Album Review – Grotesque Ceremonium / Demonic Inquisition (2016)

Call it Torturing Metal, Inquisitor Metal or simply old school Death Metal, the destructive music by this one man-army from Turkey will inflict some good pain on your body and soul.


153-1Before starting reading this review, go down to the very end of it and take a good listen at the brutal devastation called “Burned At The Stake” by Turkish Death Metal one-man army Grotesque Ceremonium. Are you done listening to it? Good, because that will make it a lot easier for you to understand what an “unholy old school Death Metal band influenced by early 90’s dark, putrid evil” is, also setting the tone for every single song in Demonic Inquisition, the debut full-length album by this promising project led by the multitalented musician Batu Çetin.

Formed in 2014 in Ankara, Turkey, and having released a debut EP entitled Blasphemous Goat Observance that same year, Grotesque Ceremonium return in Demonic Inquisition with a concept album about the Dark Ages and the Medieval Inquisition, where all punishments and inquisition methods were performed by demons and Baphomet’s evil army against all believers of God. Singing about witches, witchcraft, demonic punishments and tortures in the depths of hell (the satanic temple of Baphomet), Mr. Batu Çetin will take you on a tormenting journey accompanied by the sound of his old school extreme music, leaving your agonizing soul completely disoriented and desolated. What else do you need in good Death Metal music, right?

Putrid growls and snarls permeate the air in Defiled Spirits Of Unholy Torments, where Batu displays a very good control of all instruments, in special his obscure riffs and drums like what we see in bands such as Cannibal Corpse and Morbid Angel, therefore sounding as Death Metal as possible. The title-track Demonic Inquisition builds a direct link with the opening track, enhanced by its profane vociferations and a hellish ambience. By growling deeper and deeper, Batu takes us to the hideous pits of Medieval Inquisition in a little over six minutes or torturing passages and pure Death Metal, exactly the way it’s supposed to sound.

In Burned At The Stake, which is obviously about one of the most heartless forms of torture, Batu translates the unbearable pain caused by fire into brutality with his guitar lines and rhythmic drumming, whereas in Malefizhaus & Hexengefangnis, the witch prisons built during the Bamberg Witch Trials with a capacity of 30 to 40 prisoners each, our one-man army once again provides his vision of such disgusting event through his old school musicality, with highlights to his satanic riffs and nefarious growling. If you feel your head burning after all the darkness spilled by Grotesque Ceremonium so far, get ready for more aggressiveness in Barbaric Apostasy, where despite adding hints of Blackened Doom to his beats, Batu never deviates from the foundations of Death Metal. Put differently, simply bang your fuckin’ heads to this amazing feast of extreme music until your brain detaches from your skull.

gro-bandAgonized Screams Of The Damned might be faster than the previous songs, but it’s still sluggish and extremely heavy, which obviously turns it into one of the most devastating songs of the album (if not the most). Moreover, Batu keeps roaring his fiendish gnarls and delivering his very traditional guitar lines, and pay attention to how vocals and riffs follow the exact same pattern during the entire song, showing how methodical this musician is. Following a similar sonority, we are embraced by total fuckin’ darkness in a disquieting composition entitled In The Cauldrons Of Hell, which blends the heaviness of old school Death Metal with the funereal beats from Doom Metal and Blackened Doom.

The last original track in Demonic Inquisition, named Crushing Morbid Death, is sheer Death Metal with no extra ingredients or any type of shenanigans: it’s simply Batu blasting his wicked growls, riffs and drumming in three minutes of Stygian music. And lastly, the cover version for Profanation, by old school American Death Metal band Incantation, lives up to the original version from 1992, an amazing tribute to one of our death metaller’s main influences with highlights to its “lovable” lyrics (“Pentagram is hailed in hell / Star of death brings infinite life / Enter the circle and desecrate / Devours the soul, embalminate the body…”). Not only that, keep in mind Batu is not a full-bodied band like Incantation, but just one single person, yet again showcasing his refined abilities as a musician.

