Arithmetic of Darkness
Then, turkeys and Santa Clauses, of course, since I seem to have already lost track of the analogy I was just spinning. Gobble gobble? (Gobble gobble, motherfuckers?)
In my world, black metal is the kind of genre that college kids go through phases in. It's particular brand of hatred and misanthropy genuinely appeals to some miserable kids out there in the world, but it's also easily plumbed for amusement from afar (see (really, see it, it's very funny): Metalocalypse) It's been plenty written about and wondered over by various parties. If you've got the time, the Wikipedia articles (as usual), are plenty up to the task of laying out the genre's sordid history (Norwegian black metal is particularly special).
Hunter Hunt-Hendrix, the leader and mastermind of Liturgy, in an interview, talks about the Norwegian black metal band Emperor as being the first band that really spoke to him. To paraphrase, his attitude was something like "this music was awesome to me because it was all climax." (To be fair, Hunter Hunt-Hendrix has said/written some ridiculous shit.) Which, to any of the classically-trained musicians in the house, probably sounds pretty silly, since if everything is climax, then, clearly, nothing is climax because there is no differentiation.
So why do I (when the mood is right) like Liturgy? Or find them worth talking about? Well, I am a sucker for certain brands of pretentious jibber jabber. And like to produce some of it myself, now and then. But I also like another sub-genre of fringe rock, called "math rock." Because of it's weird time signatures. Rock that isn't math rock can sometimes be called "mathy," when it's doing things that invoke math, mostly using odd time signatures. Here is an example: