Algaion - Oimai Algeiou (1995)

Correct spelling. Re-release?

I've liked Algaion since I first heard them, a single track somewhere in 1995, probably either on the Finnish radio show "Metalliliitto" or as a filler track on one of the tapes from my trading comrades. I don't remember what the track was either but I'm quite sure it was from this debut full length of theirs. The thing that put them apart from the other Swedish black metal bands of the time and drew my attention on the first listen was the heavy influences they took from the Greek school of black metal, particularly Rotting Christ, Varathron and Thou Art Lord, evident in not only their sound and music but whole concept.

[Note: Full Moon Productions managed to mistitle the cover, 'Oimai Algaion' while it was supposed to be, 'Oimai Algeiou.' I'm not sure which versions have the mistake and which ones have the title corrected, I'd presume the later ones were fixed.]

The CD starts with an atmospheric, martial intro courtesy of Fredrik Söderlund of Octinomos/Puissance who is also a session member on the album credited for keyboards and drums... which are, true to the early 90's Greek BM-influences, programmed a.k.a. drum machine. This is one of the factors that divided the opinions on this album back in the day as some of the reviewers absolutely loathed programmed drums (except if it was Mysticum where they had to like them). I admit, having live drums on the later releases is an improvement but personally I have no problem with the machine here, the programming is good enough and as I associate the album with both the early Greek releases and the Infortunium circle of Swedish bands I think it fits here. The drum sound could be slightly less prominent though.

The metal tracks are all generally quite fast paced, melodic and as mentioned to a fault, Greek influences abound. However, the (early) Abyss Studio sound, some of the riffing and the extreme screaming vocals give the music a more varied character. The vocals deserve further attention as they were another point to divide opinions, Mårten's main vocals are heavily echoed hateful, at times demented, screams and howls. Not as extreme as for example early Sorhin vocals were but certainly notable in their ferocity and recognizable at least for me. The heavy echo got criticism back in the day and it was mostly dropped on the follow up but I like it. There are some sparingly used backing vocals done by Mikael Österberg (on "In Aede Dolorium") and Elisabet Magnusson whose contribution to the epic length "The Last Delusion" is almost essential. Another satisfying facet of the sound is the audible bass parts, I really enjoy its sound too.

Incorrect spelling. I've got this version.

Besides hateful aggression the music channels feelings of melancholy, pessimism and misanthropy. Good times. Standout tracks for me would be, if I pick three, 'Kratos,' 'In Aede Dolorium' and 'The Last Delusion' - which also happen to be the longest tracks with their durations of 8:21, 7:19 and 12:18. I admit, 'The Last Delusion' could perhaps be a little more compact but I think the length and repetition are necessary. None of the seven tracks really feel indifferent or filler to me. So whatever others might say this is one of my favorite albums from the time and I recommend you to give it a chance if you can imagine yourself listening to an album that sounds like a mix between Octinomos' debut and circa 1993 Rotting Christ/Thou Art Lord.

The later Algaion material is also worth checking out, including the latest album, 'ΕΧΘΡΟΣ' - even if you don't get this one.