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Reviews: SAT255

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The more observant among you may have noticed that we’ve been doing  lot of premieres lately from Russian label Satanath Records. There are two reasons for this. First off, Satanath is the shit, and I’m sure you’ll agree that every single one of these tracks fucking ripped. Secondly, Aleksey and Jane (who run the label – Jane also runs Funere) are good people, and I consider them both friends. And honestly, what’s the point of having a metal site if you can’t use it to support your friends? Bands, labels, even blogs like this – they come and they go. The relationships that are built, on the other hand – those are the things that (hopefully) endure.

 

But you didn’t come here for the feels. You’re here for the black fucking metal, and we’ve saved the best of our Satanath run for last. Greece’s Inhibitions released the absolutely furious symphonic black metal album La Danse Macabre last January, and I think that most people who heard it would have been pretty well satisfied with more of he same on its follow up With the Fullmoon Above My Head. However, Dimon’s Night and Pain, the duo behind Inhibitions, had different ideas…

 

This time out, the symphonic elements are gone – it’s all icy riffs and sinister atmospheres, with no buffer whatsoever between the listener and the hateful, tormented emotion that drive the album. You can hear it for yourself on “Voices Inside,” which we’re premiering here today at Clandestine Sound. The track is slow, haunting, and more than a little painful. Hit play on the YouTube embed below and ruin your day.

 

https://www.clandestinesounds.com/track-premiere-inhibitions-voices-inside/

Inhibitions  are  a  band  from  Greece  that  started  out  more  as  a  symphonic  black  emtal  band  but  on  this  recording  evolve  into  more  of  a  traditional  style  of  black  metal and  this  is  a  review  of  their  2019  album  "With  The  Fullmoon  Above  My  Head"  which  was  released  as  a  joint  effort  between  Satanath  Records  and  More  Hate  Productions.

 

 

 

  A  very  dark  and  heavy  sound  starts  off  the  album  while  all  of  the  musical  instruments  have  a  very  powerful  sound  to  them.  Vocals  are  mostly  grim  sounding  black  metal  screams  while  the  solos  and  leads  are  done  in  a  very  melodic  style  and  when  the  music  speeds  up  a  great  amount  of  blast  beats  can  be  heard.

 

 

 

  Throughout  the  recording  you  can  also  hear  a  great  mixture  of  slow,  mid  paced  and  fast  parts  while  the  riffs  also  add  in  a  decent  amount  of  melody.  When  tremolo  picking  is  utilized  it  also  gives  the  songs  more  of  a  raw  feeling  along  with  some  growls  being  added  into  certain  sections  of  the music.

 

  The  tracks  also  adding  in  a  decent  amount  of  90's  influences  as  well  as  showing  an  influence  of  the  Swedish  style  along  with  all  of  the  musical  instruments  have  a  very  powerful  sound  to  them  and  as  the  album  progresses  a  brief  use  of  classical  guitars  and  keyboards  can  be  heard  on  a  few  of  tracks.  The  production  sounds  very  professional  while  the  lyrics  cover  darkness,  death  and  evil  themes.

 

  In  my  opinion  this  is  another  great  sounding  album  from  Inhibitions  and  if  you  are  a  fan  of  raw,  melodic  and  traditional  black  metal,  you  should  check  out  this  recording. 

 

https://occultblackmetalzine.blogspot.com/2019/07/inhibitionswith-fullmoon-above-my.html

 

