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Old 05-11-2016, 12:02 PM   #1
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Deathspell Omega's Artwork

Surely I'm not the only one both intrigued and a bit mystified by their artwork.

Firstly, I am wondering if any of you guys have information on who actually did their art or where it was taken from?
Secondly, do you guys have any (un)educated/(un)informed guesses or interpretations considering the meaning of some of the pieces?

I am mainly talking about these releases:

SMRC
Kenose
Fas
Chaining the Katechon
Paracletus
Drought

Any information/thoughts/ramblings are welcome. Thanks.
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Old 05-11-2016, 12:09 PM   #2
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Re: Deathspell Omega's Artwork

SMRC Timo Ketola
Kenose would say Timo Ketola. Booklet I'm not sure, but he's credited for the front artwork and the booklet follows in the same vein (eheheheh) and it wouldn't be the first time he's gone through such great lengths.
Fas - Ketola, booklet aswell
Chaining the Katechon - Ketola once again
Paracletus Ketola
Drought Manuel Tinnemans aka Comaworxxx, got some flak since it was partly ripped off from a NatGeo-photo though. He also did the EP's and picture disc box covers.


Thought this was overall knowledge? Wherever Ketola's mentioned, the front cover is always 100% him, would take in poison on this fact.
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Old 05-12-2016, 03:17 AM   #3
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Re: Deathspell Omega's Artwork

Wasn't aware of this at all. Looked on Metal Archives and it doesn't seem to say anywhere who did the art. Maybe I'm blind. I haven't had the physical copies in hand for a while and don't have them with me atm.

Quote:
Originally Posted by J72826 View Post
Drought Manuel Tinnemans aka Comaworxxx, got some flak since it was partly ripped off from a NatGeo-photo though. He also did the EP's and picture disc box covers.
I have seen that photo, the snake and the guy standing there were added I guess. I don't really see any issue with them/the artist partly using that photo... I guess they didn't credit the photo? Or what is this about?
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Old 05-12-2016, 03:49 AM   #4
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Re: Deathspell Omega's Artwork

I want
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Old 05-12-2016, 03:50 AM   #5
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Re: Deathspell Omega's Artwork

I really want
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Old 05-12-2016, 03:51 AM   #6
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Re: Deathspell Omega's Artwork

To have
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Old 05-12-2016, 03:52 AM   #7
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Re: Deathspell Omega's Artwork

I really want to have
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Old 05-12-2016, 03:53 AM   #8
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Re: Deathspell Omega's Artwork

I really want to have those fucking 15 posts !
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Old 05-12-2016, 03:59 AM   #9
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Re: Deathspell Omega's Artwork

So now i can tell you that the cover of Drought is inspired by a photo made by the photograph Graciela Iturbide. Here the original photo:



The main concept of this photograph is to show the relation between nature and men.

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.

Last edited by intense; 05-12-2016 at 04:21 AM..
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Old 05-12-2016, 12:42 PM   #10
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Re: Deathspell Omega's Artwork

Thanks for your response.

Quote:
Originally Posted by intense View Post
The main concept of this photograph is to show the relation between nature and men.
How have you come to this conclusion?

Looking at the cover for a bit longer it's becoming more and more bizarre... I didn't even recognize the sandstorm in the background. Then there's little levitating bits of cactus, plus the old man with his hands behind his head as opposed to the woman with her hands on her face. We also have that hand that seems to be erupting from the ground/cacti and that has three thumbs. Ah... and of course that snake eerily looking like a penis... Seems almost impossible for me to make sense of tbh.
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Old 05-12-2016, 01:58 PM   #11
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Re: Deathspell Omega's Artwork

Quote:
Originally Posted by Lichtbringer View Post

How have you come to this conclusion?
I saw it on an analysis of Graciela's works. (It will not help you it is in french, https://www.rencontres-arles.com/C.a...CMS3&VF=ARL_11)


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). I suggest you to read the lyrics, i like it.
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Old 05-13-2016, 02:10 AM   #12
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Re: Deathspell Omega's Artwork

I did do that and I loved it... Just didn't really understand anything. :)
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Old 05-13-2016, 09:09 AM   #13
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Re: Deathspell Omega's Artwork

we should have more thread like these

less havoc shit
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Old 05-13-2016, 12:49 PM   #14
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Re: Deathspell Omega's Artwork

