[The Pan.Thy.Monium trilogie is complete herein in Part 2 of their album discography, presented here. This review Originally appeared in THC zine version 2.0 website. Part 1 can be viewed here.
Part three of our mini-series will feature the EPs “Dream II” and “Dawn” by actually getting the vinyl reissue and or CDs and tapes online. – foreword by VVV]
Pan.Thy.Monium
Khaooohs & Kon-Fus-Ion
Relapse Records (March 19th, 1996)
(from THC Zine, version 01)
by: Rx Zenabi
Raagoonshinnaah is the all encompassing creator of Pan.Thy.Monium. It is also the executive producer for the album, and spiritual leader. It’s mighty interdimensional influence and energy created many of the composed soundwaves and heavy energies ritualized into these recordings.
When Pan.Thy.Monium recorded the album Khaooohs & Kon-Fus-Ion in April 1994 to January 1996 in Unisound Studios, Raagoonshinnaah was also there. The album liner notes says “Captured in the presence of Raagoonshinnaah”. Bassist and keyboardist Day Disyraah recorded/helped organize the chaos and galactic breakdowns and meltdowns.
The mad, mental, but organic progressive metal realms the band entered into has produced some of their most heavy and cerebral-melting tracks. Time and matter dissolve as PTM alchemically blends space rock, prog, heavy soundscapes, experimental noise, and jazz fusion into brutal avant death mutations. Synths, saxes, heavy psyche rock and FX, chaos, confusion, and strange multidimensional entities fuse together into audio monstrosities.
The opening track “The Battle of Geeheeb” refers to where The Most High finally faced Its nemesis, Goobhabb. It is also where It meets It’s end, with acceptance and inner peace, after constructing audial alchemical sigils on Earth. “Thee-Pherenth” and “Behrial” chronicles the final brainiac assaults that document the dissolution of the most High, It’s last strange days.
The all-encompassing atmosphere still remains in the death metal plane of existence. But most of its neurons skewed, mutated, and bleached with riffs from those other out there genres mentioned above. Though diving headfirst suicidal-ly into avant garde tech metal, they don’t lose the heavy death doses. They use it to frame and start off, or intensify.
The lore of this esoteric cult remains only limited to the members of the band. They hid all the experiments and charged soundwave documentations and jams on this third and decidedly final record. Them releasing both Dawn of Dreams in 1992, and Khaooohs in 1993 already laid the foundations for the mystickal stargate. The finale of this three level portal concludes on a very high note.
And at the end of the record, “In Remembrance”, the slower and heavier version of a ticking clock closes the stargate shut followed by a minute of silence, a requiem for the mighty Raagoonshinnaah, and It’s creation beyond human hearing. The clock ticking warning is also present in the previous two albums. Whether it’s a signal of a coming change, a strange introduction, or prying open of the next portal, only Raagoonshinnaah knows.
Years after the last major manifestation of the Raagoonshinnaah entity, Relapse Records reissued this important documentation on silver vinyl, and also on black and clear vinyl, in 2015.
The Raagoonshinnaah cult who charted the course of this album dispersed after the album came out in 2016. No reunions or comebacks. The vision was completed in an unholy trilogy of mad incantations and coded rituals to the Higher Being, and It was an interdimensional manifestation never to be seen again.
Towards Harmonious Civilization Zine 
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