. Satanath Records

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With their second album, released in 2005, the Greek band Order of the Ebon Hand began drawing Tarot cards from an unholy deck, embarking on a plan to explore the signs of each card drawn through the perspectives of black metal. The plan has been slow to evolve. That second album, XV: The Devil, followed the band’s 1997 full-length debut by eight years, and their new album, VII: The Chariot, is now arriving a long 14 years following the second one. It is so sweepingly powerful that we can only hope the next card in the deck will be revealed much sooner.

Today marks the official release of VII: The Chariot by the Russian labels Satanath Records and More Hate Productions, and coinciding with the release we have the good fortune to debut a full stream of this tremendous album — preceded by a flood of thoughts about the experience.

This is an example of an album that matches supremely dramatic lyrical themes and concepts with music of equal dramatic scale and emotional force. The releasing labels (or more likely the band) describe the occult Tarot-based concept of the album in these words, which we quote at length:

“The Chariot” is the Card connecting Mars to Saturn, War and Fate. Appropriately, the album is a rash, remorseless, and Warlike creation of Archetypal Black Metal, pacing on the principles that define all pure Metal. The Fights between Identity and Death, Freedom and Oblivion, surround the Entirety of the Album.

Conquest is synonymous to mobilization whether be it mere steps or a full headlong charge to the Complete Unknown.

The faces of War appear, whether be it in Sea, Land, or Air, and the CHARIOT changes Shapes. It metamorphs from Destroyer Ships, to Nightmare Steeds, Aerial Fighters, Armored Demons, Heavy Cavalry Knights, Elite Infantry, Ancient Heroes, and Demon Kings, all bound to a merciless Race, in which, after the starting gun,there is No Turning Back.

But the Enemy is Unclear. For moments it is the Obvious. Then it mutates — as well, it becomes Imprisonment, Insomnia, a wish for self-destruction, Restlessness, Duty, Addiction, Defeat, then Death personified — ultimately the Inevitable Fate that Haunts the mundane.

“The Chariot” then becomes the means to Exceed the Chariot Itself. The Vehicle, whether it be Weapon or Body, is merely an Instrument, and not the Self. The Conquest itself, becomes a Trial of Realization, its purpose to Destroy all the Illusions of Life — that would prove Oblivious at the Ultimate Hour!

You see? What dramatic, archetypal themes these Greek artists have embraced, guided by the Tarot’s symbology. And they have done justice to those themes through these 8 beautifully crafted and expertly executed songs. You can hear the translation of the conceptual themes in the music, but (at least to this listener) the songs channel other emotional sensations as well: The music is inspiring to the point of becoming transcendent, but it is just as persistently heart-breaking. The album becomes a great pageant of turmoil, torment, terror, and inconsolable anguish.

“Pageantry”, “power”, and “grandeur” are among the words that continually surface in reflecting on the album (in addition to “warlike” and “violent”). With a clear and commanding production, the album delivers the kind of large-scale, all-enveloping, and immersive sound that rivals the force of a symphonic orchestra (though the use of keyboards here is usually subtle and judiciously employed), and the melodic themes play out like a theatrical drama on a vast stage.

 

If you subscribe to the idea that bands should begin their albums with an opening statement that seizes attention and exerts such tremendous force that listeners feel compelled to move deeper into the record, you will admire what Order of the Ebon Hand have accomplished with “Dreadnought“. Launched by the reverberations of chiming and swirling notes over a heavy low-end current and a pounding, physically compulsive drum-beat, it unfolds in a way that creates a mix of sensations — of solemn grandeur and fervent praise, of ominous foreboding and titanic ascension. It’s a head-moving but also memorable song, especially the slow, sinuous solo, which is both exotically serpent-like and grief-stricken, and then spirals up and out in anthemic fashion, becoming a fret-burning spectacle. And that potent solo is followed by a ravishing finale accented by giant ritualized drum booms.

“Dreadnought” also introduces us to the astonishing intensity of the vocals, which become another hallmark of the album. This rapidly transitioning array of caustic snarls, choking gags, and fervent cries are redolent of fanaticism and fury (but are also somehow well-enunciated), and as the album progresses you’ll find still more variations in the vocals.

The follow-on track, “Μόρες“, creates an immediate contrast through an attack of blasting drums and frenetic tremolo’d riffing, becoming a mad, exultant whirl of feverish sound, with vocals that sound even more extravagantly vicious than on the opening track, and vibrating guitar leads that resemble (at least in spirit) the flight of the bumblebee (the interlude by Rimsky-Korsakov). You might not expect the song to be as spellbinding as it is, or as surprising — with dramatic piano chords surfacing and then carrying the song to its conclusion.

 

It’s really not until the third song, “Wings”, that the more melancholy shades of the album begin to surface (though they become a recurring and more intense presence thereafter). As a transition from the previous song, grand, skittering, contagious chords and vibrant drumwork open this scintillating race, which creates both a cruel, bleak atmosphere and manifestations of ravaging desolation. Rising melodic accents resemble magisterial horns announcing a grim coronation in the midst of a battle zone.

Aided by scorching guest vocals by Rotting Christ’s Sakis Tolis, “Sabnock” pushes the album to even greater heights of emotional potency, with assaulting drums and whirring riffs setting the stage for dramatic swirling leads that channel moods of heart-breaking tragedy through a fire-bright blaze of sound.

In another contrast, a slow, somber acoustic guitar melody over the sound of whistling wind provides the intro to “Knight Of Swords“, creating a feeling of isolation and moodiness. But that’s wiped away in a flash by booming timpani and a cyclone of rampant riffing. The band’s devotion to displays of inspiring grandeur and heart-breaking agony is again front-and-center, and there is again tragic beauty in the melodies, while the vocals move seamlessly among tortured growls, soaring shrieks, and wailing cries — and the sound of demented laughter, which caps a stupendous finale.

The prevailing mood of “Αίαντας” is again one of sweeping grandeur and terrible tragedy, though it’s also thunderously warlike (and it includes a shift to a methodical rocking beat and a head-hooking heavy metal riff), while the bleakness and frenzy of “Bael” portray turmoil and torment on a larger-than-life stage.

As the band’s conceptual narrative forecasts, death arrives in the album closer, “The Slow Death Walk“. It is indeed slow at first — a stately drum rhythm provides the anchor for slow, dismal chords and weeping notes against a backing shimmer of sound that gives the music a mystical gleam — but it becomes more boisterous and vibrant. A pinging keyboard melody transforms into a sorcerous swirl over a jolting, hard-jabbing riff and rapid-fire drum fusillades (a recurring refrain in this track). As the riffing and the keyboard melodies continually cycle, they burrow into the listener’s head with the intensity of a fever, magnifying the panoramic and shattering intensity of this grand finale to a great album.

VII: The Chariot was recorded and engineered by Asmodeus at Marble Mountain Music, and it was mixed and mastered by V.Santura at Woodshed Studio. The cover art was created by Vamperess Imperium, and the band’s logo by Christophe Szpajdel.

https://www.nocleansinging.com/2019/06/27/an-ncs-album-premiere-and-a-review-order-of-the-ebon-hand-vii-the-chariot/

 

As soon as I saw Order Of The Ebon Hand’s band logo, I was pretty much interested immediately. What’s fitting is the fact that their music sounds as unique as that explosion of lettering looks. At the end of the month, these Greek black metallers are putting out an album titled VII: The Chariot, but today I’m dropping a song from said record ahead of time! By the title of Αίαντας, they unleash an explosion of instrumentation much like their lettering.

 

Αίαντας translates to a male given name similar to the English name Ajax. This isn’t exactly what the melody hunters are gonna look for, but I’ll be damned if the vocals aren’t relatively clean for the first half. Blast beats almost shower the entire run of this song, with plenty of tremolo rhythms that steer clear of any really nasty distortion. Because of the mood set by the instruments and the lyrics being spoken rather sang, I get lots of sadder and more melancholic vibes from this. Thus, it resides on the lighter side of black metal. So, for a mysterious ride, click that YouTube video down below!

 

https://www.indymetalvault.com/2019/06/12/track-premiere-order-of-the-ebon-hand-αίαντας/

 

Hellenic black metal trio Order of the Ebon Hand could not possibly be any more my kind of band if I went all Weird Science and created a black metal band instead of Kelly LeBrock.

 

Triumphant riffs? Check.

 

Epic songs? Check.

 

Compelling themes? They base their albums on fucking tarot cards – super check.

 

VII: The Chariot, which is both the title and the card they chose for their latest release, is particularly suited for the black metal treatment: the card has a connection to Mars, aka Ares, aka the God of War. We’re streaming “Wings” here today at CS, and it’s an absolute face ripper of a track.

 

https://www.clandestinesounds.com/track-premiere-order-of-the-ebon-hand-wings/

The Greece band Order Of The Ebon Hand released their second album XV: The Devil 15 years ago, and they now come with the album VII The chariot. It’s long to wait for the fans, and fortunately the new album is very good! The band is an old band as they were founded 25 years ago and their purpose from the beginning was, and is, to play archetypal Black Metal. Apart from their debut, each album will represent a tarot card seen through a Black Metal spectrum. The new album VII: The Chariot is mixed and mastered by Victor Santura (Triptykon) from Woodshed Studios. The band has also contributed to numerous compilations, the most notable being Order Of The Tyrants honoring the emblematic Celtic Frost. They have played live with numerous bands, some of the most notable names being: Slayer, Rotting Christ, Candlemass, Accept, Therion, Αbbath, Nightfall, Dismember, Wolves in the Throne Room, Negura Bunget.

