Už zase zvedáš oči k obloze. Marně hledáš pomoc. Nikdy nepřijde. Nebe stále mlčí, ale Satan je přítomný. Můžeš ho potkat v chladných kostelech, jen tak na ulici nebo u svého kamaráda, o kterém sis myslel, že ho znáš. Přetvářka a klam, temnota v duši, spousta zážitků, které bys chtěl raději zapomenout. Snažíš se stále bojovat, objevovat, pořád máš v sobě touhu ničit hudbou. Už dávno nemusíš nikomu nic dokazovat. Jsi silný, jako stará šelma, která má ještě všechny zuby. DESASTER jsou na tom velmi podobně. Tahle smečka prašivých psů svůj styl vybrousila k dokonalosti.
Chladný black metal, ostrý thrash, tohle všechno zamíchané v jedovatém koktejlu. S perfektním vokálem, riffy i bicími. Se zvukem, který zabíjí. Zapalte ohně a strhněte všechny modly. Začněte konečně věřit sami sobě. Dejte do držky hlupákům, kteří šíří lži. Tohle je hudba mého mládí, tohle jsou kazety, džínové vesty, pivo a krásný holky. Je to výlet po časové ose zpět, ale také muzika, která je stále neskutečně silná a divoká. Jako život samotný. Dejte mi někdo pivo!
Jen si tak sedím, spokojeně se kývám do rytmu a marně hledám něco, co bych novému albu vytkl. Nic jsem opět nenašel. Němečtí maniaci jsou ve skvělé formě (stále). Určitě znáte ty chvíle, kdy na vás padá celý svět, když jsou mraky nízko, když máte splín, protože všeho toho zla a špíny a hloupých zpráv, válek, násilí, krve a tupých celebrit, je zkrátka moc. Potřebujete, stejně jako když vám bylo sedmnáct a štvaly vás umělé hvězdy na MTV, restart, nakopnout, zapálit znovu oheň. DESASTER tohle všechno umí, pořád dokáží nahrát skladby, které v sobě mají potřebnou sílu, energii a tlak. Stále smrdí sírou. Už dávno nevěříš v Boha, ani v jeho poskoky. Viděl si příliš mnoho zla. Přesto, možná proto, že si starý bastard, neztrácíš naději. Jo, kamaráde, tahle hudba ti vyrve všechny vnitřnosti z těla a poláme kosti v těle, o kterých si ani nevěděl, že je máš. Budeš hrozit pěstí ve svém pokoji u starého přehrávače, pít u toho pivo a tvé děti budou kroutit hlavou, co jsi za blázna. Jenže ty víš, ty stále věříš v sílu hudby, v poctivý mosh-pit, v koncerty, které v tobě zanechaly krvavou stopu. "Kill All Idols" je albem, které je reálné, opravdové, divoké, uvěřitelné a autentické. Když potkáš podobně prokletého kamaráda a on se tě zeptá, jestli si slyšel nové DESASTER, tak ty jen kývneš spokojeně hlavou na souhlas. Nemusíš nic dodávat, oba víte své. Je mi úplně jedno, že se svět točí úplně jinak a je po okraj narvaný umělými kapelami. Určitě umějí lépe hrát, mají lepší promo materiály, hezčí fotky, ale kurva, tohle je metal, jak si jej pamatuji já. Novinka se mi zadřela pod kůži, věřím kapele každý tón, každou notu, každý úder bicích i výkřik do tmy. Pro mě to pořád hodně znamená. Amen! Strhněte všechny modly! Ohně znovu hoří do tmy! Pekelný black thrash metal, který smrdí sírou!
Asphyx says:
You raise your eyes to the sky again. You search in vain for help. It will never come. Heaven is still silent, but Satan is present. You can meet him in cold churches, just on the street or at the house of your friend you thought you knew. Pretense and deception, darkness in your soul, many experiences that you would rather forget. You are still trying to fight, to discover, you still have the desire to destroy with music. You have long since stopped having to prove anything to anyone. You are strong, like an old beast that still has all its teeth. DESASTER is very similar. This pack of mangy dogs has honed its style to perfection.
Cold black metal, sharp thrash, all this mixed in a poisonous cocktail. With perfect vocals, riffs and drums. With a sound that kills. Light fires and tear down all idols. Start finally believing in yourself. Put a stop to the fools who spread lies. This is the music of my youth, these are cassettes, denim vests, beer and beautiful girls. It's a trip back in time, but also music that is still incredibly strong and wild. Like life itself. Someone give me a beer!
I'm just sitting here, nodding along to the beat and searching in vain for something to criticize about the new album. I haven't found anything yet. The German maniacs are in great shape (still). You know those moments when the whole world falls on you, when the clouds are low, when you're exhausted because all the evil and filth and stupid news, wars, violence, blood and stupid celebrities are just too much. You need, just like when you were seventeen and the artificial stars on MTV annoyed you, a reboot, a kick, a rekindle the fire. DESASTER can do all this, they still manage to record songs that have the necessary strength, energy and pressure. They still stink of sulfur. You haven't believed in God or his minions for a long time. You've seen too much evil. Still, maybe because you're an old bastard, you don't lose hope. Yeah, buddy, this music will rip all the guts out of your body and break bones in your body that you didn't even know you had. You'll be banging your fists in your room at your old record player, drinking beer in front of it, and your kids will be shaking their heads at how crazy you are. But you know, you still believe in the power of music, in an honest mosh-pit, in concerts that left a bloody mark on you. "Kill All Idols" is an album that is real, genuine, wild, believable and authentic. When you meet a similarly cursed friend and he asks you if you've heard the new DESASTER, you just nod your head in agreement. You don't have to say anything, you both know your stuff. I don't care that the world spins completely differently and is filled to the brim with fake bands. They can definitely play better, have better promo materials, nicer photos, but damn, this is metal as I remember it. The news got under my skin, I believe the band every tone, every note, every drum beat and scream into the darkness. It still means a lot to me. Amen! Tear down all the idols! The fires burn into the darkness again! Hellish black thrash metal that stinks of sulfur!
