I love this song because it’s a great embodiment of what the band Nile does well, create an expansive, over-the-top soundscape with an impossible to remember title that fuses cinematic, Ancient Egyptian-esque instrumentals with the mind drilling riffs of modern death metal. It’s beautiful. If I were summoning Cthulhu, I’d want to do it to this.
This is the 10th and last track from the album Annihilation of the Wicked.
I Hath Dreamed Black and Grim, Desolate Visions
Of the Pre-Human Serpent Folk and Communed with Long-dead Reptiles.
Silently Watching Through the Ages in Cold, Curious Apathy.
The Unending Sorrows and Suffering of an Abysmal Humankind.
I Dare Not Again Surrender to the Deep Sleep Which Ever Beckons Me.
Lest I in Dread.
Shudder at the Nameless Things.
That May at this Very Moment.
Be Crawling and Lurking.
At the Slimy Edges of My Conciousness.
Slithering Forth from the Bowels of Their Infernal Pits.
Worshipping Their Ancient Stone Idols and Carving Their Own Detestable Likenesses On Subterranean Obelisks of Blood-soaked Granite.
I Await the Day When the Claws of Doom Shall Rise.
To Drag Down in Their Reeking Talons the Weary and Hopeless Remnants of a Jaded, Decayed, War-despairing Mankind.
Of a Day When the Earth Shall Open Wide and the Black, Bottomless, Yawning Abyss Engulfs the Arrogant Civilizations of Man.
Chthonic Retribution Shall Ascend.
Amidst Universal Pandemonium and Those Who Slither and Crawl Shall Rise Again Once More to Inherit the Earth.
Nile’s newest album “What Should Not be Unearthed” opens up like a blast of fire melting the face off a demon. They’re back heavier and faster than ever. This is quite a feat considering that Technical Death Metal has been on the way out recently. And many Death Metal bands have gone towards a more progressive or groove driven direction; which is understandable, because it’s often hard to be even heavier than what already exists, especially after Death Metal has been a genre for 20+ years.
But Nile delivers a fist full of death metal that punches you in the face with its heavy riffs, dynamic tempos, and liquid hot solos. Some of the riffs are familiar, but there are definitely some clever new licks thrown in. And of course, this album brings together what Nile fans love – fast, death metal riffs mixed with middle eastern instrumentals and scales.
KARL SANDERS DISCUSSES HIS INTENTIONS AND OPINION OF NEWEST ALBUM
In an interview with Metal Wani, Karl Sanders (Nile’s Vocalist and Guitarist) said he wanted to take a different direction than their last album, “At The Gates of Sethu.” Sethu was a very clean and technical album, written for studio perfection. But as Karl says, this newest album was all about the fans, and giving them what they want. It was also more about feeling than technicality. “Is it heavy, does it emotionally move me?”
Many interviews and reviews have already dealt with the technicalities of the music. In short, I will say in this album there are more mid-range growls than the low growls of the past (I can actually understand the lyrics!). The guitars and bass are also turned up a bit higher in volume than previous albums. As George Kollias (the drummer) is quoted as saying, “I can’t hear my fucking drums!” (Metal Wani). In terms of skill level, the song “What Should Not Be Unearthed” was apparently one of the hardest songs George Kollias has played in his life.
But what I’d like to delve into is the meaning behind the music – the vibe – the soul of the album so to speak. Topically, this is about things that shouldn’t be unearthed (yeah I know, the title says that, duh!)
The following was said about the artwork: The story behind the title goes deeply beneath everything we have already known, and we may not be ready to face. With the art I excavated the theories of an elder ancient civilization which could give the origin to ancient Egypt. That’s why you can find a new ingredient in the band imagery, pointing at some higher obscure intelligence, eroding and covered with time. (Nuclear Blast)
So there is definitely this theme of an eerie, and an ancient spirit being accidentally unleashed like some horror movie mummy.
But what no interview has discussed is the modern middle eastern implications as well.
CALL TO DESTRUCTION – OPENING ALBUM TRACK
The video for “Call to Destruction” very deliberately shows video footage of terrorist groups (like The Islamic State) destroying ancient relics. The lyrics very obviously point to this.
Call to destruction of the symbols of paganism
Grand monuments of idolatry
We must tear down these blasphemous edifices of heathenism
We must annihilate all that is pre Islamic
We must complete what the ‘Amr ibn al-‘As could not
We must tear down these relics of infidelity
Great and mighty works of blasphemy
Mountains of ancient heresy
Sacrilege encased in stone
From thousands of years before the Prophet…
So there is no mistaking that this is a theme (at least for that song).
Nile doesn’t just discuss the ancient Middle East, they also discuss the modern Middle East as well sometimes. For instance, in the “Those Whom The Gods” detest album, there was the song Kafir, which is the word for “heretic” or “unbeliever” in Islam.
