Rotting Christ Albums – Ranked! (From Worst to Best)

Rotting Christ are a Greek black metal band from Athens, consisting of brothers vocalist/guitarist Sakis Tolis and drummer Themis Tolis. Often overlooked, and with a career spanning over three decades, the time has never been better to take a look through their back catalogue, as we rank and review every album through history.

#13 – Rituals (2016)

Not a bad album by any means, but one that I find difficult to return to as frequently. The ideas on display here are all solid, with Ze Nigmar and Elthe Kyrie being particular highlights. It’s a dark album through and through and prioritises atmosphere over the stellar guitar work the band is known for. 

#12 – Sanctus Diavolos

A product of its time, the early 2000s were not the most accomodating years for black metal, and unfortunately Rotting Christ right come away unscathed. Sanctus Diavolos is rarely talked about these days and that’s a shame, there are some great songs here such as Shades of Evil, Tyrannical and You My Cross. It’s a heavy album that is more on the forgettable side when considering the band’s other works. Worth a listen for sure, but they did much better.

#11 – Genesis (2002)

Suffering from many of the same problems as Sanctus Diavolos, Genesis benefits from more focused songwriting, whilst also tripping up in its own unique ways. This was one of the first Rotting Christ albums that I ever heard, and there are so many phenomenal tracks on display, with Dying, Daemons and Lex Talionis being some of my favourite songs by the band. This momentum isn’t carried evenly throughout the rest of the release, as a result I feel it unfair to rank Genesis higher than some of the more consistent outputs.

#10 – Khronos (2000)

Redefining blasphemy, Khronos rocks. Hyperbole aside there is a lot to love on this release. This album could quite easily be considered Rotting Christ’s darkest to date, songs such as; If It Ends Tomorrow, Art of Sin, Fateless and You Are I can attest to that. Unlike some other entries lower on our list, Khronos is very consistent, I don’t find myself reaching for the skip button to find gems among the filler.

#9 – The Heretics (2019)

What an improvement over Rituals! There’s so much life and passion poured into every fibre of this record’s being. It oozes out from every pour, rich black blood. Where to start with this one? Highlight for me is that incredible guitar solo towards the end of Fire, God and Fear. Special mention too for the band’s adaptation of Edgar Allan Poe’s The Raven as well. From start to finish The Heretics impresses, it’s clear just how well-read Sakis is and his lyrical songwriting has never been stronger. It’s a little slow in places, mostly speaking about I Believe and In the Name of God, but when this release is in full swing it’s something to behold.

#8 – Sleep of the Angels (1999)

Building on the blueprints laid down by prior albums Triarchy of the Lost Lovers and A Dead Poem, Sleep of the Angels delved deeper into the slower and more deliberate approach that gothic metal employed. The result is a thoroughly enjoyable dark metal album that gave us standout songs such as After Dark I Feel and The World Made End. I missed the traditional black metal approach of early records, but this was the culmination of new ideas fully realised, and I need to give it the respect due.

#7 – A Dead Poem (1997)

My thoughts on this album are largely interchangeable with how I feel about Sleep of the Angels. There’s a heavy emphasis on synths and clean passages. It’s a beautiful sounding record, richly produced too, where the novelty of this new approach hadn’t quite gone as long in the tooth as it would. As If By Magic and Full Colour is the Night are gorgeous! Don’t sleep on this one.

#6 – Κατά τον δαίμονα εαυτού (2013)

My first exposure to the band and still one of their finest outings. Eaytoy broke away from the Theogonia formula and took things back to the band’s roots in stellar fashion. In Yumen – Xibalba is iconic! Just as the lyrics ‘Welcome to my dark kingdom, behind the sun!’ haven’t left my mind since I first heard them all those years ago. I was pleased to discover that this album is spoken predominantly in Ancient Greek, and it was refreshing to hear Sakis’ powerful bark in his mother tongue.

