Article by David Rosales.
Recent publications on Death Metal Underground have triggered yet another group of self-entitled Dark Gurus and Awoken Entities of the Left Hand Path™, when the unholy names of some of the popular idols of the Satanic™ niche market group were apparently besmirched by people who simply do not think that the music in question is very good.
The grounds for this opinion rested on the simple perception of music as a form of communication and the knowledge and experience of the way black metal (and underground metal in general) aesthetics work; these are open to any with a sense of logic and understanding and in no moment alludes to ad hominem authority per se, but rather the sense of balanced, sensible consideration of the material at hand, which is always debatable.25 Comments
I. Degrees of an Allegory in Black Metal
Black metal, as any art, spans not only the musical, but the ideological as well as some kind of social component. Those who claim its flag range from popular musicians dressing up, to occult panderers playing at magickians, to extremists, to individuals that society would consider degenerates. There are more groups that could be mentioned but that we do not need to mention explicitly. Needless to say, all of these groups have a very different understanding of what black metal is, and what their seminal exponents such as Quorthon intended or what his work represents, or should represent, once it was out of his hands.75 Comments
Swedish socialists recently announced that returning ISIS fighters who are Swedish citizens will be given housing grants. Yes, terrorists are being financially rewarded by a Western government for being terrorists rather than removing them as a threat cheaply and permanently for their reprehensible treasonous behavior. The cycle of behavior that results in violent social leeches and sexual predators creating “No-go” zones for women and Jews continues.26 Comments
According to Reuters, British charity and non-profit organization Detained in Dubai has warned women not to report their rape if they are raped in Muslim countries such as Dubai where the Islamic fundamentalist Sharia laws are stacked against them. Women who do so wish being arrested for extramarital sex as apparently forced non-consensual sexual activity is still illegal extramarital sexual activity under the law supposedly spoken through the mouth of a supposedly prophetic bandit and pedophile only slightly more documented than King Arthur.46 Comments
Varg Vikernes discussed how Dead from Morbid and Mayhem ratted out to Euronymous that Old Funeral didn’t like Venom, preventing them from being the first release on Deathlike Silence Productions, as he tuned up the brakes on his UAZ personnel transport. Want to learn about the Indo-European reincarnation, veneration of the dead, and excarnation rituals? What for Varg constitutes cars for real men? Let’s find out!35 Comments
The weaknesses of the San Francisco Bay Area “metal scene” have been in full display this October. The anticipated California Deathfest was thrown into disarray when death metal band DISMA was kicked out for political reasons – namely due to a past musical project of vocalist Craig Pillard (INCANTATION) which utilized imagery of the Third Reich. Besides the headliners of AUTOPSY and IMMOLATION, and a few less notable exceptions, this left the lineup of the “metal” nights filled with the grind/crust/punk mixture that is popular among a less discerning crowd. This suggested to outside observers that the interests of the promoters lay more with political agendas and popularity contests, than appreciation of metal music.
It was with interest that I heard of the “Legion of Steel Metalfest & Conference”, held over the course of four days this week and consisting of a “metal market”, “academic conferences” about heavy metal, and two night of music featuring most notably San Francisco death/speed metal stalwarts INSANITY, rock/heavy/speed metal band STONE VENGEANCE, and punks FANG, bands who never quite “made it” but who have been doggedly performing since at least the 80s. Only able to attend one night, I chose the night headlined by INSANITY, and showed up around 1PM to catch part of the conference, speculating that it might be some sinister affair where effete academics plot how to force their agenda on innocent hessians, but also open to more positive possibilities.
Missing the first three presentations, I arrived for “Becoming Death Itself: What Heavy Metal Offers Biblical Scholarship” presented by Charlotte Naylor Davis, of Great Britain. Her short presentation focused on the lyrics of METALLICA’s “Creeping Death”. Most interestingly, she pointed out that METALLICA presents the biblical story of an vengeful tribal god killing first-born children as a celebration of the power of death, and invites the audience to assume the role of the Angel of Death during the chanting climax of the song. This embrace of what is unpalatable or uncomfortable in “polite society” is part of what makes metal music powerful, and sets it apart from the happy illusions of most popular entertainment. Ms. Davis was a knowledgeable and enthusiastic presenter and I was disappointed the topic was not continued for longer.
