Little Rock, Arkansas hardcore-laced death metallers Terminal Nation released their killer sophomore album Echoes of the Devil’s Den on 20 Buck Spin last week (read our review in Notable Releases), and it’s a political album that hits very hard right now, with songs about police brutality, the climate crisis, capitalism, the oppression of marginalized groups, and more. For a deeper look at these songs, vocalist Stan Liszweski has given us a track-by-track breakdown of the whole album. Read on for what he had to say…
1. “Echoes of the Devil’s Den”
This is the title track. It does have a secondary meaning as a couple of us had very difficult and traumatic years, and there is also a state park in Arkansas with a history of paranormal reports called the Devil’s Den State park. We wanted something to encapsulate our struggles, yet still be able to tie it back to where we are from, and this was the perfect way to do it. Lyrically, the theme here is simple. It’s about being badass. My home was destroyed by a tornado 13 months ago. I’m still displaced from it as I type this. I spent a couple of months living in a 600 square foot hotel with my family of 4, while trying to hold my home owner’s insurance company, accountable to the provisions of the contract that we have. Needless to say, this has been a very stressful time. As a form of escapism, I listened to a lot of fun music. Motorhead, ACDC, Van Halen, Manowar, and more. Music has always been an escape for me, but during this time I had actively sought music that made me feel good. Music that’s about kicking ass and being sick and that’s what influenced the lyrical content of this song.
“Welcome to the Devil’s Den. Your bones snap like thunder. A blade that never dulls. The Iodine in your blood flavors our Last Supper. We’re not like the others. Mark my words: Don’t come around here, motherfucker.”
2. “Written by the Victor”
This trope is typically used to reference a victor in times of war. While, that’s not wrong, in the South, particularly in Arkansas, this expression can also be used in reference to political elections. We have seen firsthand the challenging of “critical race theory” or banning books to influence the education of the children of this State by this current administration. The political victor can absolutely use their power to reshape a false narrative of history when they have control over what the children are and aren’t allowed to learn.
“Not only is history written by the victor, the pages of the book are inked in the blood of the defeated.”
3. “The Spikes Under The Bridge”
This one is fairly straightforward. This is about the vilification of the houseless population. Plain and simple. We have all seen pictures of cones or spikes under a bridge, being promoted as some sort of modern art nonsense, while they vilify actual graffiti artists. The spikes under bridges, the reason that the bench at the bus stop is shaped like a half-morphed T-1000, is not because these cities value unique and abstract architecture, it’s because it will push what they view as the undesirables out of gentrified areas. I was very pumped to get Zak from Elysia on this one. The dude has not missed a beat when it comes to his vocals. He’s still unmatched. I particularly pop at the “domicile destory-ahhh” part.
“Hostile architecture. Concrete of evil. If these bridges could talk, they’d ask “why God, why?” The spikes under the bridge pierce right through the city’s heart. If survival’s an eye sore, I’ll put a spike through your eyes.”
4. “No Reform (New Age Slave Patrol)”
I think this one lyrically speaks for itself.
“Trained to shoot first and ask questions later that can’t be answered by a child’s corpse. There is no reform for the murder of children. No amount of training curbs a killer’s appetite. Dorner was right, you’re the enablers, guilty of misconduct. New age slave patrol… Fuck every cop that ever fucking lived.”
5. “Empire in Decay”
This track specifically focuses on the perspective of the marginalized class and the immediate thought of what’s going through their head in the midst of discrimination or mistreatment of any kind because of who they are. It’s a feeling that’s difficult to put into words. It’s something that will push you to lack empathy.
“I’m the product of an evil fucking world. When it’s ‘kill or fucking be killed’, my heart pumps piss for you and all your blood that’s spilt… All I have is hate for a world that’s hates itself. All I have is have for a world that hates me back.”
6. “Embers of Humanity”
This is an instrumental track that was intended to drive home a somber and depressing vibe as an addendum to “Empire in Decay,” and I’d say it succeeded at that.
7. Merchants of Bloodshed”
I think the title sums it up nicely, but this track focuses on those behind the scenes, not the ones actually fighting wars, but the one raking in profits from the war, suffering, murder, and tragedy. That part is especially heinous.
“The international face of death: a grim reaper cloaked in an American Flag, with dollar signs burned into his eyes, overseeing the productivity of the merchants of bloodshed.”
8. “Bullet for a Stone”
These lyrics are about a time when the US forces at the southern border wanted to alter the term of what is considered lethal force. Therefore, a child throwing a rock at them could be considered lethal force, they would be permitted to retaliate with an alternative version of lethal force. Well, this play book ended up getting adopted by the IDF, and we still see it today in Gaza. If a child throws a rock at a tank, should it be branded as “lethal force”, thus being met with their own retaliatory version of lethal force. It’s goal post moving, in an effort to allow the killing of children.
“It’s easy to authorize lethal force when you can alter that definition. It’s easier to execute the child, when you don’t view them as human. A bullet for a rock, an even trade in the eyes of the tyrant.”
9. “Dying Alive”
Both myself and Chase our bass player came face to face with death in the last year or so. Part of it is survivor’s guilt. Part of it is the expectations of those around you to just keep moving forward, which is much easier said than done by someone who hasn’t faced the same situation. For me, the most egregious part of it was that the world just keeps spinning. ‘Oh, you almost died on Friday? Bummer. See you at work on Monday.’ We could be going through the literal worst part of our lives, but the world keeps spinning and expects you to keep up. Bills will stack up, even on your deathbed. Capitalism will not allow you time to process anything, even your own mortality.
“Death couldn’t kill me, but I cannot decide if dying is harder than the act of staying alive.”
10. “Cemetery of Imposters”
No matter how much you try to support or raise up others, there will always be someone who will actively try to tear you down, regardless of how much you’ve helped them. Put ‘em in the Cemetery of Imposters.
“I refuse to make you the main character in my own story, when you aren’t in your own.”
11. “Immolation (Of Mother Earth)”
This track encompasses my frustration with the current climate crisis and that corporations have essentially been allowed to take the planet hostage.
“Another burning forest, another poisoned stream. We can’t outsmart our hostage. She’ll end our regime… Mother earth, she will kill us faster than we can kill her.”
12. “Release the Serpents”
Evangelical Christian extremism is doing unprecedented levels of harm to the psyche of this country. It’s used a rationale for the dehumanization of many marginalized people, used to discrediting of science, used as an argument to deny healthcare, and more.
“Recite a hollow scripture. A book that doesn’t bleed influenced millions of deaths. More will follow the lead. A rotten cross, a tainted creed, fill the holy chalice with the Devil’s seed.”