So I had listened to a Grecian black metal several years ago called Rotting Christ. That was the name of the band. The name always came off blasphemous. What it is particularly unusual is that their lyrical themes actually express themes of Pagan mythology, Ancient Near East religious tradition, and various other things of the sort. It's hardly the anti-Christian focus of other black metal bands. If it weren't for their name, they would probably have a bigger following. It would be incredibly difficult to find any sense of holiness in their band's name, founded by two brothers from Greek. There was, famously, a photograph taken by Andres Serrano. It was called "Piss Christ" and it was a photograph of a Crucifix which was bathed in urine (or what looked like urine). A group of Catholics attacked the image back in 2011 as part of an anti-blasphemy campaign. But a British nun, Sister Wendy Beckett, famously defended the image as a reflection of what we've done to Christ. In fact, it seems that in this world, it is people who would attack the perceived blasphemy unquestioningly who make far worse Christians. What if the name "Rotting Christ" isn't so much of a blasphemy but a reflection on what culture has done to Christ in rejecting Him? This is very similar to the "God is dead" statement of Friedrich Nietzsche. It's not so much a statement of fact, but in context of man's sentiment to removing God from the picture. If God is ultimate Creator, then even nihilism must ultimately come from Him, regardless of whatever distortions in the philosophy there are.
The album I have started listening to again is called Kata Ton Daimona Eaytoy. This is an indirect reference to the trial of Socrates where he mentions that he has a "demon" (daimonion). In ancient Greek tradition, the word does not mean the same as it came to be in Christian tradition as referring to spiritual entities who had fallen into malice. Kata Ton Daimona Eaytoy means "Unleash Your Inner Demon". Speaking of the Socratic "demon" and not of the Christian understanding of demon. This is the equivalent of saying "unleash your inner spirit". Socrates was put to death for defying the authorities of his time and for teaching children philosophy that was opposed by the authorities. The later Christian Platonists invoked the authority of Plato and Socrates very often and Plato's influence is still seen in much orthodox Christian theology today. Though the statement can also have a much more rebellious statement. I think of the statement made by Jesus that the second greatest command is to love your neighbor as yourself and yet we speak of self-love as a sin because we fail to communicate that the love to your neighbor is a different kind of love than the self-love warned about. It's not that loving yourself is evil, because if you fail to do that, you cannot love your neighbor properly, but there are multiple words in other languages for love while English has the one word.
The first track on the album, "In Yumen Xibalba" is about the Mayan underworld and realm of the dead. It starts off dark, gloomy, and with a strong element of a doom metal riff that then transgresses to a power metal riff finally letting you know you've arrived at your destination. Though the underworld might not necessarily be a place you find God in, nor is getting attacked by the undead warriors and various animals seem like a place to find God in, the Prophet David says otherwise (Ps. 139:8). God is omnipresent. Even in the darkest areas. In fact the fast-tempo power metal riff seems to almost present a different mood from the first part of the song. Power metal's effect is to make the listener feel powerful in spite of overwhelming odds against his person. What could be more powerful than the knowledge that God is still present?
"P'unchaw kachun / Tuta kachun" is a Quechuan phrase that means "Let it be Day / Let it be Night". The focus on the song is about ancient cultures and cultic ritualistic practices. It's the sacred and the profane. Here we see a guarding of the sacredness. In Catholic tradition, there are certain ritualistic practices that should not be profaned. The Western world has lost a lot of its sense of the distinction between sacred and profane. Many disregard the holiness of the Lord's Body they receive in the Eucharist. While Catholic practices are not directly referenced by any means, there is in Paganism a much stronger sense of this sacred and profane distinction that most Catholics used to hold to but no longer. I actually mourn over this loss of spirit. "Grandis Spiritus Diabolis" is an inverted version of the "Our Father" directed to the Devil. This one makes me think of that part in The Last Battle by C.S. Lewis where a worshiper of Tash, the demon-god, is brought into Aslan's restored world in the end because all service that was done to Tash for honorable purposes was actually done to him. "Gilgames" also makes me reflect on the same thing. Especially their already established intuition for the distinction between sacred and profane lacking in many modern Christians.
"Cine iubeste si lasa" is a dark rendition of a Romanian proclamation against faithless lovers. "Cine iubeste si lasa / Dumnezeu sa-i dea pedeapsa" roughly means, "May God punish those who love and quit". It is a warning to never back away from a loving commitment and a calling to stay firm in one's commitment to love that which one places love in. In our world which is dominated by divorce, it is interesting to see this come up on an album involved in such an otherwise dark genre. "χξς" is mostly Biblical Apocalyptic references. "Ahura Mazda - Anjra Mainu" is a song about the Zoroastrian deities. Though there seems to be no doubt that Zoroastrianism inspired much of the Gnostic heresies, especially with concepts of ditheism, the theology of ancient Zoroastrianism has stark similarities to Christianity as well. Obviously, they aren't the same religions, but with concepts such as a battle between God and the created fallen angel (Christianity) or a good god against a bad god (Zoroastrianism) being a cosmic event and effecting the ongoing course of the material world, it shouldn't be any wonder that much of these concepts still exist in heretical forms of Christianity.
"Iwa Voodoo", "Rusalka", and "Welcome to Hel" are predominantly Pagan-themed. "Iwa Voodoo" is about the loa in the African Voodoo religion. "Rusalka" is a feminine spirit, associated with water, found in Slavic folklore, who is hostile to men and often times tries to lure them to their deaths. Much like a siren. "Welcome to Hel" is about the Scandinavian underworld (not to be confused with the Christian version of Hell). These showcase that the human individual, in various cultures, still possesses spirituality that has been endowed upon him by God from man's very creation.
Kata Ton Daimona Eaytoy is a musically strong, fast-tempo, dark, and lyrically heavy album focusing on differing ancient cultures. It starts with a Mayan underworld and finishes off with a Scandinavian underworld. While I wouldn't recommend Christians be listening to music such as this, I think that is clear that even in the darkness, God is still present. It's impossible for anyone to shut Him out, no matter how far they try to stray from Him. Especially with a melody like "Cine iubeste si lasa" in our world where we put adulterers in power and praise them as a standard to follow.





