. Satanath Records

Reviews: 003GD

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Here we are again, watering down the absolutist proclamation in our site’s name. Hell is clearly freezing over. Is nothing sacred any more? What has happened?


Yes, we are about to premiere an Exception to our Rule — a well-earned one that can’t be denied. What has happened is that the Greek band Disharmony have overcome your humble editor’s prejudices against clean singing in metal. How have they done this? Allow me to explain.


The song you’re about to hear is the title track on the band’s forthcoming new album (their second full-length), The Abyss Noir. When I first heard it, I didn’t know about the vocals. What grabbed me right away were the warping, dissonant leads, the tumbling drums, and the transition to a burst of hard-jabbing riffs and swirling fretwork. When those clean vocals finally did made their surprising appearance, I was already moving my head to the song’s pneumatic, hammering rhythms.


But man, those vocals really are strong. It’s a classic heavy metal style, and Chris Kounelis shows impressive range as well as explosive vibrancy, sending his voice soaring and trailing fire behind it in the song’s crescendos. But everyone else in the band turns in an impressive performance, too. Guitarists J. Karousiotis and Stefanos Georgitsopoulos supercharge the music with highly addictive and dynamically changing riffs, attractive melodies, and solos that range from face-melting to slow and ethereal, while drummer Thanos Pappas and bassist Panagiotis Gatsopoulos provide a physically compulsive drive.


If we’re going to make Exceptions to our Rule (which, truth be told, we’ve always done), then a song like this one can’t be ignored. It’s just too damned good.




Eine griechische Band veröffentlicht auf einem weissrussischen Label? Das hatte ich auch noch nicht...

Mir war die Truppe mit dem nichtssagenden Bandnamen unbekannt, es gibt noch sieben weitere Bands mit diesem Namen. So ist Verwechslungsgefahr vorprogrammiert und man wird eventuell Opfer seiner eigene unkreativen Namenswahl. Denn selbst in Griechenland gibt es eine zweite Truppe mit dem selben Namen, die ist allerdings im Black/Death Metal unterwegs und steht bei Iron Bonehead unter Vertrag.


Nun aber zu "unseren" Disharmony. Sonderlich schnell scheint man nicht zu sein, seit der Gründung 1996 erschienen bis jetzt drei Demos und ein Album.

Aber was für ein Albumeinstieg, das Titelstück "The Abyss Noir" lässt einen ordentlich die Kinnlade runterklappen. Judas Priest, Saviour Machine, Iced Earth, das sind die ersten Gedanken die einem durch den Kopf gehen wenn Sänger Christos Kounelis loslegt. Und auch die musikalische Hintermannschaft verwöhnt mit kraftvoll klassischem Metal mit leichter Melodeathkante. Wahnsinn.

Schade das man dieses Level nicht halten kann, danach verflacht das restliche Material etwas und steckt in Beliebigkeit fest. Die Komponenten sind die gleichen, aber irgendwie finden sie nicht richtig zusammen. Dazu kommt noch Gesang bis in Eunuchenhöhe (z.B. in "Delirium"). "This Caravan" flirtet mit progressivem Metal, ist aber weder Fisch noch Fleisch.

Und dann noch eine Coverversion, "Disposable Heroes" von Metallica. Ist denen echt nix besseres eingefallen? Musste das sein wenn doch erkennbar das Potential für weit mehr da ist. Und dann noch Metallica...

Die Schmacht/Power Ballade "A Song For A Friend" reisst das Ruder leider auch nicht mehr herum und lässt mich etwas enttäuscht und ratlos zurück. Saustarker Einstieg mit einem absoluten Übersong, danach das abdriften in Belanglosigkeit plus eine unnötige Coverversion. Man könnte meinen der Bandname würde sich bewahrheiten, Disharmonie. In meinen Augen verschenktes Potenzial...     





Formed over two decades ago, Disharmony loves to combine various music influences ranging across heavy, doom, power, and progressive metal. After three demo releases, the band released debut full length titled "Shades Of Insanity" in 2014 via Noisehead Records, leading the band to open for legendary bands like Sanctuary and Arch Enemy in Greece and Cyprus.


A canvas of emotions, art, power, and melody comprise follow-up album "The Abyss Noir," with the title track featuring a dissonant riff progression together with sensational vocal deliveries.



When you think of the Greek metal scene, Firewind are likely the first name to spring to mind, along with the more extreme stalwarts such as Rotting Christ, Suicidal Angels or Septicflesh. Underneath the surface however, there is quite a nice little traditional/power metal scene bubbling up, of which Disharmony can claim to be a part of. With a sound rooted in the riff orientated heavy/power mould of US giants such as Iced Earth or Nevermore, the barrage of speedy, thrashing surges, tight, rhythmic chugs and mighty vocal prowess of Chris Kounelis is sure to endear to fans of the aforementioned. The Abyss Noir sees the quintet try to break through with the often difficult second album.

In a sub genre like this, you generally want the opening song to come out swinging, and although the title track isn’t bad, it’s not the rip roarer you’d hope it would be. It does have some nifty, stuttering style prog riffing and a suitable sense of heavy metal grandeur, but it feels like it’s building to something that never comes. “Vain Messiah” is a more thrashing monster, and although the galloping verse is on the generic side, the accomplished lead work, grand vocal hook in the interlude and sick groove in the chorus make it one of the better tracks here. The gentle, brisk opening of “Delirium” leads to a riff never really settles, but there’s some good use of melody and guitar interplay throughout. The supple thrash of “This Caravan” sees the haunting atmosphere pierced by stabbing guitars, with some subtle harmonies and a superb solo standing out in an otherwise forgettable song.

The track most likely to pique interest among curious listeners is the rendition of Metallica’s epic thrash classic “Disposable Heroes”. Covering such a huge song was always going to be a tough ask, and it is a fair effort, despite some glaring flaws. They absolutely nail the verses, largely because they’re based around the sort of riff that they use to build their own songs. The solo, one of Kirk Hammett’s finest, is also well done. However, the dynamics of the song are all wrong. The chorus sorely lacks the youthful vigour of the original, whilst the post refrain ‘back to the front!’ section sounds rather hurried, making the whole thing sound a bit awkward. If anything, the performance is a bit too tight and robotic, robbing the song of its intensity and edge. I can’t say it’s awful, but it comes across as the sort of competent but unremarkable cover you’d find on a tribute album.

Picking up the pieces and closing out the album is “A Song for a Friend”, comfortably the best track here. It’s an entirely different proposition than the five preceding tracks, with a sound that is more akin to gothic influenced doom metal of My Dying Bride and their ilk. A procession of mournful strings and a beautiful dual guitar/bass melody washes over gentle acoustic strums, as Kounelis’ low vocals make you wonder if Aaron Stainthorpe didn’t wander in off the street for a guest spot. The song cranks it up a notch halfway through; the strings and guitars working wonderfully in unison as the pace briefly picks up before the song bows out superbly with somber acoustic plucks. It’s somewhat at odds with what came before, but it shows there’s more Disharmony than meets the eye. It’s certainly the sort of sound they could do well should they ever choose to veer in a doomier direction.

Overall, The Abyss Noir is a decent record. The band are all accomplished musicians who put in largely faultless shifts, but the songwriting is a bit of a mixed bag. There are moments of brilliance, with the final track showing they’d perhaps be better off pursuing a more melancholic, doomy approach. As is, they’ll do alright, but I can’t imagine they’ll be producing the sort of albums that commands repeated plays any time soon.





