Katharsis Black Lust

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In order that we may proceed in a clear and unambiguous manner, let us set the hard facts on the table: the first of the two songs in this split is the weakest by far, at least musically speaking (though one could argue it appears lackluster in terms of energy and inspiration judging by Antaeus’ standards). At the very least it maintains a certain spirit, but Antaeus here does not even present a deserving shadow to the monstrous presence of Katharsis.

The other side of this split LP is a concentrated and significant manifestation of dark energies which can only be understood from the point of view of an ascetic actively carrying on an antinomian praxis that goes well beyond metaphor and so beyond the intention of enameling a message in pure music structures displaying a beauty of mathematical proportions. Rather consistent with the practice of  savagery towards a transgression into the realm of the sacred.

Musically speaking, we may take Black Lust as a great example of black metal piece-making in the style of Katharsis, which is aggressive and riff-driven, but with an atmospheric transformation mindset rather than a contrasting carnival or a mere show of attractive riffs. It leaves behind such metal composition styles such as the so-called ‘riff salad’ or a building of atmosphere in place of a kind of communication. The transmission of thoughts, or rather intuited aural exchange that occurs in musick proper, needs here as well as in the sphere of the real, a common ground of experience, a shard world so to speak.

Such a common world was spoken of elegantly and beautifully by Heidegger1, and which world is one made of experience —that is, it can only be lived, and not the result of armchair quantization2. The last is taken by some over-rationalizing individuals to be the real, when it is simply a reduction of experience to a mathematically representable set of dimensions and relations. The same oversimplification may mislead to the disregarding of the role of drums in the music, simply because they cannot be analyzed or perceived in exactly the same way that pitched note-values are.

Guitars are wielded like swords of death, instruments that breach the fabric of reality, bringing phantasmagoric visions in an evolving succession of scenes that achieve narrative consistency by virtue of their topic (musical, not only lyrical) and stylistic adherence, driving forth a ritual knife into the flesh of wave frequencies. The experience amounts to much more than an arrangement of notes, and only a non-reductionist approach can be taken here, so that distortion is as a necessary part of the communication as is percussion, not to speak of the wild-man crazed vociferations that propel this and other Katharsis recordings to newfound heights of ritual frenzy.

“But in the rending tumult of passion we can at least perceive the tumult and hence focus our intention beyond mere objects on the deepest truths of our passion. (…) A gentle light, not the full glare of science, shows us a reality difficult to come to terms with compared with the reality of things; it makes possible a silent awakening.”
Georges Bataille.


1 The author has had the fortune of being directed to the particular reading of  a Spanish translation of one of Heidegger’s works ,’Caminos de Bosque’, by a certain Colombian gentleman whose cultural equipoise and affluence far exceeds the average man’s.

2 Quantize: “Form into quanta, in particular restrict the number of possible values of (a quantity) or states of (a system) so that certain variables can assume only certain discrete magnitudes.” Oxford Dictionaries


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