Nile Album

[Music and lyrics by Karl Sanders]

Blasphemer, Heretic, Defiler of the Sacred Ones.
Thou art Deprived of Your Limbs.
Thy Nose Shall be Split.
Thou art Cast Down and Overthrown.
Ra-Harmakhis Destroyeth Thee.
He Damneth Thee and Driveth Hooks into Thy Body.
Isis Sayeth in Mighty Voice,
"The Number of Thy Days are Cut Short.
Thy Bones are Broken to Splinters Thy Vertebrae are Severed."
Horus Hammereth Thy Head.
The Sons of Heru Smash You with Their Blows.

Thou Art Decimated by Their Violence.
Thou Fallest Backwards as Thou Retreateth Like unto Apep.
The Great Company of Gods Gather in Retribution.
They Hath Passed Judgment upon Thee.
They Cast Down Your Heresy.
They Spit Upon Thee and Thy Rebellion And Turn Their Back upon Thee.
Horus Repulseth Thy Crocodile.
Sut Defileth Thy Tomb.
Nephthys Hacketh Thee in Pieces.
The Sons of Horus Speareth Thee.
The Gods Repulse Thee.
The Flame of Their Fire is Against Thee.
Cursed Art Thou, Impaled Thou Art, Flayed Art Thou.
Heretic Thou Art Cast Down.

Blows are Rained upon Thee.
Dismemberment and Slaughter are on Thee.
Thy Crocodile is Trampled under Foot.
Thy Soul is Wrenched from its Shade.
Thy Name is Erased.
Thy Spells are Impotent.
Nevermore Shalt Thou Emerge from Thy Den.
Thy City Armana Lays in Ruin.
Damned Art Thy Accursed Soul and Shadow.
Die O One, which Art Consumed.
Thy Name is Buried in Oblivion.
Silence Covereth Thee and Thy False One.
Down upon Thy Belly.
Be Drowned, Be Drowned, Be Vomited Upon.

[Guitar solo]

The Gods have Pronounced Thy Doom.
They Scorn Thee and Thy False Aten.
The Ancient Ones Turn Their Backs upon Thee.
Thou Art Cast Down, Overthrown.
Thy Reign of Heresy is Ended.
Those Thou Hast Driven Out Have Risen Against Thee.

Cast down the Heretic.
Cast down the Heretic.
Cast down the Heretic.

Khnemu Draggeth Thy Spawn to the Block of Slaughter.
Sick Shalt Thou be at the Mention of Thine Own Name.
Sekhmet Teareth Out Thy Bowels and Casteth Them into Flames.
She Filleth Thine Orifices with Fire.
Uadjit Shutteth Thee in the Pits of Burning.
Nevermore Shall You Breathe or Procreate.
Neither Thy House or Tomb Exist.
Thou Shalt Drive Thy Teeth into Thine Own Body.
Heretic, Thou Art Cast Down.
Overthrown, Ended, Hacked in Pieces, Slaughtered, Butchered.
Ra Hath Made Thoth to Slay Thee Utterly.

["Cast Down the Heretic" concerns the Pharaoh Akhenaten, who ruled Egypt from 1379 to 1362 B.C. The son of Amenophis III and Tiye, Amenophis IV changed his name to Akhenaten (which most likely means "Servant of the Aten") in Year 5 of his reign, indicating his allegiance to Aten (a creator god symbolized by the Sun's disc).

Akhenaten's unique contribution to Egypt was to ensure that Aten's cult approached a form fo Monotheism. Akhenaten regarded Aten as unique and omnipotent - a universal, supreme and loving deity symbolized by the life-giving Sun. Akhenaten, as the god's sole earthly representative, became virtually interchangeable with Aten, and spent his days communing with the god. Akhenaten was most likely prompted by political, as well as religious motives, as this may have been an attempt to curb the far-reaching political influence of the priesthood of Amen-Ra.

In Year 6 of his reign, Akhenaten moved the religious and political capital fo Egypt from Thebes to a new site (commonly called Amarna), in large part due to the inability of his monotheistic cult to exist alongside the other long-established and institutionalized hods of Egypt. Akhenaten closed down all the other temples, disbanded their priesthoods and diverted their revenue to the Aten's cult. In additioon, the names of all the old official deities were erased - Aten became the exclusive royal god.

