On the review for their last album Define The Sinner I called Subfire as a “new force in heavy metal” combining all the parts of power/progressive metal that I love Subfire are a long tenured act but have only now started releasing albums after a hiatus so with a long time to write Define The Sinner they are making the most of their new lease of life as a band by quickly following up their 2021 debut with Blood Omen.
Again released on Symmetric Records where it was recorded/produced/mixed by Bob Katsionis at Sound Symmetry Studios, Nasos Nomikos mastered it keeping the production crew from the debut. This is why it sounds vibrant whether it’s running at power metal speed on the melodic Path Of The Assassin and Hunter Of Dreams or slows with the darker Rage Of Emotions and the emotive Samurai. There’s also a smack of Judas Priest on Unbreakable which features guest vocals from Primal Fear’s Ralf Scheepers.
Blood Omen is a concept record set in feudal Japan, telling the story of two warring clans and an evil Shogun told through the eyes of Hattori Hanzo the Shogun’s right hand. History of course is used just as much as fantasy by metal bands Symphony X and Serenity doing it better than most, obviously Sabaton too, but Subfire owe more to the rougher but theatrical style of metal these first two bands, keys not used as much, relying on George D Larentzakis’ guitars for the melodies and riffs, he shows his muscle on tracks such as Iga Land and his acoustic skills on Rise.
Veandok’s vocals on this track are the best on the record, utilizing his full range against the progressive changes and symphonic additions, George harmonising well too. To keep the engines soaked are Rindra Rado’s bass and Elias K.’s drumming getting the galloping Hunter Of Dreams racing to the end but also starting off strong on Tides Of Alibis, as the thrashy Black Edged Meitu shows the darker side. Blood Omen is a brooding, bruising prog/power metal album, that has moments of light but tells a dark and fatal tale of betrayal. It’s more brilliant heavy metal from a band shining after such a long time away. 9/10
Funeral Storm – Chthonic Invocations (Hells Headbangers Records)
After nearly facing the end, Funeral Storm evoke the mists of black metal terror once more, summoning the ancient ones on their long awaited follow up. In 2019 founding guitarist/bassist/drum-programmer Wampyrion and guitarist Arcania teamed up with legendary Varathron singer Necroabyssious to make an album that was influenced by the 90’s black metal scene, doing away with a lot of the symphonic/atmospheric elements that have become a part of Varathon and Rotting Christ, using keys yes but keeping them as haunting era-authentic synths against the frantic tremolo picking and glacial blasts of occult black metal.
Their debut Arcane Mysteries was a brilliant record for anyone who was around in these early days and tape-traded the best and biggest in the Scandi and Hellenic scenes but they wrote music that wasn’t going to be a pastiche or accused of just being retro. It was old school ethos in the modern day. With a couple of splits the pandemic put the brakes on things, Arcania and Wampyrion recording the album by themselves in lockdown and isolation, with the music done Necroabyssious still was suffering the effects of Covid quite badly at some points they didn’t know if he would survive however he did, blessed by the old gods to provide another savage vocal for this record.
Based around the myths of Cthulhu and death itself these invocations seem a bit more savage, more embittered, Funeral Pyre blasting away as synths drift lazily out of the mist and Necroabyssious gives a performance of wide eyed psychosis, growling and screaming as the guitars are unforgiving. The authenticity comes from the production sounding very D.I.Y, sometimes brash and clear, other times it’s a lower and softer. The dramatic ending of The Calling Of The Father closing out with that move towards the symphonic. This adds to the authenticity of what Funeral Storm are trying to accomplish, it’s taking you back to a very specific time, the music they grew up with but for today’s audience to give a sense of what led to the Hellenic Black Metal scene becoming so revered.
A lot of uncertainty surrounded this follow up but it’s as mysterious and malevolent as their debut so prepare for the Funeral Storm. 8/10
Dark Affliction – Five Stages Of Grief (Theogonia Records)
The five stages of grief are Denial, Hate, Bargaining, Depression and Acceptance and this the cycle that Dark Affliction deal with on their debut album. Five songs with an intro making up a hefty slab of atmospheric black metal, performed almost entirely by one man; Panagiotis Chistias, it’s his creative vision that has conceived this concept record dealing with the darkest moments of a person’s life. Using Hellenic black metal, ethereal post metal and stirring orchestrations, Christias creates music that is packed with virtuosity, but engaging for the listener to be pulled into the psyche. Each stage slightly different to reflect the feeling.
The intro builds from acoustics, as if saying goodbye, before the razor sharp black metal riffs kick in on Denial. The beautiful violin of Nikos Mavridis instilling sadness to the start as we make our way into the slow burning rage of Hate, anger seething from the vocals and riffs while Eleni Nota’s drums are precise and devastating, unchained on shifting noise of Bargaining, tremolo shredding turning into squealing solos. The lyrics of Anastasia Kalampalika carrying the emotion wrought from Christias’ whispered croak while Anastasia Kiritsi they float spectrally over more violin on the mournful Depression. The lowest ebb eventually leading to Acceptance, as Sakis Bastas’ piano evokes the melancholy but there is a feeling of release.
An impressive musical opus, mainly falling on the shoulders of one man and some talented guests. Experience the Five Stages Of Grief alongside Dark Affliction and you’ll find yourself drawn in to this psychological journey. 8/10
The Usurper – Hell Breaks Loose (Self Released)
Thessaloniki thrash band The Usurper release their debut full length Hell Breaks Loose and with Still Nowhere bringing the savage thrash of Kreator, all hell does break loose with this foursome from Northern Greece.
Niko’s vocals are harsher than a lot of thrash bands which is why I made reference to Kreator but the German thrash sound in general, usually darker in tone and more influences from death (Wasteland) and black metal. Niko not only growls but lays out the guitars alongside Kostas as another Kostas plays bass, getting his own break in the hardcore leaning Parasites.
This trio make Usurper Attack groove, The Serpents Grin stomp while Thanasis’ drumming is triumphal on the opening of Return To Ash until they accelerate again, he also gets a lead out on final song Soldiers Of Death. As well as thrash I mentioned hardcore as an influence and with tracks such as Under His Spell they will appeal to the slam dancers. Hell Breaks Loose finds attacks early and doesn’t relent. The brevity is its power and The Usurper bring 30 minutes of aggressive thrashing. 7/10
No comments:
Post a Comment