I’ve referenced before my feeling that something big and unexpected is going to happen on the culminating evening of Babymetal‘s back-to-back tour final at the Tokyo Dome. That tends to be how and when they make major announcements — world tour, albums, etc. — but there’s something in the air for this one, and I’ve been trying to get a handle on it.
Based on a photo released this morning, I finally think I know what that big and unexpected thing is going to be, and we’re none of us going to like it.
I think somebody/ies is/are leaving Babymetal.
Please, for the love of the Fox God, take this post with the grain of salt it’s being written with.
Have a look at these shirts:
— BABYMETAL (@BABYMETAL_JAPAN) July 25, 2016
Oh, look, it’s even more merch for the Tokyo Dome shows! In typical Babymetal fashion, one is appropriate for the Hot Topic crowd, one embraces the design excesses of deathcore, and one very well sums up their penchant for the epic (the one that Yuimetal’s holding, in case you couldn’t tell).
Let’s take a closer look at each:
- The shirt being held by Su-metal depicts the three members holding hands in a circle, viewed from above, their own heads turned upward toward the viewer, their eyes wide, their color pallid blue and white.
The first take on this one is that the girls are positioned in a manner similar to a magical invocation, holding hands in a trinity form within the shape of a circle; in the Christian sense, the encircled trinity could denote holiness and totality. It may also symbolize ascension.
The other primary way of viewing this image is that it is one of death. The girls’ posture is similar to that of a trio playing Ring Around the Rosie; their features are not unlike those of corpses struck down by plague.
Note also that Su-metal’s expression is the one a person makes when trying to hint an obvious inference to another person: “See? Get it?”
- Turning next to Moametal, her shirt is entirely devoted to the afterlife in the Judaeo-Christian sense: Set in a ring are zodiacal and alchemical symbols that encircle a demonic door-knocker cast in the style of the Fox God itself. The font of the band’s textmark is reminiscent of death metal and other death-X genres’ performers’ logotypes.
The death in this case is symbolic, particularly so in light of the employ of alchemy; to be reborn in a higher state requires one to first die, both in allusion to and in fulfillment of the Christ Mythos. It is an invitation to literally knock on death’s door; whether heaven or hell awaits on the other side is unknown.
Moametal’s expression is typical for her, a playful boredom.
- The final shirt, held by Yuimetal, is the ultimate key. In its design, the three members of Babymetal stand in triune formation in the middle distance, their backs turned as if they are moving further into the field. Surrounding them are spheres as typically depicted in late medieval iconography, which itself was inspired by art from the classical Hellenic period (along with the notion of the heavens being spheres encircling the earth); there is writing, illegible, on the spheres themselves, and beneath them five wheels emblazoned with additional alchemical symbols.
The girls themselves are moving in the direction of a bright, star-shaped light at the focal point of the design; at the back of the field (it is difficult to tell in this resolution) may be some form of star imagery typically employed by Babymetal. Reaching into the foreground, though, as if growing from the girls themselves — but as if they are one being rather than three — are wings, three per side to total six.
666 (six three times) is the Number of the Beast, and it has previously appeared in Babymetal’s work (particularly in the promotional video for Legend 1999). It is the number of the Anti-Christ, the false one. This is likely only a coincidence, though, as the six wings are actually representative of a seraph, an angelic being that exists to sing the praises of God. St. Thomas Aquinas associated the seraphim with excessive positive force, energy and ascension toward the Most High; in this sense, the seraphim are also associable with apotheosis, the process of deification.
So we see in this final shirt the realization of messages, based on the use of Western religious and occult symbolism, that figurative death awaits at the Tokyo Dome, and that figurative death will be irreversibly changing for Babymetal as a whole.
Yuimetal’s expression is similar to Su-metal’s, albeit far more serious, even ominous.
“This is crazy, Maniac,” I just heard you say while making a wanking motion (I heard that, too). But hear me out: There is plenty of reason to believe that all of this is not only deliberate, but sending a very clear message, and it all boils down to this:
The Babymetal Illuminati Is Real
People have been saying it for a while now, citing the pyramidal iconography and use of the all-seeing eye, but this is all the confirmation that anybody needs:
And if the Babymetal Illuminati is real, and the actual Illuminati is supposed to be about worldwide conspiracies and leaving traceable clues for Tom Hanks to solve just in time to expose the Big Bad’s plots and schemes, then it stands to reason that Babymetal is up to the same thing.
Shut up, Internet!
What is this big tour finale being called?
— BABYMETAL (@BABYMETAL_JAPAN) July 25, 2016
Doomsday is coming. The end of the world. Legend Metal Resistance. Red Night / Black Night. That is, directly drawing parallels to the twin shows at Nippon Budokan that kicked the Babymetal legend into an unstoppable global force, as was intended.
It really doesn’t get bigger than the Tokyo Dome, and Babymetal isn’t going to suddenly embark on an interstellar tour.
I SAID SHUT UP INTERNET!
But if we line up all of these facts, more evidence emerges. Red in early Christian art was the color of the highest heaven, of holy fire and flame; black is traditionally the color of death and mourning. These are not Japanese traditions, but they are the traditions being invoked, and the parallels make it very clear that Babymetal, as we know it, is preparing to ascend per “Tradition” and undergo a spiritual death so as to be born again all the greater.
Within secret societies (such as the Illuminati), that spiritual death is typically a metaphorical one only, but an entity like Babymetal is more appropriately viewed as a projection of something else, as if from the very Platonic notion of consciousness. As such, a spiritual death for Babymetal and/or its members would be pointless; on the other hand, the metaphorical physical death of members would create the new Babymetal before the fans’ very eyes.
Consider the evidence. The three shirts for sale at the Tokyo Dome point at one possibility, as do the expressions of the members.
Of the three shirts, only one does not depict Babymetal at all (except in script), but the Fox God instead at the entry point into the afterlife. The member holding that shirt, rather than looking as if she is signaling the viewer, seems to be accepting her fate.
This seems to have been years in the making, perhaps as a necessary sacrifice to increase Babymetal’s power. Recall when they visited London (a noted center of alchemy under John Dee and Roger Bacon) late in 2014 and, in the course of their tour visited the Abbey Road Studios.
What is the significance of that?
In the first place, the Beatles made their final recordings as the Beatles in that studio; the group was already metaphorically dying at the time. More significantly, though, is the album’s cover art, of the band members crossing Abbey Road itself; Paul McCartney’s bare feet sparked wild international rumors that he had, in fact, died and been replaced.
Babymetal’s visit to the same studio included their re-enacting that famous street crossing. Pay attention to the positions of the members, front to back.
It could not be clearer.
Is It the End?
Nothing about Babymetal’s current trajectory suggests anything other than the continuation of the project. Regardless of the events at the Tokyo Dome, there will be a Babymetal on Sept. 21.
We’ll miss Moametal, but Babymetal will be stronger for her sacrifice.