Boží spravedlnost neexistuje. Modlil si se marně. K dávno padlým modlám, ke kříži, ke smutným očím plným utrpení. Rozhřešení nikdy nepřijde. Celý svět už dávno pohltila temnota. Bolest a krutá smrt jsou jedinou jistotou. Mraky se dotýkají země a nemrtví se toulají v krvavé mlze. Poslouchám nové album americko-finských PROSCRIPTION a jsem ve zcela jiné dimenzi. Silná, morbidně pestrá a naléhavá muzika na mě mívá takový účinek. Jen jí musím věřit. A to je u téhle smečky vždy jistota.
Pečliví čtenáři našich stránek moc dobře vědí, že jsem se věnoval i minulé nahrávce (odkaz na recenzi naleznete pod dnešním článkem). Je nutné opět dodat, že tihle démoni za sebou mají již spoustu bezbožné práce ve skupinách jako jsou MAVETH a LANTERN (plus samozřejmě spousta dalších). O kvalitu, o dobré skladby, o atmosféru plnou strachu, black death metalovou blasfemii, a nahrubo nasekanou tmu, tak rozhodně není nouze. Naopak, nové album hoří zevnitř, i když je na povrchu chladné jako ruka staré mrtvoly.
Již při prvních setkáních s novou deskou, které proběhlo ve studeném, temném sklepě, mi bylo ihned jasné, že tu máme co do činění s prvotřídním black death metalem, který smrdí sírou. Je naléhavý, drásavý, surový a zcela bezbožný. Při poslechu tohoto alba se jen ujistíte v tom, že nebe dávno shořelo díky lidské nenávisti. Můžete se sice procházet po jeho ruinách a vzpomínat na dobu, kdy bylo vidět alespoň občas nějaké světlo, ale to už je dávno pryč. Zbyly jen ostré, divoké riffy, surové melodie, zabijácké bicí, vokál rozzuřené bestie. Tohle všechno zamíchané ve smradlavě mrazivém poměru. V jednotlivých motivech najdete velké množství agrese, takovou tu pradávnou touhu ničit hudbou. Za velmi povedený považuji i zvuk (recorded by Kalle Laanto (Cryptborn, Tramalizer) at Sonic Violence studio in Varkaus; then mixed and mastered by Dave Otero at Denver’s Flatline Studios). Skvělé jsou i motivy na obalech (každý nosič má svůj - artwork by Artem Grigoriev (vinyl) and Samuel Araya (CD)). Pokud jste kdysi dávno propadli rouhání, stejně jako moje maličkost, je pro vás novinka "Desolate Divine" doslova povinností. Jedná se o hudbu, která má v sobě cosi zvláštního, neklidného. Praskají u ní kosti tlakem, ale také vás donutí k pochmurnému zamyšlení. PROSCRIPTION jsou letos ve skvělé formě a odvedli vynikající práci po všech stránkách. Myslím si, že by vám neměli chybět i ve vaší sbírce morbidních artefaktů. Jsou jako obrácená modlitba, jako zvrácená seance pro vyvolávání děsivých sil, které rozhodně nejsou z tohoto světa. Boží spravedlnost neexistuje. Modlil si se marně. K dávno padlým modlám, ke kříži, ke smutným očím plným utrpení. Rozhřešení nikdy nepřijde. Blasfemický, temný a chladný black death metalový rituál! Nebe je spálené na popel!
Asphyx says:
God's justice does not exist. You prayed in vain. To long-fallen idols, to the cross, to sad eyes full of suffering. Absolution will never come. The whole world has long been engulfed in darkness. Pain and cruel death are the only certainties. Clouds touch the ground and the undead roam in a bloody fog. I listen to the new album by the American-Finnish band PROSCRIPTION and I am in a completely different dimension. Powerful, morbidly colorful, and urgent music has that effect on me. I just have to believe in it. And with this band, that's always a certainty.
Careful readers of our website know very well that I also reviewed their previous album (you can find the link to the review below today's article). It is necessary to add again that these demons have already done a lot of ungodly work in bands such as MAVETH and LANTERN (plus many others, of course). There is certainly no shortage of quality, good songs, an atmosphere full of fear, black death metal blasphemy, and roughly chopped darkness. On the contrary, the new album burns from within, even though it is as cold as the hand of an old corpse on the surface.
From my very first encounters with the new album, which took place in a cold, dark basement, it was immediately clear to me that we were dealing with first-class black death metal that reeks of sulfur. It is urgent, harrowing, raw, and completely godless. Listening to this album will only confirm that heaven burned down long ago thanks to human hatred. You can walk through its ruins and remember a time when at least some light could be seen, but that is long gone. All that remains are sharp, wild riffs, raw melodies, killer drums, and the vocals of an enraged beast. All of this is mixed in a stinking, freezing ratio. In the individual motifs, you will find a great deal of aggression, that ancient desire to destroy with music. I also consider the sound to be very well done (recorded by Kalle Laanto (Cryptborn, Tramalizer) at Sonic Violence studio in Varkaus; then mixed and mastered by Dave Otero at Denver's Flatline Studios). The cover art is also great (each medium has its own - artwork by Artem Grigoriev (vinyl) and Samuel Araya (CD)). If you once fell into blasphemy, as I did, then the new album "Desolate Divine" is literally a must for you. It is music that has something special, something restless about it. It cracks your bones with pressure, but it also forces you into gloomy reflection. PROSCRIPTION are in great shape this year and have done an excellent job in every respect. I think they should not be missing from your collection of morbid artifacts. They are like a reversed prayer, like a perverted séance to summon terrifying forces that are definitely not of this world. There is no divine justice. You prayed in vain. To long-fallen idols, to the cross, to sad eyes full of suffering. Absolution will never come. A blasphemous, dark, and cold black death metal ritual! Heaven is burned to ashes!