Δεύτερο άλμπουμ για τους Disharmony, μια μπάντα που έχει φτάσει πλέον τα είκοσι χρόνια ύπαρξης, όσο βέβαια κι αν δυσκολεύομαι να πιστέψω ότι πέρασαν τόσα χρόνια από το πρώτο τους demo. Να κάνω βέβαια μια μικρή παρένθεση ότι δεν μιλάμε για τους blacksters Disharmony, οι οποίοι μαθαίνω ότι έχουν επιστρέψει στα Αθηναϊκά λημέρια, αλλά τους επίσης Αθηναίους power metalers. Παρά τα μεγάλα διαστήματα αποχής, τα τελευταία χρόνια η μπάντα δείχνει πιο συνεπής και πιο σταθερή, όχι μόνο στην παρουσία της, αλλά και στη μουσική της κατεύθυνση. Το Αθηναϊκό σχήμα μας δίνει λοιπόν το νέο τους δίσκο από την GrimmDistribution και διεκδικεί μερίδιο από την προσοχή μας. Το αξίζει;


Με μια λέξη, ναι. Το αξίζει και με το παραπάνω. Το σύγχρονο power metal που παίζει είναι σαφώς επηρεασμένο από την Αμερικάνικη σκηνή. Είναι αρκούντως τεχνικό και νευρώδες, δίχως να υπολείπεται μελωδιών, όχι κατ’ ανάγκή ’χαρούμενων’. Ο ήχος των Disharmony χρωστά πολλά στους Nevermore, αυτό είναι αλήθεια, όμως δεν είναι μόνο αυτό. Το "The Abyss Noir" περιλαμβάνει πολλά, όπως προείπα, τεχνικά σημεία. Όχι απαραίτητα στυλιζαρισμένα progressive μέρη, αλλά σίγουρα μέρη που απαιτούν ειδικές δεξιότητες και όραμα πρωτίστως για το που και πως κατευθύνεται ηχητικά η μπάντα. Κάποια Cynic-οειδή περάσματα είναι απροσδόκητα και σαφώς ευχάριστα (έστω κι αν είναι λίγα), ενώ δεν λείπουν οι στιγμές που η μπάντα κινείται σε αυτό το power/thrash μεταίχμιο των Exodus, Forbidden και Flotsam & Jetsam. Το τελευταίο φαίνεται καλύτερα στη διασκευή του "Disposable Heroes" και στο πως την έχουν φέρει σε αυτά τα μέτρα. Όλο αυτό προδιαθέτει πολύ θετικά και γεννά διαρκώς προσδοκίες κατά την ακρόαση του. Το άλμπουμ αναπτύσσεται γρήγορα και διαρκώς αποκαλύπτεται στον ακροατή.


Συνθετικά κινούνται σε ανώτερα επίπεδα από το προηγουμενό τους άλμπουμ. Όμως και εκτελεστικά συμβαίνει το ίδιο. Σε απλά ελληνικά αυτό το λένε πρόοδο και ωριμότητα. Τραγούδια όπως το "Delirium" και "Vain Messiah" χαράσουν την λεπτή γραμμή μεταξύ επιθετικότητας και μελωδικότητας στην οποία ακροβατούν επιδέξια οι Disharmony. Επίσης καλές στιγμές είναι τα "A Song for a Friend", όπου δείχνουν μια πιο ήπια και μεστή φύση, και το εναρκτήριο "The Abyss Noir". Έχω μια μικρή ένσταση για την παραγωγή, γιατί είναι στο ευρύ αυτό πλαίσιο των πολύ ’μοντέρνων’ παραγωγών που ναι μεν προσδίδουν καθαρότητα, αλλά αδυνατίζουν εν τέλει τον ήχο. Φαντάζομαι ότι δεν μπορούμε να τα έχουμε όλα. Ένα ακόμη σημείο αναφοράς, μάλλον διφορούμενο, είναι η μικρή του διάρκεια. Κι αυτό μάλλον γιατί αδικεί το συγκρότημα και την προσπάθεια που έχει κάνει και που ως ένα σημείο δείχνει ημιτελής.


Σε γενικές γραμμές πρόκειται για μια πολύ καλή κυκλοφορία που -επαναλαμβάνω- αξίζει της προσοχής των φίλων του τεχνικού σύγχρονου power metal. Είναι από τις περιπτώσεις που ένα άλμπουμ κυλά ευχάριστα και καλεί σε συνεχείς ακροάσεις. Υπ’ αυτή την έννοια κάποιος δεν θα μετανοιώσει την αγορά του "The Abyss Noir", αλλά θα την ευχαριστηθεί.




Disharmony  are  a  band  from Greece  that  plays  a  mixture  of  heavy  and  doom  metal  and  this  is  a  review  of  their  2017  album  "The  Abyss  Noir"  which  was  released  by  Grimm  Distribution.


  A  very  heavy  and  melodic  sound  starts  off  the  album  and  you  can  also  hear  all  of  the  musical  instruments  that  are  present  on  this  recording  and  after  awhile  prog  elements  and  clean  singing  vocals  are  added  onto t he  recording and  the  music  is  mostly  rooted  in  and  epic  and  traditional  style  of  doom  metal.


  When  guitar  solos  and  leads  are  utilized  they  are  done  in  a  very melodic  fashion  and  they  also  take  an  80's  style  and  make  it  more  modern  and  when  the  music  speeds  up  briefly  a  small  amount  of  blast beats  can  be  heard  while  clean  guitars  can  also  be  heard  briefly  and  some  of  the  tracks  are  very  long  and  epic  in  length  and  they  also  bring  in  a  cover  of  Metallica's  "Disposable  Heroes"  and  stringed  instruments  and  acoustic  guitars  are  added  onto  the  closing  track.


  Disharmony  plays  a  musical  style  that  takes  80's  doom  and  traditional  metal  and  mixes  them  in  with  a  more  modern  sound  to  create  something  different,  the  production  sounds  very  professional  while  the  lyrics cover  dark  themes.


  In  my  opinion  Disharmony  are  a  very  great  sounding  mixture  of  heavy  and  doom  metal  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band. 





Gli Ateniesi Disharmony giungono al loro secondo lavoro, fresco di pubblicazione per Grimm Distribution. Il quintetto è composto da Christos Kounelis alla voce, alle due asce John Karousiotis e Stefanos Georgitsopoulos, al basso Panagiotis Gatsopoulos ed infine dietro le pelli Thanos Pappas. Il genere proposto è il risultato di diverse influenze dall'Heavy classico al Doom , le sonorità spesso strizzano l'occhio anche al Thrash mentre lo stile compositivo è basato anche su strutture Progressive.


