Underground Sounds: Jassa – Incarnation of the Higher Gnosis

Label: Fallen Empire Records
Band: Jassa
Origin: Russia

The Russian band Jassa hails from the St. Petersburg region. They’ve released three albums thus far, dealing with pagan themes of chthonic deities. These deities are, frankly said, quite unknown to me, but that hardly diminishes the force and grandeur of this pagan black metal band. They’re entities that are hinted at in archeological finds and myths but elude our knowledge. Jassa is a deity worshipped by the ancient Novgorod Slavs. That makes for a great mythical theme obviously for ‘Incarnation of the Higher Gnosis’.

Jassa has some experts in their ranks, who honed their skills in some fantastic bands before. Guitar- and bass player Vladimir and drummer Aeargh are mostly known for their project Sivyi Yar, where they create magnificent atmospheric black metal. The drummer additionally hits the skins in Zoebeast, Toxic Bleat, and Death Rattle. Singer Erier has tons of projects, was active in Fimbulwinter, but now is active in Khashm, Bestial Deform and Septory and more.

The bluster and rage in the sound of Jassa are quite overwhelming. From the opening track of ‘Beyond Time, Shapes and Names’ it is a pure onslaught of obliterating drums, massive riff-work, and unearthly vocals. It matches the name of the band in its subterranean cavernous darkness. This is the pagan rage at its best, bestial and abhorrent in it’s thrashing and punching. The way the drums are applied is really quite the captivating part. From a wild battering to the fierce rhythms that give the sound its backbone, Jassa keeps you hanging on for your life.

Oh, there’s also a mouth harp in there somewhere, which to me has been a great piece of instrumentation in black metal ever since Moonsorrow did it. I particularly enjoy the vocals of Erier, who has embraced a vocal range for this record that truly compliments the whole compositions. These are dense and heavy as fuck. On ‘Incarnation of the Higher Gnosis’, we hear something different though. Eerie, thin guitar lines pierce the hazy sounds and offer a base for murmured, deep spoken word passages. It offers a rare calm to the listener, with a ritualistic atmosphere that envelops you as a listener.

Another particular song is ‘Shadows Glide Quietly Among the Trees’, which has a particular sound in certain passages. They seem to drop into a more mechanic sound, more condensed and pushed together. The intensity of the sound increases as it slithers and merges. It brings you to the climax of what can only be called a fantastic record of pagan black metal.

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