Bollati dal sottoscritto in occasione del precedente lavoro come ancora impantanati nelle sabbie mobili del symph black di metà anni '90, i greci Inhibitions tornano con questo 'With The Fullmoon Above My Head', terzo capitolo della loro discografia. Le cose sembrano essere mutate in seno al duo ateniese, non mi è ancora chiaro però se in meglio o piuttosto in peggio. Facciamo subito chiarezza dicendo che se 'La Danse Macabre' era venato di influenze riconducibili a Emperor o primi Dimmu Borgir, 'With The Fullmoon Above My Head' sembra volersi far largo a colpi di black metal old school. Ecco, la domanda per il sorroscritto sorge spontanea: che necessità c'è di voler suonare black rimanendo ancora cosi ancorati ai dogmi di un genere ormai prossimo al pensionamento? Mi duole dirlo ma in questa terza release riesco a salvare davvero ben poco della proposta del combo greco. Francamente, la serie di schegge impazzite rilasciate dal duo formato da Pain e Dimon's Night non mi dice nulla di nuovo. È una sassaiola di riff di scuola svedese lanciati a tutta velocità, senza peraltro offrire melodie degne di note o qualcosa di comunque estremo ma originale. Mi spiace sempre segare un album, perchè so perfettamente il lavoro che vi sta dietro, e l'investimento che la band prima e l'etichetta poi, fanno. Dannazione però, in un periodo in cui chiunque può pubblicare musica dal proprio sottoscala e in cui la competizione è pertanto cosi elevata, non trovo il senso di un disco del genere in cui, a parte qualche epica schitarrata qua e là (le mie song preferite sono "When the Hope is Gone", la mid-tempo "Voices Inside" con quei suoi chiari riferimenti al tremolo picking dei Dissection e quel break acustico centrale e le più atmosferiche e sinfoniche sonorità della title track e di "Phenomenon", ove a mettersi in luce è il chorus che dà il titolo alla song), rimane ampiamente sotto la soglia della sufficienza, costringendomi ad un'altra sonora bocciatura. Dico sempre che c'è da lavorare anche nelle release più positive, qui c'è da raddoppiare gli sforzi per non rimanere insabbiati nelle viscere dell'anonimato più profondo.

 

https://thepitofthedamned.blogspot.com/2020/02/inhibitions-with-fullmoon-above-my-head.html

 

 

Mais qu'est-il donc arrivé aux Hellènes d'INHIBITIONS ?

Faisant suite à La Danse Macabre, joyau noir de Black Metal symphonique qui m'avait tant plu que je n'avais pu qu'en rédiger une chronique dithyrambique (voir ici), les voici qui nous reviennent de manière pour le moins inattendue, par le biais d'un troisième album qui n'a plus que fort peu à voir avec son excellent prédécesseur...

 

Exit les atmosphères délicieusement fantasmagoriques et les ambiances sombrement oniriques qui caractérisaient tout particulièrement ce dernier, exit même carrément le clavier et toute note synthétique - ou presque. Virage à 180 degrés pour le groupe, qui a semble-t-il opté pour une réorientation totale de son style musical, même s'il demeure ancré dans la grande famille du Black Metal. Fini le Black sympho, et place à un style à la fois plus classique et plus brutal - tout en restant relativement mélodique - ,  qui lorgne allègrement vers celui de la scène scandinave des années 90.

 

Le changement est si brusque, si radical, qu'il s'apparente ainsi à une véritable rupture avec les enregistrements précédents, et qu'il a par là-même quelque chose d'assez déroutant. Non pas que le résultat soit mauvais dans ce genre, tant s'en faut. Mais La Danse Macabre m'avait tellement enthousiasmé que j'en attendais la suite avec impatience, convaincu que celle-ci ne pouvait logiquement que s'inscrire dans sa continuité. La surprise s'est donc avérée pour moi totale. Et, je n'en fais pas mystère et le dis en toute franchise, celle-ci ne va pas sans un certain désappointement.

 

Avec le recul, passée la déconvenue du début et après plusieurs écoutes, force est toutefois de reconnaître les indéniables qualités de With The Fullmoon Above My Head, qui reste globalement un album de bonne facture. Il est puissant, comporte des riffs et des compositions efficaces, ce qui en fait au final un album de Black Metal old school tout à fait honorable, même s'il ne s'apparente guère à ce que l'on s'attendrait à trouver chez un groupe de la scène grecque. Seulement, celui-ci n'a-t-il pas perdu une grande part de ce qui faisait son âme et toute sa singularité, au terme du processus de métamorphose ?

