Deathspell Omega
Jan 1, 2017 13:51:48 GMT -5
Post by Nacht on Jan 1, 2017 13:51:48 GMT -5
"You were seeking strength, justice, splendour! You were seeking love! Here is the pit, here is your pit! Its name is silence."
Metal Archives
Wikipedia
I thought I would create a discussion topic for Deathspell Omega. I also think my post might help serve as a good entry-point for those intrigued by this group and who wish to either gain a broad overview of the band, help in understanding where to begin, or to delve deeper into the themes Deathspell Omega explore in their music. One thing I want to add before I start is that I actually wrote much of the Wikipedia entries for this band and their albums, particularly in regards to their lyrics and concepts, piecing together many different articles from around the internet to try and make sense of this enigmatic band. So I do reserve the right to repeat verbatim what I wrote myself on Wikipedia.
This mysterious group are - in my view - one of the most endlessly fascinating groups in metal. Almost nothing is known about the musicians behind the band other than the identity of their primary vocalist, Mikko Aspa, and the supposed identities of guitarist Hasjarl and bassist Khaos, about whom we also know next to nothing beyond that they are French. Even this much is uncertain, as there is speculation that the band is actually a rotating cast of musicians, perhaps with one mastermind. There are no band pictures, they never perform live, and rarely if ever conduct interviews. They're widely considered to be 'orthodox' Theistic Satanists, but their work also draws deeply on the work of the French writer and philosopher George Bataille; his theory of Base Materialism; Hegelianism; Gnosticism; Christian Mysticism; and Catholic Theology. Another thing to make clear is that interpretations of Deathspell Omega's works are many and diverse - it is unlikely we shall ever have a definitive and comprehensive understanding of the doctrines and beliefs explored here, so I have attempted to represent the most interesting and well-informed interpretations herein.
They released two albums in the traditional black metal strain, Infernal Battles (2000), and Inquisitors of Satan (2002) before sacking their previous vocalist 'Shaxul' for apparently incompatible religious views. Following this, the band underwent an enormous stylistic change on Si Monvmentvm Reqvires, Circvmspice in 2004, and in many ways it is helpful to think of this as their first trve release as the band we know today. This album set in motion a conceptual trilogy of albums, completed with Fas - Ite, Maledicti, in Ignem Aeternum (2007) and Paracletus (2010). On one interpretation, these three albums seek to explore God, Satan, and the relationship of man regarding these two, seemingly opposing forces. Following the release of Paracletus, they also released an EP titled 'Drought' in 2012 which serves as a kind of Epilogue to the trilogy. In addition to all this, they have also released a series of EPs considered as appendices to the main body of work, including a split-release with the French black metal band S.V.E.S.T.
Si Monvmentvm Reqvires, Circvmspice (2004) [Metal Archives / Wikiedia]
'Si Monvmentvm...' is really where the band we today know as Deathspell Omega began, and is the first part in their core trilogy of albums. The album title is Latin for 'If you seek his monument, look around you', and is taken from the epitaph of Sir Christopher Wren's tomb at St Paul's Cathedral. Wren was one of the most highly-regarded architects in British history, and was responsible for rebuilding much of London's churches after the Great Fire of 1666, as well as St Paul's which is considered his masterpiece. It occurs to me that this actually might have a kind of double-meaning in regards to the album. The original epitaph sought to highlight these glorious churches as a kind of testament to the glory of God - perhaps Deathspell Omega are countering that the desolation and destruction that preceded it is just as much a testament to God's antithesis, Satan. This needn't be to suggest that the Devil is God's superior, it might be to suggest merely that the dualistic nature of these two beings. That is just my speculation, however. The band also explained in a rare interview that the album art "is both a statement on the Logos, providing metaphysical keys to a certain approach on reality, and a statement on our faith and it's concrete anchors and applications in the world as every human being can actually experience it. But keep in mind: the light that illuminates us is the very same that blinds us too." The band note that the line "The heart of a lost angel is in the earth" from the track 'Sola Fide I' is strongly linked with the artwork. The line is taken from Elizabeth Barrett Browning's poem "A Drama of Exile", which is a retelling of the exile of Adam and Eve from the Garden of Eden, as well as Satan's role in it.