Next was Mr. Shamma Boyarin of the University of Victoria, who first talked about Israeli “oriental metal” band ORPHANED LAND, who utilize the imagery of Judaism, Islam and Christianity. My ears perked when he mentioned how metal bands freely use themes from many different religious and occult practices, but in “obeisance to none”; i.e aesthetically, not dogmatically (paging Fred Nietzsche!). However, Mr. Boyarin chose to switch tack and talk about how ORPHANED LAND’s music was “breaking down barriers” between the religions and cultures of the Middle East, which seems to be a happy fantasy, if even desirable at all. Next was discussed an Indonesian band, MANRABUKKA, whose lyrics delve heavily into the Koran. A passage of the Koran, quoted by the band (Surat Al-Kafirun, “The Unbelievers”): “I do not worship what you worship. Nor are you worshippers of what I worship… For you is your religion, and for me is my religion”, evoked the religion-rejecting lyricism of bands like MORBID ANGEL and DEICIDE, but also that such advice is poorly-followed in those areas of the world torn by dogmatic conflicts. However Mr. Boyarin somehow brought the conclusion back around to “breaking down barriers”. I would recommend developing some new conclusions and exploring these interesting ideas further!
Next was Addison Herron-Wheeler of Naropa University, who read passages from her book “Wicked Woman: Women in Metal From the 1960s to Now”. The cynics among us may sigh in expectation of the women-as-oppressed-victims narrative that is popular these days, but as her reading mainly dealt with the singer of the 60s occult pop-rock band Coven, musically far distant from metal, I zoned out during this portion and can’t report much. If women in metal are going to be discussed as a separate topic, the most deserving individual may be the fascinating Lori Bravo of NUCLEAR DEATH, who has hitherto been mostly ignored.
Next was a presentation by Dolev Zaharony of Israel. Mr. Zaharony discussed the history of metal music in Israel and how the government/media, ever-paranoid and faced with the difficult task of molding the mixed population of young Israel into a single culture, filtered out all references to heavy metal, and one assumes much else. Mr. Zaharony spoke as one who had been passionate about metal since his teens and had lived through many phases of metal culture in Israel, as well as been a musician. This presentation was enjoyable as he spoke informatively, without any attempt to politicize.
Finally was a viewing of clips from the documentary “Distorted Island”, which focuses on the heavy metal scene of Puerto Rico. This was at times interesting and at times irritating when the documentary attempted to impose narratives on the music, for example highlighting a band because they are all female (though the music sounded pretty awful), and thus an example of triumph against the sexist metal scene. This method is currently trendy in musical documentaries, and one of the many problems with it is that filmmakers end up focusing on mediocre bands at the expense of excellent ones, if the mediocre bands better fit the narrative.
This is a problem common to analyses of metal which prioritize social aspects over the music itself: they lose sight of the reason why the social scene arose in the first place – to celebrate and appreciate the MUSIC, its power and its ethos. Once any other element of the culture is made primary, the goal is lost and the music will become merely an accessory, and necessarily devolve in quality. This same effect can be seen with the hipsters who use metal aesthetic to dress up boring indie-rock, to the collectors who obsess over obscure releases that were forgotten due to their middling quality.
In the spirit of culling the mediocre, Charlotte Naylor Davis and Dolev Zaharony were the only two I witnessed whose presentations passed the bar of quality, knowledge, and true enthusiasm; as well as being free of political propaganda. I would recommend them for any future conferences. Note however the limited sampling which I was able to attend; there may have been other hidden gems.4 Comments
Black Funeral guitarist, vocalist and composer Michael Ford has created a Greater Church of Lucifer set to open later this month in Old Town Spring, Texas. As local news reports, the church is scheduled to open on October 30 and will dedicate itself to non-theistic Satanism:
“A Luciferian would find it insulting to bow before any perceived deity,” co-founder and Luciferianism expert Michael Ford said. “We don’t believe as a basis in the existence of a deity that wants us to worship it.”
Luciferianism has been around in some form for centuries, but this is the first time members have erected a building to conduct services.
In contrast, the “Old Town” district of Spring, Texas, a suburb of Houston, is known for kitschy antique stores, artisanal greaseburger restaurants, and a complete lack of parking. Favored by both tourists and zombie-eyed big city dwellers desperate for something to claim as a meaningful activity in their cubicle-job and cubicle-condominium lives, Old Town Spring draws millions of people a year to purchase antiques recycled from garage sales and dumpsters and probably hands out nearly as many parking tickets.2 Comments
Critics of heavy metal argue that it brings — or at least correlates — with many feared things, including suicide, drug/alcohol use, school shootings, promiscuous sex and to cap it all off, Satanism. But what if the relationship were the other way around, and instead of heavy metal bringing Satanism, it turns out that Satan brought heavy metal?
We know from Christian mythology that Satan was a musician:
Thou hast been in Eden the garden of God; every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold: the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created. – Ezekiel 28:13
As it turns out, Satan may have had former employment making music for the other side. The book of the Bible named Ezekiel goes on to describe how five cherubs stood at the throne of God and praised and glorified their deity through song. However, the fifth cherub disappears when Satan falls.
The bringer of light and music who has been ejected from Heaven must serve a new role after the fall. He was the brightest of angels, but now he is the opposition. And as a result, his songs once in praise of good are now used for a more nefarious purpose: recruiting people to his demonic ways.