 

Bref, disons-le tout net : d'un album à l'autre, le combo est devenu quasi-méconnaissable, tant sa musique diffère. Reste que mon morceau favori de ce disque est sans conteste l'excellent Phenomenon, dernier de la tracklist, d'oppressantes nappes de clavier y faisant  une réapparition aussi réussie qu'inattendue... Même si celles-ci rappellent plutôt EMPEROR ou DIABOLICAL MASQUERADE, ce qui n'est ma foi pas pour me déplaire. Dommage que cette formule n'ait pas été davantage exploitée et développée sur le reste de l'album, sur lequel j'aurais alors certainement, du coup, beaucoup plus accroché. Enfin, pour être tout à fait juste, signalons Tout de même que quelques notes de synthé se font également entendre sur la piste précédente Κανεις σας δε θα μεινει ζωντανος. Mais ce sont là les deux exceptions qui, à mon grand regret, confirment la règle.

 

En conclusion, je n'aurais sans doute pas porté le même regard sur ce disque si INHIBITIONS avait toujours officié dans cette veine relativement conventionnelle; car, je le répète, ils tirent plutôt bien leur épingle du jeu, dans ce genre. Seulement, il y a eu La Danse Macabre... Et rien à faire, je n'en démordrai pas, il y a donc là clairement un avant et un après. Je suis sans ambiguïté aucune un nostalgique de l'avant, et ce, de très loin. D'où les impressions en demi-teinte que me laisse au final With The Fullmoon Above My Head, que je ne parviendrai jamais à apprécier autant, et encore moins à placer au même niveau. Ceci dit, pour d'autres, ce sera à coup sûr l'inverse, car ils préfèreront sans doute cette approche plus classique aux sonorités un rien kitsch et théâtrales qui prévalaient auparavant chez ces Grecs. Question de goûts personnels. Pour en savoir plus, jugez-en donc par vous-mêmes en y jetant une oreille. Et si le CD vous tente, ne tardez pas trop : il faut en effet savoir qu'il n'a été pressé qu'à 500 exemplaires...

 

https://requiemwebzine.blogspot.com/2020/02/inhibitions-with-fullmoon-above-my-head.html

 

 

The Athenians of Inhibitions practice a cold Black Metal in the great tradition of the second wave of Scandinavian Black Metal. So don't expect to find here an ersatz of Rotting Christ or Varathron: it's in the North that the Greeks find their inspiration.

 

Velocious, melodic, powerful, based on tremoli of riffs of the best aspect, putting forward a hoarse gorgonian voice, the duo's Black Metal is perfectly mastered, and their use of frequent tempo changes avoids any form of possible lassitude.

 

There's only one secret to making a successful album: writing a real record requires having real songs whatever the musical style. And the Greeks have understood this very well.

 

 

 

 

Les athéniens d'Inhibitions pratiquent un Black Metal racé s'inscrivant dans la grande tradition de la deuxième vague du Black Metal Scandinave. N'espérez donc pas ici retrouver un ersatz de Rotting Christ ou de Varathron : c'est bien au Nord que les grecs trouvent leur inspiration.

Véloce, mélodique, puissant, reposant sur des tremoli de riffs du meilleur aspect, mettant en avant une voix de gorgone enrouée, le Black Metal du duo est parfaitement maîtrisé, et leur usage de changements de tempi fréquents évite toute forme de lassitude possible.

Il n'y a qu'un secret pour réussir un album : écrire un vrai disque demande d'avoir de vraies chansons quel que soit le style musical. Et cela, les grecs l'ont bien compris.

 

 

Today's globalization is causing some strange things, so much so that the absence of the slightest orientalizing note in Inhibitions may surprise some Greeks.

 

But, once again, their choice goes towards Scandinavia, towards a cold and haughty Black Metal, a plague of sound sublimated by a production that is largely up to scratch. Coldly recommended!

