TIAMAT is a band that has gone through various artistic changes from the early Black Metal trio Sumerian Cry, The Astral Sleep and the excellent Clouds, to their latest Gothic Rock treats with Judas Christ and Prey. As it usually happens, this music transition divided TIAMAT's fans into two camps supporting their early and latest era. Personally, I do not belong to any of those sides since I consider Johan Edlund a gifted musician who just follows his heart when it is time to produce an album.
I was more than happy to watch TIAMAT live for the first time in the 2007 edition of the 'March Metal Day' festival in Greece, where the Swedes gave an excellent and honest performance with Edlund in a top mood. So, after 5 years the band returns with a new album and a freshly signed record deal with Nuclear Blast records. The album is entitled with a Greek/Turkish based word Amanethes that stands for pain inspired songs (think of the prime version of Gothic Rock).
The Temple Of The Crescent Moon opens the album with a surprise; apart from the already known SISTERS OF MERCY gothic vibe Edlund has brought something from the old days by adding a touch of aggressive vocals.  The song is really atmospheric in the TIAMAT way with some Eastern sounds and keyboard melodies that really work here. The band breathes some more old-days air upon the fast Equinox Of The Gods that awakens the Clouds memories. The catchy main keyboard melody and the down tuned guitars will just blow your mind while the slow break sets another definition to Gothic Rock. I can assure you that TIAMAT created an album that can look Wildhoney in the eye without blushing out of shame. The slow almost Doom tempo Until The Hellhounds Sleep Again with female backing vocals or the creepy Kataraktis Apo Aima (in Greek means waterfall of blood) will send shivers down your spine as they did in mine. I think that it is safe to say that TIAMAT mixed all their albums and produced Amanethes where everything coexists in a perfect balance. Edlund did the sound production that is just flawless; in most of the songs the guitars have a leading role (just listen to the guitar solo in Meliae) laying down some very good fills and solos. The slow tempo songs like Amanes, Misanthropolis (another excellent title) or even the clean guitar driven build an atmosphere that all the Gothic Rock bands would kill to have.
To wrap it up, I can say that this is another fine TIAMAT album, far better than the two or three previous ones. I hope that Edlund and his company will continue to surprise us and why not come to Greece for a headlining show!