 

 

 

VII: The Chariot is the second card drawn out of Order Of The Ebon Hand`s Unholy Deck, following up the first card drawn, which was, appropriately for a black metal band. ΧV: The Devil, a card most ideal to swear allegiance. The band’s commitment is that each and every following album, will delve in one occult tarot card, seen from a black metal perspective. The Chariot is the card connecting Mars to Saturn, War and Fate. Appropriately, the album is a rash, remorseless, and warlike creation of archetypal black metal, pacing on the principles that define all pure metal. The fights between identity and death, freedom and oblivion, surround the entirety of the album.

 

Conquest is synonymous to mobilization whether it be mere steps or a full headlong charge to the complete unknown. The faces of war appear, whether it be at sea, land, or air, and the Chariot changes shapes. It undergoes metamorphosis from destroyer ships, to nightmare steeds, aerial fighters, armored demons, heavy cavalry knights, elite infantry, ancient heroes, and demon kings, all bound to a merciless race, in which, after the starting gun – there is no turning back. But the enemy is unclear. For moments it is the obvious. Then it mutates – it simultaneously becomes imprisonment, insomnia, a wish for self-destruction, restlessness, duty, addiction, defeat, and then death personified – ultimately the inevitable fate that haunts the mundane.

 

The Chariot then becomes the means to exceed the Chariot Itself. The vehicle, whether it be weapon or body, is merely an instrument and not the Self. The conquest itself, becomes a trial of realization, its purpose to destroy all the illusions of life that would prove oblivious at the Ultimate Hour! Eight songs, more than 40 minutes of devastating madness, will not make anyone doubt it, and the guest vocals by Sakis Tolis from Rotting Christ on Sabnock will definitely add confidence! Artwork by Vamperess Imperium.

 

http://permafrost.today/2019/07/30/order-of-the-ebon-hand/

 

 

Order  Of  The  Ebon  Hand  ate  a  band  from  Greece  that  has  had  music  reviewed  before  in  this  zine  and  plays  an  occult  form  of  black  metal  and  this  is  a  review  of  their  2019  album  "VII:  The  Chariot"  which  was  released  as  a  joint  effort  between  Satanath  Records  and  More  Hate  Productions.

 

  A  very  heavy  yet  melodic  sound  starts  off  the  album  while  keyboards  are  also  added  into  some  parts  of  the  music  as  well  as  adding  in  a  psychedelic  touch  at  times.  The  vocals  are  mostly  grim  sounding  black  metal  screams  while  the  solos  and  leads  are  done  in  a  very  melodic  style  and  some  of  the  tracks  are  very  long  and  epic  in  length.

 

  When  the  music  speeds  up  a  great  amount  of  blast  beats  can  be  hear  while  the  solos  and  leads  are  done  in  a  very  melodic  style.  The  songs  also  bring  in  a  great  mixture  of  slow,  mid  paced  and  fast  parts  along  with  the  tremolo  picking  also  giving  the  songs  more  of  a  raw  feeling  and  as  the  album  progresses  a  brief  use  of  clean  playing  can  be  heard  before  returning  back  to  a  heavier  direction  and  one  track  also  adds  in  a  brief  use  of  spoken  word  parts.

 

  On  this  recording  Order  Of  The  Ebon  Hand  remain  true  to  the  occult  black  emtal  style  that  has  been  established  on  previous  releases.  The  production  sounds  very  professional  while  the  lyrics  cover  Occultism,  Demonology,  Tarot  and  Darkness  along  with  a  couple  of  the  song  titles  being  in  Greek.

 

  In  my  opinion  this  is  another  great  sounding  recording  from  Order  Of  The  Ebon  Hand  and  if  you  are  a  fan  of  occult  black  metal,  you  should  check  out  this  album.

 

https://occultblackmetalzine.blogspot.com/2019/07/order-of-ebon-handvii-chariotsatanath.html

 

Δυόμιση δεκαετίες συμπληρώνονται φέτος για την ύπαρξη των Order Of The Ebon Hand και το γιορτάζουν με μια νέα δουλειά. Το τρίτο τους πόνημα φέρει το όνομα "VII:The Chariot" και χρειαστήκαμε 14 χρόνια μέχρι να ηχήσουν στα αυτιά μας τα νέα κομμάτια,βρισκόμενοι πλέον σε κλίμα γενικής ανανέωσης.

 Αποτέλεσμα εικόνας για order of the ebon hand vii chariot

 

 

Σηματοδοτώντας την επιστροφή τους, το "Dreadnaught" έρχεται με επικό και μεγαλειώδη τρόπο, καθώς και μερικές ελληνοπρεπείς μελωδίες, που συνδυάζουν το στυλ των ύστερων Emperor με τον "δικό" μας ήχο. Από την άλλη το "Μόρες" είναι πιο απότομο και γρήγορο με μερικές ψυχρές υποβόσκουσες μελωδίες πίσω από τα riffs, ενώ οι θεατρικές κραυγές πόνου και οδύνης βάζει το κερασάκι στην τούρτα. Βέβαια δε συμβαίνει το ίδιο και στο έτερο κομμάτι με ελληνικό τίτλο, το "Aίαντας", το οποίο μέσω των καθαρών φωνητικών, φαντάζει σαν την ύστατη απαγγελία κάποιου πίσω από σκηνές καταστροφές, οι οποίες παρομοιάζονται μέσω των ωμών και ταχύτατων riffs.

 

Το "Wings", κάνοντας μας να ξεφύγουμε λίγο, έρχεται με μια πιο heavy εισαγωγή, η οποία στην πορεία αλλάζει, επαναφέροντας μας στα κρύα τοπία που οι ίδιοι έχουν δημιουργήσει μέσω των επιρροών τους, κάτι το οποίο συνεχίζει και με το "Sabnock" στην πορεία, αλλά σπάει μέσω της φωνής του Σάκη Τόλη, ο οποίος δίνει το δικό του στοιχείο με μερικές πινελιές από τα προσωπικά του έργα, της ύστερης περιόδου των Rotting Christ.

 

Το "Knight Of Swords" μας γυρνάει αιώνες πίσω, με τα τύμπανα να ακούγονται σαν αντικρουόμενα ξίφη, ενώ δε λείπουν στιγμές που το κομμάτι θυμίζει λίγο παλιούς Immortal. Με το "Bael" αργότερα ξεφεύγουμε τελείως από αυτά τα μονοπάτια αφού οι συμπατριώτες μας παντρεύουν τη ψύχρα με τη ζεστή αγκαλιά της Mεσογείου σε ένα άκρως ερεβώδες κομμάτι το οποίο δίνει τη θέση του στο "The Slow Death Walk", που γράφει τον επίλογο αργά και δυσαρμονικά με πολλές ατμοσφαιρικές και μελωδικές στιγμές. Οι εικόνες που βγαίνουν από μέσα παρουσιάζουν κάτι στοιχειωμένο, ενώ διάσπαρτα θα δούμε μερικές ακόμα Νορβηγικές επιρροές από την ambient εποχή των Burzum καθώς και από παλιούς Satyricon τυλιγμένες γύρω από ένα heavy black περίβλημα.

 

Μιας και το black metal είναι άρρηκτα συνδεδεμένο με τον πόνο και το σκότος, οι Order Of The Ebon Hand έχουν πολλαπλά συν σε αυτόν τον τομέα. Το τρίτο τους πόνημα, που ιδίως οι φανατικοί της μπάντας περίμεναν γεμάτοι αγωνία, εκτός από τα δύο στοιχεία που προανέφερα, κατακλύζεται από μία μαγευτική αύρα που δίνει στο σύνολο κάτι ξεχωριστό, ενώ τέλος χωρίς να με χαλάσει απαραίτητα, ο ήχος τους μπορεί να έχει ταυτότητα, αλλά καλύπτεται έντονα από επιρροές συγκροτημάτων κυρίως της Βορειοευρωπαϊκής Σχολής. Στην μίξη και το mastering ασχολήθηκε ο ιθύνων νους των Dark Fortress και κιθαρίστας των Triptykon, V.Santura, ενώ το εξώφυλλο επιμελήθηκε από την Vamperess Imperium. Φυσικά, όπως φαίνεται χαίρομαι για την επιστροφή ενός εκ των ιστορικότερων σχημάτων της Ελλάδας, οι οποίοι έδωσαν, εκτός των άλλων, και μια παλιομοδίτικη Bathory-κη ματιά στον δίσκο τους και ελπίζω η επόμενη δουλειά να μη χρειαστεί τόσα χρόνια αναμονής.

 

https://metal-view.blogspot.com/2019/06/order-of-ebon-hand-vii-chariot-album.html

 

Looking for some old-school Hellenic black metal but haven't came across any this year? Well, it seems that you've missed VII: The Chariot.

 

Order Of The Ebon Hand is one of the Greek black metal bands that emerged in the '90s with a sound familiar to those who are into the early output of acts like Rotting Christ, Varathron, Necromantia, Zemial, Agatus and Nergal. Formed in 1994, the band released their debut, A Mystic Path To The Netherworld, in 1997 and this album has now rightfully attained cult status within the Greek black metal underground. Personal differences and disputes led the band to a three-year hiatus, but they reformed in 2001 and released XV: The Devil in 2005. Fourteen long years later (you hear that, Tool?), the make-or-break third album has finally arrived and it is once again inspired by a Tarot card, just like its predecessor.