 

 

 

La mondialisation actuelle provoque de drôles de choses, tant l'absence de la moindre note orientalisante chez Inhibitions peut surprendre chez des grecs.

Mais, encore une fois, leur choix se porte vers la scandinavie, vers un Black Metal froid et hautain, une peste sonore sublimée par une production largement à la hauteur. Froidement recommandé !

 

https://www.webzinelescribedurock.com/2020/02/review-inhibitions-with-fullmoon-above-my-head.html

 

 

2й полноформатный альбом греческой группы, состоящей только из двух участников, это Dimons Night отвечающий за всю инструментальную основу коллектива и вокалист Pain. Несмотря на кажущуюся немногочисленность, дуэт состоит из опытных музыкантов, засветившихся далеко не в одном музыкальном проекте (Horrorgraphy, Humanity Zero), поэтому и результат их деятельности вышел однозначно профессиональным и основательным! На диске представлен old school black metal, второй волны 90-х годов XX века, материал в меру сырой и грязный, как и положено этому стилю. Базовая музыкальная составляющая на альбоме это быстрый и напористый гитарный чес, зловещий скрим и плотная работа барабанной установки. Группа на этом альбоме отошла от имевшейся некогда симфоничности звучания, свернув мелодичную часть в пользу более грубого и брутального результата. Тем не менее, во второй части диска присутствуют и атмосферные моменты в духе Burzum, что заметно разнообразит общее впечатление от диска. Артворк диска выполнен MenggilaSenja.

 

https://vk.com/wall-164900710_169

 

Greek multi-instrumentalist Dimitros ‘Dimon’s Night’ Sakkas did form Inhibitions about twelve years ago, initially assisted by the guttural throat of Coprojunkie (both of them are / were in Humanity Zero too, by the way). Early in the second half of last decade, the latter, who was the vocalist, left and got replaced by Pain (and for your information: both Dimon’s Night and Pain play together in acts like Horrorgraphy, Blessed or Feeble). This duo recorded two full lengths before, Flames Of Desolation (Spring 2016) and La Danse Macabre (very early 2018). That last one, by the way, was released in a partnership in between Ira Aeterna Productions and Satanath Records. And it is the latter that releases this third full length studio as well, this time collaborating (for the 666th time) with More Hate Productions.

 

With The Fullmoon Above My Head (cool title?) was fully recorded by the duo: Pain on vocals and guitars (he wrote the texts as well), and Dimon’s Night performing bass and electric guitars, drums, and synths. Dimon’s Night took care as well of production, mix and mastering at his home studio. There are five hundred physical copies, on ‘normal’ compact disc (the jewel-case edition), coming with an eight-page booklet. That one contains the lyrics (mainly in English, partly in their mother tongue), and quite cool black-and-white cover artwork by some Menggil Asenja (layout, FYI, was done by Satanath’s master-brain Aleksey).

 

The sonic result lasts for three quarters of an hour and it differs a little from the former recordings. Inhibitions do focus on emotion and aggression this time, rather than grotesque melancholia. The whole is less bombastic and symphonic, and more firm and straight-ahead. And it works, it surely does.

 

The main influences are still related to the Nordic trend, the so-called Second Wave, with a convinced dose of that great Scandinavian Nineties attitude. But it goes further, not just sounding like ‘just another non-Scandinavian band inspired by the old schooled sounds from Sweden or Norway’ (even though there is nothing wrong with that, of course), but despite not being very original, Inhibitions are not a narrow-minded copycat, but they try to add their own twists and sounds. In pieces like the title track, the Greek scene too shows its bloody teeth, and that’s quite impressive, I think, to be able to do so.

