A fresh musical endeavor has recently emerged from Thessalonica, Greece, reminding us that the local scene still commands attention with sincere, straightforward creations (alongside daring experimentations where few bands dare to stride, to tell the truth). Golden Serpent, founded just two years ago, recently unveiled their debut album, “Lullabies from Hell”, a work that ventures boldly into the blasphemous realms of blackened death metal. Musically, the band demonstrate a sharp sense of purpose: to sound raw, aggressive and savage, with discipline and precision – a quality that undeniably works to their advantage.
Golden Serpent erupt with unrelenting energy, channeling much of their ferocity into the album’s first half. From the very first seconds, up-tempo and violent rhythms fill the space, delivering a heavy yet sharply defined sound laced with a foulness reminiscent of prominent acts (Belphegor immediately come to mind). The band unleash a storming, blackened tremolo riff in the savage “Satan’s Wrath”, a track that overwhelms listeners steeped in the black and death metal tradition. They occasionally ease the pace, weaving in more adventurous yet equally brutal riffage (“Aēšma-Daeva’s Lullaby”), though it’s clear that frantic tempos remain their primary obsession. Indeed, the title track, with its putrefied theme, detonates as a pure blast of death metal energy – unrestrained, dynamic, and executed with full force by every member.
Beneath the unrelenting aggression lies a clear focus on the meticulous craft of the guitar duo. Apophis’ and Blackheart’s patterns don’t rely on peculiarity; instead, they impress through precision, dynamism, and their vital role in shaping the band’s sickening atmosphere. Evil Dead drives the assault with relentless, hammering drumming from start to finish, while Asmodeus delivers growls of hellish brutality that stop short of obscurity. Each word is audible, intensifying the sense of unholiness and making the overall experience feel even more visceral and real.
In the album’s second half, the band shift toward a different approach, exploring mid-paced, dark, and atmospheric ideas. Tracks like “Rise of Apophis” carry an epic undertone while showcasing the group’s technical virtues. Likewise, “Black Heart” is likely to appeal to listeners drawn to a more ritualistic style, where pompous flourishes intertwine seamlessly with aggression.
As the album draws to a close, the merciless, crushing riffage of the wrathful “God Ends Here” and the more intricate textures of “Hecate’s Nightfall” reveal just how concise and disciplined the preceding material has been. The production strikes a careful balance, highlighting the band’s deep, heavy sound (guitars and bass carrying all the depth and weight required) and allowing unholy vocals to dominate, without overshadowing the atmospheric element that enriches the overall experience.
“Lullabies from Hell” stays focused, avoiding unnecessary detours and keeping its vision sharp and direct. Of course, it doesn’t strive for peculiarity or innovation; instead, songs evoke a familiar sense of déjà-vu, making any association feel natural. With a runtime of just over half an hour and tracks lasting less than four minutes each, it offers a brief and enjoyable listen. Ultimately, it establishes Golden Serpent’s identity and captures the attention of a rather restricted audience – though how long that interest will last remains uncertain.
♦ 7/10
Alex Nikolaidis