 

VII: The Chariot's beautifully dark cover art, created by Vamperess Imperium, depicts a knightly figure sitting in a chariot pulled by two warhorses, a black and a white one. In my mind the knight portrays the band's music, which is equally pulled by the black, raw and violent riffing as well as the white, melodic and atmospheric lead guitar and the hammond-like synths. The result is just the right balance between aggression and emotion, and the album has an occult, spiritual and haunted ambiance from start to finish.

 

Order Of The Ebon Hand call their music 'archetypal black metal' so it's unnecessary to say that they don't score very high on either innovation or originality. However, their music is quality riffs-driven and sparkled with swirling lead guitar work that captures your undivided attention from the doom-laden mixed with rock 'n' roll horror show opener, "Dreadnought", to the epic and apocalyptic closer, "The Slow Death Walk". In between, the stunning "Sabnock" features guest vocals by Sakis Tolis of Rotting Christ fame and I hope this participation serves as an example for him of how you can make great music without reinventing the wheel.

 

It has already been revealed in an interview that the next card in the deck for Order Of The Ebon Hand will be XI: Justice. Let's hope we won't have to wait another fourteen years for it, but for now you can experience the chariot charging at your inner demons right here.

 

"They fly into the rain

The fiery arcs of death

Setting the night alight"

 

http://metalstorm.net/pub/review.php?review_id=15214

 

En 1994 se formó la banda griega de Black Metal, Order of the Ebon Hand, de la mano de Merkaal a las voces y al bajo junto a Lorthar en la guitarra y el ex miembro de SepticFlesh y Thou Art Lord, entre otros, Lethe en la batería. Tras lanzar dos álbumes de larga duración y dos splits junto a las bandas Akrotheism y Macabre Omen, el pasado 27 de junio editaron su tercer trabajo, titulado “VII: The Chariot”, a través de los sellos Satanath Records y More Hate Productions.

 

 

 

“VII: The Chariot” contiene ese regusto griego entre crudeza y melodía que tan característico ha hecho al Black Metal de los primeros Rotting Christ (de hecho, aparece Sakis Tolis como vocalista invitado) o de bandas más actuales como Acherontas, por nombrar unas pocas y posiblemente las más conocidas. Sus riffs se mueven a través de trémolos y pasajes que incluyen unas melodías realmente oscuras y agresivas, pero manteniendo un trasfondo entre épico y ceremonioso; seguido de potentes solos, los cuales se mantendrán en tu cabeza durante largo tiempo. Además, como habréis podido observar, Order of the Ebon Hand incluyen teclado, pero este no es empalagoso, siendo únicamente en el último tema ‘The Slow Deathwalk’ donde más protagonismo tiene. Por otra parte, en ningún momento cae en terrenos excesivamente crudos, en cuanto a sonido se refiere, por lo que se pueden apreciar las ocho composiciones que componen este álbum, a la perfección y sin perder detalle en ningún momento.

 

 

 

Todo ello viene dirigido por una sección rítmica demoledora, la cual está basada en blastbeats y ritmos vertiginosos en la mayor parte del disco, pero también encontraremos algunas secciones más pausadas, en donde se enfatiza una atmósfera grandilocuente, pero sin ser excesivamente recargada, lo cual yo, personalmente, lo agradezco.

 

El registro vocal mayoritario es el shriek, pero este viene acompañado de coros de tinte ceremonial, como por ejemplo a lo largo de la canción ‘Knight of Swords’, o alternado con secciones narradas en algunos pasajes o conjuntado con rasgados de tonos más graves.

 

 

 

En resumen, “VII: The Chariot” contiene todo lo que el fan del Black Metal puede desear. Si no conocéis a Order of the Ebon Hand, ya estáis tardando.

 

http://www.brokentombmagazine.com/2019/08/21/critica-order-of-the-ebon-hand-vii-the-chariot-2019/

 

Order of the Ebon Hand are a Greek band. Personally, I know them from their debut album, “The Mystic Path to the Netherworld” 1997 on Hypervorea Records. It wasn’t a bad debut – it had its moments and its dead moments, but was not really ground-breaking as well. I missed out on their second album on Season Of Mist, so this third album is a new form of acquaintance.

 

Merkaal is still handling the vocals and the bass. The debut album drew mystic & occult influences from fellow musicians like Septic Flesh, that I do remember. This new album doesn’t represent a totally new sound, but does sound rejuvenated. Both the sound and the production are of a substantial high quality, delivering a powerful, yet detailed vibrant sound where each instrument can be heard perfectly.

 

The first track surprised me nicely due to the use of what seemed a 1970-ies Hammond organ – pulsating keyboard shards into that song. Basically, Order Of The Ebon Hand do not sound as your typical Greek arcane and deeply mystical old school Varathron / Rotting Christ / Necromantia band. They seem to draw their influences more from the Scandinavian scene. Guitars have the usual tremolo techniques but they do vary in sound and texture : in accordance with the song in question – they vary from the typical trademark cold riffs, to more melodic frenzied scrubbing over the strings. Scandinavian Black Metal, atmospheric guitars, acoustic and folkloric parts, distant choirs. Even a brief depressive hint passes by. What does strike me is how the guitars tend to mount to an accumulation of atmosphere and epic greatness in almost every single track. Drums sound nicely powerful and distinct with a panoramic sound, furious blast beats, hammering fills and rolls. A solid basis on which all tracks are performed at a high pace. The vocals of Merkaal have also improved. From the raw un-dimensional creepy raw screaming, to a more profound and varied emotional vocal style, which matches perfectly the unbridled energy and diversity of this new album.

 

Of course, since 1997, recording facilities have improved intensely. Still: no modern digital techniques nor wizardry can disguise a mediocre song. The songs on this new album are presented with a refreshing flair of professionalism and numerous moments of grandeur.

 

I can’t find any weak song on “VII: The Chariot”. The constant punching of the drums, the intense mounting and cascading walls of machine gunning guitars an audible bass and very dedicated vocals make this album a strong contender in the field of ‘modern’ melodic, yet harsh and eerie volatile Black metal music.

 

Fans of energetic, well-constructed and lyric wise deep Black Metal with perfectly executed melodies but also menacing riffing, hooks, details that stick in your head and are capable of giving you a serious adrenalin boost, need not to hesitate for a moment.

 

This is one of thé better releases in the genre and quite original as well. And by no means mediocre, uninspired or just a carbon copy of other styles. I have spoken. Damnit!!

 

http://www.vm-underground.com/review/order-of-the-ebon-hand-vii-the-chariot/

 

 

Another day, another great metal band from Greece. This time we got Order of the Ebon Hand who have already been formed in 1994. The band has been put on hold for a few years which might explain why “VII: The Chariot” is only their third full length. Quality over quantity they say so let’s jump straight into this record.

 

Instead of trying to find a completely new sound Order of the Ebon Hand took a lot of inspiration from the big Scandinavian bands of the nineties and injected some of their own ideas to make the music come across fresh and lively. The main riffs might sound like something fans of the genre have heard before but some of the chord progressions feel like a modernized twist on something that has been done decades ago. A lot of the trademark chops are repeated over and over again but often with subtle variation lending the music a slightly monotonous but at the same time hypnotical and very stringent character.

 

Combining various strains of black metal, including traditional, atmospheric, and even hints of depressive, the music of is quite unique in feel once given time to work its dark magic on you. The classic tremolo runs can be found here as well but there is an omnipresent eerie feeling to the music lifting it above your average black metal release. The astonishing lead harmonies are always present in the background providing a lot of haunting harmonies and lending the whole music an epic and moody character. The guys from Order of the Ebon Hand have put a lot of emphasis on creating an atmosphere that is eerie and dark yet has a certain kind of melancholic beauty. That being said they also made sure that the songwriting is stringent and the single songs are enjoyable.

 

The vocals are haunting and perfectly fit to the relentless instrumentation. In a few sections the tempo is taken out a bit only using ambient sounds underlining the atmospheric and captivating character of the music. This album is not just a bunch of tracks tagged together but a carefully told story in musical format. The production is also perfectly serviceable with all details being audible without problem. The drums have enough punch and everything else is crystal clear as well. Rounded off by a really great looking cover “VII: The Chariot” is a must have for each fan of clever and captivating black metal.

 

https://www.metal-archives.com/reviews/Order_of_the_Ebon_Hand/VII%3A_The_Chariot/779276/Edmund_Sackbauer/402292

 

 

 

Order Of The Ebon Hand...what a nice name for a Black Metal band...With this so cute "satanic sect" side...The Greeks of OOTEH sign here their great comeback, after 14 years without an album.

 

They have named themselves their Black Metal "archetypal" (see on their Bandcamp) and yet...nothing archetypal here !

 

If we find the fundamentals of "Trve" Black Metal (darkness, occultism, witch's voice, dark riffs), it's still a very original band we're dealing with. Their keyboard reminds the best of the 60's psychedelism (a bit like Type O'Negative who themselves were inspired by... 60's psychedelism) and a track like "Dreadnaught" could have been on an old Arcturus album.

 

Of course, when the goal is to riffle hard and give some fire, the Athenians know how to do it with brio, for example with the more classic but powerful and swift "More's (Nightmare)". But even there, despite an apparent "classicism", the band knows how to distil small keys that avoid any platitude (the bass lines of this track for instance, like the great old Scandinavians used to do, create a particular atmosphere, finely completed by an icy and ethereal piano).

 

OOTEH know perfectly their Black Metal scales, and their tracks are of a proven efficiency, but have, on top of that, this little "extra soul" that makes the charm of quality bands. The beast is awake, and in great shape!

 

L'ordre de la main d'ébène...quel joli nom pour un groupe de Black Metal...Avec ce côté "secte satanique" si mignon...Les grecs d'OOTEH signent ici leur grand retour, après 14 années sans album.