I love to ramble about stuff like this... and read other likeminded people's ramblings, for that matter. Be it about artwork, how intricately a song is structured, how badass this and that riff is, or whatever really... Unfortunately, discussions are quite hard to spark on here these days and replies are mostly quite sparse. :)
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Old 05-13-2016, 02:33 PM   #15
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Re: Deathspell Omega's Artwork

would be cool to analyze lord worm lyrics

or cool lyrics in general
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Old 05-13-2016, 05:05 PM   #16
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Re: Deathspell Omega's Artwork

Quote:
Originally Posted by Lichtbringer View Post
I love to ramble about stuff like this... and read other likeminded people's ramblings, for that matter. Be it about artwork, how intricately a song is structured, how badass this and that riff is, or whatever really... Unfortunately, discussions are quite hard to spark on here these days and replies are mostly quite sparse. :)
+ 1.
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Old 05-14-2016, 12:30 AM   #17
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Re: Deathspell Omega's Artwork

Truly impressive, thanks a lot for that. Will take me quite some time to dig into.

May I ask what your background and motivation is to research this topic in such detail? Your approach seems quite academic!
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Old 05-14-2016, 10:24 AM   #18
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Re: Deathspell Omega's Artwork

^I'm not nearly as big of a DSO fan as some of the people here, but those 2 posts up there were an extremely interesting read. Thanks for that.
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Old 05-14-2016, 10:29 AM   #19
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Re: Deathspell Omega's Artwork

ye this is awesome
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Old 05-14-2016, 11:39 AM   #20
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Re: Deathspell Omega's Artwork

Might be an idea to try and tie down which early (pre-SMRC) riffs show up in the later material too... there are lots of them. I know a lot of people seem to only be interested in SMRC and after (even just post-SMRC), but the more straight up BM is fucking stellar too.
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Old 05-14-2016, 01:36 PM   #21
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Re: Deathspell Omega's Artwork

And i considered myself as a fan of DSO... I didn't know all of that.
How did you have this knowledge about DSO moist_cabbage? It's really impressive.
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Old 05-14-2016, 03:40 PM   #22
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Re: Deathspell Omega's Artwork

maybe he plays in DsO D:
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Old 05-15-2016, 09:51 AM   #23
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Re: Deathspell Omega's Artwork

I've only read the first post so far, but much gratitude to moist_cabbage for all the shared insight. Anyone else gets a chill down their spine wondering about his vast knowledge on the matter? Yeah, me neither, but just thought it was somewhat interesting he used this excerpt of an address to The House of Commons, from 12 November 1936, by Winston Churchill titled "The Locust Years" as his signature in one of his past posts:

Quote:
"The era of procrastination, and of half measures, of soothing and baffling expedients, of delays, is coming to an end.

In its place we are entering a period of consequence."

~Winston Churchill
Haven't read the address yet, but did some looking into and found that "Churchill called 1934 and 1935 "The Locust Years" because time which should have been spent preparing to face Germany was fruitlessly eaten up.", which refers to an excerpt from the Old Testament Book of Joel 2:25 "And I will restore to you the years that the locust hath eaten", that refers to a period of calamity in ancient Israel. My conclusion: moist_cabbage was an inside job!
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Old 05-21-2016, 06:39 PM   #24
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Re: Deathspell Omega's Artwork

what happened to the best posts to happen here in years?
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Old 05-21-2016, 07:17 PM   #25
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Re: Deathspell Omega's Artwork

I literally just closed the tab with those posts in it which had been open for a few days as I hadn't gotten around to reading them fully when I saw the thread had been updated. So very sickened.
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Old 05-21-2016, 09:36 PM   #26
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Re: Deathspell Omega's Artwork

I saved a text file of this, though it's missing the Youtube links.

Quote:
Originally Posted by moist_cabbage

I’ll start with Si monumentum requires circumspice.
Everyone knows the title refers to Christopher Wren’s epitaph, the architect of the St.Paul and St. Mary Le Bow cathedrals both constructed after the Great Fire of 1666. The title of the album only makes sense once you grasp all of the references made in the lyrics and the artwork respectively. The main themes of SMRC are putrefaction/decomposition and antinatalism. The quote on the back of the booklet is the definition of antinomianism, a religious thought put forth by Johannes Agricola but a definition and term coined by Martin Luther. The idea basically denotes that faith alone is enough to be welcome in God’s good grace and that actions do not matter- an idea that Martin Luther counters with James 2:22 which is quoted in Sola Fide I and II (sola fide meaning by “faith alone” like how bona fide means in “ in good faith” ). DSO maintain that action and faith go hand in hand. Sola Fide II also quotes Hebrew 10:29, actually all of Hebrews 10 elaborates on Dso’s stance on action and faith; Read that if you want more context.
“This is the covenant I will make with them
after that time, says the Lord.
I will put my laws in their hearts,
and I will write them on their minds.”
Their sins and lawless acts
I will remember no more.”

