Tags: alan blaisdell, apostate viaticum, arria paetus, black 'n roll, Cranial Engorgement, cripa oculta, crustcore, dawn of retaliation, death 'n' roll, death of kings, deathcore, degotten, délétère, destroyers of all, epitaph, firespawn, gates of ishtar, hellias, Holocausto, inferno, legion massacre, metalcore, morbid flesh, necroblood, norrskold, obscure devotion, pestilent age, pestlegion, porta daemonium, poseurs, Possession, sadistic metal reviews, screamo, sepulchral, thrash metal, varmia, womb of maggots, xysma
The Belgian frites in Possession stumbled upon Mayhem’s Deathcrush EP on Youtube a few years ago and falsely epiphanized that black metal is Black Flag with blast beats. Deathcrush was heavily hardcore influenced but Mayhem applied speed metal to the primitive sonic violence of Venom and Hellhammer to create a fierce breed of blackened thrash. Possession ignore their idols’ basic compositional achievements in chainsaw gutsfucking by repeating three chord punk riffs for four to six minutes. Celtic Frost, Sodom, and Sepultura theft continually occurs and bores as Possession demonstrate their limits as a house party cover band.
The droning powerchords are not composed into coherent metal songs but placed within autistic perseverations on historical witchery. Each release regales the listener with minutiae on a different witch’s life before lamenting her fiery death for deviant behavior. These incomprehensible lyrics are probably meant to provoke feelings of injustice in bearded liberal ex-punks who tattoo themselves as a sexual display of non-conformity to fat women in Brooklyn.
The problem is few pop-punk Wiccans tolerate unclean vocals, greatly limiting the potential market. Iron Bonehead has rectified this by dousing these waffles in corpse paint and commissioning Chris Moyen to pick the pockets of the Beherit crowd. Those monochrome goats have to sell or else next month’s supply of cost-reduced Fernsehbier will be at risk.3 Comments
Flooding publishing news, the waves of garbage promos present an ecological problem that can only be dealt with extreme measures. A swift bombardment of napalm would suit all these studios producing garbage albums every day. Even those with high quality production are only hiding behind it. Having a crispy sound, good double bass rendering and perfect sound engineering does not make the music better when it is the equivalent of rat feces, it only makes the odor stronger and more difficult to bear.
Blunt Knife Idol – (2015)
Grindcore is the most misunderstood underground genre after black metal. The simpler something appears on the surface. Blunt Knife Idol things that if they play a groovy or a brutal riff with blast beats or racing double bass drums a grindcore song is automatically produced. Music for empty-headed “headbangers” who want to show their friends how “brutal” and “extreme” they are. Fucking rad, man.
Impurity – Into the Ritual Chamber (2015)
Hard rock with croaking vocals. Not particularly good hard rock at that. Just flat-sounding and never actually doing anything besides existing. Not as distinctive as Sarcófago, but just as bad and far blander. Sometimes, Impurity tries to give songs a twist by inserting a completely random and unrelated blasting section only to finish it with a stadium rock move… or a flute. Other songs start off with the minimalist “black metal” style and then transition into hard rock riffs. Structure-wise it is pretty unpredictable, but it’s only because there is no particular plan behind this. It does not feel like it even makes any sense, parts are just pasted to continue. Stay away from this old turd.
Khors – Night Falls Onto the Fronts of Ours (2015)
Starting out as a light, slavic-styled black rock band, Khors now play depressive alternative rock with double bass drums and black metal vocals in a manner similar to that of Swedish band Katatonia. The difference is that in Cold Khors lacked the content that Katatonia present time-efficiently in their pop-structured songs. Khors pretends to deliver little content inside long-drawn structures in the black metal manner. This makes for ambient rock that is only “atmospheric” but little else. Now they went all the way and became one more alternative-rock-with-harsh-vocals band like the previously mentioned Swedish band or like the Finnish Amorphis. Despite this, Night Falls onto the Fronts of Ours seems to reach its goal within its mainstream constraints. It does not fail, it is just rubbish mainstream music.
My Silent Wake – Damnatio Memoriae (2015)
Funny, confused, tough-guy music for fans of Sludge and the Pink Frothy AIDS approach to songwriting in “diverse” styles stitched together in self-indulgent manner. Each song here is meaningless but has a strong “attitude”. This satisfies most of the Homer Simpsons among metalheads, which is why this will have enough impact. This stretches from the idiotic to the simple music that pretends to be more refined or sensitive. My Silent Wake are a sure commercial bet for labels and a sure formula for artistic failure.
Possession – 1585-1646 (2015)
When you try to make black metal with a punk mentality, you will end up with a very long and repetitive punk song. This is NOT what primitive black metal is, folks. Like most music of its kind, and like most extreme music, this is 80% posturing, 15% music and 5% of something to say. The only reason this sort of band is given any chance is that with the commercial long tail effect the internet provides, niche tastes can be offered a product. Statistically, some clueless idiot is bound to like this heap of messy punk riffs put together by a talentless band.
Belgium’s Possession return with a brand-new mini-album, 1585-1646, set for international release on June 6th, with Iron Bonehead Productions handling the vinyl pressing and Invictus Productions handling the CD pressing, and today premiere the new track Ceremony.
Through these four tracks, Possession tells the story of a witch who lived in France between 1585 and 1646: on Obscurity, an intro sets the crucial medieval atmosphere; with Visitation the future witch receives the visit of the Devil, who offers her a pact she accepts; on Ceremony comes the Sabbath; with Guilty the Inquisitors hunt the witch, catch her, and torture her to make her confess; and at last, on Ablaze the Inquisitors burn the witch.
The track can be heard on Soundcloud.5 Comments