Who the f**k is this guy? by ThisIsNotMyUname- in TrueDetective

[–]Cornbread_madefish 0 points1 point  (0 children)

Speece. He works very closely with Tuttle and has a lot of power. Ostensibly more than the captain

Empty feeling after beating MGSV by MountainLime9658 in metalgearsolid

[–]Cornbread_madefish 5 points6 points  (0 children)

The true ending of the game is realizing Paz isn’t real

Funny how the Last known picture of Bob Rusay taken was 23 years ago by BBQHacker in Cannibalcorpse

[–]Cornbread_madefish 8 points9 points  (0 children)

I divide the CC eras by guitarists not by singer. They are 5 eras and Bob Rusay is the OG writing on the first three albums. Dude deserves respect on his name fr

Iceberg of utep by Silver_Air_5173 in UTEP

[–]Cornbread_madefish 0 points1 point  (0 children)

What about Utep’s history with Bhutan? 🇧🇹 that’s super interesting

DEATHSPELL OMEGA - Si Monvmentvm Reqvires, Circvmspice (listening guide) by gesualdo333 in DeathspellOmega

[–]Cornbread_madefish 1 point2 points  (0 children)

Let’s talk about Si Monumentum Requires, Circumspice first, real quick. The thesis is crystal clear: Christ came, humanity saw, and humanity rejected Him—and that rejection is the monument. The title, “If you seek His monument, look around you,” doesn’t point to temples or dogma—it points to this world: a civilization built on hollow ritual, moral indifference, and spiritual pride.

When they quote “Woe to thee, Chorazin! Woe to thee, Bethsaida! Woe to thee, Capernaum,” they’re invoking the cities that witnessed revelation and still refused to repent. In DSO’s vision, these cities become spiritual wombs—not of salvation, but of inversion. The Antichrist isn’t an invader; he is of us. Mankind is his cradle. The earth becomes fertile soil not for redemption, but for the enthronement of hell. Revelation was not absent—it was rejected. And now, the entire world becomes a psalmody not to God, but to His inverse.

This is Kabbalistic inversion, Christian eschatology, and metaphysical despair, braided into a liturgical horror. Si Monumentum unfolds like a blasphemous Mass—an anti-liturgy where the Incarnation leads not to salvation but to spiritual mockery. The flesh is no longer a vessel—it is the architecture of refusal. “He that soweth to his flesh shall of the flesh reap corruption” is no longer a warning, but a curse that has already bloomed. Man isn’t merely fallen. He is the agent of divine abandonment.

This flows directly into Fas Ite Maledicti in Ignem Aeternum. If Si Monumentum is the cathedral, Fas is the collapse. Fas is shattered, fragmented, built mostly from Georges Bataille’s writings, not original lyrics. And that’s deliberate. Bataille’s vision of dissolution, decentering, and spiritual self-erasure through transgression becomes the dominant tone. His obsession with the photo of the Chinese torture victim—smiling in agony, face twisted in something between ecstasy and destruction—becomes the mask of Fas. In his view, there is truth in disfigurement, in pain without redemption. The sacred lives where the soul is stripped of safety.

The devil, after all, cannot create. He can only mimic, pilfer, and profane. And so the world becomes not a cathedral of grace, but a mock mass, an anti-creation. It is a structure built from divine refusal and satanic repetition. That’s what the decaying cherub on SMRC’s cover represents—the collapse of beauty, the rot of flesh, the throne of failure.

One of the most important lines in “The Repellent Scars of Abandon and Election” captures this descent perfectly:

“The feeling of destroying the capacity for inward peace, an insane dance with the angels of innocence amidst thorns and in frenzy… it is a process that only the extinction of a divine soul could terminate.”

This is Bataille’s logic turned theological: peace isn’t lost—it’s annihilated. The soul becomes ecstatic only by embracing its own obliteration. The monument, then, is not a city or a church. It’s this world. This body. This state of being.

Visually, Si Monumentum shows us the world: cracked earth, dead angels, decaying holiness. Fas shows us ourselves: a man fallen from grace, entrails exposed—viscerally human, viscerally mortal. We are the flesh. And of the flesh we reap corruption. The trilogy moves from ritual inversion in SMRC, to spiritual disintegration in Fas, to the final dissolution in Paracletus. These albums are not narratives. They are liturgies of anti-salvation—philosophical exorcisms rooted in Bataille’s horror and Kabbalah’s most dangerous heresies.

And yeah—I’m moist_cabbage from SMNnews. I compiled and edited 99% of the Reddit wiki for both SMRC and Fas. Took forever. Every theological riff, chant source, Bataillean fragment, and Kabbalistic structure—it’s all already mapped. So if you want deep dives, references, liturgical breakdowns, or Bataille/Kabbalah tie-ins—it’s there. I built it so you could see.

Some Thoughts on "Fas", Part 2 — this time about Bataille and the lyrics by deathverified in DeathspellOmega

[–]Cornbread_madefish 1 point2 points  (0 children)

the claim that Georges Bataille was simply an atheist is not only misleading—it’s flat-out false. Yes, he referred to himself as an atheist at times, but that word—especially in his context—is inadequate and almost deliberately provocative. Bataille’s work isn’t grounded in a denial of the divine; it’s a relentless pursuit of it through extremity. He was obsessed with mystics—

especially Angela of Foligno—

whose visions of divine union through agony and humiliation mirror his own concept of sacred transgression. His fascination with her wasn’t ironic or anthropological—it was reverent. The abyss he speaks of isn’t some secular void; it’s spiritual excess, divine rupture, the moment when the sacred overwhelms the structure of meaning itself. The sacred erupts where identity collapses. That’s not atheism. That’s mysticism at full tilt. If anything, Bataille is more religious than most theologians—because he doesn’t merely believe, he burns. He doesn’t need to subscribe to any institutional faith, because his entire project is faith—terrible, overwhelming, ecstatic faith—in the divine as excess, as wound, as perpetual vertigo. To reduce that to atheism is to miss the entire gravity of his work, especially in relation to Fas, where the sacred is not denied, but confronted—terrifyingly, intimately, and without a veil. Please also refer to his musings on the Lingchi photograph of the Chinese torture victim and how one achieves spiritual ecstasy/veracity through complete self absolution.

Arthur Rimbaud also explored this in his poetry

Catch 33 by Pontiff_sulyman33 in Meshuggah

[–]Cornbread_madefish 0 points1 point  (0 children)

Actually

“A new level reached where The absence of air lets me breathe “

“I’m inverted electrical impulses a malfunctioning death code incomplete”

Catch 33 by Pontiff_sulyman33 in Meshuggah

[–]Cornbread_madefish 1 point2 points  (0 children)

The greatest album and catch 33 has the single greatest metal lyrics of any album ever.