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Septicflesh > Ophidian Wheel > Reviews
Septicflesh - Ophidian Wheel

The wheel is cracked - 65%

colin040, December 26th, 2020

While the bizarre experimentation of Revolution DNA was still unthinkable of at this point and the mess called A Fallen Temple was yet to be created, I can’t help but think that Ophidian Wheel marks Septic Flesh's first step towards mediocrity. Although still comparable to their previous two albums, this album sees Septic Flesh gradually distancing themselves from death metal and also introduces several amounts of female vocals of Natalie Rassoulis, who soars loud around the nasal vocals of Sotiris and the guttural roars of Spiros.

In terms of atmosphere, Ophidian Wheel is yet another evocative album that recalls ancient kingdoms and majestic palaces. The guitars are still fairly melodic and pretty much every tune consists of a few memorable and smooth licks you won’t forget anytime soon. The amounts of female vocals that Ophidian Wheel introduces do make a difference though; as the ritualistic atmosphere of ‘’Shamanic Rite’’ is something Septic Flesh hadn’t summoned before and while I’ll give the band credit for trying, the tune would have been a lot more enjoyable if it weren’t for those exaggerated chants dominating its chorus. Forget the lack of death metal fury (though you can still hear a death metal riff dominating the verse), but with clean vocals this obnoxious, it sounds as if Natalie Rassoulis is tripping over some drugs she had taken before entering the studio. ‘’Phallic Litanies’’ features some of the most moving guitar lines unfolding themselves between the contrastive vocal duet that works far better and the result is something rather dramatic with a Middle Ages-esque quality to it. I also can’t help but notice some minor melodic death metal influences appearing on Ophidian Wheel, as both the aforementioned track’s heavier parts as well as the ear-catchy melodies of the title track are vaguely reminiscent of Edge of Sanity’s Purgatory Afterglow. Perhaps this was a coincidence or perhaps it wasn't, but either way I’d have preferred Septic Flesh to sound like, you know...Septic Flesh!

It’s not just a matter of style differences and adjustments that make Ophidian Wheel somewhat different, but I can’t help but think that Septic Flesh were losing their touch at this point; resulting into inconsistencies in terms of mixing the ‘’metal’’ with the band’s atmospheric side. ‘’Razor Blades of Guilt’’ is partially one of the heaviest cuts on the album, but with death metal riffs these dull why even bother? It’s nearly two minutes of plain generic boredom before the track takes an unexpected turn for the best. You’ve got these classy leads dancing around each other and the result is an unexpected, yet grandiose climax of emotional power. Still, even when Septic Flesh keeps their identity intact, the results are unfortunately pretty mixed here. ‘’The Future Belongs to the Brave’’ features one of the most dramatic guitar lines soaring towards heavens, yet the track has little to offer in terms of actual riffing besides dull chugging that couldn't end soon enough.

It’s also tricky describing why Ophidian Wheel does succeed at certain things, as its standout tracks are pretty different from each other. The aforementioned ‘’Phallic Litanies’’ is fairly slow paced, there’s features the right amount of emphasis on energetic riffing that appears out of the blue and I'm rather fond of it. ‘’Geometric in Static’’ opens up with one of the most elegant riffs you’ll probably ever stumble upon on a death metal song; as if you’re about to enter the palace of proud and mighty kings who have ruled ancient lands for decades, yet it doesn’t take long before Chris and Sotiris create havoc with waves of violent death metal riffs and the contrastive result is something wonderful. ‘’Heaven Below’’ almost sounds like an elegant version of what Paradise Lost were doing circa Icon, minus the blues-y textures and rough vocals. It’s not the most interesting tune in terms of actual riffing, sure, but thanks to the addictive leads and moving chorus, it stands like a huge monument expressing Greek melancholy only Septic Flesh were capable of at this time.

While Ophidian Wheel is just too much of an average effort of a once great band, it beats the crap out of anything that followed, yet at the same time, this sounds far less impressive than its predecessors, so take that as you will. Oh and as far as that cover artwork goes...let's just say that I'm just as confused about it as you are.

This review was originally written for antichristmagazine.com

A kaleidoscope of arcane memories - 100%

Writhingchaos, January 28th, 2016

Wow! The first time I heard the band's name, I promptly dismissed them, convincing myself that they probably were some bedroom black metal band or a generic goregrind band with nothing new to offer. Little did I know just how wrong I was and never would I have thought that these fellas would slowly become one of my favourite metal bands of all time. But there you go. Just shows you that music, just like any other art out there, is never about the first couple of impressions. Some of the best music takes its own sweet time to grow on you, and trust me, nowhere does that statement hold more true that in the case of Septic Flesh.

Truth be told, this album is one hell of a gothic death metal masterpiece. Actually a bit more than that; I hear doom and a bit of thrash in there as well. Sounds uber weird? eah you bet it is. There's also an eerie almost orchestral presence in some of the songs, even thought there isn't actually an orchestra, weirdly enough. Yeah, I have a feeling that I'm going to be using the word 'weird' much more than I thought I would. Listen to both the interludes "Enchantment" and "Microcosmos" to see what I'm talking about. Schizophrenic little pieces of music that would be more at home on a horror movie soundtrack rather than anything to do with metal, but man these guys still make it work. Fascinating stuff.

