Reviews: Elysion, Abyssus, Skags, Casket Dwellers (Matt Bladen)

Elysion – Identity (Massacre Records)

Dark, atmospheric metal is the genre tag for Elysion and that's what you get with their fourth studio album Identity.

Symphonic elements, gothic overtones, atmospheric moments, hearty metal chugs and powerful vocals all contribute to the sound Elysion have been creating for 20 years. It feels like they've been trying to reach this album since their inception.

Obviously not losing the styles from their earlier records they have decided to make a more adventurous record this time around, one that retains their gothic/alternative metal edge but draws inspiration from other places too, edging them in a more mature and sometimes extreme direction.

This latter point highlighted by Sakis Tolis of Rotting Christ bringing vocals to the swaggering Harvest, while Konstantinos Togas of Nightrage joins for The Last Ride, which makes it sound a lot like Paradise Lost. The production of Fotis Bernardo is a strong factor in this too with his history in the extreme metal scene letting the Johnny Zero's riffs on Dead Loves really bite.

It's a band doing what so many in the gothic/symphonic realm do, getting heavier but more direct in their songwriting, letting the synths/keys/orchestrations do work but never fully dominate the grooving riffs and anthemic vocals from Christianna who displays her full range on the industrial tones of Phoenix.

Matching the creative evolution musically are lyrics are more impactful dealing with serious topics such as identity, resilience and unity in what is often a very overwhelming life. Identity then is Elysion firmly showcasing what they identify as on Declaration Of Darkness, which is their defining track surely?

Identity expands on what Elysion are as a band. Keeping the gothic/dramatic elements but sharpening their style with some aggression and broader influences, it's them defining themselves as a band who have been on a long journey to here but now it feels they're poised for something bigger! 8/10

Abyssus - The Reign (Fireflash Records)

Abyssus have been providing Greece with blistering death metal since 2012.

Their third album The Reign sees them recording as the long time duo of Konstantinos Analytis (vocals) and Panagiotis Gkourmpaliotis (rhythm guitar), so the snarling vocals and buzzsaw riffs are all present and correct from the opening flesh ripper The Meaning Of Pain.

However they've got some friends to fill out the other parts of the record as Konstantinos Foukarakis of Rotting Christ plays lead and rhythm guitars, Chris Zoukas of Sacral Rage handles bass and Fotis Benardo (him again) plays drums, which thankfully doesn't give the record that unnatural, robotic sound you get from prograammeed drums.

Abyssus wouldn't stand for that, they play death metal that's supposed to be an artillery barrage inspired by Bolt Thrower, Obituary and Death, it's real people, real instruments causing real audio harm as the blasting battery shifts into stomping grooves and ominous atmospheres, just like the OSDM sound from the 90's.

Ferocious and relentless, Abyssus aren't all about just hammers to the skull as Destined To Die has a melodic solo section and At Any Cost, blazes like the pyres of Witchfinder Matthew Hopkins, it's subject matter, but then there's just more formidable riffage coming on Killing Tendency and Await The Final Call.

As the final track Trapped In Purgatory nails that slow building final song that features on so many classic death metal records, Abyssus are a modern OSDM that do everything you want them to just right, and with a full live band ready to take these tracks to the stage, take care as Abyssus are coming for you. 9/10

Skags - Inertia/Ad Nauseam (Self Released)

Skags return with their third album and in they continue their crusade against the technology age with another record of dystopian themes that frames our digital society as increasingly nightmarish place.

Where greed is considered the be all and end all and those with the most money can buy whatever they want meaning that the creatives who work the hardest are reduced to fighting A.I and big tech to try and get heard.

It's a record about tech overload how screens keep us docile and obedient while big companies walk all over us, and for those of us that see this are rendered almost powerless and as such in constant state of Inertia/Ad Nauseam.

Skags have been warning if these dangers with their last two record so don't expect them to change their tune any time soon, but this exploration of technological control works really well with their cinematic alt rock which can evolve into progressive metal on the closing epic Violence.

The conceptual nature of their records driven by the influences of Porcupine Tree and The Gathering, on opener America there's a similarlarity to Panic Cell, through the driving rhythm section of Sotirios (bass) and Ilias (drums) on tracks such as bouncy Devotion or the poppy Falling To The Ground.

Harris' guitars bring the riffs that are very diverse for this record, with the heaviness coming on the mountainous, Creed-like riff of Glass Houses and the sprawling neo prog solos on Propaganda, his varied guitar sounds always link very well with with Christina's keys and synths.

Christina carrying some jangly gothic tones on the post rock of Pleasure while she brings pumping Muse-like electronics and grand piano to Control. In vocalist Spyretta, Skags have a singer whose crystalline vocals are just sublime throughout the album, carrying emotion and fragility with power, showcasing all of that on the finale.

Inertia/Ad Nauseam is another great record from Skags, reaching musical heights they haven't before and experimenting with more soundscapes it's a consuming and inviting listen. 9/10

Casket Dweller - River Of Slumber (Nuclear Winter Records)

The debut from Casket Dweller comes at you with a nine track blast of evil death metal, drawing it's inspiration from Swedish, Floridian and Dutch death metal scenes, coarse and bleak with razor sharp riffs at the crux of what they do.

Formed in 2022 they have been causing a riot in the Athenian underground and across Greece, they have trained their attack to unleash savage death metal and with this first album their lyrics and overall aesthetic is derived from gothic literature and 1940's horror cinema, the album even carrying an introduction that announces it as a soundtrack to a horror movie that doesn't exist yet.

Casket Dweller make a racket that is much louder and bigger than a trio should be, with George Karvouniaris' guitar, Chris Pallas' bass slinging the riffs on Creatures Of The Night as Vangelis Deligiorgis' drumming is blistering on tracks such as He Rows while his vocals are extremely harsh, ripped from the bowels of hell themself.

No slumber here just dirgy, filthy death metal from the Athenian gutters, these Casket Dwellers are very much alive on their debut. 8/10