Here, we will only refer to the first part of this demo by Poison, Side B being of a distinct character and generally lower artistic quality (run-of-the-mill metal about metal). Side A, on the contrary, is a rough metal affair which some would call proto-black/death. In truth, what this means is that this music has not developed what later became genre cliches and is still speaking what some may perceive as unformed techniques and ways of writing.
In truth, what we find here is a very well-defined style, except that this style focuses on a sense of savagery and looseness. Be that as it may, Sons of Evil is still a prototype of what Poison would letter evolve into, coming to its peak in narrative development with Bestial Death (the ideas here were later ‘polished’, although this is the release that best preserves an esoteric sense of communication, a veiling and an extremely organic pacing and texturing).
In Sons of Evil, it might be best to take each individual track as an episode in a very long piece, letting the main riff or two that center each of the tracks to represent the character of that stage. This is possible simply because the stylistic and modal coherence between songs is so narrow that they can be taken as ramifications from the same concept, a theory that is supported by the equally integrated names that the tracks are given. Even if the band did not think of it in this particular way, it may serve the listener well to think of it this way as it is a functional way of taking in these arrangements that helps conduce them in a way that allows judgement and appreciation to be imparted on the basis of their overall creativity, consistency, and coherence.
Opposed to the newer low-tier bands like, for instance, Hetroertzen, who obviously wished to create an atmosphere of dread but whose music is predictable, uneventful and bland, Poison allows a structured and evolving music to be built on a clearly-defined barbaric phrasing. This barbaric phrasing is simple in its individual parts, yet clear and very articulated, allowing for complexity to be gradually built by new yet related ideas tied by this narrowing of implements. We find a music which itself twists and turns in madness, extending a narrative that overflows from section to section, taking us to different localities in a congruent journey through a familiar yet at the same time otherworldly place.
There is a lesson Poison can teach us about meta-musicianship: the concept is only as good as the actual elaboration and coherence of the music, and the technical elaboration is only as good as it is intelligible as on-going or developing communication. Purely ideological acts are as good as piece of excrement accompanied by an explanatory essay; purely technique-flaunting acts are as good as acrobatic clowns. A mixture of both is more elusive, yet equally useless: poorly applied though ‘rich’ technique under an overbearing concept, attempting to make grandiosity or apparent ‘occult wisdom/gnosis’ replace the value of actual music. Poison gives us the simplest of darkest concepts, elaborated appropriately to transmit obscurity, dread and madness through pure and coherent musical expression.