Víko mi připadá doslova zarostlé. Prší a do kostí se mi vkrádá chlad. Už dávno se setmělo a zvenčí musím vypadat jako sprostý vykradač hrobů. Jenže tomu tak není. Dostal jsem tip na další prokletou, dobře uleželou mrtvolu. Již první příznaky ukazovaly na to, že se bude jednat o zahnívající metal z konce osmdesátých a počátku devadesátých let. Tedy doby, kdy jsem i já vyrůstal a nasával muziku jako houba. Konečně víko povolí. V něm leží práchnivějící tělo. Kousky látky, zbytky vlasů a ruce sepnuté v tiché modlitbě. Je tu ale ještě něco. Kazeta (vychází i na vinylu a CD) německých tmářů MOUTH OF MADNESS.
Domů jdu za zvuků divoké bouře. Ani se neosuším a zapínám ihned play. Z reproduktorů vylézají nemrtví a na stěnách tančí děsivé stíny. Ano, tohle je pradávný death metal, black i thrash, zahraný s noblesou a nadšením starých mistrů. Mrtvolnosti je podřízeno vše. Grafika, zvuk, produkce, ale hlavně postupy, které jsou jak vystřižené z pradávných demonahrávek. Troufám si tvrdit, že jsem zde správně. Přidávám hlasitost a znovu se ocitám v říši nekonečné bolesti a utrpení.
Pokud tenhle jedovatý koktejl vypijete, ocitnete se pravděpodobně ve stejném podivném stavu jako já. Mezi sněním a bděním, mezi smrtí a tím, co se bude dít jednou po ní. Líbí se mi, jakým způsobem jsou skladby napsány, kolik v sobě mají energie, tlaku a špíny. Užívám si jednotlivé motivy a cítím, že i když jsou na povrchu chladné jako ruka mrtvoly, tak uvnitř hoří a drásají. Jasně, na první pohled se nejedná o nic nového, ani převratného, staré pravidlo metalu stále platí - všechno tu už bylo, ale o to tu nejde. Osobně vnímám hlavně energii, tlak, takovou tu pradávnou touhu ničit, rozsekat vás, exhumovat hroby. Tak k nahrávce "Event Horizon" přistupuji a ihned jsem si ji zařadil po bok dalších alb, která poslouchám převážně o víkendech, když mám chuť na něco "starého" a plesnivého. Troufám si tvrdit, že tahle hudba patří opravdu hlavně na kazetu a na vinyl. Je stará ze své podstaty, dobře zahraná. Odkazuje se zde jak na MORBID ANGEL, tak na starý black metal, ale třeba i na švédskou školu, zazní i ambientní pasáže, či epické vsuvky. Kapela bývá přirovnávána k tomu, co hrají třeba takoví VENENUM, TRIBULATION, SKELETONWITCH, BÖLZER, CHAPEL OF DISEASE. Ano, tento názor mohu s jasným svědomím potvrdit. Nenechte se ale mýlit, dejte nahrávce čas a potom zjistíte, že oba pánové mají svůj vlastní rukopis a jsou svým způsobem originální. Víko mi připadá doslova zarostlé. Prší a do kostí se mi vkrádá chlad. Už dávno se setmělo a zvenčí musím vypadat jako sprostý vykradač hrobů. Jenže tomu tak není. Dostal jsem tip na další prokletou, dobře uleželou mrtvolu. Exhumace starého prašivého, pavučinami opředeného black, death, thrash metalového hrobu! Album v sobě obsahuje patinu starých pohřebišť!
Asphyx says:
The lid seems literally overgrown. It's raining, and the cold is creeping into my bones. It's been dark for a long time, and from the outside I must look like a common grave robber. But that's not the case. I got a tip about another cursed, well-aged corpse. The first signs indicated that it would be rotting metal from the late eighties and early nineties. That was the time when I was growing up and soaking up music like a sponge. Finally, the lid gives way. Inside lies a decaying body. Pieces of fabric, remnants of hair, and hands clasped in silent prayer. But there is something else. A cassette (also available on vinyl and CD) by the German obscurantists MOUTH OF MADNESS.
I walk home to the sounds of a wild storm. I don't even dry myself off and immediately press play. The undead crawl out of the speakers and terrifying shadows dance on the walls. Yes, this is ancient death metal, black and thrash, played with the nobility and enthusiasm of the old masters. Everything is subordinate to death. The graphics, sound, production, but above all the techniques, which are like something out of ancient demo recordings. I dare say I'm in the right place. I turn up the volume and find myself once again in a realm of endless pain and suffering.