Akhenaten's reign was not to last. His rule was weak, and with his exclusive devotion to his religious/mystical interests, internal political strife and rebellion ran unchecked.

Akhenaten has been blamed for allowing Egypt's empire in Syria to disintegrate while he pursued his religous reforms, as well as Egypt's decline in overall influence in the region. Not only that, but the military became weak, and the borders unstable. (In the Amarna Letters, the diplomatic correspondence found in the ruins at El Amarna, vassal Princes begged in vain for Egyptian aid against the predatory ambitions of the region's other great powers. At home, internal organizaion had begun to crumble, and the counter-revolutionary insurgencies - incited by the old deposed priesthoods - sought to restore the old order.)

Akhenaten was soon overthrown, proclaimed a heretic and a disastrous ruler. Every effort was amde to expunge his name from the records and return Egypt to religious orthodoxy.

For several years, many people have suggested that I write a Nile song concerning Akhenaten, but I have stayed away from it, not only because of the much-vaunted Philip Glass Opera concerning Akhenaten, but also because I was unsure of how to treat the subject matter given the usual Nile lyrical stance, and how to interpret Akhenaten's vain and ill-fated attempt to reform the old ways to a new Monotheism. It was not until a friend, Deni of Anubis Records, made the suggestion to me in such a way as to fire my imagination.

Although exact details of Akhenaten's overthrow, deposition and execution are scarce, it does not take a genius to figure out that his demise at the ghands of the old priesthood of Amen-Ra was certainly long-awaited and most likely gruesome. Akhenaten had, after all, thrown out an entire country's priest class - men who enjoyed wealth and political influence. To my thinking, Akhenaten's demise would have been, aside from a certain grand revenge satisfaction for Amen-Ra's priesthood, a political necessity - not merely for the stability of the country, but also for the future survival of the priest class of the entire "Old Order". Akhenaten's death would need to be so grisly as to ensure that no Pharaoh would ever again be foolish enough to politically chalenge the priesthood of Amen-Ra. It is quite easy to imagine Akhenaten's execition done in as legendary a fashion as would be any of the great enemies of Ra (perhaps similar to the ceremonial destruction of evil enacted in the stylized ritual found in "The Book of Overthrowing Apep).

I belive thah history somewhat bears out this lesson, as later conquerors/rulers of Egypt - Alexander, Ptolemy, Caesar - did not interfere whatsoever with the old established religious ways. They allowed the people to practice their relgious beliefs (even aligning themselved with the Egyptian gods), thus avoiding extraneous political turmoil and unrest.]

[Music and lyrics by Karl Sanders]

Sebek, Sochet, Suchos.
Dread Lord of the Marsh.
He Who Crawleth Amongst the Sacred Waters.
And Devoureth the Flesh of That Which is Sacrificed unto Him.

Tua Ashemu. Tua Ashemu.
Rekhes Au Sebek. Rekhes Au Sebek.
Tua Ashemu. Tua Ashemu.

Sebek, Neter, Ashemu.
Whose Teeth Rendeth and Teareth With Terrible Violence.
Restore the Eyes of the Dead.
Collect Their Skulls.
Join Their Bones Together Again.

Lord of the Temple of the Mount of Sunrise.
Open the Way unto the Underworld.
Cause the Dead to Rise to New Life.
Bring the Child Horus upon the Throne of Osiris.

[Guitar solo]

[Sebek was the principal crocodile god in Ancient Egypt. In primitive, pre-dynastic times, during seasons when the canals dried op, the crocodile wandered the fields at will, killing and eating whatever or whoever crossed its path.

The Egyptians came to regard the crocodile as a personification of the powers of evil and death, and they associated it with the demonic aspect of the got Set. I was unaware until researching this song that the species known as the Nile crocodile is one of the very few animals on our planet that actively hunts and preys upon humans with specific (as opposed to incidental) intent.

In later times, according to Herodotus in his "History (Book 2)", crocodiles became sacred in parts of Egypt such as at Shedet (called "Crocodiliopolis" by the Greeks) where a crocodile was kept in a sanctuary lake alongside Sebek's Temple. The sacred crocodile (adorned with crystal and gold earrings and bracelets on its forepaws) was said to be Sebek incarnate. Temple visitors brought food offerings, which the priests of Sebek fed to the sacred crocodile. If Sir Waalis Budge is to be believed, this also included on special religious occasiona infansa and small children. Upon teh dacred crocodile's death, it was embalmed and entombed in a sacred vault.