 

Besides, there is a huge level of variation on With The Fullmoon Above My Head. A first element has to do with that anti-copy thing. Being influenced by a huge amount of sub-styles, it is a pleasure to experience the organic execution. There are technical and melodic parts, there is inspiration from styles like Pagan, Atmospheric, Orthodox / Traditional, Technical, Blackgazing, Occult and Thrashing Black Metal, and the tempo and structures continuously change and interact, the whole of the time. The better part is quite fast and melodious, with forceful, pushing rhythms and fine-tuned tremolo riffing. But there are lots of accelerations, from time to time even blasting and explosive of nature. At the other hand, more than once the whole thing slows down, flirting with doomier structures and adding intrinsic-emotional dimensions.

 

The sound quality is exceptionally well-done, especially considering that this thing was recorded in a non-major home studio (Dimon’s Studio, as mentioned above). It is such a pleasure to experience all instruments / voices so clearly. The bass lines and rhythm guitars are able to show their importance into this whole concept, the drums are top-notch (just blasting when needed, then again almost melodious), the leading riffs and solos (though very limited) fortify the epic character of the atmosphere, and the deep-throated screams and frosty snarls add that angry, icy atmosphere. Even the few keyboard passages (with a truly mesmerizing xylophone-alike sound in a dreamlike, floating and doomed piece like Κανεις Σας Δε Θα Μεινει Ζωντανο, which includes deep-going elements from Doom-Death Metal) (the use of synths increases during the second half of the album) and acoustics are well-mixed (besides finely written and professionally performed). Furthermore, there are no irritating background noises at the one hand, and at the other hand, the result still maintains a certain crudity, a coarseness that sucks all colours out of the painting, leaving the whole as a grey wasteland of anger and despair.

 

This album will not redefine the worldwide scene. Therefor With The Fullmoon Above My Head lacks of renewing or progressive elements. But from qualitative point of view, this piece of traditional Melodic / Atmospheric Black Metal is an excellent addition to the worldwide scene…

 

https://www.concreteweb.be/reviews/inhibitions

 

Nie wiem co takiego ma wytwórnia Satanath Records, ale każdy album zawierający gdzieś jej logo jest autorstwa twórców niezwykle płodnych, którzy swoje wydawnictwa produkują – można by rzec – taśmowo. Kolejnym przykładem takiej kapeli jest greckie Inhibitions. Duet ukrywający się pod tą nazwą od 2016 roku wydał już cztery długograje (Divine Plague miał premierę 24 maja br.). Jeśli miałbym wyciągać wnioski o całości dyskografii zespołu na podstawie trzeciego z nich, zatytułowanego With the Fullmoon Above My Head, to fani blacku raczej spokojnie mogą się tym zespołem zainteresować.

 

Jeśli na widok tytułu krążka Wasze myśli powędrowały w stronę Skandynawii i tradycyjnego blacku – dobrze myślicie. Trzeci album Greków to tradycja pełną gębą  i niesie to niestety ze sobą całkowity brak oryginalności. Gdyby ktoś przystawił Wam pistolet do głowy i kazał nagrać coś brzmiącego jak druga fala black metalu, to prawdopodobnie wyszłoby coś na kształt niniejszego albumu. Muzyka jednak nie zawsze musi być oryginalna – ważne, żeby była dobrze wykonana. No i pod tym względem Panowie o zabójczych ksywach Pain oraz Dimon’s Night w zasadzie nie zawodzą – utwory choć utrzymane głównie w średnim tempie z okazyjnymi przyspieszeniami nie nudzą i pobudziły moje lewe odnóże do radosnego tuptania, co jest już wyrazem aprobaty dla zespołu. Zespół zadbał również o ambientowe dźwięki w jedynym na krążku utworze, w którym duet użył swojego języka ojczystego (poznacie po tytule). Nie można niczego zarzucić też produkcji idealnie łączącej lekką klasyczną surowość z nowoczesną klarownością.

