Name: Possessed "Abandoned (demo 2016)(dB092) by Decibel Magazine
Duration: 5 min 26 s
Description: Order the issue of Decibel featuring this exclusive POSSESSED flexi disc here: https://store.decibelmagazine.com/collections/back-issues/products/august-2018-166

Missed this band for so long. Still Possessed. Jeff’s vocals make it so.

This voice has been missed in metal for far too long!

realy good better of me but i'm Alone i'm Sylvain Bourgeois i have music too in soudcloud i tink you  age gonne a  like

God comes back!　Looking forward to their new stuff more!

Urfaust - Trauerhöhle

At long last, German black metal tyrants ASCENSION unveil their highly anticipated second album, The Dead of the World. Previewed by the Deathless Light EP, ASCENSION's The Dead of the World is a grandiose work of bold creativity and boundless imagination, of brilliant illumination and obsidian depth, all under the banner of orthodox black metal. The band's debut album, 2010's Consolamentum, became a classic in the underground not long after its release; it evinced a wealth of maturity in composition and execution for such a new band. Here, the quintet eclipse that accomplishment with a seven-song salvo that's the epitome of Album Experience. Every part is where it needs to be; every song flows from the other; there is a whole, and it is a black HOLE. From its innermost depths, ASCENSION drive onward and outward, their control of dynamics startling for mere "black metal," their passion, fervor, and professionalism far beyond those who supposedly uphold that genre. Joining ASCENSION in their peerless endeavor here are The Magus (Necromantia, Thou Art Lord, Principality of Hell) and Mors Dalos Ra (Necros Christos), who both respectively provide guest vocals on The Dead of the World. Black metal may be dead for all intents and purposes, but not for ASCENSION, for they show you The Dead of the World. 

Deathless Light

DEVOURING STAR, a rising Suomi supernova, shall manifest its debut album "Through Lung and Heart" through Daemon Worship Productions as both CD and LP.

The album will consist of five new manifestations, which decompose the structure of the Self in all forms. Death awaits... The eye opens!



Devouring Star - To Traverse The Black Flame

Life Reconsidered

taken from "Heimweh" enttiled debut album. Available as CD, vinyl and later digital as well.

Crom Dubh - Cutting Teeth II

taken from the "Unorthodox Equilibrium" 12"LP

Shroud Of The Heretic - Sprawling Black Mass Consummation

Baphomet's Blood - Whiskey Rocker

Song Taken from "Mysteria Mystica Calvus Mons" Album released together with Hexencave Productions. CD is handnumbered and limited to 666 Copies!

SHADOWS GROUND (Ukr) - "I Am Hatred"

The Stockholm Death Metal mammoths DESULTORY have returned once again for their fifth and swansong full-length record "Through Aching Aeons"!

With Necromorbus Studio head-honcho Tore Stjerna taking on song arrangement / producer duties this time, the culmination of "Through Aching Aeons" results in an added depraved aggression and more varied passages but also leaving a trail of vile Swedeath fetor that only DESULTORY can invoke.

Recorded, mixed and mastered by Tore Stjerna at Necromorbus Studio, Sweden (Watain, Repugnant, Portrait, Tribulation, etc), album artwork by French graphic artist Pierre-Alain D at 3mmi Design.

DESULTORY - In This Embrace

Order the issue of Decibel featuring this exclusive POSSESSED flexi disc here: https://store.decibelmagazine.com/collections/back-issues/products/august-2018-166

Possessed "Abandoned (demo 2016)(dB092)

Take a look at the figure on the cover of Longing, the debut from Seattle doom duo Bell Witch. Its eerie presence is appropriate for a record defined by inescapable haunting and loss. On these six songs, bassist/vocalist Dylan Desmond and drummer/vocalist Adrian Guerra play patiently, and sparingly; they appear to be carefully purging themselves of an inexplicable force corrupting their bodies. Instead of going for a frontal assault, piling riffs upon riffs upon riffs, they opt for something subtler, a spacious approach that affects the entire nervous system.
The album opens with a 20 minute journey into despair, "Bails (of Flesh)", a track that will likely weed out those who can't handle the unrelentingly downcast feel of the record. The tracks get shorter from there, but they also get sparser. Of note is "Longing (the River of Ash)", which grows more drawn out as it progresses. In this music of solitude, it's the loneliest track by far. Metal's defined by exaggeration, but the title Longing is perfect here: Desmond and Guerra want to go back to where pain didn't consume their reality.
A duo's primary challenge is to find a way to fill up space with minimal equipment. Usually, when a doom band's a two-piece, the guitars are double-amped and so downtuned that a bassist becomes irrelevant. Bell Witch flip this convention, employing a six-string bass in place of a guitar. (Often, one can hardly tell it's a bass.) Even lacking guitar, Desmond constructs melodies reminiscent of funeral doom acts like Skepticism and Esoteric, adding a touch of American dirtiness from his experience as the bassist of Samothrace.
There is one exception where the bass doesn't masquerade as a guitar. "Beneath the Mask", save for a sample from the Edgar Allen Poe-inspired film The Masque of the Red Death, is a five-minute drumless drone piece, where notes fly off and subsequently wither like Icarus on 33 1/3 RPM. The clean bass is more lonesome and more eerie than the distorted bass that the album's built upon. "Mask" seems like the perfect track to incorporate a sudden blast of hisses, feedback, screams-- something to make the listener jolt. It doesn't, and that suspense, like walking over rows of false trap doors, adds to the creepy atmosphere.
Throughout, Guerra's growls are complementary of the genre, and he even throws in a few blackened shrieks on "Rows (of Endless Waves)". Desmond's clean vocals, however, are more compelling, taking different shapes throughout the record. His warm, forlorn style carries the latter half of "Bails (of Flesh)", turning maudlin doom into perverted praise music. It's not a far stretch to imagine this being played in some church that worships self-destruction, congregants raising their hands up high, arms bleeding from cutting themselves. Desmond gives hails and salutations to the misery, like Om learning of a terminal illness diagnosis.
The previously mentioned "Rows" sees Desmond's voice become more delicate, almost crushing under the weight of the music. Frailty is important to the variety of doom Bell Witch explores, but rarely does a vocal performance capture what it is to stand on the line between sanity and madness. Desmond will whisper certain lines in "Rows", adding emphasis without raising his voice. He channels dISEMBOWELMENT's Renato Gallina on "Longing" making that track a true successor to the Australian doom-death quartet's 1993 classic Transcendence into the Peripheral. Remember that editorial arguing that metal vocalists are irrelevant? It wasn't entirely without merit, but Desmond challenges that line of thinking. He's got a cleverness and sense of space most vocalists don't possess. His voice is much like the music itself: it reverberates around, as if wandering and looking for a way out of this despair. Open and wide-reaching as it may be, there's also a sense of weighty claustrophobia in his voice, as if it's carrying his burdens, and the burdens of others, too. (via Pitchfork.com) 

Bell Witch - Rows (of endless Waves)

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Possessed "Abandoned (demo 2016)(dB092)

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