Κατά τον δαίμονα εαυτού | ||||
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Studio album by | ||||
Released | 1 March 2013 | |||
Recorded | July–October 2012 | |||
Genre | Melodic black metal | |||
Length | 55:59 | |||
Label | Season of Mist | |||
Producer | Sakis Tolis | |||
Rotting Christ chronology | ||||
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Kata Ton Daimona Eaytoy isn’t as scintillating as Theogonia was, nor is it as groundbreaking as Thy Mighty Contract, but it is a perfect representation of what Rotting Christ was, is and will be as a band. It is a career defining record that exhibits everything that makes them who they are. Right, You know something, we are very tired with colors, photoshop, with many colors, stuff like that, before to concept the right the have the album, the album cover in black and white like the old days, with 2 demons that represent the title of the ne album, the name of the album: 'KATA TON DAIMONA EAYTOY' means: 'Demons to your own spirit. Rotting Christ - Kata Ton Daimona Eaytoy full album 2013 01 - In Yumen-Xibalba 02 - P'unchaw kachun- Tuta kachun 03 - Grandis Spiritus Diavolos 04 - Kata T. However, 2013 would mark the release of their eleventh full-length record entitled 'Kata Ton Daimona Eaytoy,' or 'Do What Thou Will.' It reeks of pure evil, and it shows no signs of this legendary duo slowing down. As always, Rotting Christ continues their thunderous onslaught with their dark and demonic fusion of gothic and black metal. No, I believe the controversy here should be about how I have the audacity to rank Kata Ton Daimona Eaytoy (Greek for “Do What Thou Wilt” or “True To Your Own Spirit,” depending on whom you ask) ahead of timeless Rotting Christ classics like Theogonia, A Dead Poem, or Khronos. Agisoft metashape professional 1 6 2.
Review scores | |
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Source | Rating |
Decibel Magazine | [1] |
MetalSucks | [2] |
Thisisnotascene.com | [3] |
Κατά τον δαίμονα εαυτού (transliterated: Katá ton Daímona Eautoú) is the eleventh full-length album by Greek extreme metal band Rotting Christ. Rapidweaver 6 0 2 – create template based websites rapidly.
Overview[edit]
The album incorporates diverse instrumentation, including bagpipes and horns, and delves into Incan, Persian, Babylonian, Mayan, Slavic, and Greek mythology. Rotting Christ frontman Sakis Tolis considered the album 'a journey into the knowledge of ancient civilizations and into the occultism that is rising from the dark side of each one of them'.[4] However, Tolis said: “A deep dig into the occult knowledge of the past led me to create this album. I have no special message. I was tired of them. I just want you to make your escape from everyday life and trip with me into the past'.[4]
Title[edit]
Midikit 4 2 download free. The Greek phrase 'Κατά τον δαίμονα εαυτού' may be translated in several ways, including as 'do what thou wilt', a quote associated with Aleister Crowley and Thelema. Sakis Tolis contended that this was the label's translation of the Greek phrase, and a more accurate translation is 'true to your own spirit', which better fits the subject matter of the album.[5]
The same sentence can also be seen on Jim Morrison's tombstone, again in Greek.[6][7][8]
![Rotting Christ Kata Ton Daimona Eaytoy Blogspot Rotting Christ Kata Ton Daimona Eaytoy Blogspot](https://musical-hall.com/image/cache/catalog/CD%2C%20DVD%2C%20LP/LPs/O-P-Q-R/rotting_christ-kata_ton_daimona_eaytoy_2lp-600x600.jpg)
Rotting Christ Kata Ton Daimona Eaytoy Blogspot 2
Track listing[edit]
All tracks are written by Sakis Tolis, except for 'Cine iubește și lasă', a traditional Romanian song.
No. | Title | Length |
---|---|---|
1. | 'In Yumen-Xibalba' | 6:24 |
2. | 'P'unchaw kachun-Tuta kachun' | 4:44 |
3. | 'Grandis Spiritus Diavolos' | 5:52 |
4. | 'Κατά τον δαίμονα εαυτού' | 4:52 |
5. | 'Cine iubește și lasă' | 5:58 |
6. | 'Iwa Voodoo' | 4:36 |
7. | 'Gilgameš' | 4:02 |
8. | 'Русалка' | 4:33 |
9. | 'Ahura Mazdā-Aŋra Mainiuu' | 4:44 |
10. | 'χξϛʹ' | 5:46 |
No. | Title | Length |
---|---|---|
11. | 'Welcome to Hel' | 4:28 |
Rotting Christ Kata Ton Daimona Eaytoy Blogspot 1
- χξϛʹ is how the number 666 is written in Greek numerals
- Track 8's name is transliterated as 'Rusalka'
Personnel[edit]
- Rotting Christ
- Sakis Tolis – guitars, vocals, bass, keyboards
- Themis Tolis – drums, percussion
- Additional personnel
- Georgis Nikas – bagpipes
- Babis Alexandropoulos, Alexandros Loutriotis, Theodoros Aivaliotis, Giannis Stamatakis, Androniki Skoula – choirs
- Eleni Vougioukli – piano (on track 5), vocals (on track 9)
- Suzana Vougioukli – vocals (on tracks 5 and 9)
- George Emmanuel – lead guitar (on track 7)
- Miscellaneous staff
- Adrien Bousson – artwork, layout
- Nurgeslag – cover art
- George Emmanuel – engineering
- Jens Bogren – mixing, mastering
- Sakis Tolis – producer, mixing, mastering
References[edit]
- ^Stewart-Panko, Kevin (April 2013). 'Rotting Christ, Kata Ton Daimona Eaytoy'. Decibel Magazine (102): 82.