#5 – Triarchy of the Lost Lovers (1996)

The album where the fearsome Rotting Christ began to slow down. The old school sound may have been lost, at least before the likes of Thou Art Lord (band), though with such enjoyable songs on the tracklist, it’s difficult to stay mad for long. In my opinion, the gothic influences were expertly implemented here. One listen to King of a Stellar War or Tormentor and you’ll hear exactly what I mean. It was something new and exciting, and the risks paid-off well.

#4 – Aealo (2010)

This album is absolutely brutal! It may be less special than its predecessor, but Aealo is one heavy motherfucker! Same time, the band melded traditional Greek instrumentation with their aggressive chugging guitar some, rhythmically resembling the rumble of battle. I love Aealo. It’s a challenge to pinpoint the best moments, but you cannot go too far astray starting with Demonon Vrosis and Noctis Era.

#3 – Theogonia (2007)

Few albums can claim to innovate a genre quite how vividly Theogonia had. Learning from what worked on their early 2000s releases, Rotting Christ struck a death blow of vitriol that permeates every second on this modern masterpiece. Gaia Tellus, Enuma Elish and Nemecic are just skimming the surface on the majesty of this record.

#2 – Thy Mighty Contract (1993)

A crowning achievement in the black metal genre and one of my favourite albums ever recorded. The only reason why it doesn’t take the top spot is because I personally believe that the band’s sophomore effort does things just that little bit better. The undeniable force that is The Sign of Evil Existence, the insidious His Sleeping Majesty, and The Coronation of the Serpent cement this album into that of legend.

#1 – Non Serviam (1994)

I will not serve! The very quintessence of Rotting Christ. My first thought when considering exactly what the Tolis brothers stand for, and nearly 30 years later nothing has changed. It’s as Sakis says, religion is rotting. The standouts from this landmark album for me are The Fifth Illusion and Where Mortals Have No Pride. Greece may have been overlooked in the black metal scene, especially when compared to that of Sweden and Norway at the time, but Rotting Christ are a key reason that demonstrates that the country can hold their own.

Soilwork Albums – Ranked! (From Worst to Best)

Soilwork are a metal band from Helsigborn, Sweden. Their current lineup consists of vocalist Bjorn ‘Speed’ Strid, guitarists David Andersson and Sylvian Coudrat, as well as Sven Karlsson on keyboards and drummer Bastian Thusgaard.

With the band’s new, EP A Whisp of the Atlantic, released earlier this month, the time has never been better to take a deep dive into the band’s diverse history, as we rank every main Soilwork record.

#11 – Verklighten (2019)

Let’s start things off by saying that I do really enjoy this album. It’s beautifully produced and features some catchy hooks, though it’s too light and airy for my tastes, ultimately lacking the emotion and impact that I have come to expect from Soilwork.

Arrival and When the Universe Spoke are two incredible tracks, but so much on Verklighten leaves a lot to be desired. It’s clear just how much of an impact Strid’s side band, The Night Flight Orchestra, has had on his songwriting, there’s a lot of crossover. I actually prefer NFO to Soilwork ironically, though that does not sway my mind.

#10 – Sworn to a Great Divide (2007)

It’s unfortunate to phrase something so harshly, but there’s no other way to say it. The 2000s were dominated by Soilwork largely phoning in their performances, and it shows.

Great Divide has some good songs on offer, the title track and Your Beloved Scapegoat being great examples. It doesn’t negate the fact that this album is thoroughly unmemorable. I have been a fan of the band for many years, and I never revisit this one. Divide avoids bottom place as at least it’s heavy enough to keep my attention.

#9 – Figure Number Five (2003)

Here’s where I’m torn. I find this album as a whole to blend together into a haze of forgettable white noise for the most part. Contrast this stance, however, with the fact that two of my favourite Soilwork songs Rejection Role and Distortion Sleep are on the tracklist.

If anything, that makes the disappointment of this album sting worse. Imagine if the songwriting quality was that consistent across the board, I would be singing a different tune for sure. As it stands No. 5 really let me down.

#8 – The Panic Broadcast (2010)

In an effort to break away from their established formula, Soilwork’s 2010 album tries to do a lot of different things, and it was certainly a step in the right direction that should be commended.