Ils ont eux même baptisé leur Black Metal "archétypal" (voir sur leur Bandcamp) et pourtant...rien d'archétypal ici !

Si l'on retrouve bien les fondamentaux du Metal Noir AOC (ténèbres, occultisme, voix de sorcière, riffs sombres) c'est tout de même a un groupe fort original que l'on a affaire. Leur clavier rappelle le meilleur du psychédélisme 60's (un peu comme Type O'Negative qui eux mêmes s'inspiraient du...psychédélisme 60's) et un titre comme " Dreadnaught" aurait pu figurer sur un vieil album d'Arcturus.

 

Bien sûr, lorsque le but est de riffer dur et d'envoyer la sauce, les athéniens savent le faire avec brio, exemple avec le plus classique mais puissant et véloce "More's (Nightmare)". Mais même là, malgré un "classicisme" apparent, le groupe sait distiller de petites touches qui évitent toute platitude (les lignes de basse de ce morceau par exemple, à l'instar de ce que faisaient les grands anciens scandinaves, créent une atmosphère particulière, finement complétée par un piano glacial et éthéré).

OOTEH connaissent parfaitement leurs gammes Black Metal, et leurs titres sont d'une efficacité éprouvée, mais ont, en plus, ce petit "supplément d'âme" qui fait le charme des groupes de qualité. La bête est réveillée, et en pleine forme !

 

https://www.webzinelescribedurock.com/2020/02/review-order-of-the-ebon-hand.html

 

 

After 14 years of hiatus the Greek black metal band Order of the Ebon Hand return with a long anticipated album. The new symphonic opus draws it’s musical themes and inspiration from tarot cards, occultism and prophecies based on fortune telling. With two albums released through different labels, the third outing by the Greek trio was recently released by Satanath Records. The new album VII: the Chariot contains eight ripping and roaring tracks. Order of the Ebon Hand have been around for quite long and it’s surprising that they haven’t gotten more attention. The band has established itself in 1994 and released two albums between the years 1997-2005. The band is consist of Merkaal who handles the vocals/bass, Asmodeus on guitars/backing vocals and Lethe on drums and keyboards.

 

Order of the Ebon Hand mainly combines melodic solos/rhythm and black metal riffing assault. Opening track Dreadnaught focus on the haunting symphonies where it accelerates on musical dramaturgy. The keyboards have variations in sounds where each of these musical segments sound different from each other. For example you can hear various compositions from piano, church organ which are presented on the opening track and other arrangements also from synth. The band is quite skilled in crafting their style of music and the way they carry out the guitar melodies and the drum patterns through technical skills makes this album so entertaining.

 

The vocalization has a specified quality ranging from sharp screeches to vicious growls. These abstract qualities with the striking guitar melodies and rhythm are brilliantly carried through the album. The growing tendency towards melancholy and somber themes are put into effect once the tracks start rolling. And apart from the tenacious performance the music is brought to a spellbinding scale. Through the high musical measures Order of the Ebon Hand brings a lot of value to their music, there is a constant change in the tempo while the keyboards often contrast with evil screeches.

 

The drums is always blasted at full energy bringing dynamics and tempo changes. Generally speaking the music is highly spirited and holds a fascinating atmosphere which is mostly created by the keyboards and rhythm guitar. As a fact not all Greek black metal bands sound like Rotting Christ or Varathron. VII: the Chariot include many great tracks like Wings, and Sabnock which features Sakis Tolis from Rotting Christ. On these two songs the keyboards are beautifully applied to create a darker feel. The guitars are mostly energized with excellent melodies which makes them sound very inspiring.

 

The drums are loud and played fast that eventually make the tracks flow with rapid blast beats. Knight of Swords is another standout track and begins with rapid drumming and electrifying guitars which brings some fascinating moments when the rhythm guitars are stimulated. Order of the Ebon Hand is all about creating a mesmerizing atmosphere, the role of keyboards is notable in increasing the gloomy sensation.

 

The atmosphere gets closer to richness when the keyboards are applied, yet there are also other ways of making each song entertaining. Αίαντας is sung in clean vocals is played swiftly with blast beats while the rhythm guitar adds the majestic feel to the track. The execution is moved by professional performance and with every track increasing the musical sensibility. Tracks like Bael and The Slow Death Walk continues further into rhythmic regularity of the guitar section.

 

The epic closure leans towards a melodic sensibility driven with orchestral keyboards and powerful guitar riffs. The riffs are catchy, thundering and shows the obvious influence to heavy metal. Repeated tremolo pickings are stretched to capture the mood and shows a skillfully talent from these Greek trio. VII: the Chariot surpassed my expectations this is an amazing album that is full of rich compositions and high level of songwriting. This is a pivotal release from Greek black metal outfit who have remained silent for a long years. VII: the Chariot is intense and full of compelling riffs, orchestral synth work and dramatic vocals.

 

https://www.grimmgent.com/order-of-the-ebon-hand-vii-the-chariot/

 

L'Attica, la culla della civiltà occidentale con la sua splendida Atene, luogo da cui emerse l'hellenic sound. Il quintetto degli Order of the Ebon Hand arriva proprio da là, forgiando il proprio sound laddove nacque quello di altre divinità greche quali Rotting Christ, Kawir, Thou Art Lord, Zemial, Necromantia, giusto per citarvene alcuni. La band di oggi si riaffaccia col terzo album, 'VII: The Chariot', fuori per la russa Satanath Records, dopo ben 14 anni dal secondo disco, 'XV: The Devil', sebbene nel mezzo siano usciti un paio di split. I pezzi per convincerci della bontà del lavoro di quest'oggi sono otto. L'album si apre con "Dreadnaught", un black mid-tempo che mi colpisce soprattutto in chiave solistica, visto un lungo assolo dai connotati heavy rock da stropicciarsi gli occhi. La song è poi ammantata da una sinistra aura occulta che rende più appetibile il dischetto. La seconda "Μόρες" è decisamente più tirata con un forte orientamento ad un black minimalista; quello che colpisce in questa traccia, oltre alla ferale architettura ritmica, sono delle limitatissime ma orchestrali tastiere di sottofondo che sembrano smorzare la furia incontrollata dei cinque ateniesi. Con "Wings" si prosegue sulla stessa lunghezza d'onda, con i classici suoni neri come la pece, fatti di taglienti melodie di chitarra (in stile Swedish black) e gracchianti vocalizzi. Peccato solo siano scomparse quelle chitarre classiche che mi avevano ben impressionato nell'opener. Si continua infatti a picchiare come forsennati anche nella successiva "Sabnock", song che vede la partecipazione alla voce, in veste di guest star, proprio del buon Sakis dei Rotting Christ, quasi a dare il proprio benestare al lavoro degli Order of the Ebon Hand; e la prova del frontman è come sempre indiscutibile. "Knight of Swords" parte più tranquilla con un arpeggio di un minutino a prepararci alla furia distruttiva di un brano di elevata intensità che mi porta a pensare "che mazzo deve farsi il batterista dei nostri". La grandinata prosegue anche in "Αίαντας" ma sarà cosi fino alla fine: in questa song compaiono delle sofferenti ed epiche voci parlate, mentre in "Bael" il ritmo si fa addirittura più furioso. "The Slow Death Walk" è l'ultimo episodio del disco caratterizzato da un riffing più trattenuto che si muove a braccetto con stralunati e quasi barocchi tocchi di tastiera che mi hanno evocato un'altra band greca, gli Hail Spirit Noir. Quello degli Order of the Ebon Hand è un gradito ritorno anche se un po' troppo derivativo. Speriamo solo che la band si levi un po' di ruggine di dosso e non ci faccia attendere altri tre lustri per un nuovo full length.

 

https://thepitofthedamned.blogspot.com/2020/01/order-of-ebon-hand-vii-chariot.html

 

 

Order of the Ebon Hand, despite of their very few releases during the twenty-five years that they exist, they are pretty known and respected by the underground and not only the Greek one. If you listen their releases throughout their long history, you will understand why they deserve that respect. So, after a long absence from discography, they return after fourteen years after their second full length album, to present us their third one called “VII: The Chariot” which was release in June of 2019 by Satanath Records limited to 500 copies and it contains eight tracks of about forty-four minutes in total.

 

Their music is a nice mixture of nineties Black Metal, you can listen to the Scandinavian influences such as Satyricon, some modern touches which may remind you of Watain and of course the obvious references to the oldschool Greek Black Metal sound. The first element that found quite impressive is the perfect balance that they have achieved between melody and speed. Although that the album is really powerful and the speed is fast almost in most of it, the melody is always present. The other characteristic that i ‘d like to mention is the very nice double guitar riffing. There are a lot of parts where the guitars play a similar riff but not the same at the same time, giving a very interesting result. The last element that i liked was the use of keyboards. They are present only in a few parts of the album, where the band needs to add a more atmospheric touch to the music and the very elegant keyboards do it perfectly. The songs last from four to eight minutes and each one has a unique structure, other times they depend on how the riffs build up the intensity and lead up to the climax, while other times they depend on the changing of the riffs and of the tempo, leading the compositions up to their climax by the use of keyboards or slower passages. It also seems that they have put much thought into the structure of the tracks and none of them becomes boring to the listener.