 

Gdyby tylko to wszystko było jeszcze bardziej zapamiętywalne… Owszem, With the Fullmoon Above My Head to całkiem przyjemne i dosyć szybko mijające trzy kwadranse, jednak niezaprzeczalnym faktem jest to, że zbyt wiele z tego albumu w głowie nie zostaje. Delikatnie wybija się w zasadzie tylko dynamiczny utwór tytułowy, cała reszta niestety szybko ulatuje i próżno w tych utworach szukać jakiegoś „efektu wow”. Dlatego też trzeci krążek Inhibitions polecam tym, którzy po prostu chcą znaleźć jakiś nowy, solidny black metalowy zespół, który stroni od wszelakich eksperymentów. With the Fullmoon Above My Head powinien spełnić Wasze oczekiwania.

 

https://kvlt.pl/recenzje/inhibitions-with-the-fullmoon-above-my-head-2019/

 

 

Третий полноформатный альбом греческого дуэта (Pain + Dimon’s Night), исповедующего сумрачный и в меру мелодичный блэк-метал. Вообще, блэк у греков получается очень интересный и самобытный – достаточно вспомнить таких грандов стиля, как Rotting Christ, Acherontas, Necromantia или Varathron, чьё творчество сильно отличается от скандинавских или европейских соратников. У эллинов всегда был и есть свой подход к формированию саунда, свои традиции в сочинительстве, свой метод создания атмосферной компоненты – и, соответственно, поэтому от каждой группы из Греции, играющей в этом стиле, подсознательно ждёшь чего-то особенного. Чем берёт “With the Fullmoon…”, какие у него шансы на народные любовь и признание? Ну, честно говоря, пресыщенным гурманам от блэк-метала здесь ловить нечего, а вот те, кто не боится потратить время на ознакомление с творчеством малоизвестных «хорошистов», вполне могут найти для себя интересные моменты. От жанровых канонов «ингибиторы» не отходят и в полной мере используют весь доступный арсенал – строгое чёрно-белое оформление, частящий барабанный стрёкот, утопленные в панораме гитары, хороший скриминг с чёткой дикцией, достаточное количество мелодий и весьма пристойный для андеграунда, без задранных верхов и песка саунд (звуком на альбоме музыканты рулили самостоятельно). Барабаны здесь, похоже, забитые, но конечный результат получился неплохой – то есть это заметно, но ощущения криминала не вызывает. В плюс грекам можно поставить разнообразие в рамках практически каждой песни – они уверенно тасуют ритм и темп, то меняя скоростной забойный шквал на более читаемые барабанные проходы, то закидывая в зловещий водоворот риффов хрупкую мелодию… Отдельно стоит упомянуть и отлично прописанный бас – его гулкая, качающая пульсация придаёт музыке Inhibitions особый шарм, напитывает его жизненными соками. Из девяти альбомных композиций наибольший интерес представляют три: во-первых, это достаточно разнообразная “When the Hope Is Gone” с запоминающимся мелодичным проигрышем, во-вторых – самый, пожалуй, атмосферный и мелодичный номер “The Final Pain” (как раз именно здесь очень здорово звучат басовые партии) и, в-третьих, атмосферный, с заметным думовым привкусом “Κανεισ σασ δε θα μεινει ζωντανοσ” (исполненный, как нетрудно понять из названия, на греческом языке). По нынешним меркам три отличных трека и ещё шесть пусть пожиже, но тоже неплохих – это уже достижение.

 

http://inrock.ru/reviews/inhibitions_2019

 

The only other album by this duo that I've heard is La Danse Macabre, and I can't say I was terribly impressed with it. For their third outing, however, Inhibitions have traded up their lackluster Symphonic Black Metal imitation and gone for a fast, punchy, straightforward Swedish Black Metal that may not be original in the slightest, but they do it pretty well and employ enough tempo changes to stay engaging throughout. They've basically traded in their Norwegian plagiarism for Scandinavian plagiarism, but it was a smart move that led them to being perfectly good orthodoxy as opposed to piss-poor imitation. I say they deserve a nod for that.