Deliverance and The Thrill brought back the reckless and relentless edge, as heard on the band’s early work, where Let This River Flow successfully melded acoustic guitars and sweeping melodies with the rich ballad inspired highs of Strid’s singing voice. There’s variety here, it’s not as predictable or safe.

#7 – Stabbing the Drama (2005)

Following directly after Figure Number 5, Stabbing the Drama is an album that knows what it wants to be and makes for comfortable listening.

A similar story with the predecessor, Drama features some very strong songs, namely the title track and Nerve, two tracks that are still live staples to this day, and for good reason.

The rest of the record tends to feel unremarkable. It has its moments for sure, but is unlikely to wow on first listen. I have a comfortable nostalgia for Drama, and yet I cannot be deterred.

#6 – A Predator’s Portrait (2001)

Perhaps the darkest album of their discography, Soilwork combines lofty ambitions with powerful songwriting to create a record with a razor sharp touch.

Grand Failure Anthem, Like the Average Stalker and Bastard Chain are highlights on this release. All three are fast, brutal and punchy, never outstaying their welcome. That’s what I appreciate so much about this album, it says what it needs to and wastes no time in going straight for the throat.

#5 – Natural Born Chaos (2002)

Shifting gears away from the more straightforward melodeath sound of the trilogy of albums that proceeded it, Natural Born Chaos introduced many elements that would later go onto define the modem Soilwork sound.

Songs included acoustic guitar and a heavier use of synthesisers, with Bjorn utilising his singing voice more proactively than before. No More Angels, Follow the Hollow and Black Star Deceiver stand far and away my favourites from Natural Born Chaos, and illustrate exactly how special this sound was, whilst also condemning the band too in the near future.

#4 – The Ride Majestic (2015)

A very strong album that unfortunately had massive shoes to fill. The previous album was a landmark in metal music, we’ll get to it momentarily, though for all that The Ride Majestic gets right, it can’t help but linger in the shadow of what came before.

I genuinely love every song on this album with highlights including that of the title track, Death In General, Whirl of Pain and Petrichor by Sulphur. I remember the day this record dropped, I couldn’t stop listening to it. Definitely one of Soilwork’s most overlooked albums, and that’s a shame.

#3 – The Chainheart Machine (2000)

Everything you could ever want from melodic death metal. The Chainheart Machine is unforgiving in its aggression and speed, here Bjorn Strid really does get to live up to his namesake.

Possessing the Angels and Machine Gun Majesty are fiercely fast melodeath tracks that cut straight through to your very core. Bulletbeast is an all-out assault on the senses, in the best way possible. If I was to mark this album down for anything, it would be the production. This album is a product of its time, with guitars a little too buried in the mix, and the tones omitted a little thin for my liking. Still, very minor issues.

#2 – Steelbath Suicide (1998)

As with The Chainheart Machine, and at the risk of repeating myself, I ask you, what more could you possibly want out of melodic death metal?

It’s all here. The guitar riffs are polemic, Strid sounds the best he ever did with his harsh vocals and the impressive pace of it all never waivers for long. At just over 35 minutes in length, Steelbath Suicide manages to be equal parts memorable and influential, especially impressive for a debut following in the wake of Dark Tranquillity, In Flames and other melodeath greats emerging from the country at the time.

#1 – The Living Infinite (2013)

Was there ever any doubt? At nearly an hour and a half in length, across 20 songs, it’s a testament to Soilwork’s creativity and talent when I tell you that every single song on this album is phenomenal.

Performances across the board are immaculate too. The band strike a considered balance of melody, choruses and strong riffs that all have their place on this monolithic double album.

It’s challenging to know how to nail it down specifically. My best advice I can offer is just to listen to it in its entirety. I remember when this album launched, I was overjoyed as I realised that Soilwork had not only redeemed themselves for previous efforts, but completely innovated too.

