Xibalba

Xibalba roughly translates to “place of fright.”

This is the K’iche’ (A Mayan language of the K’iche’ people of the central highlands of Guatemala & Mexico) named the Underworld in a Maya(n) mythology. The underworld is known as Mitnal in Yucatec, a Mayan language spoken in the Yucatan Peninsula.

In the 16th century, Verapaz, the entrance to Xibalba, was traditionally held to be a cave in the area of Cabon, Guatemala. Cave systems in nearby Belize have also been referred to as the entrance to Xibalba. In some Mayan areas, the Milky Way is viewed as the road to Xibalba.

Xibalba is described in the Popol Vuh (A text recounting the mythology & history of the K’iche’ people of Guatemala. This is 1 of the Maya peoples who also inhabit Mexican states) as a court below the surface of the earth associated with death & with 12 gods, or powerful rulers, known as the Lords of Xibalba.

The 1st among the Mayan death gods ruling Xibalba were: Hun-Came (“One Death”) & Vucub-Came (“Seven Death”). Though Hun-Came is the elder of the 2.

The remaining 10 Lords are often referred to as demons & are given commission & domain over diverse forms of human suffering: to cause sickness, starvation, fear, destitution, pain, & ultimately death.

These Lords work in pairs: Xiquiripat (“Flying Scab”) & Cuchumaquix (“Gathered Blood”), who sickens people’s blood. Ahalpuh (“Pus Demon”) & Ahalgana (“Jaundice Demon”), who cause people’s bodies to swell up. Chamiabac (“Bone Staff”) & Ahalttcob (“Stabbing Demon”), who hide in the unswept areas of people’s homes & stab them to death. Xic (“Wing”) & Patan (“Pack strap”), who cause people to die coughing up blood while out walking on a road.

The remaining residents of Xibalba are thought to have fallen under the dominion of 1 of these Lords, going about the face of the Earth to carry out their listed duties.

Xibalba was a large palace, & several individual structures located within Xibalba are described or mentioned in the Popol Vuh. Chief among these was the council place of the Lords, the 5 or 6 houses that served as the 1st tests of Xibalba, & the Xibalba ball court. Also mentioned are the homes of the Lords, gardens, & other structures, indicating that Xibalba was at least a great city.

Xibalba seems to be rife with tests, trials, & traps for anyone who comes into the city. Even the roads to Xibalba were filled with obstacles: 1st, a river filled with scorpions, a river filled with blood, & then a river filled with pus.

Beyond these was a crossroads where travellers had to choose from among 4 roads that spoke in an attempt to confuse & beguile. Upon passing these obstacles, 1 would come upon the Xibalba council place where it was expected visitors would greet the seated Lords.

Realistic mannequins were seated near the Lords to confuse & humiliate people who greeted them, & the confused would then be invited to sit up on a bench, which was actually a hot cooking surface. The Lords of Xibalba would entertain themselves by humiliating people in this fashion before sending them into 1 of Xibalba’s deadly tests.

The city was home to at least 6 deadly houses filled with trials for visitors. The 1st was the Dark House, a house that was completely dark inside. The 2nd was the Rattling House/Cold House, full of bone-chilling cold & rattling hail. The 3rd was the Jaguar House, filled with hungry jaguars. Tht 4th was the Bat House, filled with dangerous shrieking bats. The 5th was the Razor House, filled with blades & razors that moved about of their own accord. In another part of the Popol Vuh, a 6th test, the Hot House, was filled with fires & heat, is identified. The purpose of these trials/tests was to either kill or humiliate people placed into them if they couldn’t outwit the test.

Xibalba was home of a famous ballcourt in which the heroes of the Popol Vuh succumbed to the trickery of the demons in the form of a deadly, bladed ball, as well as the site in which the Mayan Hero Twins outwitted the gods & brought about their downfall.

According to the Popol Vuh, the residents of Xibalba at 1 point enjoyed the worship of the people on the surface of the Earth who offered human sacrifice to the gods of death.

Over the span of time covered in the Popol Vuh, the gods of Xibalba are tricked & finally humiliated into accepting lesser offerings from above by the Maya Twins, who got superpowers after they were burnt & their ashes thrown into a magical river.

The role of Xibalba & its inhabitants after their great defeat at the hands of the Hero Twins is unclear. Although it seems to have continued its existence a dark place of the underworld long after.