 

http://www.metalcrypt.com/pages/review.php?revid=11776

 

 

The Athenians of Inhibitions practice a cold Black Metal in the great tradition of the second wave of Scandinavian Black Metal. So don't expect to find here an ersatz of Rotting Christ or Varathron: it's in the North that the Greeks find their inspiration.

 

Velocious, melodic, powerful, based on tremoli of riffs of the best aspect, putting forward a hoarse gorgonian voice, the duo's Black Metal is perfectly mastered, and their use of frequent tempo changes avoids any form of possible lassitude.

 

There's only one secret to making a successful album: writing a real record requires having real songs whatever the musical style. And the Greeks have understood this very well.

 

Les athéniens d'Inhibitions pratiquent un Black Metal racé s'inscrivant dans la grande tradition de la deuxième vague du Black Metal Scandinave. N'espérez donc pas ici retrouver un ersatz de Rotting Christ ou de Varathron : c'est bien au Nord que les grecs trouvent leur inspiration.

Véloce, mélodique, puissant, reposant sur des tremoli de riffs du meilleur aspect, mettant en avant une voix de gorgone enrouée, le Black Metal du duo est parfaitement maîtrisé, et leur usage de changements de tempi fréquents évite toute forme de lassitude possible.

Il n'y a qu'un secret pour réussir un album : écrire un vrai disque demande d'avoir de vraies chansons quel que soit le style musical. Et cela, les grecs l'ont bien compris.

 

Today's globalization is causing some strange things, so much so that the absence of the slightest orientalizing note in Inhibitions may surprise some Greeks.

 

But, once again, their choice goes towards Scandinavia, towards a cold and haughty Black Metal, a plague of sound sublimated by a production that is largely up to scratch. Coldly recommended!

 

La mondialisation actuelle provoque de drôles de choses, tant l'absence de la moindre note orientalisante chez Inhibitions peut surprendre chez des grecs.

Mais, encore une fois, leur choix se porte vers la scandinavie, vers un Black Metal froid et hautain, une peste sonore sublimée par une production largement à la hauteur. Froidement recommandé !

 

https://www.webzinelescribedurock.com/2020/03/les-crocs-du-scribe-n41-special.html

 

Inhibitions poderá parecer um nome estranho para uma banda de black metal, ainda que seja black metal melódico, no entanto a banda grega traz-nos aquilo que esperamos exactamente dela, um estilo de som muito próprio ainda que algo próximo da fórmula escandinava. Boas dinâmicas nas estruturas das canções que fazem com que se fuja um bocado ao óbvio e boas soluções fazem com que este seja um trabalho agradável para quem não tem grandes expectativas. Os Inhibitions são um duo que têm demonstrado em pouco tempo boa obra feita. Esperemos por ainda mais no futuro.

 

https://worldofmetalmag.com/wom-reviews-1349-sathamel-ofdrykkja-inhibitions-blaze-of-perdition-wolok-tyhja-reign-in-blood/

 

 

The Hellenic black metal duo strikes back with their 3rd full-length album, which fortunately became a little bit more variegated as its predecessor "La Danse Macabre" was. The membership is the same, that is Pain (vocals, guitars, lyrics) and Dimon's Night (guitars, bass, drums, keys). They literally blast their asses off on this record. It is less oriented on symphonic parts, which is definitely a good thing, therefore the speed and the crudity seem to get a bigger role there. Still I found very unanimous the major part of their new album too. It has a few highlights for sure, but those aren't really enough to me. Primitive black metal riffing, typical song-structures and the usual medium-pitched shrills are the ingredients of "With the Fullmoon Above My Head". Despite it has a very good and tasteful sound production I don't really know and can't imagine who are going to listen to them and invest money in buying their records, except, of course, the ones who has to write a review about their stuff, ha-ha... Too many grey albums have been spread over the masses lately, so my suggestion to the duo is still unchanged, please try to create and compose more interesting or simply unique music!!!

 

http://castrum.com.ua/encomium/7albums2.htm