Impaled Nazarene: ‘Provocation’ for narrow minds, ‘humor’ for the irreducible

In a world where music should be a refuge for resistance, critique, and above all, respect, it is unfortunately common to encounter bands whose sole purpose seems to be spreading hate, violence, and, in many cases, ideas that should never be allowed in any space. Impaled Nazarene, one of the most representative bands of this phenomenon in the black metal scene, has just been canceled at the Eindhoven Metal Meeting following a public petition and various organizations opposing their presence. However, the festival organizers, instead of taking responsibility, responded with a pathetic defense, blaming those who oppose their retrograde ideas, and instead clinging to the cheap excuse of “artistic provocation” and “humor.” This, as expected, is not only an insult to intelligence but also a way of justifying the unjustifiable.

The Eindhoven Metal Meeting has tried to hide behind a typical fallacy used by those who support bands with ideologies as repulsive as Impaled Nazarene’s: “It’s just provocation,” they say. And the worst part is that many still buy this excuse as if, somehow, it’s acceptable to advocate for hate under the guise of “freedom of expression.” No, not everything is “provocation” when you are inciting violence or promoting discourses that glorify Nazism, homophobia, racism, or misogyny. What Impaled Nazarene does is not provocation; it is an endorsement of intolerance, barbarism, authoritarianism, and fascism. It is not about art or challenging conventions; it’s about making those who support these messages feel comfortable and secure in a space that, once again, should be free from such ideologies.

The lie of “provocation” and humor

The excuse of “provocation” no longer holds water. No one with a minimum of intellectual decency can continue defending Impaled Nazarene’s lyrics as some sort of «joke» or «artistic provocation» that challenges conventions. Let’s be clear: songs like «Zero Tolerance,» where it says “you fucking homo boys, your time has come, and if you are a lesbian, you still got a cunt to rape,” are not an attempt to “provoke thought.” They are a direct call for violence against the LGBTQ+ community and a glorification of homophobia. Provocation has nothing to do with freedom of expression; it’s about using that freedom to spread hate and violence in a covert way.

We could continue dissecting each fragment of their discography to prove that Impaled Nazarene doesn’t make art but fascist propaganda. For example, in «Ghettoblaster,» the band sings: “Kill them all before they kill you” in a clear message inciting genocide against immigrants, while in «Cancer,» one of the verses says: “You think you have samba in your blood, In fact, you have HIV.” These are not lyrics that are “challenging” anything; they are promoting hatred towards minorities, mocking the victims of racial violence, and, of course, endorsing violence and genocide.

The responsibility of festivals and venues

The organizations that invite bands like Impaled Nazarene bear significant responsibility: not only are they responsible for what these bands represent, but also for what their presence normalizes within the scene. What is happening with Impaled Nazarene is just a reflection of a bigger problem: the tolerance within certain parts of metal towards intolerance. For years, festivals and venues have turned a blind eye to these issues, unwilling to confront or question the nature of the bands they book.

The case of Eindhoven Metal Meeting is not an isolated incident, far from it. The tendency to justify these bands with the argument that “metal is rebellious” or “metal should challenge everything” is as dangerous as it is absurd. If we truly want metal to be a space for resistance, then we must be willing to distance ourselves from those who use metal to spread hate. Complicit silence is not only irresponsible, but it also reinforces these dangerous ideologies that continue to permeate part of the genre.

The responsibility of fans: an uncomfortable mirror

Here’s where the responsibility of the fan community comes into play. The silence of attendees, or worse, their explicit support for these groups, is part of the problem. Because, let’s not fool ourselves, a large part of the “fidelity” towards bands like Impaled Nazarene is not just for their music, but for the ideology they represent. These fans are not just “enjoying” what they consider a “provocative” proposition, they are also embracing the misogyny, homophobia, and xenophobia promoted by the lyrics of the songs.

Over the years, the general response from the metal community to situations like this has been alarming indifference. In the end, it all seems to boil down to a “if you don’t like it, don’t listen to it” or the excuse that “metal is for the tough, for those who aren’t offended.” But this stance is not only irresponsible, it’s dangerous. If metal truly wants to be a refuge for those fighting the system, for those opposing oppression, it must openly reject any ideology that supports it. And no, we cannot keep accepting that fascism can masquerade as “provocation” or “rebellion.” Indifference towards such attitudes is as guilty as the ideology itself.

The work of organizations like Antifascist Black Metal Network

Organizations like Antifascist Black Metal Network are doing essential work by pointing out and exposing bands like Impaled Nazarene, which not only contaminate the black metal scene but, ultimately, are destroying the original message of the genre. Black metal was born as a space for rebellion, but also for reflection and resistance against social and political injustices. Today, it is being hijacked by those who, far from challenging the system, are dedicated to reinforcing it.

It is imperative that we continue to support these initiatives, not only because they are fighting fascism, but because they are helping to redefine what metal should be today: a space for liberation, not oppression. No matter how much Impaled Nazarene’s defenders deny it, what is at stake is not “freedom of expression,” but the right to live in a world where hate is not the driving force behind what we enjoy.

Conclusion

The response from the metal community to Impaled Nazarene and other similar bands must be clear, firm, and direct. This is not about censorship; it’s about demanding a scene free of hate, a scene that, instead of applauding violence and intolerance, supports resistance, respect, and the fight for a better world. Festivals and venues must take a clear stand, and fans must reflect on what kind of metal they want to support and what kind of ideologies they are willing to tolerate.

We can no longer afford to turn a blind eye, either as organizers or attendees. Impaled Nazarene and bands like them have no place in a metal that aims to be revolutionary and liberating. Provocation, when based on hate and violence, has no place. The only acceptable response is total rejection.