L'apertura è affidata alla title track "The Abyss Noir": pezzo subito diretto, tecnicamente ben suonato, accordature sotto come si addice a questi generi. Quando parte la ritmica veloce con i primi intrecci di chitarra pare di trovarsi di fronte ad un giro ritmico dei Symphony X, mentre il cantato di Kounelis diventa subito un tratto distintivo con il timbro particolare e le marcate capacità interpretative ci ricorda un pò lo stile di Mike Patton dei Faith No More. Con la successiva "Vain Messiah" rimaniamo sulla stessa strada del brano di apertura: dopo l'inizio cadenzato, ad una prima sfuriata veloce fa seguito una parte lenta in linea con il moniker della band, quindi disarmonica, tanto che all'inizio spiazza l'orecchio ad un primo ascolto. Sul finale il sound diventa ipnotico. Proseguiamo con "Delirium", costruita su un mid tempo e sulla grande prova interpretativa del vocalist. Verso la metà del pezzo un breve giro di chitarra quasi helloweeniano trae in inganno l'ascoltatore, anche i primi Iced Earth hanno sicuramente influenzato i nostri. Arriviamo velocemente al giro di boa con "This Caravan": i riff veloci iniziali ci spingono verso la dimensione oppressiva e oscura del combo greco che continua a mettere alla prova le nostre capacità cognitive, giocando con il tempo, le tonalità e cambi di difficile assimilazione. Arriviamo alla cover dei Metallica "Disposable Heroes", resa con rispetto e senza scostarsi dall'originale: ottima prova di Kounelis, che cerca di mantenere il suo timbro pur cercando un'affinità vocale con l'originale in alcune parti. In generale il quintetto ellenico sembra trovarsi a proprio agio con le sonorità della Bay Area. Il brano è una bonus track incisa in occasione di una raccolta allegata a Metal Hammer in occasione del trentesimo anniversario di "Master of Puppets". La conclusiva ballad "A Song For a Friend" si apre sognante in acustico, con il pianto di un neonato in primo piano: di fatto è un magnifico brano, impreziosito da una melodia struggente sulla quale si inserisce il violino di Matthew Dakoutros dei connazionali Arts of Semplicity, che ben si sposa con l'atmosfera creata. Qui l'interpretazione del vocalist prende il volo, ottima chiusura.


I Disharmony tornano con questo "The Abyss Noir", dopo tre anni dalla loro prima uscita discografica, dopo aver aperto in Grecia per gli Arch Enemy e i Sanctuary, oltre che aver suonato live in diversi festival. La miscela creata è vincente e ben sostenuta da musicisti tecnici e precisi: una menzione particolare va fatta al cantante dotato di un timbro personale e da ottime capacità interpretative. La strada intrapresa è sicuramente giusta, anche se a volte i continui cambi e le dissonanze rischiano di spiazzare l'ascoltatore, non lasciando riferimenti precisi, ma nonostante questo, tante idee e spunti interessanti elaborati in modo personale. La song finale è uno degli episodi meglio riusciti dell'intero lavoro, elegante nel suo malinconico incedere, ci trasporta nel mondo onirico dei Disharmony.





Κατ’ αρχάς, εδώ έχουμε να κάνουμε με του heavy metallers Disharmony και όχι τους deathsters, προς αποφυγείν παρεξηγήσεων.


Ως fan των Nevermore και των Sanctuary (κυρίως των 2 πρώτων δίσκων), θυμάμαι ένα απόγευμα προ 2ετιας, που έτερος fan των προαναφερθείσων μπαντών με σύστησε σ’ αυτούς εδώ τους παλίκαρους με το τότε φρέσκο ντεμπούτο τους “Shades of Insanity”. Ένα δίσκο που θα τράβαγε τα βλέμματα και θα κρέμαγε τα σαγόνια από ενθουσιασμό και του πιο απαιτητικού fan του είδους. Σήμερα, 2 χρόνια μετά από εκείνο τ’ απόγευμα, βρίσκομαι στην ευχάριστη θέση και τιμή να γράψω για την 2η επίσημη full length κυκλοφορία των Disharmony, “The Abyss Noir”.


Το “The Abyss Noir”, πιστό στις επιρροές του και κυρίως στον επαγγελματισμό, την δημιουργικότητα και την αγάπη γι’ αυτή τη μουσική, με το καλημέρα μας δείχνει ότι θα ταράξει τα νέρα την εγχώριας και μη σκηνής, ακριβώς όπως έκανε και ο προκάτοχός του. To ομώνυμο και άκρως Nevermoρικό “The Abyss Noir” πάλεται στα ακουστικά, με τα αφηνιασμένα riff να ανακατεύονται ποικιλοτρόπως με «άρρωστα» κιθαριστικά περάσματα και τα θεατρικά φωνητικά του Χρήστου Κουνέλη, καθιστόντας σου αδύνατον να μην αρχίσεις να κουνάς ρυθμικά το κεφάλι με γυαλισμένο μάτι και χαμόγελο ικανοποίησης. Κανόνας που τηρείται ευλαβικά καθ’ όλη την διάρκεια του δίσκου. Σε ίδιους ρυθμούς και το πιο groovατο “Vain Messiah” που στα μισά του κάνει μια ατμοσφαιρική στάση… και η πρώτη «σειρήνα» κάνει την εμφανισή της. Κ@@λα!!! Ακολουθεί το hitάκι “Delirioum” με στρωμένα ατμοσφαιρικά χαλιά, χοροπηδηκτό ρεφραίν για live ξελαρυγγιάσματα, και τον Κουνέλη να σε κολλάει στον τοίχο με την εκπληκτική ερμηνεία του και την θεατρικότητα του. Στο κλειστοφοβικό “Caravan” ένα σκοτεινό πέπλο απλώνεται, οι ρυθμοί πέφτουν αλλά η δημιουργική δυνότητα των Disharmony κοχλάζει στη χύτρα του Panoramix, με υλικά που βρίσκονται έξω από αυτό τον πλανήτη. Την περιττή, κατά την γνώμη μου, και ομολόγουμένως άρτια επανεκτέλεση του “Disposable Heroes” των Metallica ακολουθεί και το ίσως πιο προσωπικό και τελευταίο κομμάτι του δίσκου, “A Song for a Friend”. Λυρικό, ατμοσφαιρικό και φορτισμένο κλείνει τον δίσκο και η μπάντα μας αποχαιρετά μελαγχολικά μέχρι τον επόμενο.


Το “The Abyss Noir” είναι από τους δίσκους που βάζεις στο cd player να τον ακούσεις πρώτη φορά και μένει εκέι κανά τρίμηνο. Χορταστικό (παρά τα 5 μόλις κομμάτια και μια διασκευή) και κατά την γνώμη μου ALBUM ΤΗΣ ΧΡΟΝΙΑΣ ως τώρα.






Greek melodically inclined power metal band. Think less Helloween, Orden Ogan or Rhapsody (of Fire) and more Iron Maiden (or their many copycats like Deaf Dealer or Twisted Tower Dire).


Christos Kounelis works a nasal nigh-baritone sort of thing on the vocal end, amping up the dramatics over the twin guitar assault of John Karousiotis and Stefanos Georgitsopoulos (say those names three times fast, I dare ya), who keep things somewhere between thrash and power metal throughout.


Thanos Pappas’ typewriter double bass and muted tom rolls cement the power metal designation, while occasional syncopated fills point towards a more progressive orientation borne out by their opening for Sanctuary during tour stops in Greece and Cyprus (Kounelis even lets out the rare high pitched shriek in homage to Darrell Wane, so there ya go).


There is some definite 90’s corner of the mouth/false harmonic squealing Alice in Chains bullshit infecting the proceedings here (particularly noticeable on tracks like “vain messiah”), but others like “this caravan” seem to point to post-Empire Queensryche, so go figure.


Definite possibilities for these guys – good production, strong presence and a quirky yet well defined sense of personality pervade this release.


My own feelings about the album are more mixed, but objectively speaking, if any band this month says “these guys may be destined for bigger things”, Disharmony is the one.