The crocodile plays an important part in Egyptian mythology as both friend and enemy of the dead god Osiris. He was also a protector and helper of the newly dead, playing a role in Horus' ascension to new life. In later Egyptian mythology, the crocodile came to be regarded as a symbol of the Sun, and was associated with the sun-god, Ra, forming the composite god Sebek-Ra.

In Egyptian art, Sebek is portrayed as a crocodile-headed man waring either a solar disk encircles with the uraeus or a pair of ram's horns surmounted by a disk and a pair of plumes. A small pair of horms is sometimes shown above the large horns. Variants of the name are Sebeq, Suchos and Sobek.]

[ by Karl Sanders, Music by Dallas Toler-Wade]

Asfetiu.
Asfetiu.

Fiends, Criminals, Slaves, Blasphemers.
The Word of Ra is Against Ye.
Ye are Fettered and Bound with Leather Straps.
Helpless, Doomed, Wailing in Unendurable Torment.
Lashed to the Forked Slave Stick By the Neck.

Lashed to the Slave Stick.
Abata Ankh t Khet.
Neba t Steb Tcha.
Lashed to the Slave Stick.

Ra Pronounceth the Formulae Against Thee.
The Eye of Horus is Prepared to Attack Thee.
Sekhmet Uttereth Words of Flame Against Thee and Pierceth Thy Breast.

Your Evil Deeds Have Turned Against You.
Your Plottings Have Come upon You.
Your Abominable Acts
You shall be lashed to the Slave Stick.

Abui, The Gods Who Burns the Dead.
Shall Leave You Smoldering in Exile from the Netherworld.
Abati.
The Gorer.
Causes You to Howl like a Jackal in Anguish.

Your Doom Hath been Decreed by Ra.
Your Unjust and Perverse Judgments are upon Yourselves.
The Wickedness of Your Words of Cursing are upon You.
It is You Who Hath Committed the Unutterable and Wrought Iniquity in the Great Hall.

Your Corruptible Bodies Shall be Cut to Pieces.
Your Souls Shall have No Existence.
Ye Shall Never Again See Ra as He Journeyeth in the Hidden Land.
The Doom of Ra is upon You.

Lashed to the Slave Stick.
Abata Ankh t Khet.
Neba t Steb Tcha.

Lashed to the Slave Stick.
Abata Ankh t Khet.
Neba t Steb Tcha.
Asfetiu.

[Dallas and I collaborated once again to create "Lashed to the Slave Stick". Dallas wrote the music, building it into an amazing piece. This piece started from a riff Dallas and I had played backstage on the "Darkened Shrines" tours. Dallas took that riff, and came up with the melody and a doom-laden chord section, building upon the rest of the riffs, which brought the essence of the words to musical realization.

Within the lyrics are the (surprise!) torture and various torments applied to one of the damned and doomed enemies of Osiris, lashed to a "Slave Stick". This song was jointly inspired by several pages in the "Book of Gates", as well as from a passage in the book "Osiris and the Egyptian Resurrection" by Sir Wallis Budge, in which he describes an instrument of torture employed by the Ancient Egyptians. To paraphrase Sir Budge:

"Whilst various batches of the enemies of Osiris were awaiting their turn at the block of Slaughter, they were kept tightly fettered and bound. One Terrible instrument of Torture was the Y (a hieroglyph in a shape of a forked tree branch is pictured); the modern equivalent of which is the "Goree Stick".

The "Slave Stick" is a tree branch, forked at one end, by which, with the help of a strip of leather, it is fastered around a man's neck. It hangs down in front of the wretched creature doomed to carry it. If the branch is thick, the weight is considerable, and if to the end a block of stone or so be fastened, its effectiveness as an instrument of torture can be well imagined. In some cases the hands were also fastened to the stick. Prussian archaeologist Richard Lespius, who saw them in use, wrote:

"Each captive carried before him the stem of a tree as thick as a man's arm, about 5 or 6 feet long, which terminated in a fork, into which the neck was fixed. The prongs of this fork were bound together by a cross piece of wood, fastened with a strap. Some of their hands, also, were tied fast to the handle of the fork, and in this condition they remained day and night - it can be driven into the ground firmly, and then the prisoner is tied to it, with the arms tied in this position to the stick the pain is said to be unbearable."

