When Adam Darski whose monicker is Nergal, the frontman of a Polish Blackened death metal and Black metal band called Behemoth laid some Islamic chanting and recitation by the end of the band’s fourth song « At the Left Hand ov god » of the Apostasy album; their eighth album to be exact, nothing was to be entailed as somewhat heinous to any religious referential backgrounds, and none was to be considered as the core painfully patency of those hurt on behalf of any interdisciplinary cases being examined, scrutinized and rather twisted to personal benefits, but in the case of the Performant Comparative Literature that lays heavy grounds of declaring several dysfunctions, similarities of cultural backgrounds and treat them in accordance with their traits, respects, dispositions, mainstreaming calibers quite respectively and professionally to the extent of brazen nonsense to be exposed, and nonentity to be channeled elsewhere; it would tersely treat them and find out about the Montheistic, as well as non-Theistic and Satanic backgrounds of every Satanic song, while implicating eventually the plain guilt of blaspheming the entity of religion and thus divinity. And the same case maintained for a heavily immense subject matter that is more than just a theme in several discussions of Literature, Philosophy and music roughly speaking, this theme was and is going to be a widely performed subject in the futuristic plans of lifetime discussions, and is Satanism as it was superimposed with none but the powerful genre of mind control and psychological indoctrinations; music, and as one genre that flourished to ravage against religious foundations more demonically, it was the coming of heavy metal music that maintained a sequel of growth throughout a continental upswing, an English and an American scenery generally speaking, then swiftly to another seriously overwrought and angrily ravaging against religion wave; early Norwegian black metal scene, and several of other waves and scenes that came from Poland, Switzerland and significantly Sweden; the country that developed Blackened death metal and Extreme metal specifically speaking into the limitations of the Metal scenery that ever wanted to ascertain and fulfill, and as such footings that reconciled on points and disagreed on so many others; those points and traits were some that have always been pinned to the ground of ideologies, etiquettes and principles that were standardized by the beliefs that music and its secretive threading orientations and fixated dispositions have been engineered to crave for so vigorously a vengeful platform of ambushes and demonic provocations towards all that is holy.
Metalheads have always been hardwired to decipher and understand what most of the unknown terms, or even languages have meant or leastways attempted to attain in an every song played; especially if it were extreme and Satanic metal song, my sincere precautions signaled an extreme anger on account of unknown gods mentioned in conceit and downgrading esteem, and as much more of that stained esteem in demonic resolution is still proceeding to proclaim the affinity onto disrespecting religion through music, Satanic Metal to be exact, the more requisite factoid of investigating those overtly and badly brazen origins that vouch for plain Jewish orientations; whether their gods, beliefs, semi-personified gods, demons and goblins exorcised from any distorted Holy books, and thus entailed to the words of the Supreme Being with several calibers of flamboyant nonsense based solely on manmade Satanic beliefs; and more bravely represented, beliefs with falsified facts and saliently dormant ones those of religious beliefs such as Christianity, Islam and other than Monotheistic religions, the more it gets to one’s opinion on the scenery of Black metal and Judaism to come together in a relishing rabble-rousing characterizations that dare to understand the beyondness of falsifying facts of the world’s regulations upon the ideals of the hidden agendas, a ploy rather ingratiated with the sense of indoctrinating what a humongous this platform of music can frankly be.
And alongside the foundations of the very meekly reconciling etiquettes of Black Metal; and within religion most importantly, is the affliction that has always been felt agitating and uncompromisingly too petulant to endure the status of the God entity, so performantly challenging to the artist’s stance and their musical orientations; precisely if it were Satanic, the ideals of making a music career and roughly speaking; even decidedly, the bottom line is strictly frantic as a band, an artist and a singer out of modern visionary and eclectic ire in what the narrow-minded mindset of the individual has come to lose touch in esteeming something too often a derogatory touchstone, and so was found to be true in every musical orientation since the beginning of its amalgam within the plateau of world domination, music has been sanitized of its melodic enchantment and winded up rallying the conception of wringing more powers for a brave new world; and reaching out on the other hand, the side that had always touched the unbreakable part of the heart, music and its pioneers of worst to better every time throughout its evolution, every single step; there were additions to it that maintained any given cultural background of a certain clan, certain people and particular foundations that credulously invented new styles too and embraced the ageless initiatives such as the agendas’ designations, their fixated mindset on this brave new world and most significantly, their religious foundations being of roughly and aggregated through, mainly Jewish domineering powers and thus other eclectically seeming to fail; some organizations those that extensively foresaw the birth of agendas’ futuristic hands which included religion as the stepping stone for their plans to be culminated with what they did with the world today.