Moreover, this album is mainly concerned with the pervasiveness of Satan's influence over the mortal world. They said in that same interview that "Obviously the lyrics of "SMRC" deal with the human being, it's biosphere/biotope and the interaction with the amazing powers inherent to Satan, the radiations of whom irremediably influence and alter human works, visions, eventually human finality." An exceptional post on the SMNNews forum goes into excruciating detail about the album's lyrics, references, and themes. On this reading,
It is absolutely essential reading for those seeking to understand the horrific genius of this record and the minds behind it. There is much more analysis as well as a discussion of the very carefully chosen images used in the booklet of the physical release of the album. Read the post here, and be warned that it contains NSFW images.
Kénôse (2005) [Metal Archives / Wikipedia]
'Kénôse' is a 36-minute EP that the band consider to be an appendix to 'Si Monvmentvm...' The title refers to the notion of 'Kenosis', a Greek term within Christian theology which refers to the way in which one empties oneself entirely of one's own will in order to become entirely receptive to God's divine will and grace. There is a fascinating discussion of some of the Latin phrases used on this EP, as well as an excellent comment which argues that "Specifically, Deathspell Omega is referring to kenotic Christology, the doctrine that God had emptied himself of divine attributes so that he could be manifest as a human being." The band go on to ask whether "repentance may be nothing more than a mask of algolagnia", or sado-masochism. This perhaps both mocks the way we seek forgiveness from God for our nature which He created, and suggests that really we don't seek forgiveness at all, but a kind of guilt-ridden (almost sexual) pleasure from our self-flagellation. The broad argument they seek to make on this EP seems to be that it is by the very design of God that humanity is doomed to never reach salvation, as well as to mock "Christ's abasement to the fragility of humanity"Link. In light of this, we ought to madly flourish in all our depraved, corrupted splendour as a singular act of rebellious freedom against our odious creator.
Fas - Ite, Maledicti, in Ignem Aeternum (2007) [Metal Archives / Wikipedia]
The second album in the conceptual trilogy, 'Fas...', perhaps more than any of of their other releases, is most indebted to the writing and philosophy of George Bataille. As many have noted, much of the text of the album is taken from Bataille's writing verbatim, particularly his book "Inner Experience", as well as "Theory of Religion" and "The Solar Anus". Music critic Thom Jurek's interpretation is that the use of these texts by the band is "for the purpose of explaining the Devil not as God's mystical antithesis, but as a pure nihilistic humanist construct that is synthesis. It also offers a very concrete view of the "real" theory of Satanism as practiced in Europe."
However, Tumblr user 'Fearful Light' has developed another interpretation, the album "represents the Bataillean quest for the “critical spasm,” while remaining torn as to whether or not what one has just experienced was revolting or gratifying. This pilgrimage for spiritual truth is also a metaphor for Lucifer’s fall, as well as the dematerialization of grace." It is a lengthy, text-heavy analysis of the album's lyrics and themes and a fascinating if exhausting read. On their reading, the opening track 'Omombration' "conveys a presumed perspective of God, that we are just cadavers in His eyes, which is the ultimate hopelessness. As we look more into the record, this motif will become clearer." I will quote their conclusive paragraph here in full, but the rest is a vital read.
Veritas Diaboli Manet in Aeternum: Chaining the Katechon (2008) [Metal Archives / Wikipedia]
'Veritas Diaboli Manet in Aeternum: Chaining the Katechon' is a split release with the French black metal band S.V.E.S.T., whose vocalist Spica has contributed vocals on a number of Deathspell Omega records including Paracletus. In a press statement made during the announcement of its upcoming release, it was stated that both sides of the split "can be understood as a variation on a same theme, independent yet complementary." The word 'Katechon' is a term in New Testament Pauline theology used to describe the one who prevents the rise of the Antichrist and therefore also the Second Coming of Christ for the battle at the end of days. 'Chaining the Katechon' thus refers to chaining the one who restrains the Antichrist so that he can be set free and the end of days brought closer. The Latin portion of the album's title is a distorted quote derived from Psalm 117 and translates to "the truth of the Devil endureth forever." The original line is "veritas domini manet in aeternum" which is rendered in the KJV as "the truth of the LORD endureth for ever". As with much of Deathspell Omega's more recent musical output, the album draws heavily on the philosophy of George Bataille, Michel Leiris, and Pierre Klossowski, "and their intentionally blasphemous work that addresses ideas of sovereignty, excess, the links between violence and the sacred, and the immutable but impossible place of God and Satan in the cosmological order." - Thom Jorek
Paracletus (2010) [Metal Archives / Wikipedia]
Their final album in the conceptual trilogy, Paracletus is considered by many to be their opus. The album title is the Latinised form of the Greek word παράκλητος (parákletos), meaning comforter. It is another name for the Holy Spirit. There is an in-depth critical assessment of the textual side of the album on the subreddit wiki page, available here. On music critic Phil Freeman's interpretation, on this album the band are "ultimately seeming to reach the conclusion that to be human is to be satanic and that God demands that we renounce our innate nature." Dane Prokofiev interprets the album as representing the holy spirit's advocate. He writes that "Lyrically, this album deals with the concept of war in Heaven waged between the Archangel Michael and Satan, and its aftermath, with Satan ending up on the losing end, as is described in the Bible." A very good piece from Lurkers Path (R.I.P.) makes two enlightening points about the terms 'Paracletus' and 'Epiklesis' (the latter is used in the introduction and interlude on the album's tracklisting) that might help us begin to grasp the meaning behind this album:
Drought (2012) [Metal Archives / Wikipedia]
Drought is considered a kind of Epilogue to the main trilogy. It is a brisk EP at just under 21 minutes in length, and perhaps their most accessible stylistically, drawing as much on the off-kilter characteristics of math rock as it does from the gnarled darkness of black metal. There is an interesting analysis of the role that the artwork plays in the record, particularly regarding the song titles and lyrics. Based on the original photograph the art is based on, one user writes that "In the cover of Drought we can see a snake and a sand tsunami. We can imagine that DSO is showing that the devil (snake) is behind the phenomena of nature. I don't understand the white hand but maybe we can imagine that it is the human hand which ask for a help." In another comment they add:
For further, much more in-depth discussion the forum thread on 'Deathspell Omega Artwork' on SMN News is absolutely essential. Go read it right now. It also contains speculation about the identities of the musicians behind the band, including the theory that the band's drummer is actually guitarist Hasjarl's brother.
Heathen Harvest have a very interesting interpretation:
In case you hadn't realised, I'm a big fan of this band. I suppose some points for discussion might be speculation about the identities of the musicians behind the project; a more clear idea of what the trilogy really represents; some analysis of their latest album; etc. One of my personal theories is that the musicians behind S.V.E.S.T. are heavily involved behind the scenes - their vocalist Spica provides some vocals on both Paracletus and Chaining the Katechon, and perhaps more. Their lyrical and conceptual concerns are broadly similar, and are both French bands, so geography would not inhibit collaboration. I have also heard many rumblings that the musicians of Austrian band Abigor are likewise involved in writing and performances on variou releases, which would also fascinate me. It again seems very plausible to me - their latest album Leytmotif Luzifer - The Seven Temptations of Man (2014) explored much of the same territory musically and thematically. On the other hand, it seems to me that it might actually be counter-productive to inquire into the identities of the musicians behind this project. Deathspell Omega is not about the musicians, it is about the ideas and the music they create. When we're curious about their identites, we must ask ourselves "Do we really want to know the answer?"
Hopefully this post also serves to provide an overview of the band for those who might be curious about them. Feel free to disagree with my interpretations - much of what I've done is try to draw together varying interpretations and find some kind of common thread. That attempt might have led to more compromise than is possible between disparate interpretations. And please let me know if I've forgotten to provide links/citations for the quotes and interpretations I've referenced here.
