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Old 06-12-2016, 07:38 PM   #61
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Re: Deathspell Omega's Artwork

Kénôse
I
Kénôse is a Greek word ἐκένωσεν (ekénōsen) used in Philippians 2:6-7 delineating the emptying of one’s self and Jesus Christ’s abasement to the fragility of humanity.

“Who, being in very nature God,
did not consider equality with God something to be used to his own advantage;
rather, he made himself nothing
by taking the very nature of a servant,
being made in human likeness.
And being found in appearance as a man,
he humbled himself
by becoming obedient to death—
even death on a cross!”

-Philippians 2:6-8

The L'Ange Albe[1] is the Virgin Mary and the Immaculata refers to the Immaculate Conception which stipulates that the Logos(Jesus) is of a Divine order devoid of sin; sin being the dividing factor between humanity and Godhead. This idea is reinforced by Arthur Lovejoy’s quote in the beginning of I which is the third principle of The Great Chain of Being[2]:

“Everything, except GOD, has in itself some measure of privation, thus all individuals may
be graded according to the degree to which they are infected with mere potentiality”

- Arthur Lovejoy, The Great Chain of Being[3]

Humanity is inherently devoid of sanctity wherein delinquency is absolute and inevitable. By emptying himself, Christ subjects himself to the “laws of Human birth and to the lowliness of fallen human nature”, thereby excoriating himself of Divinity. I(the first track) renders an interrogative tone questioning the Divinity of Jesus and his subsequent degradation into the intrinsic fallibility of humanity.

“hast thou succumbed to the original malady?.....Dost thou still stand in undiminished Majesty after the exinanition of divine attributes the face of profound fire gone astray, exhaling austerities in concealed, divine radiance?”

While successive stanzas are sardonic, belittling, and critical:

“Solely the incarnate Word proclaimed by all the prophets
and apostles would have, in dying, an infinite value, sufficient to atone, by His astonishing work, for the Sins of the world.”

In the same stanza, Deathspell Omega state that Kenosis is a pitfall into the vulnerability of mankind; a vulnerability fiercely knit by “lacerations, “flagellation”, and “crimson spurts” (blood). Stripped (Res Rapta... Res Rapienda…[4]) of Godhead, the Logos degrades himself akin to the “suffering of the Just…...aggravated in grotesque proportions” and inevitably “overthrown” which is aptly summarized by Léon Bloy:

"Le fond de ma pensee est que dans ce monde en chute toute joie eclate dans l'ordre naturel et toute douleur dans l'ordre divin" -
- Léon Bloy (Inédits de Léon Bloy, Montreal, Ed. Serge, 1945, p. 70.)

The abasement of Christ pertains to the potentiality of ignominy in humanity. Like man, the Logos, robbed of his sanctity, is subject to the original sin and temptations espoused by the serpent in Genesis 3:3-6 and mankind’s subsequent condemnation (Genesis 6:5-7) through the process of Kenosis. The Logos is now disposed to the “Microcosm” in II, which correlates the disfigured body of one to the defaced body of mankind; The Triune God[5] is thusly “deprived of the Light of Splendour” and subject to the same brittleness and inquities of man. In time, the baseness and frailty of mankind will become the apparatus to “aperture to the High Mass of the Comforter”. The aggregate of mankind is the inverse of the Divine: The Divine must empty itself to become like man and man must fill up the emptiness left by the Divine and undergo the “Advent of Plerosis”[6]. One empties and the other fills. Humanity embodies this fulfillment by filling “the shattering universe with the pestilent scent of putrefaction and the glorious cloud of death.” One recalls the putrefaction expounded upon in Si Monumentum Requires Circumspice. While the Logos engenders dereliction, humanity underscores Satan’s power, solidifying mankind’s destiny of degradation, sin, decay, and perversity.



II

II is prefaced with “the exchange of emptiness/void” and “Ecce lignum Crucis,
In quo salus mundi pependit[7]”, which is a call to the worship of the cross on Good Friday.

“Do I kneel thus below the Cross for the three hours of my life, until everything is also fulfilled in me and through me? Am I one with the Crucified? My soul thirsts for God my Savior. I want to rise up and I want to see him who has drunk the most bitter cup of this world. The most bitter, for in comparison what is the little bitterness that we feel, we who are sinners and so indifferent to it all? I want to kiss his bloody feet, the feet that pursued me even into the most monstrous inextricability of my sins. I want to see the pierced side of him who has locked me in his heart and who therefore took me with him when he went home, passing over from this world through death to the Father, so that I, too, am now there where only God can be. I want to see the wood of the Cross, on which the salvation of the world, my salvation, hung.”

