Lloth | Archees Legeones | Theogonia Records

 

Lloth was formed in Athens, Greece, in 1995, initially as a project by Tristessa, the late frontwoman of Astarte, the first all-female black metal band. Originally conceived as an outlet for more atmospheric and melodic compositions, Lloth remained dormant after Tristessa’s passing in 2014 until her legacy was reignited with the band’s debut album, “Athens In Flames” (2017). Carrying her torch, Lloth returned with a renewed sense of purpose: to channel the Hellenic spirit through melodic black metal with a deeply emotional and mythic tone. The band’s second full-length, "Archees Legeones," released on 9 May 2025 via Theogonia Records, marks a defining moment in their resurrection—both as a tribute to their founder and a new chapter forged in fire and memory.

"Archees Legeones" is steeped in the tradition of Hellenic black metal, but it does not lean on nostalgia or mimicry. The music unfolds in a structured, deliberate fashion—balancing aggression with atmosphere and melody with weight. The guitars carry an ancient quality in their tone, often sharp and rhythmic, while interspersed with lead sections that veer into emotive, melancholic territory. The keyboard work is deeply woven into the core of the album, not merely a backdrop but a central force in the texture of the songs. Rather than dominating the mix, the synths move like fog through ruins—present, ominous, and never excessive.

The vocals of Nicolas Maiis (Melanomorfos) are anguished and harsh, firmly rooted in black metal but more expressive than strictly traditional. His arrangements carry a ritualistic intensity, and the presence of Androniki Skoula on selected tracks introduces a haunting choral layer that enhances the solemnity and grandeur of the album without relying on theatricality. The interplay between male and female voices in “Paianas,” “Mother,” and “Archees Legeones” creates a sense of spiritual mourning, fitting the lyrical themes of legacy, decline, and continuity.

Tracks like “Angel Wings” and “Black Throne” lean into mid-tempo force and rhythmic conviction, evoking the martial stomp of ancient processions. In contrast, pieces like “Dark Mountain” and “Acherodas” move more fluidly, carried by flowing tremolo riffs and subtle harmonic shifts that break through the shadows. There’s a thematic cohesion throughout the album’s pacing that binds all songs together in one procession—each piece positioned with purpose.

The production is balanced and powerful. The mix by George Emmanuel avoids overcompression, letting the acoustic and lead guitar layers breathe, and giving prominence to the more intricate atmospheric passages. The drum work is clear but not overwhelming, with the cymbals and kicks sitting naturally in the mix. The overall sound feels intentional and unified, giving the album a singular voice.

There is no confusion in "Archees Legeones." Every element—musical, lyrical, and visual—operates in alignment. The hand-painted cover by Mars Triumph is not only striking but also deeply appropriate to the material. It visually communicates what the music sounds like: battle-worn, regal, and steeped in myth.

This album does not attempt to impress through speed, extremity, or innovation. Its force lies in commitment—to identity, to memory, to form. For a listener attuned to this mode of melodic black metal, it provides a complete and coherent experience that resonates beyond technical performance.

Score: 8.0