Starting in 1996 and delivering three demos before getting a debut album in Shades of Insanity out for 2014, the stick-to-it mentality for Greek band Disharmony is admirable. The Abyss Noir as the follow up intersects at progressive meets doom/heavy metal riffing, tempos, and melodies – imagine a Pete Steele-ish meets lower register Warrel Dane vocal presence against music that can be Nevermore or Iced Earth one moment, then sprinkle in nuances of Opeth or Voivod and you understand the quintet’s unique outlook. “Vain Messiah” features jaw dropping lead arpeggio tradeoffs, while “This Caravan” traverses jagged, catchy riffs and atmospheric twists and turns from the potent rhythm section. Don’t know about the cleaner, accented vocals on their “Disposal Heroes” cover working out as well as the Metallica original – but not too bad of a diversion of you want progressive heavy/doom-oriented metal that isn’t of the norm.





Formado em mais de duas décadas atrás em Atenas-Grécia, DISHARMONY é uma banda de metal de Atenas, que gosta de combinar várias influências musicais – que vão desde Heavy, Doom e Progressivo.


Depois de três demos lançadas, a banda lançou seu debut full length intitulado “SHADES OF INSANITY” (2014, via Noisehead Records), que ganhou críticas muito positivas de todo o mundo e ao mesmo tempo a banda abriu para bandas lendárias como SANCTUARY e ARCH ENEMY na Grécia e Chipre, e tocou em muitos festivais / shows.


Agora, a banda lançou seu segundo CD, intitulado “THE ABYSS NOIR” e se prepara para promovê-lo ao tocar ao vivo, tanto quanto possível, enquanto, por outro lado, já está trabalhando no sucessor de “The Abyss Noir” .


Uma tela de emoções, arte, poder, crueza e melodias poderia ser uma pequena sinopse do que “O ABYSS NOIR” é.


A inspiração clássica de Heavy / Doom da banda avançou perfeitamente no caminho moderno com a amalgamação de metal Progressivo e uso em pequena escala de Groove Metal.


Os vocais limpos e profundos dominam o registro inteiro junto com a progressão cativante do som da guitarra.


Ele também contém um cover do Metallica “Disposable Heroes” como uma faixa bônus, que também foi parte do Metal Hammer (revista) tributo CD para o 30 º aniversário do “Master of Puppets” álbum.


Matthew Dakoutros (violino) do Athenian Progsters Art of Simplicity tem uma participação (maravilhosa) na trilha final, “A Song For A Friend”.




Οι Disharmony για όσους δεν γνωρίζετε είναι ένα Heavy/Doom Metal συγκρότημα με καταγωγή από την Αθήνα, που όμως καμία σχέση δεν έχουν με τους γνωστούς Black Metallers Disharmony, επίσης από την Αθήνα. Είναι περίεργο και ειρωνεία ταυτόχρονα να βγάζουν δύο μπάντες με ίδια ονομασία και καταγωγή δίσκο την ίδια χρονιά ( 2017) αλλά με διαφορετικό ήχο.


Τέλος πάντων. Ας πάρουμε από την αρχή καθώς σήμερα θα αναφερθώ στο δεύτερο ολοκληρωμένο δίσκο των Αθηναίων Heavy/Doom Metallers, με τίτλο “The Abyss Noir” ο οποίος κυκλοφορεί από την GrimmDistribution, που έχει έδρα τη Λευκορωσία.


Οφείλω καταρχήν να ομολογήσω πως ο δίσκος κατάφερε να μου κινήσει το ενδιαφέρον, καθώς έχει πολλά στοιχεία progressive και μου έφερε σε κάποια μέρη στο μυαλό τους Nevermore και σε κάποια άλλα τους Katatonia, ενώ θα ακουστούν και άλλες επιρροές γενικά κατά τη διάρκεια του δίσκου. Γενικά όμως θέλουν δουλειά, γιατί σε μερικά σημεία η μουσική γίνεται λίγο μονότονη.


Οι εναλλαγές στα φωνητικά ήταν πολλές, ενώ όσον αφορά τη σύνθεση των τραγουδιών, νιώθω λες και έγινε μία μίξη πολλών σύντομων κομματιών σε ένα κομμάτι, γεγονός που μου ακουγόταν κάπως περίεργο. Επίσης, η ένταση των τυμπάνων, αλλά και της παραγωγής γενικότερα, δεν ήταν όσο δυνατή όσο θα ήθελα. Αν η ένταση στη μουσική ήταν πιο δυνατή, το αποτέλεσμα θα ήταν σίγουρα καλύτερο. Από την άλλη, μου άρεσε πάρα πολύ η διασκευή που έκαναν στο “Disposable Heroes” των Metallica, με το μπάσο να είναι πολύ ευδιάκριτο. Η διασκευή αυτή ήταν γενικά πολύ καλή και φαίνεται ότι αυτό το στυλ τους ταιριάζει περισσότερο


Η θεματολογία των στίχων είναι αρκετά καλή και κοντά στο εξώφυλλο, που είναι σε καλό επίπεδο. Αν το δω συνολικά, όμως, θα πω πως ένιωσα ότι έχασα λεπτά από την ζωή μου, καθώς δεν μου άρεσε ιδιαίτερα ο δίσκος, αν και εκτίμησα πολύ το μπάσο σε αυτό το δίσκο που η παραγωγή και οι συνθέσεις ήταν γενικά μέτρια.




O Disharmony mistura técnica e peso para reproduzir um belo Thrash/Power Metal na linha do Nevermore, Iced Earth e Ashes of Ares.


A afinação baixa e músicas corpulentas recebem todo o apoio de uma bateria imponente e com bom uso dos pratos como fez Van Williams em seus registros tanto com o Nevermore quanto Ashes Of Ares.


As próprias linhas de guitarra lembram muito os riffs e palhetadas de Jeff Loomis e Freddie Vidales.


Os vocais, por sua vez, trazem grande inspiração em Warrel Dane e Matthew Barlow ,seja respectivamente nas fases Nevermore e Sanctuary (atual) como Iced Earth, Pyramaze e o já citado Ashes of Ares.


Dos destaques, “Abyss Noir” é quem guia o primeiro ‘headbanging’, com palhetadas técnicas e o riff mais cativante do álbum. “This Caravan” traz grande imersão com sua atmosfera progressiva e melancólica. “A Song for a Friend” é uma obra prima em beleza e de certo uma grande balada folk. E destaque especial ao cover do Metallica, “Disposable Heroes”. .


É segundo álbum do cheio do grupo grego, que galga seu caminho há mais de duas décadas, e engatou finalmente em 2014, com o primeiro álbum, “Shades of Insanity”.





''The Abyss Noir'', partiamo dalla traccia che dà il nome all' EP.

Apriamo le danze con una scarica di doppio pedale che arriva dritta al buco dello stomaco, la sezione ritmica delle chitarre si prepara a picchiare duro sui nostri timpani, ed infatti subito dai primi secondi arriva la martellata in faccia, le linee vocali ti tengono sospeso in un mondo mistico con sonorità molto particolari, bridge e chorus suddivisi da un 1 vs 1 fra tastiere e chitarre, magnifico, ancora queste linee vocali di un altro pianeta vi accompagneranno fino al solo, ottima traccia che si chiude sfumando lasciandovi la voglia di sentire cosa sappiano fare ancora questi ragazzi.

Passiamo alla seconda traccia, "Vain Messiah", intro diciamo molto Panteriano, ma che sfuma in un bell'intro thrash, molto più cadenzata questa traccia, vi farà sbattere la testa da subito, le linee vocali inizialmente potrebbero non entusiasmare, ma aspettate qualche minuto e vi ricrederete. Insomma, questi greci ci sanno proprio fare, si in melodia che in tecnica, complimenti anche alla produzione che per ora, non ne ha sbagliata una, ottimo mix, la mia traccia preferita dell' ep. In questa traccia troviamo anche uno scontro fra chitarre che non delude affatto, dialogano perfettamente insieme.

