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The Shadow Over Santiago<\/em><\/p>\n

While today we often group the dissonant, old school, cavernous, and psychedelic\/\u201dastral\u201d branches of death metal as separate categories, the late 2000s and early 2010s did not make much of this distinction. Grave Miasma<\/strong>, Ignivomous<\/strong>, Necrovation<\/strong>, Obliteration<\/strong>, Denial<\/strong>, Borgia<\/strong>, The Wakedead Gathering<\/strong>, Mitochondrion<\/strong>, Dead Congregation<\/strong>; these are all bands with distinctive sounds yet they were all part of the same movement. We could say this was \u201cdark\u201d and \u201catmospheric\u201d death metal in general but such a broad umbrella eventually fragmented into the previously listed styles among others.<\/p>\n

There were those that, while part of the movement, arguably encompassed so many varying characteristics that you could not quite put them into a particular box, with even my own classification of \u201cDeath In Opposition\u201d arguably being fairly broad. Nex<\/strong> Carnis<\/strong>, Undersave<\/strong>, Gyibaaw<\/strong>, VoidCeremony<\/strong>, second album-Polyptych<\/strong> and a few others are anomalies of sorts. They\u2019re emblematic of a time when the dominance of pristine, cut and dry, and to many, plasticine nature of the blast-happy, brutal\/technical bands was wearing thin. The wake created by genre giants such as Behemoth<\/strong>, Necrophagist<\/strong>, Vital Remains<\/strong>, and Hate<\/strong> Eternal<\/strong> had gotten rid of much of the idiosyncrasy of classic ’90s death metal, something many wanted to see returned. Yet the DIO movement was not here to simply retread those glories but fulfill the promises that had been revealed in the genre\u2019s heyday but not yet fully embodied.<\/p>\n

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Inanna had been emblematic of this ideal from the start with 2008\u2019s Converging Ages<\/em>, creating a sorcerous voyage of cosmic thrashiness and arcane melodies laced with an understated dissonance. It was a difficult album to compare with bands other than The Chasm<\/strong> or Gyibaaw<\/strong>. Yet similarities only went a little past the topsoil once one dug further into each band\u2019s idiosyncrasies. A year later and three members of Inanna appeared on Perpetuum<\/strong>\u2019s only album, Gradual Decay of Conscience<\/em>. A lineup of Carlos Fuentes (once guitarist for Inanna, drumming here and now his main band), guitarist and here vocalist Cristobal Gonz\u00e1lez (joining Inanna in 2019), and Diego Iblanca (guitars in Inanna) made it easy to draw many comparisons.<\/p>\n