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🎬 Estreno de cine en diciembre: Monstruo de Xibalba explora la conexión entre la infancia y la muerte bajo una óptica oscura y fantástica. Una propuesta mexicana que rompe esquemas. #CineMexicano #Xibalba https://zurl.co/IAo6d
Monstruo de Xibalba explora infancia y muerte en cines desde diciembre - Periodistas Unidos

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Laid to Rest, by Xibalba

from the album Hasta La Muerte

Xibalba

Tzompantli – Beating the Drums of Ancestral Force Review

By Dolphin Whisperer

Art is culture. Culture needs representation. These two things often align with metal in ways we don’t realize, whether it’s the new death metal band that wants to play old-school death metal to continue to push for the representation of simpler times in death metal, or the cinephile who longs to see their niche amongst the swarms of various niche interest metal bands out there. Everyone wants to be seen and accepted for who they are, and the majesty of this metal realm we inhabit is such that artists can do just that. In the case of Tzompantli and their sophomore release Beating the Drums of Ancestral Force, this collective of California-based musicians—a pool of eleven performers from bands of all extremities, including Xibalba, Teeth, Civerous—wishes to express their reverence for the brutal nature worship of the Aztec/Mexica people and history. But never fear, this new and furious outing is far from a dissertation.

True to its namesake, Beating the Drums of Ancestral Force comes loaded with indigenous percussion, shrill flute shrieks, and piles and piles of deathly riffs. With a ferrous scent and sanguine splatter, the guitar ensemble that powers Tzompantli churns buzzsaw riff to Peaceville droning harmony with ease. And as the serenity of those moments dissipates in the wake of sacrifice, beatdown approximating segues crush space like the crack of macuahuitl to its unfortunate foe. In many ways Beating whips about with greater intensity than this act’s debut outing a couple of years back—time has allowed nuance to settle.

As such, Beating at its most impressive and brutal assaults stirs battle-lust in a manner that only this sound-nook can. No proper volume exists for sections like the skull-splitting opening fifteen seconds of dramatic flute wail and warrior chant or the recalled alert that swells to a primal throb on “Tetzavitzli.” Testament to Tzompantli’s eclectic nature, this pattern of tension and release reminds me most of both the ritualistic crescendo aim of aggressive Neurosis works (think “Through Silver and Blood” or “Under the Surface“) and the long-form low-end abuse of Evoken. However, compared to both of those acts, the crew that composes Tzompantli skews death and hardcore, so many songs find a way back to the grounded realms of down-tuned tremolo runs and tempo-tugging shuffles.

Despite the impressive number of people involved in the creation of Beating, rarely does the album feel like the result of a tribe in unison. Now, you may be thinking that that shouldn’t matter, that the number of people on paper doesn’t always have to present in total sound construction. While that’s true, Tzompantli does indeed crash in waves as one, like the fireside call and response of “Tlaloc Icuic” that lights the path for a Conan-sized drop or the heavily layered percussion that propels “Tetzaviztli.” And in these explosive displays of collective power, Tzompantli makes its mark not only as unique and affecting death/doom band but as a realization of their mission statement. It’s a wonder to behold and a shame that the link amongst these peaks renders as merely good slow, chugging death metal.

In the atmospheric realm, Tzompantli’s trademark “Tzomp-Stomp” lands like a breath of scorching hot air. Yet that same force poses an issue in this tightly interwoven tapestry of oscillating moods that Beating the Drums of Ancestral Force swings. It’s tough to temper the twitch of might and the pulse of bravado that engorges throughout these tales of might, triumph, war, and loss. The comedown ambience can simply be too unsettling. But with many passages in the Nauhatl language helping engross the audience in ancient glory, Tzompantli, at least, succeeds in sharing their reverence for their chosen and deeply personal subject matter. And with as many bodies that compromise this unique and promising band, it’s anyone’s guess as to how impacting their continued statements will be.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: 20 Buck Spin | Bandcamp
Website: facebook.com/tzompantlidoom
Releases Worldwide: May 17th, 2024

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Tzompantli - Beating the Drums of Ancestral Force Review | Angry Metal Guy

A review of Beating the Drums of Ancestral Force by Tzompantli, available worldwide via 20 Buck Spin on May 17th.

Angry Metal Guy