ALBUM REVIEW: Ephialtes - Melos Oneiros

Ephialtes are a relatively new Polish melodic black metal project formed during the Covid pandemic by Quazarre, known for work with Devilish Impression, Asgaard, and Crionics. The guitarist/vocalist is joined on this studio endeavour by fellow Devilish Impressions bandmates Tzar on bass, drummer Avernatus, and Marcus Edvardsson of Souldrainer providing the synth work, with Stiggma, from Vastness, providing second guitar duties in the live setting, completing the line up. The debut album Melos Oneiros was released on 1st November and was recorded in various locations in Poland and Sweden during 2021, and completed in 2022. 

The album starts with an atmospheric synth intro, Ad Patres, which feels like a sci-fi horror theme from the 80s. It doesn't really set the scene of what is to come, and maybe lingers a little too long before a salvo of instruments and growls enter with the second track To the Victims of Sirens. This song also features cleaner arpeggios played over the distorted guitar, and a well-played motif over the chorus that provides a hook. There are clean vocals on this, too, and I'm not sure if it works well on its own on this track, although when they are mixed, they work better. Synths provide a type of backing vocal in the form of a female 'ahhh' and this occurs through the album, and maybe a little overused. 

In Her Embrace Again sets off at a slower pace with some nice drumming providing the heartbeat. There is a mix of tremolo picking and arpeggios and a vocal clean and growl mixture, until the quicker part, when the harsh style takes over. Nice dynamics in the track with quieter parts to break it up. Track four, The Void, has a softer quieter start with some synth, before a discordant riff breaks through. With a nu-metal feeling to it, it also has the atmospheric synth voices that are eerily modulated at times. There is a heavier interlude in the middle, with a bit of lead guitar under the singing, and a hooky motif over the chorus to finish. A heavy bass rings through Children of Arachne, and the guitars are a mix of chug, tremolo and pinches. Layered dual guitar riffs enter, and we get the first real solo on the album. This is not a shred fest and is melodic. Homo Deus has a ringing discordance that gives way to tremolo picking. Phased guitar on a groovy bit breaks it up and slows down to heavy break. Clean vocals enter in the last min or so, as well as synth vocal. 

The Blood of the Gods again has chugs and nice tremolo riff galore with staccato rhythm and interesting timing. What stands out is the drumming, which is groovy in parts, and drum sound, nice metalwork on there. There is a modulated key change, and it slows to a ringing picking riff. A layered guitar motif ends the track. The finale Pulvis Et Umbra Sumus has a rousing anthemic intro which then decreases in tempo and melodic, heavy guitars and clean vocals come. The track switches to a waltz beat feel, before going back to 4/4 and again to waltz for a short time for another solo, before reverting to the first verse riff and a bit of a drawn-out outro. 

In summary, it is an album that mixes a variety of genres to make something that sounds quite fresh. I like the use of cleaner arpeggios over the heavy guitars, and it gives a goth feel to the tracks, but there is also a thrashy chug and death/black metal sense with the tremolo picking and the drumming. The bass playing isn't as dynamic as I like and seems to follow the guitars, but it does give a solid low end. The clean vocal I struggled with but worked when mixed with the growls. There is very little guitar solo work on here, although the songs are crafted in such a way that I didn't miss them, and when they did come in then they were a welcome surprise. All in all, a solid affair, and shall be looking out for more of them in the future.

Melos Oneiros is out now via Black Lion Records

Review by Rich 'Tricky' Hudson

Photo Credits: Diana Sawicka