Immolation - Dawn of Possession (Death Metal)

Dawn of Possession, Immolation's 1991 debut, sits in a curious spot within the death metal pantheon. On one hand, it's garnered a loyal following of boomer scenesters forever stuck in the early 90s (like Beatles fans, but even more obnoxious), while on the other, it has been routinely dismissed by more discerning listeners as "average at best". The split reception isn't without reason — there are plenty of legitimate critiques for this record that make it feel less like the "genre-defining masterpiece" it tries so hard to be and more like a transvestite attempt at borrowing riffs and style from greater bands... bands that may or may not have names that sound suspiciously similar to Immolation's own moniker (Incantation, cough).

One of the most frequent complaints is that Immolation seems overly eager to, hum, "pay homage" to other, better bands rather than carve out its own identity. The fingerprints of Incantation and Phantom are all over this thing, and not in a subtle or flattering way. The comparison to Incantation's Entrantment of Evil is especially unavoidable, as Dawn of Possession mimics the raw, murky production that made that EP and the earlier demos so revered. However, instead of feeling like a well-executed tribute, it comes off more like a pale imitation. Meanwhile, the attempts to capture the dark, ritualistic atmosphere of Phantom's Epilogue to Sanity fall flat, only emphasizing the lack of originality in Immolation's approach.

Musically, there are glimmers of potential buried beneath the chaos, but they don't quite redeem the album. The riffs, while undeniably aggressive, often stray too far into speed metal territory. This is a sticking point for many, as it undermines the death metal credibility that Dawn of Possession desperately needs. The thrashy, rapid-fire guitar work on tracks like "Into Everlasting Fire" and "Those Left Behind" ends up feeling more like a budget Metallica than something that should stand alongside classics from Suffocation or Infester. Instead of the haunting, claustrophobic atmospheres of true death metal (like Effigy of the Forgotten), we're treated to chugging riffs that seem better suited for a mid-tier thrash record. The result is a weird tonal confusion, where you're never quite sure if the album is trying to be Cannibal Corpse brutal or just Shakira catchy.

Despite these significant flaws, there are a few areas where Dawn of Possession manages to shine. The band's technical prowess is commendable, with complex drum patterns and flashy guitar solos showing off their skill, if not their innovation. The production is also worth noting, though not necessarily for the right reasons. While the clean, polished sound might appeal to fans of commercial metal, it strips the music of the raw edge that defines true death metal. Instead, we're left with a sound that's more mallcore than macabre, a bit too clean for comfort. It's the kind of production that appeals to fans who like their death metal with a "groovy" edge — a move that will leave purists rolling their eyes and wondering why a self-styled "New York Death Metal" band would try to sound like Cowboys From Hell era Pantera.

Lyrically, the album dives into predictable themes of blasphemy and anti-religious angst. But rather than coming off as menacing or thought-provoking, it's more akin to the immature rantings of a teenager who just discovered Nietzsche after a bad day at Sunday school. Ross "Nancy" Dolan's vocals, with their whiny growl, don't do much to elevate the material, lacking the menace required to sell this type of nihilistic worldview. Instead, his performance feels more like an angsty tantrum than the guttural roar of existential dread.

Ultimately, Dawn of Possession is not the album to turn to if you're seeking the dark, oppressive atmosphere that defines the best of the death metal genre. For something truly unsettling and brutal, you're far better off listening to To the Depths, In Degradation by Infester or Necrotic Fairytales by Morbid. Immolation's debut is too close to the territory of speed metal, too far removed from the evil, suffocating vibe that makes death metal the beast it is. In short, it's a decent effort, but hardly the macabre masterpiece it so clearly wants to be.

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