. Satanath Records

Reviews: SAT200

< Обратно к релизу / Back to page

The cover of Panchrysia’s new album is bereft of hope and joy, a scene of death and tortured spirits immolated by arcane energies. It prove to be a foreshadowing of the sensations spawned by the song we’re presenting today from this Belgian black metal band’s fifth album in a near-twenty-year career.


Dogma is the name of this new full-length, scheduled for release on April 30 by Satanath Records, and the song we bring you is “Never To see the Light Again“.


A sour mood of oppressiveness and putrefaction oozes from the gloomy, rough-edged riff and moaning lead in the song’s opening, and the mood doesn’t brighten even when the song suddenly erupts in an attack of blazing drum-fire, rapidly scything guitar, and raw, throat-rupturing vocal tirades, no matter how hard your head might start moving.


The dismal melody not only returns, but the melodic leads evolve in a way that deepens the song’s piercing mood of hopelessness, enhancing the music’s surge of intensity toward a plateau of soul-shredding despair — never to see the light again.




This is one of many sides that Panchrysia reveal to the listener. Another side, one that’s equally dramatic but both more rampantly ferocious in its black/thrashing frenzies and more horrifyingly grand, can be experienced in the previously released album track, “Kairos“, which we’re also including below.



The release of Dogma earlier this year marked the return of Belgian black metal outfit Panchrysia, a group adamant on proving that Belgium is just as capable of producing metal as terrifically evil-sounding as their northern counterparts. Panchrysia have proven this time and time again and Dogma, the fifth full-length release from the quintet, has shown that there is still a lot of fight in the band yet. The album has come a full seven years after Massa Damnata (2011), leaving enough time for fans’ appetites to be sufficiently whetted, hungry for the deliciously villainous music contained within Dogma.


This is usually the point in the review where the validity of the album is put in to question, but not this time. Rather than create a kind of faux-cliffhanger, I would personally rather have readers know from the forefront that Dogma is an absolutely fantastic album. This review will not be one of judging how well an album has done, but rather how it has done what it has so well.




Something almost immediately noticeable from Dogma is the fact that it draws heavily on the aesthetic of the second wave of Norwegian black metal. In fact, you could easily slot this album next to the likes of Mayhem’s De Mysteriis Dom Sathanas (1994) and not realise that there is over two decades of difference between the releases. This classic black metal sound is created through the use of heavily distorted guitar riffs, having the songs adhere to the minor key, creating a harsh melancholic feeling, throaty, shouted vocals, and a general thin sound surrounding the percussion.


While all of the traditional tropes of the black metal genre have more than been adhered to, with introductory track “Each Against All” immediately informing listeners that all of those tropes will be present within Dogma, the album itself is more than just a note-for-note redo of classic northern metal. There is personality infused in to Dogma, enough to set it apart from anything which could ever be held in comparison. Perhaps the prime example of the pinpricks of individualised style are the spoken word elements sewn in to various tracks. On both tracks “Salvation” and “Gilgamesh” are moments of quiet, where the music subsides to become something of a backing track, allowing a straight spoken word segment to take center stage. A strange addition, though something that works better than you may think, and acts as a method for Panchrysia to clearly and unmistakably speak their message to the listeners. These segments seem to be taken from films or other forms of media, yet slot effortlessly in to an extreme metal background.


While Dogma has more than its fair share of rampant, unchained madness, with “28 Steps” proving this rather effectively, there is a surprising amount of melody buried within this album. These more ‘melodic’ segments usually manifest in a slower, angrier style, as if someone has turned down the speed on a track. With this slower pacing, listeners are able to hear the intricacies which would usually not appear in such an album. The delicate and complex riffs within these melodic sections act like rivers; they flow free and wild, dangerous to be caught up in, yet beautiful from a distance.


Dogma appears on the surface to be an homage to classic black metal of years past. However, once the surface is scratched away, fans will notice the subtle differences and the unique temperament which defines the album. It can be vicious and unstable sounding, but all of the best black metal albums always are. A brilliant new tweak on a classic style of extreme metal, and one that cannot be recommended enough.





Panchrysia from Belgium recently released their new studio full length album and I listened to it and reviewed it for this webzine.



These guys have been around since 1998.and they delivered their quality black metal upon the unsuspecting world. This time on this album Panchrysia delivers 8 songs of atmospheric, brutal, but still melodic black metal. The lyrics are in English and as I understand deal with ancient myths and prophecies of the end of the world. I love the atmosphere of “Kairos”,  how the song evolves between almost dark and calm atmosphere of death and nothingness into full blooded aggressivity and despair that only black metal can provide. The song structures are epic as “Rats” can prove when you listen to it, and for me that is the absolutely best song on this record. I must say hats off to the guys because they managed to retain a great deal of originality in today´s scene when a lot of the bands just become clones of each other. Don´t get me wrong, there is nothing wrong being a clone if you sound and make great music, but the road this band chose is much more difficult and I respect them for that so much more. Great album!





Panchrysia  are  a  band  from  that  plays  a  very  modern  and  traditional  form  of  black  metal  and  this  is  a  review  of  their  2018  album  "Dogma"  which  was  released  by  Satanath  Records.


  Drum  beats  along  with  some  melodic  yet  heavy  riffing  starts  off  the  album  and  when  the  music  speeds  up  a  great  amount  of  blast  beats  can  be  heard  while  the  vocals  are  done  in  a  mixture  of  shouts  and  black  metal  screams  as  well  as  the  tremolo  picking  giving  the  songs  a  more  raw  feeling.


  Throughout  the  recording  you  can  also h ear  a  great  mixture  of  slow,  mid  paced  and  fast  parts  while  all  of  the  musical instruments  have  a  very  powerful  sound  to  them  along  with  the  solos  and  leads  being  done  in  a  very  melodic  style  as  well  as  some  songs  also  adding  in  spoken  word  parts  and  one  track  also  adds  in  a  brief  use  of  middle  eastern  style  instruments  before  returning  back  to  a  heavier  direction  and  as  the  album  progresses  a  brief  use  of  atmospheric  sounds  can  also  be  heard  and  on  the  closing  track  early  20th  century  music  samples  can  be  heard  briefly.


  Panchrysia  plays  a  style  of  black  metal  that  is  very  modern  yet  retains  a  lot  of  the  more  classic  traditional  sound  of t he  genre,  the  production  sounds  very  raw  and  heavy  while  the  lyrics  cover  dark  and  mythological  themes.


  In  my  opinion  Panchrysia  are  a  very  great  sounding  modern  black  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.