If you drink this poisonous cocktail, you will probably find yourself in the same strange state as me. Between dreaming and waking, between death and what will happen after it. I like the way the songs are written, how much energy, pressure, and dirt they contain. I enjoy the individual motifs and feel that even though they are cold as a corpse's hand on the surface, they burn and tear inside. Sure, at first glance, it's nothing new or groundbreaking, the old rule of metal still applies—everything has been done before, but that's not the point. Personally, I mainly perceive the energy, the pressure, that ancient desire to destroy, to chop you up, to exhume graves. That's how I approach the recording "Event Horizon", and I immediately placed it alongside other albums that I listen to mainly on weekends when I feel like something "old" and moldy. I dare say that this music really belongs on cassette and vinyl. It is old in essence, well played. It references both MORBID ANGEL and old black metal, but also the Swedish school, with ambient passages and epic interludes. The band is often compared to the likes of VENENUM, TRIBULATION, SKELETONWITCH, BÖLZER, and CHAPEL OF DISEASE. Yes, I can confirm this opinion with a clear conscience. But don't be mistaken, give the recording time and you will find that both gentlemen have their own style and are original in their own way. The lid seems literally overgrown to me. It's raining and the cold is creeping into my bones. It's been dark for a long time, and from the outside I must look like a vulgar grave robber. But that's not the case. I got a tip about another cursed, well-aged corpse. The exhumation of an old, mangy, cobweb-covered black, death, thrash metal grave! The album contains the patina of old burial grounds!
Ležíš svázaná v temné plesnivé kobce. Mučili tě tolika způsoby, že už na tvém těle nezůstalo místo, které by nebylo zohavené. Neustále dokola opakovali, aby ses přiznala. Kněží s jedovatými jazyky a noži ostrými tak, že ti pokaždé popraskala kůže, když se tě jenom dotkli. A že se dotýkali hodně. Svatí mužové s tvářemi krvelačného ďábla. Zavržená, znásilněná, ponížená. Přiznej se, že obcuješ s démony, křičeli na tebe, když si visela na kříži hlavou dolů.
"Maleficium Part 2" je druhým dílem black death metalového opusu, který vám přinášejí legendární PANZERCHRIST. Jedná se o velmi propracované, syrové a temné dílo, které se konceptuálně zaobírá čarodějnictvím. Tisíce nevinných žen, upálených na hranici. Tajemné obřady, u kterých byly obětována těla i duše nevinných. Inkvizice!
Na novém albu dánští tváři nadále rozvíjejí svoje nečisté myšlenky. Skladby jsou napsány velmi podmanivě, mají v sobě takovou tu pradávnou sílu, tlak a energii. Na téhle smečce bylo vždy skvělé, že ji poznáte během několika prvních riffů. Mají svůj originální výraz, který si samozřejmě zachovávají i letos. Pokaždé, když si novinku pustím na svém přehrávači, venku se setmí, mraky jsou nízko a skoro se dotýkají země. I u nás se upalovala těla nevinných žen, i u nás se zabíjelo za uhranutí. Jasně zdokumentované procesy, plné bolesti a utrpení, jakoby při poslechu vždy znovu ožily. Na stěnách mého pokoje se odehrávají příběhy, které jsou dodnes krvavou skvrnou na historii celé církve. Přesto mi to nedá, opravdu čarodějnice neuměly pracovat s temnou magií? Těžko říct, pro mě je hlavní to, že mě baví novou nahrávku poslouchat. Líbí se mi zvuk (produced, mixed and mastered by renowned metal producer Tue Madsen (At The Gates, Illdisposed, Behemoth) at Antfarm Studios a za velmi zajímavý považuji i tematicky s hudbou sladěný motiv na obalu. Všichni muzikanti, v čele s charismatickou zpěvačkou Sonjou, odvedli vynikající práci. Není to ale jenom řemeslo, které tahle smečka umí. Pro mě osobně je asi nejpřitažlivější pochmurná, záhadná, nebál bych se napsat magická atmosféra celého alba. Pokud máte rádi kapely typu GOD DETHRONED, VADER, NECROPHOBIC, DARK FUNERAL, BELPHEGOR, potom se pohodlně usaďte a nechte se unášet touto hudbou do záhrobí. PANZERCHRIST jsou stále ve vynikající formě a nové album jejich legendární status jenom potvrzuje. Ležíš svázaná v temné plesnivé kobce. Mučili tě tolika způsoby, že už na tvém těle nezůstalo místo, které by nebylo zohavené. Neustále dokola opakovali, aby ses přiznala. Nikdy neodvoláš svoje názory! Ohně byly znovu zapáleny! Starodávný, tajemný a mrazivý black death metalový obřad pro vyvolávání temných sil! Krvavý, děsivý, uhrančivý čarodějnický proces!
Asphyx says:
You lie bound in a dark, moldy dungeon. They tortured you in so many ways that there is no place left on your body that has not been mutilated. They repeated over and over again that you should confess. Priests with poisonous tongues and knives so sharp that your skin cracked every time they touched you. And they touched you a lot. Holy men with the faces of bloodthirsty devils. Rejected, raped, humiliated. Confess that you consort with demons, they shouted at you as you hung upside down on the cross.
"Maleficium Part 2" is the second installment of the black death metal opus brought to you by the legendary PANZERCHRIST. It is a highly sophisticated, raw, and dark work that conceptually deals with witchcraft. Thousands of innocent women burned at the stake. Mysterious rituals in which the bodies and souls of the innocent were sacrificed. The Inquisition!
On their new album, the Danish band continues to develop their impure thoughts. The songs are written in a very captivating way, with an ancient power, pressure, and energy. The great thing about this band has always been that you recognize them within the first few riffs. They have their own original style, which they have naturally retained this year. Every time I play the new album on my player, it gets dark outside, the clouds are low and almost touch the ground. Even in our country, innocent women were burned at the stake, even in our country, people were killed for bewitching. Clearly documented trials, full of pain and suffering, seem to come alive again and again as I listen. The walls of my room are home to stories that remain a bloody stain on the history of the entire church to this day. Still, I can't help but wonder, did witches really not know how to work dark magic? It's hard to say, but the main thing for me is that I enjoy listening to the new album. I like the sound (produced, mixed, and mastered by renowned metal producer Tue Madsen (At The Gates, Illdisposed, Behemoth) at Antfarm Studios), and I also find the cover art, which is thematically aligned with the music, very interesting. All the musicians, led by the charismatic singer Sonja, did an excellent job. But it's not just craftsmanship that this band excels at. For me personally, the most appealing aspect is the gloomy, mysterious, and, I wouldn't hesitate to say, magical atmosphere of the entire album. If you like bands such as GOD DETHRONED, VADER, NECROPHOBIC, DARK FUNERAL, and BELPHEGOR, then sit back, relax, and let this music carry you away to the underworld. PANZERCHRIST are still in excellent form, and their new album only confirms their legendary status. You lie bound in a dark, moldy dungeon. They tortured you in so many ways that there is no place left on your body that is not mutilated. They kept repeating over and over again that you should confess. You will never renounce your beliefs! The fires have been lit again! An ancient, mysterious, and chilling black death metal ritual to summon dark forces! A bloody, terrifying, mesmerizing witch trial!
