Paria Website


Hailing from Essen in Germany, Paria have been screaming about Satan since 1995, and this is their third, full-length release, though their first with German label World Terror Committee.


I have a love/hate relationship with the album cover. It’s all good, mar the horrendous, hallucinogenic text, that looks like the sort of thing you’d doodle on the cover of your exercise book in school. The heavily distorted intro Psychonautikkch Paradigma sets up something of a ritualistic atmosphere, but then morphs into a soundtrack that could well accompany night terrors.


Surrealist Satanist is a kick in the teeth in comparison to the almost luminous intro, and the vocals are fantastically menacing and severe. The riffs in this chaotic cacophony are superb. I have to stress again that I’m fucking loving the vocals, that work in such beautiful disorder. The production sounds a bit messy which is ideal. In this instance, you don’t want it too clean. This track is deserved of multiple listens. I’m somewhat chuffed that there’s still five more tracks to come, and get the impression this will not be a release of half measures. It’s all or nothing. Surrealist Satanist is picking drama up by the neck and ripping out it’s throat.


The Green Angels Of Obscurity is a frenzied orgy. The vocals are oiled up with so much hate and viciousness you want to feast on them. They wake up something inside you, and there’s no clue as to which direction it’s going to go next. There are no barriers here, and it gives the track a brutal, fighting spirit.


Wormlike Proselytism is crammed with force from the get-go. The guitars, flayed drums and the varied rhythms they create work to produce a barrage of black metal noise. The vocals are tinged with Scandinavian influence, and the effect it all creates is welcome.


Behold The Face Of The Timeless Usher is a head fuck from the beginning. The jerky, fast paced bombardment  makes me feel somewhat queasy. The ghoulish croaks and crooning bring to mind the vocals of Niklas Kvaforth. This track is dense, but goes on for a bit too long.


I wasn’t sure what to expect with Sodomsphinx, but fucking hell. It gets your head and smashes it clean open with a manically fast paced intro. It’s all guns blazing here. The vocals are being utilised to the max. Everything is fast. This is bedlam with messy, ruthless arrangements. Midway, we have a lapse in tempo. It’s like vocalist Panzerdaemon is taking his last, painful breath, and he works to momentarily distil your spirit. Towards the end, there’s an almost ceremonial feel.


The final track Oceans of Spermwhite Solitude tick all the boxes, so to speak, but there’s not much different happening, it just works to remind you that these guys know how to play their game, and they play it well. This isn’t a release that’s going to shake the world. But it’ll make it rumble for a while.


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