"The hieroglyphs also cast light on the use of the stick", continues Budge. "We see a captive with his arms tied behind him to the stick. In another glyph we see a captive tied to the stick by the neck, and his arms tied behind his back; in this attitude the head was cut off, as we see from the next hieroglyph."]

Mut The Dangerous Dead
Trouble me No Longer
I Inscribe Thy Name
I Threaten Thee With The Second Death
I Kill Thy Name
And Thus I Kill Thee Again
In The Afterlife

Bau Terror of the Living
Angry Spirits of the Condemned Dead
I Write thy Name
I Burn Thy Name In Flames
I Kill Thy Name
And Thus Thee Are Accursed
Even Unto The Underworld

Mut The Troublesome Dead
Plague Me No Longer
Thou Art Cursed
Thy Name Is Crushed
Thine Clay is Smashed And Broken
Thy Vengeance Against The Living
Shall Come to Naught

[Among the most sinister objects from the ancient world are the figurines in human shape which were used to cast spells on the persons they depicted. Such objects survive to this day usually only when they are buried as a part of a rite, and usually in the vicinity of a tomb or necropolis. Archeologist have found the remains of such rites at the royal cemetaries of Giza, Saqqarra, Lisht, and at several forts in Nubia. Stone, wax, or mud figures, or broken clay tablets or clay pots, are inscribed with lists of the enemies of Egypt. The body of the figure is usually flattened to make room for the text, or sometimes a papyrus is inserted inside the body cavity. On the back, the arms, or the arms and legs, are bound together. The inscriptions found on them are called "execration texts." These texts threaten death to specific people. Often, they include the name, parentage, and title of war. The execration texts were mainly aimed at enemy rulers, hostile nations, and tribes in Nubia, Libya, and Syria-Palestine. Magickal incantations and rites were used to cause death and suffering, and to prevent the angry spirits of the executed from taking vengeance on those who had condemned them. Usually included in these texts are long-standing enemies of those involved in the cursing rites. There is also often a catchball phrase against any man, woman, or eunuch who might be plotting rebellion. Amongst the common people, the execration rituals were carried out after the killing of a personal enemy or the execution of criminals. By killing the enemy's name, which was an integral part of the personality, this rite would extend the punishment into the afterlife. The spirits of defeated enemies or executed traitors were regarded as a continued supernatural threat, which needed to be met with magic. The wording of the texts is similar to that of contemporary spells on papyrus, which promise to protect against the malice of demons and ghosts. Those named in the execration texts are referred to as "mut" - the dangerous dead. It is also the word used to describe the troublesome dead in protective spells for private persons. The stone figures and red clay pots on which the execration texts were written were ritually broken as part of the cursing ceremony in order to smash the enemy's power. A pit near the Egyptian fort of Mirgissa in Nubia contained hundreds of such pot shards, as well as over 350 figures. Deposite of figures have been found outside fortresses, tombs, and funerary temples. The clay figures were burned and then buried with iron spikes driven through them, or nailed to the outer walls, as the bodies of executed traitors and foreign enemies sometimes were. The more eloborate enemy figures were sometimes trussed up like animals about to be sacrificed. Some are shown with their throats cut, the method used to kill sacrificial animals. The dismembered body of a Nubian and a flint sacrificial knife were found nar the Mirgissa pit. Some Egyptologists believe that human sacrifices routinely accompanied execration rituals, while others have argued that the figures were normally a substitute for such sacrifices.]

Who Dares Disturb
My Blissful Sleep
Again in Anger
Must I Rise
How Long Unknown
I Lay Emtombed

My World
So Long Forgotten
Did Disown Me
Usurper
I was Scorned

Ah
The Suffering They did Inflict

Stained With Cosmic Black Sins
The Sun No Longer Sets Me Free

[The song, "Sacrophagus", could be thought of as a continuation of the Nephren-ka saga - perhaps a revisitation of the Lovecraftian mythos that this band has been exploring since our earlier work. In this latest chapter, whilst naively excavating in the Catacombs of Nephren-Ka, we have unwittingly awakened our protagonist from his long, restful interment. After wreaking his underworld vengeance upon us for disturbing him from his oblivion, he is tormented by memories of the unholy transgressions that had caused him his anguished eternal entombment... in all seriousness, though, I sometimes get the uneasy feeling that perhaps it would be best to leave Lovecraft's characters sleeping, undisturbed in an eternal dormant state - dead, as it were, but dreaming. Who knows what we might awaken?]