Voor het zover is, kunnen we ons eerst nog laven aan de klanken van Panchrysia ‘uit het Belgenland’, zoals de frontman het zo mooi uitdrukt. De band heeft al een hele rits van releases op zijn naam staan, maar de laatste jaren was het rustig rond dit gezelschap. Met het pas uitgebrachte album ‘Dogma’ heeft men echter een werkelijk ijzersterke comeback gemaakt, zo mogen we aan het einde van de set wel concluderen. Jaren aan ervaring hebben zich uitbetaald in een meeslepend blackmetalepos, een psychomachisch meesterstukje dat ons meeneemt naar de diepste krochten van de menselijke ziel. Voor de oningewijde moge het misschien vreemd klinken wanneer de zanger de thematiek van een nummer (‘Kairos’) omschrijft als een ‘zoektocht naar stilte en innerlijke rust’, maar het is precies dit streven naar gemoedsrust te midden van of in het chaotische leven dat menig beoefenaar en liefhebber van de donkere kunsten bezielt. Bij dit type concerten is het eigenlijk onnozel om van voorprogramma’s en hoofdacts te spreken, wat door Panchrysia maar weer eens wordt onderstreept – ons persoonlijke hoogtepunt van de avond.





Dogma è il quinto full length per i belgi Panchrysia, i quali sono in circolazione dall’inizio del secolo in veste di autori di un black metal di buona fattura e dalle frequenti aperture melodiche, senza disdegnare neppure un valido lavoro chitarristico di matrice solista.


In effetti, il genere viene interpretato in maniera piuttosto trasversale, tra pulsioni death, doom e heavy e qualche spinta avanguardista: il risultato che ne scaturisce e però notevole in quanto il tutto avviene in maniera piuttosto fluida e sempre con un occhio attento all’aspetto atmosferico.

La bontà dell’operato della band fiamminga risiede, appunto, nel suo mantenere ben in evidenza le radici del genere per poi lasciare che il sound si arricchisca di elementi diversi, facendo sì che al tutto venga impresso un marchio sufficientemente personale.

All’interno di una scaletta davvero convincente, spicca comunque l’ottimo black doom di Kairos, uno dei brani che maggiormente rende giustizia alle buone doti dei Panchrysia, assieme alla più lunga ed articolata Rats, traccia di chiusura di un album molto valido da parte di una band meritevole, sicuramente, di una maggiore considerazione, detto in senso lato.





A belga metalszíntér az Aborted és a Diablo Blvd nevén kívül számomra nem sokat mond, de ez minden bizonnyal az én hibám. Az orosz Satanath Records kiadó, mely előszeretettel jelenteti meg az underground legmélyebb bugyraiból származó legborzalmasabb retteneteket, április 30-án adta ki a flamand Panchrysia ötödik soralbumát "Dogma" címmel, a banda választott zenei területe pedig a black metal.



A Panchrysia nem mai csapat, egészen pontosan 1998 óta működnek a szcénán belül, ezalatt az idő alatt pedig két demót, négy stúdiólemezt és egy megosztott kiadványt hoztak ki (ez utóbbit az Iconoclams zenekarral közösen). A kétezres években beindulni látszottak a dolgaik, turnéztak a Marduk és a Malevolent Creation társaságában, fesztiválfellépéseik is voltak, de aztán valahogy egyre inkább csak a szórványos stúdiómunkálatokra szorítkoztak.


Előző anyaguk, a "Massa Damnata" 2011-ben jött ki, azóta nem hallhattunk felőlük, de ez természetesen semmit sem von le zenéjük minőségéből, sokkal többet mond el inkább a metal, az underground és a kisebb bandák helyzetéről. Most azonban a belgák ismét előbújtak földalatti barlangjukból és megmutatták, hogy "nem halott az, mi fekszik örökkön; a halál sem ér át végtelen időkön."


Ha egy szóval akarjuk jellemezni a Panchrysia zenéjét, akkor a klasszikus norvég black metal modern változatáról beszélhetnénk. Ez nem önellentmondás: alapvetően egy, a kilencvenes évek eleji norvég feketefém produkciókat tiszteletben tartó, de a friss megközelítést előtérbe helyező lemezről van szó, mely úgy tud újat mutatni, hogy közben ragaszkodik a stílusalapítók eredeti esztétikájához.


A nyolctételes, harminckilenc perces "Dogma" korong legerősebb eleme az iszonyatosan sötét, depresszív, a mélybe húzó és onnan nem eresztő atmoszféra. A dalszövegek az emberi lélekről, annak bukásáról és a bukást okozó modern kor összes rákfenéjéről szólnak, mindezt egyrészt egyfajta mitikus, másrészt egzisztencialista köntösbe bújtatva. A dogma szó mindazon - legfőképpen, de nem kizárólagosan vallási - axiómákat jelöli, melyek bilincsbe zárják a mai embert és meggátolják abban, hogy saját szabad akarata szerint élhessen.




A tradicionális norvég black metal hatása egyértelműen tetten érhető a Zahrim művésznév alatt fellépő énekes hanghordozásán, illetve az album általános megszólalásán is. A frontember nem a fejhangú rikácsolásban hisz, hanem inkább a mélyebb, köpködős, acsarkodó előadásmódban, mely jobban át is adja ezt a reménytelen hangulatot. A gitárok meglehetősen vékonyan szólnak, némileg hátra is vannak keverve, a dob kellőképpen csörömpölős, meglepő módon viszont a basszusgitár szépen kiemelkedik, kellő súlyt ad a daloknak.


Amellett természetesen, hogy nem hiányoznak a lemezről a blastbeatek sem, a Panchrysia inkább a középtempós, sőt, néha kifejezetten lassú darálásban vagy inkább építkezésben alkot nagyot. Több tételben is észrevehető az adott szerzemény csúcsra járatása, illetve a kiváló riffek jelenléte.


Vannak azonban olyan eszközei is a zenekarnak, melyekkel már túlmutat a régi nagyok örökségén. A több dalban (Salvation, Gilgamesh) is megjelenő szavalás remekül illik a korong hangulatába: mintegy lefékezi, de ki is emeli a szöveget és ad egyfajta emelkedett minőséget is a számoknak. A másik érdekes elem a többször is bekúszó akusztikus, atmoszferikus részek, illetve szokatlan zenei betétek használata. Erre jó példa a záró Rats bevezető első perce, melyben egy recsegő gramofonlemezről egy swing szól az ezerkilencszázhúszas évek derekáról, majd onnan robban be a málházó riff.




A pörgősebb, ámde dallamos és egyben kifejezetten letargikus tételek közé tartozik a nyitó Each Against All a maga remek refrénjével, illetve a már említett Gilgamesh. A lassabb, filozofikusabb Never To See The Light Again hallatán eszembe jutott a Celtic Frost "Monotheist" című mesterműve is, legfőképpen annak kozmikusan sötét hangulata. A 28 Steps pedig olyan érdekes, disszonáns riffel indít, mely szinte teljesen ki is lóg az egész lemez atmoszférájából.   


Ha nem lenne a korai norvég stílusalapítók szellemiségével tökéletesen ellentétes, akkor azt mondanám, hogy a "Dogma" egy végletekig kidolgozott, finoman megmunkált black metal album, érdekes zenei ötletekkel és megoldásokkal, mely nem nélkülözi a brutalitást sem, de inkább a dallamokra és az atmoszférára helyezi a hangsúlyt. Van benne erő, de a "Dogma" inkább elgondolkodtat vagy az érzelmeidre, semmint az ösztöneidre hat. Kiváló lemez: remélem, hogy a belga csapatnak sikerül újabb lendületet vennie ezzel a teljesítménnyel.




