Path Of Possession
Promises In Blood

This review is the result of an in-depth exploration and excavation on the Web, which led me to discover that the current singer of Cannibal Corpse, an exceedingly celebrated cornerstone band of Death metal (even though their memorable exploits are now a distant memory), has had a remarkably good side-project, Path Of Possession, for the past six years: needless to say, fan(atics) of the aforementioned unfortunately former sacred monsters saw this as an unforgivable betrayal. As far as I'm concerned, I'm quite pleased that he (who goes by the name of George Fisher or, if you prefer, Giorgio Pescatore) has cast off and distanced himself a bit from that reality as stale as it is sterile.
Fisher, it cannot be denied, has always been the jewel in the crown of every band he has been part of (from Monstrosity, to duets with Suffocation, and finally with Cannibal Corpse) thanks to his undisputed talents: especially in a genre with monotonous and repetitive vocals like Death Metal, such a versatile and multifaceted voice can only be highly sought after.

The album in question manages to give prominence to this singing, showcasing its qualities and many facets. "Promises In Blood" is the result of the great creative vein of this character, who has managed to concentrate the experience of a more than decade-long career into one work: it is undeniable that the band revolves around Fisher and that the other members can easily be called "collaborators" without feeling offended. Although their performance is flawless and they also demonstrate great mastery of their instruments, the presence in their lineup of a singer of such caliber makes them simply puppets in his hands; the twelve tracks, in fact, summarize what George found most interesting in his previous projects and it becomes clear that he has put together a group as close as possible to his tastes and will.

The proposal is quite traditional and keeps intact the stylistic elements of the genre, that is, fast and complex rhythms interrupted by slowdowns accompanied by impactful and fairly complicated guitar parts (although not at the forefront of the genre). Strong influences of European Death and bands like Vader and Entombed can be noted (both in terms of timing and riffing), even though there are typical American Death bass breaks; the work, in short, is a blend of styles with the obvious function of highlighting the singer's voice and allowing him to show off his dexterity, between growling of different pitches and more or less harsh screaming. A commendable note is the complete absence of clean vocals which, in such a context, could plausibly have been inserted by an ambitious and eager singer to impress at all costs; instead, he manages to amaze without betraying the genre and without venturing into territories that do not belong to him.
The production caters to the needs of the voice, enhancing it in every note while also doing justice to the other instruments: both the powerful but not cloying guitars and the drums, which make their presence felt without being intrusive, benefit.
From what has been said so far, it might seem that the album is a mere and sterile exercise in style: instead, Path Of Possession, although they don't excel in experimentalism and draw from sources many have looted, manage to create a very personal sound that offers some very interesting and significant insights: I am referring to "Erszebet," a beautiful melodic instrumental but without being sappy and more generally to the mood of the album, which does not hesitate to mix pure ferocity with less uncompromising openings. Probably not having big recording commitments, as with Cannibal Corpse, allows George Fisher to unleash his creativity and showcase his prowess, presenting the audience with a carefully crafted, professional work with undeniable personality.

An album that shows that with talent, a desire to play, and an open mind, a good sound can be created without being big names: a good test that I believe many incompetent diehard Death metal fans will label as high treason but that will greatly please those who appreciate not only image in music but also stylistic skills.