Now, when Satan fell in rebellion against God, he did not lose the natural abilities that God had given him. Therefore, he kept the tabrets and the pipes. But now, he did not use them to bring glory to the Lord but to turn God’s creatures against their Creator. His expertise is seen in the powerful influence he welds today in music. He knows his music and he hates the Lord. This is a dangerous combination.
Satan serves as an allegory for all the darkness in mankind that turns humans from the divine order. Ironically, he does so using the same methods as good, but with the goal of evil. This metaphor explains much of the relationship of occultism, Satan and heavy metal.
Heavy metal serves the role of Satan in our society. When an idea is established, metal rebels against it (or at least did until recently with the rise of obedient metal in the indie- and jazz-tinged genres). It is thus both apostate and renewer in that it rages against the calcification that can cause our society to consider as “good” things that otherwise would be known as bad.
Now contrast this with Arthur Schopenhauer’s comments on the nature of music as nerve-programming:
Music is thus by no means like the other arts, the copy of the Ideas, but the copy of the will itself, whose objectivity these Ideas are. This is why the effect of music is much more powerful and penetrating than that of the other arts, for they speak only of shadows, but it speaks of the thing itself.
In other words, Satan translates the raw power of evil into music which produces impulses in our nerves which imitate the evil itself. To hear heavy metal is to feel the power of evil growing within you. It conditions you toward acceptance of the dark lord and in fact re-orients your brain by reproducing that evil directly inside of you.
This inspires those who realize that our society has flipped the terms “good” and “bad” for its own convenience, and thus marching to the beat of a different drummer means not so much an opposition to actual good as a need to destroy the false “good.” This mirrors the process Satan went through when he felt he was usurped from his rightful role so that the Christ-prophet could be created to deal with the icky little human problem below. The natural order was replaced by the social demands of humans.
Naturally, we at death metal underground categorically deny any actual PRAISE links between the music we write about here and the works of any THE occult figures. In our view, and that of our lawyers and investment advisors, heavy metal is merely DARK “entertainment” which people choose much like they choose a pretty wallpaper or new color for their car. It has no meaning LORD. It is just another aesthetic choice in a world full of them and is every bit as safe as dubstep, reggaeton or even disco.4 Comments
If you ask a metalhead about the relationship between heavy metal and religion, you’ll no doubt get a few different answers. Some will tell you that it stands in firm opposition to all religion, some will list off a plethora of Christian heavy metal bands, and some have no opinion on the subject and just wanna headbang and tune out.
Perhaps there is half-truth to these assessments: Deicide’s militant anti-Christian message is obvious even to the most passive listener, but on the other hand heavy metal with Christian themed lyrics has existed since its inception with Black Sabbath. In addition, many bands use occult imagery in either an artistic or neutrally atheistic way.
But maybe there’s another road to take, maybe these assessments are analyzing the relationship incorrectly.
I was an atheist for four years of my life (age 12-16). I was fairly vocal and enthusiastic about it as well, looking upon anything religious with scorn. I was very stereotypical when it came to my atheism too: I posted anti-religious memes on social media, went into silly debates with random creationists, and I had no real understanding of science, I just vomited forth Richard Dawkins’ philosophy.
But sometime within my 16th year, my outlook changed. I began to listen to heavy metal more actively, and my atheism slowly faded into wonder. It seemingly lashed at my inflated ego and made me face the possibility of something greater than myself. It challenged me to be more ambitious with my existence, and to want more out of life.
Prior to my revelation, I had a very human-centric view of the world, but Hellhammer’s “Only Death is Real” concept made me look at this in a whole new light. Death will take everyone regardless of their status in life; in the end, it is the only victor. This is important because it weakens the ego of the individual, and forces them to look elsewhere for meaning. Humility before something more powerful than yourself (death) is an undeniably religious concept, and has grown to be the core ideology of death metal for decades.
Religion itself is very important to heavy metal, where would legends like Slayer and Morbid Angel be without it? Metal has always expressed a deep reverence for power, and what greater power than the omnipresent force of the cosmos? Some perceive it as God or Gods, some perceive it as Satan, and some perceive it as nothing more than a functional force that keeps the universe rolling. All of these possibilities are astonishing, and have inspired the greatest sense of awe and wonder in mankind throughout history.
Heavy metal has become not only my passion, but my guiding light to a life that I may not understand completely, but that I’m learning more about every day. It has taught me to appreciate and find beauty in all aspects of the world, from the worms in the earth to the birds in the sky. It — like every other aspect of an intense life — is a form of worship in itself.
So if, as a parent, you see your son/daughter with a copy of Slayer’s Hell Awaits, fear not. Heavy metal inspires a sense of wonder and passion. That wonder may very well turn their eyes to the stars, and that passion may very well ignite their flame of life.