Yamatu is a manifestation and dedication to the coming into being of Dalkhu Zilittu. The musical spells of fire and blood are scripted under the powers of this being. The conjurings of Yamatu are an artful and creative communication focused on the emotions and experiences of Dalkhu Zilittu. In turn, these spells are offered up to human and non-human minds so as to externally influence and inculcate Yamatu's personal spiritual atmospheres upon those who desire a taste of immortal blood. The music is a congregation of effects, notes, and sounds weaved together in a ritual of complexities (consisting of thoughts, dreams, journeys, and emotional climates) focused upon thy citadel of serpentines. The music is a ritual of power that recognizes and shapes one's being in manners that are not commonplace to experience. Its spell effects, in similar ways, those who can ascribe and relate to the themes therein. The lyrical aspect of Yamatu is a creative process and completion that inspires, directs, and communicates the powers invested in Yamatu by the bloodstone: Asaru (a stone that is not a stone -- an eye, opening and closing upon the infinite throne of chaos). Penning in grand lyrical flight allows Dalkhu Zilittu to become lord over Yamatu's own aesthetic conception and design.
Yamatu compromises an intersting blend between Egyptian and Sumer-Akkadian mythic images, concepts, and pantheons (in accordance with additional occult concepts and systems). This entails the creation of a rather obscure symbolic structure that becomes quite complex and esoteric. The imagery and systems involved with Yamatu are utilized only as a conglomerative essence for Dalkhu Zilittu alone. Others may fall privy to such systems, but it should be realized that there is no adamant 'religious' overtone to the work herein. These creations are meaningful to only to Dalkhu Zilittu. Thus. the system involved varies and evolves as the progression of time persits.
Due to the sanctity of Yamatu to its creator, Yamatu has only been introduced to selected listeners. This passion shall continue, but hopefully under the medium and format of mini-Cds. This musical format will allow greater ease of listening and higher quality packaging; hence, permitting greater artistic atmospheres to be invoked. Yamatu will always be focused on personal gratification by way of the creative process, shunning any and all political and/or monetary motifs. Yamatu shall always stand as an uninhibited reflection of Dalkhu Zilittu.
The Sixth Gate Shines No More
Yamatu Lyrics
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The darkened winds shift toward the heavens, crushing the sphere of red.
I call upon the sorceries of Ningishzidda...
great horned serpent of the darkest sorceries!
With thy majikal chants, the Ancients conquer with victory.
May the Asaru eternally rest upon the vacant wastelands.
The seven bearers of the ancient throne are exalted from abyssmal waters.
The essence of nocturne is caputered within the glass of a blackened heart...
Behold seven hundred and twenty-six!
The lyrics to Yamatu's song "The Sixth Gate Shines No More" open with a depiction of a violent conflict between the "blades" of the Ancients and those of the "fifty powers". The singer then describes summoning forth "dark hymns" with the aid of Azagthoth, a chaotic and blind force. The use of the word "blind" is significant, as it suggests a lack of foresight or understanding of the consequences of one's actions. This could be seen as a metaphor for the dangers of using dark magic without fully understanding its power.
As the lyrics continue, the darkened winds shift and crush the "sphere of red", which could be interpreted as a reference to the sun or the dawn. The singer then calls upon the sorceries of Ningishzidda, a great horned serpent associated with dark magic and the knowledge of the underworld. The use of the term "majikal" emphasizes the mystical and otherworldly nature of the conjuring.
The final lines of the song depict the emergence of the "seven bearers of the ancient throne" from "abyssmal waters", suggesting a kind of rebirth or renewal. The essence of "nocturne", or darkness, is captured within a "blackened heart", which could represent the singer's own corrupted soul. The final line, "Behold seven hundred and twenty-six", is enigmatic and open to interpretation, but could be seen as a reference to the powers of seven and two, or a symbol of completeness.
Line by Line Meaning
The blades of we Ancients clash with that of the fifty powers and I summon forth dark hymns with the blind chaos of Azagthoth.
We Ancient beings fight against the fifty powers using our swords, while I call forth dark hymns with the chaotic energies of Azagthoth.
The darkened winds shift toward the heavens, crushing the sphere of red.
The winds of darkness rise towards the sky, destroying the red sphere.
I call upon the sorceries of Ningishzidda...
great horned serpent of the darkest sorceries!
I invoke the ancient sorcery of Ningishzidda, the powerful horned serpent known for its dark magic.
With thy majikal chants, the Ancients conquer with victory.
With the help of thy magical incantations, we Ancients are victorious in our conquest.
May the Asaru eternally rest upon the vacant wastelands.
May the spirit of the Asaru forever rest in the empty wastelands.
The seven bearers of the ancient throne are exalted from abyssmal waters.
The seven individuals who hold the ancient throne are lifted up from the abyssal waters with reverence.
The essence of nocturne is captured within the glass of a blackened heart...
The essence of night is trapped within the darkness of a broken heart.
The stone has manifested itself in the most balanced of natures!
The stone has revealed itself in the most harmonious way possible!
Behold seven hundred and twenty-six!
Look upon the number seven hundred and twenty-six with awe and wonder!
Contributed by Isaac H. Suggest a correction in the comments below.