This mysterious group are - in my view - one of the most endlessly fascinating groups in metal. Almost nothing is known about the musicians behind the band other than the identity of their primary vocalist, Mikko Aspa, and the supposed identities of guitarist Hasjarl and bassist Khaos, about whom we also know next to nothing beyond that they are French. Even this much is uncertain, as there is speculation that the band is actually a rotating cast of musicians, perhaps with one mastermind. There are no band pictures, they never perform live, and rarely if ever conduct interviews. They're widely considered to be 'orthodox' Theistic Satanists, but their work also draws deeply on the work of the French writer and philosopher George Bataille; his theory of Base Materialism; Hegelianism; Gnosticism; Christian Mysticism; and Catholic Theology. Another thing to make clear is that interpretations of Deathspell Omega's works are many and diverse - it is unlikely we shall ever have a definitive and comprehensive understanding of the doctrines and beliefs explored here, so I have attempted to represent the most interesting and well-informed interpretations herein.
They released two albums in the traditional black metal strain, Infernal Battles (2000), and Inquisitors of Satan (2002) before sacking their previous vocalist 'Shaxul' for apparently incompatible religious views. Following this, the band underwent an enormous stylistic change on Si Monvmentvm Reqvires, Circvmspice in 2004, and in many ways it is helpful to think of this as their first trve release as the band we know today. This album set in motion a conceptual trilogy of albums, completed with Fas - Ite, Maledicti, in Ignem Aeternum (2007) and Paracletus (2010). On one interpretation, these three albums seek to explore God, Satan, and the relationship of man regarding these two, seemingly opposing forces. Following the release of Paracletus, they also released an EP titled 'Drought' in 2012 which serves as a kind of Epilogue to the trilogy. In addition to all this, they have also released a series of EPs considered as appendices to the main body of work, including a split-release with the French black metal band S.V.E.S.T.
Si Monvmentvm Reqvires, Circvmspice (2004) [Metal Archives / Wikiedia]
'Si Monvmentvm...' is really where the band we today know as Deathspell Omega began, and is the first part in their core trilogy of albums. The album title is Latin for 'If you seek his monument, look around you', and is taken from the epitaph of Sir Christopher Wren's tomb at St Paul's Cathedral. Wren was one of the most highly-regarded architects in British history, and was responsible for rebuilding much of London's churches after the Great Fire of 1666, as well as St Paul's which is considered his masterpiece. It occurs to me that this actually might have a kind of double-meaning in regards to the album. The original epitaph sought to highlight these glorious churches as a kind of testament to the glory of God - perhaps Deathspell Omega are countering that the desolation and destruction that preceded it is just as much a testament to God's antithesis, Satan. This needn't be to suggest that the Devil is God's superior, it might be to suggest merely that the dualistic nature of these two beings. That is just my speculation, however. The band also explained in a rare interview that the album art "is both a statement on the Logos, providing metaphysical keys to a certain approach on reality, and a statement on our faith and it's concrete anchors and applications in the world as every human being can actually experience it. But keep in mind: the light that illuminates us is the very same that blinds us too." The band note that the line "The heart of a lost angel is in the earth" from the track 'Sola Fide I' is strongly linked with the artwork. The line is taken from Elizabeth Barrett Browning's poem "A Drama of Exile", which is a retelling of the exile of Adam and Eve from the Garden of Eden, as well as Satan's role in it.
Moreover, this album is mainly concerned with the pervasiveness of Satan's influence over the mortal world. They said in that same interview that "Obviously the lyrics of "SMRC" deal with the human being, it's biosphere/biotope and the interaction with the amazing powers inherent to Satan, the radiations of whom irremediably influence and alter human works, visions, eventually human finality." An exceptional post on the SMNNews forum goes into excruciating detail about the album's lyrics, references, and themes. On this reading,
"The main themes of SMRC are putrefaction/decomposition and anti-natalism. [...] Without any more babies being born mankind is left to rot on the vine and we are engulfed in a world that is decrepit and decaying which is what the title “Si Monumentum Requires, Circumspice” actually means by the end of the album. The monument is the constant decaying world around you...not the St. Paul Cathedral. That will deteriorate just like the Cherub on the cover. DSO maintain that death, decay, and decomposition are essential to human knowledge and understanding, a sentiment made clear from the get go since the first line in First Prayer. [...] The idea is that understanding and intellect is not through divine revelation but through organic decay/fallibility.