A modernly modest and unified underneath several orientations, fixations, designations and marvellously speaking, a musically persuaded onto the beliefs of Satanic creeds, those that happened to summon what was held as grudge and hatred towards some cases in humanity, the heart’s pureness and its chastity that successfully relates to any God-given graces such as the come-back to humanity’s innocent proprieties, the meek originality in the intended deeds and reactions too; these qualities that are easily manipulated into any rhythmic and melodic songs, and in the name of specific genres of music, the upswing of Metal in the 80’s as it commenced from then on devilish, Satanic and demonically apprehended on the new foundations of some bravely directed contents that depicted masters of the world; as in their major god that is Satan, and those that are more judiciously proven to have been Jewish folks along the phase of their settling herein; with every sense of power and dominations they did also settle their regulations powerfully welded into everything, and the 80’s crossover from the benevolently prolific musical richness; though slightly religious this heavy metal; the leap to a more seriously angry and insolent was the total confrontation of societal complexes through major points that maintained the very same originality; at the time, some sheer Satanism in the birth of Black metal specifically, those major points were presumptions of decadent coercion in delivering the truest of all ideologies and hence; to what extent their pioneers wanted to be open about their inferences in the world’s picture, regardless of the inhabitants that are humans, those points far more ambivalently brave to have managed to be something else in the new millennium, are points of excess in the impious symbolism of blasphemy, Theistic Luciferians, black magic and somewhat staunchly resourcefulness from The Satanic Bible, as such trails into the Luciferianism has come to be everywhere than within the realm of music quite obviously, and specifically in Satanic music that is Black Metal, a point is that each personal experience with Satanic music everyone would have tried, there were always albums and songs with heady conceit that superimpose Jewish gods, better still; even bands too, with names of Prophets that were decidedly sent to the Israelites as a first ethnic group mainly piled nowhere but in the suburbs of Middle East at the time.
Melechesh is a Black Metal band that came out of Jerusalem, Israel, a name that is both Hebrew and Aramaic, the band though ethnically isn’t to be of a strictly Jewish origins, but it does hale from two different regions, Assyrian and Aramaic territories, most importantly, though the band’s genre is strictly Black Metal and reportedly confirmed; the band’s actual supplementary flavor to their genre is something known as Mizrahi metal; a richly orientated and multi-faceted music style that is Israeli developed to suit its sheer cultural background of Hebrew singing traditions, as well as subjects such as the band’s trivia that stated the immersion of Middle East influences based solely on Assyrian and Mesopotamian; that is to say, a heavily musical and lyrical modern Jewish or authentically speaking, Israeli’s orientated and inherited musical identity and a disposition too, however, their 1995 release EP or Extended Play in the form of a record to hear only, As Jerusalem Burns… this demo was a mainstreaming recognition to the band’s kickstart in bringing about attention to their sense of musical orientation, or as it was rather displayed; their sense of activism that was maintained of occult and magically mystic severity, still for more cited about their beginning; a song called The Siege of Lachish; its feature on the cultural background of the band was What brought about media to blather and allegedly accuse the band to be religiously extremists, as well as the local law enforcement authorities that ravaged against the band too, nevertheless; the song ascertained the story-telling of a deity named Nergal, and not Behemoth’s vocalist and lead guitarist Nergal; that this Mesopotamian god of death, war, pestilence and plague, a god that turned demon as roughly referred to as a Satan; a god of the underworld eventually to the King of the Sunset in some other historical and literary writings, those writings are of sheer existence and relevance to everything Nergal represented in the Hebrew Bible. In accordance with the Melechesh’s frontman Ashmedi, the lyrics denoted that an army of king Sennacherib invaded the city of Lachish, and so did such words also illustrated that an onslaught taken by the king’s designated army and which demons of this city would keep Nergal’s knowledge ( the Knowledge deity Nergal had about and needed as well, for his task of being a god of more than one feature, it was an amount of a divinity’s crossover of qualities that personified themselves in a huge ken of knowledge ) and overhear themselves those demons in order to cease the ambush that was to hit The Siege of Lachish.