La Belgique ou le plat pays comme certains aiment l’appeler, n’est pas forcement réputé pour avoir un gros fief de groupes de metal et encore moins de black metal, mise à part pour les plus connus et anciens de Enthroned et plus récemment le groupe phare de Black metal atmosphérique avec Wiegedood. Pourtant Panchrysia n’est pas tout jeune, formée en 98 la formation nous a sorti le 30 avril de cette année son cinquième album intitulé « DOGMA ».


Panchrysia fait partie de cette nouvelle génération de groupe de black metal, c'est-à-dire qu’il faut oublier le son bien crade, la batterie qui te colle les cymbales dans les oreilles, et cette voix enregistrée au fond d’une caverne. Cette formation au vécu déjà imposant par le nombre d’années d'ancienneté a su trouver un son propre et une forme de black metal peut répandue. On pourrait se situer entre un black metal old school et le black metal atmosphérique, ils y alternent riffs à l’ancienne et envolées atmosphériques pour les passages plus lents.

En référence on aurait pu insinuer qu’ils se rapprochent de MGLA surtout avec le riff d’intro de « EACH AGAINST ALL », mais de l’album il n’y a vraiment que cela qui me fasse penser à d’autres formations. Techniquement parfaits les 4 compères nous proposent un travail affûté, des mélodies qui tiennent tes tripes dans le creux de la main prêtes à te les arracher à la reprise du riff diabolique. Panchrysia nous emmène au cœur de l’enfer rendre visite à tous leurs démons, la musique est propre on est sur de l’excellent, tout a été pensé pour tenir l’auditeur en haleine. Ils n’ont rien négligé ce groupe a tout peaufiné sans oublier cette ambiance et cette noirceur qui les caractérisent depuis « DEATHCULT SALVATION » de 2008. Le chant est assez surprenant à la première écoute, car Zahrim chanteur et guitariste du groupe alterne le chant hurlé et le chant parlé pour donner encore plus cette sensation du malsain, quatre-vingt pour cent du chant sera black et le restant sera conté.


Une vraie découverte pour ma part et un réel coup de cœur pour cette formation belge, un CD à posséder et surtout à découvrir. C’est un groupe pas si facile d’accès, il faudra plusieurs écoutes pour ressentir tout le travail fourni par Panchrysia. Un album qui dégage une noirceur qui ferait pâlir Belzebuth .





Onze landgenoten Panchrysia draaien al heel wat jaartjes mee in de Belgische black metal scene, maar tot een internationale doorbraak naar het grotere publiek is het nooit echt gekomen, hoewel hun oudere albums zeker gehoord mogen worden en het nodige potentieel in zich hadden. De vorige langspeler “Massa damnata” dateert alweer uit 2011 en eigenlijk had ik de band al lang opgegeven tot ze vorig jaar plots op de affiche van een gig met Wederganger en Djevel in de Antwerpse concertzaal Het Bos opdoken. Via Facebook werd gelost dat Panchrysia in de studio zat en enkele maanden later, ligt “Dogma” hier haar rondjes te draaien. Panchrysia is altijd al beïnvloed geweest door de grotere Noorse (lees Satyricon qua muziek) en Zweedse (lees Marduk qua vocalen) namen en die invloed kan op de nieuwe plaat ook moeilijk weggestoken worden. Het nieuwe Russische label Satanath raadt het album ook aan aan liefhebbers van Bell Witch, maat wie dat schreef had duidelijk te veel vodka gedronken, want met de tergend trage funeral doom van dit duo hebben de zwartmetalen klanken van Panchrysia toch bitter weinig te maken hoor. “Each against all” begint aanvankelijk nog tamelijk rustig in de stijl van de meest recente Satyricon platen, maar eens de vocalen invallen wordt het al gauw spannender dan wat de Noren ons tegenwoordig voorschotelen. De opener klinkt heel melodieus inclusief mooie solo en door de semi-cleane/semi-raspende zang hangt er ook een occult sfeertje over de song gedrapeerd. “Salvation” trekt de lijn van het eerste nummer grotendeels verder, maar klinkt minder geïnspireerd en kan me pas naar het einde toe bekoren. Geef me dan maar een songs als “Gilgamesh” waar een Mortuus-vibe in de vocalen van Zahrim zit, hoewel het tempo een pak lager ligt dan in de doorsnee Marduk-song. Spoken-word samples zorgen bovendien voor een moderne toets. Gelukkig wordt het gaspedaal na de melodieuze intro van “Kairos” toch even dieper ingetrapt, want anders zou de verveling wel beginnen toeslaan. Halverwege het nummer slaat de balans echter opnieuw over naar de melodieuze kant en een trager tempo en volgt een Watain-achtige melodieuze solo. Als je een nummer de titel “War with heaven” meegeeft verwacht je daadkrachtige muziek en dat is gelukkig wel het geval in deze song evenals in “Never to see the light again” dat opnieuw samples en sneller werk laat horen. Het hieronder geposte “28 steps” is lekker opzwepend en is wat mij betreft één van de beste songs van de plaat. Afsluiten doet Panchrysia met het sterke en overtuigende “Rats“, dat aanvankelijk met een jazzy intro-sample van start gaat en waarin later – bewust of onbewust – een serieuze knipoog naar Emperor wordt gegeven want enkele riffs uit de finale van het nummer lijken wel héél hard op die uit “Into the infinity of thoughts“. Ten opzichte van het ouder werk ligt het tempo duidelijk lager en heeft het venijn plaats geruimd voor de nodige melodie. Hierdoor heeft Panchrysia een gelijkaardige evolutie als een Satyricon doorgemaakt, hoewel onze landgenoten toch een stuk overtuigender uit de hoek weten te komen dan Satyr en Frost.




La Satanath Records deve avere un buon scouting in giro per il mondo, andando a pescare band in tutti gli angoli della terra. La compagine di oggi, i Panchrysia, arrivano dal Belgio, dalla zona di Anversa per l'esattezza e per quanto a me siano totalmente sconosciuti, 'Dogma' rappresenta già il loro quinto lavoro da quanto sono in giro. Non devono essere troppo prolifici però, dato che si sono formati nel '98 e questo cd arriva a ben sette anni di distanza dal precedente 'Massa Damnata'. La proposta del quartetto si prefigura come un black dalle fosche tinte atmosferiche, con buone accelerazioni post-black. Ciò è quanto si evince almeno dalla brillante opening track, "Each Against All", che offre buone soluzioni melodiche, un bel riffing compatto ed una più che dignitosa performance vocale. Nonostante le premesse, queste vengono deluse da una seconda song più piatta, "Salvation", sempre in bilico tra un black e doom che poco di nuovo hanno da proporre. Ci riproviamo allora con "Gilgamesh", di sicuro più grintosa della precedente ed avvolta da un'aura old school. La song vive in realtà di sussulti tra spinte notevoli e intriganti rallentamenti, in cui il cantante si avvale di spoken words per affascinare l'ascoltatore. Interessante ma da riascoltare. Sembra decisamente più stuzzicante "Kairos" e la sua alternanza perpetua tra soluzioni incazzate e reminiscenze mi portano a 'Dance of December Souls' dei Katatonia, anche se il riffing qui viaggia su binari death black. Il disco si conferma altalenante: se la seguente "War With Heaven" non mi convince appieno, ancora un po' piattina nella sua evoluzione, "Never to See the Light Again" ha modo di regalare un prog black aggressivo evocante per certi versi, gli Enslaved. Lo stesso dicasi di "28 Steps", ma è forse con "Rats", che la band belga trova la quadratura del cerchio con una prova convincente quanto sperimentale, tra suoni anni '30 proposti come intro, spaventose accelerazioni e lunghi momenti atmosferici. C'è ancora molto da lavorare per elevarsi sopra le masse di band che propongono simili sonorità, speriamo solo di non dover aspettare un altro lustro per sentir ancora parlare dei Panchrysia.




