Created in 1992 CE in an agreement between GELAL NECROSODOMY and Lord Fag Pussyferian. Recorded ‘Goat of a Thousand Young' that same year. Gelal responsible for every aspect of release from composing, playing instruments, recording, to arranging drum sequences. First gig played with KOMMANDO (Arghoslent) on bass and BITCH on keyboards. GELAL hates Lord Fag and quits band.


1993

Lord Fag attempts to continue with GELAL's work by replacing him. Countless failures lead Lord Fag to request DEMONIC (ex-Doomstone) to join. DEMONIC asks GELAL to return. DEMONIC joins only if GELAL rejoins. GELAL and DEMONIC attempt to correct Lord Fag's debilities, but their efforts are in vain.


1994

Shortly after, GRAND BELIAL'S KEY enters studio to record ‘Triumph of the Hordes' for PAGAN RECORDS (Poland). GELAL unsatisfied with results. GELAL and DEMONIC find out Lord Fag takes demo orders money to buy drugs. GELAL finds out Lord Fag adores vampires and believes himself to be a wizard. GELAL imposes strict rules on Lord Fag which he is unable to obey; Lord Fag remains undisciplined. GELAL finds out Lord Fag spends free time playing role games, not answering correspondence. Lord Fag jeopardizes deal with CACOPHONOUS RECORDS (England) for full-length release in 1994 CE.


1995

Lord Fag is ousted from the hordes and allowed to join fellow circus band ANCIENT. Lord Fag becomes their new painted clown. The hordes prepare for nuclear war! GELAL returns to his coffin invoking THE BLACK LOURDE OF CRUCIFIXION, DER STURMER, and LILITH from the paternal organization THE CRUCIFIER BROTHERHOOD in 1995 CE. The hordes are inspired to compose music in the vein of first demo. Brotherhood promises to release the most mysterious and occult album of decaying underground.


1996

To parch the time between releases, the hordes record cult 7"ep ‘A Witness to the Regicide' for Flanders' WOOD-NYMPH RECORDS in 1997 CE. Content with the label's work, the hordes record debut double gatefold LP/CD for same label entitled ‘Mocking the Philanthropist'.


1997/1998

In 1998 CE, CD is wrongfully boycotted by ROUGH TRADE DISTRIBUTION (Germany) for offensive photos and ideology, although none are present in release. Hundreds of underground sheep follow in leftist conspiracy. Record labels cannot believe hordes signed with a tiny underground label while ignoring fruitful offers. WOOD-NYMPH RECORDS is forced to put a lid to their coffin in bankruptcy. The frail underground rejects GRAND BELIAL'S KEY in press and distribution. Tour plans canceled for lack of support and jealousy from BLACK ‘glam rock' METAL community in general. The hordes play 2 shows in four years.


2000

In 2000 CE, hordes release cult 7"ep ‘The Tricifixion of Swine' for SPIKEKULT RECORDS/END ALL LIFE PRODUCTIONS in France. Opyros (ex-NEP) and BARBARIAN WRATH (Germany) decide to re-release debut CD under different title ‘Castrate the Redeemer' to justify the band's efforts.


2001

In 2001 CE, hordes release 9 minute song on a split 7"ep ‘Sperm of the Antichrist' with comrades NUNSLAUGHTER. Finally dispersed by HORROR RECORDS (Denmark) and quickly sold out as all previous releases. GRAND BELIAL'S KEY returns to the stage playing 4 winter shows with veteran musicians KOMMANDO and DEMONIC on bass. DER STURMER became temporarily injured after cutting his hand's ligaments with a broken glass in night of alcohol and violence.

Negotiations for next LP/CD concluded in a blood pact with DRAKKAR PRODUCTIONS in France. The hordes enter studio in March of 2001 CE to record second LP/CD entitled ‘Judeobeast Assassination'. Vinyl version to be released by END ALL LIFE PRODUCTIONS in France.

GRAND BELIAL'S KEY represents utter defamation of the holy doctrines, nuclear hatred toward the pious tribes of the civilized world, notorious pessimism and disgust toward the birthing of life.
GRAND BELIAL'S KEY does not represent vampirism or any other childish games associated with the black ‘glam rock' metal scene.

GRAND BELIAL'S KEY consider themselves to be one of the founding fathers of the American Black Metal Genre (among a handful of others), without emulating the soon-commercialized stereotypical black metal sound that was popularized in the last decade; regardless of the way modern-day magazines prefer to think the USBM scene developed. When GRAND BELIAL'S KEY started, there was no such thing as a US Black Metal Scene...


(Source: Official site)