SALAZAR´S LAW (3)

At the beginning of chapter 5, "Faustian Arts: The Triumph of Instrumental Music over Oil Painting" of his Liber Semitarum, Relgneps Razalas states that: "In the last decade of the 20th century, three bands were formed that began to use dissonance as a primary symbol, not as an ornament or decorative element, which was the way in which (with exceptions such as Gorguts) it had been used until then. To dissonance was added a compositional element that had also been used in a secondary way until then: texture seen as atmosphere."

Wassily Kandinsky, Composition VI

Deathspell Omega and Blut aus Nord, both bands of French origin, revolutionized the way extreme metal is conceived at the beginning of this century with two trilogies of albums that shook the foundations of the style and forced the rest to take a position. In turn, the Australians Portal, released their albums simultaneously during the first and second decade of this century as a response of Death Metal to the earthquake caused by the other two bands, which started from Black Metal.

To this we must add Teitanblood, which stands out for being a vanishing point between both styles, carrying out a process of reinterpretation that folds both genres, a writing that achieves the alchemical alloy between Death and Black in a masterful way.

The use of dissonance by these bands is so extreme that it melts the formal canon of the song, derealizing it. He takes it to such a level of demand that the canon cracks and breaks and when it explodes it mutates, acquiring another form, a new formal canon. If the typical formal canon of the standard song is compared to a solid nine-sided cube, with its elements arranged in a more or less similar way – verse, chorus, solo, etc. – the new canon resulting from these new compositions would be comparable to a liquid icosahedron where the edges do not respond to Euclidean geometry and whose faces are convex and concave simultaneously, while at the same time it evaporates due to the tension of the spiral that rotates uncontrollably inside it.

Old canon - standard song 

According to Druj, "here there is a reorganization of the structural pattern to achieve destabilization, a new structure based on non-form. We move into the realm of non-referential abstract geometry, making a mathematical analogy." Form is now separated from matter. The powerful formal canon that is the song is dematerialized, the objects that form part of it are liquidated and taken to the limit to reach regions unknown to popular music.

New canon - rhizomatic structures

All these bands: Gorguts, Deathspell Omega, Blut aus Nord, Portal, Teitanblood... apply Salazar's Law to achieve the bending of linear time by deploying rhizomatic structures, one of the basic weapons used by Speculative Metal bands, a genre that Razalas defines as "Ur-Hyper-Metal" (Metallorum mutatio: Corpus theoreticum, chap. 5.2, "The geographical horizon").

Let us remember that Druj establishes that Salazar's Law "is based on the exceptional as an element of development, on taking the exception as the rule." (Corpus Mutatio, chap. 2, "Towards the unknown Kadath").

To this we must add, according to Druj, that "Speculative metal performs a hermeneutical task by applying Salazar's Law to the ancestors (original bands of the genre) to unearth the archaeological relics that allowed them to open a vector of exploration towards the unknown. This hermeneutical task is based on strata analysis and sonic cryptography that reveal a sonic anarchitecture that results in a dense and unbearable vortex of hallucinatory conjunctions."

∀ncƎstr∞Ƨ, a band that is part of the The Swarm 13 collective, is one of the few that has dared to go so far, performing sound experiments that Relgneps Razalas defines with terror as "cosmodromic blasphemies", which is why most of their material is still unpublished, waiting for its moment...

∀ncƎstr∞Ƨ - ᴄᴛʜᴜʟʜ∞ɪᴅ ∀ʀᴄʜɪᴛᴇᴄᴛᴜʀᴇ ᴏꜰ ᴛʜᴇ ɴᴇᴛʜᴇʀ