SALAZAR´S LAW (2)

In Chapter 1 of Liber Semitarum "Cosmic terror and cosmic longing", Relgneps Razalas establishes that: "In every artistic style there is an interaction of forces between the elements that make it up, between the primary symbols that are its essence and without which would not be identified. In the nature of each style are the conditions by which, at a given moment, these elements enter into crisis, by the mere fact of existing, producing a tension that is generally resolved. Thus, an episode of crisis remains as a momentary, partial, tangential tension that does not put at risk the form of the style or the primacy of its primary symbols."

But this tension present in each style contains an indeterminate amount of potential energy, a manifestation of an energy of crisis. As Druj states in the Corpus Mutatio:

"The style is only stable if the artists decide to use said potential or crisis energy with a view to resolving it without tenseing the situation, having it under control at all times. But if it is decided to unleash all that energy, locked in those moments of tension, and "force the new situation until it becomes the primary symbol on which to build a new corpus, thus we will have the emergence of a new style." (Ch. 1, "That fierce howl has always accompanied us")

Deathspell Omega - Fas - Ite, maledicti, in ignem aeternum

 When Salvador Rubio (2011, "Extreme Metal: 30 Years of Darkness") summarizes the evolution of extreme metal in stages, he establishes that after the explosion of creativity of its origins the style stagnates in a phase of immobility and later has to return. his look towards his origins in a period of regression. Most bands are disoriented by the exhaustion of the primary symbols that formed the basis of the style. We are faced with what Relgneps Razalas defined as "the appearance of Spectral Metal" in his Liber Semitarum (Book of the Paths). The great originality and technical innovation that Extreme Metal bands showed were built on the song as a musical form, as a basic compositional scheme. The formal canon of the song was so powerful in popular music (of which the compositions in extreme metal are heirs) that no matter how extreme the resources used were, the vast majority of the compositions of these bands could be defined simply as simple songs. Few compositions broke with the basic structure of verses, choruses, solos, intros and bridges; and if they did, it was an exception, not the rule. The song, as a construct, resisted the onslaught of musicians who have pushed it to unsuspected limits these years in terms of speed, aggressiveness, brutality, volume, slowness, etc.entes; y si lo hacían, era una excepción, no la regla. La canción, como constructo resistía el embate de músicos que la han empujado hasta límites insospechados estos años en cuanto a velocidad, agresividad, brutalidad, volumen, lentitud, etc. 

The song as a musical form has its roots deep in time. For popular music, his canon is such a powerful vortex that it is almost impossible to escape from it. But when it seemed that the wildest offshoots of extreme music were no longer giving enough, something in the underground currents began to stir the surface.

        In Speculative Metal we analyze bands that have managed to take the concept of song, to which the style was anchored, to unknown territories. They are formations that have altered the radical primary symbols of the style in such a profound way that the subsequent mutations that their compositions have become have been the basis for all those musicians who have attempted to look through the crack produced and peer into the tentacular abyss. . The greatest attack on the song as a musical form, as a basic canon that contains most of the compositions, has occurred from extreme metal: Deathspell Omega, Portal, Gorguts, Blut aus Nord, Teitanblood, Sunn O)))..., among other bands, are the ones that have carried it out.

Portal - Ion

        This attack to overthrow the song is based on the displacement of the perspective axis proposed by Salazar's Law, by elevating compositional elements such as atmosphere, atonality, texture and dissonance, to the status of primary symbols, now being the basis on which to build a new sound corpus. It is therefore one of those moments of transition, of those hybrid zones, where these elements are forced until they are put in crisis, causing a tension whose potential energy is used to access unknown regions where the exceptional is now the rule.

"There, in the unknown regions

where the untrodden paths lead,

The exception is the rule."

Inat-se-Ragen, Metallicum Proverbia (verse 17)