It’s happening more and more often that I’m presented with an album that is clearly influenced by the Greek Black Metal scene of the 1990s. A good example from the past year would be Zeicrydeus, which drew its inspiration unmistakably from ancient Greece. That same line can easily be extended to the Italian band Araphel. After all, the Romans themselves were heavily indebted to the culture and mythology of ancient Greece, so strictly speaking, the men of Araphel are simply following an age-old tradition.
With members drawn from bands such as Into Darkness, Tulsa Doom, Daemoniac, and several other projects, this is anything but a group of edgy kids who happened to pick up an old Rotting Christ record at their local record store. These are seasoned veterans who have been active in the underground scene for years—and you can hear it. Man, man, man… this is one hell of a powerful and convincing album.
Experience oozes from every note: the riffs breathe that unmistakable Hellenic grandeur without descending into cheap nostalgia or hollow imitation. Araphel manage to channel their influences into a sound that feels both reverent and authentic, driven by craftsmanship and a clear understanding of what this style is truly about.
For the sake of convenience, let’s set the artwork aside for a moment, as it feels more like something from a cheap 1980s thrash record than a visual representation of the dark majesty found in the music itself. Fortunately, this visual misstep does nothing to diminish the strength of the album, because musically this thing stands rock solid.
From the very first notes, it’s immediately clear where the influences come from: Rotting Christ, Necromantia, Varathron, and Zemial form the foundation of this sound. That said, the band doesn’t stop there. Old-school NWOBHM influences are unmistakably present as well. The intro to Old Comet Transition, for instance, breathes Iron Maiden so strongly that you almost expect Steve Harris to jump in at any moment.
Alongside all that ouzo-soaked riffing, there are also clear influences from Northern Europe. Think Bathory, especially in the steady mid-tempo sections, or Dissection in the sharper, more melodic outbursts. Still, all of this remains secondary to the core of the sound: the heart of this album lies firmly in Greece, both in atmosphere and in composition.
It feels as if Rotting Christ suddenly released a genuinely strong album again after years of mediocrity—and on top of that delivered a full-fledged tribute to the Greek scene itself. Absolute madness.
Unfortunately, I discovered this album far too late; otherwise, it would have undoubtedly been a contender for my 2025 year-end list. The record was already released in October via Nuclear War Now!, and somehow slipped past my radar entirely.
85/100
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