#varathron — Public Fediverse posts

When I see the title of Yoth Iria’s third full-length, Gone with the Devil, I can’t help but think of the Spanish farewell, “vaya con Dios,” or “go with God.” Originally—and still, in some circles—the phrase was an earnest blessing and wish for safety; however, centuries have stained it with a negative connotation. The phrase can now showcase a speaker’s disapproval for the recipient’s intended actions, implying that whatever they’re going to do is dumb enough that only God will be able to get them through it. After two enjoyable-to-impressive albums, is Yoth Iria’s cheeky inversion of the phrase a genuine wish for guidance from the Son of the Morning, or is Gone with the Devil a hot mess only Satan can save?

On 2021 debut As the Flame Withers and 2024 follow-up Blazing Inferno, Yoth Iria’s sound was focused—Hellenic black metal injected with a mix of 70s-80s metal and Middle Eastern atmospherics. Gone with the Devil sees the Athens-based five-piece employ a more exploratory, instinctual, and unrestricted approach to composition…or so the promo material says. In actuality, Yoth Iria leans into accessibility. Elements of their original Hellenic sound remain (“The Blind Eye of Antichrist,” “Woven Spells of a Demon”), infusing the album with a warmth typically absent in black metal. But with tracks that wouldn’t be out of place on an Equilibrium record (“Dare to Rebel”), the newest Arch Enemy (“I Totem,” “Blessed Be He Who Enters”), or a metalized Imagine Dragons (“3AM,” “Once in a Blue Moon”), Gone with the Devil feels fundamentally different from previous releases.

In pursuing wider appeal, Yoth Iria dilutes much of what made them unique, and Gone with the Devil is less engaging for it. The markers of heavy music are all still present—blast beats, harsh vocals, distorted guitars, etc.—but the soul that gives an album weight is totally absent. “3AM” is as forgettable as elevator muzak, and much of the back half of Gone with the Devil1 shares a similar mid/slow-paced rhythm that barely gets my eyes open, let alone my heart pumping. Predictable song structures and played-out tropes, like whispers preceding a heavier passage (“I Totem”) or synths/folk instrumentals returning to bolster a final chorus (“Give ‘Em My Beautiful Hell”), give the impression that Yoth Iria is just going through the motions or following someone else’s recipe.

This isn’t to say Gone with the Devil is bad. Yoth Iria, as a band, is obviously wildly talented, and what they do play, they play well. There are some songwriting bungles, like the end of “I Totem,” the pacing of “Harut-Government-Fallen,” and the choral chanting of “The Blind Eye of Antichrist,” but the album flows well and sounds great. Guitarists Nikolas Perlepe and Naberius weave a lush tapestry of blackened trem-picked riffs and retro leads (“I Totem,” “Give ‘Em My Beautiful Hell”), while bassist Jim Mutilator’s (ex-Rotting Christ, ex-Varathron) presence and influence infuse every second of Gone with the Devil. Vocalist HE and drummer Bill “Vongaar” Stavrianidis have excellent synergy, driving the album’s atmosphere and the ebb and flow of its tension. These performances shine thanks to Gone with the Devil’s production. The vocals might be a smidge forward and the rhythm guitars a touch back, but the mix is both intimate and spacious, offering warmth and clarity on an open soundstage.

Sound and performance can’t save an album, though. Where once Yoth Iria demanded my attention with a unique sound, Gone with the Devil seems geared toward maximum radio engagement or being inoffensive corporate playlist fodder. During my time with the album, I often felt like I was listening to a Temu version of Havukruunu. A seemingly intentional forfeiture of individuality, vapid filler track energy,2 and uninteresting—though adeptly played—instrumental performances make Yoth Iria’s latest a far cry from their previous work. Again, Gone with the Devil isn’t a bad album per se. It’s just milquetoast and unremarkable.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: PCM
Label: Metal Blade Records
Websites:Official | Bandcamp | Facebook | Instagram
Releases Worldwide: May 8th, 2026