Kénôse (2005) [Metal Archives / Wikipedia]
'Kénôse' is a 36-minute EP that the band consider to be an appendix to 'Si Monvmentvm...' The title refers to the notion of 'Kenosis', a Greek term within Christian theology which refers to the way in which one empties oneself entirely of one's own will in order to become entirely receptive to God's divine will and grace. There is a fascinating discussion of some of the Latin phrases used on this EP, as well as an excellent comment which argues that "Specifically, Deathspell Omega is referring to kenotic Christology, the doctrine that God had emptied himself of divine attributes so that he could be manifest as a human being." The band go on to ask whether "repentance may be nothing more than a mask of algolagnia", or sado-masochism. This perhaps both mocks the way we seek forgiveness from God for our nature which He created, and suggests that really we don't seek forgiveness at all, but a kind of guilt-ridden (almost sexual) pleasure from our self-flagellation. The broad argument they seek to make on this EP seems to be that it is by the very design of God that humanity is doomed to never reach salvation, as well as to mock "Christ's abasement to the fragility of humanity"Link. In light of this, we ought to madly flourish in all our depraved, corrupted splendour as a singular act of rebellious freedom against our odious creator.
Fas - Ite, Maledicti, in Ignem Aeternum (2007) [Metal Archives / Wikipedia]
The second album in the conceptual trilogy, 'Fas...', perhaps more than any of of their other releases, is most indebted to the writing and philosophy of George Bataille. As many have noted, much of the text of the album is taken from Bataille's writing verbatim, particularly his book "Inner Experience", as well as "Theory of Religion" and "The Solar Anus". Music critic Thom Jurek's interpretation is that the use of these texts by the band is "for the purpose of explaining the Devil not as God's mystical antithesis, but as a pure nihilistic humanist construct that is synthesis. It also offers a very concrete view of the "real" theory of Satanism as practiced in Europe."
However, Tumblr user 'Fearful Light' has developed another interpretation, the album "represents the Bataillean quest for the “critical spasm,” while remaining torn as to whether or not what one has just experienced was revolting or gratifying. This pilgrimage for spiritual truth is also a metaphor for Lucifer’s fall, as well as the dematerialization of grace." It is a lengthy, text-heavy analysis of the album's lyrics and themes and a fascinating if exhausting read. On their reading, the opening track 'Omombration' "conveys a presumed perspective of God, that we are just cadavers in His eyes, which is the ultimate hopelessness. As we look more into the record, this motif will become clearer." I will quote their conclusive paragraph here in full, but the rest is a vital read.
As mentioned in Diabolus Absconditus, God is “the absolute mystery.” The questions answered by Fas - Ite, Maledicti in Ignem Aeternum cannot answer the question of God, but they do answer how man must respond to his situation. Every human being must go to the “extreme limit,” as his only capacity for retaliation is to completely rebel against irredeemable spiritual defeat. The figurehead can be seen as an orthodox vision of Satan, but it truly is a metaphysical force. As we can see from the song Drink the Devil’s Blood, Satan is “The One with many faces,” a representation of the force of rebellion. Fas answers questions posited by the previous records, and further solidifies the perspective of man against God (insofar as God is against man; that is, to the extreme limit). But, according the Deathspell Omega’s application of Hegel’s "negation of the negation,” God and Satan are shown, metaphysically, to populate the same regions, but this is a response to the active base material. If man is indeed this base, then possibly God and Satan represent humanity’s action or inaction, therefore man’s life of experience, or death by anguish through stasis.
