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Tracing the Trajectory of Cursing God in Extreme Metal Jeffrey S

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Tracing the Trajectory of Cursing God in Extreme Metal Jeffrey S Document généré le 26 sept. 2021 16:44 Théologiques Tracing the Trajectory of Cursing God in Extreme Metal Jeffrey S. Podoshen Dire et/ou maudire Dieu par la musique Résumé de l'article Praising and/or Cursing God Through Music Cet article étudie l’évolution et les points de repère importants du « maudire Volume 26, numéro 1, 2018 Dieu » dans le milieu du métal extrême. L’objectif de ce travail est de proposer une conversation plus honnête quant aux relations qui unissent Dieu, Satan et URI : https://id.erudit.org/iderudit/1062064ar le métal extrême, afin de dépasser le sensationnalisme médiatique. Trois DOI : https://doi.org/10.7202/1062064ar catégories du « maudire Dieu » dans le milieu du métal extrême sont présentées et celles-ci ont pour but d’agir comme un tremplin vers un discours sur le long terme et une discussion qui permette d’élaborer quant à l’intention Aller au sommaire du numéro et à la philosophie des artistes. Éditeur(s) Faculté de théologie et de sciences des religions, Université de Montréal ISSN 1188-7109 (imprimé) 1492-1413 (numérique) Découvrir la revue Citer cet article Podoshen, J. S. (2018). Tracing the Trajectory of Cursing God in Extreme Metal. Théologiques, 26(1), 105–116. https://doi.org/10.7202/1062064ar Tous droits réservés © Théologiques, 2019 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Théologiques 26/1 (2018) p. 105-116 Tracing the Trajectory of Cursing God in Extreme Metal Jeffrey S. Podoshen* Business, Organizations and Society Franklin and Marshall College (Lancaster, USA) Cursing God and Judeo- Christian religion has been paramount in under- ground genres of extreme metal for many decades now (Hagen, 2011 ; Phillipov, 2012). Specifically, black metal, thrash metal and death metal have focused as the key nexus where hatred towards God has been expressed through song, visual art and performance. This paper catego- rizes three key realms in extreme metal that stems from origins of blasphe- mous and occult- influenced heavy music that, at its core, seeks to denounce God, followers of God and Judeo- Christian influence in Western culture and society. Beginning with an examination of the proliferating black metal and thrash metal scene in the 1980s and moving through today, this work looks to draw demarcations in the greater scene. A key objective of this paper is to clarify the degree and authenticity of blasphemy in the extreme metal scene and to add to the discussion around the contributions and nuances of metal music that « goes against » God. It is important to note that the categories presented here are seen as a starting point to a greater discussion about extreme metal in the literature. The three categories below (Cursing God for Shock Value, Bridging the Gap Between Shock and Blasphemous Authenticity, and A Profound History of Judeo- Christianity) come after extensive analysis of lyrics, art and field research. The author has been an avid listener of hard music since * Jeff Podoshen is Professor in the department of Business, Organizations and Society at Franklin and Marshall College in Lancaster, PA, USA. Jeff’s primary area of research relates to death and violent consumption and dark tourism. Fully immersed in a liberal arts environment, he often blends and bridges theory from a variety of disciplines in order to explain phenomena and build theory. He recently published (2015) Podoshen et al., « Dystopian Dark Tourism. An Exploratory Examination », Tourism Management, 51, December, p. 316-328. © Revue Théologiques 2018. Tout droit réservé. 106 jeffrey s. podoshen 1981 and has seen hundreds of extreme metal bands perform in multiple countries over the course of three decades. This categorization is not meant to be « definitive » but rather as one idea in a greater discourse. Additionally, the goal of this work is not to label bands as « Satanic » or not or to judge the music, art and lyrics in any way, but instead the goal is begin to clarify meaning and lead to more informed discussion about « Satanism » and blasphemy in extreme metal. 