This “chapter” interprets the repercussions of Christ’s forsaken Divinity, leaving mankind to find his own salvation “with fear and trembling”. Mankind can now fulfill his destiny and act as God’s apparatus[8] or “Eritis sicut” as the cross represents the Providence of Jesus giving way for the exchange of the “emptiness of man”[9] for mankind’s “Advent of Plerosis” to produce a “savage aperture to the High Mass of the Comforter”. Plerosis, harkens “the strident call of felony” and fills “the void of purity” left by the Logos through Kenosis.

The first two stanzas of II underscore God’s incontrovertible, unrivaled power quoting Martin Luther’s Whether Soldiers Too Can Be Saved and Alexander Pope’s Essay on Man[10]. God’s unrestricted force and terror illuminates mankind’s prospect as God is likened to an “insatiable Moloch”, a God incessantly demanding sacrifice and perdition inciting “manifold quadrants of industrialized death”. God’s unrivaled fortitude is further exemplified in III as the meaning behind most horrific and catastrophic events are defined as elusive; the ambiguity of God’s intentions as being interpreted “by a loving hand” or providing the “vilest of torments” is irrelevant and only serves to underscore God's capricious, oppressive, boundless power, and his capacity for ceaseless irrational perdition. No one man is in a place to question God or his mandate’s no matter how desultory. The verse from Exodus 33:20 “No man can see me and Live!” exemplifies this notion.

By way of absolute power God is an “agent of Divine Providence” placing mankind “between the restrictive force of Cain and the expansive force of Abel”. Cain and Abel made countless sacrifices to God only for Cain to murder Abel as Cain was envious of God’s preference to Abel’s tributes. The resentment coveted by Cain is a consequence of being imbued with Original Sin; Original Sin being the dividing factor between the Divine and the fallible. God being an “insatiable Moloch”, however, stipulates and imposes an infinite number of sacrifices along with unending exhaustive penance on the grounds of his incontrovertible power. God’s divine authority places mankind on “ a suppurating cross” with “blood and scoria” eventually molding into a scorned, mutilated corpus with “rotting teeth”, “swollen tongues”, and “long arms that hang down to the feet”.

“Explicit is the belief that God permits his creatures to be reviled and scorned
And that this is their only means of Salvation”


The “only means of salvation” being the “pursuit of perversity”.

III

III invokes the doctrine of Mystical Substitution[11], the process and archetype of atoning for one’s sins in effigy which alludes to Leviticus 16:

“Man shall lay both of his hands on the head of the live goat, and confess over it all the iniquities of the sons of man and all their transgressions in regard to all their sins; and he shall lay them on the head of the goat and send it away into the wilderness by the hand of a man who stands in readiness.The goat shall bear on itself all their iniquities to a solitary land; and he shall release the goat in the wilderness.”

Deathspell omega’s solution refutes perdition and embraces iniquity since “The fruit that is forbidden holds the greatest potential for providing infinite knowledge”. A Divine entity that functions as an “insatiable Moloch”, demanding endless propitiations and swift to punish those who dwell in the Original Sin in which God so tenderly gifted humanity at the outset, implicates spiritual self mutilation to such a degree that one can liken this ethereal relationship to “algolagnia”.

“May Repentance be nothing more than a mask of algolagnia?”[12]
-Mario Praz


The “pursuit of perversity” is mankind’s true salvation in defiance of the Transcendent Logos. In Joyce O. Lowrie’s The Violent Mystique, Dr. Lowrie remarks upon Jules Barbey d'Aurevilly's poem Treize Ans, in particular the line:
"Il semble que le Diable y mêle un goût d'inceste. Pour qu'il soit plus ivre et plus fou !”
“It seems that the devil mixes a taste of incest . To make it more drunk and crazy!"
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Old 06-12-2016, 07:39 PM   #62
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Re: Deathspell Omega's Artwork

Dr. Lowrie stipulates that “these verses are important because they reveal an essential facet of the meaning of incest and other forms of perversion….Incest is tempting because it is the most forbidden of all loves…...the more forbidden something is, the greater the fascination because "the pursuit of perversity masks a search for meaning and knowledge[13]”. Deathspell Omega endorse this notion in III with the maxim: “The fruit that is forbidden Holds the greatest potential for providing infinite knowledge”.

