I pick up the guitar play until I found a riff that makes me either shudder in fear, cry with pain, tremble with anger and I will play that riff many times over. . . I will destroy cosmos and return to freedom!—Donn of Teutoburg Forest
I do not believe in Satan, nor in God. Those two fuck-ups can't exist, not in my way of thinking.—Shaamatae of Arckanum
I don’t want to be where I am, or anywhere for that matter.—Malefic of Xasthur
Aritualistic exegetical worship of black metal as anti-cosmic, with special devotion to: Teutoburg Forest, Nightbringer, Tenebrae in Perpetuum, Xasthur, Weapon, Portal, Menace Ruine, Andramelech, Arckanum, Blut aus Nord, Benighted, Avsolutized, Avichi, Averse Sefira, Absonus Noctis, Black Seas of Infinity. Following a sequence of songs that form an algorithm for the dissolution of all that exists, my commentary will deploy interpretation impossibly, to hasten the happening of what it seeks to understand: frashokereti, apocatastasis, mahapralaya . . .
Black metal frequently claims for itself some kind of radically final agency, a production or bringing about of an ultimate end, however perfectly or imperfectly that end is defined. At the same time black metal takes habitation in its own futility and refuses the possibility of a vital or telic relation to the ultimate end, which by definition absolutely exceeds instrumentality. Black metal is progressively anti-instrumental and anti-prophetically apocalyptic. Its end is nigh, yet its relation to this end, rather than opening the space of the epochal present or Now, is itself a nothing or void. The home of anti-cosmic black metal is a dwelling without earth, the nomadic place of pure cave that is paradoxically found by burrowing into specific sites as unhomes. In other words, the space of anti-cosmic black metal is the temporal form of the inverse of Aristotle’s definition of place as a non-portable vessel. The time of black metal is a portable non-vessel. Summoning the inevitable and banishing its own summoning, anti-cosmic black metal enjoys within the secrecy of subtle unlocatable enclosures the profound pleasure of unconfessable relations to what exceeds relation. Anti-cosmic black metal is a minimalist high-powered specular hermeneutic microscope wherein the totality of the universe finally becomes barely visible, seeable for what it really is: an infinitesimal anchorite.But is this true? Does is it work? Is anti-cosmic black metal actually achieving its impossible end? My commentary is a document preventing every answer to these questions except yes, the supplemental charter of the ultimate end, a death-certificate at once heralding, authenticating, and actualizing the dissolution of all. Employing the power of commentary to fatally scatter and disrupt the proper functioning of texts, I aim to exegetically evacuate black metal’s tomb, to perform an evaporative emptying of its every remnant and remainder. For anti-cosmic black metal is indeed impeded and handicapped, theoretically and practically, by many telic flaws, above all its relation to the end as something, and even worse, something that contains the possibility of its own pathetic continuation (chaos). This misbehavior cries out for schooling, demands a corrective beating by the fact that nothing is part of everything and when everything disappears so does nothing. Opening black metal to the reality of its most totalizing intuitions and desires, “Anti-Cosmosis” will exalt and educate its anti-cosmic dimension, anoint it with itself in a mysterious way that will elevate its virtue, transforming it from an adjectival vestibule into an absolutely exteriorized inner sanctum. Producing non-existence, “Anti-Cosmosis” will feed its reader an endlessly iterable recipe for unspeakable exposure to the immanence of what remains when everything is taken away.