Bloodbath, are probably my favourite straight up Death Metal band. While I like them from a strictly a musical perspective, one other thing that draws me to them is their ability to present extreme violence and sadism in a mocking light that makes extreme violence something that can be laughed at as opposed to being feared. But, this raises the question of how the arts can present sadistic violence in this way, as it would seem that extreme violence and sadism are always horrifying and threatening. In considering Bloodbath three factors come to light that contribute to the ability of art able to present extreme violence and sadism in a mocking light. Firstly, when art takes violence and sadism to the furthest possible extremes it can make violence seem silly and thus ridiculous. Likewise, when the perpetrator of violence somehow seems very unthreatening this can also contribute to the ability of art to present extreme violence and sadism in a mocking light. Lastly, the fact that music is intended to evoke beauty makes the forthright statement of violent sadistic desires in song seem quite ridiculous. It should be noted that there may be other factors that I have not taken into consideration, and I do not claim that the list I have developed is exhaustive.
For example if we look at some of the lyrics of the song “Cry My Name” by Bloodbath we see that the lyrics present violent, disturbing grotesque imagery, but that this grotesqueness is more akin to a ridiculous horror movie than to a something that is genuinely worth fearing. For example the vocalist of Bloodbath on this album, Mikael Akerfeldt, sings, or rather growls:
You will see
My burning inferno
And there is no way
In your wildest dreams
That you can say no
I suffocate your soul
And drain you of your lifeblood
The breathing darkness here
Will make you disappear
There is no return
I steal your soul
And carve a hole right where your heart once used to be
I watch you die
I hear you cry
It fills my soul with such delight
There is something quite ridiculous about these lyrics. The idea of somebody being delighted watching somebody die and hearing someone cry is might seem horrifying, but when presented in an entirely deadpan, shameless way in the context of a piece of music it hardly seems threatening and just seems absurd. In many ways a song like this is analogous to much of the imagery presented in American Psycho. While I have not read the book, in the film, American Pyscho, we see a character in Patrick Bateman who genuinely delights in horrific violence and sadism, but we are not made to be frightened of him as we are of a character like Hannibal Lector. Instead, we are supposed to find him ridiculous. Likewise in Bloodbath’s lyrics the deadpan presentation of sadistic, violent imagery allows us to see that these desires have a certain comedic element
The question that this raises is how do we present the truly horrific in a way that it renders it absurd? If I confronted a person as described in “Cry My Name” I would certainly be afraid of being with them alone. But when we are presented the image a person not as a person we have to deal with, but just as a fabrication it can render them ridiculous. The first factor that allows artists to present violent sadism as ridiculous is to take their violence and sadism to the most implausible of extremes such that it seems far less imaginable.
In South Park, the Christmas Critters are among the most violent and sadistic of beings, but they take their violence so far that we cannot help but laugh at it, rather than being afraid. Part of what makes the Christmas Critters ridiculous is that they are adorable woodland animals, but contrastingly part of this is driven by the fact that their violence and sadism has been taken to such an extreme. For example in the episode, “Imaginationland II” the Christmas Critters propose to make Strawberry Shortcake’s torture worse by forcing her to eat the eye that the other evil characters have gouged out and then having someone with AIDS urinate in her eye socket to give her the disease. This is possibly one of the most horrible and disturbing images of sadism, and yet we laugh at the Christmas Critters as they have taken the urge for violence to the most extreme limits, such that we cannot imagine somebody having these desires. Similarly, in the song “Mass Strangulation” Bloodbath take the frightening premise of strangulation to such an extreme that it becomes absurd and somewhat ridiculous. For example, the lyrics say
40 people or more – tied to hands and feet
Awaiting strangulation – darkening deceit
Rope around the neck – eyes falling out slow
Extreme asphyxiation – blackened murder flow
Your eyes start to spray, panic in dismay
Deathwish appearing fast
Insanity supreme, praying to be free
Guts explode in a blast
These lyrics present a horrifying spectacle, but at the same time the notion of “eyes starting to spray” and “guts exploding in a blast” is so extreme that it seems ridiculous. Consequently, one factor that contributes to the ability of some art to present violent sadism in a mocking light is by taking certain violent sadistic displays to the farthest possible extreme.
An additional factor that contributes to the ability of art to present violent sadism as something to be laughed at or mocked is our understanding of the character engaging in these acts. In the case of the Christmas Critters it is just funny to think of cute talking woodland critters doing the most horrific acts imaginable. In the case of Bloodbath for a good section of their career they have had a vocalist in Mikael Akerfeldt who comes across as very mild mannered, and hardly threatening and who has written beautiful ballads with Opeth like “Benighted,” “Face of Melinda,” and “Windowpane.” Knowledge of who Mikael Akerfeldt is probably further engrains the fact that the violent sadism is being presented in a mocking light as opposed to a genuine desire as he does not seem like a person with any sort of harsh violent sadistic tendencies. Thus, it seems that the presentation of a seemingly unthreatening agent as the perpetrator of violent sadism allows art to present violent sadism in a mocking light.
The last factor is the contrast between the purported aim of music to evoke beauty and lyrics that present the most horrific of desires. For example, if I were to write a song about how I much I enjoy eating babies when they are slow roasted over an open fire pit and stuffed with 40 cloves of garlic it is hard to not see my song as ridiculous. The musician typically bares his inner self, but this inner self has to be presented as humane and understandable in order to be taken as a serious presentation of beauty. Like my song about the epicurean delight of baby eating, Bloodbath’s music reveals horrific desires, but in the context of a form of art that is supposed to evoke beauty. This contrast allow us to see past the surface level horror presented in the lyrics to see that these violent urges are being mocked as opposed to being glorified. Thus, it seems that the factors noted in the preceding allow art to show violence as something to be mocked and laughed at rather than feared.
I would be interested to know what others think about this issue:
What other factors contribute to the ability of art to present the most horrific violence as ridiculous?
Do you think that any of the factors elucidated above is more important than the others?
Do you think that “Cry My Name” is a fantastic, clever song?