Rotting Christ

Kata Ton Daimona Eaytoy

01. In Yumen – Xibalba
02. P’unchaw Kachun – Tuta Kachun
03. Grandis Spiritus Diavolos
04. Kataton Demona Eaftou
05. Cine Iubeste Si Lasa
06. Iwa Woodoo
07. Gilgames
08. Rusalka
09. Ahura Mazda Anra Mainiuu
10. 666

[Season of Mist]

Rotting Christ‘s evocative and controversial name may seem gimmicky or hard to look past for some, but where conformity and controversy are constantly being used in order to sell records, these Greek blackened death metallers have always held to their own principals of creating devastatingly heavy music that appeals to their ideals and outlook on metal. Holding true to the format that lifts up and pays homage to their cultural heritage, Rotting Christ succeed in creating music that feels authentic and shows a great respect for their homeland without being weighted down by overtly nationalistic themes that so many black metal bands fall prey to. Do What Thou Wilt,  as the title of Rotting Christ’s latest record translates to, and as it has always been the case, that’s exactly what the band does with Kata Ton Daimona Eaytoy.

With this record the band have increased the scope of their sound, not by incorporating new elements, but by utilizing the priors more explicitly, and down playing the effect of others.Taking a decidedly different direction than previous efforts, Rotting Christ have all but stripped away the black metal elements of their sound, leaving behind a simple formula of tribalistic melodic death metal. Focusing more on choruses that are chanted out, and a heavy emphasis on drum patterns and guitar riffs that accentuate the former two elements, Kata Ton Daimona Eaytoy shows off a more rhythmic and operatic side of the band, and it’s something fans of the band, and melodic death metal in general should enjoy

The darkness of previous efforts is still there, with the standard issue black metal blast beats,  and a hefty dose of occultism in the lyrics and delivery, but the drive of this album is to create catchy, hook laden melodic death metal that gives the listener a feeling of an impending march to war. While that may be alarming to some, this direction is far from a bad thing, and perfectly fits into the sonic themes and motifs that have been utilized by the band for years. The melodeath elements still focus on the cultural aspects, and Hellenistic melodies and riffs that the band have always played up, instead of the Gothenburg style of brutal power metal that seemingly every melodeath band on the planet wants to achieve. There are instances of Nordic prog influences, with the usual array of tastefully abstract time signatures. It’s all very familiar, yet inherently new and vibrantly dark.

The music, while seemingly more stripped down, conveys a sense of epic-ness to it all. While very droney at times, there is still a sense of immediacy towards the whole thing that grounds the experience and makes it as lively as possible.  Tracks like ‘Grandis Spiritus Diavolus’  and ‘Cine Iubeste Si Lasa‘ are palpitating epics that, despite the shortage of diversity in the riffs, give off an air of intensity and power that is hard to come by without sounding relatively nonsensical or silly. That’s the strength of this band, and always has been; every song feels personalized, and genuine. The emotion is palpable, and gives off an impetus to go out and conquer. It’s escapist art at its finest.

Where many bands who utilize unconventional sounds or instrumentation almost always fail is the overabundance of those elements. Folk bands feel the need to lather on every tribal or acoustic instrument known to man without any real regard for the cohesion and arrangement of their sound; the same mistake is made by bands who utilize orchestras, and when this occurs, a band’s sound becomes over-saturated and bland. That’s the beauty of Rotting Christ and Kata Ton Daimon Eaytoy, the instrumentation is sparse and sophisticated; neither too overwhelming or too subtle. The orchestration and tribal elements are is picked out and utilized in a very attentive manner that builds up and complements every sound in the music. It’s tasteful, and never overbearing.

While some of the more conventional tracks on Kata Ton Daimona Eaytoy can feel a bit weighty and repetitive towards the end of the record, these moments are very sparse, and the record as a whole maintains a dynamic and varied atmosphere about it. Almost every track contains its own identity, and listeners will have a hell of a time trying to dissect each song and find their favorite moments. The only other complaint that needs to be lobbied at this album is that it could have used more overtly black metal elements on certain songs, and in certain instances it feels like a lesser version of the album that came before it (Aealo), but as a whole Kata Ton Daimona Eaytoy is a splendid work of diversity and brilliant song writing that captures and conveys a wide variety of sounds and moods to great effect.

Rotting Christ – Kata Ton Daimona Eaytoy gets…


– EC


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