If you’re looking for a place to start with this album, might I recommend The Windswept Mercy, Tongue, Leech, and This Momentary Bliss. It’s rare for a band to be putting out their best material decades after a debut, but even more so to change an entire genre so vividly. I am aware of how negative I may have come across in this article, just know that my critiques come from a place of love and understanding. I’ve seen them over five times, even the low ranked material is worth spinning at least once, I just hope we get more in the vein of this album, and less bleeding through from other bands in the future.

The Best Metal Albums of 2020

I’ll be honest, I didn’t listen to nearly enough new material this year. What a god awful twelve months, no festivals, multiple lockdowns and an economy brought down to its knees. It’s fair to say that there was more important things happening in the world than new records, with that said, here are our choices for the best metal albums of the year. Onward 2021!

Paradise Lost – Obsidian

I’ll keep my explanation brief with this one. All you need to know is that it’s one of the band’s best records in a very long time. Obsidian took everything from The Plague Within and Medusa, and injected some of their mid era gothic flair. A masterpiece of death/doom.

Imperial Triumphant – Alphaville

If someone was to tell me that this band would exceed their work on 2018’s Abyssal Gods, I would never have believed you, but the New York City trio did that and more. A mind-altering combination of atmospheric death metal combined with freeform jazz, Alphaville is as heavy as it is unique. One of my most spun albums of the year, one I will remember for a long time to come.

Fluids – Ignorance Exalted

Fluids, thy old-Carcass sound lives on through thee! To be more specific, much like with Pissgrave’s 2019 grind album Posthumous Humiliation, I am in love with the old school Earache Records grind sound. Fluids give their own spin on a long dormant genre, and manage to do it justice whilst adding their own creative spin.

Katatonia – City Burials

One of the only good thing to happen in my life post-lockdown, besides returning to University, was discovering Katatonia. I fell in love with The Fall of Hearts, Tonight’s Decision, and Viva Emptiness and other albums of their later work. City Burials carries on the trend of moody, atmospheric post-rock. It’s beautiful, and exactly what I wanted out of a new album from the band, following a four year hiatus.

My Dying Bride – The Ghost of Orion

Despite my love for death/doom bands, one in particular also from Halifax, my knowledge of My Dying Bride always felt limited. That changed with their last release, Feel the Misery. I was hooked from the first listen, despite some flaws I found in the production. The Ghost of Orion is a return to form, and a much meatier beast overall. Easily a contender with Obsidian for this year’s best doom album.

Solstafir – Endless Twilight of Codependent Love

I’ve been a fan of Solstafir since I first heard Masterpiece of Bitterness. The band changed direction around 15 years ago and have instead shifted towards post-metal, and like Katatonia, a change I think they made for the better. Endless Twilight doesn’t quite have the staying power of 2017’s Berdreyminn, nor the impact of 2014’s Òtta, but it’s another fine example of moody metal from Iceland’s coldest musicians.

Carcass – Despicable (EP)

Again, I’ll keep my notes here brief. What else can I say? I absolutely adore Carcass and have for almost a decade now. It’s been a long time since Surgical Steel, 2013, and whilst this is an incredible EP, my hunger isn’t quite satisfied. Still waiting on that full length follow-up!

Hail Spirit Noir – Eden In Reverse

All hail the 70s? I’m always supportive when a metal band tries something different. I was a big fan of Noir’s previous release, Mayhem in Blue from 2016, but this new album was a big departure from their experimental black metal roots. What remains is a trippy blend of black metal guitar techniques, synths and clean vocals, and it all works very well.

Proscription – Conduit

Like with other entries that I’ve already reviewed this year, I won’t waste much time repeating myself. Conduit is a savage mix of blackened death metal that strikes all the right chords for me. It’s my favourite genre of music, and this band have added to it very well.

Faidra – Six Voices Inside

What a debut! Formed in 2019, this band deliver their take on the black metal genre with a Burzum meets Batushka fusion. The result is very atmosphere, gorgeously produced and utterly unforgettable. Put it this way, this was one of the first albums I heard this year, and one of the first that I shortlisted in consideration. If you’re a fan of black metal, you’re on this site so you should be, spin it at your earliest convenience.

