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These songs feel like guys shouting at each other across a bar, each with a good idea, and the whole thing barely but strongly holding together, making a simple statement of both past and present.
While on the mainstay from the brutal death metal style, Hypatia blends together the long history of death metal and skips most of the postmodern era, giving the pummeling power of the past and the spacy ambiguity of the recent future.
Although songs use simple loop-layering structures and are powered by jazz-style offset beats, they incorporate a great deal of cadence and the thunderous majesty of death metal from the classic era, delivering a omniscient negativity that presents an escape from a gaslit dystopian mindset.
Words by Belinda Quick Photos by Missy Smiley Special thanks to Destroy All Lines “Do not feel lonely, the entire universe is inside you. Stop acting so small. You are the universe in ecstatic motion. Set your life on fire. Seek those who fan your flames” ― Rumi, In Your Light Let not any quantitative […]
Fernando Perdomo 2026 Entering transparency, the American composer commits his multi-instrumental soaring to minimalistic ambience. There are quite a few types of clouds: some of them are redolent of more material objects, others are spread across the skies like fine … Continue reading
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Interview by Ali Williams There are still very much mixed opinions out there in music land when it comes to tribute bands. Hard core fanboys will state “there is only ever one …“(insert band name here), others will be highly critical unless its a carbon copy of the original artists , and on the other […]Atrición is the sort of record that seems to have been built under fluorescent light, with the smell of disinfectant somewhere nearby and history banging its head against the walls. Santiago Nicolás wrote much of it in an oncology center, and that circumstance hangs over the album with a terrible physical clarity. The body here is material: cells change, systems fail, pressure accumulates, and time works patiently on everything it touches. Nicolás places that fact beside political violence, invasion, borders, archives, and inherited trauma, finding a shared logic in processes that advance by occupation and erosion rather than spectacle.
That could have produced a record swollen with significance. Instead, Atrición stays severe, compact, and rhythmically exact. Its drums hit with the blunt economy of DAF and Nitzer Ebb, while the synths carry the cold forward motion of contemporary techno. Suicide lurks in the repetition, Cabaret Voltaire in the sense that machinery can become a social instrument, and Schwefelgelb in the clipped, bodily momentum. Nicolás keeps tightening the screws until repetition stops feeling like recurrence and starts behaving like pressure.
This is where the album becomes genuinely nasty in the best sense. A beat returns, a distorted percussion figure acquires another layer, a synthesizer line keeps digging into the same patch of ground, and suddenly you understand accumulation as an experience rather than a concept. Violence, in this framework, survives through systems, habits, documents, buildings, borders, and bodies that continue carrying its consequences after the visible event has passed. Atrición makes persistence feel physical.
The lyrics work through archives, silence, trauma, and accountability without collapsing into slogans. Nicolás favours metaphor, which gives the songs room to operate somewhere between private memory and public history. He is interested in transmission: what passes from one generation to another, what institutions preserve by omission, what a body remembers despite every attempt at erasure. The music answers with repetition so stubborn that it begins to resemble bureaucracy with a kick drum.
By the end, Atrición feels like a controlled study in pressure: biological, political, historical, rhythmic. Catastrophe often advances by degrees, through small permissions and repeated injuries. He builds music for that recognition, and the result is frightening precisely because it moves with such discipline, until pressure itself becomes its own evidence.
Listen to Atrición below and order the EP here.
Nicolás has spent more than a decade moving through electronic music, noise, experimental composition, and post-punk, including work with The Deadly Affair, Access Device, Ángel de la Guarda, and Föllakzoid’s live lineup. Atrición compresses that experience into a language of hard surfaces and accumulating force. The production is clean enough to expose every impact, yet abrasive enough to keep the record from becoming sterile.
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