Agatus

 

Once again, we return to Greece to explore the incredible hellenic black metal scene. Ranking up there with excellent mid-tier Greek bands like Zemial and Deviser is AGATUS, hailing from Athens.

Where Zemial was the brainchild of Archon Vorskaath with Eskarth the Dark One as a supporting musician, Agatus was the reverse. Formed in 1991, Agatus burst onto the scene with a folk-inspired demo in 1993, A Night of the Dark Ages.

Here is the entire A Night of the Dark Ages demo

With carefully placed synths, this demo had a sound that wasn't entirely hellenic, yet still bore some resemblance to what other Greek bands were doing (some similarities to Deviser, perhaps?). Some of Varathron's mid-paced songs are sometimes cited as a point of reference.

Like any good demo, Dark Ages opened doors for the band. They were pursued by record labels and soon entered the studio in 1994 to record their first full-length album. The immediate result was a two song promo entitled Black Moon.

"Black Moon's Blood" comes from their 1996 debut album

1994 was also the year the two brothers relocated to Australia. This relocation was one of the factors that delayed the release of their first full-length studio album. Although it was recorded in 1994 (and gave birth to the above-mentioned promotional demo), it was 1996 that finally saw the album's release. 

Dawn of Martyrdom continued the medieval-influenced black metal of the first demo. Like some other great Greek black metal albums of this era (think Wizard of Nerath or Unspeakable Cults), Dawn showcased creative use of synths and thrash-like riffing. It is an album that should be in the rotation of any true black metal fan.

Here is 1997's Rite of Metamorphosis

Almost immediately after the release of Dawn, the band recorded the 7-inch EP Rite of Metamorphosis. A strong continuation of the band's style from the full-length debut, this EP was released in limited number and is hard to find even to this day. 

The band's second full-length album (2002's The Weaving Fates) featured a more nuanced sound: riffing derived from melodic death metal and clean vocals abounded. Yet, it was still more in the black metal vein, and clearly resembled Agatus's earlier work.

The Weaving Fates gives us "Era of Tiamat"

Since the release of Fates, the band has been less active. They "remained dormant" (Eskarth the Dark One's words) for several years until some unique touring opportunities arose. Following this, they became active again in the 2010s.

All in all, their early work is classic second-wave black metal that is crucial for the development of the hellenic sound. Any fan of Deviser, Zemial, or Nergal needs to know this band. 

Select Discography:

Rehearsal '92 (rehearsal demo) (1992)

A Night of the Dark Ages (demo) (1993)

Black Moon (demo) (1994)

Dawn of Martyrdom (full-length) (1996)

Rite of Metamorphosis 7" (1997)

The Weaving Fates (full-length) (2002)

Next time: BAXAXAXA

Deviser

The Greek black metal scene has been so prolific, with so many amazing bands, that it merits revisiting time and time again. Beyond the big three of Rotting Christ, Necromantia, and Varathron, so many great bands have made an impact on world black metal. I've already discussed Zemial, but DEVISER--from the island of Crete--is too important to overlook.

At the outset--and for the first few years of existence--Deviser was essentially a one-man band. Main man Matt Hnaras would recruit session musicians when the need arose to round out the band (including musicians from other Greek black metal bands, like Varathron and Asfyx). These session musicians played on early demos such as 1990's Forbidden Knowledge and Psychic Completion.

Here is the 1990 demo Forbidden Knowledge in its entirety

Deviser's early sound can best be characterized as an eerily atmospheric old-school style with a heavy thrash influence. That being said, the midpaced riffing and mellow guitar tone definitely bear a resemblance to the style that would one day become known as the "hellenic style".

By 1994, Matt Hnaras had recruited a full-time band, and Deviser began to enter a new phase. While the 1994 EP The Revelation of the Higher Mysteries was still firmly rooted in the old-school style of the demos, they began to experiment with adding synths soon thereafter. This led to a decidedly different take on hellenic black metal.

"Threnody" (from Unspeakable Cults) is one of their best-known songs

The synths helped give Deviser's black metal a sound which seemed to be a fusion of hellenic black metal and more symphonic fare. Their first full-length album---1996's Unspeakable Cults---is a landmark in that regard. Some people have gone so far to say they owe their sound to what Emperor was doing at the time (1994's In the Nightside Eclipse), but that strikes me as a lazy characterization. There's more going on here.