Varathron – The Crimson Temple Review

By Doom_et_Al

“Always respect an old man still playing in a young man’s game,” the saying goes. “There’s a reason they’re still around.” With that in mind, it’s curious how little attention Greek black metal stalwarts, Varathon, generally receive. Formed 35 years ago in an era when many AMG staff had not been conceived, and Steel Druhm still had hair, Varathon were instrumental in establishing the famous “Hellenic black metal sound” alongside legends such as Rotting Christ and Macabre Omen. Perhaps it’s the frequent line-up changes, or the lengthy gap between albums (at 7 albums in 35 years, they’re no Rogga Johannson), or maybe it’s the long shadow cast by more famous contemporaries, but for whatever reason, these influential elders have long flown under the radar (only 2014’s Untrodden Corridors of Hades has been reviewed on this site). That’s a pity, because 2018’s Patriarchs of Evil was a fantastic slab of black metal goodness, crying out for TYMHM treatment. Now these legends are back with The Crimson Temple. Does the AMG Law of Diminishing ReturnsTM apply? Or does wisdom keep the inevitable at bay?

What’s always set Varathron apart from many pretenders is their willingness to incorporate elements of traditional metal into the black metal aesthetic. Yes, you’ve got the occult influences; yes, you’ve got the synths and the tremolos; but what you may not be expecting is the strong emphasis on riff-based melodies and a classic approach to songwriting. No long, pointless doodles or interludes… no, what we have here is verse-chorus-verse of the good stuff, with minimal bloat or drag. As their career has progressed, Varathon’s production have improved massively, with the music becoming more melodic and accessible. As we arrive at The Crimson Temple, we are, by black metal standards, in accessible territory, with Varathon continuing the trend of shinier production, catchier melodies, and a lighter approach. There’s also an embrace of slightly different styles (thrash, doom, and death metal all weave their way in). It’s with these explorations that things go slightly awry. While never unenjoyable, the new forays result in the band occasionally getting bogged down.

The Crimson Temple starts incredibly strongly, with three bangers right out of the gate. “Hegemony of Chaos,” “Crypts in the Mist,” and “Cimmerian Priesthood” highlight what makes Varathon such a potent outfit. There’s a perfect blend of evil atmosphere, catchy melodies, strong performances, and that uniquely Hellenic propulsion. These songs move, and they do so with purpose and momentum. I defy you not to tap your foot while listening to the chorus of “Crypts in the Mist.” Go on, just try it. If we’d had an album of these, we would all be rearranging our end-of-year lists. This approach isn’t completely abandoned in the second half, but only “Shrouds of the Miasmic Winds” comes close to capturing the early magic.

The Crimson Temple loses its footing when it marches gamely into realms Varathon aren’t as adept in. “Immortalis Regnum Diaboli,” with its emphasis on thrash, is only partially convincing, and that’s when the chorus steers back to black metal. “To the Gods of Yore” goes for a doomy, slower vibe that’s atmospheric, but boring. Varathon did this slow-song trick before, but whereas the more sedate parts on albums such as Patriarchs of Evil had gorgeous, melancholic synths, here we just have plodding guitars. It’s also a pity that most of the good material appears on the first half of the album, making it feel very unbalanced. There’s a noticeable loss of momentum as you head into the final quarter.

The Crimson Temple is incredibly frustrating to review. When it’s on fire, it’s excellent, highlighting what a potent and enjoyable band Varathron can be. I understand they wanted to experiment and avoid making an album of the same song repeated 10 times. But when that song is such a banger, I suppose I wanted them to do just that. The Crimson Temple shows that Varathon are not content to fly on autopilot in the twilight of their career. But sometimes, with age, comes wisdom. And wisdom is knowing what you’re good at and sticking with it. If there is another album in 6-7 years, I would love Varathon to consider that.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Agonia Records
Websites: varathron.bandcamp.com | facebook.com/varathron
Released Worldwide: December 1st, 2023

#2023 #30 #AgoniaRecords #BlackMetal #Dec23 #GreekMetal #MacabreOmen #Review #Reviews #RottingChrist #Varathron

