Review Summary: A very solid debut that contains all the hallmarks of the band's later career, simply missing some of the stronger songwriting of their better albums
Immolation's blasphemous brand of intense and technical death metal is as instantly recognizable as any of those other early pioneers of the scene. Formed in 1986, the band released two demo tapes before unleashing their debut - 1991's 'Dawn Of Possession' - and this would be an album that would see the band's popularity explode. Heralded by many as one of the strongest, most consistent acts in the genre, the blueprint for what they continue to write and release today can be found in this early record.
An album opener should showcase exactly what to expect from the impending time period, and "Into Everlasting Fire" is the perfect example. This stellar five minute track exudes malice, with the two guitars weaving in and out of one another with vicious riffs, and Ross Dolan's charismatic vocal performance as unhinged and gruff as anyone else in the scene at the time. There is a low-end, vicious feel to Ross' vocals that make them extremely distinguishable, and he sounds at his rawest here, plummeting to extreme depths whilst the occasional raspier note seeps through. The riffing here is not as off-kilter as many have come to expect from Immolation, but the stop-start nature of their guitar work can be found throughout, as can the separation of the two guitar tracks to create a dense and atmospheric sound. The use of pinched harmonics amidst a groovy mid-tempo riff in "Despondent Souls" is definitely a recurring theme throughout their career.
As great as the instrumentation here is - and make no mistake, this really is a brilliant collection of riffs, beats, and vocals - there are a couple of aspects that let the album down overall. The first is the lack of overall variety in the songs that set some of their other albums apart. There are no insane sudden pace changes such as in "Father You're Not A Father," nor any utterly beautiful yet depressing and lonely introductory segments like that in "Christ's Cage." Instead, each of the nine tracks here sound remarkably similar, and for a forty-two minute record, this can become a little repetitive. Also worth mentioning is that the solos here, whilst proficiently written, don't really add much to their respective tracks, unlike some of those found later in their career. The old "this band is still finding their sound" argument doesn't really wash here either, as the band's sound is identical to what can be found later in their career, except that the sense of songwriting isn't quite as developed.
For fans of the band, and death metal historians interested in some of the important early genre moments, 'Dawn Of Possession' is a really great album, full of some interesting riffing and dynamics. The captivating intro to "Those Left Behind" leading into its pinched harmonic punctuated verse riff is an awesome taster for those on the fence about the band, as is the gargantuan closing song "Fall In Disease." Those already acquainted with the band, however, would be better off looking at 'Here In After,' where the band would improve dramatically as songwriters.
