In his book “Satanisme et vampirisme: le livre noir,” political scientist Paul Ariès explores the emergence of Satanism and its cultural implications, particularly through music. He argues that certain genres, notably rock, serve as a “Trojan horse” for satanic themes, citing lyrics from bands like Led Zeppelin, Kiss, Deicide, Black Sabbath, and AC/DC as examples of this phenomenon. Lyrics that invoke Satan or express violent, anti-Christian sentiments illustrate his point.
Ariès highlights the prevalence of satanic imagery in rock music from the 1970s and 1980s, with bands such as Black Sabbath, Ozzy Osbourne, and Iron Maiden epitomizing this darker trend. The rise of Black Metal, particularly in Norway, is marked by notorious figures like Øystein Aarseth, who adopted the name Euronymous and became a prominent advocate of Satanism. The tragic events surrounding his band Mayhem, including the murder of Euronymous and the church burnings linked to Varg Vikernes, further exemplify the connection between music and satanic culture.
Ariès also discusses the influence of occultist Aleister Crowley on musicians like Jimmy Page of Led Zeppelin and the Rolling Stones. Crowley’s teachings have permeated popular music, with references found in various songs and albums. L. Ron Hubbard, founder of Scientology, is mentioned in relation to Crowley’s circle, although the connections remain somewhat speculative.
The author warns that modern concerts have become venues for spiritual gatherings, where themes of Gnosticism and anarchism are propagated among youth. Ariès posits that these gatherings can be seen as a new form of religious service, reflecting a shift in societal values and beliefs. The impact of these musical influences raises concerns about the normalization of satanic motifs in contemporary culture and their potential effects on younger audiences.