Midnight – Rebirth by Blasphemy

Long live blackened thrash! I’ve been a big fan of bands like Venom since I had my first taste of extreme metal many years ago. Midnight have helped to rekindle my love for proto-black and crossover thrash beautifully. Their single Fucking Speed and Darkness is one that I’ve listened to heavily this year through drinking sessions and parties with friends. It’s gloriously depraved.

Inquisition – Black Mass for a Mass Grave

Say what you will about Dagon and the rumours, I’ve met him after the fact and my mind is made up on that situation, Inquisition return after a four year gap with yet another long form black metal opus. It’s old school to the core, with a frozen edge throughout, and features everything you could ever want from the Columbian duo.

UADA – Djinn

I’ve reviewed this one anyway, so this will be swift. I’m a great lover of everything UADA, and with their third record, the band have finally broken out from the mold of Mgla to deliver something really special. The comparisons may have been warranted when Devoid of Light released, but they haven’t been accurate for a long time. Djinn is brighter and more optimistic, and for the better in my eyes.

Naxen – Towards The Tomb of Times

I think it’s best for an album like this to speak for itself. Words really can’t do it justice. Imagine that you’re immersed in a dark and wet cave with no warmth or light in sight. You keep walking through the dark for solace, but salvation doesn’t arrive. That’s what Naxen have done. It’s utterly miserable, but it’s essential listening as far as I’m concerned. Dark. Cold. Depressing. Everything you want.

Nebula Mori – A Ghost Amongst The Stars

Just with Faidra, another really strong debut album from a very promising band, this time from cosmic black metal duo Nebula Mori. It’s a very underappreciated subgenre of black metal, I can only think of few bands that do it as well, Screaming Savior and Hoth, but Mori are doing something very different. Goes without saying that it’s frostbitten and as bleak and black as the endless void of space. Again, nothing I can say should sway you, give it a listen. You won’t regret it. I promise.

Featured Image made by BigManOrnstein.

Dawnwalker – Ages Review

It’s no secret on this website that when it comes to music, I like what I hear to be daring and experimental to always push the envelope forward. With that said, on Dawnwalker’s fourth full-length record Ages, the band have once again proved that they’re ahead of the curve and ready to keep innovating.



The brainchild of Mark Norgate, who is joined here in turn by Sacred Son’s very own Dane Cross, Dawnwalker as a project have refused to compromise or bow down to genre conventions and are all the better for it. What we have here on Ages is a collection of lengthy tracks that whimsically dance between the ethereal and the energetic with music that flirts with post-rock, black metal, industrial and hardcore confidently and courageously. It’s difficult to nail down any particular influences upon listening, but my mind was quickly drawn to the likes of metal greats such as: Opeth, Katatonia, Alcest, Uada, Solstafir, A Forest of Stars, Ghost Bath, Agalloch and even unexpected influences like Swedish pop singer Martin Rubashov.

The Wheel sets a solid precedent for what’s to come on the record throughout. An extended kaleidoscope of clashing crescendos suspended in a constant state of flux, and yet ever moving. Moody post-rock singing and stellar acoustic guitar playing lead into the substantial meat of this track’s core. One moment, calming and similar to something that could have come straight off of Opeth’s Damnation record, then as it comes to a close, things intensify in a way that would give Napalm Death a run for their money.

Ancient Sands is reminiscent of avant-garde acts such as Hail Spirit Noir, with the long dreamlike choruses contrasting with the thick chugging rhythm that halts for no man, twisting and contorting in the latter period to something that could be torn straight from Lifelover or Shining’s back catalog. Having the lionshare of songs be this lengthy in nature allows the listener to fully envelope themselves into a trance-like state, completely beholden to the spells that await them, in this dark ritual, which Ages clearly is.

The production on this full length is magnificent in the method of how light and dark are merged so effortlessly. It is refreshing to hear natural percussion cut through the mix as prominently as this with little issue, and newcomer Hugo Terva seems to really come into his own with the personality of his fills and emotive ride/crash progressions that embody a large portion of the longer songs on this record.