It is a very sympathetic thing to do, dearest Aleksey, to celebrate you 200thSatanath Records release by means of Panchrysia. Good idea, respect, haha!


Seriously, Panchrysia are an act from Belgium, and I dare to pretend that this act is one of the best ones from my home country. Their debut In Obscure Depths could be my favourite (Metal) recording from 2002, I think, yet also all other albums belong to my respectful top lists (if these lists would actually exist). The band had quite a stable line-up since the earliest years, which results in a very professional and organic collaboration in between the members. This album does not define the opposite!


The whole session was recorded and mixed on Flemish soil (recording at Blackroom Studio, mix once again at Turtle Power Studio, and mastering in the Penthouse Studio). The performance line-up is Zahrim (vocals and lyrics, guitars), Web (guitars), Dol (drums), and newly recruited members Jef (guitars) and Jessie on bass (did Joris leave?). The album gets released via Russia’s finest Satanath Records in an edition of 500 copies, coming with an eight-page booklet that includes the English lyrics.


Dogma lasts for almost forty minutes, and it is the first album in a long time. The last one, Massa Damnata, was from 2011. Well, actually, this band has never been that productive, but they prefer quality above quantity. It shows once again, and that’s clear as from the first sequence of this album. Throughout the years, Panchrysia sort of created their own sound, and this is the case on Dogma too, evidently. A permanent evolution / progression as result… The album opens with Each Against All (and not ‘eeach against all’), which starts slow, melodious and atmospheric, yet deeply heavy and powerful too. Step by step those riffs and rhythms grow, building up patiently… And then the sonic attacks blast everything away! That is a constant throughout the whole album (once more), that diversification and interaction in between melodic-hypnotic passages and devastating excerpts. The guitar work is excellent – sorry, everything is excellent – but I mean that the melody-structures are beyond average. The riffage exhales a craftsmanship oh so fine, oh so intriguing, like the spine of a colossal corpse to be carried. And then you have that fabulous rhythm section support, with sublime drum patterns (truly!), mighty bass lines and strong, pushing rhythm guitars. In its interactive totality, as said before, you understand the better part of the band members’ twenty years of partnership and experience. On top, the creative ideas are a surplus, but hey, that too is courtesy of the band, as you might know.


Remarkable is that the album has more decelerating, slowed-down passages than before, a larger dose of melodious intermezzi, a wider vocal range (not unimportant at all!), and less ‘Post’ elements than before. It is a logical result of the constant progression, of course, and it does not bother (even though I still do prefer the debut – but that isn’t but a subjective and personal opinion). At the same time, the band maintains to continue their own-faced and recognizable approach. Development can be a good thing, as long as it does not betray its roots, and here we have a good example of how it should be.





VERDIKT: Na Dogma se sráží staromilství a moderna. Panchrysia na kořenech staví svébytnou stavbu, kterou sice nebudou obdivovat davy, ale může zaujmout ty, kteří mají rádi dobré řemeslo s vkusnou atmosféru díla.

Kolik znáte blackmetalových kapel z Belgie? Já moc ne. Vystačím si s Enthroned a Cult of Erinyes či s mým letošním objevem LVTHN. Deathových zvěrstvech bych asi vypočítal víc. Co to značí? Buď to, že jsem totální ignorant a nezajímátor, nebo není belgická blacková scéna nijak zvlášť profláknutá. Čím víc se nořím do říše googlu, zjišťuju celý zpocený, že za a) je správně a za b) ani náhodou. K těm lepším z tamních představitelů černé muziky patří i Panchrysia. Nejedná se o žádné nováčky, čili objev roku je to jen pro takové, jako jsem já. Kapela existuje dvacet let a na triku má pět dlouhohrajících alb, která ne jen, že dobře zní, ale dle ohlasů v éteru byla i dobře přijatá. Právě díky ohlasům, které spíše nejsou, než jsou, je evidentní, že Panchrysia není mimo své hranice nijak zvlášť známá, ale kdo slyšel, chválí.




A o jaký že typ blacku se tedy jedná? Hrají Panchrysia ortodoxní peklo, depressive či atmosférický metal… post? Nebo se zařadili mezi tzv. moderní vlnu s Watain nebo Merrimack v čele? S Panchrysia se to má tak, že si hrají na písečku moderním i staroškolském. Poslechl jsem si i starší desky a to Švédsko s Norskem tam slyším. Ne že ne. Citovaní jsou Satyricon i Watain. S novinkou to nebude tak lehké, byť o šílený progres se v případě Dogma rozhodně nejedná. Pročistil se vzduch, uklidnily emoce, přidalo na melodiích, možná zvolnilo tempo… Ne, nebojte, o opisování od takových Dimmu Borgir nebo CoF nemůže být taky řeč. Panchrysia hrají poctivý metal, který se nebojí jak zmíněných melodií, tak thrashové řevnivosti.





Jestliže jsem na začátku zmínil Enthroned a Cult of Erinyes, rád bych dodal, že je i s Panchrysia spojuje dobré řemeslo a nevšedně napsané skladby. Panchrysia svou pátou nahrávku pojmenovali Dogma. Desku vydává ruský label Satanath Records a vypadá to, že se s propagací opravdu snaží. Vždyď se Dogma dostala i ke mě, hehe. Album je rozděleno do osmi skladeb, z nichž každá je nabitá osobitostí. Úvod patří pozvolně se rozjíždějící Each Against All. Evokuje současnou tvorbu Satyricon se vším všudy. Ale jen do doby, než se přidá thrashový hlas zpívajícího kytaristy Zahrima. Ten po většinu hrací doby vřískavě odsekává své texty, ale potřebuje-li to moment, umí se uvolnit či rozdivočit, a pak teprve vynikne jeho hlas. Tehdy teprve jsem plně spokojen. Je-li totiž něco, co mi příliš na Dogma nesedí, je to právě zpěv. Přitom na starších nahrávkách byl jeho hlas výborně jedovatý. Ale co už! Vynikající rytmika i pestré kytarové vyhrávky se zajímavými basovými linkami ovšem vynahradí hudební zážitek.