Veritas Diaboli Manet in Aeternum: Chaining the Katechon (2008) [Metal Archives / Wikipedia]
'Veritas Diaboli Manet in Aeternum: Chaining the Katechon' is a split release with the French black metal band S.V.E.S.T., whose vocalist Spica has contributed vocals on a number of Deathspell Omega records including Paracletus. In a press statement made during the announcement of its upcoming release, it was stated that both sides of the split "can be understood as a variation on a same theme, independent yet complementary." The word 'Katechon' is a term in New Testament Pauline theology used to describe the one who prevents the rise of the Antichrist and therefore also the Second Coming of Christ for the battle at the end of days. 'Chaining the Katechon' thus refers to chaining the one who restrains the Antichrist so that he can be set free and the end of days brought closer. The Latin portion of the album's title is a distorted quote derived from Psalm 117 and translates to "the truth of the Devil endureth forever." The original line is "veritas domini manet in aeternum" which is rendered in the KJV as "the truth of the LORD endureth for ever". As with much of Deathspell Omega's more recent musical output, the album draws heavily on the philosophy of George Bataille, Michel Leiris, and Pierre Klossowski, "and their intentionally blasphemous work that addresses ideas of sovereignty, excess, the links between violence and the sacred, and the immutable but impossible place of God and Satan in the cosmological order." - Thom Jorek
Paracletus (2010) [Metal Archives / Wikipedia]
Their final album in the conceptual trilogy, Paracletus is considered by many to be their opus. The album title is the Latinised form of the Greek word παράκλητος (parákletos), meaning comforter. It is another name for the Holy Spirit. There is an in-depth critical assessment of the textual side of the album on the subreddit wiki page, available here. On music critic Phil Freeman's interpretation, on this album the band are "ultimately seeming to reach the conclusion that to be human is to be satanic and that God demands that we renounce our innate nature." Dane Prokofiev interprets the album as representing the holy spirit's advocate. He writes that "Lyrically, this album deals with the concept of war in Heaven waged between the Archangel Michael and Satan, and its aftermath, with Satan ending up on the losing end, as is described in the Bible." A very good piece from Lurkers Path (R.I.P.) makes two enlightening points about the terms 'Paracletus' and 'Epiklesis' (the latter is used in the introduction and interlude on the album's tracklisting) that might help us begin to grasp the meaning behind this album:
Paracletus – This is from the Greek ‘parāclītus’ which means advocate, defender or comforter. In the Gnostic tradition, the various emanations of the Monad or Godhead (not the ‘demiurge’ who is widely identified as the Semitic god) had different roles. Paracletus, the comforter, is one of these emanations. The album is far from a comforting experience however.
Epiklesis – Another Ancient Greek word in need of translation. There are two songs on the album with this title, both with a repetitive mantra of a riff. In terms of Christianity, it is ‘the part of the Catholic mass in which the celebrant invokes the Holy Spirit to bless the participants,’ an invocation or ‘calling something down from high’.
Epiklesis – Another Ancient Greek word in need of translation. There are two songs on the album with this title, both with a repetitive mantra of a riff. In terms of Christianity, it is ‘the part of the Catholic mass in which the celebrant invokes the Holy Spirit to bless the participants,’ an invocation or ‘calling something down from high’.
Drought is considered a kind of Epilogue to the main trilogy. It is a brisk EP at just under 21 minutes in length, and perhaps their most accessible stylistically, drawing as much on the off-kilter characteristics of math rock as it does from the gnarled darkness of black metal. There is an interesting analysis of the role that the artwork plays in the record, particularly regarding the song titles and lyrics. Based on the original photograph the art is based on, one user writes that "In the cover of Drought we can see a snake and a sand tsunami. We can imagine that DSO is showing that the devil (snake) is behind the phenomena of nature. I don't understand the white hand but maybe we can imagine that it is the human hand which ask for a help." In another comment they add:
"I have the EP in my hand and we can see behind the cover that the sand storm is passed. All is destroyed except 2 black birds, we can see a carcass on the floor too. We can also see the little words floating near the track titles which make a full sentence when you read it from top to bottom. It is also the first words of the EP : "I had a salowe vision wherein were fiery serpents and scorpions and drought ... sand, in an abrasive swirling murk, covered the crackled book of life..." Maybe is it the abrasive swirling murk that we see behind the cover? All texts are very poetic and talk about God (they don't talk about Satan, there are no two Gods, there are only one God). The main idea of the EP is that the future of men is inevitable and will finish into dust (that's why the sand theme)."