This notion recalls Georges Bataille’s viewpoint on the relationship between knowledge and man:
“The extreme limit of the 'possible' assumes laughter, ecstasy, terrified approach towards death; assumes error, nausea, unceasing agitation of the 'possible' and the impossible and, to conclude - broken,nevertheless, by degrees, slowly desired - the state of supplication, its absorption into despair. Nothing of what man can know, to this end, could be evaded without degradation, without sin[14]”.

These ideas are embraced by Deathspell Omega on many of their releases from Si Monumentum Requires Circumspice onwards, especially Fas - ite maledecti in ignem aeternum in which the aforementioned citation is quoted verbatim in The Repellent Scars of Abandon and Election. Knowledge and intelligence is reserved exclusively for Divine jurisdiction as mankind’s continued acquisition of knowledge are theological and biblical manifestations of morbidity and thusly direct violations of God’s dominion over humanity since the mere curiosity of Eve generated the birth of original sin congenital to humanity.


III’s ambient intermission at 1:57 reiterates God’s unstoppable power[15] and subsequently gives way to Revelation 12:9 as a retort and proclamation of Satan’s metaphysical providence of knowledge and taboo. The phrase “Lamma Sabacthani”[16] is uttered repeatedly to emphasize the metaphysical death of the Transcendent Logos and Mystical Substitution. This narrative gives way to Revelations 12:9 in which Satan is hurled unto the Earth and leads the world astray. The metaphysical descent of Satan entails knowledge, intelligence, decay, and perversity resulting in the “Spiritual Incest” and “defilement of the temple of the Holy Spirit”. These worldly components are the hallmark of of Satan’s power since Satan’s power is derived of Earthly pleasures and the errancy innate to mankind. These manifestations are the true “Thesauri ecclesie”. Deathspell Omega refers to the “chalice of divine wrath and final consummation” as a promulgation for a Satanic Eucharist that invokes and embraces iniquity innate to mankind. With the Divine emptied and replaced with mankind’s fulfillment or “plerosis”, Satan makes his inauguration in the form of mankind’s pursuit of perversity and knowledge. The verse “the morning star rises in your hearts” [17]cements this notion as the “morning star” represents Satan instead of the Logos.


Footnotes
[1] Refers a painting by the Italian High Renaissance artist Raphael, depicting Mary and Jesus.
[2] The Great Chain of Being is comprised of three mandates: plenitude, continuity, and unilinear gradation.
[3] Arthur O. Lovejoy, The Great Chain of Being, N.Y., Harper & Bros. 1960, P.52
[4] Four Latin terms have emerged as labels for the various interpretations of ἁρπαγμός:raptus, res rapta, res rapienda, and res retinenda. Generally speaking , these terms are employed in the Bible with the precise active verb of seizing or robbery. For further study see The Meaning of Harpagmos in Phillippians 2:6” [Th. M. Thesis, Dallas Theological Seminary, 2000], 20-38).
[5] Perichoresis. From Greek: περιχώρησις perikhōrēsis, "rotation". Describes the relationship between each person of the triune God (Father, Son, and Holy Spirit).)
[6] Plerosis (πλήρωσις) is a Greek word meaning “fullness” or “fulfilling”.
[7] “See the wood of the cross in which the salvation of the world hung”
[8] Philippians 2:12-13 “Therefore, my dear friends, as you have always obeyed—not only in my presence, but now much more in my absence—continue to work out your salvation with fear and trembling, for it is God who works in you to will and to act in order to fulfill his good purpose.”
[9] From The Shepherd of Hermas Eleventh Mandate “For being empty himself, He giveth empty answers
to empty enquirers; for whatever enquiry may be made of Him, he answered accordingly to the emptiness of the man”
[10] “erring reason's spite, is my pride” from Essay on Man, EPISTLE I:X by Alexander Pope. In the context of II “... I am the son of Man, and this in erring reason's spite, is my pride…” meaning the Son of God’s power is without question.
[11] Taken from Huysmans' biography of Saint Lydwine of Schiedam which interprets the notion of atoning for other’s sins through the sacrifice of oneself in the manner of Jesus Christ.
[12] Mario Praz, The Romantic Agony, London, Oxford University Press, 1933, p.307
[13] Joyce O. Lowrie, The Violent Mystique, Geneva (Switzerland), Librairie Droz S.A., 1974, p.38
[14] Georges Bataille, Inner Experience, Albany (New York), State University of New York, 1988, p. 39
[15] “The purest of all Holocausts shall be perpetrated by a loving hand, never knowing if it provided felicity or the vilest of everlasting torments... No man can see Me and live! -Exodus 33:20
[16] Matthew 27:46 “And about the ninth hour Jesus cried with a loud voice, saying, Eli, Eli, lama sabachthani? that is to say, My God, my God, why hast thou forsaken me?”
[17] 2 Peter 1:19


