Vera : The members of Septicflesh have filled in their Sabbath era between 2003 and 2008 with smart activities. Examples? Seth built out a respectable career as artwork designer and Christos Antoniou focused on a multifarious study of classical music. Due to their skilful investigations, comeback album ’Communion’ (2008) and surely the 2011 released ’The Great Mass’ turned into top notch products in the extreme metal scène. Nowadays we can describe Septicflesh’s music as a form of dark death metal with gothic refinement and wealthy orchestral layers with classical tinge. An amalgamation that not only demands ultra concentration of the musicians, but it does from the listener as well.
Last years, since 2011, we are regaled with a large number of re-releases of earlier works by Season Of Mist, so that newer fans were able to purchase the older works of Septic Flesh (at that time still spelled in two words), since they were hard to find for quite a while. But now the time has come to shine a light on the proper new work of these Hellenic masters, the next flabbergasting step of these South Europeans after ‘The Great Mass’. Titans represent the forces of nature in Greek mythology; this ninth studio album is sacrificed to them.
Via many spins I have given the album the occasion to reveal its true charms. That pays off. Initially the multilayered music happens to be so complex and comprehensive that we can nearly speak of megalomaniac art that passes by as hectic traffic. We cannot accept this primary impression; there is more than meets the eye. Eventually enchantment comes our way and we are able to formulate a kind of proper summary. Take ‘War In Heaven’ to start with. The contrast between orchestral grandness and the roughness of menacing low-pitched proclaimed phrases prevails. This is dramatically going into crescendo towards a magnificent momentum, while the main melody of string instruments happens to be a balsam on the wound of omnipresent brutality and indeed, perfect orchestrated chaos. Male choirs add a special élan. When you are looking for a fetching song, we can suggest ‘Burn’. Not only it includes an undercurrent of creepy voices, it captivates as well by its stamping rhythms and goes all the way with a suddenly popping up melodic guitar solo. When looking for a starting point to fathom this record, start here! The single ‘Order Of Dracul’ is fragmentary classical. The conjunction of heavy pompous classical patterns and brutal eruptions are perfected to the utmost. ‘Prototype’ focuses on dissonance. In the beginning it creates a kind of uneasy feeling, but when you dig deeper you hear the harmony between the choir and the blatant sounds. Finally you will find peace in the marvellous cello melodies who dominate this composition. Step by step the turning and twisting riffs of ‘Dogma’ settle down in your mind. The solemn choir gets any retort of weird clean chants (finally guitarist Sotis vocally joins in) and it has nearly Therion alike allures. The classical influences are supreme on this album, just listen to ‘Prometheus’ and the sinister ‘Confessions Of A Serial Killer’, but on the other hand the title track ‘Titan’ includes enough conjuring magic to have an instant impact. The soundtrack of the titans continues with top notch class musical efforts. ‘Ground Zero’ focuses on brutal metal, however with superior clean chants in the midst of devastating merciless. When the gloomy ‘The First Immortal’ occludes this new work, we can enjoy one more time the refinement of strings with a choir and a creepy semi-clean statement as epilogue.
Those who will investigate the time to let this music do its work on the psyche, will discover a masterpiece. It is not easygoing. However, the nearly megalomaniac performance, a marriage between classical music and extreme metal, was in the hands of prophets right here. One more time respect!