Though the band did relate itself to the mere aspects of music, alongside Metal mentality and the vast characterization of precise demonstration of the very instruments themselves, electric guitars, bass, drums and even vocals too; the band still applied none but the designations of their very own caliber, their disposition of being, to be as respectively said as possible, Jewish identity into the realm of implying Satanic and demonic elicitations that are yet ambivalently submissive to the side of religion and Satanism both regarded as the backbone of the thread the band has happened to cherish in great focus of correspondence and alacrity of their coming to life and success.
Watain is a Swedish black metal band that was formed in 1998, and as controversially suspicious of pure evil and occult devil worshipping such as many Black Metal bands, this band has come to be pronounced as the conception that came to set straight the real Black Metal in its truthful figure, and such an aphorism was surely deduced by the band’s leader Erik Danielsson, when asked about the band’s disposition and whatnot; he stated that when they began their journey unto Black Metal, there were not many bands that took the scenery of Black Metal as serious as it should be, infiltrating his words very carefully, Erik also added that the bands that started at the time; had somewhat no appreciation to the scenery of something that ought to be esteemed as a music, but far more than that, Black Metal was and is still going to be a mentality, an attitude and a way of life of not dabbling from a style to another, as though in the form of making a statement, it is dictum that refuses everyone’s views on life the way real genuine artists of Black Metal knows it. Such a dictum is of an in-depth comprehension to any given subject matter, and as clear as it can be summarized the first impression to say about this band, is that their first demo which was released in 1998, “Go fuck your Jewish god”, the demo is made up of five tracks, and a fourth track that was a cover, or a dedication to Darkthrone, another Norwegian Black Metal that brazenly has managed to embark upon the sails of influential threads to Watain themselves; herein, the picture of influence despite the originality of any newly developed band and its mentality of perceiving the things that they do, there is still a cooperative hand that peeks to emanate something of a bigger horizon and a more rabid introduction to more insalubrious reactions and feedback to the scenery of Black Metal.
And since influential countenances and that of Watain’s genuine authenticity in representing what they were made of; the demo “Go fuck your Jewish god” was truly the top notch head start to the band, and though nothing contentious seemed to emerge from it, but the aftermath of more albums, lives to put to the audience has placed the Swedish band in its Theistic Luciferians or a Theistic Satanism picture mainly speaking, as what was quite notorious of this band was the blood, bones of animal carcasses that appeared on stage along the band’s devilish performance, in musical mentality that is Black Metal proportion; the band’s frontman Erik has also mentioned the relevance to the devil worshipping sect, and so is respectively clear in all of their humbly small career that is yet prolific of six albums, where every song is a total glorification to Lucifer, and yet on account of Jewish gods too, is the very same flavor of a fifty fifty deal of Satanic and Jewish domineering agendas which personify; for instance, Samaël the archangel that was mainly to have planned the descendants of Adam and Eve from heaven, and who was a Fallen Angel in several Talmudic books, historical and even literary books as well, is evil but entitled a savior and a commodity in more than one song the band Watain expressed and bolstered quite conceited and alternatively aware of the obscurity in such a heady performance of the band; conclusively, from symbols of sovereignty, Satanism and magical incarnation of demonic resolutions, to devil worshiping and rituals far more the ordinary exercised in a musical stages, outdoor activities and even grinds of a community that is not related to music or a religious background at all, the Misanthropic Luciferian Order cult for a little change, another Swedish movement which rallies the characteristics of chaos and anarchistic beliefs underneath the wing of a completely different and dimensional understanding of the Chaosophy, a movement and a conception with standards of a pristine and pretty avant-garde caliber for the cosmic comprehension for us to grasp, and still is Satanic those qualities taught and esteemed; in the name of radical intuitions towards the belief modern societies and their etiquettes may have referred to until today.
In a song called Waters of Ain, by Watain’s fourth album “Lawless Darkness” the song mainstreams what an army human being can be once freed of the purification of soul, a big talk in it that is hardly perceived, the might of neglecting heartful relevance to the extent of gates of evil becomes sublimity and eternal Elysium, and Ain as the infinity of Ain Sof; which is a realm of Jewish mysticism out of which it banned the Swedish designated cult’s Three Forces, or the three dark veils in the name of Satan, astray they were put away to help pave the way for the Black Light be easily manifested through the Outer Darkness. Those three dark veils aren’t part of this research, yet the becoming of The Temple of the Black Light is as somewhat a discord over Satanic and Jewish conception of bigger perceptions; the perceptions of the universe and its motion in accordance with what humanity could get to offer things blind loyalty and absolute misanthropy in underlining the modern society as a heinous movement in spite of everything that stands for.
