Does a band have to keep attached on a known formula without creating new things, or it must improve things in each new release? This question can be one of the earlier ones a writer has deal every time when dealing with a new release of a band that he(she) known deeply. But as well, it’s hard to deal with people complaints about a band from one country using lyrical themes linked to other country culture. Such accusations are a fallacy, once people of the entire world is constantly having different cultures exposures (it’s usual for people who study languages and theology to deal with Greek classics as “The Iliad” and “The Odyssey”), and using such way of thinking (in a conscious or subconscious way), the Brazilian quintet PAGAN THRONE (hailing from Rio de Janeiro) is back for a new round with “Land of Greeks”.

The album depicts the same old and good Pagan Black Metal of their previous works, but in a way that uses different influences from other Metal genres as Heavy Metal, Power Metal and more, always using pagan musical elements and grandiose orchestrations to improve things. Obviously there are moments when the extreme roots of the music become more evident (pay attention to some blast beats and melodic Blackened Death Metal traits on “Pandora’s Secret”), but it seems that the quintet is going into a more and more melodic way (as the use of orchestrations and charming solos put things in evidence), and can use Hard Rock and Rock ‘n’ Roll influences as well (pay attention to such aspect on “Stone Eyes”). It can be faced as an evolution of their previous release, “Imperatoris”, but keeping their musical roots intact.

“Land of the Greeks” is the third album of the band with Rafael Ribeiro (the band’s guitarist, and the producer at Dragon Quarter Audio) working with them on the production, mixing and mastering. All to give the fans a clean and defined idea of what the band is expressing, but obviously with the right level of aggressiveness. And the artwork of the cover (created by Rômulo Dias) depicts the tendencies of the lyrics into Greek myths (it’s a fine depiction of the arrival of Greek army to Trojan beaches at the beginning of the war of Troy). Oh, and on “Stone Eyes” is the presence of Renato “Trevas” Stefani (singer of AZUL LIMÃO) on the vocals as a special guest.

The album brings the fans a true journey into Greek myths with an excellent set of songs. The album opens with the instrumental “Journey through Greek Lands”, where the contrasts between epic orchestrations and clean guitar parts are very good, with “The Son of the Sea” following, a song with clear Heavy/Power Metal melodic traces, but with harsh expressive vocals (that can change tunes, evading the use of shrieks or grunts). On “Mourning Night”, the band brings a set of more introspective melodies contrasting with brutal blast beats and epic moments, with excellent melodic dynamics between guitars (great riffs, indeed) and keyboards.

Again using some Heavy/Power Metal elements on “Labyrinth of Flesh and Blood”, the quintet offers a wider and deeper musical diversity to the hearers. And bringing something from their past, “Pandora’s Secrets” is full of brutal fast tempos contrasting with Blackened Death Metal melodies, with more aggressive vocals and cohesive rhythmic work from bass guitar and drums.

“Obscure Sailings” is a short instrumental song based on orchestrations and effects, creating the right ambience for “Gods and Titans”, one moment based on Epic Power Metal elements (thanks to the keyboards and rhythms, with an apotheosis during the chorus). And “Reasons for War” will bring the fans another taste of contrasts between the aggressive elements of the band’s past (with faster tempos and shrieks) with Viking Death Metal melodies.

“Lost in the Deep Ocean” brings again the band to a mix of influences between Epic Metal and Heavy/Power Metal, but always in a coherent way (especially because the contrasts between guitars and rhythms are amazing). And “Stone Eyes” brings the band to a midterm between Heavy Metal, Hard Rock and dirty Rock in Roll, carrying excellent ‘lizzyian’ melodic touches (especially on the guitars) and cleaner tunes of the vocals.

Some modern touches are heard on “The Bone Breakers”, but without causing problems to the older fans of the quintet, and what lovely keyboards as a counterpart of the harsh guitar riffs and arrangements. And “Lamentations of Olympus” is a closing chapter, a climatic instrumental. But as a bonus for the fans comes an orchestral version of “Pandora’s Secrets” based on pianos parts.

Once more, PAGAN THRONE shows that they’re one of the best Brazilian bands of their genre, and they’re not laying on their past glories. For now, take a taste of “Land of the Greeks” and enjoy: https://open.spotify.com/intl-pt/album/1X4pEhmxtuTYRHaENjSNWs?si=nS0DMWa-Rl-iUCeVUO-x2g