"Delirium", credo che nome più azzeccato per questa traccia non esista, e un vero piacere ascoltare come questo pezzo sia nello stesso momento su generi diversi, d'altronde I disharmony (come da loro ammissione, adorano non seguire un vero e proprio genere, come il sottoscritto, ed è per questo che si sono appena guadagnati un posto nella mia playlist d'élite).

"This Caravan" spezza un po' l'adrenalina, uno dei pezzi più tranquilli dell'album. Una piccola pausa prima della chicca che ci hanno riservato questi ragazzi. Ottimo pezzo, ma purtroppo non ha quella carica dicherò ha contraddistinto i primi tre pezzi, ottima produzione e ottimo sound comunque.

Ma adesso apriamo una piccola parentesi sul regalo che ci fanno questi signori, una cover dei pionieri del metal, signori niente meno che "Disposable Heroes". Esecuzione magistrale, io azzarderei quasi un meglio dell'originale, ma non vorrei tirarmi dietro la rabbia di qualcuno. Ottimo lavoro!!!

In conclusione arriviamo al pezzo che chiude questo ep, "A song for A Friend", unica ballad, che vi accompagnerà verso la fine dell'album, gli arpeggi di chitarra ci portano in un'altra dimensione, insomma una vera e propria opera d'arte.

In conclusione, i "Disharmony" con questa fatica, hanno dimostrato di saperci davvero fare, stilisticamente avanzati e ultra-preparati per un songwriting del genere, i complimenti vanno fatti anche alla produzione che ha veramente fatto un ottimo lavoro. Io intanto, vi aspetto live in Italia!

Dalla Grecia con furore.






So Nevermore are nevermore and Sanctuary didn't quite turn out to be the place we wanted it to be. Straight off the bat I am going to say I love both bands, Warrel Dane is high on my list of the greatest Metal singers of all time, but of late apart from a re-hash of an old Sanctuary album he has been a bit quiet. Get to the bloody point you say. Fine.




Disharmony Hail from Athens in Greece, So do lots of bands. no big deal there, but call me an Elephant with two trunks if I'm lying people, Disharmony now have the honour of filling the gap that the dispersal of Nevermore caused in my life, albeit with their own twists these guys are simply fantastic. The Vocals of lead singer Chris Kounelis have a slightly lower register than said Warrel but fuck, when he hits the high notes, shit me a brick, Rob Halford even comes to mind. What about the rest of the band would be the next question wouldn't it?




Tracks one though four are divine to say the least, and if you get the drift of what I am trying to say you will instantly fall in love with them. Tight as a fishes bum to coin a phrase, again very similar to what has come before but still able to put their own stamp on things, The Riffs are amazing, The Drum and Bass work astounding, leading me to the next point, and possibly the bone of contention for most.




How do you cover one of the biggest songs from one of the biggest bands of all time and think you will get away with it? The arrogance is astounding! I can already hear the uproar!! When I saw it on the track listing I felt that little pang that we all get when one of our childhood songs gets messed with by a newer band and just hoped for the best, they are doing just great! I don't need to hear this!! let's just skip it! Glad I didn't. When James Hetfield was going to give up the vocals for Metallica they apparently tinkered with many a replacement. Chris Should have stuck his hand up, and Panagiotis on Bass would make Cliff Burton proud.




The Closing song "Song For A Friend" is equal parts tragic and brilliant. I do not know the inspiration for it but it certainly moved me. A very sad and emotional piece of work, the acoustic work of both Guitar players is simply perfection, a real tear jerker in the finest sense. brilliance.




Thank you Disharmony for making my world a little more whole again, hopefully many more will feel the same.





I don’t remember if it was a case of Metal Archives or MySpace bingo (randomly clicking or next band until something interesting shows up) where I first found out about DISHARMONY. It was something like that at least and I was highly impressed with what I heard. Their progressive Heavy / Power Metal with a huge NEVERMORE complex couldn't fail in my world. I loved it. Also, catching them live and seeing that they could pull it off, just added to the picture. And then, they disappeared! Until “The Abyss Noir”, the band's second full length album, showed up in my promo-pool, curiosity took over and I couldn't resist it.


And I'm glad I didn't, as I love their dark and gloomy style of complex Metal. The NEVERMORE vibes are still there roaming around the more fateful songs like “The Learning” or “This Godless Endeavour”, it's epic, dramatic and melancholic. It's a particular style which perhaps doesn't appeal to the greater masses. But if the description sounds interesting, then DISHARMONY is well worth checking out. As with most Greek bands making it in the scene, everything is flawless and Chris Kounelis is a very good vocalist with a great range and a lot of emotion in his voice. I think they could have benefited with a clearer production though as the whole sound is a bit dimmed and muddy.


The flow and dynamics in the opener as well as title track “The Abyss Noir” is fantastic though and I really enjoy the complex song-structure which is very well balanced with strong melodies. Dynamic “Dilerium” is definitely one of the best tracks of the “The Abyss Noir” album reaching from psychedelic to really heavy riffs. It's perhaps not that striking during the first 1-2-3 spins but the more I listen, the more I like this one.


Also, “This Caravan” is a spectacular song being more traditional to the genre and I really like the gnawing verse riff with the disharmonic chords. When it's released into a more melodic passage, it really sends shivers down my spine. Things like these were what got me stuck in the first place and I still love it. The mellow album closer “A Song For A Friend” is another fantastic piece of music, dark and doomy. The first half is acoustic which makes it very heavy when it kicks off in the second half. And with this song DISHARMONY certainly earn their 'Doom' label. Again, it's a flawless musical performance, beautiful melodies and for this track the production fits very well. It all becomes soft and gloomy and finishes off “The Abyss Noir” in a very good way.


The album also includes a cover of METALLICA's “Disposable Heroes” which of course both is a good song and a cool track to cover. DISHARMONY did a very nice version of it as well but as I usually say, I prefer originals in front of covers, especially when the record is as short as this one is. It's just around 36 minutes including the 8-minute METALLICA epos.


Musically “The Abyss Noir” is a very decent album but sound-wise it feels a bit primitive for the style and I think some of the band’s fines get drown in the production. It definitely got my interest up for DISHARMONY again though.





Disharmony, based out of Athens, Greece, plays a brand of heavy metal that I truly love. They sound like a mix of Sanctuary, Nevermore (my favorite band from this genre; Jeff Loomis is a shred master), Judas priest, Iron Maiden (vocally), I hear some Anthrax in there, and some Iced Earth as well. They released their newest album, The Abyss Noir, through Grimm Distribution on April 20th, 2017.


        This is an album to satisfy those who miss Nevermore as much as I do. The guitar playing is so damn good, and the vocals flow with them so well, especially in “Vain Messiah”, the 2nd track of the cd. “Delirium” opens up slower, but no less epic, and transitions flawlessly into a heavy riff. This is a track where the Nevermore influence is very apparent, but not in an overbearing way. Disharmony included a cover they recorded for the 30th anniversary tribute to Master of Puppets by Metallica; put out by Metal hammer magazine. That cover was for “Disposable Heroes”, one of the best songs on the MoP album. Normally, I hate covers. I think a band should capitalize on its own work, and not use the gimmick of doing another bands song on their album. In this case however, seeing as though it was originally on a tribute to the best album of all time, they executed it masterfully, and added in their own flair, it is a cover that works so very well. It’s fast, so fast, one of the fastest on the Puppets album, and Disharmony nailed it. The bass tone is fat, and I think Cliff Burton would be proud to hear how well they played his amazing bass lines. The leads are played like they wrote them themselves, and overall this is a very enjoyable cover. Album closer, “Song for a Friend”, is slower, and opens with some beautiful violin playing; it is also a very diverse song, with elements within from so many different areas. It’s hard to pinpoint them all, but they mesh and weave together very well, and make for a great way to end an already great album.