Artwork and Miscellaneous

The artwork of Kénôse is by Fred Deux, in particular from his book Entrée de secours, from Temps qu'il fait publishing. Other quotes and references throughout Kénôse include:

“L'Esprit du Seigneur ne se promène pas seulement dans les cimetières
Ceux qui Le connaissent peuvent Le rencontrer partout, fût-ce en enfer,
Et Il dit Lui-même que le feu marche devant Sa Face!”

"The Spirit of the Lord is not only walks in cemeteries
Those who know can meet him anywhere , even in hell,
And He Himself says that the fire goes before His Face !"

-Léon Bloy *La femme pauvre*)

"Le fond de ma pensee est que dans ce monde en chute toute joie eclate dans l'ordre naturel et toute douleur dans l'ordre divin" -
The bottom of my thought is that in this world falling all joy broke out in the natural order and any pain in divine order
- Léon Bloy (Inédits de Léon Bloy, Montreal, Ed. Serge, 1945, p. 70.)

“Nous n'avons pas d'autre moyen que la douleur
Pour sentir notre proper existence spirituelle et divine;
Nous n'en avons pas d'autre pour la fair sentire * nos semblables

"We have no other way than pain
To feel our proper spiritual and divine existence ;
We have not else for sentire fair to our fellow"
- Louis Claude de Saint-Martin from Le Ministère de l'Homme-Esprit.

“In the next place, it never approached an assembly
of righteous men; but avoideth them,
and cleaveth to the doubtful-minded and empty
and prophesieth to them in corners,
and deceiveth them, speaking all things in emptiness to gratify their desires... For being empty himself, He giveth empty answers
to empty enquirers; for whatever enquiry may be made of Him, he answered accordingly to the emptiness of the man”
-The Shepherd of Hermas Eleventh Mandate

In Visceribus meaning “In The Entrails” which emphasizes Christ’s abasement to the frailty of humanity.

“And He is before all things, and in Him all things consist.”
-Colossians 1:17

Du wirfst mich in den Moderstaub des Todes - you throw me into the musty dust of death
-Psalm 22:15








To conclude I will leave a passage from Léon Bloy that acts as a buffer between Kénôse and Paracletus.

“Il était nécessaire que les peines de l'enfer ne fussent pas éternelles, car Satan devra en sortir un jour pour devenir le Paraclet... Dieu ne trompe personne, pas même le diable. Ce secret, il l'a cherché désespérément, cinq mille ans ; c'est ce secret qui est
son enfer, et c'est * cause de ce secret qu'il « tremble » comme le dit l'apôtre saint Jacques……...Abîme ou Enfer ; le Serpent est au fond avec l'Espérance, assurément, d'en sortir au jour pour le prochain Avènement, où Satan surgira comme le Frère Cadet du Christ, pour revenir * son Père" et remonter dans l'Empyrée, nouvellement sacré Troisième Hypostase”

“It was necessary that the pains of hell were not eternal , because Satan will come out one day to become the Paraclete... God deceives no one, not even the devil . This secret , he desperately sought , five thousand years ; is this secret that is
his hell , and it is because of this secret that he " trembled " as says the Apostle St. Jacques…..Abyss or Hell ; Snake is at the bottom with Hope, certainly , to leave the next day for Advent , where Satan arise as Brother Cadet of Christ to return to his Father " and back into the Empyrean , newly crowned Third Hypostasis”

- Léon Bloy from
UN PROPHÈTE LUCIFÉRIEN LEON BLOY
RAYMOND BARBEAU
AUBIER, ÉDITIONS MONTAIGNE, PARIS, 1957
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Old 06-13-2016, 03:07 PM   #63
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Re: Deathspell Omega's Artwork

Our savior is back! Praise the Cabbage!
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Old 06-13-2016, 05:24 PM   #64
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Re: Deathspell Omega's Artwork

so I guess he isn't in the band and it's more like a homework he did?