Se skladbou jako takovou se pracuje na Dogma vskutku pečlivě. Rozhodně nemůžeme mluvit o běžné rockové písničce. Skladadatelsky vygradované segmenty někdy čekají, než se vypravěč nadechne a pak společně rozvášní bouři do katarzního rauše. Když jsem zmínil severské vzory, možná bych mohl i podotknout, že v sólech slyším naše Master`s Hammer. Mají v sobě podobně omamné drásavé kouzlo. Asi se tím stejně dostaneme k prakořenům všeho, Bathory. Panchrysia se ovšem nesnižují k pouhému paběrkování na odkazech slavnějších interpretů. Spíš mi připadne, že Panchrysia na kořenech staví svébytnou stavbu. Ne, Panchrysia není stylotvorná kapela, za kterou se potáhnou davy. Jestli se doposud nestala ikonou a kultem, nic se nezmění. Jejich Dogma je jednoduše dobrým příspěvkem do blackmetalového fondu. Nic víc, ani nic míň. Je možné, že v záplavě dalších a dalších nových desek Dogma zapadne, ale pevně věřím, že své fans si najde.





I guessed that metal from Belgium not was so common. I guessed very, very wrong! The metal Archives list 500 bands, and in addition there are certainly lots of bands that the archives not have discovered. Panchrysia is among the 500, and they been around for 20 years, and have recently release their fifth album Dogma.




Panchrysia  plays  a  style  of  black  metal  that  is  very  modern  yet  retains  a  lot  of  the  more  classic  traditional  sound  oft he  genre, the  production  sounds  very  raw  and  heavy  while  the  lyrics  cover  dark  and  mythological  themes. Dogma appears on the surface to be an homage to classic black metal of years past. However, once the surface is scratched away, fans will notice the subtle differences and the unique temperament which defines the album. It can be vicious and unstable sounding, but it`s often fascinating to listen to.


Drum  beats  along  with  some  melodic  yet  heavy  riffing  starts  off  the  album  and  when  the  music  speeds  up  a  great  amount  of  blast  beats  can  be  heard  while  the  vocals  are  done  in  a  mixture  of  shouts  and  black  metal  screams  as  well  as  the  tremolo  picking  giving  the  songs  a  more  raw  feeling.


Throughout  the  recording  you  can  also hear  a  great  mixture  of  slow,  mid  paced  and  fast  parts  while  all  of  the  musical instruments  have  a  very  powerful  sound  to  them  along  with  the  solos  and  leads  being  done  in  a  very  melodic  style  as  well  as  some  songs  also  adding  in  spoken  word  parts  and  one  track  also  adds  in  a  brief  use  of  middle  eastern  style  instruments  before  returning  back  to  a  heavier  direction  and  as  the  album  progresses  a  brief  use  of  atmospheric  sounds  can  also  be  heard  and  on  the  closing  track  early  20th  century  music  samples  can  be  heard  briefly.





Belgian black metallers. They have an unusual sound, mixing a sub-Tom

G. Warrior croak vocal with a midtempo, almost post-black approach that

reminds somewhat of weird acts like Miasma or, as the promo materials

would have it, more recent Satyricon (which in some ways, yes, you can



Keep in mind, in saying “black metal”, we’re not talking anything expected

– most of this album is almost “black n’ roll”, so low and slow is the riffing

and drumming. When they do go nuts with the tremelo riffing, sure, the

blastbeats kick in, but it just ain’t that kind of album…more of a “dark

metal” sort of post-black something or other that doesn’t grate so hard on

the ears or demand so much of its listening audience.


It’s strange, sure. But overall, I’d call that a positive thing.




Vinte anos de carreira, cinco ábuns lançados (contando com este "Dogma") e nunca ouvimos falar dos belgas Panchrysia. Não é primeira vez que acontece, nem será a última. Não é fácil para nós chegarmos ao fundo deste mundo do metal, vasto como um universo em constante expansão. Em nossa defesa, a banda também esteve guardada a um silêncio durante sete anos. Com um som bastante peculiar que nos traz um metal extremo de difícil categorização. O Metal Archives diz que é black metal e nós só conseguimos encará-los dessa forma se olharmos para uma banda como os Rotting Christ e estabelecermos algumas comparações, pela melodia pouco usual e pela forma com seguem ter algum teor ritualista de oculto. Não é imediato mas há por aqui algo que nos faz voltar para tentar deslindar. Não garantimos que se consiga, mesmo após múltiplas audições - nós tentámos - mas a satisfação dessa viagem é superior à que se poderia ter eventualmente de chegar ao destino.





Panchrysia, wie had dat in godsnaam nog verwacht? De band die ooit op tour ging met Marduk en tot de top van de black metal in België behoorde, is terug van nooit weg geweest. Er waren zeven jaar lang gewoon geen platen en dus is Dogma dit jaar pas de opvolger van Massa Damnata uit 2011 geworden. Toen kregen deze Vlamingen een erg hoog cijfer en hadden ze zichzelf overtroffen. De Satyricon- en 1349-trekjes waren wat weggefilterd uit de muziek en de heren uit Heist-Op-Den-Berg kozen een eigen weg. Het is een understatement om te zeggen dat de verwachtingen hoog zijn en uiteraard heb ik deze plaat even moeten laten bezinken.




Dat is ook nodig voor Dogma, zo veel is duidelijk. Het is duidelijk dat Panchrysia weer een ander pad bewandelt en dat is ook maar logisch met een nieuwe gitarist en bassist. Je hoort dat het in de lijn blijft liggen van Massa Damnata, met smerige sleepstukken en heel wat dynamiek, maar inhoudelijk is het toch nog net iets meer gewaagd. Zo veel is al duidelijk met de aanvangstreffer Each Against All, waarbij de band een soort Secrets of The Moon-vibe creëert en zanger Zahrim een compleet ander facet van zijn stem laat horen. Salvation is een track die er altijd in kan, een sleper van formaat, maar wel eentje die moet wennen. Je hoort nog steeds dat de lijnen hier wat geïnspireerd zijn op Satyricon, maar toch maken deze heren er compleet hun eigen ding van, zeker halverwege de track.


Gilgamesh is wat mij betreft een van de betere in het rijtje, met ook een zanglijn en tekst met power die blijft hangen en met een sound die erg nostalgisch aanvoelt. Ook deze track bezit weer wat lekkere sleepkracht en dit zijn gitaarlijnen die typisch Panchrysia zijn, maar toch weer mooi tot een vunzig verhaal gevormd worden. Ook Kairos doet het goed, maar ook hier toont de band zich niet van de snijdende, vuile kant die we gewoon zijn. Mysterieuze zang en riffs zorgen voor een occulte diepgang en dat is wel even wennen. Het ziet er naar uit dat Panchrysia die greep naar vuile en krachtige tracks ook wat mist met War With Heaven of Never See The Light Again. Al zijn dit prima tracks, toch ontbreekt er wat van de oude kracht. Wel ben ik dan weer fan van de oldschool vibe op 28 Steps en de tweede topper van de plaat: Rats. Lekkere riffs, melancholische diepgang en het vuile aura dat er na al die tijd nog steeds is.


Toch moet gezegd worden dat Dogma nog niet kan tippen aan Massa Damnata, maar wel aan al het materiaal dat daarvoor kwam. Panchrysia duikt met deze release een veelal slepend mysterie in, maar hier en daar mis ik nog wat vuurkracht en vatsigheid. Dynamiek, verhaal en emotie is er gelukkig zat en zo scoort de band met deze release hoge ogen, maar hopelijk grijpt de opvolger me over de ganse lijn ook echt bij de strot.





