In the blood-soaked arena of 1987, where thrash metal was clawing its way to the top of the heap, Possessed unleashed "The Eyes of Horror." It was a 12" vinyl slab of sonic brutality, a guttural testament to a band caught in the crossfire between their own legacy and the shifting tides of the metal scene.
Possessed, once the undisputed kings of death metal, were back. But this wasn't the same band that had vomited forth "Seven Churches" a few years earlier. This was a band in transition, a band grappling with lineup changes and a genre that was evolving at breakneck speed. The departure of original vocalist and bassist Jeff Becerra just prior to the album's release cast a long shadow over the proceedings, leaving fans to wonder if Possessed could retain their signature sound.
The album's title track, "The Eyes of Horror," is a prime example of this transition. It's a relentless assault of speed and aggression, but there's a newfound sense of melody and technicality that was absent from their earlier work. The song's lyrics, penned by none other than Joe Satriani, delve into the dark recesses of the human psyche, exploring themes of paranoia and madness.
Satriani's involvement in the album is a curious footnote in Possessed's history. The guitar virtuoso, best known for his instrumental rock, was an unlikely collaborator for a band steeped in the satanic imagery of death metal. But his presence on "The Eyes of Horror" is undeniable, adding a layer of sophistication to the band's sound. This unexpected collaboration sparked debate among fans, with some praising the expanded sonic palette and others lamenting the perceived dilution of Possessed's raw intensity.
The album was recorded at the legendary Morrisound Recording in Tampa, Florida, a studio that had become synonymous with the burgeoning death metal scene. The production, helmed by Randy Burns, is raw and unpolished, capturing the band's live energy. But there's also a clarity to the mix that allows each instrument to shine through. The production quality, however, became a point of contention, with some critics finding it too clean and lacking the visceral impact of their earlier work.
"The Eyes of Horror" was met with mixed reactions upon its release. Some hailed it as a triumphant return for Possessed, while others criticized it for straying too far from their death metal roots. The album's more melodic and technical approach alienated some fans, who longed for the raw brutality of "Seven Churches." This stylistic shift, coupled with Becerra's departure, fueled discussions about the band's future direction and their place in the evolving metal landscape.
In the grand scheme of thrash metal's history, "The Eyes of Horror" is a curious anomaly. It's an album that defies easy categorization, a testament to a band caught between two worlds. It's not the ferocious death metal of their early years, nor is it the polished thrash of their contemporaries. It's something else entirely, a unique blend of aggression, melody, and technicality.
Whether "The Eyes of Horror" is a death rattle or a guttural rebirth is a matter of debate. But one thing is certain: it's an album that refuses to be ignored. It's a testament to Possessed's willingness to experiment and evolve, even in the face of adversity. And in a genre that often rewards conformity, that's a rare and precious thing. The album's legacy continues to be debated, with some viewing it as a misunderstood gem and others as a misstep in an otherwise groundbreaking career. Regardless of one's perspective, "The Eyes of Horror" remains a fascinating snapshot of a band navigating a turbulent period in their history and the broader metal scene.