1998's Transmission to Chaos gave us this gem, "Transcendent Beauty"

Over the next couple albums (1998's Transmission to Chaos and 2002's Running Sore), Deviser's sound remained a version of this symphonic-infused hellenic black metal. A lot of the midpaced riffing and song structures are highly reminiscent of something you might hear off of Non Serviam or His Majesty at the Swamp. Yet, at the same time, there are passages that clearly owe a debt--in terms of tempo and aura--to Norwegian symphonic stylings.

"From the Starry Voids" is a choice track from Running Sore

 Deviser has said in interviews that they don't approach the writing of an album with any specific 'sound' or 'style' in mind. And technically, they may be right. However, there are certain things one can come to expect from Deviser, such as melodic elements, symphonic passages, and eerie gothic style.

Select Discography:

Forbidden Knowledge (demo) (1990)

Psychic Completion (demo) (1990)

Into His Unknown (demo) (1993)

The Revelation of the Higher Mysteries EP (1994)

Thy Blackest Love (demo) (1996)

Unspeakable Cults (full-length) (1996)

Transmission to Chaos (full-length) (1998)

Running Sore (full-length) (2002)

Next time: FALKENBACH

Zemial

Archon Vorskaath and Eskarth the Dark One,

the two brothers behind Zemial

When speaking of Greek black metal, not a lot of people know much beyond the "big three": Rotting Christ, Varathron, and Necromantia.  Only the devoted recognize that the Greek scene is bursting at the seams with classic black metal bands.  One of the elite is Athens' ZEMIAL.  Zemial formed in 1989 and toiled in the underground for several years, releasing several cult promos and rehearsal tapes (that are now very difficult to find).  By 1992, Zemial released the now-classic EP Sleeping Under Tartarus.

This is the title track from the Sleeping Under Tartarus EP

Lyrically, Zemial is interested in not just the occult and the demonic, but ancient cultures from the Near East (Sumer, Mesopotamia) and obscure authors like Lovecraft and Edgar Allan Poe.  As far as sound goes, Zemial's black metal has elements of the early Hellenic style, as well as a black/thrash kind of sound.  I think that this sound is best exemplified by some of the songs off of the 1996 full-length For the Glory of Ur.

Here's "Battle on the Norse Mountains"

Shortly after the release of 1992's Sleeping Under Tartarus, Archon Vorskaath (the mastermind behind the band) decided to continue the project as a one-man band.  In 1994, he then relocated to Australia.  Owing to his desire to remain an underground band, Archon never signed Zemial to any major record labels (despite offers from labels such as Osmose), and this was one of the reasons for the relatively low output.  Afteer the release of 1996's For the Glory of Ur, 1997 saw the release of a demo entitled Necrolatry, followed by the Face of the Conqueror EP in 2003.

This is "Dragon's Touch", from Necrolatry

And from the 2003 EP Face of the Conqueror, this is "Impending Doom"

After For the Glory of Ur, Vorskaath continued Zemial along its Hellenic-sounding black/thrash path.  It was also in this time frame that Zemial had a few tours around Europe, and for this Vorksaath utilized session players (including his brother Eskarth the Dark One).  Some of the session players used on tour also offered some input on future compositions, but Zemial fundamentally remained Archon Vorskaath's.

Since the dawn of the new millenium, Zemial's output has remained somewhat steady.  After the Face of the Conqueror EP and a split with fellow Greeks Kawir, Zemial put out 2006's In Monumentum.  This album represents a shift in sound.  The black/thrash of Ur and Conqueror remains (to a degree), but is augmented by an epic, almost Viking-esque style.  After two EP's (2009's I am the Dark and 2011's Dusk), 2013's full-length NYKTA saw yet another shift in sound, as Vorskaath began to incorporate more experimental elements and even some jazz.

The title track off of In Monumentum is epic listening

"Pharos" has a very progressive feel to it (from NYKTA)

Select Discography:

Enthroned Death (demo) (1990)
Nocturnal Death (demo) (1991)
Sleeping Under Tartarus EP (1992)
For the Glory of Ur (full-length) (1996)
Necrolatry (demo) (1997)
Breath of the Pestilence (unreleased MLP) (1998)
Face of the Conqueror EP (2003)
In Monumentum (full-length) (2006)
I Am the Dark EP (2009)

Next time:  MYSTIFIER