either way, that's awesome dude!
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Old 06-13-2016, 06:00 PM   #65
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Re: Deathspell Omega's Artwork

if anyone desires a screencap of all posts so far https://mega.nz/#!OBRjgL6B!pWbZOHXXU...XoV7grAcR3vOL0
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Old 06-14-2016, 12:45 AM   #66
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Re: Deathspell Omega's Artwork

This was posted in a group I am in on facebook called dissonant network


Extra Info

Diabolus Absconditus:
Most of the lyrics are near-direct quotations from Georges Bataille's Madame Edwarda.
*
Fas - Ite, Maledicti, in Ignem Aeternum:
The unused line, "Le vent de la vérité a répondu comme une gifle * la joue tendue de la piété" is a direct quote from Georges Bataille's L'Impossible.
The line, "The idea of Salvation comes, I believe, from the one whom suffering breaks apart. He who masters it, on the contrary, needs to be broken, to proceed on the path towards the rupture" is a direct quote from George Bataille's The Inner Experience.
The line, "et Factus est sudor eius sicut guttae sanguinis decurrentis in Terram" is a direct vulgate quote of Luke 22:44.
On Fas, there are direct quotations to The Seven Angels of the book of Revelations. The Shrine of Mad Laughter quotes Rev. 16:17 and 16:12, Bread of Bitterness quotes Rev. 16:10, The Repellent Scars of Abandon and Election quotes Rev. 16:8 and 16:4 and A Chore for the Lost quotes Rev. 16:3 and 16:2. These are not indicated in the lyric book.


*
Chaining the Katechon:
The line, "Le verdict ne vient pas d'un coup, le processus lui-même se transforme au fur et * mesure en verdict" is a direct (albeit, translated) quote from Franz Kafka's The Trial.
The lyrics, "The act of a free man/Connected to the balance of the world/Projects itself into the infinite" follows a line of thinking evident in the quote, "Every man who begets a free act projects his personality into the infinite" attributed to Leon Bloy.
*
Paracletus:
The traditional hymn O Heavenly King is parodied in Epiklesis I.
Andre Breton's La lampe dans l'horloge is quoted on Wings of Predation (Aboyeurs de deiu).
Leon Bloy's Salvation through the Jews (Le Salut par les Juifs) is quoted on Wings of Predation and Epiklesis II and The Meditations of a Recluse (Meditations d'un Solitaire) on Devouring Famine.
The phrase "Vestigia nulla retrosum" on Wings of Predation is a common Latin phrase essentially meaning "No going back".
The phrase "Implemini spiritu sancto" is quoted from Ephesians 5:18 on Abscission.
John 20:22 is quoted in Phosphene.
The phrase "Nihil videt et omni videt" on Have you beheld the fevers? is most likely a quote from Bataille's The Inner Experience, though it has usage elsewhere.
The title Have you beheld the fevers? comes from Charles Baudelaire's poem Réversibilité.
The title Devouring Famine comes from James Shirley's poem The Last Conqueror.
*
Drought:
The line, “A shadow of horror is risen” is a direct quote from William Blake’s The Book of Urizen.
Scorpions and Drought heavily references Dante's Inferno.
The brass interlude on The Crackled Book of Life is a direct quotation from the first movement of Krzysztof Penderecki's The Seven Gates of Jerusalem.
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Old 06-14-2016, 02:49 AM   #67
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Re: Deathspell Omega's Artwork

Literally 65% of the lyrics from Fas come from Georges Bataille's Inner Experience, and a handful of others are from the bible. The obombrations are just quotes from the Vulgate version of the bible. Obombration I quotes psalm 10

Ut Quid, Domine, Recessisti Longe?(Why, Lord, do you stand far off? - Psalm 10)


and the last obombration quotes.....

..et Factus est sudor eius sicut guttae sanguinis decurrentis in Terram...
(and his sweat was as it were great drops of blood falling down to the ground - Luke 22:44)
Domine, in pulverem mortis deduxisti me (O Lord, thou hast brought me into the dust of death, -Psalm 22:15)
PERINDE AC CADAVER!

Psalm 43 21st Century King James Version (KJ21)

43 Judge me, O God, and plead my cause against an ungodly nation; O deliver me from the deceitful and unjust man.
2 For Thou art the God of my strength; why dost Thou cast me off? Why go I mourning because of the oppression of the enemy?
3 O send out Thy light and Thy truth! Let them lead me. Let them bring me unto Thy holy hill and to Thy tabernacles.
4 Then will I go unto the altar of God, unto God my exceeding joy; yea, upon the harp will I praise Thee, O God, my God.
5 Why art thou cast down, O my soul? And why art thou disquieted within me? Hope in God, for I shall yet praise Him, who is the health of my countenance and my God.