Propadnout se pod hladinu ledové vody horského jezera a nechat led, aby nade mnou zhasl světlo, Jsem v jiném světě, plném starodávných pověstí, legend o hrdinství, zradě, o bolesti, o utrpení. Do kostí se mi pomalu dostává chlad a všemi póry celého těla vnímám temnotu a zlo. Je tu nové album legendárních UNLEASHED. Jedné z kapel, které poslouchám celý svůj hudební život. Rovnou dodávám, že má slova budou jako vždy velmi ovlivněna tím, že jsem fanoušek.
Opět mi stačilo několik společných setkání, abych propadl sněhovému peklu. Švédský death metal s jasným, originálním a výrazným rukopisem, temné a chladné melodie, atmosféra severských plání. Jasný koncept, výrazné motivy, tohle všechno jsou základní poznávací znaky těchto matadorů. Letošní album je logickým pokračováním věcí minulých. Pánové nevymýšlejí nic nového, spíše nadále k dokonalosti vybrušují svůj originální styl. Daří se jím to na výbornou. Ostatně jako vždycky.
Švédi jsou na scéně od roku 1989. Mají na svém kontě nepřeberné množství tu lepších, jindy trošku slabších nahrávek. Nikdy ale neklesli pod určitou laťku kvality, kterou mám nastavenou ve své hlavě. I letos přistupují k hudbě s nadšením, zkušenostmi a elegancí mistrů v oboru. Na novince najdeme jak chlad, tolik známý ze severských sněhových bouří, tak i zuřivost pradávných bitev. UNLEASHED patřili, patří a dle mého vždy budou patřit mezi kapely, které vždy dokáží předat velké množství emocí. Ani "Fire upon Your Lands" mě nenechává v klidu. Vracím se k němu v brzkých ranních hodinách, kdy se ulicemi ještě procházejí stíny, o víkendu, kdy se vydávám na nekonečné toulky po lesích, i v noci, když mě probudí noční můry. A pokaždé z alba cítím velkou porci takové té poctivé síly, touhy ničit hudbou i jakousi melancholii, která je jasným poznávacím znakem kapely již dlouhé roky. Příběhy, které nám pánové vyprávějí, jsou zajímavé a rozhodně stojí za pozornost i bližší prozkoumání. Opravdoví fanoušci to určitě udělají. Myslím si ale, že UNLEASHED jsou rozhodně smečkou, která dovede oslovit i širší publikum. Možná je to díky jejich melodiím, zpěvnosti, jakési zvláštní přitažlivosti, opravdovosti, autenticitě. Ne, už dávno nejsem ve svém pokoji. Jsem ve své mysli vysoko v horách a čekám na démony, až si pro mě přijdou. Svádím divoké bitvy, užívám si jednotlivé pasáže, nasávám ledový vítr ze severu. Stal jsem se součástí muziky, jenom já a riffy, vokál, bicí, jenom já a pustina vysoko v horách. Propadnout se pod hladinu ledové vody horského jezera a nechat led, aby nade mnou zhasl světlo, Jsem v jiném světě, plném starodávných pověstí, legend o hrdinství, zradě, o bolesti, o utrpení. Do kostí se mi pomalu dostává chlad a všemi póry celého těla vnímám temnotu a zlo. Ve starých bitvách ukovaný chladný a temný severský death metal! Vikingské hymny, zpívané po zuřivých bojích!
Asphyx says:
Sinking beneath the surface of the icy water of a mountain lake and letting the ice extinguish the light above me, I am in another world, full of ancient tales, legends of heroism, betrayal, pain, and suffering. The cold slowly creeps into my bones, and I feel darkness and evil through every pore of my body. Here is the new album from the legendary UNLEASHED. One of the bands I've been listening to my entire musical life. I'll add right away that my words will, as always, be heavily influenced by the fact that I'm a fan.
Once again, it only took a few encounters for me to fall into snowy hell. Swedish death metal with a clear, original, and distinctive style, dark and cold melodies, the atmosphere of the Nordic plains. A clear concept, distinctive motifs - these are the basic hallmarks of these matadors. This year's album is a logical continuation of previous works. The gentlemen are not inventing anything new, but rather continuing to refine their original style to perfection. They are doing an excellent job of it. As always, in fact.
