Profanatica - Collection
Review: The acerbic linear howl from hell that is the work of Paul Ledney and company is collected here from a range of sources, including the material from the Profanatica split with Masacre and various 7" and demo tapes. Minimal packaging and basic declarations direct focus appropriately to the music within, which bearing the strange variations of time and the heavy burden of ambient transitional material, presents this band in the most informative light yet.
Abrupt tormented riffs singe and dive, seething in the hissing deconstruction of their own forms before resurrecting in a flash and charring. Using the simplest, often most jarringly aesthetic, songwriting ideas possible this band of deranged individuals create short but transmissively rhythmic works, opening vectors into the listener with natural motions and sudden instantly logical transitions with an emphasis on primal riffs and unchartable screaming noise. A turbulent redux and cyclic winnowing and return both mixes ideas and keeps them jarringly separate, moving the listener between themes as if rooms in an apocalyptic funhouse.
1. Raping of Angels (5:12)
2. Final Hour of Christ (2:26) 
3. Of Pestilence (2:21)
4. Scourging and Crowning (2:41)
5. Weeping in Heaven (3:08)
6. Weeping in Heaven (2:14)
7. Heavenly Father (2:32)
8. Spilling Holy Blood (2:44)
9. Final Hour of Christ (1:50)
10. Weeping in Heaven (2:11)
11. I Arose (5:39)
12. As Tears of Blood Stain the Altar of Christ (3:48)
13. Crucifixion Wounds (1:50)
14. Once Removed Savior (a.k.a. Disease Infested Cunts of Dead Nuns) (4:28)
15. Mary (Conceived With Sin) (1:41)
16. Jehovah Fading (1:59)
Like most black metal, Profanatica aim for the sleeping mind of the human machine and saturate it with a bloodlike rhythm while a structure twists and regenerates in front of the ears. Once a continuity has been established, songs create spaces of introduction while flashing to final conflicts and resolutions within the motif of the value structure of each song, in concept and creation. Intermediary wanderings fade into an exploration of the dark underpinnings of each poetic mechanism like a drunken lazy genius deconstructing his enemies, slight motions leading to symphonic collaboration of natural forces toward change.
The works here chronicle this band from a youth of abandon to songs honed and handled to smoothness and absolute application to function alone that differentiated this band among other counterpoint atonal metal composers. Early versions of Havohej and Profanatica classics, in their often punkish or sprawlingly black metal personae, cut to the vein of the spirit pushing an unlikely quest through in a belief in its art. These artists were an inspiration to many European bands and remain legendary in the occupied American states.