So, a bit of a change here. Symphonic death metal from Pittsburgh, but with a Greek philosophical foundation. Confused? The accompanying PR blurb says:
““Theurgia” is a collection of seven musical rites, revolving around a common thematic axis; transgressing the physical world. “Theurgia” stands for “divine work” in Greek and was developed as a term by the Neoplatonists. It describes a series of magical acts that aim to connect the human soul to a hierarchy of superior beings, leading up to the supreme being or so-called, The One. In parallel, the story behind each song of this album is related in one way or another to the struggle of mortals to approach divinity and the world beyond, often through unorthodox and questionable ways, mystical cults and abominable rituals”
I don’t know too much about the band, except that Metal Archives has them as a single person (Leonidas Diamontopoulus) playing all of the instruments.
All of that aside, what’s the actual music like? Well, I’m minded of the symphonic and extreme scene of the mid 90’s. After opener “Theurgia”, first track-proper “Abyssoath” sounds to me like the collision of little-discussed British bands of the era, like Entwined and Blood Divine. With the orchestral flourishes and swelling keyboards, it’s really not unlike a more death metal version of old Cradle of Filth. Elsewhere, there’s more of a contemporary Behemoth / Hate influence in the deeply rhythmic sections, but there’s always that slightly vintage feel to the music and the minor goth influence that comes back into play.
A case in point is album standout track, “Lenore”, which does sound like something you’d have heard for a band playing on the same bill as Moonspell circa 1996. That a talented Greek musician in Philadelphia can produce music that essentially reminds me of the bands I saw twice weekly at Bradford Rio’s nightclub in 1996 is simply astounding. This may read like I’m being critical – I’m really not. This is a genre of music that really doesn’t get the support or recognition it should. I, for one, miss the days when oddities like Bal-Sagoth released music.
There’s some fantastic composition here, and I think that Leonidas is a very, very talented musician. I’m afraid that the production lets things down a little – it’s quite flat and not very dynamic, which is a shame as I think it robs the music of some of the drama by leaving it sounding a bit cheap. With a fatter, more loud and punchy sound, I think this would go up a level. All that being said, it’s a very interesting release, and although only six tracks and an intro in length, there’s a vast amount of inspiration and fascinating moments.
(7/10 Chris Davison)
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