The Swedes have been on the scene since 1989. They have released countless recordings, some better, some weaker. However, they have never fallen below a certain standard of quality that I have set in my mind. This year, they approach music with the enthusiasm, experience, and elegance of masters in their field. On their new album, we find both the coldness so familiar from Nordic snowstorms and the fury of ancient battles. UNLEASHED belonged, belong, and in my opinion will always belong among the bands that are able to convey a great deal of emotion. Even "Fire upon Your Lands" does not leave me indifferent. I return to it in the early hours of the morning, when shadows still walk the streets, on weekends, when I set out on endless wanderings through the woods, and at night, when nightmares wake me up. And every time, I feel a great deal of honest power, a desire to destroy with music, and a kind of melancholy that has been a clear hallmark of the band for many years. The stories these gentlemen tell us are interesting and definitely worth paying attention to and exploring further. True fans will certainly do so. But I think UNLEASHED are definitely a band that can appeal to a wider audience. Maybe it's because of their melodies, their singability, a certain special appeal, their sincerity, their authenticity. No, I am no longer in my room. In my mind, I am high up in the mountains, waiting for the demons to come for me. I fight fierce battles, enjoy individual passages, and breathe in the icy wind from the north. I have become part of the music, just me and the riffs, vocals, drums, just me and the wilderness high up in the mountains. Sinking beneath the surface of the icy water of a mountain lake and letting the ice extinguish the light above me, I am in another world, full of ancient tales, legends of heroism, betrayal, pain, and suffering. The cold slowly creeps into my bones, and I feel darkness and evil through every pore of my body. Cold and dark Nordic death metal forged in ancient battles! Viking hymns sung after fierce battles!
Ave DEPHOSPHORUS! Greetings to Hades' realm. Or should I rather say to the universe? Perhaps the two are connected. I'm listening to your new album "Planetoktonos" and I can't stop. It has everything I love about extreme metal. Can you tell us what the basic idea behind the album is and how it came about?
Nowadays, when every band has a clear style label, you guys are different. It's hard to categorize you. You play grindcore, but also black metal, death metal, and even sludge elements. Personally, I really like that diversity, playfulness, and desire to explore. Let me ask you right off the bat... which bands influenced you in the very beginning? And you know what, start in 2008 and walk us through the history of your band.
Thanos: Glad to hear you’re into our sound! It’s definitely not for everyone, and we’ve never expected people to easily "get it" or categorize it. That’s exactly why we came up with a term that would make sense to us: astrogrind. It’s our way of capturing the blend of intensity, atmosphere, and cosmic thematics that runs through our music — not just in the sound, but in the whole aesthetic and lyrical approach. It's more of a compass than a genre tag.
From the beginning, we’ve drawn influence from a range of bands that still resonate with us today — acts like Nasum, Entombed, Knut, Anodyne, Leviathan, and Voivod. These bands shaped our ears early on, and we keep revisiting their discographies. Somehow, there's always something new to discover in their music, even after all these years.
As for how Dephosphorus started — Panos and I were playing together in a band called Straighthate. That project eventually ran its course after many years and lineup changes. So, in 2008, we decided to start fresh with a new musical direction. After about a year and a half of writing and experimenting, we recorded Axiom, which became our first release and marked the official beginning of Dephosphorus.
Your lyrics are influenced by old sci-fi books that shaped me a long time ago. As a student, I devoured all those apocalyptic visions, flying through space, discovering new planets. The new album is loosely inspired by Iain M. Banks' The Culture. Personally, I really like this Scottish author, but more his early work. Why did you choose him? Do you believe in other civilizations? Do you think we will meet them one day? And will we be as barbaric or advanced as they are?
Panos: Actually, Planetoktonos isn’t particularly influenced by Iain M. Banks—though the rest of our discography definitely is! For this new album, some of the lyrics, as well as the title and cover art, were inspired by James S.A. Corey’s The Expanse novels.
That said, I deeply admire Iain M. Banks. I was shocked when he announced his illness in 2012 and devastated by his passing shortly after. Our second full-length album, Ravenous Solemnity, is dedicated to him.
I loved many aspects of his sci-fi works (he also wrote non-fiction under the name Iain Banks, without the “M.”): the political intrigue, the staggering existential themes—like the concept of Sublimation, which inspired the title of our previous album—the poetic, intricate, and often playful writing style (which can be challenging if English isn’t your mother tongue), his sublime sense of humor, and above all, his vision of The Culture.
The Culture is a human-like future civilization—an anarchic utopia without leaders or gods—where sentient beings and AI coexist in harmonious symbiosis. It reflected Banks’ own deeply held political convictions; he was outspoken and engaged, famously burning his passport during the Second Gulf War in protest of the UK’s involvement.
What Banks did with the Culture was essentially imagine a sustainable future. And imagination, I believe, is humanity’s most powerful weapon. If we want to find a way out of our current civilizational dead ends, we must wield it wisely.
If I had to bet, I’d say that other civilizations do exist. But as the late psychedelic guru Terence McKenna once put it: “We are not here to understand; we are here to appreciate.” That idea challenges the dominance of rationalism and invites us to experience reality in a more direct, aesthetic, and intuitive way. Maybe the universe isn’t meant to be understood—only appreciated.
Given the sheer size and age of the universe, and the brief lifespan of our own civilization, any others would likely have to be incredibly advanced and capable of interstellar travel to find us. Meanwhile, we haven’t even fully explored our own solar system. So while contact seems unlikely... as the X-Files poster once said, “I want to believe.”
Whether they are barbaric or enlightened, if life and civilization are common in the universe, then all levels of advancement must exist somewhere, right now.
Every time I listen to a new album, I do it on a good sound system. I usually just sit down and, because I'm an old dog, I like organic sound and production. Your new recording has exactly that cutting sound that pins you to the wall. Where did you record it and who is responsible for the mastering?
Thanos: Thanks for the kind words — we really appreciate it. You're spot on: Planetoktonos was meant to sound organic, intense, and immersive. As a listener — and even more so as a composer and producer — I feel that the record captures the exact sonic identity we were aiming for: thick, punishing guitars, bass that moves like a seismic wave, drums that are both raw and explosive, and of course, Panos’ agonizing vocals narrating cosmic horror from a place only he can see.
