Using the term “bricolage”, this article examines the articulation of religious imagery in the visual language of extreme metal. Transgression and bricolage, which describes a specific mode of reusing elements of cultural repertoire to fashion new expressions, have their own history and tradition in heavy metal. Any implementation of its visual language relies accordingly on shared knowledge of scene traditions and patterns to decode, but disembedded religious images and religious patterns are abundant in pop cultural bricolage by itself. Analysing intermedia, here using music videos as an exam-ple, shows how media characteristics restrict and expand the possibilities in implementing bricolage. In extreme metal music videos – already pop-culturally disembedded – religious images are placed in allegorical, socially critical or philosophical contexts, but can also be re-embedded into religious freeform. Any repetition of a variation of religious imagery from the cultural repertoire that relies on the religious context to empower the bricolage solidifies this application in the visual language – even as this sedimentation further removes it from specific religious meanings.