 

Regarding the band’s performance, all of its members have delivered a very strong and flawless performance. The guitars, which are the leading instrument, have a clean sound and a very accurate output. The bass is not that audible and sometimes, I think that is missing from the compositions. The drums are very stable and accurate while they don’t lack of passion. The production is clean and quite flat. I think that if the bass was more audible and the overall result more bassy, the sound would highlight the compositions in a much better way. In my opinion, the burring of the bass is the only flaw in the mixture, which despite that, it presents the instruments correctly. The vocals are very expressing Black Metal vocals that reminded me a lot of Satyr, both in the growling parts and in the cleaner – more narrating ones. The lyrics are written in English and they are contained into the nice, six-page booklet. The lyrics presented here are dark stories of life and death, inspired by classical writings and mythical worlds as their two songs “Knight of Swords” and “Αίαντας” by Shakespears’s “Macbeth” and Sofocle’s “Aias”.

 

Generally, the return of Order of the Ebon Hand is a quality release. It won’t be a monumental album of the Greek Black metal scene, but it can show, on one hand how the band has evolved through time and on the other hand the quality and variety of the Greek scene. The tracks I liked most were “Dreadnaught”, “Wings”, “Sabnock” and “Αίαντας”, although all tracks have their interesting moments. This release will be surely appreciated by the fans of the 90ies driven Scandinavian and Greek Black Metal. This is a nice album that deserves your attention.

 

https://www.orthodoxblackmetal.com/order-of-the-ebon-hand-vii-the-chariot/

 

 

Looking for some old-school Hellenic black metal but haven't came across any this year? Well, it seems that you've missed VII: The Chariot.

 

Order Of The Ebon Hand is one of the Greek black metal bands that emerged in the '90s with a sound familiar to those who are into the early output of acts like Rotting Christ, Varathron, Necromantia, Zemial, Agatus and Nergal. Formed in 1994, the band released their debut, A Mystic Path To The Netherworld, in 1997 and this album has now rightfully attained cult status within the Greek black metal underground. Personal differences and disputes led the band to a three-year hiatus, but they reformed in 2001 and released XV: The Devil in 2005. Fourteen long years later (you hear that, Tool?), the make-or-break third album has finally arrived and it is once again inspired by a Tarot card, just like its predecessor.

 

VII: The Chariot's beautifully dark cover art, created by Vamperess Imperium, depicts a knightly figure sitting in a chariot pulled by two warhorses, a black and a white one. In my mind the knight portrays the band's music, which is equally pulled by the black, raw and violent riffing as well as the white, melodic and atmospheric lead guitar and the hammond-like synths. The result is just the right balance between aggression and emotion, and the album has an occult, spiritual and haunted ambiance from start to finish.

 

Order Of The Ebon Hand call their music 'archetypal black metal' so it's unnecessary to say that they don't score very high on either innovation or originality. However, their music is quality riffs-driven and sparkled with swirling lead guitar work that captures your undivided attention from the doom-laden mixed with rock 'n' roll horror show opener, "Dreadnought", to the epic and apocalyptic closer, "The Slow Death Walk". In between, the stunning "Sabnock" features guest vocals by Sakis Tolis of Rotting Christ fame and I hope this participation serves as an example for him of how you can make great music without reinventing the wheel.

 

It has already been revealed in an interview that the next card in the deck for Order Of The Ebon Hand will be XI: Justice. Let's hope we won't have to wait another fourteen years for it, but for now you can experience the chariot charging at your inner demons right here.

 

"They fly into the rain

The fiery arcs of death

Setting the night alight"

 

http://www.metalstorm.net/pub/review.php?review_id=15214

 

 

Οι ORDER OF THE EBON HAND, είναι από τις πιο παλιές καραβάνες της ελληνικής black metal σκηνής, μιας και το ξεκίνημα της μπάντας, πηγαίνει πίσω στο 1994. Το ντεμπούτο τους, “The mystic path to the netherworld”, κυκλοφόρησε το 1997 και έπειτα από ένα σημείο, απέκτησε cult υπόσταση, λόγω του ότι ήταν δυσεύρετο, αφού είχε κοπεί μόνο σε CD και μάλιστα σε μόλις 500 αντίτυπα. Η κυκλοφορία του δεύτερου δίσκου της μπάντας, “XV: The devil”, πραγματοποιήθηκε το 2005, από τη Season of Mist και έπρεπε να περάσουν 14 χρόνια για να ακούσουμε καινούργιο υλικό τους. Το τρίτο τους άλμπουμ λοιπόν, είναι γεγονός και φέρει τον τίτλο “VII: The chariot”. Όπως και με τον προκάτοχό του, ο τίτλος του δίσκου είναι εμπνευσμένος από μία κάρτα Ταρώ και πιο συγκεκριμένα, την έβδομη, Το Άρμα.

 

Αν και η μπάντα, μετά από μεγάλο διάστημα απουσίας, έχει αρχίσει να δραστηριοποιείται ξανά συναυλιακά (support σε IHSAHN, WOLVES IN THE THRONE ROOM και ABBATH), ως κουιντέτο πλέον, η ηχογράφηση του δίσκου έγινε από την «κλασσική» τριάδα των Merkaal, Lethe και Asmodeus (ή Phlaigon), με την οποία είχε ηχογραφηθεί και το “XV: The devil”. Μουσικά, το “VII: The chariot” κινείται στο γνώριμο ύφος της μπάντας. Βlack metal, εκ Σκανδιναβίας ορμώμενο, με πολλές επικές στιγμές, διανθισμένο με ατμόσφαιρες και majestic αναφορές, αλλά και με έντονες μελαγχολικές μελωδίες. Το εναρκτήριο "Dreadnought". διαφοροποιείται κάπως σε σχέση με τα υπόλοιπα κομμάτια του δίσκου, καθότι αργό και ατμοσφαιρικό, με τα αρπίσματά του να σε μεταφέρουν στο Νορβηγικό Βορρά, ενώ τα keyboards να δίνουν μία «ελληνική» αίσθηση, την ώρα που το μελωδικό του σόλο αφήνει μία heavy metal-άδικη επίγευση. Αντίθετα,τα “Μόρες” και “Wings” που ακολουθούν, είναι γρήγορα και τεταμένα κομμάτια. Η αμεσότητα και η ένταση που αποπνέει το "Sabnock", αλλά και οι όμορφες και θλιμμένες μελωδίες του, το ανάγουν σε μία από τις καλύτερες στιγμές του δίσκου. Σε αυτό το κομμάτι ακούμε και τον guest του δίσκου, τον Σάκη Τόλη (ROTTING CHRIST). Το "Knight Of Swords" που έπεται, ξεκινάει με μία πανέμορφη εισαγωγή (ακούγεται μόνο το μπάσο), η οποία μας φέρνει σε ένα τεράστιο BATHORY-ικό riff (ή και IMMORTAL, διαλέξτε και πάρετε), πριν η μπάντα εξαπολύσει ολομέτωπη επίθεση. Το “Αίαντας”, είναι το highlight του δίσκου, όντας το πιο τεταμένο και μελαγχολικό κομμάτι του Άρματος. Οι απαγγελίες του Merkaal, προσθέτουν αναμφισβήτητα πόντους στη θεατρικότητα του κομματιού, αλλά και στην αίσθηση του υψηλού που αποπνέει. Το "Bael", με το φρενήρες riffing, χωρίς να είναι κακό, είναι ίσως ένα σκαλάκι πιο κάτω από τα υπόλοιπα κομμάτια. Ο δίσκος κλείνει, με το "The Slow Death Walk". Στην αρχή τα κομμάτι ξεκινάει αργά και ατμοσφαιρικά, φέρνοντας στο μυαλό τους BURZUM και το ντεμπούτο των SATYRICON, ενώ κλιμακώνεται στη συνέχεια.

 

Οι ORDER OF THE EBON HAND μπορεί να άργησαν κομματάκι, αλλά η αναμονή άξιζε και με το παραπάνω. Το “VII: The chariot” είναι ένα συμπαγές και όμορφο άλμπουμ, στο οποίο η μπάντα ισορροπεί αξιοθαύμαστα μεταξύ της επιθετικότητας και της μελωδίας. Οι συνθέσεις είναι άμεσες και δουλεμένες, σε βαθμό που ενδεχομένως να μπορούσα να μιλήσω για την πιο κατασταλαγμένη και ώριμη στιγμή τους μέχρι τώρα. Ελπίζω μόνο να μην ξαναπάθουν… TOOL-ίαση και δούμε πάλι δίσκο τους το 2030-φεύγα!

 

http://www.rockhard.gr/παρουσιάσεις-δίσκων/order-ebon-hand-–-“vii-chariot”-satanath-records

 

Эти греческие любители Таро существуют с 1994 года и всё это время продолжают шинковать свой «архетипический блэк металл» с лёгким налётом типичных для жаркой Греции фишек. В отличие от пустившихся в эксперименты Rotting Christ или от других греческих блэкеров вроде Varathron и Necromantia, эти подпольные ветераны изменять чёрному металлу не собираются ни в каком виде и ни под каким соусом. Ни влияний дэта, ни чистых вокалов, ни простеньких хитовых мелодий, ни экспериментов со звуком - ничего этого здесь нет. Всё отдано на откуп серенькому и до одури каноничному блэку в духе начала-середины 90-х, исполнен который, однако, с большой страстью и немалой изобретательностью.