Poureth Down Water From the Heavens
Tremble the Stars
Quake the Bones of Aker
Those Beneath Take Flight When They See
Unas Rising

The Akh of Unas Is Behind Him
The Conquerer Are Beneath His Feet
His Gods Are In Him
His Uraei Are on His Brow
The Words of Unas Protect Him
Unas This Bull of The Heavens
ThatTrusteth With His Will

Living On Utterances of Fire From
The Lake Of Flame
Unas That Devoureth Men and Liveth on The Gods

Behold Amkebu Hath Snared Them for Unas
Behold Tecber Tep F Hath Known Them and
Driven Them Unto Unas
Behold Her Tbertu Hath Bound Them
Behold Khensu The Slaughterer of Lords
Hath Cut Their Throats for Unas
Behold Shesemu Hath Cut Them Up For Unas

Unas Hath Ingested Their Spirits
Hath Feasted On Their Immortality
He Hath Consumed their Shadows
Unas The Slayer of the Gods

Unas The Sekhem Great
The Sekhem of the Sekhemn
Unas The Ashem Great
The Ashem of the Ashemn
Behold Orion
Unas Riseth

Unas Hath Taken Possession
of the Hearts of the Gods
Unas Feedeth on their Entrails
He Hath gorged on their Unuttered Sacred Words
He Hath Assimilated the Wisdom of the Gods
His Existence is Everlasting

Behold The Souls of the Gods are in Unas
Their Spirits are In Unas
The Flame of Unas in Their Bones
Their Shadows are With their Forms
Unas is Rising
Hidden Hidden

[Unas was the ninth and last Pharaoh of the 5th Dynasty. He is said to have lived from 2375 to 2345 B.C., but some Egyptologists date him as far back as 5330 B.C. The internal structure of his pyramid is known for incorporating several innovative features, but is most recognized for the inclusion of vertical lines of hieroglyphs on the walls of the vestibule and burial chamber. When Maspero opened the Unas pyramid in 1881, he found texts covering these stone walls to be extremely difficult to decipher, because of their archais characters, forms, and spellings. These were magickal/religious texts, designed to ensure the safe passage of the Pharaoh into the next world. They are known today as the "Pyramid Texts." According to these texts, Unas became great by eating the flesh of his mortal enemies and then slaying and devouring the gods themselves. Those gods that were old and worn out (Egyptian gods aged and died) were used as fuel for Unas's fire. After devouring the gods and absorbing their spirits and powers, Unas journeys through the day and night sky to become the star Sabu, or Orion. While this is certainly not the first reference to cannibalism in Old Kingdom texts, what is notable is the method by which the Pharaoh Unas achieves deification and immortality; by turning on the gods, slaying and then devouring them, and thus ascending to the heavens to become the star Orion. The concept was remarkable to Maspero, who found the idea to be of "absolute savagery." Maspero seemed to be reeling from a confrontation with a symbolic revival of pre-dynastic cannibalistic rites - which are suggested, according to Maspero, by the gnamed and disconnected bones found in certain early graves. Professor Petrie suggests that at the original Sed festival, the tribal king appears to have been sacrificed and devoured, so that his people might derive from his flesh and blood the power and virtues which made him great. This practise was based on a belief in contagious magick. Bulls and boars were eaten to give men strength and courage, deer to give fleetness of foot, and serpents to give cunning. The blood of slain and wounded warriors was drunk so that their skill and bravery might be imparted t the drinkers. Similarly, Unas feasts after death on the spirits of the gods, and on the bodies of men and gods. He swallows their spirits, souls, and names, which are contained in their hearts, livers, and entrails, thus, Unas becomes allpowerful. In attempting to bring this epic-length text to song from, it was necessary to make some minor concessions, firstly, that every version I have at home of the text is translated somewhat differently, and thus there is not any singularly definitive versions; and secondly, that it would just not be possible to include every last line from the original text. That would probably necessitate a song inconceivable in length. As it is, in concise song lyric form, "Unas Slayer of the Gods" weighs in at about 12 minutes plus - and that is using what would be considered only the bare minimum essential lines for the development and presentation of the main aspects of the text. For those interested in reading the entire work, there are several versions readily available online or by ordering from a local bookstore. I typed in "Unas Slayer of the Gods" in a couple of search engines and was astounded at the number of results that came back.]

