Back in 2022 I did a couple blogs on the band Queensryche, and considered whether they were some sort of propaganda/social engineering vehicle sponsored by England's EMI records. In response to these blogs, some had suggested I look into a band called Crimson Glory, who is often compared to Queensryche. This was especially true in the 1980s, when a particular style of music which would later be labeled "progressive metal" was in its early stages.
I've never been a big fan of the "Prog Metal" label because it seems to be less about musical "progress," and more about emulating a band like Queenryche or Dream Theatre. One could take the view that Crimson Glory was indeed trying to embody the particular sound/aesthetic of Queensryche in the 80s, among other bands. But this is not uncommon, many bands model themselves after a certain sound or band during their formative years [they just don't always call it "being progressive"] Queensryche themselves can be heard emulating the Iron Maiden/Judas Priest stylings on their 1982 EP. But in the case of CG being constantly compared to Queensryche, I believe there is more to it than meets the eye.
Before getting into my "wild conspiracy theories", let's look at some of the symbolism and imagery CG have used over the years.
'Crimson Glory' is a highly influential Hybrid Tea rose developed by German breeder Wilhelm J.H. Kordes II. It was released in 1935, following the cross between 'Cathrine Kordes' and 'W. E. Chaplin'. Known for its deep, velvety crimson color and intense damask fragrance, it is a classic rose variety...
"A rose is NOT a rose by any other name... Only the original lineup is CRIMSON GLORY (the rose that is so beautiful that all others pale in comparison)" - Midnight, as quoted by Blabbermouth
Could it be that an aggressive underground 80s Heavy Metal band would name themselves after a fragrant rose? The inclusion of 2 roses on the cover of Crimson Glory's 1986 debut album would seem to indicate, YES.
[Crimson Glory in the 80s]
[Slayer, circa 1983]
[Neil Turbin, circa 1984]
The chrome colored masks CG wore initially were presumbly used as a way to stand out and create an air of "mystery," which they all, especially Midnight, seemed so fond of projecting. Although this was not a new concept in heavy metal, these types of theatrics were typically found more often in glam metal, which the harder 80s bands were usually opposed to outwardly. Slayer, for example, wore make-up initially "in the wicked sense." But when they played outside Los Angeles they got made fun of and took it off. Kerry King later said "it was dumb and we only needed it in L.A." Similarly, original Anthrax singer Neil Turbin got heckled for wearing chainmail on stage. He was not in the band much longer after that. Nevertheless, CG trotted right out onstage with their elagant masks and roses flying about, seemingly without a care in the world what tough guy metalheads might think. This was, after all, PROGRESSIVE metal. It wasn't for the average Joe. This was THINKING MAN's metal...
Sub rosa is a Latin phrase meaning "under the rose," used as an adverb or adjective to describe something done in strict confidence, secrecy, or clandestinely. Originating from Roman mythology where the rose symbolized secrecy, it commonly implies private, confidential, or hush-hush matters.
Between the mask and roses which grace the cover of CG's debut LP, the common denominator is SECRECY [or mystery, if you will]. Masks hide one's identity and the rose is a traditional symbol of secrecy.
There's also the singer's stage name, Midnight [real name John Patrick McDonald II]. Midnight is the MIDDLE of the NIGHT, when people [with day jobs] are presumably deep asleep, dreaming away. In traditional fairy tales midnight is when the monsters come out and when spells get cast by warlocks invoking black magic by the full moon. So while the rest of the band went by their given names, John Patrick McDonald II chose to go by Midnight. Ok, Mr Mysterio!
Some articles out there on the internet say that the group's name was taken from the bible, but I believe this was denied by the band members. In fact, the phrase "crimson glory" does not appear in the King James Bible [at least not mine]. However, that doesn't mean the phrase isn't Christian derived. A book of Christian Hymns for "church, Sunday schools, and conventions" was published in 1938 entitled, Crimson Glory. Did one of the band members read from this book growing up in the church choir? Or maybe one of the band members is simply an anthophile...
TRANSCENDENCE
To transcend means to rise above, exceed, or go beyond normal limits, boundaries, or expectations. This was the title of Crimson Glory's 2nd, and most popular album. It also happens to echo Queensryche's stated credo when they were asked why they "sound so different lately?" The answer was usually something like, "well when we formed the band we always said the only rule was "no limits.""
The album art reflects the music very well. Etherial and evocative, but somewhat vague, naive, campy, and a little too convinced of it's own profoundness. Somewhat pompous, you might say. Not that the music isn't very well executed, but when your peers are on the level of Queensryche and Savatage, the bar is quite high indeed. So for a band like CG to even approach that level is saying something. But I'm not here to judge the music per se, I'm here to comment upon the symbolism. So let's start with this lady swimming around in a giant sperm cell ejected from some green thing hurling through outer space, while shooting light rays out her eyes...