“The heart of a lost angel is in the Earth” from Sola Fide II is a quote by Elizabeth Browning from*The Drama Of Exile, which is illustrated in the cover art: a putrefied Cherub with it’s heart at the edge of a globe. The cover is a mockery of the Cherub(hence the Cherubic chants in Carnal Malefactor which is actually a hymn version of Rentaros Taki’s Kojo no Tsuki.*








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. SMRC is antinatalist and glorifies the inherent and unholy fallibility of humanity(He that soweth to his flesh shall of the flesh reap corruption Galatians 6:8), a trait which is wholly inseparable from decay and underscores Satan’s power (“O Master, the eastern pillar of your domination is the organic fallibility”). Satan doesn’t glean his power from the divine, he gleans it from the fallible. Fallibility is decay, rot , and death by definition, therefore, the monument around us that DSO celebrates is a world that is dying and decaying. This coincides strongly with the lyrics at the beginning of first prayer:
Omnis humana cogitatio in fundamentis putrefactionis conditur, quam ecclesia Domini nostri ei praeposuit.
Which translates to “every human thought is based upon the fundamentals of putrefaction, of which the house/church of our Lord gave him.”

The idea is that understanding and intellect is not through divine revelation but through organic decay/fallibility. This is an idea also put forth by Georges Bataille in*Inner Experience*which reads: “Nothing of what man can know, to this end, could be evaded without degradation, without sin.” The idea is also consistent with biblical and Christian theology thought as the serpent in the book of Genesis (3:4-6) tells Eve to eat the apple from the tree of life:
“You will not certainly die,” the serpent said to the woman. “For God knows that when you eat from it your eyes will be opened, and you will be like God, knowing good and evil.” Knowledge by definition is evil and unholy since God didn’t want humanity to have knowledge or intellect the same way the Greek God’s disapproved of and condemned Prometheus for granting fire to humanity. Humanity is thusly condemned since one “that soweth of the flesh shall of the flesh reap corruption”. The fragility and fallibility of humanity coincides with the Christian theological (and Bataille’s) concept of knowledge and is conducive to the biblical evil espoused by Satan.
Life by definition is a decaying imminent death sentence and the Earth is a monument of death and putrefaction; Satan’s playground. SMRC is a celebration of death, decomposition, and antinatalism in the name of Satan. The only definitive laws espoused in SMRC are a paradoxical combination of antinomianism(anti-law) and Martin Luther’s idea of how faith coincides with action (from James 2:22), since the only thing that is certain in the world is not divine epiphany but “organic fallibility”. This notion runs through all of DSO’s works from SMRC to Drought.

Every DSO release from SMRC onwards has a latin phrase imbued in the form of a pentagram that aptly summarizes the theme of that album/ep’s material. For SMRC it’s “Dei nostri templum terrarum orbus est.” which means “the house and church of our Lord is Childless”. It shouldn’t take a vivid imagination to see how this relates to the cover.*


There are reference to birds/fowls/carrion birds clawing at the remnants of mankind (Hétoïmasia), and abortion (Hétoïmasia and Carnal Malefactor “When a woman is knead by the claws of fowls attracted By seminal odours no longer hidden by dignity And purified by their beaks rummaging her swollen vagina”). There is also a bird at the altar of the crucifix on page 5 of the booklet which refers to the process of Etimasia (or Hétoïmasia). Also the end of Hétoïmasia references birds: "Consumed and eaten have been the abundant abortions of mankind, but now, none of them, humans, shall remain but what birds could not carry off in their claws!"



The other images in the booklet are modified to fit DSO’s concepts on SMRC. Compare:




And





I’m not going to go into every single detail on SMRC because fuck me it would take forever, but I hope what I provided was insightful enough to give you context when you on repeat listens and perusals of the lyrics.
I could write much more on the other releases but I will point you in the right direction and leave you to do most of the work.