Two glances overwhelmed with woes(Psalm 142)

Reflecting the echoes of a fall upon a bed of rocks(Job 8:11-19
11“Can papyrus reeds grow tall without a marsh?
Can marsh grass flourish without water?
12While they are still flowering, not ready to be cut,
they begin to wither more quickly than grass.
13The same happens to all who forget God.
The hopes of the godless evaporate.
14Their confidence hangs by a thread.
They are leaning on a spider’s web.
15They cling to their home for security, but it won’t last.
They try to hold it tight, but it will not endure.
16The godless seem like a lush plant growing in the sunshine,
its branches spreading across the garden.
17Its roots grow down through a pile of stones;
it takes hold on a bed of rocks.
18But when it is uprooted,
it’s as though it never existed!
19That’s the end of its life,
and others spring up from the earth to replace it.)

Such a hideous clamour(Quotation from H. Rider Haggard's Mr. Meeson's Will Chapter VII. "Up they came, hundreds and hundreds of them (for there were a thousand souls on board the Kangaroo), pouring aft like terrifled spirits flying from the mouth of hell, and from them arose such a hideous clamour as few have lived to hear.)
An agony that stained the azure
The light of the world
And the wretched olive tree
Stars receded with shaking grace
Degraded holy essence, the third hypostasis
Unaltered holy essence, the third hypostasis
De profundis clamavi ad te, Domine
(Out of the depths I cry to you, O Lord. Psalm 130 )
(Also from the poem "De Profundis Clamavi" by Charles Baudelaire

It is a dreadful thing to fall into the hands of the living God!(Hebrew10:26-31
26For if we go on sinning willfully after receiving the knowledge of the truth, there no longer remains a sacrifice for sins, but a terrifying expectation of judgment and THE FURY OF A FIRE WHICH WILL CONSUME THE ADVERSARIES. Anyone who has set aside the Law of Moses dies without mercy on the testimony of two or three witnesses. How much severer punishment do you think he will deserve who has trampled under foot the Son of God, and has regarded as unclean the blood of the covenant by which he was sanctified, and has insulted the Spirit of grace? For we know Him who said, “VENGEANCE IS MINE, I WILL REPAY.” And again, “THE LORD WILL JUDGE HIS PEOPLE.” 31It is a terrifying thing to fall into the hands of the living God.)

Take heed therefore unto yourselves(Acts 20:28-30
Take heed therefore unto yourselves, and to all the flock, over the which the Holy Ghost hath made you overseers, to feed the church of God, which he hath purchased with his own blood. 29For I know this, that after my departing shall grievous wolves enter in among you, not sparing the flock. 30Also of your own selves shall men arise, speaking perverse things, to draw away disciples after them.)

Wherefore hidest thou thy face(Pslam 44:22-26
Yea, for thy sake are we killed all the day long; we are counted as sheep for the slaughter.

Awake, why sleepest thou, O Lord? arise, cast us not off for ever.

Wherefore hidest thou thy face, and forgettest our affliction and our oppression?

For our soul is bowed down to the dust: our belly cleaveth unto the earth.

Arise for our help, and redeem us for thy mercies' sake.

and Job 13:17-28

17Hear diligently my speech, and my declaration with your ears.

Behold now, I have ordered my cause; I know that I shall be justified.

Who is he that will plead with me? for now, if I hold my tongue, I shall give up the ghost.

Only do not two things unto me: then will I not hide myself from thee.

Withdraw thine hand far from me: and let not thy dread make me afraid.

Then call thou, and I will answer: or let me speak, and answer thou me.

How many are mine iniquities and sins? make me to know my transgression and my sin.

Wherefore hidest thou thy face, and holdest me for thine enemy?

Wilt thou break a leaf driven to and fro? and wilt thou pursue the dry stubble?

For thou writest bitter things against me, and makest me to possess the iniquities of my youth.

Thou puttest my feet also in the stocks, and lookest narrowly unto all my paths; thou settest a print upon the heels of my feet.

And he, as a rotten thing, consumeth, as a garment that is moth eaten.)

