Spent for the sake of menacing blasphemy and shot from the coven’s maze-turned maelstrom mouth, a spiraling coup of whirling black magickry abounds on this third full-length album from Portland, Oregon-based black metal duo SPIRIT POSSESSION. Dagger-winds and snarling incant reclaim their jet-black throne as ‘Cathedral Speech‘ intensifies its depiction of invaze and descent into possession with a ramping barrel through. Without altering the total personage developed within their first two major releases these folks’ve created a more precision cut extension of their moderne first wave black titration, a set of ambitiously strung and electrically charged pieces which progressively immerse in reveal.

Spirit Possession formed back in 2019 between guitarist/vocalist S. Peacock (Ulthar, Black Curse, et al.) and drummer A. Spungin (Ormus, ex-Insect Ark) who also handles bespoke synthesizers. The duo’s focus thus far has been in creation of a highly energetic, ear-shocking form of black metal which pulls from the first wave, heavy metal, speed/thrash and beyond for its unique characterization. Though it’d be fair to relate their general sound, especially early on, with groups like Funereal Presence and certain Cultes des Ghoules releases their finger snapping trill-spamming approach to the riff bears its own exaggerative stab which additionally sets them apart. When I’d reviewed the band’s second LP (‘Of the Sign…‘, 2023) this was a point of exhaustion to some degree but that didn’t stop me from praising their skill-up, pointing to ‘Aura Noire‘ as a similar standard of maniac personage and skillful alchemy.

Within this third summoning of the psyche-agitator Spirit Possession take a more thoughtful stab at their own authorship, focusing on longer deeper-entranced pieces which tell a more lucid story on the cackle and slash through. Because there is little potential for escalation within their own brazen register, and expanding into more ambitious render/staff might dilute their potency, the task here appears to be creating a more engaged and immersive experience without disturbing the signature at hand. That is to suggest ‘Cathedral Speech‘ picks up where the duo’s obsidian lightning left off and strikes a few new targets on the path forward.

Chorale summoned opener/title track “Cathedral Speech” delivers said signature with warbling immediacy throughout its seven minute run, trading dagger-spraying repetition for action which frequently shifts rather than spasms. From steadily revealed intro to the transitional break beyond ~2:50 minutes in Spirit Possession sport some closer attention paid to craft while retaining the punkish, gnashing qualities of first wave black metal trampling and the song continues to develop its rocking echoic statement beyond. As a returning fan of the band’s second album this was pretty much what I was looking for outright, something more than a frayed reprisal. Though the opener rightfully gets the juices flowing in the right direction most the two other pieces on Side A offer comparatively more involved and/or ambitious compositions which still pull from a sort of ‘F.O.A.D.‘-era Darkthrone meets ‘Achatius‘ repertoire for motion (re: “Hanged Angels as Patternwalls”).

The second half of ‘Cathedral Speech‘ opens a fresh portal and blasphemes across the threshold in stages, offering a three part contiguous suite which runs through the entirety of Side B. “First Levitation (Accursed Entrances…)” introduces an increasingly articulated fanfare, taking the mazelike whammy howling layers introduced on Side A and tightening all into a ball of shuddering n’ echoing clamber. I was such a fan of this second half of the album, particularly its introduction, that I’d found myself anticipating its course with each successive listen. The biggest highlights for my taste included the ~2:45 minute marked thrashing haunt (and later on the basslines) on “Second Liturgy (…Impossible Exits…)” and the motif which runs through closer “Trinity Possessor (…In Ten Thousand Hells)” and seems to connect to some of the phrases on the opener. These pieces best contribute to the sensation of ramping possession incurring throughout the full listen thanks to a greater variety/frequency of riff amidst the many rhythmic changes occurring therein.

Daimonian intimacy, ear-echoing entrance, tangled speed-black thrust and a thousand oddly-hewn edges ensure ‘Cathedral Speech‘ not only adorns Spirit Possession‘s discography but highlights it with a combination sharp performances and frenetically mapped action. The spiraling black and red ensorcell of the album’s cover artwork (via Luciana Lupe Vasconselos) perfectly captures the experience upon approach, one of many marks towards the overall exceptional curation afforded this third cycle from the group. The total effect doesn’t fully overtake the senses but certainly creates a highly repeatable, brilliantly constructed ancient black metal spirited experience. A very high recommendation.

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