Inhuman Obsessed is one of those deeply buried, almost spectral names in the history of Polish extreme metal—a project that flickered briefly at the dawn of the 1990s, vanished, and then re‑emerged decades later in a completely different form. Their story is fragmented, obscure, and strangely compelling: a band born in spring 1989, operating in the earliest era of Polish death metal, yet leaning toward something far more atmospheric and experimental than their peers.

Where most early Polish death metal bands embraced brutality, Inhuman Obsessed gravitated toward atmospheric death metal—a style that blended cavernous riffs, eerie ambience, and a sense of ritualistic unease. They were ahead of their time, too early for the wave of atmospheric death/doom that would emerge later in the decade.

I. The First Era (1989–1992): Raw, Atmospheric Beginnings

The original lineup consisted of:

• Robb – guitars (later keyboards, programming)
• Aimer – vocals, bass
• Żuber – drums (R.I.P. 1997)
• Paul – guitars (1992)

This early incarnation produced rehearsal material—including a March 1992 rehearsal tape—but never released a formal studio recording. Still, they were part of the same primordial underground that birthed Pandemonium, Imperator, and early Vader, though their sound leaned toward mood and atmosphere rather than pure aggression.

Their early dissolution in 1992 left them as a footnote—until the unexpected resurrection.

II. The Resurrection (2005–?): A New Identity, New Sound

When Inhuman Obsessed returned in the mid‑2000s, it was essentially a new band built around the original creative core:

• Robb – keyboards, programming, guitars
• Aimer – vocals, bass

This second era embraced a dark, atmospheric, almost industrial‑tinged death metal, with layered keyboards, programmed elements, and a colder, more modern aesthetic. The lineup expanded with a rotating cast of guitarists and drummers:

• Morior (guitars, 2006–2008, 2010–?)
• Koto (drums, 2007–2010)
• Sacza, Eter, Woolfgard (guitars, various years)
• Aslan (drums, 2010–2011)

This instability gave the project a restless, shifting identity—more a creative laboratory than a traditional band.

III. Discography: The Criophylic Labarum

The band’s only official releases are two versions of the same work:

The Criophylic Labarum (Demo, 2007)

A raw but ambitious recording that introduced their atmospheric death metal vision:
cold, ritualistic, layered with keyboards, and steeped in a sense of esoteric dread.

The Criophylic Labarum (Full‑length, 2010)

A more polished, expanded version of the demo.
The album is dense, hypnotic, and unusual—death metal filtered through ambience, industrial textures, and a distinctly Polish sense of occult atmosphere. It stands apart from the dominant trends of the time, neither brutal nor melodic, but something liminal and unsettling.

IV. Legacy and Identity

Inhuman Obsessed remains an obscure but fascinating artifact of the Polish underground:

• One of the earliest atmospheric death metal projects in Poland
• A band that existed in two completely different eras and forms
• A project defined by mood, experimentation, and esoteric darkness
• A cult name known mostly to collectors and deep‑scene historians

Their story is fragmented, their output small, but their presence lingers like a ghost—an echo from the earliest days of Polish death metal, revived decades later into something colder, stranger, and entirely their own.