ROTTING CHRIST

The history of is extensive, spanning more than 20 years. Their survival is a testament not only to the personal conviction of the founding members and his brother Thermis Sakis Tolis, but also the strength of the metal itself. "Just completed 21 years of our existence as a band and it made us realize how quickly the years are passing," Sakis begins. "It's almost like a dream when I think back to our first day that we could not even afford our own instruments. I remember there were times when we had to resort to illegal activities just to earn enough money to buy the equipment we wanted, so we could sound like our idols. We wanted to sound like Venom and Bathory and Celtic Frost. With a name like Rotting Christ, we were treated like outcasts in our country religiously fundamentalist. Our music was also considered too radical, but anyway, we were always on the front lines, fighting to keep the black metal alive in our territory. Ultimately, we feel honored to have gotten this far. " Throughout these 21 years, the ROTTING CHRIST experienced a variety of metal genres. Starting the trip as a kind of guise grindcore before moving to wild raw black metal, which he later incorporated Gothic atmospheres in their attack. More recently, they cemented their unique sound, with ethnic instruments. "Rotting Christ is artistically very excited that a band is always looking for ways not trodden soul," says Sakis. "We have always manifested strange and unique sounds in our music. Being the only composer in the band, I would say that this is an extension of my personality. I can be constantly exploring new avenues in my life, but I always stay true to my roots Metal. " In 2007, the band's decision to incorporate increasingly decidedly Greek flourishes both musically and lyrically, culminating in one of his most critically acclaimed albums, "Theogonia". "With 'Theogonia' we just stepped in a different way," says Sakis. "It was a more ethnically influenced we choose to walk, one that we enter further with 'Aealo." Our goal remains the same, however. Our goal is to make music that speaks to the soul, and if we can control it, then we can die with a smile. " "Aealo" picks up right where "Theogonia" stopped, bombarding the listener with melodic work solos and epic riffs with medium tempo, sometimes supported by a traditional Greek chorus that only increases the inherent emotions present throughout the album. "'Aealo' refers to the feelings of a warrior during a battle," said Sakis. "These feelings may be intense and varied, such as feelings of anger, fear, sadness and so many others. Listening to the album you'll feel like you're in the middle of a battlefield, fighting his own feelings. This is not an album war. I think it's actually the opposite. When you have finished listening to the album will have a sense of relief. You will feel like you have escaped the emotional trials that only war can create! " "The album title was decided before I start working on it. Theme I needed to get to work and I thought the topic would be better for this album a struggle, a battle. Life is a battle, man !! Metal is a battle, too. 'Aealo' is a parable about this concept. " Besides the traditional Greek chorus, Sakis also enlisted the help of friends "Alan" Nemtheanga "Averill" PRIMORDIAL vocalist of Ireland, and "The Magus" frontman Necromantia. Closing the album is also a special and amazing cover of incomparable Diamanda Galas "Orders From the Dead." "Alan is my brother's metal," says Sakis. "When I was composing the song 'Thou Art Lord,' I thought to myself that his voice would fit well with the atmosphere of the music. So I decided to ask him about it and he gladly accepted. Working with Alan is indeed always a pleasure. And yes, this is the first time that people will be able to hear an English accent in the music of Rotting Christ! Alan is Celtic and I Greek. Both ethnic groups had similar idiosyncrasies to the races in the past. I I felt there was definitely a place for something Celtic in this album. " "As to Diamanda, I was greatly honored to know that the lady of darkness had approved that we played his song, 'Orders From the Dead', especially because it allowed me to write additional music for this song, of course, belongs to her. The experience was a personal highlight for me as a composer. This particular song comes from the Greek genocide (1914-23) and it fits very well with the atmosphere of the entire disk. I can not think of a better end to an album that a curse, a curse that comes from the dead. "