- ^O'Hagar, Sammy (13 January 2013). 'Jesus Rotting Christ, is Kata Ton Daimona Eaytoy Good!'. Metalsucks. Retrieved 31 May 2013.
- ^Spall, Matt (17 April 2013). 'Rotting Christ – Kata Ton Daimona Eaytoy (Do What Thou Wilt)'. Thisisnotascene.com. Retrieved 31 May 2013.
- ^ abStockinger, Josh (8 March 2013). 'Interview: Rotting Christ's quest for ancient knowledge'. Alarm Magazine. ALARM Press. Retrieved 31 May 2013.
- ^Lake, Daniel (May 2013). 'The Passion of the Christ'. Decibel (103): 43.
- ^Liewer, Steve (28 November 2008). 'George 'Steve' Morrison; Rear Admiral Flew Combat Missions in Lengthy Career'. The San Diego Union-Tribune. Retrieved 4 June 2013.
- ^Davis, Stephen (2005). Jim Morrison: Life, Death, Legend. Gotham. p. 472. ISBN978-1-59240-099-7.
- ^Olsen, Brad (2007). Sacred Places Europe: 108 Destinations. CCC Publishing. p. 105. ISBN978-1-888729-12-2.
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Κατά_τον_δαίμονα_εαυτού&oldid=963785400'
Few metal fans do not know Greek flagship band Rotting Christ. Two and half decades in existence is a long time to be noticed. Many people prefer the Tolis brothers kept the band at their black metal roots, and I have a healthy amount of respect for that period of Rotting Christ myself. Yet the movement has been obviously afoot for a while to the realms more gothic, to something which can be broadly encompassed with the definition of dark metal. From that era Theogonia revived my interest in Rotting Christ, but Aealo was a bomb. Before diving into Kata Ton Daimona Eaytoy I re-listened to Aealo again and can confirm that album is one fantastic vibrant dynamic monster. Many bands offer visions of war in their music. Bolt Thrower is a tank moving through the streets leaving nothing in its wake, Amon Amarth is a horde of Vikings running in shield wall half berserk, half drunk, but deep inside giddy and smiling in their war rage. Manowar is the ultimate Conan movie soundtrack. Without a weak song on it, Aealo then is a portrayal of a warrior real, ancient and prideful, grim, single-focused and determined, aware of his fate. All in all, Kata Ton Daimona Eaytoy is no Aealo, although I did not intend to make a review of this album to be a comparison with its predecessor.
Staying within their latest dark metal paradigm, but now using the sound a bit more enveloping and symphonic, Kata Ton Daimona Eaytoy pays homage to many ethnic cultures, ranging from ancient Maya (In Yumen – Xibalba) to Romanian (Cine iubeste si lasa) to extinct Sumerian (Gilgames) to Russian waterspirit (Rusalka). The opener In Yumen – Xibalba does burst off where Aealo left off after initial 2 min of ritualistic Maya brood and monk-like incantations. Yet even in the latter part of In Yumen – Xibalba the riffs are somehow less impactful and less vibrant than we heard on Aealo, despite an interesting guitar lead. A few cuts on Kata Ton Daimona Eaytoy progress out of the stagnation, showing that restless can coexist organically with symphonic. Title track has more chaos in it, more blasting, more forward motion, but it does not reduce the impact of folk wind instrument carefully blended in towards the end. The better tracks on the album also coincide with Rotting Christ going with more rich guitar fabric (title track, Welcome to Hel), proving that choral and symphonic does not have to suffer when the band is remembering their basics. It is a shame then that some of the songs on Kata Ton Daimona Eaytoy lean on rather generic power chording. If an approach like that works for the Cuban/Venezuelan/Che Gevara crowd square chanting in P’unchaw kachun – Tuta kachun, then it certainly makes the Latin choirs of Grandis Spiritus Diavolos and southern mystic of Iwa Voodoo sound, well, boring. You simply cannot pull off songs like this with simple rhythms and atmospherics, more is needed. And when more does not enter the picture on the epic hymnal 666, it sounds, I am sorry to say it, filler. There are moments on Kata Ton Daimone Eaytoy when stately becomes stale, and that is not a good thing.
Rotting Christ have progressed tremendously in terms of their sound production. Kata Ton Daimona Eaytoy is more multi-layered than onion, and to balance everything to sound so rich took a lot of effort. The Greeks are also unrivaled in drum sound. The drums rhythms in Gilgames (reminding me of the Japanese war drum troop I heard once)are absolutely mesmerizing, and anyone needing a lesson in what these have to sound like has to devour In Yumen – Xibalba and Gilgames whole. Vocally, the album also produces a wide plethora of possibilities, often changing within a song. In Yumen – Xibalba goes from male chants (and I swear I hear Lucifer) to more familiar voice barking out commands. Ahura Mazda – Anra Mainiuu adds a deeper growlier voice to its mystery and creepy darker lines, while Cine iubesta si lasa offers that female Jarboe-like lament we heard on Aealo now coupled with a pulsating piano cleverly positioned right after the self-propelled title track. It is so unfortunate then, that Cine iubesta si lasa suffers from mid-way on with those plain uninteresting chords ruining a chance for some beautiful melody to emerge.
Perhaps I am being more critical than I should be to Rotting Christ. If we were dealing with some novice band putting out an album like Kata Ton Daimona Eaytoy, we would be assigning them the Surprise of the Month label. Yet I expect more from the Greeks, especially after showing what they are capable of on Aealo. In that light Kata Ton Daimona Eaytoy is a mild letdown. The band does not need to go chasing the laurels of Therion, and if they do, they certainly cannot forget that guitar grit and restive rhythms is what brought them forward thus far.