We’ve been rehearsing for years at Ignite Studio, which has become a second home for us. George Christoforidis, the studio owner, recorded and mixed the album. George knows us deeply — from our Straighthate days even — and he truly understands the sound we’re after. He managed to bring out every layer of the music with great sensitivity and clarity, including the noise and synth work from Miltos Schimatariotis, our invisible fifth member.
Once the mix was complete, we sent it to James Plotkin for mastering. James took everything and gave it that final cohesion and sharpness — the record now hits with surgical precision while retaining its raw spirit. We feel extremely lucky to have collaborated with such talented and committed people on this release.
The motif on the cover reminds me a lot of some old sci-fi book. I just can't remember which one. Can you help me out? And who is the author of the image? Look, to be honest, I feel like I'm seventeen again, arguing with my friend about whether Arthur C. Clarke or Isaac Asimov is better. How did you get together with the author of the motif and why him?
Panos: I’m not sure which book cover you're thinking of, but I love that it gave you nostalgic teenage sci-fi vibes! That’s exactly the kind of energy we were going for.
The artist is John Toussas, aka Graphic No Jutsu. I’ve known John for over a decade—we used to work together at Metal Hammer Greece. More recently, he’s been designing beer can labels for Alea Microbrewery, run by Thanos.
Planetoktonos marks a new chapter for us musically, with a heavier sound and some fresh ideas. Visually, we also wanted something different—more colorful and playful. A tribute to classic sci-fi comics and art.
I gave John some specific references, like French comic legends Enki Bilal and Philippe Druillet (the latter did the stunning cover for Agressor’s Neverending Destiny, one of my all-time favorite albums).
I had a very specific scene in mind—a biomechanical spaceship destroying a planet, viewed from behind. It was a nod to the loading screens in Destiny (a game I was obsessed with about a decade ago). I described it to John, and he nailed it.
We’ve gotten amazing feedback on the artwork. A couple of people even referenced Nocturnus—another favorite of mine—whose Thresholds album has one of the best spacy sci-fi covers in metal history.
John also designed the label for Asteroskoni, a collab West Coast DIPA from Alea Microbrewery and P.I.G.S. It's named after one of our songs from Impossible Orbits—it means "Stardust" in Greek. As a craft beer fan, it’s a dream come true to pour a hoppy DIPA from a can with your band’s logo on it, named after a song you wrote the lyrics and title for. Since you're from Pilsner, I bet you know a thing or two about good beer yourself!
I think you'll agree with me when I say that you are a band with a very original expression and approach. I hope you won't mind, but I personally love VOIVOD and I often thought of them while listening to you. You sound completely different, but the overall feeling is the same, in my opinion. Can you tell us how you compose new music? Who writes the melodies? Do you have someone in your group who says, "This is how it should be," or do you discuss it at length? Can you give us a peek behind the scenes?
Thanos: We definitely appreciate the Voivod reference — we’re all fans of theirs. While I don’t think there are direct musical similarities, maybe there's a shared spirit in the atmosphere, the sense of alienation, or the use of dissonance here and there. So I get what you mean — it’s more about the feeling than the actual sound, and that’s a huge compliment to us.
As for our songwriting process, I (Thanos) compose all the music for Dephosphorus — that’s how it’s always been since the beginning. It’s a formula that works well for us and hasn’t needed to change. Typically, I go through intense writing phases: I’ll write a big chunk of material over the course of a month or two. Once there’s enough solid material, we bring it into the rehearsal space and start sculpting it together.
That’s where the real chemistry kicks in. We work through the arrangements as a band — tightening the rhythms, locking in transitions, shaping the dynamics. Panos usually adds his vocal lines toward the end of that process, once the structure has settled and the atmosphere is clear. There’s a lot of back-and-forth and refining in the room, but the original spark usually comes from the same place.
So while there isn’t one person saying “this is how it must be,” there is a clear initial vision, and then it evolves through collaboration and trust.
I'll tell you one thing... I have a great fondness for Greek food and culture, and every time I'm on vacation in your country, I come home feeling reborn. You have a beautiful country. The people are nice. But what is it like there in terms of extreme music? What about concerts, the scene, the fans? Do they go to a lot of events, do they support bands? Tell me, exaggerate...
Thanos: Glad to hear you have a soft spot for Greece — it really is a beautiful and intense place, in every sense. The landscapes, the food, the people, the chaos… it’s all part of the experience. But it’s also a country full of contradictions. Over the past couple of decades, we've lived through a lot: financial collapse, referendums, austerity, systemic injustice — all of which have pushed many people to leave in search of stability and a better future elsewhere. That’s a wound that hasn’t healed yet.
When it comes to extreme music though, Greece punches way above its weight. Despite having relatively few venues and limited infrastructure, the scene is surprisingly strong and diverse — with passionate, knowledgeable fans and bands that are truly committed. You’ve got household names like Rotting Christ, Dead Congregation, Suicidal Angels, and End, but also countless underground acts across all subgenres of extreme music, grinding away with heart and intent.
There’s a raw energy here, fueled in part by our political and social turmoil — and that finds its way into the music. People may not always have the means, but the love and intensity are there. Gigs can feel like rituals. The connection between audience and artist is visceral. It’s not always easy, but it’s definitely real.
So yes — the Greek scene is alive, restless, and getting louder.
Going back in time, what were your musical beginnings like? When did you pick up your first instrument, what was your first concert, where did you stand on stage? Do you have any classical music education? And how did you actually get into extreme metal?
Thanos: I started taking guitar lessons when I was around 10 years old. For the first few years it was all classical guitar — which laid the foundation — but by the time I was 13 I was already drifting toward electric guitar. So I switched to more modern lessons, learning picking techniques and basic riffs. Unfortunately, I never went deep into music theory, which is something I still regret to this day. It would’ve made a lot of things easier down the line.
