God
Possession

 The God represent one of the ultimate pinnacles of avant-garde rock in recent decades, an inextricable tangle of harmonies & dissonances associated with the radical fusion of metal and grind tracks with jazz and funk, akin to the clues scattered by sonic terrorists such as Pain Killer and Naked City. Three saxophonists, three bassists, two drummers, and a guitarist float between crossover polychromies free from classifications and immersed in a sequence of rhythmic spirals that span the mesosphere of noise to celebrate a new liturgy in the temple of changes.

Their first studio album (after the live "Loco") released in 1992 vertiginously reaches the peak of the multifaceted language of harmonic corruption with lucid figures of almost ascetic jazz transversalism (primarily Coltrane and Ayler), marvelously blending the new with the experimental antecedents from other eras (Henry Cow and Pop Group), adding fractions of post-industrial music (the heavy burden of Slab), daring wicked crossings between broods of horns (soprano-tenor-baritone sax) and rhythmic bursts of bass and percussions fired diametrically from all directions. The telluric waves of "Pretty" open the record with a sonic segment masterfully entwined by sharp guitars, saxophones spasmodically stunned in acute angles, and a scabrous voice, for those who remember, of the tangled paths that carry on the myth of Mark Stewart.

The blasphemous procession of tracks passes through the dark dramatic power of the doom metal stride of "Fucked", the swerves midway between hard boiled and Tuxedo Moon that haunt "Return to Hell", the feedback of Justin Broadrick's guitars that set fire to the vicious circle of "Soul Fire", the vertical ascents of "Hate Meditation"on the wings of derailing rhapsodies for piano and reeds with the rapped voice of Kevin Martin.

The second half of the album prefers the long durations of the suite deciphered in harrowing sequences, those slow and progressive of "Lord I'm on my Way", inflamed by the interventions of the guest John Zorn on alto sax, or the interminable (16 minutes) psychotic journey of "Love", which reveals itself as a fierce collection of borderless music: jazz, funk, metal, noise violate each other spreading spermatic streams infested by unknown viruses.  The grand symphony of bells ("Black Jesus") that closes the album sees the hunchback of Notre-Dame frantically jumping from rope to rope while around him the enraged crowd clamors in feedback.

A terrifying nine-headed creature, utilizing with experience and evil fantasy a wide spectrum of instruments (including the didgeridoo), composed of extravagant underground figures such as Kevin Martin (tenor sax, voice - Techno Animal), Tim Hodgkinson (alto sax, clarinet - Henry Cow and Momes), Steve Blake (alto, tenor, baritone sax - B Shoops for the Poor), Scott Kiehl (drums - Slab), Justin Broadrick (guitars - Godflesh), John Edwards (double bass - B Shoops for the Poor), Lou Ciccotteli (drum machine - Slab), Dave Cochrane (bass - Head of David), and a handful of illustrious guests like John Zorn on alto sax and Peter Kraut (ex Alboth) on piano.

What else to say... masterpiece?