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Old 05-21-2016, 09:40 PM   #27
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Re: Deathspell Omega's Artwork

Quote:
Originally Posted by moist_cabbage

Chaining the Katechon
The title obviously refers to the katechon which you can research on wikipedia. The latin portion of the title refers to Psalm 117 KJV or Psalm 116 latin Vulgate version. The original text is “veritas domini manet in aeternum” which translates to “ the truth of the Lord endureth forever”. The quote “Le verdict ne vient pas d'un coup, le processus lui-même se transforme petit * petit en verdict.” is by Franz Kafka from*The Trial. Read this page:http://jahanbegloo.com/content/kafka...-modernity*for more context. The lyrics from Chaining also reference Paul Celan poem*Tenebrae’. The latin text “summa divisio” comes from Daniel Chamier’s*A Manual of Roman Law(which expounds upon supralapsarianism) from the chapter “Obligations arising from contract”. Here is the quote in context: omnium autem obligationum summa divisio in duo genera deducitur; namque aut civiles sunt aut praetoriae. The artwork of Chaining and SMRC are conceptually linked.

Kénôse
Refers to the process of Kenosis depicting Christ’s abasement to the fragility of humanity. “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” comes from Arthur Lovejoy’s*The Great Chain of Being. Lyrics from I reference Colossian 1:15, The Shepherd of Hermas, and Philippians 2 (res rapta). II alludes to and implicates Georges Bataille’s Base Materialism, Good Friday (Ecce lignum Crucis, In quo salus mundi pependit), Martin Luther (Therefore God honors the sword.. From “Whether Soldiers Too Can Be Saved” in which he justifies slaughter in the name of piety since a soldier is God’s apparatus to carry out his will. This also links closely to the concept in Mass Grave Aesthetics with the quote from Tailhade), and Léon Bloy ("L'Esprit du Seigneur" from*La femme pauvre*). III quotes Revelation 12:9 (The section from 4:19 to 5:42) and Matthew 27:45-47(Lamma Sabacthanithe depicts death of Jesus, the Paraclete) in Latin as well as Louis Claude de Saint-Martin(“Nous n'avons pas d'autre…..from*Le ministère de l'homme-esprit). Mystical substitution is from Huysmans' biography of Saint Lydwine of Schiedam which basically interprets the notion of atoning for other’s sins through the sacrifice of oneself in the manner of Jesus Christ. The High Mass Comforter is Jesus. Paraclete is another word for Comforter/Jesus. Revelations 12 describes how the “woman” escapes the serpent by being granted the wings of an eagles. If you have the booklet for Kénôse, that is the last image. A few images in the booklet for Kénôse are abstractions of Revelations 12. You’ll notice pregnancy and birth from an bird/eagle like abstraction. Also the riff from II at 8:12 is from Procreation Epidemic 0:50 for what it’s worth.


Paracletus
The serpent from Revelations with 7 heads is the cover of Paracletus. The lyrics draw heavily from a liturgical prayer book by Richard Challoner such as the opening “Come thou sanctifier almighty and eternal God and bless this…...”. The backwards text in Malconfort is from Albert Camus from “La Chute”. Much of the text also comes from Thomas Scott Preston’s The Divine Paraclete. I don’t think it’s a coincidence that Paracletus is 42 minutes long since the Dragon and the Beast in the Book of Revelations ruled Earth for 42 months before being condemned to hellfire. According to the Bible, the the Dragon and the Beast and everyone on Earth is condemned to 1000 years of silence and then hellfire. The “pit of silence” comes before the hellfire just as it is depicted in the booklet.*
This narrative comes directly after Kénôse in which the Devil descends unto the world after the woman escapes on eagle’s wings. There are some quotes from Léon Bloy again like in Epiklesis II and many quotes from the Bible if you care to find them and put them into context yourself (the latin line in Wings of Predation from the Book of Psalms for example is an attempt to beseech God before the end of times.) One thing that is unique to DSO’s brand of Satanism is that the Christian God, as depicted in the Bible, is more Satanic than Satan himself. Satan is fragile, like humanity, in the presence of God. The God in the Bible is a God of terror, fear, fear, and unrivaled incontrovertible power. In Fas and Paracletus, God is the absolute and ultimate terror, not Satan. Another important point is the “Eritis sicut dii” line from Dearth which is from Genesis 3:5. Better to be King for a day and be condemned forever than to be a servant for all eternity. DSO gleefully welcomes the eternal nothingness that awaits all of us.*
“Roi Céleste, Consolateur, Esprit de vérité, Viens et fais en nous ta demeure, Le double abîme, la fosse épouvantable” is a modification of the original Byzantine prayer:Roi céleste, Consolateur, Esprit de vérité, Toi qui es partout présent et qui emplis tout, Trésor des biens et Donateur de vie, viens et fais ta demeure en nous. Instead of beseeching God to cleanse one’s soul, DSO is appealing to God for “The double abyss, the dreadful pit” as mentioned in Revelations.*
Nihil videt et omnia videt("The soul sees nothing and everything") in Have you Beheld the fevers is from Angela of Foligno.
"When God is seen in darkness it does not bring a smile to the lips, or devotion, fervor, or ardent love; neither does the body or the soul tremble or move as at other times; the soul sees nothing and everything; the body sleeps and speech is cut off. And all the signs of friendship, so numerous and indescribable, all the words that God spoke to me, all those that you ever wrote-I now understand that these were so much less than that which I see with such great darkness, that in no way do I place my hope in them, nor is there any of my hope in them."
- Angela of Foligno

