Review by Faithless on February 25, 2020.

South America has been the cradle for many outstanding metal bands that unfortunately have not received the recognition they deserve. I think this is due to different factors like a Eurocentric believe that metal was created in the old continent; thus, only bands originated there can be praised and recognized as true, cult and legendary. The other factor can be attributed to a lack of support in the local scenes from South America, involving fans, producers and the music industry itself. A clear example of this contempt is bringing bands from abroad (specially bands in an advanced state of decomposition, bands that wasted their money on drugs and alcohol and make a comeback only to fill their pockets once again) and having amazing local bands with a long trajectory or international projection only as secondary acts or support acts.    

That's why I want to claim justice to the South American metal scene reviewing a band that deserves to be appreciated for their approach on a genre that is overpopulated by posers that think playing with an 8-string guitar or 6-string bass is being talented (see Archspire). I don’t like robots farting in my death metal if you know what I mean.

In the midst of despair comes moments for the redemption of the inner void of the mind and existence’s futile attempt to justify itself just fall in the weight of emptiness. That was my (failed) attempt to summarize the ideology of this band in just two lines. But I just fell short in my thesaurus, in this amazing release we can find complex ideas about human emotions, struggles and the despair of existence. Anfractuous Moments For Redemption was the first album released in 2017 by the Chilean death/doom band Weight of Emptiness.

I think the sound of Weight of Emptiness is a very fresh one, using the talent of its musicians to deliver a very emotional and introspective opus of mainly death metal but, mixed with elements of doom, melody and some progressions mainly in the guitar passages. Anfractuous Moments For Redemption is full of outstanding songs, there are no fillers here, there is no need to when the music is delivered with such authenticity. You can feel it in your guts. No need to show off over intricated musical patterns or over produced music values that at the end are just gimmicks to sell records.

The album consists in an intro, outro and 7 songs that demonstrate a perfect blend between memorable hooks in guitars and progressions between death and doom metal. 'Behind the Masks' is a very good choice to start the record after the intro due to its solid structure and production. The singer's deep and cavernous voice leads the musical attack in a mid-tempo structure. Although, in some tracks like 'Cancer', the band decides to show their teeth and nail and go for a more aggressive approach in the song writing. 'Holy Death' is a tune where you can feel some moody guitar melodies that evoke moments for reflection and really blend death and doom in one genre. I have to say that the band does not play safe in their songwriting approach as well as in their musical execution, I mean, they do not marry with a sole structure and repeat it over and over again. The record is very organic, and, in each track, you can experiment a very different emotion. The last two songs 'The Weight of Emptiness' and 'Inner Chaos' are perhaps the most ambitious and epic ones. The singer experiments with a clear but still deep voice and with some shrieks to enrich the music's structures and overall experience.   

I don’t think my words do justice to the greatness of this album, so, I highly recommend listening to it and coming up with your own conclusions. In general, Weight of Emptiness echoes sounds of pioneering bands in this genre like My Dying Bride, Anathema and even Katatonia. However, do not get me wrong, Weight of Emptiness is not trying to do a retro album or copy structures, they just nod to those band here and there. Final words, go and do your ears a favor and listen to Anfractuous Moments For Redemption by Weight of Emptiness.

Rating: 10 out of 10

Review by Felix on August 4, 2020.

The second part of Passio Christi was released on the same day as part one and is equipped with a similar design. This makes it easy to compare both EPs. Once again, Possession’s offering includes intro, outro and two songs between. This time they start with a wicked eruption of rage, hatred and misanthropy. 'Crux Immissa' scores with the almost usual level of diabolic terror, yet due to its short length, it remains somewhat one-dimensional. I am still speaking about a good song, but I prefer the tracks of part I – and the same applies for 'Stabat Mater'. Here Possession reach their top form again while generating an infernal whirlwind. Every tone underlines the satanic spirituality of the group. The excellent, diverse guitar work takes the listener under its spell and especially the repeated line at the end of the song seems to lead her or him into a dimension of endless blackness. No doubt, the point of no return lies already behind us as the sacral choirs ring in the ending of Passio Christi. 8.7 for the very well-produced part II from my side.

Finally, Venefixion from France present their business card. They also do not shy away from pitch-black sounds, but the leads reveal the band’s predominant affinity for death metal quickly. I don’t know why this formation also needs an intro. The two Passio Christi splits are filled to the brim with these ambivalent sounds, but it doesn’t matter. Really relevant is that Venefixion play (black) death metal of the more interesting kind. The hammering, fast-paced drums roll out the carpet where the guitars walk elegantly without forgetting to show their brutal side. The vocals make sense as well. It’s not just this monotonous growling that makes everyone fall asleep. Okay, the Grotesque cover version makes them sound like Vomitory, but this is rather a compliment than a reproach. I confess I bought the vinyl only because of the involvement of Possession, but now I freely admit that Venefixion add significant value to the split. And the name of the cover song ('Ripped from the Cross') seems to pay tribute to the dark concept story of the sinister Belgians… 7.9 for Venefixion.

All in all, it was a pretty costly affair to get both vinyl’s of Passio Christi. A normal release would have been more fan-friendly and the effect of the large-sized artwork would have been possible on a gatefold release as well. Nevertheless, I don’t regret the purchase. Possession is among those few bands that really have understood the idea behind the black subgenre – and they have found competent comrades who contributed good stuff to both releases. I am curious to see what the future will bring in terms of Possession.

Rating: 8.3 out of 10

Review by Alex on November 21, 2019.

The second string of 2 splits releasing at the same time November 29th, 2019 through Iron bonehead and Invictus Productions, takes the form of material recorded by Belgian black/death metal band Possession and France's own Venefixion. With Possession having already contributed to the split with Spite, they lend their expertise towards the betterment of Passio Christi Part II / Necrophagous Abandon the second installation of a double episodic split. Once again Possession put their obnoxious attitude on display with their fuck you style of playing black/death metal.

Their 3 ceremonies conducted still up to par with the recordings on their session with Spite. They elevate the vitriol on this instance as both a competitive proposal and thematic relevance. Their songs here are a bit faster paced and frenetic where the guitaring is concerned with 'Crux Immissa' showing the rougher soundscapes of the band. 'Stabat Mater' is structured more considerately with variation in speed and transitions occurring between mid-paced and blazing black/death drumming. Though significantly longer than 'Crux Immisa', its skin is thicker in a sense there is more happening as far as musical climax and depth are concerned.

'Egregore' is setup as both an outro and intro to Venefixion’s oblations being 'Necrophagous Abandon' and 'Ripped from the Cross'. They answer immediately wasting no time; architecturally a cross between late 80s early 90s thrash and death metal, the guys in Venefixion crack the steam pipes and lash out indiscriminately with their riffs. Both tracks are fierce and packed with an array of memorable and exciting riffs particularly on 'Ripped from the Cross' that is more thrash metal oriented. They don’t back down from Possession, they bring just as passionate performances as the other half brought in completing and bringing the split to close. I would assume with these splits that mare is in the works, personally I would like to hear a full length from Venefixion due to the way they conducted themselves on such a short outing under the shadow of a band like Possession.

This seems to be only trickles of what awaits to be birthed into existence form Invictus Productions and Iron Bonehead Records with the progression of time regarding Possession, Venefixion and Spite.

Rating: 7.8 out of 10