        So, if you guys liked any of the bands I mentioned as influences to Disharmony’s music, then go check out this fantastic band. It is well worth the listen.





Еще один хороший релиз, подогнанный Satanath Records - второй альбом греческих металистов Disharmony «The Abyss Noir». Это ядреная смесь дума, хэви и дэта с некоторыми явными влияниями прогрессива. Уютная, но скучноватая стилистическая старомодность заимствованного у хэви и дума звука вполне искупается сложной структурой партий инструментов и яростным дэт-напором, так что по итогу заскучать не получается. Наверное, можно назвать это неплохой попыткой осовременить изъезженные вдоль и поперек жанры, скрестить хорошо проработанную традицию с новейшими достижениями в экстремальном звуке. Немного особняком стоят два последних трека - шикарный кавер на Металлику «Disposable Heroes», сделанный с явным пиететом к оригиналу, и красивая кроссжанровая баллада с обилием акустических инструментов «A Song For A Friend». Эти два трека показывают широкий музыкальный диапазон группы, и лично меня зацепило именно такое странное соседство жанровых влияний. Впрочем, по зрелому размышлению, это, может, даже и не главное в Disharmony. Важно, что музыканты, а особенно вокалист, в совершенстве владеют театральными приемами эмоционального нагнетания, и в данном жанровом контексте это слышится очень необычно, как если бы пауэр-металисты вдруг начали играть всякий дум-дэт или хэви/трэш. В музыке Disharmony далеко не новички - группа уже существует около 20 лет, и вы можете заметить их профессионализм по высокой техничности, - но, кажется, именно сейчас они постепенно находят действительно свой звук.





La Grecia, pur con tutti i suoi problemi politico/sociali, vive un momento di grande spessore musicalmente parlando e riguardo ai generi che trattiamo su MetalEyes.


Hard rock, doom metal, alternative hard & heavy, suoni classici e moderni: nella terra degli dei dell’olimpo si fa rock e metal con buona qualità.

Parliamo di metal e di una band (i Disharmony) attiva da vent’anni, anche se per un lungo periodo ha sonnecchiato per debuttare nel 2014 sulla lunga distanza con Shades Of Insanity, album che segnava il vero ritorno del gruppo dopo il demo che, con lo stesso titolo, era apparso cinque anni prima.

Il nuovo lavoro si intitola The Abyss Noir, trentacinque minuti di sonorità heavy thrash metal progressive, drammatiche e teatrali in linea con il power metal americano.

Il sound dei Disharmony parla americano dunque e The Abyss Noir ne è l’esempio perfetto, con i suoi umori oscuri ed una verve progressiva che spicca da un impatto thrash metal a tratti devastantei.

Chris Kounelis viaggia su tonalità care al grande Warrel Dane, quindi avrete già capito che tra i solchi della title track e della seguente Vain Messiah troverete ad aspettarvi i Nevermore, ispirazione primaria del gruppo di Atene ma non l’unica.

Ma dove la band di Dane raggiungeva attimi estremi al limite del death/thrash, il suono dei Disharmony rimane ancorato al metal classico, duro, dall’enorme impatto ma pur sempre più vicino al thrash Bay Area (non è un caso la cover di Disposable Heroes dei Metallica).

Un buon lavoro, e se siete amanti dei Nevermore e dei Sanctuary, così come delle atmosfere oscure dell’U.S, metal classico, The Abyss Noir ve ne farà sentire meno la mancanza, con gioiellini di tragico metallo come Delirium e This Caravan.




Ich kannte bislang nur die Black-/Death Metal-Band Disharmony aus Griechenland. Witzigerweise handelt es sich hier ebenfalls um Griechen, allerdings spielen diese modernen Heavy Metal. Auch sie sind schon seit 1996 aktiv und ließen auf drei Demos zwei Alben folgen. Was bedeutet moderner Heavy Metal? Es gibt abgehackte Riffs und zerfahrene Rhythmik, aber auch eingängige Refrains und melodischen, kraftvollen Gesang. Man kann sie wohl am besten als eine Mischung aus Nevermore und Iced Earth bezeichnen, denn beide Bands haben hörbar ihre Spuren bei den Griechen hinterlassen. Dennoch klingt hier alles ziemlich eigenständig. Das Songwriting ist etwas sperrig, hat aber durchaus seine Reize. Die Produktion ist glatt und transparent, wenn auch etwas leblos. Die Songs sind schon gut und funktionieren auch, funken vor Spielferude und abwechslungsreichen Arrangements, aber irgendwie fehlt ein bisschen der Druck und der Aha-Effekt. Sechs Songs mit einer Länge von jeweils fünf bis acht Minuten Spielzeit sind allerdings ordentlich. Aber vor allem Fans von Nevermore, die es ja bekanntlich nicht mehr gibt, sollten hier groß aufhorchen!





Chi si sarebbe immaginato che un paese come la Grecia sarebbe stato sempre più competitivo? Ecco infatti che, dopo un disco di esordio datato 2014, ricompare la band chiamata Disharmony (da non confondere con le diverse band omonime) con un nuovo album, intitolato The Abyss Noir. Per chi magari non conosce la band, lo stile sonoro è decisamente particolare, seppur non originalissimo. Si tratta infatti di un ibrido che parte dal progressive metal per poi inglobare al suo interno schegge estreme, doom metal ed un sottile velo di oscurità/malinconia da non trascurare.


Sei sono le tracce dell’album, che sembrerebbe quasi un EP senza però esserlo (va detto però che la quinta traccia è “Disposable Heroes” dei Metallica). L’opener e titletrack “Abyss Noir” offre un prog metal atipico, caratterizzato da riffs metallici e veloci molto heavy, inserendo però nella struttura sonora intrecci strumentali abbinati a linee vocali melodiche. “Vain Messiah” cambia le carte in tavola sparando un assalto estremo che profuma di black/death nel riffing, per poi passare ad un intermezzo doom metal massiccio con vocals epiche ed arpeggi evocativi ed il tutto condito con un assolo sfizioso (che non mancheranno mai durante tutto l’arco dell’album). “Delirium” e “This Caravan” portano il sound in una direzione più cupa ed oscura; la prima traccia combina giri di chitarra intricati e ritmiche non scontate con vocals aggressive mescolate a falsetti stile King Diamond (il cantante dimostra un ottima versatilità vocale), mentre la seconda è più malinconica e sofferta, complessa ma allo stesso tempo diretta, seppur alla lunga risenta di un’eccessiva durata. La song finale “A Song For a Friend” è nerissima e riporta tutto in zona doom, con un tocco melodico ben dosato e mai banale o zuccheroso, grazie anche a cori e tastiere in sottofondo. Le vocals sono sempre più tenebrose e la parte acustica sul finale riesce a tenere alta l’attenzione fino alla conclusione del disco.


In definitiva ci si trova al cospetto di una band che ama sperimentare ed imprimere una certa dose di personalità alla propria musica. Qualche piccolo difetto c’è, ma nel complesso l’ascolto scorre bene. Consigliati e da tenere d’occhio!!!





The mid ‘80s was an evolutionary time for heavy metal. The pioneers were performing in stadiums and their music was splintering like wild fire. This was the golden age of metal and nearly every form of the genre can be traced back to this time period.


