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Featuring a nine-person lineup (lacking Broadrick, here deputized by one N. Wenner), God's second live album, recorded at a show in Zurich in September 1992, makes for a viscerally thrilling listen. Little different in overall feel from Possession -- tempos are slow, Martin's voice is heavily treated, the emphasis is above all on the ensemble performance rather than the soloist -- Consumed makes for a fine adjunct to that record. No songs are actually repeated from Possession; instead, four new, quite lengthy pieces make up this album's length. The band itself, with a guest performer on soprano sax, is split fairly evenly between rhythm (Scott Kiehl and Lou Ciccotelli again on drums, two electric bassists, and one double bass player) and melodic performers (Wenner and four sax performers). Opener "Head on Collision" sets the pace and certainly sounds like a half-speed version of just that kind of event, the brass parts overlapping in various styles of extremity while huge amounts of feedback and low-end sludge fill out the mix. A heavy-duty bass riff kicks off "Suck Like a Leech," which alternates between the full-on assaults customary of the band and a calmer section here and there, or at least less busy, such as a jam between the drummers and one of the sax players. Martin's brute roar of the title towards the end is one of his most effective moments in that vein. "Detox" and "Lust," which make up the remainder of Consumed, continue the basic aesthetic without much overt variation, but with some especially strong moments here and there (an absolutely manic sax solo 13 minutes into the former, the Black Sabbath-inspired start of the latter). Martin's harrowing screams on "Lust," in particular, make that track just what the doctor ordered if one wants one's neighbors to complain to the police about disturbing the peace.