In such a vain move of treason?
Rest assured
No veil in this autumnal would could conceal (neither protect)
from the shadows of the deathless Sun
The worm is spread under thee(Isaiah 14:11 KJV
Thy pomp is brought down to the grave, and the noise of thy viols: the worm is spread under thee, and the worms cover thee.)

Et tous les bêlements de l’agneau vibrent ainsi dans la fosse
épouvantable sans qu’il ne soit possible de supposer une seule
plainte exhalée par le Fils de l’Homme qui ne retentisse pas
identiquement dans les impossibles exils où s’accroupit le
Consolateur…(And all the bleats of the lamb vibrate thus in the pit
terrible without it not being possible to suppose only one
complaint exhaled by the Son of man who does not resound
identically in the impossible exiles where it is squatted
Comforter…)

From Leon Bloy letter marked Sunday, June 12 1892 S. Olympe. Trinite

De profiindis : Du plus profond des abîmes inférieurs, Jésus clame vers son Père et cette clameur éveille dans les entrailles les plus intimes des gouffres, - infiniment au-dessous de ce qui peut être conçu par les Anges, indiciblement plus bas que tous les pressentiments et tous les mystères de la Mort — le très étouffé, le très lointain, le très pâle gémissement de la Colombe du Paraclet qui répercute en écho le terrible De profundis.


Et tous les bêlements de l'Agneau vibrent ainsi dans l'épouvantable profondeur sans qu'il soit possible de supposer une seule plainte exhalée par le Fils de l'homme ou par ses Prophètes qui ne retentisse pas identiquement dans les impossibles exils où s'accroupit le Consolateur.

From profiindis : From the depths of the lower depths , Jesus proclaims to his Father and this clamor awakens in the deepest bowels of the abyss , - infinitely below what can be designed by the Angels , unspeakably lower than all forebodings and all the mysteries of Death - the very muffled , very distant , very pale moan of the Dove of the Paraclete which affects echoing the terrible de profundis .

And all the bleats of the lamb vibrate thus in the pit
terrible without it not being possible to suppose only one
complaint exhaled by the Son of man who does not resound
identically in the impossible exiles where it is squatted
Comforter…

Last edited by moist_cabbage; 08-06-2016 at 07:34 PM..
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Old 06-23-2016, 07:45 PM   #68
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Re: Deathspell Omega's Artwork

So is DsO's drumming real or not
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Old 06-23-2016, 07:49 PM   #69
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Re: Deathspell Omega's Artwork

Some, yes. Drought clearly has some EZ drummer going on.
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Old 06-23-2016, 08:42 PM   #70
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Re: Deathspell Omega's Artwork

I need to go on SMN more. I keep forgetting about this place.
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Old 09-03-2016, 04:30 PM   #71
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Re: Deathspell Omega's Artwork

Bump cause this is the greatest shit I've ever seen on SMN
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Old 09-04-2016, 09:42 AM   #72
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Re: Deathspell Omega's Artwork

Quote:
Originally Posted by Iain Avstin View Post
Some, yes. Drought clearly has some EZ drummer going on.
You are clueless. There are ghost notes all over the place in their work, it's either a human drummer or they have access to some future tech.
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Old 09-04-2016, 10:56 AM   #73
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Re: Deathspell Omega's Artwork

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You are clueless. There are ghost notes all over the place in their work, it's either a human drummer or they have access to some future tech.
YOU are the clueless one. Their last album with a human player is Si Monvmentvm (obviously you would have never guessed that in a million years based on your drooling inbred mentality) and you are clearly autistic if you can't conceive that ghost notes can't be played by a program in 2016. Please keep posting clueless shit as always, maybe one day you'll be a little bit less retarded!
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Old 09-04-2016, 11:10 AM   #74
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Re: Deathspell Omega's Artwork

You actually think EPs like Kenose weren't performed by a human, playing real drums. I'm trying to take in the sheer amount of stupidity in that post.
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Old 09-04-2016, 11:14 AM   #75
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Re: Deathspell Omega's Artwork

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You actually think EPs like Kenose weren't performed by a human, playing real drums.
Yup totally. It seems there might be more shit stuck in both of your ears than I first guessed. But please go on, you sounded almost less retarded on that last post.
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Old 09-04-2016, 11:17 AM   #76
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Re: Deathspell Omega's Artwork

Why does being wrong make you so angry?
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Old 09-04-2016, 11:19 AM   #77
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Re: Deathspell Omega's Artwork

