Speculative Metal

In 1993, the members of Gorguts , a then little-known Canadian band, began writing what was to be their third album, "Obscura." During the first sessions, they did something very unusual: they decided to escape from the compositional foundations and traditional techniques common to the style when starting to write music for their new work. Gorguts, "Obscura" (1998)   As Druj establishes in the Corpus Mutatio: "Each musical style has a form at its origin, dominated by one or several primary symbols that make that style identifiable; essential elements that, when mutating and changing, give rise to a metamorphosis that ends in birth of a new style defined by its own new primary symbols." ( Corpus Mutatio , cap. 1 "That fierce howl has always accompanied us"). Thus, Gorguts decided to dispense with two basic elements in extreme metal, in such a way that there was no group that did not use one of them continuously in their albums: tremolo or powe

DEATH METAL IN THE 21ST CENTURY - PARADIGM 1: OLD SCHOOL DEATH METAL (OSDM) INTRODUCTION Salva Rubio, in "Extreme Metal, 30 years of darkness (1981-2011)", page 153, proposes an aesthetic exercise where we search for "a parallelism between the different substyles of Extreme Metal and the classic styles of Art History" . Thus, he compares the Romanesque (simple in appearance and very expressive) with the classic bands that gave rise to Extreme Metal: Venom, Bathory, Hellhammer... The Gothic, where the adoration for detail and ornament is unleashed is compared to the Thrash Metal. Next, he equates Renaissance art with Death Metal, both styles that develop the styles of the previous stages, freeing themselves from constraints imposed on an aesthetic level in search of greater creative freedom, a freedom that seeks to go further, that does not recognize borders. After the emergence of Death Metal, Rubio proposes two great labels to encompass the evolution of the style a