, the Conan soundtrack and ambient neofolk. These albums are harder to distinguish at first listen because songs are based on the interaction and harmonization between different melodies instead of the emergence of a single guitar line melody which then defines the song. Starting with Memory and Destiny, Graveland morphed into its own genre with more in common with Summoning and Empyrium than conventional black metal. As a result, few know how to understand these albums, but it appears the best approach is to listen to them as albums and to fully intend to lose yourself in the sonic environment they create. Most descriptions of Thunderbolts of the Gods will combine “lush” with descriptions of martial power and motivation because true to its name, this is an album not just about war, but the reasons for war that mix sociology and theology in a potent brew that stimulates emotions deep within your average red-blooded metalhead. Like the earliest of Graveland releases, these describe lonely Celtic nights in the frozen Pagan mountains while waging warfare against unnamed unending enemies (like a buffet gone wrong). Not only does Graveland possess the same epic vision as before, but now the band has added epic instrumentation including layers of keyboards, synth instruments, strings and a guitar line that now organizes the other melodies instead of trying to dominate all alone. The result is like being lost in a book more than tapping your foot along to a record.


Profanatica – Profanatitas de Domonatia

profanatica-profanatitas_de_domonatia Many are turned off by the somewhat amateurish album title but they should stick around for the music, which combines the best complex long-phrase tremolo riffing in the Incantation school with the acerbic and vigorously rhythmic black metal for which Havohej/Profanatica are famous. Before you can say “I vomit on God’s child!” (and you should say this daily) the album tears into its circuitous riffs that give relatively straightforward compositions an air of esoteric bafflement in addition to enjoyment of a good tune with forward momentum and acrobatic guitar work. While this album is not as raw and purely rhythmic as earlier Profanatica, it makes up for that by creating instead an air of mystery and paranoia, like walking into the court of a Satanic adversary and being told to justify oneself. Vocals retain their traditional rasp and as usual, Paul Ledney’s drum playing adds a richness of rhythm that most bands do not have. The result is pure enjoyment of the musical aspects of this band with the constant blasphemy as a garnish. Its inventive riffing and foray into death metal territory adds a depth to black metal that corresponds to the raw aggression this band has always used as the charge behind its warhead of apostatic occultism, and in this album the entirety comes together for a complex series of moods within a similar idea. If anything, this improves on older works which could be too straightforward for repeated listening, where Profanatitas de Domonatia holds up as a musical companion.


Demoncy – Enthroned is the Night

demoncy-enthroned_is_the_night Always an outlier, Demoncy saw its greatest career height when it produced a death metal record with black metal atmosphere in Joined in Darkness. Not content to revisit past victories, Demoncy launch in a melodic direction and mix death metal and black metal influences into a smooth voice by always retaining the black metal atmosphere and refusing to get into the more abrupt stop/start mentality of death metal which loves contrast. Black metal is after all about emergence of ideas instead of discovering them at the end of labyrinth, and so Demoncy creates an album where riffs establish atmosphere and song structure provides gathering mood, creating a momentum of dark emotion which eventually dominates the entire experience. Unlike most black metal bands, Demoncy prefers to create atmosphere through steady application of layers and then selective removal, which avoids the charge into the abyss sensation but instead creates a sense of slowly sinking into the depths of human emotion. Riffs and ideas on this album borrow from the classic years of death metal, specifically the first two albums from Unleashed, but add to it the sense of an arch-predator on vigilant patrol above a wasteland of miserable, helpless souls that Joined in Darkness made so effective. Instead Demoncy lets these riffs ring out and then join simultaneously simpler and more cryptic song structures to create a sense of delight in the possibilities of darkness.


Divine Eve – Vengeful and Obstinate

divine_eve-vengeful_and_obstinate Divine Eve combine death metal with the newer veins of doom metal, mixing in classic heavy metal and punk to give the genre more of a listenable approach and higher energy. What results is a command to battle that suffuses with the dread and morbidity of doom metal but joins it to a violent but almost boyish delight in the possibilities of music and life itself. As a result despite its doom inclinations and death metal styling, this album more resembles the adventurous explorations of a world falling apart that bands like The Doors embarked upon a generation ago. Guitar work prefers the boxy charging approach of punk bands or minimal acts like Cianide and Motorhead, giving these songs a bounding energy even when they slow down and removing the polish that later death metal used to obscure its dark intent. Although this is an EP and so runs shorter than an album, it gives a vision of Divine Eve joining the style and substance of their 1990s EP As the Angels Weep with the material most of the band released as Crimson Relic and some of its recent appearances. Rumor has it that Divine Eve are currently working on new material for release in the near future, which makes it more exciting that this promising release presages onslaughts which may amplify the promise it unveiled.