Varathron – The Crimson Temple Review

By Doom_et_Al

“Always respect an old man still playing in a young man’s game,” the saying goes. “There’s a reason they’re still around.” With that in mind, it’s curious how little attention Greek black metal stalwarts, Varathon, generally receive. Formed 35 years ago in an era when many AMG staff had not been conceived, and Steel Druhm still had hair, Varathon were instrumental in establishing the famous “Hellenic black metal sound” alongside legends such as Rotting Christ and Macabre Omen. Perhaps it’s the frequent line-up changes, or the lengthy gap between albums (at 7 albums in 35 years, they’re no Rogga Johannson), or maybe it’s the long shadow cast by more famous contemporaries, but for whatever reason, these influential elders have long flown under the radar (only 2014’s Untrodden Corridors of Hades has been reviewed on this site). That’s a pity, because 2018’s Patriarchs of Evil was a fantastic slab of black metal goodness, crying out for TYMHM treatment. Now these legends are back with The Crimson Temple. Does the AMG Law of Diminishing ReturnsTM apply? Or does wisdom keep the inevitable at bay?

What’s always set Varathron apart from many pretenders is their willingness to incorporate elements of traditional metal into the black metal aesthetic. Yes, you’ve got the occult influences; yes, you’ve got the synths and the tremolos; but what you may not be expecting is the strong emphasis on riff-based melodies and a classic approach to songwriting. No long, pointless doodles or interludes… no, what we have here is verse-chorus-verse of the good stuff, with minimal bloat or drag. As their career has progressed, Varathon’s production have improved massively, with the music becoming more melodic and accessible. As we arrive at The Crimson Temple, we are, by black metal standards, in accessible territory, with Varathon continuing the trend of shinier production, catchier melodies, and a lighter approach. There’s also an embrace of slightly different styles (thrash, doom, and death metal all weave their way in). It’s with these explorations that things go slightly awry. While never unenjoyable, the new forays result in the band occasionally getting bogged down.

The Crimson Temple starts incredibly strongly, with three bangers right out of the gate. “Hegemony of Chaos,” “Crypts in the Mist,” and “Cimmerian Priesthood” highlight what makes Varathon such a potent outfit. There’s a perfect blend of evil atmosphere, catchy melodies, strong performances, and that uniquely Hellenic propulsion. These songs move, and they do so with purpose and momentum. I defy you not to tap your foot while listening to the chorus of “Crypts in the Mist.” Go on, just try it. If we’d had an album of these, we would all be rearranging our end-of-year lists. This approach isn’t completely abandoned in the second half, but only “Shrouds of the Miasmic Winds” comes close to capturing the early magic.

The Crimson Temple loses its footing when it marches gamely into realms Varathon aren’t as adept in. “Immortalis Regnum Diaboli,” with its emphasis on thrash, is only partially convincing, and that’s when the chorus steers back to black metal. “To the Gods of Yore” goes for a doomy, slower vibe that’s atmospheric, but boring. Varathon did this slow-song trick before, but whereas the more sedate parts on albums such as Patriarchs of Evil had gorgeous, melancholic synths, here we just have plodding guitars. It’s also a pity that most of the good material appears on the first half of the album, making it feel very unbalanced. There’s a noticeable loss of momentum as you head into the final quarter.

The Crimson Temple is incredibly frustrating to review. When it’s on fire, it’s excellent, highlighting what a potent and enjoyable band Varathron can be. I understand they wanted to experiment and avoid making an album of the same song repeated 10 times. But when that song is such a banger, I suppose I wanted them to do just that. The Crimson Temple shows that Varathon are not content to fly on autopilot in the twilight of their career. But sometimes, with age, comes wisdom. And wisdom is knowing what you’re good at and sticking with it. If there is another album in 6-7 years, I would love Varathon to consider that.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Agonia Records
Websites: varathron.bandcamp.com | facebook.com/varathron
Released Worldwide: December 1st, 2023

#2023 #30 #AgoniaRecords #BlackMetal #Dec23 #GreekMetal #MacabreOmen #Review #Reviews #RottingChrist #Varathron