You tell me, I'd sure be mad if my ears were half as wrong as yours.
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Old 09-04-2016, 11:20 AM   #78
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Re: Deathspell Omega's Artwork

Yeah, your ears. Yeah.
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Old 09-04-2016, 12:01 PM   #79
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Re: Deathspell Omega's Artwork

Tacos, here's a challenge; name me one single album with programmed drums that sounds as organic as Kenose or Paracletus? Everything from the timbre, to the style of playing, just screams a real drummer, not to mention the parts aren't anything like superhuman to play. With that in mind, and the fact that you have zero references to the drums being programmed, I'll just assume you're off your meds today.
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Old 09-04-2016, 12:33 PM   #80
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Re: Deathspell Omega's Artwork





There you go, both of these albums show how a clever norwegian can make clever drum programming. Serocs' drums on their first album is also very well composed, but the sounds used are very limited IMO.

Here's your challenge : try not to lie to yourself into your little world for a whole day and then post something on this forum ; if what you posted is not absurd / doesn't come close to tinfoil hat territory, you won!
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Old 09-04-2016, 12:57 PM   #81
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Re: Deathspell Omega's Artwork

It's beyond tinfoil hat to say all the drums are programmed post SRMC. Those examples were fucking terrible btw, not even close to sounding as natural. I can only assume this is some desperate cry for help.
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Old 09-04-2016, 01:24 PM   #82
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Re: Deathspell Omega's Artwork

I actually wish both of you would stop ruining the only good thread we have here right now.
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Old 09-04-2016, 06:06 PM   #83
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Re: Deathspell Omega's Artwork

DsO drums are obviously fake on their later releases but it does not detract from the experience
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Old 09-05-2016, 05:13 AM   #84
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Re: Deathspell Omega's Artwork

Based on what? Certainly not the sound, given they sound far less synthetic than 'real' drumming albums. Can you tell me with a straight face that the tom/China intro to Kenose I is programmed? Or did they hire a 'real' drummer for that and program the rest? Zero sense.

If you would have said there is some multi tracking on FAS, I could take you seriously.
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Old 09-05-2016, 10:31 AM   #85
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Re: Deathspell Omega's Artwork

I'm with thaumo on this one. I've never heard programmed drums that sound this organic, especially on albums like Paracletus, Kenose, and Drought. Mass Grave Aesthetics on the other hand, those are definitely programmed. Night and day difference.
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Old 09-05-2016, 10:51 AM   #86
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Re: Deathspell Omega's Artwork

Even Mass Grave is real imo, it's just a different kit/snare to the one used on Kenose, which in turn has a different sound to SMRC (MGA was released the same year as SMRC, post Shaxul exiting as drummer). There's some strong suggestions that the drummer is Hasjarl's brother, according to people who have had correspondence with Shaxul (who btw hated that Hasjarl and the others abandoned BM 'roots' - I'm sure he'd delight in saying the drums were programmed if he knew they were).
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Old 09-05-2016, 10:56 AM   #87
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Re: Deathspell Omega's Artwork

Shaxul was the old vocalist, not drummer. Not that it matters much.

Not convinced they're programmed either.
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Old 09-05-2016, 10:58 AM   #88
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Re: Deathspell Omega's Artwork

J72826 could have some answers, having played in Aosoth (no need for names, just a definitive programmed/not programmed would be okay :))...

i'm definitely in the "doesn't sound programmed" camp. because if they are, those are by faaaaar the "best" (as in human and organic and natural sounding) programmed drums in the history of music.
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Old 09-05-2016, 11:07 AM   #89
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Re: Deathspell Omega's Artwork

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i'm definitely in the "doesn't sound programmed" camp. because if they are, those are by faaaaar the "best" (as in human and organic and natural sounding) programmed drums in the history of music.
Easily.
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Old 09-05-2016, 11:53 AM   #90
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Re: Deathspell Omega's Artwork

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Originally Posted by thaumo1 View Post
Even Mass Grave is real imo, it's just a different kit/snare to the one used on Kenose, which in turn has a different sound to SMRC
Seems to me like every hit sounds completely uniform throughout the entire drumkit on MGA. And the style of drumming is completely different from the albums before and after, much more stripped down and basic. (same goes for Diabolus)

I don't know. None of us can know for sure. Could be the greatest programmed drumming ever. But ever since the obvious change in drums post-SMRC, those two EPs stand out to me drum wise, in that they don't sound nearly as natural as the rest of their material.
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