You might recall the hilariously campy "Queen of the Ryche" video by Queensryche, a band you may have heard of recently. The plot involves some Queen from the post W.W.4 future, who uses crystals and computers to enslave the human race. But Geoff Tate figures out how to ricochet her lazer beams back at her, and she is then paralized. He then decides to tear off her awesome mask, unleashing a blinding light which causes the band to wince and stagger back. The words "to be continued..." end the video.
Loyal fans of early Queensryche have been waiting in veign ever since, for the anticipated sequal to the Queen of the Ryche video. I postulate in an earlier blog that this sequal takes the form of their debut album cover for "The Warning," where we see a mysterious face upon what appears to be a tarot card, green light blazing from the eyes.
I used to think this was just some random humanoid an artist drew, but if you look closely, it appears to be wearing lipstick! It also appears to be draped in a cloth or veil of purple, which is a symbolic indicator of royalty [think Prince: Purple Reign or the purple Crown Royal sack]. Is this supposed to be "the Queen" from the video? Note the other tarot cards have what appear to be crown motifs [crown = royalty]. Also note that we are in outer space and that the light projecting ftom the veiled Queen's eyes is green. Now go back and look at the album cover of CG's trancendence, and contemplate the similarities in theme and symbols to The Warning, and tell me what it all means - because I have no clue! What I do know is that they are oddly similar.
Outer space = check
Mystical Lady shooting light rays out of her eyes = check
Green light = check
Lyrically, the first couple CG albums cover territory you'd expect prog metal pioneers to tread upon: a good dose of Tolkienish fantasy, war, and of course love. The latter usually involves what seems like different iterations of the lady who wore black in Queensryche's iconic etherial fantasy ballad, "the Lady Wore Black." I mean, it really seems like that particular Queensryche song is what the band was going for in multiple places, which is fine but somewhat distracting in a way. Especially when you hear what sounds like lines taken directly from Queensryche's tune.
On a lonely walk this morning
A light mist in the air - The Lady Wore Black
The snow was gently falling
A white mist filled the air - Transcendence
I should have listened to the wind's cold warning
And walked the other way - The Lady Wore Black
I hear the cold wind calling
Something's waiting there - Transcendence
We sat for sometime together in silence
Never speaking in words - The Lady Wore Black
I stand alone in silence
Upon the mountain high - Transcendence
The wind song whispered a warning
Telling me to beware - The Lady Wore Black
They whisper in my visions
They haunt me in my dreams - Transcendence
Am I losing my mind or are there quite a few lyrical similarities between the above lines?
While the album "Transcendence" is generally considered CG's greatest achievement, the following album is regarded as a sharp nose-dive. Where "Transcendence" covered most of the Heavy Metal bullet points, 1991s "Strange and Beautiful" generally loiters around lines like this:
Come dance with me my virgin child
To the haunting sound of my dark magic lullaby
I'm guessing that the band signing to Atlantic Records had something to do with the dumping of the Lady in Black in favor of the Virgin Child. But to be fair, the album Queensryche put out the previous year had some decidedly tacky lyrics as well:
Skin-tight leather provides my pleasure.
Wake my fear, surge with the pressure. - The Thin Line
On one level it seems Crimson Glory was chasing the coattails of Queensryche into that treacherous terrain known as "80s Metal Bands trying to remain valid through the 90s." Many just couldn't remain relavant, and it seems Crimson Glory was one of these casualties. Or more specifically, John Patrick McDonald II, aka Midnight.
I must say though, in defense of "Strange and Beautiful," that it really isn't a bad album - it just very obviously ditches the loyal fan's expectations in favor of potential radio hits. And if I may further digress into opinion, the ballads on that album are FANTASTIC. So much so, the thought occurred to me that Crimson Glory may have fared better as a straight up Glam Metal band! But I'll quit while I'm ahead here...
SAKADA
[Note the that individual rendered in the above image appears to have insect wings, and is emerging from a stylized hole in the ground.]
After Crimson Glory's "Strange and Beautiful" album was recorded, the group was preparing to tour, when Midnight announced that he was retiring from the music business. He re-emerged a good decade later under the Midnight moniker, and released a decidedly acoustic album entitled "Sakata."
Cicadas are loud, winged insects, often mistaken for beetles or locusts, known for the buzzing songs produced by males during summer. They live underground as nymphs for 2–17 years, feeding on tree roots before emerging to molt into adults, which live for only a few weeks to mate.
The country of Greece is known for their dedicated fans of Heavy Metal, and it seems they showed great interest in Crimson Glory and their enigmatic singer Midnight, to the degree that Midnight chose to "re-emerge" there in 2005, 14 years after "retiring from the music business." This entheusiasm for Crimson Glory manifested most prominently in the form of a record label, now defuct, called "Black Lotus Records."