1. Category A : Cursing God for Shock Value The 1980s extreme metal scene featured the rise of thrash metal which largely came in on the heels of the early black metal pioneers such as Venom, Bathory, Mercyful Fate and Hellhammer. While Mercyful Fate had the largest degree of commercial success largely courtesy of their pro- found influence on Metallica, these bands remained under the surface and were considered to be too shocking for mainstream radio and MTV to embrace. While Venom was considered to have introduced the metal world to the term « black metal », (Patterson 2013) the band often was seen as taking a less- serious, more commercial tone compared to their contempo- raries in the authenticity of their message. Venom was over- the- top in their stage show and imagery but lacked the seriousness of the anti- Christian and Satanic messages of Mercyful Fate and Bathory. Venom were consid- ered the showmen of the early 1980s extreme genre while Mercyful Fate was considered more intellectual in terms of lyrics, philosophies and musi- cianship (Peterson 2012), with leader King Diamond featured in a myriad of television programs espousing his Satanic worldview (Freeborn 2010 ; Faulkner 2009) with a deadpan seriousness and well- developed grasp of Judeo-Christianity. Hellhammer had a rough beginning in the genre — the names adopted by the band members didn’t help (e.g. Satanic Slaughter, Slayed Necros, etc.) — but quickly found themselves in line with the respect accorded to Mercyful Fate when they morphed into the more serious-minded and gothic-influenced Celtic Frost. These bands would largely form the blueprint for the Second Wave « True Norwegian » Black Metal in the 1990s that centered in Norway (Silva 2012). Thrash metal, based largely in the USA, would take a less serious, more commercial tone. Slayer was easily the best-known purveyors of thrash that indulged in heavy satanic imagery in the 1980s. The band, heavily influenced by a punk and hardcore sound, featured over the top lyrics about death, war and Hell. Their logo featured a pentagram comprised a swords and records tracing the trajectory of cursing god in extreme metal 107 were written with titles like, « Hell Awaits » « Reign in Blood » and later « God Hates Us All » and « Christ Illusion ». Album art, especially that of « Hell Awaits » and « South of Heaven » were well- crafted and featured graphic depiction of the Christian underworld. Band members were seen performing with spikes, make-up and in possession of inverted crosses. It was difficult to find Slayer graffiti scrawled without an inverted cross or pentagram adjacent to it. Band t- shirts featured a variety of Satanic sym- bols and other depictions of evil such as German WWII soldiers, Hell, skulls, death and blood. While Slayer used their anti- Christian image to help propel them to metal stardom, breaking through the underground and even gaining air- play in MTV with their breakthrough video « Seasons in the Abyss », the members of the band were not Satanists and lead singer, bassist Tom Araya is, to this day, a practicing Catholic. Araya’s father was a known minister and gave communion on Sundays. Araya has been able to strike a balance between signing about Satanism on stage and worshipping God in this private life. There is a thick delineation between the stage persona and its encompassing lyrics and images and the personal realm and actual belief system. German thrash artists Kreator and Sodom also gained popularity during the mid-1980s and both dabbled in the Satanic in their early careers. Sodom entered the fray with the In the Sign of Evil EP which fea- tured a raw sound and blasphemous lyrics. The band, however, steadily moved away from these themes and drew closer to lyrics about the horrors of war, ultimately revealing that they truly embraced an « anti- war » per- spective as artists. Similarly, Kreator was constantly nipping at the hells of Slayer throughout much of the 1980s and 1990s using similarly violent (but much less Satanic) imagery and lyrics in songs such as « Pleasure to Kill » and « Death is Your Saviour ». Kreator, however, ran into serious criticism from fans of extreme metal as they moved towards a social justice narrative late in their career and even publicly refused to play on bills with certain known- blasphemous and authentically anti- Christian bands such as Taake1, for largely political reasons. Kreator went so far as pressuring festival organizers to remove Taake from performances. As a result, Kreator’s early work is questioned by many in terms of authenticity as some label it as a mere means to gain greater notoriety in a metal scene 1. Taake is a Norwegian black metal band with a 20+ year history from Bergen that is noted for expert composition, intense stage shows and political controversy. 108 jeffrey s. podoshen that featured a thick layer of talented thrash bands with superior musician- ship and songwriting. In essence, bands such as Slayer and Sodom, curse God for shock and awe. The use of anti- Christian imagery and lyrics that were hostile to God were seen as extreme, but not necessarily as a means to actually curse God but to signify rebelliousness, evil and act as a lightening rod for suburban teen angst.
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