The keyboards are used masterfully. Listen to "Ophidian Wheel", "The Future Belongs To The Brave" and "Heaven Below" (god, what an intro) and be enthralled by their ability to fuse atmospheric and haunting key parts with savage death metal to create one hell of a melancholic ambiance. Listen to "Razor Blades Of Guilt" especially the doomy fade-out towards the end. "Tartarus" has an almost gothic horror tinge to it with the operatic female vocals; just listen to it and you'll see what I mean. Definitely one of the most unique songs I've heard. If it's one thing the album has in spades, it's atmosphere. It simply oozes out of every nook and cranny of this album.

"On The Topmost Step Of The Earth" is hands down the best song weaving mournful melodies into a tapestry of of epic proportions as you marvel at how these guys aren't better known, or at least weren't back then. If you are apprehensive about checking out the whole album, then make sure that this is the first song you hear. "Geometry In Static" is also another killer song with another brilliant melodic section at 1:36 that is bound to stick in your head for days on end. Unlike most other metal albums, the female vocals play a prominent part for the large majority of the album.

It's just so hard to crack the DNA of this album. Trust me, I've heard a shit-ton of metal over the year and years and I have yet to hear another album that sounds quite like this. So many uncommon elements coming together to form a complete whole, but it's also the way they've been mixed together that makes this album stand out from the pack and so unique in it's own way.

If you're a newbie to the music of Septic Flesh, I'd suggest you start with Esoptron and then work your way forward/backward just like I did. In either case, if you are a fan of any of the aforementioned genres in the first paragraph, this album definitely deserves your undivided attention through and through. A hidden masterpiece awaits.

Under the Banner of the Brave - 97%

GuntherTheUndying, January 12th, 2014

The atmosphere of "Ophidian Wheel" feels mystical and enlightened, as if flying beyond the heavens and understanding the roots and miracles of the universe. This rich experience continued to morph the musical texture of Septicflesh (or Septic Flesh, or whatever), worlds apart from the group’s first two records yet still garnished in their formless mythical themes. In scope and shape, "Ophidian Wheel" is an opus of doom and gothic tendencies echoing the ancient semblance of atmospheric death metal, coming together in an unforgettable network of meditative melodies, forlorn antagonism, and poignant songwriting that surpasses much of Septicflesh’s other works. "Ophidian Wheel" soars beyond the ideas of its brothers, stylistically a remarkable achievement on all levels and a timeless offering by one of the finest Greek factions ever.

Septicflesh was never restrained creatively. Even the group's more straightforward numbers encompass many traits that add more depth and color to the musical vision than the typical experimental flops done by most. The style of atmosphere-based death metal meshed naturally into gothic oils and hints of doom makes for an absolutely riveting texture, exceeding the limitations of "Esoptron" and touching the ceiling of the universe. "Ophidian Wheel" glides on its triangle of archaic wisdom in varying degrees throughout, yet keeps its base stable. The sort of magic it has is just kaleidoscopic, willingly shaping death metal and these other influences into a single entity. The malevolent strikes are met with purposely simple, powerful melodies and ethereal bridges that intertwine this dimension, making everything simultaneously ravenous, melancholic, and beautiful.

"Ophidian Wheel" is likewise superbly crafted, hoisting what might well be the finest set of songs Septicflesh had ever carved in stone before its initial implosion. Much of the atmosphere is opened up by Natalie Rassoulis, a soprano vocalist who had a prominent role in Septicflesh for some years. Her appearances here, on perhaps half the anthems, are otherworldly against Spiros Antoniou's demonic grunts (whose growls are the best in the business, if you ask me) and the mysterious clean chimes of Sotiris Vayenas. This three-pronged vocal attack is as perplexing and magical as the record's arcane spine, and it enriches the pieces rather than cluttering the environment. The finest of this craft include "Phallic Litanies" and "The Future Belongs to the Brave," both shining like beacons in fog, this triptych of sound in divine form.

The remaining tracks, though without the succor of Rassoulis' vocals, reach the same high level of quality. In particular, the atmospheric "On the Topmost Step of the Earth" is a journey that lives up to its title, while "Heaven Below," glazed in serene melodies and mellifluous keys, remains a timeless classic. The work of Septicflesh is more of an experience than music: it ebbs and flows from mountains to chasms of fathomless depths, orchestrated through cabalistic interludes, immortal epics, and canticles pulled from the tongues of gods unknown. Few records live up to the majesty of "Ophidian Wheel," and it stands as any towering apex should among Septicflesh's stellar gallery, proud and defiant against the winds of time; the illuminated sapphire crowning a throne long since forgotten.

This review was written for: www.Thrashpit.com

Wear proudly my crown, my horns of power - 93%

autothrall, July 21st, 2011

It would take a long time (almost 15 years) for Septic Flesh to top their third album Ophidian Wheel, and I say this as someone who has enjoyed, or outright worshiped nearly every full-length they have invoked with the one exemption of Revolution DNA, which simply did not have the staying power of its brethren. This is one of those rare, exotic and fluid efforts which manages to bridge the genres of death, doom and even Gothic elements into a nigh unforgettable dichotomy of drudging aggression, melodic glaze and vocal diversity. Where Mystic Places of Dawn and Esoptron once dared to tread, Ophidian Wheel travels further, and to this day it remains one of the finer Greek works of any extreme metal genre.