Evil sick flames cast uncertain shadowsin the dimly lit Temple of
Anhur as we count the dead and vanquished by hacking off their
phalluses and piling the severed hands before the living stone
image of God.
The shamed and humbled women of the subjugated kneel in hopeless
Aquiescence as we grasp them by the hair and force them to serve
our father Anhur.
Yea we impale them on the massive stone member of the Ithyphallic
War God until the backs of their throats are torn out and their
bowels are ripped apart.
One by one we force the female captives to serve the Ahati until
the Gods legs are awash with blood and his phallus drips with
red and black gore Un snem sheth tesher mekhsefu parthal m aba
neth Anhur.
We lay our bloodstained weapons of Iron on the altar of Anhur and
His Seed blesses us with strength to slay our enemies Like as unto
Menthu we have become Ithyphallic.
The mighty Sekhmet is with us.

I am a Long Lived Snake,I Pass the Night and Am Reborn Every Day
I am the Snale which is in the Limits of the Earth
I Pass the Night and am Reborn,Renewed and Rejuvenated Every Day
I am a Crocodile immersed in Dread
I am the Crocodile who Takes by Robbery
I am the Great and Mighty Loathsome Reptile
Who is in the Bitter Waters
I am the Lord of those who Bow Down in Sekhem

The scourge of Amalek is upon you,The seed of Amu hath oppressed you
They hath urinated upon you and made you eat feces
They know not Ra
They are the enemies of Asar,they hath defiled your tombs
Violated your women and made victims of your little ones
They hath befouled the writings of Thoth
They hath burned sacred papyri,they hath cracked open your heads
Smashed your teeth and gouged out your eyes
They hacked off your limbs and thrown your mutilated bodies
Towards the heavens mocking Ra
Let not their seeds multiply among you
Honour not their wretched little Gods
Crawl not on your bellies before them,war shall you make upon them
Plague and pestilence shall you call down upon them
You must destroy their seed utterly,you shall gash them with flints
You shall gore them with sticks,hack off their testicles
And cut their phalluses to pieces,suffer none of them to live
Dismemberment and slaughter shall you perform on them
The mighty Sekhmet will devour them
The chain of Sut is around their neck,Horus hammereth them
Nepthys hacketh them to bits,the eye of Ra eateth into their faces
Their carcasses will be consumed in the desert
The seed of Amu with perish utterly
Their filth shall never breed among you again
We shall blot out the remembrance of Amalek from under the sky.

Nafs I Ammara
Fana Azif
I am the Infidel

Fiendish Insects encircle Me
Howling Wind Wraiths
Surround my disembodied Ka

Dulcarnon
Hideous Unseen
Speaking in Tongues
Heard only by the Mad

Shrieking Insects Swarm over Me
Suffocate Me
Suffocate my Soul

Majnun I am Empty
Crawling Reptiles Devour my Soul
They utterly and completely Annihilate Me
I can hear the Howling of the Djinn
Echoing in the mountains of Kaf

Zi Anna Kanpa
Zi Kia Kanpa

Gallu Barra
Namtar Barra
Ashak Barra
Gigim Barra
Alal Barra
Telal Barra
Masquim Barra
Utukku Barra

Idpa Barra
Lalartu Barra
Lalassu Barra
Akhkharu Barra
Urukku Barra
Kielgalal Barra
Lilitu Barra

Utuq Xul Edinazzu
Alla Xul Edinazzu
Gigim Xul Edinazzu
Mulla Xul Edinazzu
Dinger Xul Edinazzu
Masquim Xul Edinazzu

Burning of the Defeated
Dragging The fettered Rebels
To the Block of Slaughter

Decapitated Headless
Naked and Bound
Captives Adorn my Shield

Arms Tied behind their Backs
Lying Bound in Agony
Fiends Hold them with Ropes
Awaiting Beheadment and Mutilation

With Contempt for the Vanquished
We Exterminate the
Dwellers of the Eastern Desert

Amenhiu!
They are Doomed to Slaughter

We stab their bodies with Daggers
We Smash their Skulls with Clubs
We Crush their Bones
And Gash their Faces
Their Necks are Broken and Severed
Their Bowels are Gored with Spears
Yeah ! We Hack off their Limbs
And Cast the Phalluses
Into Pits of Fire

Smashing the Antiu