Departure

Founded in 1995 Agathodaimon quickly began to gain a reputation for itself in the Black metal scene. The first record companies were already showing interest in signing them after their first demo due to excellent reviews in the underground and the major press as well as the bands strong live presence. Eventually the band decided to sign with Nuclear Blast after the release of a second demo and so ‘Blacken The Angel’ appeared in 1998, the most successful debut of a German black metal band up until now. After a number of gigs with bands like Dimmu Borgir, Benediction, Children of Bodom, Dismember and others the second album HIGHER ART OF REBELLION was recorded in Romania which showed the band more willing to experiment than ever. In spite of the small cuts, which had to be made in terms of the production, the album was once again enthusiastically received. After a headline tour around Europe and diverse festival gigs such as Wacken, Wave Gothik Treffen, Windo Rock etc the band recorded their forthcoming album. After a costly pre-production the complete album was recorded in the Kohlekeller studio with Kristian Kohlmannslehner and mixed in Commusication studio with Gerhard Magin (Crematory, Theatre of Tragedy etc.) where the bands debut originated. Without a doubt the sound is the best production from Agathodaimon to date with the last cuts being made by Magic Masters who have already worked with bands like Black Sabbath and Deep purple. The band was also capable of improving the song writing as well and this is confirmed in successful compositions on CHAPTER III. Starting with the opener ‘An Angels’ Funeral’ which begins with a dissection-like resemblance merged with gripping riffs and a furious guitar solo, the varied, keyboard influenced ‘Spiritsoldier’, the traditional Agathodaimon-sounding ‘Paradise Beyond’ laid with acoustic guitars and clean vocals, the melodic ‘The Ending of our Yesterday’, the groovy ‘Past Shadows’ to the wreaking ‘Departure’, the small intermezzo ‘Yesterdays Reprise’ and the atmospheric half ballad ‘Sacred Divinity’ where Agathodaimon’s experimental character leans towards the Marillion sound. The albums conclusion is found in ‘Burden Of Time; a further masterwork on an album which doesn’t let any weaknesses show and whose artwork was once again contributed to by the renowned Gerald Axelrod. A completely successful product, which will surprise true black metal fans, as well as those who see black metal in general as unstructured noise. ‘Chapter III’ clearly portrays the peak in the career of Agathodaimon to date and will further secure their position at the top of the German scene as well as strengthening their reputation abroad.