This impactful display of putrescent Death Metal, available as a jewel box CD limited to 500 copies (including an 8-page booklet) or as a digital download, can be purchased at the band’s BandCamp page, at the Satanath Records’ BandCamp page and webstore, or at Discogs. Perhaps we should say Grotesque Ceremonium, the disfigured child created by the mind of Mr. Batu Çetin, is a forbidding form of Death Metal called “Torturing Metal” or maybe even “Inquisitor Metal” due to its vile nature. A good epitome of what Batu is capable of generating in music, and an excellent alternative for any fas avid for the heaviest form of Death Metal you can think of.

Best moments of the album: Malefizhaus & Hexengefangnis and Agonized Screams Of The Damned.

Worst moments of the album: None.

Released in 2016 Satanath Records/More Hate Productions

Track listing
1. Defiled Spirits Of Unholy Torments 4:52
2. Demonic Inquisition 6:28
3. Burned At The Stake 3:08
4. Malefizhaus & Hexengefangnis 5:24
5. Barbaric Apostasy 5:49
6. Agonized Screams Of The Damned 3:53
7. In The Cauldrons Of Hell 4:47
8. Crushing Morbid Death 2:53
9. Profanation (Incantation cover) 5:04

Band members
Batu Çetin – vocals, all instruments

1 thought on “Album Review – Grotesque Ceremonium / Demonic Inquisition (2016)

  1. Grotesque Ceremonium – Demonic Inquisition (2016) – SAT153 / MHP 16-193 – Satanath Records
    Альбом Grotesque Ceremonium в трушном черно-белом оформлении выпустили совместно Satanath Records и More Hate Productions. А как я заглянул в буклет, то на 8-й странице увидел знакомые буквы – Batu Cetin – Vocals, All instruments (2014-present). Архивы сообщают, что он также играет в Cenotaph, Drain of Impurity, Phosgendod, Womb of Decay, Decimation (live), а также работал в Bereavement, Blutmond (live). Ну Drain of Impurity многие металлисты уже узнали, ибо группа выпускалась на More Hate Productions. В сабжевом проекте музыкант тоже рубит тотально соло, как и в ДоИ. Но, видимо, предлагает иной концепт, что заметно уже по оформлению.
    Думается, этот проект завязан на сатанизме и в целом – темной стороне, во в всяком случае именно на это намекают как оформление сабжевого диска, так и первой эпишки, которая ранее вышла в физическом виде в формате кассеты.
    Demonic Inquisition – в антимузыкальном смысле это олдовый жирный дэт метал, который приобрел колеса и покатился вниз с анатолийских холмов, подпрыгивая и антиклерикально грохоча. В этом смысле Batu Cetin конечно, мастер, потому что атмосфера старой школы здесь не только зачетно воспроизведена, но и получила хороший мельдониевый укол бодрости из современности, обретая новую жизнь (и смерть).
    Гитары здесь молотят сурово, оголтело, и не менее как монструозно, напоминая динозавров тогдашней сцены, намертво бронируя за собой внимание слушателей, обеспечивая продукту завзятую и фирменную угрожающую манеру исполнения.
    Ритм-секция в такого вида музыке представляет собой динамичную взрывную стайную силу, которая моментально меняет дислокации, то уносится вдаль, то приближается максимально близко, угрожая саунд «demonic инквизицией» (трак 2).
    Гроулинг Batu также векторно направлен к олдскул-исполнению, к середине 80-х, но он и сюда беспрепятственно вкидывает пару лишних лопат мизантропии и остервенения. Доложим, что в некоторых местах он своим вокалом организует практически вторую линию ритм-секционной обороны, и это вполне комфортно воспринимается слушателем.
    В драмм-программировании он занимался созданием своего собственного барабанного )) оформления. Это невероятно трудно сделать. Но творить такие вещи нужно, не смотря на многие тысячи до того проведенных опытов. Именно многодневное корпение и в итоге творчество открывает волшебные дверцы в преисподнюю, откуда НЕ ПРОСТО так вылетают листки с начертанными диавольскими знаками, которые мастер уже переведет в антимузыкальное творение. Как, к примеру, сабж.


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