Elemental Black Metal
Hunter Hunt-Hendrix outlines what they term Transcendental Black Metal in their manifesto of the same name included in the collection, Hideous Gnosis: Black Metal Theory Symposium 1. Although I appreciate the philosophical effort (even more so the musical output of Liturgy), Id like to make use of their framework to provide a third alternative. The metaphysics of Elemental Black Metal appeals more to me than the apocalyptic humanism they prescribe, or the Hyperborean nihilism they seek to move beyond.
According to Susanna Lindberg, the elementals are “abstract ways of articulating the materiality of being.” Elemental nature is unthinkable (beyond human thought), primordial (always ever there), and chthonic (found in the realm of the underworld). It is beyond the sensible or rational. It is “the absence of transcendental ground” existing as already available images. To Emmanuel Levinas, it is the it when it rains, il y a. It is indeterminate, opaque, and an absence that makes presence possible.
Contingency is a potential force, and the force of potential. It is unexpected and not destined. It is an unintended consequence. It foils teleologies and disrupts ecologies even as it erupts from them. It is a senseless reshuffling of the cards. To humans, it is felt as looming cosmic catastrophe. It undoes worlds. It is nihilism to humans, but not something (or a nothing) one can be for.
Creative forgetting is unlearning mastery, as Bayo Akomolafe puts it. This could be also considered unthinking. This is what Friedrich Nietzsche describes as the child stage in Thus Spoke Zarathustra: approaching the world anew having shed the burden of the camel and the ressentiment of the lion. It is what Laozi describes as the uncarved block: the capacity to become. It is not a rejection of the past, but an awareness that the past has yet to come.
Drone is an enveloping, pulsating resonance. In metal, it is exemplified generally by much of the work of bands Earth and Sunn O))) of Cascadia, and Boris and Corrupted of Japan's urban epicenters. It is exemplified specifically by the track Tanggalkan Di Dunia (Undo The World) by the band Senyawa of Jogjakarta. The blackest of drone metal best accompanies Eugene Thacker's notion of cosmic pessimism. More than listened to, drone is felt.
Elemental metal is earthly, but more specifically subterranean. It lies beneath bogs and marshes, and is buried under sand in windswept deserts. It forms underground caverns and deep sea trenches. It moves through mycelia and magma flows. It is of the underworld: connecting the living and the dead, and blurring the line between them. It is known by humans for its opacity.
The outcome of becoming lost is unknown. Losing oneself is impure, and resists preservation. It is breaking free from the fixed continuity of self and time, not through external transcendence, but passionate corporeality: a reckoning with the soul, followed by grotesque laughter.
According to Carlo Rovelli, entanglement is predicated upon three aspects: granularity, indeterminacy, and relationality. An entangled understanding unmasks time for what it is: a relation between human perception and the cosmos. The cosmos is composed of indeterminate becomings in relation to each other, rather than finite or infinite being.
Diffusion is a withdrawal from incapacitating concentrations. It is an exit strategy. It is fluid, dissolvable, and becoming illegible. It is fleeing to the forest or going underground. It is fugitivity.