Panchrysia from Belgium recently released their new studio full length album and I listened to it and reviewed it for this webzine.



These guys have been around since 1998.and they delivered their quality black metal upon the unsuspecting world. This time on this album Panchrysia delivers 8 songs of atmospheric, brutal, but still melodic black metal. The lyrics are in English and as I understand deal with ancient myths and prophecies of the end of the world. I love the atmosphere of “Kairos”,  how the song evolves between almost dark and calm atmosphere of death and nothingness into full blooded aggressivity and despair that only black metal can provide. The song structures are epic as “Rats” can prove when you listen to it, and for me that is the absolutely best song on this record. I must say hats off to the guys because they managed to retain a great deal of originality in today´s scene when a lot of the bands just become clones of each other. Don´t get me wrong, there is nothing wrong being a clone if you sound and make great music, but the road this band chose is much more difficult and I respect them for that so much more. Great album!





I Panchrysia son un progetto belga che esiste da parecchio tempo. Le loro uscite discografiche ebbero inizio nel lontano 2000, quasi un ventennio fa. Detto ciò, mi sarei aspettato qualcosa di leggermente meglio dal loro ultimo lavoro "Dogma", un lavoro ben prodotto, ambizioso, ma che non riesce a far gioco forza sullo stile "misto" che la band utilizza. Non mi piace fare il track-by-track dei dischi che ascolto perchè lo trovo spesso inutile per descrivere un album. Tuttavia, in questo caso, lo vedo necessario per dare un quadro piú ampio di come i nostri si muovano da un lato all'altro dello spettro "estremo", senza tuttavia trovare un loro connotamento in maniera costruttiva o per lo meno convincente.

A partire dal riffing portante dell'opener "Each Against All" che viaggia sulla falsa linea del tema di "28 Giorni Dopo" (???) ci si ritrova davanti ad un disco che lascia generalmente nel dubbio. Anzitutto la scelta di porre un brano davvero non troppo "forte" come opener quando tuttavia, all'interno dell'album, ci son canzoni che potrebbero aver fatto al caso. Bello l'assolo sulla seconda parte del brano, interessante la combinazione di black e parti leggermente piú "heavy" come in questo caso ma, a dirla tutta, si potrebbe dare e fare ben oltre ed, una volta ascoltato "Dogma" nella sua totalità, questo discorso risulta esser palese.

La qualità c'è e si sente, ma davvero certe soluzioni non son riuscito a capirle, come nella seconda "Salvation" in cui il mood iniziale riporta alla mente un incrocio raro tra Gojira e Khold, interessante, ma non proprio in linea, né tanto meno necessario accanto al resto del disco. Un brano che risulta essere una mosca bianca all'interno di un lavoro totalmente alieno ad una canzone simile.

La successiva "Gilgamesh" inizia bene e si perde poi sulla parte narrata finale. Interessante la sessione ritmica, ma anche in questo caso, perchè perder tempo con il costruire un'atmosfera simile per poi davvero ridursi a farlo in un brano di meno di cinque minuti, quando proprio questa soluzione viene usata in maniera piú convincente in altre canzoni? La sensazione generale risulta esser quella di voler aggiungere minutaggio, anzichè approffondire la musica in maniera costruttiva e qui un punto a sfavore che sovente viene alla mente durante l'ascolto.

La musica "cambia" nella successiva "Kairos", un brano che avrebbe decisamente colpito piú di "Each Against All". Forse uno dei brani migliori del disco e che davvero ha un interessantissimo sviluppo sia dal punto di vista black (con il riffing conciso e diretto che taglia benissimo la sessione ritmica, capace di mutare tra blast e mid-tempo senza sforzi in maniera interessante), sia dal punto di vista "sperimentale" sulla seconda parte del brano che riesce a perdersi incantevolmente su un finale atmosferico e in cui il duo voce/lead-guitar riesce a costruire un maestoso e decadente scenario.

La seguente "War With Heaven", si avvale di una narrazione che davvero si sarebbe potuta trasformare in un vero e proprio scream o growl, anzichè risultare abbastanza piatta nel contesto. Quando la band infatti si spinge sul lato violento del proprio sound, il risultato è pressochè perfetto. Purtroppo peró, l'avvalersi di una costante comune tra tutti i brani a livello di strutture, trasforma spesso il tutto in un qualcosa di valido, ma non convincente nel complesso collettivo di un album.

"Never To see The Light Again" risulta anch'esso essere un brano interessante, ben strutturato ed ho apprezzato l'inserimento di una canzone simile prima della penultima "28 Steps" che dà spazio ad un brano tra i piú black dell'album ed in cui la band riesce a brillare con la sua vena quasi affine al death che qui è visibile ed ascoltabile in maniera perfetta, con un impatto assolutamente riuscito!

La conclusiva "Rats" è il brano maggiormente influnzato dalla vena sperimentale della band e qui ci si trova davanti ad una vera e propria perla. La tensione rimane alta, anche là dove la band si avvale di soluzioni già usate nei brani precedenti - ancora una volta nella struttura del brano - che tuttavia risultano essere espanse a dovere come se infine i nostri abbian capito come usare la formula che han inventato e usato per la maggiorparte dei quaranta minuti di musica ascoltati.

Nel complesso "Dogma" diventa un altalenante mutare che si avvale del lato black come cavallo di battaglia, mentre cerca di trovare il proprio cammino tra momenti maggiormente lungimiranti. Se da un lato i nostri riescon a presentarsi come una band capace di colpire per la propria violenza, dall'altro l'incapacità di tenere alta la tensione durante la totalità dell'album riduce le possibilità per questo disco di diventare un lavoro importante. Strutturalmente i nostri si appoggiano su soluzioni spesso "abusate", laddove si potrebbe decisamente sperimentare di piú ed invece la pigrizia trova terreno fertile. Come se ci fosse la volontà di uscire dal seminato, ma senza troppi sforzi, "Dogma" rimane un lavoro valido a metà. Un lavoro che potenzialmente sarebbe potuto divenire un disco tra i piú interessanti dell'anno, diventa cosí un titolo tra tanti. Valido? Senza ombra di dubbio, tuttavia non indimenticabile.