The Synarchy of Molten Bones (2016) [Metal Archives]
The release of a new album after four years of silence was a pleasant surprise to many of us who feared the band had simply explored all of the ideas they wished to explore. Lyrically and aesthetically this record seems to suggest a move away from the traditional Judeo-Christian framework of their previous releases. Instead this album sees them adopt the metaphor of Roman and Greek mythology, and the currently dominant interpretation of this album is that it is about the apocalypse. The Subreddit Wiki has some great analysis of the album's themes and lyrics. In particular, they note that the album artwork seems to visually represent figure of Nimrod from Book I of "La fin de Satan" by Victor Hugo.Book the First tells the story of Nimrod, a powerful and monstrous king of Judaea. Wandering the Earth, which he has fully dominated and laid waste, he decides to conquer the heavens. For this purpose, he builds a cage and attaches four giant eagles to it, with the meat of dead lions above their heads to draw them upward. With his servant, the eunuch, Nimrod releases the cage from its tethers, and the eagles start towards the heavens. After a journey of one year, moving continuously upwards and finding only an immense blue, Nimrod shoots an arrow into the infinite, and is thrown back to Earth.
In addition, All four tracks contain French quotations from Book I of "La fin de Satan" by Victor Hugo which do not appear in the released lyrics. For more info see this comment chain.
In addition, All four tracks contain French quotations from Book I of "La fin de Satan" by Victor Hugo which do not appear in the released lyrics. For more info see this comment chain.
Conceptually, the album preaches a spirit of rebirth and renewal, though you shouldn’t think hope has found a place in that equation. It’s like man has been brought up once more only to writhe in a world made now in Satan’s image, rather than God whom He usurped in the last trilogy. Amid numerous references to Greek mythology (an idea I hope they continue to stick with), it feels as if Deathspell Omega are taking the narrative voice of Satan himself. There is a common reference to Iatros—that is a healer—likely referring to the continued struggle of God in this cosmic mess. The frequent idea of healing ties in well with the idea that The Synarchy of Molten Bones means to continue the exploration they left off with Paracletus. However, in truly Satanic fashion, even the Godly idea of healing here is twisted. The title ‘Internecine Iatrogenesis’ says everything about Deathspell Omega’s theological concept of rebirth. With iatrogenesis literally meaning ‘brought forth by the healer’ and internecine describing something as ‘mutually destructive’, you can probably come to your own conclusions on Deathspell Omega’s theology.
In case you hadn't realised, I'm a big fan of this band. I suppose some points for discussion might be speculation about the identities of the musicians behind the project; a more clear idea of what the trilogy really represents; some analysis of their latest album; etc. One of my personal theories is that the musicians behind S.V.E.S.T. are heavily involved behind the scenes - their vocalist Spica provides some vocals on both Paracletus and Chaining the Katechon, and perhaps more. Their lyrical and conceptual concerns are broadly similar, and are both French bands, so geography would not inhibit collaboration. I have also heard many rumblings that the musicians of Austrian band Abigor are likewise involved in writing and performances on variou releases, which would also fascinate me. It again seems very plausible to me - their latest album Leytmotif Luzifer - The Seven Temptations of Man (2014) explored much of the same territory musically and thematically. On the other hand, it seems to me that it might actually be counter-productive to inquire into the identities of the musicians behind this project. Deathspell Omega is not about the musicians, it is about the ideas and the music they create. When we're curious about their identites, we must ask ourselves "Do we really want to know the answer?"
Hopefully this post also serves to provide an overview of the band for those who might be curious about them. Feel free to disagree with my interpretations - much of what I've done is try to draw together varying interpretations and find some kind of common thread. That attempt might have led to more compromise than is possible between disparate interpretations. And please let me know if I've forgotten to provide links/citations for the quotes and interpretations I've referenced here.