Mankind’s affinity with the occult harkens back to the ancient times. It was due to man’s insatiable quest for wisdom and the uncertainties regarding the metaphysical existence, that various arcane theories and practices were initiated to ascertain the real nature of the divine. Goetic Magic, Alchemy, Qabalah, Tantra, Hermeticism etc. were among the primary esoteric schools of thought that delved deeper into the understanding of man’s spiritual connection with the otherworldly divine forces.
It is also important to understand the connection of occultism and art. There is no denying the fact that art was a quintessence of the occult. Be it through the medieval etchings, magical illustrations in grimoires, or deific representations of gods and goddesses – it is common knowledge that art was a veritable vessel to portray these arcane theories. However, even in the modern era, there are certain artists and thinkers who are persevering to safeguard the wisdom of the ages through their craft.
When we discuss the importance of occultism in sonic art; especially in heavy metal – we often find that the two are inseparable. However, the esoteric gnosis is most profoundly expressed in the ‘extreme’ sub-genres – black and death metal. Ever since the genre spawned in its grotesque splendor during the late 80’s and early 90’s; various artists have partaken in the development of occultism as a significant aesthetic of extreme metal. Thankfully, there still are certain artists who are striving to preserve this spiritual essence through their musical and ideological conceptions.
Weapon - a Canadian blackened death metal ensemble – are among the few visionaries who practice what they preach. The band, spear-headed by the mystifying Vetis Monarch, has had a firm stance on their spiritual belief’s since the beginning. Vetis’s fascination with the occult has a lot to do with his Bangladeshi nativity; where he first learned about the Tantric goddess Kali, and got bewitched with her fiery yet charismatic aura. With the passage of time, his initiation into the dark side grew intense and he became an ardent follower of the ‘Left Hand Path’ – a theme which pre-dominantly prevails in Weapon’s lyrical wizardry.
It is not so often that a band of such esoteric demeanor makes its way through the conformist and plasticized scenario of today. They have exuded thorough professionalism and ingenuity throughout their short yet significant career. Having released two back to back albums in 2010 and ’11, they have returned elusively in 2012 with ‘’Embers and Revelations’’ – their third; and perhaps most ambitious album. Released on Relapse Records, Embers and Revelations is a sonic juggernaut which embarks on a mystical journey; the zenith of which is Luciferian ascension.
The album, which clocks a little over 37 minutes, displays a vicious mixture of 90’s death and black metal draped with modern production. However, the production, in fact does justice to the unique and dexterously orchestrated musical proficiency. Though, this time Weapon’s death metal influences have taken full form. With the addition of a new guitar player called Rom Surtr, their arsenal is stronger than ever.
Displayed herein is an array of rapacious riffs, poignantly intertwined with labyrinthine melodies. There exists an intimidating aura of 90’s Hellenic black/death metal which is harmonized with the barbarity of American death metal. It is extremely rare to come across a marriage of ideas so diverse and profound that transcends the stereotypical notions of the genre. Along with Vetis and Rom’s guitar driven pummeling, and Kha Tumos’s belligerent bass rhythms; it is The Disciple’s (formerly of Sacramentary Abolishment and Rites of Thy Degringolade) drumming prowess that ultimately manifests a cohesion of the divergent musical motifs. His inhumane precision and awe-inspiring mastery of double bass drumming compliments, and in fact, enhances the tremolo picked onslaught of the guitars. Together, they invoke a pandemonium – a declaration of the triumph of Luciferian will over the feeble masses.
Fuelled by the magical lore of the Draconian path, the lyrics create vivid visages of the forces of Sitra Ahra. The central theme is the veneration of Lucifer – The king of all kings. Vetis’s guttural annunciations exhibit fervent devotion and express a stern desire to ascend beyond causal limitations. “Vanguard of the Morning Star’’ is a battle hymn which exalts Lucifer’s iron legion and celebrates its victory over the Seraphim. Whereas ‘’Liber Lilith’’ invokes Lilith – the queen of Sheol, mother of demons and consort of Satan. Shahenshah Lucifer -The adversary, is the source of enlightenment and his mysterious powers grant revelations to the initiates and adepts of the Dragon’s fiery path.
‘’Throne of disorder; in sulfur diadem, (our) Lord breathes on embers, grants revelations‘’
Benjamin Vierling’s artwork accentuates the album’s thematic grandeur further. It depicts the Kalachakra, flanked by beasts on either side. The daemonic skull is a memorial which is adorned with a crown, emblazoned with a ten pointed star and the serpents around it insinuate divine gnosis through venomous initiation.
Overall, ‘’Embers and Revelations’’ marks the dawning of a new era for Weapon; and establishes an equilibrium of art, the occult and music. It is their magnum opus which catalyzes the opening of Shells and creates a bridge for the seekers of the black light. Those who dare to traverse the dark corridors must obtain this colossal masterpiece, and immerse themselves in its diabolic magnificence.
‘’Daemoniacus militam;
Sanguis diaboli;
Ferrum legionem;
Triumphus diaboli ’’
Track List:
01) The First Witnesses Of Lucifer
02) Vanguard Of The Morning Star
03) Crepuscular Swamp, Unhinged Swine
04) Liber Lilith
05) Grotesque Carven Portal
06) Embers And Revelations
07) Disavowing Each In Aum
08) Shahenshah
Rating: 4.5/5
Written By: Ankit
Label: Relapse Records (USA) / CD & LP / RR7187
Black / Death Metal