Blotted Science – The Animation of Entomology

12 Jacket (3mm Spine) [GDOB-30H3-007} Modern metal makes itself hard to like, both because it is a hybrid and thus a loss of direction, and because it is fundamentally annoying, being based in the late hardcore style of “carnival music” where the goal is to make each riff dramatically contrasting the rest, resulting in a type of randomness that appeals to lost teenagers in a lost land. Blotted Science take that approach to its logical conclusion by removing the vocals and the randomness, and preferring instead to stack together related riffs that initially do not appear to be so, causing songs to flow together like collapsing buildings where many disparate parts suddenly become a single momentum. Most reviewers will focus on technical ability, which is not lacking here, but the real triumph of this band is using adept songwriting to pull together a mess of a genre and make something better out of it. These songs, like those on Gorguts Obscura, embrace the chaos of life and impose order on it in unconventional ways, much like objects seen through a microscope do not resemble the physical whole seen without magnification. These songs speak to a delight in the power of music itself and the imagination to twist and obscure a message only to bring it out with greater impact after a roller coaster of riffing distorts reality and deranges the senses.


Profanatica – Thy Kingdom Cum

profanatica-thy_kingdom_cumThe wizards of Profanatica/Havohej experiment extensively with their music in both form and content, and as a result, their releases are widely varied with differing degrees of success as listening (as opposed to “theoretical”) experiences.

Thy Kingdom Cum, the most recent offering which will be unleashed by Hells Headbangers Records on November 26, unifies the threads of Profanatica by being noisy and avantgarde in its blasphemy and song structures while keeping focus on fast-paced black metal with melodic undertones and creative riffing.

Like Impaled Nazarene’s Rapture, Thy Kingdom Cum re-interprets black metal in the late-1980s ideal of fast single-string riffs which combine hints of melody with unrelenting energy. The result is like a hybrid between industrial music, punk and Wagnerian classical: great towering themes emerge from riffs that resemble bent bits of wire or the symbols on schematic diagrams. You may notice similarities to proto-black metal like Sarcofago here.

Profanatica as usual do not shy away from blasphemy but unlike some past works, on Thy Kingdom Cum they’re not writing protest rock; they are here to enjoy the blasphemy and this demonic relish gives this album the playful sense that made 1991’s Dethrone the Son of God so thoroughly a forbidden pleasure. What you’re hearing is musicians having fun raising hell, even if underneath that humorous pleasure is a deadly serious message.

Like early Havohej, Thy Kingdom Cum is fast and simple and abrades the ears with intense riffs and unique but compressed song structures. Like the band’s musical peak in Profanatitas de Domonatia this newer work shows a dedication to producing depth of music in addition to pure noise and evocative rhythm from the ever-adroit Paul Ledney drumming.

Where Profanatica‘s last album, 2010’s Disgusting Blasphemies Against God, ventured into pure textural rhythm and a grinding atmosphere, this newer incarnation of the band shows more dedication to highly motivational ripping metal riffs and through periodic melody in a shorter version of the style on Profanatitas de Domonatia, an expansion of the relevance of riff structure beyond rhythm.

As the ongoing story of Profanatica/Havohej evolves, Thy Kingdom Cum will likely be remembered as a unification of their more cerebral esoteric black metal with a digestible and intense form that conveys their message like pastoral landscapes carved in flesh. As such, it may re-awakening blackmetal to its roots.

Tracklist:

  1. Ruptureholyhymen
  2. Foul The Air With Blasphemy
  3. Denounce Him
  4. False Doctrina
  5. Definite Atonement
  6. Thy Kingdom Cum
  7. Ropes of Hatred
  8. Water to Blood

Profanatica to release Thy Kingdom Cum on November 26

profanatica-thy_kingdom_cumDemonic occultist black metal band Profanatica, also known sometimes as Havohej, continues its quest to demolish holiness with impure sexual abuse of the incarnate divine.

This legendary band have been active in many forms since the late 1980s, with founding member Paul Ledney contributing to Revenant, Incantation, Havohej and Profanatica as well as being an anchor of the true black metal movement in North America.

Thy Kingdom Cum will see release on Hell’s Headbangers label in both CD and LP formats on November 26, 2013. This follows up to a series of releases following Profanatica’s Profanatitas de Domonatia, which in 2007 marked the rebirth of this vital blasphemous cult.

The album can be pre-ordered and advance tracks heard on the label website.

Tracklist:

  1. Ruptureholyhymen
  2. Foul The Air With Blasphemy
  3. Denounce Him
  4. False Doctrina
  5. Definite Atonement
  6. Thy Kingdom Cum
  7. Ropes of Hatred
  8. Water to Blood