Once again with the most dominant band in Black metal, the controversially marked Polish band Behemoth that always sets the limitations to any devilish band so far, and so to the realm of Jewish mysticism, magic, demons and gods in the abstract, and so much throughout their humongous nineteen years career, ever since 1991; the band has been extremely notorious and infamously relevant to demonic invocations, and such a beast-like disposition is embroidered within the band’s sixth album, Thelema.6 was released in 2000; and astray from being a hip in the vicinity of Satanic bands that at the time, raced the plateau of extreme metal to lay the best work ever, there was more to the band’s sixth album than just a successful hit; there was what the band cited for in the first place, and none but the artistic views upon Satanism in the most vast characteristics of aesthetics, thoughtful touches and the most profound personas ever cast in the darkest side of personal emblems, one must find it quite requisite searching something of odd appearance, and thus each unknown nugget is a new piece of advices to the gates of a myriad of information, and literarily speaking, a case of interdisciplinary similarities and slight differences as Black Metal and Judaism; it is highly likely for one to find less than extremely crucial brinks, points to vividly match the leastways ergonomics for music and religion to touch the very spine of implausible impiety and blasphemous aphorisms. This Thelema as the band Behemoth named their album upon, Thelema.6; is an obvious derivative of the band’s cited and favorite role models, Aleister Crowley, a famous English writer and a poet, yet a very almost; a tin god and a pioneering trail blazer of the Satanic conception in each square of historical and literary countenances to the world, and of all the authentically engineered path of sound dedication and devotion of a lifetime researches to black magic; and especially Satanism, the English writer has successfully and even ridiculously managed to create a religion, a philosophy of Satanic spirituality; the famously most wicked man on earth wrote volumes of demonic fragments and prophetic analyses of sheer evil and wickedness, and those calibers without further ado; are one of them sculptured an invocation in the band’s tenth album The Satanist, a 2014 major gross that had the ninth track “O Father O Satan O Sun!” a plateau of yet a demonic invocation in the very last part of it, presumably stated and announced that that invocation is taken from Crowley’s Liber Samekh,a huge list of texts either way characterized by spells of summoning demons and gods, or attributed to a group of Crowley’s students of the magical order A∴A∴. Eventually, that melody that soothes one’s problematic issues and forces a full attention into the melodic and the depth of the insalubrious lyrical disposition of the Satanic citation, is what precisely occurred during the last minutes of the “O Father O Satan O Sun!” .
Another song from the very Polish band that nailed every aspect of extreme metal in every song they produced, the band’s eleventh album I Loved You at Your Darkest, a 2018 great hit that contained a third track called “god = dog”, the song nonetheless had about a directly overwrought plateau for an obscurely blasphemous disposition, with symbols of serpents, swine and Jewish gods like Elohim and Adonai, not to mention the constant anger on account of the Messiah; Jesus Christ the victim of every victimized entity that ever lived and knew about this allegedly accused Prophet with a series of fallacies, wrongdoing and the god-like personifications as several times described in the scenery of not just the Black Metal, but in every meek and extreme metal community, and surely for this “god=dog” song to be accompanied with a referential affiliations to Crowley’s thelemic understandings and philosophies of the invented entity of the divinity that is humanity in the fact frankness, and such a philosophically in-depth idea has just happened to be a thread in all of the band’s discography; respectively, it does come from a frame of mind as the band’s frontman Adam Darski or Nergal, stated many times responses to every concerns and grievances over such Satanic activities in music; that it all come from an artistic point of view, though despite the Satanic and religious discords whether prescribed in disrespect or total homage as that to the father of such pandemonium, Satan.
The epitome of evil in the industry of music is of a sheer put together agenda that works relentlessly to discourage, subdue and eliminate any further regards of the meek Rock n’ Roll and heavy metal that used to exist by so far; the brilliance of the electric guitar has described and paved the way for it all, and one would think of the outcome out of such a pandemonium of a ravaging ire, spleen and overwrought mentality which are willing to foster more demonic nonentity into the field of black metal, as evil pours more of its seeds, Judaism and black metal unite and reconcile more than averagely considered or accounted for by any Metalhead, thinker or any given ardently avid supporter of such music genre and its secretive growth and immersive indulgence within the designated community of extreme metal.