Nowadays, nearly every band with a crunchy guitar riff or violent scream is labeled as metal. The micro-genres are so convoluted they sound more like food dressings than they do descriptions of the extreme. It’s difficult developing an original sound but amazingly some bands still manage to do it…


Disharmony from Greece has been an active moniker since 1996 and they are definitely worthy of your eardrums. Their music is a revamped take on it all. This is true heavy metal with a solid emphasis on the speediness of thrash. The Abyss Noir is a guitar driven album, the epic sounds attempted by J. Karousiotis and Stefanos Georgitsopoulos are more than just refreshing, they are vitalizing! Prominent drum work of Thanos Pappas equalizes the overall sound while the distinguished bass lines of Panagiotis Gatsopoulos keep things moving for the listener. The vocals of Chris Kounelis are clear and powerful but not overbearing.  His vocal range is simply amazing, from upbeat tempos to slower ballads, his strength is unmistakable. Highlight tracks are: “Vain Messiah”, “Delirium”, “The Abyss Noir” and “The Caravan”.




Although I haven’t been a fan of Metallica for years, I really appreciate the band’s cover of “Disposable Heroes” which brings new life to a well-worn track.




Disharmony has carved a solid niche for themselves with The Abyss Noir, a refreshing record that re-emphasizes metal’s roots.  Check out this revitalizing release! \m/





Mit Disharmony gehts heute mal wieder nach Griechenland und zu einer Band, die seit Mitte der 90er aktiv ist, aber um die es zwischendurch immer mal wieder ruhig geworden war. Nach 2 Demos in den 90ern, dauerte es fast 15 Jahre (das Demo von 2009 mal ausgenommen) bis mit „Shades of Insanity“ 2014 das Debüt-Album rauskam. Mit „The Abyss Noir“ folgt nun der zweite Streich der „Veteranen“.


6 Songs in 35 Minuten zaubern die Griechen aufs Parkett und bereits beim ersten Song beschleicht einen das traurige Gefühl, dass die Jungs heute auf den großen Festivals in guten Slots spielen könnten, wenn sie etwas aktiver an ihre Karriere herangegangen wären, denn das Album zeigt sich als bockstark. Große Melodie, immer wieder durch ein Solo unterbrochen, dazu eine ordentliche Portion Groove geben den Songs Kraft und Druck mit auf den Weg, die irgendwo zwischen Heavy und Doom Metal rangieren, hier und da aber auch mal den Speed Metal touchieren und hat hier und da ein µ Thrash mit drin. Dazu klingen die Songs allesamt sehr progressive und eigen im positivsten Sinn. Dabei werden die zwischen Groove und Melodie schwankenden Gitarren von drückendem Bass untermalt und von gemächlichen Drums unterstützt. Immer wieder nimmt die Band Tempo raus um eine bezaubernd düstere und verträumte Atmosphäre zu kreieren. Musikalisch macht das Album schonmal ordentlich Bock, aber was dem Album das Sahnehäubchen aufsetzt sind die unglaublich großartigen Vocals. Was Chris Kounelis da aus seinen Stimmbändern herausholt ist bemerkenswert. Richtig schöner, emotionaler und genau richtig akzentuierter Klargesang, der einem direkt unter die Haut geht, bildet die Leads und allein für die kann man das Album schon mögen. Dazu kommen allerdings noch zahlreiche Variationen, sei es düsterer leicht verzerrter Gesang, der beinahe als Spoken Word durchgeht, gelegentlich eingesetzte dem Thrash-entnommene Schreie oder spitze Schreie wie man sie aus klassischem Heavy oder Speed Metal kennt bilden die Kirsche auf der Sahne. Dazu gesellen sich hier und da immer wieder noch weitere Facetten, wodurch das Album gesangstechnisch das Meiste abdeckt und zu einer extrem abwechslungsreichen Sache wird, wobei es der Band gelingt den Bandsound immer beizubehalten.


Disharmony liefern mit „The Abyss Noir“ ein Album, das man sich eigentlich nicht entgehen lassen sollte, auf das in absehbarer Zeit allerdings nicht allzuviele Menschen aufmerksam werden dürften, was extrem schade ist, denn was die Jungs aus Athen hier abliefern hat Spitzenniveau und ist vom ersten bis zum letzten Ton einfach richtig gut gemacht. Wer auf atmosphärischen und leicht progressiven Heavy und Doom Metal steht: kaufen kaufen kaufen! Ihr werdet es nicht bereuen, das könnte eins DER Alben 2017 sein.




This is a Greek band that are new to me. I did not know what to expect from this lot but from the word go I understood that this was going to be a ride along the progressive scale of metal. And as much as I enjoy listening to this kind of metal, Dream Theater being a fave, as much does it mess with my head. To my ears this is all over the place. And even though DISHARMONY are a bit more straight forward, a bit more thrashy, they still have that intricate woven net that any other progressive band have. You have to be on your toes when you listen to this as to not miss a single twist. But that is also what makes this so intriguing. You want to find out where they are going next.





Греческие хэви-прогрессисты совершенно недавно вышли на GrimmDistribution с красивым отчаянным альбомом The Abyss Noir, с таким названием, которое подошло бы скорее блэкстерам. А почему же отчаянным? Мне показалось, что музыканты вложили сюда мощи, интенсивности поболее и в некоторой степени могут претендовать на тэг #power_metal. И очень ответственно заявили о том в своем музыкальном воплощении.

Ансамбль берет свое начало в 1996 году, и далее был замечен в выпуске (постепенно) трех демок и двух полноформатов, крайний из которых - как раз наш сабж. Банда нередко выступает на клубных площадках, поддерживала на сцене такие группы как SANCTUARY и ARCH ENEMY и, как ребята написали в фб, пластинка The Abyss Noir была включена в номинацию лучший греческий альбом 2017 года.

Первое, о чем я хочу сказать, так это о вокале Криса, который оказывается в составе с самого начала, а еще задействован в группе Art of Simplicity, и является ex-участником Sorrowful Winds. Все такие названия говорящие, я уверен. Так вот, вокалист - это нечто, товарищи... можно сказать и супервокалист на прогрессивной металльной сцене Греции, реально. Это обладатель шикарного чистого вокала, на 110 процентов адекватного любым поставленным задачам. Инструмент Криса не уступает лучшим образчикам жанра, и при том он то вдруг спускается до пределов жанра спид треш металл, и валит как огнеметом в Disposable Heroes (Metallica cover, ага прикиньте, но для меня это неудивительно. Красиво сделано). То шикарно вокалирует в других, буквально гипнотизируя аудиторию проходами, интонированием, динамикой и металлической фирменной экспрессией (без которой все потуги могут сойти на ноль в нашем жанре). По настоящему роскошно все делает, организуя искреннюю ауру истинного музыкального произведения. А вот в A Song for a Friend - это рок-певец, исполняющий проникновенную балладу, и далее после середины трэка - эпический медляк...

Композер и гитаристы (двое) делают свое суровое дело, хэви, повер (и трэш, как уже поняли) в их исполнении - впечатляющее зрелище, и тому очень помогает ответственная звукоинженерская работа, проведенная перед печатанием диска. Просто кристальная чистота саунда! Струнники уже в первом же трэке - после середины собирают могутные волны, которые и гонят перед своей современной атомной супер-яхтой под названием Disharmony. И под ее палубой - енный движок - ритм-секция, которая богата на прогрессивную изломанную сложную ритмику, она-то может и завести далеко. Держите наготове компасы и карты.