The nexus of its strength relies in the songwriting, wrought of both variation and memorable magnitude. The album's opener, "The Future Belongs to the Brave" (what a title) opens with a straight gallop of descending mutes below Spiros Antoniou's gruff, growling pipes, but then proceeds to open into this vista of dark, ominous synthesizers, baleful grooves and operatic female vocals that follow a doom-laden guitar melody. If there's one complaint I have about the production of the album, it's that these female vocals (courtesy of Natalie Rassoulis) are simply too loud in the actual mix. They're nicely layered, skillfully executed, and feel entirely natural in the Gothic bowels of the band's, but the sheer level is overbearing, especially here and the tracks "Shamanic Rite" or "Geometry in Static", in which they are so spiked and frontal in the verse that it feels like someone screwed up and accidentally mixed an operetta over the Septic Flesh record.

'I have swum against rivers of fallacy
Chaotic symmetry, and have returned
From the point of weakness
To the root of triumph'

But when the music is this disconsolate and beautiful, the gripe becomes all too minor, and I swiftly learned to either phase out during those seconds or just turn them down, and there are some points on the album in which they are almost mixed perfectly, like the gorgeous drift of "Phallic Litanies" which is about as good as a Gothic/doom piece could get; or the fascinating and malevolent "Tartarus". The centerpiece of the album, though, would be the burgeoning and blissful guitar duo of Sotiris Vagenas and Christos Antoniou, whose dual melodies catapult "Razor Blades of Guilt", "Heaven Below" and the title track into infinity and make it sound dreadfully simple. The drums and bass are solid, though perhaps overshadowed by the guitars and vocals (both harsh and clean), and the band even manages to knock out a few flighty and elegant instrumental segues in "Microcosmos" and "Enchantment": fully orchestrated, theatrical and heavy on the synthesizer.

The one song I don't get a huge thrill out of would be "On the Topmost Steps of Earth", which also happens to be the longest here (almost 7 minutes). The bridge is quite mesmerizing, but the riffs leading up to it just don't bear that same, depressing gleam of desperation. That said, just about everything else on Ophidian Wheel is like a solvent, abysmal ambrosia that lovingly wends its immortal fruit into the listener's conscience. If you can excuse its few minor setbacks, it easily stands the test of time, in the company of comparable European death and doom epics of the 90s, like Therion's masterpiece Lepaca Kliffoth, Amorphis' Tales from the Thousand Lakes, or Paradise Lost's stunning sophomore Gothic, which in my opinion are only favorable due to their superior productions and mildly stronger songwriting. With The Great Mass now available, a brilliant album that hasn't left my car stereo or iPod rotation in months, I can no longer deem Ophidian Wheel my favorite from this particular band, but it's unquestionably worth hearing, owning, and adulating, sweet and sour tears rent from ancient soil to kiss the listener in ecstatic thanatopsis.

-autothrall
http://www.fromthedustreturned.com

Ups and downs - 87%

Edgecrusher, February 12th, 2003

First off, don't get me wrong, this is a great album. Septic Flesh are the best there is, as far as atmospheric metal is concerned. Yet it is a bit of a letdown from its predecessor, "Esoptron". Some elements of it are better, some are worse. Let's just see what they are.

On the up side, there's the addition of Natalie Rassoulis. Natalie is a greek opera singer who appears as a guest on most of the songs. Her beautiful voice is really a great addition to the band, marrying itself wonderfully with the growling vocals of Spiros, and the more Sister of Mercy-esque vocals of Sotiris. Songs like "Phallic Litanies", where the three share vocal duties, are really the high points of this album.

Another high point is the better sounding production. Though the sound of "Esoptron" was quite fitting, here we have a crystal-clear production, giving full power to the intricate melodies and harmonies that Septic Flesh does so well. Speaking of those, "On the Topmost Step of the Earth" and "Shamanic Rites" really stand out as the follow-ups from "Esoptron" and once again demonstrate, if necessary, that Septic Flesh are truly the masters of the genre.

Now for the down side... I feel that this album fails as a whole. While "Esoptron" was a monolothic masterpiece, one that you listen to from beginning to end, one where all songs fit together perfectly, "Ophidian Wheel" tends to drag a little. Some songs stick out like a sore thumb. "Razorblades of Guilt", for example, is a straight death metal song that does not seem to find its place on the record. It is a good song, yes, but it somehow breaks the continuity of the album.

Speaking of which brings me to the two "neo-operatic" pieces written by Chris, the newest member (and brother of Spiros). As much as I enjoy his work in Chaostar, those two numbers are really weird, almost reminiscent of psychedelic rock bands such as Hawkwind. In my opinion, they do not add much to the album, and also break the continuity of it all.

Mind you, those are minor low points (and highly subjective). "Ophidian Wheel" is still a great album, one that atmospheric fans should own.