То, что Rotting Christ играли на «Triarchy Of The Lost Lovers», эти деятели долбят по сей день, лишь слегка разбавляя подобный материал угрюмой атмосферностью и угадывающимися намёками на героическую помпезность. Было бы странно, если бы за столько лет «таро-руки» не научились играть на своих инструментах и попадать по струнам в нужной тональности, и такого умения у них не отнять. Кроме того, люциферианцы всеми силами постарались сделать свой новейший диск нескучным, и с этой целью добавили в свои новые композиции шумный бэкграунд (как будто у кого-то за стенкой вдруг разом перевернулась вся мебель и никак не хочет перестать падать и разламываться на куски), пафосные разговоры окончательно сбрендившего Ивана Грозного с самим собой («Bael») и винтажные юрайхипповские синтезаторы («Dreadnaught”, “The Slow Death Walk»), а также мимоходом кое-где понавтыкали неплохих мелодий и добавили в «Aiavias» скорбные анафемовские всхлипы и стоны.

Диск по-хорошему непредсказуем, то напоминая ураган тысячи мечей в «Wings» и «Sabnock», то удивляя нестандартными гармоническими решениями и авангардными артовыми прогонами, а то неожиданно сбавляя темп и замыкаясь в четырёх стенах тотального блэк-метал-карантина. Уже со второго прослушивания в альбом начинаешь просто влюбляться, истекая соками желания от его думовой обречённости и блэковой воинственности, а третий контрольный заход убеждает в том, что ставить такое у себя в коллекции надо куда-нибудь на видное место и вообще в дальние ящики не убирать (чтобы вспомнив про диск как-нибудь, спьяну, ночной порой и отправившись доставать его на пыльные антресоли, не сломать себе ноги, руки, а то, поди, чего доброго, и шею).

Альбом сделано фирменно и вообще не на скорую руку, а солёный морской привкус особой греческой магии начала 90-х делает его ещё интереснее. Чуваки смогли слепить тру-андеграундный и не попсовый релиз, не увязнув при этом в знаменитой андеграундной криворукости, и это большая радость и редкость. Если современное творчество подписавшихся на Satanath «роттингкрайстов» я воспринимать просто не могу из-за того, что они умудрились переплюнуть по продажности даже Baby Metal и Лободу, то «Order Of The Ebon Hand» - это экземпляр совершенно другого рода, где общая музыкальная креативность и чёрное искусство служат один другому, не наступая друг другу на мозоли. Хороший пример адекватного следования традициям и ортодоксального, но по-настоящему музыкального блэк-металла.

 

https://vk.com/wall-13305870_676

 

 

Order of the Ebon Hand are a Greek band. Personally, I know them from their debut album, “The Mystic Path to the Netherworld” 1997 on Hypervorea Records. It wasn’t a bad debut – it had its moments and its dead moments, but was not really ground-breaking as well. I missed out on their second album on Season Of Mist, so this third album is a new form of acquaintance.

 

Merkaal is still handling the vocals and the bass. The debut album drew mystic & occult influences from fellow musicians like Septic Flesh, that I do remember. This new album doesn’t represent a totally new sound, but does sound rejuvenated. Both the sound and the production are of a substantial high quality, delivering a powerful, yet detailed vibrant sound where each instrument can be heard perfectly.

 

The first track surprised me nicely due to the use of what seemed a 1970-ies Hammond organ – pulsating keyboard shards into that song. Basically, Order Of The Ebon Hand do not sound as your typical Greek arcane and deeply mystical old school Varathron / Rotting Christ / Necromantia band. They seem to draw their influences more from the Scandinavian scene. Guitars have the usual tremolo techniques but they do vary in sound and texture : in accordance with the song in question – they vary from the typical trademark cold riffs, to more melodic frenzied scrubbing over the strings. Scandinavian Black Metal, atmospheric guitars, acoustic and folkloric parts, distant choirs. Even a brief depressive hint passes by. What does strike me is how the guitars tend to mount to an accumulation of atmosphere and epic greatness in almost every single track. Drums sound nicely powerful and distinct with a panoramic sound, furious blast beats, hammering fills and rolls. A solid basis on which all tracks are performed at a high pace. The vocals of Merkaal have also improved. From the raw un-dimensional creepy raw screaming, to a more profound and varied emotional vocal style, which matches perfectly the unbridled energy and diversity of this new album.

 

Of course, since 1997, recording facilities have improved intensely. Still: no modern digital techniques nor wizardry can disguise a mediocre song. The songs on this new album are presented with a refreshing flair of professionalism and numerous moments of grandeur.

 

I can’t find any weak song on “VII: The Chariot”. The constant punching of the drums, the intense mounting and cascading walls of machine gunning guitars an audible bass and very dedicated vocals make this album a strong contender in the field of ‘modern’ melodic, yet harsh and eerie volatile Black metal music.

 

Fans of energetic, well-constructed and lyric wise deep Black Metal with perfectly executed melodies but also menacing riffing, hooks, details that stick in your head and are capable of giving you a serious adrenalin boost, need not to hesitate for a moment.

 

This is one of thé better releases in the genre and quite original as well. And by no means mediocre, uninspired or just a carbon copy of other styles. I have spoken. Damnit!!

 

http://www.vm-underground.com/review/order-of-the-ebon-hand-vii-the-chariot/

 

 

Order of the Ebon Hand are a band that have been crawling in the shadows of the land of ancient mysticism and mesmerizing Black Metal known as Greece for decades. They originally broke up after their debut in 1998, but they reformed in 2003 and have technically been active since then, even though this is the first full-length they've released since 2005.

 

Anyway, these guys specialize in blasting out hyperspeed Black Metal that roughly sounds like a mix between Dark Funeral and Immortal. These guys fire on all cylinders for the entire album, with every song blazing forward like spitting flames from the burning pits of hell. Drummer Deimos is especially worthy of note, as his non-stop skin bashing is enough to make me wonder how he could keep this shit up in a live setting without breaking something.

 

All that said, there's not an original idea in sight, and with the exception of the exciting "The Slow Death Walk", the songs are all fairly one-note in their intensity and would have been helped greatly if they had a little more variation. I can't say these guys are going to change the world of Black Metal as we know it, but they'll definitely get some love from fans of the more extreme end of the genre.

 

http://www.metalcrypt.com/pages/review.php?revid=11762

 

 

 Order Of The Ebon Hand...what a nice name for a Black Metal band...With this so cute "satanic sect" side...The Greeks of OOTEH sign here their great comeback, after 14 years without an album.

 

They have named themselves their Black Metal "archetypal" (see on their Bandcamp) and yet...nothing archetypal here !

 

 

 

If we find the fundamentals of "Trve" Black Metal (darkness, occultism, witch's voice, dark riffs), it's still a very original band we're dealing with. Their keyboard reminds the best of the 60's psychedelism (a bit like Type O'Negative who themselves were inspired by... 60's psychedelism) and a track like "Dreadnaught" could have been on an old Arcturus album.

 

 

 

 

Of course, when the goal is to riffle hard and give some fire, the Athenians know how to do it with brio, for example with the more classic but powerful and swift "More's (Nightmare)". But even there, despite an apparent "classicism", the band knows how to distil small keys that avoid any platitude (the bass lines of this track for instance, like the great old Scandinavians used to do, create a particular atmosphere, finely completed by an icy and ethereal piano).

 

OOTEH know perfectly their Black Metal scales, and their tracks are of a proven efficiency, but have, on top of that, this little "extra soul" that makes the charm of quality bands. The beast is awake, and in great shape!

 

 

L'ordre de la main d'ébène...quel joli nom pour un groupe de Black Metal...Avec ce côté "secte satanique" si mignon...Les grecs d'OOTEH signent ici leur grand retour, après 14 années sans album.

Ils ont eux même baptisé leur Black Metal "archétypal" (voir sur leur Bandcamp) et pourtant...rien d'archétypal ici !

 

 

Si l'on retrouve bien les fondamentaux du Metal Noir AOC (ténèbres, occultisme, voix de sorcière, riffs sombres) c'est tout de même a un groupe fort original que l'on a affaire. Leur clavier rappelle le meilleur du psychédélisme 60's (un peu comme Type O'Negative qui eux mêmes s'inspiraient du...psychédélisme 60's) et un titre comme " Dreadnaught" aurait pu figurer sur un vieil album d'Arcturus.

 

 

Bien sûr, lorsque le but est de riffer dur et d'envoyer la sauce, les athéniens savent le faire avec brio, exemple avec le plus classique mais puissant et véloce "More's (Nightmare)". Mais même là, malgré un "classicisme" apparent, le groupe sait distiller de petites touches qui évitent toute platitude (les lignes de basse de ce morceau par exemple, à l'instar de ce que faisaient les grands anciens scandinaves, créent une atmosphère particulière, finement complétée par un piano glacial et éthéré).

OOTEH connaissent parfaitement leurs gammes Black Metal, et leurs titres sont d'une efficacité éprouvée, mais ont, en plus, ce petit "supplément d'âme" qui fait le charme des groupes de qualité. La bête est réveillée, et en pleine forme !

 

 

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

 

VERDIKT: Řecko kypí životem - několik tamních nahrávek mě v poslední době silně zaujalo a teď přichází další.

I když jde o nahrávku z loňského roku, promáč se k nám dostal až nyní, a tak se na ni podíváme se značným zpozděním. Ale nevidím v tom žádný problém, obzory je třeba stále rozšiřovata a ladit.

 

 

Asi by málokdo tipoval, že Order Of The Ebon Hand (dále OOTEH) vznikli za časů, které už by se daly nazvat dobou pro pamětníky. Rok 1994, to už je docela historie, ale určitě si z té doby každý vybaví hned několik zásadních alb. První album OOTEH vydali až po třech letech, pak došlo k nějaké přestávce a následné resuscitaci. Asi to v kapele bylo složité, protože album VII: The Chariot je teprve třetí dlouhohrající deskou v tomto řeckém martýriu. Kapela jakoby začínala od začátku. Album nemá na co navázat, protože to předcházející vyšlo v dávném roce 2005, tehdy ještě pod značkou Season Of Mist.