There’s a sinister vibe that links these songs together in a very clever way. The brief ambient pieces that provide equal parts respite and reflection on what has happened and a glimpse at what’s to come. None is this more apparent than on the track Colony / A Gathering where flutes and medieval influence are king, as the thick oppressive guitar chugging permeates. Make no mistake that everything is very well thought out on this album, every piece falls into play masterfully and not a second of the runtime is wasted. Particular mention goes to the album’s closer, The Cataclysm, which will make you wonder exactly how the end of life as we know it can sound so inviting. The stunning layered vocal passages that begin this track are as gorgeous as the best lines from Akerfeldt ever were.

There is a lot to love on Dawnwalker’s newest record. It is without question one of the most striking records that I have had the pleasure of hearing this year, and it has certainly left an impression on me. I look forward to hearing where Norgate and company go from here in their musical endeavours, and this year seems a little brighter with music this substantial to close it out to.

Dark Tranquillity – Moment Review

A very long four years has passed since the band released their last record, Atoma, in 2016. After all that time, does Moment live up to their prior work and justify the wait? It’s complicated.

I’ll state this as clearly as I can for those uninitiated. I love Dark Tranquillity and have done for almost a decade now. I got into their music with seminal works such as Fiction and The Gallery, and you can see my extended thoughts on their discography in the ranked feature on this site. However, I find myself torn on their new record. I should absolutely adore it, but I find myself doubting as to why I can’t quite make my mind up.

Let’s start with what I do know. For one, It’s a beautifully produced metal record and performances across the board are second to none. Mikael Stanne is one of the best vocalists in melodeath today and it shows, his profound lyricicsm too, elevates the material passed that of the band’s contemporaries in the genre. This is nothing new. Thus we get to my biggest problem with Moment overall, it is nothing new, and after nearly half a decade of waiting, I was expecting something a little stronger.

Every hallmark that you would expect of Dark Tranquillity is on full display here. Synths, check. A striking mixture of growling verses and cleanly sung choruses? Present. Infectious hooks? In spades. The problem arises to the fact that, even after several rotations, I am still struggling to recount much about the record besides the singles, and that is not a good thing. Phantom Days and The Dark Unbroken are strong tracks that throwback to the band’s grace period of Character and Fiction, with Eyes of the World beautifully reminiscent of the band’s work on experimental albums like Haven, with the latter featuring extensive use of Stanne’s richly warm baritone voice.

With regards to Stanne’s performance overall, I was pleasantly shocked to have to wait until the fourth track on Moment to hear his clean delivery breakout. It was a nice change of pace in the formula. I do wish that the rest of the record carried this same defiance of the established normality, instead of leaning on genre convention, something that the latter half of this album tends to do, with the exception of closing track In Truth Divided. This song brought back a lot of memories to Projector, and I am happy to see the band harkening back to their more diverse category and trying something different.

I won’t go so far as to say formulaic or forgettable, but I will state how songs like A Drawn Out Exit, Ego Deception and Failstate seem very paint by numbers. It’s sad to see musicians, as creative as this, coasting on autopilot, refusing to break the mould when the groundwork is laid to innovate and produce another masterpiece. These are good songs! Hell, these are great songs! Though, for Dark Tranquillity, and given all that time that’s gone by, songs like these were really the best they could do in over four years?! It feels like padding, and it’s a shame.

This approach could partially be explained away by the lineup changes that have happened between records, with long time guitarists Martin Henriksson departing after the release of Atoma in 2016 and Niklas Sundin leaving this year. Newcomers Christopher Amott (Arch Enemy, Armageddon) and Johan Reinholdz (Andromeda, Widow) don’t do a bad job where it counts, though it explains why a lot of Moment is as generic as it is in places. Not a bad record whatsoever, one that I am enjoying, but still a disappointment. Here’s hoping in a few years, when the band’s new line-up is more established and ready to contribute together, that we will get a truly outstanding Dark Tranquillity album that lives up to the legacy.