PANCHRYSIA spawned from the Belgian soil and has been operating heavily under the surface since 1998, during which time two demos, four studio albums and one shared release have been released. The Belgians emerged again from their underground caverns and their recent creation “Dogma” has seen the obscene light after full seven years of publishing "Massa Damnata" in 2011. Prestigious Satanath Records (Russia) this time took the charge of publishing this tale from the deepest depth of the underground. To characterize PANCHRYSIA's music in a shell, we can talk about the modern version of classic Norwegian Black Metal. This is not a negation: it is basically a record that respects the Norwegian approach to Black Metal production in the early nineties but in a fresh approach, which can show newness while insisting on the original aesthetics of the founders of the style. The most powerful element of the "Dogma" record is the terribly dark, dismal, deep-seated and unstoppable atmosphere which transcends nothingness. From the sedative ‘Each Against All’ towards the calling of ‘Gilgamesh’ and the engrossing ‘Never To See The Light Again’ encapsulate the essence of gaining through absolute nothingness. In the contrary the last two creations ’28 Steps’ and ‘Rats’ are rather like surreal devastation until total purification. The lyrics speak about the human soul, its fall, and all the cranium of the modern age causing the fall, all of which is devoted to a mythical, on the one hand, and to an existentialist dress. The word dogma denotes all - mostly but not exclusively - religious axioms, which lock the present humans and prevents them from living on their own free will. The cover artwork is bereft of hope and joy, a scene of death and tortured spirits immolated by arcane energies. It proves to be a foreshadowing of the sensations spawned by this Belgian Black Metal band’s fifth album in a near twenty year career. If it were not completely contrary to the spirit of the early Norwegians, it’s evident that "Dogma" is a finely crafted and soulfully enchained Black Metal album with fascinating music ideas that do not lack brutality, but rather captured with pure emphasize upon melodies and atmosphere. There is spirit, energy and enchantment into it, but "Dogma" is more of a thought or emotion than acting on your instincts. All the soulful and open minded explorers of Black Metal Music should be exposed unto this record and face the states and adversity of their own dogma.





Some months ago I received a pack of 7 physical CDs from Satanath Records. The first album taken from that pack to be reviewed on these pages was the disappointing "Formador" by Panico al Miedo. Well, the last album coming from that pack to be reviewed here is the interesting "Dogma" by Panchrysia, a very experienced Belgian band existing since 1998 and that, thoughout the years, shared the stages with many relevant acts such as Impaled Nazarene, Cannibal Corpse, Vader, Belphegor etc. So, we are talking about a band that know what they're doing, and it isn't a case if their fifth album "Dogma" deserve good considerations from the black metal maniacs.



Consisting of 8 tracks, "Dogma" show a band that, after many years, have forged a very personal sound. Basically, they play black metal. But specifically, theirs is a dynamic black metal able to naturally range from really violent and majestic blasting moments to dark mid/slow tempos that can bring also to more atmospheric passages full of melodies. Plus, the lead guitar is almost omnipresent in the progression of the songs also by playing some nice guitar solos. And there is need to say that the vocal department is a little bit unusual since it see, from time to time, some spoken clean vocals also taken from sketches, while the performance of the singer Zahrim, able to spew forth very violent screams, is really expressive. For me, this sonic formula is exemplified at its best by the songs "Never to See the Light Again" and the closing "Rats" (both have great brutal but emotive accelerations after introspective parts). In addition, this last track contains, like "Gilgamesh", something strange.


In fact, the intros of "Gilgamesh" and of "Rats" are bizarre. Specifically, the former starts with a guitar playing oriental melodies, and the latter with an absurd (and somehow senseless) lounge jazz intro. This means that the band show a (very) slight will to experiment bizarre solutions but without integrating them with the black metal parts, and this is a shame. At this point, I suggest to Panchrysia to develop better this experimental side for their future productions to come, also to make senseful intros like the one of "Rats".


In conclusion, "Dogma" is the fifth album of a band creating a personal black metal able to offer very different solutions so to range from the doomish "Salvation" to faster songs like "28 Steps". In addition, Panchrysia have the not so frequent skill to move emotionally the listeners, as perfectly expressed by "Never to See the Light Again" and "Rats", my favorite songs of the entire album. It isn't a masterpiece (also because of a little bit weak drums; and of a song like "Gilgamesh", that maybe needed more fast parts so to resume its first violent minute that, instead, is followed only by slower passages) but this album, such is its variety and its emotivity, is perfect for Panchrysia to celebrate their 20th anniversary.





With plentiful shifts in pacing and tone, the Belgian quintet Panchrysia remind us why they’ve lasted twenty years. Dogma is an accomplished walk through dark/bright contrasted black metal with atmospheric and doom highlights. Second wave riffing and impassioned bile-filled vocals, driven forward by blast mania, are taken to different realities by guitar tones that are brighter than I’m used to hearing in black metal. Rather than weakening the sound, the contrast bumps the uneasiness up a couple of levels as your brain tries to make sense of why the metaphorical butterflies are eating your flesh.





Чумовая бельгийская команда из 90-х. 20 лет изматывает окружающую среду своим нестандартным блэком. Блэком, который уже вырос вместе с музыкантами, и стал уже немного и не блэком, приобрел серьезности, здорового исполнительского пафоса, несомненного мастерства. Это то, что можно назвать комплекс-блэк. Сложный и черный.

За два десятилетия существования через группу прошло более десятка человек, которые в разных комбинациях поиграли еще и в сторонних проектах. И мне кажется, композер - главмузыкант бригады, с каждого снимал стружку и собирал ее для нового компакта. Да и грандмастер одобрял, судя по всему...

Начиная с разгонной компо, команда успешно формирует музыкальный корпус этой Догмы:

-— Раздумчивыми струнными побегами, которые стремятся в кущи... и далеко не райские... забористой гитарной работой в местах, где поплотнее стена звука. Гитариста вообще здесь три. Так что можно представить, что они выдали в конечном результате. Но на прог-блэк не тянет (не больно-то и хотелось )) ). Но на диавольское наваждение — запросто. Ибо иззубренные пилы на этом диске хозяйничают по полной своевольной программе.

---Трудоголической ритм-секцией, укрепляющей жесткий скелет каждого трэка. Делов тут много понаделано, и в частности потому в некоторых композициях сложная темповая структура. Реально ставят крупные задачи, и по крупному играют.

-— И вокалом, странным - поначалу, чуть ли не хэви-металлическим. Что немного возмутило поначалу, а потом вникаешь в идею композера. Вокал здесь не только информационный носитель, но и своеобразный музыкальный инструмент, остро, как бритва, выполняющий задачи автора. Не стоит беспокоиться, скоро он мутирует в скрежещущий современный скрим, который обладает мощным потенциалом воздействия, и умеет много изобразить — возмущение, напор чувств. Инструмент этот вариабелен в каждом отдельном месте, по новомодному исполняя вокальный триатлон. А иногда - диалог вокалов (один музыкант отвечает за все голоса) - чистого и харшевого.

В пресс-релизе указаны несколько команд для ориентира слушателей. Но я согласен с одной — современный Сатирикон играет приблизительно такую музыку. Направления давать надо. Для того, чтобы меломан мог понять, про что вообще речь идет. Так вот, в данном случае мы имеем группу, которая играла 20 лет и была на шаг позади грандов жанра. Но только нельзя сказать, что музыка PANCHRYSIA на шаг хуже … никак нет. Просто, как мы знаем, есть законы маркетинга и проч.

Так что добро пожаловать на сессию новосвежайшего блэк металла, где есть место и блэк-думовому замедлению, и трамбующему мидтемпо, и неоклассик заплате, и медитативному качельному гитарному движению, покадровой театральности и ржавой опасной агрессии, которая просто прет из этих бельгийских застенков. Притом - качество записи!!! А иначе все выше перечисленное не сработает...

Includes 8-page booklet. Includes OBI. Includes Pit-Art CD.