 

 

 

Co tedy současní OOTEH hrají? Vždy to byl black metal, ten špinavý, dřevní, archaický. Z fotek na nás hledí divá zvěř, která po vás bez slitování hodí bendžo z víkendového melouchu. Slyším lehce uhlazenější sound, ale pořád je to hudba, kterou jsem čekal. Škrékání havraního vokálu s možností  zapůjčit jej celé řadě mnohem známějších blackových těles. K jednomu mají hodně blízko, ale všeho do času. Album zaštítila firma Satanath Records, která nám jej poskytla coby promo k nahlédnutí.

 

 

Hudebně je to nástrojová klasika v dobrém smyslu slova. Hoblovačky pějí ódy na ravenouzní monstrdíla, neurvalé kacířství a příbuzná témata. Kdybych nevěděl, že jde o řeckou kapelu, z fleku bych si dovolil a přestěhoval je na sever Evropy i bez souhlasu rodičů. Do takto zjednodušeného pohledu na věc ovšem nezapadají pasáže, které jsou spíš nezbytnými znaky rodokmenu než stylem jako takovým. Tuto originální tvář dílu dává promyšlená a vpravdě působivá hra kláves. Lethe, muž s jemnými prsty známý z Chaostar nebo Septic Flesh, z nich loudí zajímavé, přítulné melodie, které boří masku zla a přidává lehký podtón progresivního rocku. Je to sice přísada skromná, ale nepřeslechnutelná. Upozorní na sebe chvíli po začátku první skladby a od té doby nás provází krajem černého sukna. Někdy mají zvuk temného klavíru, ale většinou z nich cítím jemný, až nemetalový dotyk nadpozemských sfér.

 

 

 

Jadrný black si mě dokonale podmaňuje ve třetí skladbě Wings. První skladby mě příjemně rozehřály, ale tady už se mi vybavují líbezná léta strávená ve společnosti  Dark Funeral, kteří z téhle desky vykukují opravdu na mnoha místech. Sem tam se oblohou mihne netopýr a zrůdná tvář Immortal, ale jde jen o vzácný moment.  Pochválit ale nemůžu úplně všechno, třeba skladba Knight Of Swords, což je hrozný, hrozivě powermetalový název, odhaluje slabší stránky alba a přiznává tvůrčí nevyrovnanost, která se místy dobře maskuje. Přijde mi to ale upřímné a realistické, protože tak to prostě je, stoprocentních desek zas tolik není. Lehký šok mi způsobil klávesový motiv v poslední skladbě, který neumím vyhodnotit. Tady se OOTEH víc než šikovně podařilo nabourat do hrobky Thy Catafalque a svědomitě ji vykrást. Jinak průměrná hoblovačka díky tomu získala záchranný pás, který ji nenechá klesnout do bahna všednosti, na druhou stranu nechtěně (možná) stahuje pozornost k jiné kapele.

 

 

Musím říct, že jsem nečekal mnoho, ale dostal poměrně dost. OOTEH můžeme zařadit jen asi o stupínek níž než jsou jiné blackmetalové hordy. Vyznačují se slabším okultismem, zato silnější melodičností, takže můžou oslovit trošku jinou sortu lidí. Za mě dobré album.

 

https://www.echoes-zine.cz/recenze/order-of-the-ebon-hand-vii-the-chariot

 

 

Order Of The Ebon Hand is back after 14 years without a full release with three recent new members that include a keyboard player. The opening Deadnaught is mid-paced and doesn't really get going. The keyboards appear a few times in the background to perhaps foreshadow the upcoming songs. Mopes (The Night's Mare) is up next, is the shortest song at just over three and half a minutes and a speedy black metal makes its first appearance. Merkaal screams louder too but there is a bit of piano to interrupt it all. Wings starts with impressive though hardly original black metal blasting and riffing and keeps its pace throughout. Sabnock features Sakis Tolis of Rotting Christ on guest vocals and quickly picks up where Wings left off. Early Marduk is one possible point of reference when these Greeks are at their best. Knight Of Swords starts ballad like then standard riffs re-appear, they don't scream originality but don't disappoint either. Aianas features a slightly different sort of singing, almost like a person in agony and this is confirmed with the narrator questioning his fate when all the gods are his enemies and the dismay in the disability to stop his suffering. A short mid-paced section adds variation to go with the downtrodden theme. Bael returns to the speedy direct riffs with the drums keeping up with the pace. The Slow Death Walk is indeed as it is says. A slow march to start that features the most synthesizers of VII: The Chariot. It remains dominated by the aforementioned instrument before and after speeding up somewhat. The song doesn't leave all black metal sounds behind and provides a good dose of screams and riffs too. The cover art features a black horse on the left and a white horse on the right.

 

http://metallian.com/orderoftheebonhand.php

 

Most of the Greek black metal hordes took a completely different approach to the musical ingredients of this genre and, of course, the sound of their materials were different than usual, let's just remember the early records with Rotting Christ, Necromantia, Varathron or Thou Art Lord, for example. Well, this is only partially true for the 3rd full-length album of Order of the Ebon Hand, because what musically awaits you on "VII: The Chariot" is mainly executed in the plains of Scandinavian black metal. Also keep in your mind that the hellish crew led by Merkaal (vocals/bass) propagates an archetype form of Luciferian black metal. Eight ruthless yet tenebrous compositions in almost 44 minutes is what you will get if you take the fatigue and listen to the new record by these Greeks. Production-wise everything is fine there, it is a top quality record, so to say. Moreover, you can hear the voice of Sakis Tolis aka Necromayhem from Rotting Christ in the song called "Sabnock". However, I found a bit monotonous and simple their music, but this is how orthodox black metal should sound and look like, isn't it? I think this stuff is specifically for the band's steady fans. But in case you want to teleport back to the 90s, then this material will be a very good choice, that's for sure!!!

 

http://castrum.com.ua/encomium/7albums3.htm

 

 

Os gregos do Order Of The Ebon Hand surgiram no meio dos anos 90 com seu Archetype Black Metal e logo chamaram atenção pela sua técnica apurada.

 

Passado tantos anos, eles ainda conseguem trazer um ótimo registro e é justamente o que podemos ver em "VII: Chariot" (2019), cheio de otimos riffs, canções com muita destreza e também bastante qualidade.

 

Em termos de produção estão impecáveis, algo que nesse meio do lado extremo não é tão fácil de se fazer, mas, conseguiram e bem.

 

 

Confira sem medo!

 

https://rockvibrationsofficial.blogspot.com/2020/08/order-of-ebon-hand-vii-chariot-review.html

 

Abbiamo dovuto attendere ben quattordici lunghi anni affinché gli ateniesi Order Of The Ebon Hand dessero finalmente un successore all’ottimo “XV: The Devil” ed ora che abbiamo avuto l’opportunità di ascoltare questo nuovo “VII: The Chariot”, terza fatica sulla lunga distanza per la band capitanata dal bassista e singer Merkaal, ispirata ancora una volta ad una carta dei tarocchi, possiamo tranquillamente affermare di trovarci di fronte all’ennesimo lavoro degno di nota partorito dalla sempre fertile e valida scena black ellenica. Introdotto da una bella copertina, che raffigura un cavaliere su un carro trainato da un cavallo bianco e da uno nero (la luce e l’oscurità) questo disco ci restituisce infatti integri tutti gli elementi tipici e ben noti del “true” black metal, riletti però attraverso una sensibilità personale, che si estrinseca in un equilibrio pressoché perfetto tra il classico sound nordeuropeo e quello greco; tra la gelida ferocia del riffing e un alone occulto e misterioso che avvolge ogni nota; tra passaggi caratterizzati da muscolare e sanguinosa oscurità e momenti decisamente più atmosferici, dove le melodie emergono con tutto il loro conturbante e sinistro fascino. Senza stravolgere le regole non scritte del genere, applicando in modo rigoroso un tremolo essenziale ed ipnotico, inserendo armonie dannatamente ossessive e qualche squarcio al tempo stesso epico ed inquietante, la band greca trova la propria via lungo il percorso oscuro del black metal, confermando quanto di buono fatto in passato, in quest’occasione ulteriormente esaltato da una produzione al passo con i tempi, che tuttavia non elimina quel piglio fondamentalmente retrò che comunque continua a caratterizzare la loro proposta musicale. E quanto abbiamo appena detto è riscontrabile immediatamente dall’attacco dell’opener “Dreadnaught”, pezzo che evolve da un inizio cadenzato e misterioso ad una successiva esplosione di rabbia, incorniciato da tastiere dal sapore esoterico, che senza indugio ci immergono in quella che sarà l’atmosfera generale del disco.

 

 

E se brani come “Sabnock” (per la quale presta la propria voce anche Sakis Tollis dei Rotting Christ, sacra istituzione del black metal ellenico) o “Knight Of Swords” possono definirsi più canonici (gli Order Of The Ebon Hand sanno anche come pestare duro, quando è il momento) ma certamente non banali e non privi di elementi di interesse, è nella parte finale dell’album che la band piazza i suoi colpi migliori. “Αίαντας” è infatti una canzone semplicemente perfetta, con le sue evocazioni demoniache intervallate da una linea melodica che si stampa subito nella testa dell’ascoltatore, quasi a metà strada tra Arcturus e Varathron. E, dopo la feroce e ficcante “Bael”, è la volta di “The Slow Death Walk”, suite conclusiva, insinuante e rituale, a tratti perfino dolente e malinconica, che esalta tutte le qualità dei nostri, con quel giro di tastiere, tanto semplice quanto efficace, che ci rimanda a culti osceni ed innominabili.