My first stage experience was pretty typical: some school gigs at the Lyceum, playing Metallica covers with friends — the classics. But things got more serious when I was about 18, which is when I joined Straighthate, with Panos already on vocals. Our first real show together was opening for Stampin' Ground in Athens, around 2002 or 2003 — I don’t remember the exact date, but it felt like a huge deal at the time.
As for how I got into extreme metal… I think the real turning point was a compilation CD I got my hands on as a teenager. It had a bunch of bands on it — two that hit me hard were Death and Nailbomb. That was it. I was instantly drawn to that raw power, the energy, the honesty. From there on, it was a deep dive that never really ended.
Panos: My first instrument was the family synth. My parents signed me and my younger brother up for lessons, but the only thing we really managed to play was some Christmas carols.
As I became more serious about music, I lacked the focus to learn an instrument properly. But I noticed that when I screamed along with my favorite records, I had a loud, abrasive voice that could work for extreme music.
Around 2001 or 2002, my friend Anastasis (now frontman of Dead Congregation) told me that his hardcore band at the time, Straighthate, was looking for a new vocalist. I asked if I could try out. He said, “Have you done this before?” I hadn’t—but they were desperate, as I later found out, so I got the job! More than 20 years later, here we are.
I got into extreme metal back in 1991 or 1992. I was listening to a radio show on Echo FM, a local Athens station hosted by Harry Karaolides (a friend and former Metal Hammer Greece colleague). I recorded the show on tape. That night he played Sarcófago’s “Black Vomit” (the re-recorded version from The Laws of Scourge). Until then, the most extreme bands I knew were Slayer and Sepultura. Hearing guttural vocals and blast beats for the first time really shocked me. I can’t say I loved it immediately—but it blew my mind and expanded my idea of what “extreme” could be.
Later in 1992, I moved to Paris for my studies. In the pre-internet days, compilations were the best way to discover new bands. That’s how I picked up the Masters of Brutality 2 cassette. Not only was the tracklist killer, but the flow was seamless—like Seasons in the Abyss. That comp was my gateway to extreme metal. Through it, I discovered some of my favorite bands: Napalm Death, Brutal Truth, Bolt Thrower, Deicide, Cannibal Corpse, Nocturnus, My Dying Bride—and many more.
What does music mean to you? Is it a lifestyle, relaxation, rest? For example, I can't imagine life without music (and books). Feel free to engage in philosophical reflections; I'm interested in your opinion as a musician.
Thanos: Music, for me, is exactly what you described — I truly can’t imagine life without it, or without books. As I grow older, I’ve come to realize just how much music has shaped the way I perceive the world. It’s like a lens that subtly shifts your understanding of things — through sound, emotion, and abstraction. It offers a different angle, an artistic perspective that reveals hidden layers in life, people, and even history.
More than just a lifestyle or a hobby, music gives life purpose — a reason to create, to connect, to leave something behind. And I don’t say that with any grandiose sense of legacy. I don't claim importance for myself or for the band. But I do believe that the traces we leave through our work — songs, records, ideas — are a kind of echo. A way to exist beyond the limitations of time, unless someone does eventually stumble upon the elixir of life!
Books play a similar role for me. I read constantly — mostly history and political theory — and that keeps my mind engaged and searching. I just wish there were more space at home for all the books and records… but as with everything in life, we’re bound by limits.
Panos: As Friedrich Nietzsche said, “Without music, life would be a mistake.” Thanos’ answer applies to me too, 100%.
I’d add that our music is our humble contribution to human culture—just a drop in the ocean. Through it, we try to imagine a more sustainable future for humanity and the Earth’s ecosystem. Planting those ideas in the collective subconscious is vital. That’s how they might one day become reality. As we titled one of our tracks: “Imagination Is Future History.”
On a personal level, music—especially extreme, alternative, and underground music—has been a transformative force. It helped me break free from a conservative Orthodox Christian upbringing. It opened my mind to other ways of thinking, living, and being—different ideologies, lifestyles, and even spiritual practices.
Concerning books—like Thanos, I’m an avid reader, and that definitely influences our lyrics. Books are the closest thing we have to a time machine; they allow us to understand the past and adapt for the future. Sadly, in today’s hyperconnected, digital world of short attention spans, reading is becoming a lost art—and that’s like shooting ourselves in the foot.
Especially now, with AI rapidly transforming society, those who haven’t picked up a book since school, who avoid non-fiction, or who are unwilling to study, reflect, and adapt, risk being left behind. We can’t let that happen. Reading is how we grow and stay relevant in this new age.
Read more books, people!
The inevitable question at the end. What does DEPHOSPHORUS have planned for the coming months? If you have anything on your mind that you would like to say to fans, labels, promoters, here's your chance...
Thanos: Looking ahead, we definitely plan to be more active on the live front. With the release of Planetoktonos, we hope to shake things up and put the name Dephosphorus out there even stronger — both to old friends and to new ears. We’ve already got a good amount of new material in the works, so ideally the next release won’t take as long as the previous ones. Creativity is flowing, and we want to keep that momentum going.
Beyond that, we’re always open to interesting opportunities — whether it’s shows, collaborations, or other kinds of projects. If labels, promoters, or fellow musicians have something in mind, they can absolutely reach out. We’re very much a band that thrives on meaningful connections and ideas.
Thanks to everyone who has supported us through the years — your energy and attention are what keep this whole thing alive. We truly believe that Dephosphorus still has a lot to offer, and we’re excited for what comes next.
Thank you very much for the interview. You know what I'm going to do now? I'm going to go home, play "Planetoktonos" really loud, and probably reread something by Iain M. Banks. I wish you sold-out concerts, good sales of your new album, and success in your personal lives. May the force be with you! Thank you very much!
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