Fas
Perinde Ac Cadaver comes from the Jesuit Constitutions of 1554 by Ignatius of Loyola. Behave before God almighty in the manner of a corpse. DSO maintains that you might as well be judged as if you were already dead since all “that soweth of the flesh shall of the flesh reap corruption”. Most of the text comes from Georges Bataille’s Inner Experience, particularly from the chapter “Torture”. Much of the lyrics are ripped verbatim from Inner Experience. The Latin texts in the obombrations are quotes from Psalm 10 & 22 and Luke 22 respectively. Obombration meaning “shadow”. Your life is eclipsed by eternal nothingness….”The existence of things cannot enclose the death which it brings to me; the existence is itself projected into my death, and it is my death which encloses it”. The line “God of terror, very low dost thou bring us, very low hast thou brought us” is from Georges Bataille’s My Mother. "Le vent de la vérité a répondu comme une gifle * la joue tendue de la piété" is from Georges Bataille's L’Impossible. The mad laughter refers to Ecclesiastes 2 as well as Bataille (in Michel Surya’s biography, there are many quotes of Bataille likening debauchery with mad frantic laughter). By the end of the album, the phrase “God judge me in the manner of a corpse” is a spiteful mantra towards an omnipotent God. Since only a Divine soul, devoid of flesh, can enter Heaven, everyone is condemned and therefore it’s in everyone’s best interest to sin. Here’s an insightful essay:http://fearfullight.tumblr.com/post/34018526659


The name of the woman on the Drought cover is Andrea Islas Garcia. “"Andrea Islas Garcia was a subsistence farmer (campesina) who became blind as a result of cataracts. She died in 1998 from a cancer that was not treated. Andrea Islas Garcia lived in the community of Buena Vista, Otumba Municipality in the state of Mexico. For several years I took a friendship, in 1998 I was working in Chiapas when I received the news of her death. I arrived to say goodbye and take the last photo of Andrea." Here is a photo at her funeral…..open casket

“Altitudines Satanae” means the depths of Satan from the Vulgate version of Revelations 2:24 “vobis autem dico ceteris qui Thyatirae estis quicumque non habent doctrinam hanc qui non cognoverunt altitudines Satanae quemadmodum dicunt non mittam super vos aliud pondus”*
In context, a passage from Revelations 2 can put Andrea Garcia’s life and struggle into biblical terms: “I know thy works, and charity and service, and faith and thy patience, and thy works, and the last to be more than the first. Notwithstanding, I have a few things against thee, because thou sufferest that woman. Behold, I will kill her children with death, and all the churches shall know that I am He that searcheth the reins and hearts; and I will give unto every one of you according to your works. But unto you I say, and unto the rest in Thyatira, as many as have not this doctrine and who have not known the depths of Satan (as they say) I will put upon you no other burden.”




The ending of Mass Grave Aesthetics is Kyrie from Mozart’s Requiem played backwards. Download*
*
and reverse it here*http://www.mp3-reverser.com/en/*. The ending of Mass Grave occurs from about 0:42 to 0:54 and DSO just loops it.
Si non credideritis, Non inteligetis (Unless you will have believed, you will not understand) is from Augustine of Hippo. Sic volo, Sic jubeo, Stat pro ratione voluntas [Page 145 line 12] Sic volo, sic jubeo, stet pro ratione voluntas an inaccurate quotation from the Roman satirist Juvenal, which should read: 'Hoc volo, sic jubeo, sit pro ratione voluntas'. 'I will it, I insist on it. Let my will stand rather than reason'.

Diabolus Absconditus is about George Bataille’s Madame Edwarda.

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Old 05-21-2016, 11:21 PM   #28
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you're a god ^
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Old 05-21-2016, 11:45 PM   #29
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Mr Mercury you have saved the day! But what happened to our board messiah cabbage?? He had the potential of saving us from shitposting
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Old 05-22-2016, 01:28 AM   #30
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I don't get it. Why delete those?

Anyways, thanks for the screenshots.
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