We talk often of music being oppressive, but bad production is rarely as oppressive as the kind of skin-liquifying spiritual intensity of music like this. This is spiritual music, like moons rattling together or, as per their debut record, a tomb of feathers. Abstracter are clearly driven by both post-sludge metal, with all the abrasiveness and scouring power of that corrosive genre at its peak, set to the meditative catharsis of Neurosis, but now with just a dash of black metal to set the tone.
There was a time post-metal meant you were grounded in one of the two prime texts: Neurosis or Godflesh. This is a band I have followed since their debut for exactly the reason they appear here. I’m still working on a good process for finding more metal from outside the narrow scope of what my inbox can offer, but in the meantime, here’s plenty of riches for the month. As we begin winding down for the year, we begin thinking about ways to improve this column in the future we begin to think of our metal kin from less-spotlighted parts of the world.
We’ve covered almost exclusively American bands this year, though we’ve maintained our focus on the underground. If there’s been much hoopla about that event in the English-language press, I’ve missed it.
#MAKE A DEATH METAL FONT PLUS#
The bias goes deeper than new bands, too - next year’s Mexico Metal fest will unite the Big 4 of German thrash bands (Kreator, Sodom, Destruction and Tankard) plus Hellhammer on one stage, a first for this hemisphere, if not the world.
#MAKE A DEATH METAL FONT CRACK#
I can’t remember the last time a band from south of the border landed in a top album of the year poll in any American metal press outlet (Nervosa might crack that this year, but more of their members are from Europe than Brazil, now).
Similarly, the music press puts great emphasis on English-language bands, even though metal is at least as popular in Central and South America, if not more so. What does any of this have to do with metal music? Well, one band in this column lists vampirism as a lyrical conceit, and several of them at least aim for the gothic romanticism of Dracula.īut more importantly, the story of the two 1931 Dracula films tells us something about the power of America’s cultural centrism - more people in the world speak Spanish than English, but more people know about Lugosi’s Dracula than the Spanish-language film of the same name made by the same company, even though it’s often regarded as the better film.
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