PS. После написания поизучал фб группы. В 13-ом году в Антверпене с Сатириконом играли. Надо же!




Panchrysia has been around quite a while and it is not a surprise then that the band sounds original and doing its own thing at times and brings influences from other acts in other moments. Each Against All, which opens the album, is a doom/death track that more than anything reminds the listener of Mexican Radio, no not the original, but the Celtic Frost cover version. The album is generally underground and brutal, but often takes the listener on a dramatic turn that is theatrical. It could very well be that the spoken words, dubs and drama are owing to the record being a concept. Gilgamesh fools the listener with strumming to start before blasting forth. The singer sounds as if he is having an earnest conversation with himself mid-way through. Kairos is another good example of a doom/death track. The spoken word reappears on Never To See The Light Again. 28 Steps has a hypnotic note, while album closer Rats veers into a jazzy melody without abandoning metal. As said, it is both the same and original at the same time. In general, however, the production does a lot more favours to the upfront vocals and emotive guitars than the flat drums.




Dogma, Panchrysia's fifth studio album, is pretty original Black Metal that attempts to be different from your typical Satyricon copycatting. On "Gilgamesh", for example, the band introduces us to their avant-garde side, while on "Kairos" we can hear where the comparisons to Satyricon come from. "28 Steps" is again a straightforward Black Metal song, in which they have used Black Metal's most common recipe. The album's best surprise is saved for the last. The intro part of "Rats" throws the listener into some gloomy pub filled with smoke, while some sort of laid-back Jazz is playing in the background. After a minute or so, all hell breaks loose and you get punished by these Belgian's hostile but upliftingly varied blackened onslaught, which breaks from the mold of your typical Black Metal track. These fellows have often been accused of ripping off Satyricon, but I guess they are slowly getting rid of that label.




Since 1998 when the Belga Panchrysia band of black metal was formed, we have seen how many bands of the genre have gone through the scene without pain or glory, but here it has not happened. His album Dogma of 2018 is an old-school song and true darkness, a shout to the black metal of old worship and it becomes many times very exciting his songs which are hymns to the darkness. It is important to know who you are if you do not know them yet because they are representatives of the underground of the genre. Although it is not a biography of the band and it is only a review of your album, it is important to know who brings us this great musical proposal: Dol Drums (1998-present) Zahrim Guitars, Vocals (1998-present) Web Guitars (1999-present) Joris Bass (2001-present) Salvation, kairos, rats, topics that really caught my attention, you can listen to your full album and come by yourself to the conclusion of what kind of band we have in front of us, highly recommended.




Los veteranos belgas Panchrysia siguen firmes en su cruzada blackmetalera, y luego de casi siete años de espera lanzan su quinto álbum, “Dogma”. Y cuando digo black metal, creo que es conveniente hacer la salvedad de que Panchrysia no se rige por los estándares del estilo, sino que para caracterizar su música podríamos hablar de una versión moderna del tradicional metal negro escandinavo. Y esta “modernidad” bien entendida pasa por varios factores, a saber, entre otros, la imagen de la banda y la parte vocal. En primera instancia aquí no hay corpse-paintings, ni poses satánicas, y con respecto a lo segundo no hay chillidos sino registros vocales más “humanos” por así decirlo; ásperos sí, pero soportables, y hasta alguno pasajes con voces normales.

Es posible percibir también la atmósfera terriblemente oscura, triste y profunda que concibe este trabajo finamente elaborado y con fascinantes ideas musicales que no carecen de brutalidad, pero contenida.

Hay una personalidad infundida en Panchrysia, suficiente para diferenciarla de cualquier otra banda que yo haya escuchado, y complejidades que normalmente no aparecerían en un álbum así.

En suma, black metal de elite. Recomendado.






I thought that the name sounded familiar but I couldn’t really pin point why. But in checking out their discogrpahy I realized that I back in 2002 reviewed their debut album. I don’t remember what that album sounded like, but I do remember having it. This Belgian band play a sort of black metal that I have a hard time to place. The closet I get is comparing it to stuff like Primordial and Borknagar that uses both clean and screaming vocals. Not that they have that much in common musically with the beforementioned bands but they do operate within that same specter. This is some really good stuff. I gotta start back tracking in their discography now.





Чини ми се каао да борд Satanath Recordsа седи испред карте света и шара по њој. Ево сада black метал бенда из Белгије који постоји добраних 20 година. С обзиром да се ја тек са овим албумом упознајем са бендом Panchrysia, само по њему могу да им судим.


Dogma је дефинитивно освежење у black металу. Једно веома неконвенцијално издање које дефинитивно не прати зацртане шаблоне и ограничења. Овај албум ме је подсетио на Grand Declaration of War oд Mayhem. Додуше, само у стилу: додатак clear вокала, пар цитата и неких скроз уврнутих музичких деоница које су километаски далеко од black метала. Ко воли Satyricon, који већ годинама уназад експериментише са звуком под паролом: „black метал је живи организам коме се мора допустити да еволуира може да ужива у овом aлбуму.


Према томе ово је музика за оне, не тако тврдокорне black метал пуританце. Као да је овде бенд, који постоји респектабилни број година и иза себе има пуно снимљеног материјала, имао потребу да пусти музици да се прошета мало ван устаљених жанровских оквира.


Музичко умеће је и те како на високом нивоу, као и продукција и квалитет снимка. Поздрављам ову уметничу слободу јер се осећа искреност у свему томе, а не усиљеност и притисак са стране. Бенду заиста треба одати заслужену пажњу што је мало тргао жанр из учмалости и монотоније. Да бисте ово разумели морате и ви да имате неки стаж у истом. Колико сам успео да видим на пар претходних издања бенд је уредно носио corpse paint, док сада то није случај. Али црни корени и даље су чврсти, чисти и искрени.




It`s a fifth album from Belgian band Panchrysia.


The album consists of a few typically sounding black metal songs, played with some barbaric spark, but they do not heat the atmosphere of the music to the mental state where war and brutal blaze in your head is about to start. No, they are not Immortal type of band. Panchrysia plays black metal with classic but little elements of Norwegian sound (28 Steps) as we know it but they also try to extend the music and invade you with songs that have some death metal vibe in it. There is a slower/fast song that sounds darker and compile black/death/gothic atmospherics but actually it`s a good one - Kairos. Extreme vocals sound acceptable when sung extremely (Gilgamesh), while verbal declamations sometimes work well and sounds okay, other times lame which are definitely something to void.  Their music has aggressive fragments, but I have the impression that the band wants to rich out some rebellious spirituality and add it to the music so the atmosphere of this album gets some depth around their black and death metal sound. They do not go down the worst with this combination (War With Heaven, Rats), but I'm also far from overestimating their efforts because this album sounds rather ordinary and cliche. Sometimes the construction of the songs plots some melodic guitar leads which is fine, but the only way I am able to think of this album; it`s very average, black metal release.


As for a band with five albums in discography and 20 years of playing metal, I would expect much better music from Panchrysia. In my opinion, this is  another black metal album that does not changes anything  or very little which is basically not enough for me to get interested in their music, in longer perspective.