Heavy Metal and its many musical derivatives have always occupied an interesting position within popular culture, and within certain groups. One key aspect that is often overlooked within heavy metal is its outward, distinctly political and religious applications and subject material. In the American Metal Scene, the explosion of Indigenous bands with overt political frustrations, decolonial sentiments, and religious preservation is staggering. Numerous bands have taken the medium of Heavy Metal to situate and assert their political and Religious place in the world amidst centuries of colonialism, genocide, and violence. Contrasting this with the larger (predominantly white) European Heavy metal scene and its infamous political and religious involvements specifically in Norway during the 1990s, this paper aims to outline the development of Heavy Metal and its numerous cultural, religious, and political ties as it travels across time, religions, race, and continents. Moreover, this paper examines the genre of heavy metal as it pertains to the shared political struggle and situated religious knowledge held within the music for the Diné/Navajo Communities.