In The Days Of Whore
(Ván Records)
48:04min
When you consider the type of Metal associated with Greece, your mind probably jumps to some of the more well known outfits like symphonic Death giants ROTTING CHRIST or extreme Metallers VARATHRON. Well, ZARATUS sound like one of the old Greek bands and can’t sound any different, because of their members musical heritage. Bill El (THOU ART LORD, ex – ROTTING CHRIST) and Necroabyssious (VARATHRON, ex – KAWIR) need no introduction though. ZARATUS process the old Greek sound with a lot of melodies, bombast and devilish creativity, which often gets stuck in your ear. “In The Days Of Whore” notably features varied and distinct use of keyboards / synth throughout, instilling exotic and otherworldly tonality that characterizes each piece with its own atmosphere. It’s a great combination of grim symphonic Metal elements with a dark and gloomy atmosphere that maintains all the punch and aggression Metal music truly demands. ZARATUS’ identity lies between mysticism, dark melodies and harrowing gruntings. This record will probably not please to modern sounds fans, but it is a real gem for gruesome old school lovers. A must have when you love the old Greek scene. www.facebook.com/zaratusblackmetal, www.van-records.com
Jarne Brauns
In The Days Of Whore
(Ván Records)
48:15min
ZARATUS is a Greek all-star band which features Bill El Zobolas from THOU ART LORD (all instruments) and Stefan Necroabyssius from VARATHRON (vocals). Since I’m a big fan of Hellenic Black Metal, I have to admit that I was thrilled to see how two big names from this scene managed to revive the Greek sound in 2021. Unfortunately I was partially disappointed. Let’s start from the visual imagery: both the logo and the front cover artwork are awesome. The album cover art is a fragment of the “Christian Dirce” painting by Henryk Siemiradzki (1897). “In The Days Of Whore” is the first full length album recorded by ZARATUS, preceded by an EP in 2019. Here we have seven songs of experimental Black Metal for almost 48 minutes. First of all, the rhythm section is provided by a drum machine. The guitars, despite the weak distortion, offer to the listener some epic and melodic riffs in the purest tradition of the Hellenic school and the Scandinavian one too, all well mixed with the deep Necroabyssius’ vocals. No problems so far, since you’ll get an average example of melodic Black Metal: nothing special, but pretty good. The problems come with the big amount of experimental sounds added to the music. In this album the true protagonist is the synth, used and abused in order to create a wall of pompous, symphonic and baroque sounds, alternated with other ones more into the industrial and martial territories. These sounds are definitely not my cup of tea. In conclusion, I’m sure that this album will be celebrated as a masterpiece by the enthusiasts of experimental Black Metal. But, if you’re into traditional and violent Black Metal, stay away from it. www.facebook.com/zaratusblackmetal, www.van-records.com
Rick Peart
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