 

 

Gli Order Of The Ebon Hand (che, è bene ricordarlo, non sono gli ultimi arrivati: la band infatti è in giro dal lontano 1994) hanno dato vita ad un album perfettamente coerente ma per nulla nostalgico: centellinando le loro uscite e cercando di privilegiare la qualità rispetto alla quantità, dimostrano che è ancora possibile suonare black metal in modo personale, riproponendone in maniera assolutamente convincente strutture, contenuti e luoghi comuni, senza tradire i presupposti di partenza. Un ottimo disco!

 

https://www.blackmetalistkrieg.net/?p=12160

 

Gli Order of the Ebon Hand nascono nel 1994 con lo scopo di suonare Archetype Black Metal. La band ha contribuito a numerose compilations tra cui “Order of the Tyrants” in onore ai Celtic Frost. Hanno suonato dal vivo con numerose bands tra cui Candlemass, Slayer, Rotting Christ, Accept, Therion, Abbath, Ihsahn, Nightfall, Dismember, Wolves in the Throne Room, Gra, Negura Bunget, Thy Darkened Shade, Acrimonious among others. La band conta due split, varie partecipazioni a compilations importanti ("Metal Greece Now Vol.1" - Metal Hammer, "The Cryptic Path to ΧΞΣ - A Tribute to Rotting Christ". "Hellas Salutes the Vikings" - Bathory tribute, Metal Invader, "Order of the Tyrants" - Celtic Frost tribute, Season of Mist. "Hellas - The Black Death Anthology 1989-2006" - Kyrck Productions & Armour). Buon album di un black metal, la band è brava a mischiare le sonorità classiche del black metal di stampo nordico con le influenze del black ellenico con un uso magistrale delle tastiere. L’album contiene 8 tracce e la durata è di 43 minuti e 38 secondi, l'artwork è molto suggestivo, rappresenta la carta del carro dei tarocchi, già dall’immagine si comprende molto chiaramente cosa ci può aspettare ascoltandolo. La prima traccia titolata “Dreadnaught” è di ottima qualità in grado di coinvolgere immediatamente il pubblico in maniera molto efficace e trascinarlo nel loro mondo senza forzature ed in questo brano aggiungono al classico black sonorità heavy metal con assoli di pregio rendendo il brano molto personale, estremamente affascinante il quale rappresenta i sentimenti dell’ascoltatore. si continua con “Μόρες”: brano molto veloce e meno atmosferico con una sfuriata di speed black, questa sonorità sorprende l’ascoltatore, interessante passare da un brano atmospheric a questo tipo di sfuriate senza distrarre l’ascoltatore, anzi, lo coinvolgendolo sempre più nel mondo che l’album e la band hanno preparato per lui; terza traccia “Wings”: brano anch’esso veloce ed emozionante, l’ascoltatore si sente sempre più coinvolto emotivamente nel mondo per lui preparato. Le chitarre taglienti e la batteria veloce rendono il brano interessante, si rimane rapiti e concentrati dalla maestosità del brano. Traccia molto interessante dal punto di vista tecnico; non è banale e la band riesce a inserire in modo molto personale le tastiere e i blast beat sono ben eseguiti e non sono fini solo alla velocità, chi ascolta rimane rapito da tutto questo e riesce a immergersi appieno della musica. Quarta traccia “Sabnock”: brano ben eseguito, leggermente sottotono rispetto hai precedenti e un pochettino banale, in questa traccia la band è più sul classico e sperimenta poco, alcuni riff e passaggi sono già sentiti in altri gruppi, nel complesso è un brano senza troppe pretese. Quinta traccia “Knight of Swords”: brano inizialmente molto lento e molto più atmosferico e ambient, chi ascolta viene trascinato via dalle ambientazioni che la band sta descrivendo, dopo l’inizio appena descritto la battaglia ha inizio e cambia anche la velocità di esecuzione l’ascoltatore viene catapultato, suo malgrado, su questo campo di battaglia rimanendo molto impressionato da come la band riesca passare da brani lenti a sfuriate velocissime senza perdere il suo tocco personale. La voce del cantante in questo brano particolarmente si sposa bene con la storia che stanno raccontando. Sesta traccia “Αίαντας”: brano carino sena troppe pretese tecnicamente eseguito bene. È un brano, però, con poco mordente che spezza la bellezza del brano precedente, ci sono orchestrazioni quasi epiche che contrastano con la storia che stanno raccontando, l’alternanza in alcuni passaggi tra voce pulita e growl non è, a mio giudizio, ben bilanciata. Settima traccia “Bael”: brano veloce e molto coinvolgente, quasi old school, l’ascoltatore viene trascinato da esso, il tocco personale c’è ma è in secondo piano rispetto all’omaggio all’old school ellenica e scandinava. Brano di durata moderata, e comunque piacevole. L' album si chiude con “The Slow Death Walk”: brano oscuro con influenze doom, le tastiere si amalgamano bene con il resto delle strumentazioni, la cadenza di esecuzione trasporta l’ascoltatore all’interno della canzone stessa, il cantato è ben eseguito e coinvolgente a tal punto di rapire il pubblico il special modo dalle tastiere passaggi più lenti molto ambient e atmosferici, brano per nulla banale e la personalità del gruppo viene evidenziata senza snaturare il genere. Album bello e coinvolgente in tutte le sue sfaccettature, non facile da apprezzare a pieno dopo un solo ascolto. Infatti è preferibile sentirlo più volte per poter apprezzare ed assimilare le varie sfaccettature che lo compongono, la band tecnicamente valida ha studiato bene la storia del genere che eseguono. All’interno dell’album alcune tracce sono, forse, leggermente lunghe e potrebbero distogliere l’attenzione dell’ascoltatore. A mio giudizio l’esecuzione è fin troppo troppo pulita, soprattutto nelle parti distorte. Sembrerebbe che il gruppo voglia addolcire ed abbellire oltremodo le asperità del sound ed inoltre anche la registrazione risulta figlia di questa pulizia. Nel complesso è un album da ascoltare e godere appieno.

 

https://www.insane-voices-labirynth.it/recensioni/artisti-stranieri/order-of-the-ebon-hand/

 

Надо отдать российским лейблам должное – в греческой экстремальной сцене 90-х они разбираются очень неплохо и понимают, что помимо «сливок» в лице Rotting Christ, Septic Flesh и еще нескольких общеизвестных имен эта страна дала путевку в жизнь целой плеяде других групп, не столь раскрученных, но тоже достойных внимания ценителей жанра. В случае с Order Of The Ebon Hand сдерживающим фактором, судя по всему, является исключительная неторопливость музыкантов. В 1997 году они очень мощно дебютировали с альбомом “The Mystic Path To The Netherworld”, который локальное издание журнала “Metal Hammer” недавно включило в число 40 лучших блэковых релизов Греции всех времен, однако уже через год распались, и пока Меркаал (вокал, бас) и Лете (барабаны) возрождали группу и разобрались с различными проблемами, поступательное движение греческой сцены сошло на нет. Альбом “XV: The Devil” (2005) вышел на серьезном лейбле Season Of Mist, но то ли фирма недостаточно вложилась в его промоушен, то ли время для греческого экстрима было не самым лучшим – в общем, группа вновь надолго замолчала. А когда работа над “VII: The Chariot” все же приблизилась к завершению, его зачем-то положили на полку чуть ли не на все десятые годы, и за это время коллектив успел покинуть Лете, аранжировавший весь материал альбома и записавший для него не только барабаны, но и клавишные. К счастью, в итоге у нас (именно так – в данном случае речь не идет о чьей-то лицензии) нашлись лейблы, поверившие в коллектив, ну а самому “VII: The Chariot” задержка с изданием не слишком повредила – в его основе лежит блэк классических очертаний, даже не столько греческий, сколько скандинавский. Order Of The Ebon Hand очень любят играть быстро и, на мой вкус, здорово с этим перебарщивают, однако они немало потрудились над тем, чтобы сделать материал разнообразным. Далеко не последнюю роль на альбоме играют клавишные, причем это не приевшиеся симфо-пассажи, а семидесятническая психоделия, особенно заметная в стартовом треке “Dreadnaught”. Куда более «рельефно», чем обычно у таких групп, выделен вокал, и именно целым рядом ярких вокальных пассажей (как, например, в “Wings” или “Knight Of Swords”) альбом запоминаются в первую очередь. На вокальное разнообразие группа также не скупится – в треке “Aiavtac” Меркаал переключается со скриминга в припевах на декламацию в куплетах, а в “Sabnock” к нему подключается не кто иной, как Сакис Толис из Rotting Christ. О текстах – отдельный разговор: в них можно найти цитаты из Шекспира и Софокла, а альбом в целом повествует о карте «Колесница» из колоды Таро, продолжая концепцию, заданную диском 2005 года. Видимо, эта карта была выбрана музыкантами не случайно – как пишут в интернете, это знак, говорящий о преодолении препятствий и достижении цели, причем не с помощью кого-то, а вашим собственным трудом. Посмотрим, сколь поможет Order Of The Ebon Hand магия таро, но они уже анонсировали, что вернутся в студию в нынешнем составе в начале 2021 года. Так или иначе, работу они проделали действительно серьезную – любителям классического, но не слишком сырого блэка альбом рекомендуется настоятельнейшим образом, хотя фанатам именно греческой школы он может показаться слишком уж шквальным.

 

http://headbanger.ru/reviews/album-5152