The black lotus is a powerful symbolic flower representing self-mastery, resilience, and transformation, embodying the ability to bloom (rise) from dark, challenging, or murky circumstances. It often symbolizes mystery, deep creative power, and the embrace of one's own "darkness" or hidden strength, representing an earthy, untamed spirituality.
There doesn't seem to be much information online regarding Black Lotus Records, but the name itself, symbolizing a flower, is of note in reference to Crimson Glory, for the obvious reason that Crimson Glory itself is apparently named after a flower! Not just that, but the theme of a Black Lotus aligns with Midnight's "emergence" from hibernation thematically, and in the broader sense, Crimson Glory - who seemed to be mostly on pause when Midnight checked out. Sure, they squeezed out Astronomica with an alternate singer, but the tentative plan to re-record vocals on it with Midnight points towards an acknowledgement that the band had him in mind originally for it.
Black Lotus released Midnight's solo record and seemed primed to finance both Midnight's re-recording of vocals over the "Astronomica" album and the new, tentatively titled Crimson Glory album, "Metatron, Lucifer and the Divine Chaos" (later shortened to Divine Chaos).
Metatron is a prominent archangel in Jewish mysticism (Kabbalah) and esoteric traditions, often described as a mediator between God and humanity, the "lesser YHWH," or the transformed prophet Enoch. As a high-ranking heavenly scribe, he is believed to manage divine records, guide souls, and oversee cosmic energy through sacred geometry.
Metatron's Cube originates from medieval Kabbalistic texts and sacred geometry, representing a complex figure derived from the "Fruit of Life"—13 circles within the Flower of Life pattern. Named after the Archangel Metatron, it is believed to map the fundamental patterns of creation, containing all five Platonic solids.
When speaking about the concept of Metatron, it's important to bear in mind that this phrase does not appear in canonised biblical text. It appears in what is referred to as "apocrypha," which are Judao-Christian writings roughly contemporary with the canonized bible, but aren't necesarily considered "official" or "valid" scripture, though Enoch is mentioned in the canonized bible.
The role of "Lucifer" in all of this is unclear to me, but is probably based upon some individual's mish mash interpretation of the above mentioned writings.
A tradition of mystycism, which seems to be rooted in geometry advanced by Greek Mathmetician Pethagoros, gives us "metatron's cube," which is quite an impressive image to ponder. The flower aspect in this context again recalls the Crimson Glory Rose, but also the Rose Cross of the Rosecrucians and Crowley's Rose Cross Tarot deck image.
Anyway, regarding the cryptically ambitious working title "Metatron, Lucifer and the Divine Chaos", we can probably assume that someone here has a keen interest in the occult. There is also a subtle reference to the number 13 here. 13 circles are the apparent basis of the Metatron cube, which brings us to the song "Triskaideka." "Triskaideka" appears on Crimson Glory's most recent album, "Chasing the Hydra." The song seems to be about Triskaidekaphobia, which is the fear of the number 13. [funny enough, I brought this word up in a fairly recent blog concerning the 13th Floor Elevators] I'm not saying there is some kind of profound mystical continuity here, just highlighting the band's obvious interest in occult mysticism - which seems to continue well beyond Midnight's exit from this earthly plane of existence.
Anyway, back to Midnight and his 2005-ish comeback in Greece...
When the interviewer in the above image, possibly from Black Lotus, asks Midnight "where have you been?" he replies "hiding." The interviewer presses further - "from who?" Response: "Everyone." Interviewer: "What for?" Midnight then pauses for a second and replies "well...that's why they call it hiding, cause you don't tell!"
Midnight then gets into his album that was being promoted at that time, "Sakada" - which he explains is an intentionally misspelled version of Cicada, a winged insect that lives underground for many years. Midnight then compares his own 14 year absence from the music scene to the underground life of the Cicada, who create "buzzing songs." This seems to all fit well within the mysterious image Midnight fostered over the years, if somewhat vague in terms of its ultimate purpose. A purpose we will explore more in part 2.
DEATH OF THE BLACK LOTUS
With all of these plans of re-recording vocals, recording a new album, and a triumphant Midnight reunion upon the horizon, Black Lotus Records seems to suddenly announce they are no-more. All bands are released from contacts, and all plans with Crimson Glory seem to be off. It's all kind of vague and mysterious, as if a great plan was either cut short or completed in secret.
Midnight seemed to rapidly decline after this, being arrested for a DUI in 2007, then fired from the band shortly thereafter due to an apparent chronic condition of deterioration [I'm guessing alcoholism or worse]. He died in January of 2009 from a "stomach aneurysm."
I've attempted a few times to sift through Crimson Glory's lyrics for some kind of grand interpretation of all this mystery and references to the occult. Ultimately, I don't think the "big secret" is revealed within the lyrics or even the band's iconography. But the idea that there IS a "big secret" here is a valid one I think, which will be explored in part 2.
