Demonoid
Riders Of The Apocalypse

Their Royal Highnesses, Kristian and Johan Niemann together with Christofer Johnsson, respectively guitar, bass, and vocals of Therion, one of the most inspired and representative bands of a certain avant-garde Heavy Metal that draws heavily from classical and symphonic music, as well as from certain exquisite decadent musings endowed with a high dose of genius, one day set out to create a project that, unlike the complex music of their band, lacked even remotely such connotations.

The aim was to tackle composing canonical Death Metal well anchored in the compact Thrash roots that generated it, seeking to propose an original project that, although without grand ambitions, could be marketed and appreciated as an honest attempt at music with a perhaps forgotten and hackneyed aftertaste, yet always straightforward and genuine.
And, it must be said, our four heroes (four, because they're assisted by Rickard Evensand, formerly a drummer for Soilwork, then later with Chimaira and now possibly having defected from them as well), hit the target they aimed at.

This album, in fact, turns out to be quite a punch in the stomach for those who listen, even though, as mentioned above and as was the band’s intent (though it's fair to speak of a side-project in this case), it doesn't conceal anything particularly significant except for being excellently executed, masterfully composed, sublimely arranged, and that, on more than one occasion manages to engage well in its powerful, yet linear structure.

Death Metal that likes to venture into similar fields, especially in Bay Area Thrash Metal, and in certain sections, even in Brutal and in parts not entirely orthodox for the genre, especially for the guitar parts recalling the typical buzzing sound of Therion. But this, naturally, couldn’t be otherwise, since at the beginning of their career, Therion themselves belonged to an extreme genre that had many affinities with the Demonoid offspring. So if you’re crazy about Therion, you will undoubtedly find joy in this album, quite the contrary.

Instead, it may be that, if out of curiosity you approach the album without too many preconceptions and without too much snobbery, then you might even like it; there are plenty of worthwhile episodes among the nine songs of the CD, each with its structure and meticulously planned following a quite classical but extremely powerful scheme that starts from the first verse, reaches the chorus (or something that could be called that), delves into technical solos in the style of Testament and Vio-lence, and starts over.
Naturally, Johnsson’s voice also aligns with the canons impressed upon the band, wielding a dark and quite fierce growl, not at the level of a Chris Barnes, of course, but nonetheless it gives the right perspective to each track, placing it brilliantly within the spiritual and theological setting of the work, since this, in addition to all other things, is a concept based on a mixture of storytelling straddling Fantasy and an introspective perspective, and this, too, is probably a peculiar characteristic of the parent band that takes nothing away, indeed it adds and fascinates even more.

Regarding the most significant episodes, it’s worth mentioning certainly "Arrival of the Horsemen", with its apocalyptic attack that well projects into the Purgatory painted in the grooves of this album and then proceeds in a manner as classic as possible concerning Death Metal; then certainly "The Evocation" which, wonder of wonders, towards the end, amid Slayer-esque moods, introduces the melodious voice of a woman, "Wargods" with the exemplary and devastating drum work of Ensaved that serves as a prelude for an album that wants to be appreciated by genre enthusiasts, immediately makes clear what one will be dealing with.

Decide for yourselves, but certainly, if now and then you like to dive into the good old Death from many years ago, you won’t mind listening to it.