So now it’s time for my conjecture (JUST MY OPINION, NOTHING OFFICIAL): I think the Islamic State’s destruction of ancient relics is relevant to many of the themes of other songs in the album. That may have been unintentional or intentional on their part (I don’t know). I just saw a theme: a theme in terms of unearthing or destroying relics of ancient history that should remain untouched. And the actions of IS/ISIS fit into that theme. “Rape of the Black Earth” discusses destroying entire blocs of history, objects that have not been disturbed for millennia, and temples of the Gods defiled. “Age of Famine” also references unheard of atrocities, noble women becoming slave and whores, and children being dashed against walls, and people turning against each other…hmm that sounds familiar to what’s in the news.
Now am I saying this is what this album is all about? No I am not. Karl himself said this wasn’t a concept album.
Or maybe the whole album was really just Karl describing his hatred of unearthing the precious Earth metals that create cell phones (see interview).(Or maybe that’s a joke…)
The last song is “To Walk Forth from the Flames Unscathed.” So perhaps this is somewhat of a hopeful ending to an album with several songs about the destruction and violation of ancient history.
Evil to Cast out Evil is a killer track. Check that out to get a further taste of the delicious mayhem that is Nile’s newest album.
Modern Day Notions About Homosexuality Contrast With Ancient Thought
She makes a great point that much of our concepts about homosexuals being a different kind of person are only 100 years old. What she didn’t say, is that this identity was constructed by many new ideas in the emerging field of Freudian thought and psychology.
Before this development in the world of psychology, “gay” wasn’t an identity. Homosexuality was defined more as an action rather than an identity.
How did people feel about Homosexuality in Ancient Egypt?
Much of the connotations we have in the modern day and age about “gay” behavior wasn’t “gay” back in Ancient Egypt.
For example, Sharon makes the point that in this day an age, we make stereotypes about a man being gay if he cares too much about his appearance – or at least joke that he is “Metrosexual.”Yet in Ancient Egypt, it was perfectly normal for both men and women among the elite to wear makeup, shave their body hair, wear wigs and doll themselves up in fashionable clothing. (Sometimes the men could be prissier than the women in this respect). Dressing in fancy clothing, historically, wasn’t really a taboo for men until the modern era. In fact, dressing in expensive silks and resplendent colors was a way for most men to show their status and masculinity throughout history. The days of black suits and ties for all dudes are pretty recent.
Also, engaging in “gender swapping” behavior did not necessarily make one gay. There were some Goddesses that were depicted in male clothing, but they still engaged in sex with male Gods.
Was there any type of homosexual behavior that was frowned upon?
Rather than homosexuality itself, Sharon explains that being the “receiver” in a male homosexual act was looked down upon while being the “giver” wasn’t a problem. This is similar to norms in other Ancient cultures.
Nek: is the Ancient Egyptian word for sexual penetration.
Neku: Was a derogatory term – “to penetrate somebody”
Nekek: This was the person who had the thing “done to them.”
Sharon also says that there may have been a third gender in Ancient Egyptian Society, a sort of trans-gendered person. There is something similar to this in Hindu society today called a “Hijra.” They are people with male biological bodies who dress and act like women (The Third Gender).
There is some ambiguity since it was frowned upon to sleep with a young, effeminate male. Yet it is uncertain whether the taboo came from the fact that both participants in the act were male, or if it was because one of the participants was too young to give consent.
Homosexuality Wasn’t Really That Big of A Deal
While it may have been socially looked down upon to be someone’s “Nekek”, it didn’t receive the same vehement hatred that you see in today’s world. A Heterosexual marriage that resulted in children was seen as an ideal, since children would take care of you and perform your burial rites after death. Also, the homosexual relationships between men in Egypt were not celebrated as they were in Rome and Greece, given that fertility was a big part of Egyptian magic and life. Yet homosexual acts themselves weren’t a moral outrage like they are in parts of today’s world.
The best word to describe Ancient Egyptian feelings towards homosexuality was probably “ambivalence.” What people did behind closed doors was their own business – as it should be.
One of the most emblematic moments of Christianity’s destruction of the Ancient World lies in the ruins of Alexandria.
The Library of Alexandria was a crowning jewel of knowledge in the Ancient Pagan world.
It represented a place where multiple ideologies on the Gods, Culture, Knowledge and Science could co-exist on the same shelf.
Hypathia herself is a personification of this destruction. She was a wealthy, well educated woman who was a professor in this academic city. Yet a woman who tried creating her own Astronomical instruments to study the heavens was equivalent to a “witch” to the Christians.
An angry, Christian mob dragged her out of her cart to their church. They stripped her of her clothes and flayed her to death with any object they could find. They ripped apart her body and burned the remains. This is exactly what these people tried to do to the life and blood of the Ancient Pagan World.
While many priceless texts were lost, much of the knowledge of the Ancient World was preserved by Islamic scholars in the Middle East. Eventually this knowledge came back to Europe during the Renaissance and brought Europe out of a dark age.
Now the internet is a new library, a new place where knowledge from all corners of the globe can once again come together and co-exist. The Christians tried in vain to destroy the ancient knowledge and as a result brought an age of darkness and ignorance upon themselves. Yet the Ancient Ways remain and grow stronger everyday. Our ways are thousands of years old, connected to unshakable truths about nature and reality itself. They will not be destroyed.