А вот в треке Delirium начиная с атакующей ритмики, поддержанной слегка примоченным вокалом, (и не только, но и чистым, и не только тенор, но и баритон) гитары начинает сплетать вроде бы знакомые узоры, но тут же бросают, якобы за полной бесперспективностью, и начинают давать неоклассическую (или фри-джазовую) партию. Мощное произведение, из других неслабых, собравшихся на этом диске.

8 страничный буклет предлагает тексты, другую важную инфу.

Несомненно, удача конторы GrimmDistribution.





In March of last year we brought you the premiere of the title track to The Abyss Noir, the latest album by the Greek metal band Disharmony. The album was released the following month by GrimmDistribution, and in its multifaceted musical textures it has drawn comparisons to the sounds of Nevermore, Sanctuary, Judas Priest, Iced Earth, and Anthrax. It also includes a hell of a good cover of Metallica’s “Disposable Heroes”.


What we’ve got for you today is a vivid reminder of the album, a video for one of its best tracks, “Vain Messiah“.


 The video, created by director Mavromoustakos Michail and director of photography Kris Tsiakiris, draws its inspiration from the song’s lyrics, which could be interpreted as the lament of a new messiah, one who is willing to sacrifice herself to save the souls of a misguided humanity, but who is simply ignored. The devil has been busy, and her arrival comes far too late.


The song itself could be thought of as a musical polyhedron spinning in space, revealing different faces as they catch the light of a sun. The compelling grooves in the music jump out first, but the song also includes facets of thrash, prog-metal, power metal, and classic doom, and when you hear the guitar soloing, you’ll understand one of the reasons why people have referred to Nevermore in reviewing the band’s work.


Disharmony is also an exception to the “rule” in our site’s title, which you might have guessed (if you didn’t already know) after reading that list of other bands in the first paragraph. Although Chris Kounelis does occasionally contort his voice into a nasty snarl during the song, his singing is predominantly clean and strong, and it’s one of many highlights in the track… which might just get stuck in your head on a loop if you’re not careful.




The Abyss Noir è una tela artistica presa a pennellate intense e drammatiche dai Disharmony ad alto potenziale emotivo. Un disco dove melodia e devastazione si intrecciano in connubio perfetto all’interno di questa breve collezione di brani. La sonorità attinge intensamente al sound dei Nevermore, i Sanctuary, i Judas Priest, Iced Earth con una imbevuta di heavy metal su un tosto lavoro alle pelli e un sopraffine mestiere alle corde. Le chitarre col loro lavoro centrali cospargono il suono di tonalità fortemente epiche e thrash nei sei brani dall’ottima produzione di The Abyss Noir. Vocalmente il cantato si avvicina al moniker Iron Maiden, un heavy metal classico su vocals esclusivamente pulite e vibranti con ampio registro vocale, vertiginoso in altezza, intensità e potenza. Una ritmica martellante rincorre la scia del genere di cui i Metallica sono pionieri e si snoda su assoli da capogiro, giri di chitarra variegati e vorticosi, arpeggi, sezioni melodico-eteree e passaggi di corde in sferragliamento totale con tanto di archi.




Desde la cuna de la cultura y la democracia occidentales, los helenos Disharmony nos hacen llegar su más reciente trabajo bajo el epígrafe de “The Abyss Noir”. Los Disharmony que hoy son motivo de nuestra recensión (formados en Atenas en 1997 e integrados en la actualidad por el cantante Chris Kounelis, los guitarristas J. Karousiotis y Stefanos Georgitsopoulos, el bajista Panagiotis Gatsopoulos y el batería Thanos Pappas) no deben confundirse con sus compatriotas black/death metaleros con quienes comparten el mismo nombre ni con la más de media docena de bandas allende de los mares y bautizadas de idéntica manera. Estos Disharmony -en cuyo casillero ya cuentan con tres demos y el álbum que marcó su debut, “Shades Of Insanity" (2014)- son un quinteto de poderoso metal que combina su enraizado heavy/doom con influencias de power americano y prog metal. Sutiles cambios de ritmo, guitarras técnicas con ligeras pinceladas thrash, destacadas baterías y líneas de bajo, y una voz limpia que abasta diversos giros dramáticos e interpretativos así como amplios registros, se convierten en las principales credenciales que estos helénicos nos presentan en su segundo larga duración. Un trabajo que reúne media docena de temas entre los cuáles encontramos un cover de Metalllica que la formación versionó para el tributo que la revista Metal Hammer puso en circulación con motivo del treinta aniversario de la publicación de “Master Of Puppets”.

El aire más progresivo de The Abyss Noir -con su ritmo sincopado- y Vain Messiah -con sus guitarras intrincadas y una voz nasal que puede recordar a la de Axel Rose- ceden el testigo a la cadencia embriagadora de Delirium cuyo inspirado riff nos guía entre los diversos giros vocales de Kounelis que confluyen en un intercambio de golpes entre una voz sucia y agresiva con otra que parece arrebatada de la garganta del Rey Diamante. La atribulada lobreguez de This Caravan -intensificada por la teatralidad imprimida en la interpretación- y el alegato anti-belicista de Disposable Heroes -muy respetuosa y fiel a la original- encaran el pletórico final con la delicada A Song For A Friend, una fantástica powerballad con guitarras acústicas y violín que se intercalan con los sollozos y las carcajadas de un bebé, y muestra fehacientemente el enorme espectro musical que comprende Disharmony.

Si eres fan de bandas como los Nevermore del recientemente desaparecido Warrel Dane o de alguno de los géneros con los que tratan estos griegos, ¡no dudes en precipitarte a este oscuro abismo!




Своим вторым альбомом греки Disharmony неожиданно радуют. Прежде всего тех, кто уже соскучился по современно звучащему хэви-металлу с отголосками пауэр-металла и легким налетом прогрессивного металла. И с обязательно мощным неэкстремальным вокалом, пробирающим подобно "иерихонским трубам" в лице Брюса Дикинсона, Тима Оуэнса и безвременно ушедшему Уоррелу Дэйну. Все это есть на "Abyss Noir". Несмотря на то релиз содержит всего шесть треков, здесь предостаточно тех элементов, которые делают его максимально запоминающимся - хороших мелодий, тяжелого звучания, цепляющих аранжировок и в целом годного материала, какой сейчас уже мало кто делает. Ограниченный хронометраж позволил группе сделать очень разнообразный альбом , состоящий из как мощных и динамичных, так и лиричных треков - за последнее отвечает очень крутая баллада "A Song For A Friend", будто бы из 90-х. Подобного качества релизы перестали быть чем-то кроме как редкостью уже лет 10, однако каждый новый представитель, дерзнувший показать, насколько он вдохновлен такими коллективами как Nevermore, Symphorce и Iced Earth, при этом не копируя их и выдавая мрачный и убедительный материал с максимально убойным для хэви-металла саундом, непременно заслуживает внимания. Я вот был расстроен, когда распались Symphorce и Nevermore, и могу сказать, что группы подобные Disharmony все-таки нужны слушателям. Звучат они хорошо, свое дело знают, а главное - делают отличный неэкстремальный металл в наши-то дни! Ну, разве не прелесть? Жаль, конечно, что новых песенок у греков на этом релизе всего пять - кавер на Metallica я не учитываю, потому что сыграть он хоть и хорошо, но как-то без изюминки. Вот и получается, что за неполные полчаса Disharmony умудряются понравиться настолько, что куцый треклист попросту расстраивает. Просто потому, что хочется больше.