In reality, an analysis and presentation of the second album by Athens-based epic metallers IDMON’s AEGIS could even be considered unnecessary, in the sense that I could simply say that “this record is an unparalleled masterpiece, one of those rare albums that emerge in our times, so listen to it, live it, and place it next to the great albums in your record collection, whatever those may be.” And with that sentence alone, I could simply put a full stop and return to the intoxicating listening sessions this record demands.
Of course, I am going to write more about the album, mainly because I want to share with you my joy over the fact that music like this is still being created in our time. Music that carries a rare virtue and, at the same time, a rare power. The power to set the listener free.
With their second full-length effort, IDMON’s AEGIS manage to create an almost absolute balance between the raw steel of the final battle that leaves nothing standing in its path, and a lyrical musical narrative that literally shakes you to the core, bringing to the forefront that age-old tradition which wants mythology to be passed from mouth to mouth through the arts of storytelling and song.
Let us begin with the basics, but with things that are extremely important, by noting that since 2025, behind the drum kit of the band stands Manos Kehagias (CONVIXION, STILETTO, VOMIT BITCH, formerly OUTCRY, formerly STRIKELIGHT, formerly MORTAL THREAT). With plenty of mileage, mainly within the Greek thrash scene, Kehagias brings remarkable dynamics to the album’s material through his playing, something that becomes apparent from the very first listen.
The influences we encounter here run deep through every song and become one with the utterly personal sonic identity that ultimately defines the epic metal of IDMON’S AEGIS: From the legacy of WRATHBLADE, to the calling of “A Vertiggo Edda Arised,” the first demo by AIRGED L’AMH, from the first two full-lengths of THE LORD WEIRD SLOUGH FEG to the MANILLA ROAD of their second golden era (“Crystal Logic”, “Open The Gates”, “The Deluge”), and from “Medieval Sorcery” by DARK AGES to the heavy metal craftsmanship of the early days of Greek black metal and the US Metal references, everything here serves a purpose: to raise to the heavens the epic, warlike and at the same time noble steel of this band that sings the Myth through Time.
The factor of “time” is of decisive importance on this particular album, since most of the songs we hear here were written either in the recent or distant past -with most of the band members playing an active role in the songwriting- and were worked on extensively until they reached the final form we hear on the record.
The initial idea for the breathtaking title track “Ad Gloriam” was written way back in 1993 (!) -editor’s note: generally, I hope that at some point, and somehow, all the epic material that Nick Varsamis composed during the 90s will see the light of day-. Grandiose yet at the same time elegiac, “Ad Gloriam” casts its spell from the very first listen, with the vocals of Varsamis playing a leading role not only here, but throughout the entire album:
His hymnic performances, based on oriental scales which have always been the trademark of Nick Varsamis, making him instantly recognizable among an entire pantheon of singers, are here externalized within a borderline that balances between melody and recitation, between the warlike nature of heavy metal and mystical lyricism, but also between paying tribute to the greats (see Shelton) and the theatricality of the entire vocal experience the listener encounters here. Add to all of this the early 90s black metal references, and what we have overall is the most diverse recording Varsamis has delivered to date.
“Madness of Proetides” has existed for more than a decade and was the first song from this album that the band completed at rehearsal level. The music screams Christos Mosalos from miles away, and especially the second part of the song delivers lessons in epic steel without any unnecessary fuss. Varsamis’ lyrics are excellent here; generally speaking, the way he handles the subject matter of Greek Mythology in order to write epics is literally a benchmark.
“The First Rebellion,” written by the band’s bassist Giannis Tsountaros back in 2011, is clearly based on US Metal patterns during its first part. In the second part, the song transforms, with the galloping riffing gradually driving it towards its triumphant finale. Overall, Varsamis’ performance gives us from the very first moment an unparalleled narrative epic, while the shifts between the musical motifs keep the listener constantly alert.
“Victa Iacet Virtus” was originally written back in 2003, and -as with “The First Rebellion”- the final form we hear here is quite different from the original version, since considerable work and redevelopment have gone into the song, which is also a composition by Giannis Tsountaros. I consider this particular song to be the absolute peak of the album, as well as one of the finest compositions ever delivered by a Greek epic metal band:
We are talking about the absolute essence of breathtaking clean themes, incredibly smart shifts in style within an utterly seamless whole, and a Varsamis delivering his soul in a vocal recital that has everything: Mystical melodies from the unknown eastern dawn of the myth, narrative melodic playfulness, and even subdued black metal approaches at the appropriate moments, which will remind you of Daoloth’s backing vocals on albums such as “Non Serviam.”
The almost mournful, processional intro essentially DOES NOT prepare you for what is about to follow. The first verse arrives immediately and gradually builds, with the vocal melody literally hypnotizing you, taking you along with it as it transforms. Varsamis carries the entire song on his shoulders and literally leads it step by step towards its absolute crescendo, with recitations and vocal elegies for Virtue Lying Down.
From pure battle music -which at times will also bring to mind the early PRIMORDIAL era- to Greek black metal, you will hear it all here. And then there is that riff right in the middle of the song that marries the roots of US Metal with the epic and leaves absolutely nothing standing.
“Triple Prodigy” is the first single / lyric video the band released, in order to introduce us to the atmosphere of the album. A wise choice, in my opinion. The song is gifted with a characteristic immediacy and has been crafted in such a way that it quickly shows its teeth. Pay attention to the change in the style of the riffing during the verse, from a creeping, railroad-like crawl to a galloping charge. Tsountaros (music) and Varsamis (lyrics) leave their stamp here.
“Triple Prodigy” together with “March on, Metal Crusade” are the newest compositions on this album. In the latter—which also opens the album—we have the duo of Mosalοs (music) and Varsamis (lyrics) at the forefront and, yes, here we have exactly what you imagine: a barbaric epic metal opener that makes it perfectly clear that IDMON’S are not messing around.
The Cycladic island of Delos and the magic that literally surrounds it served as the source of inspiration for the epic known as “Act of Pythian God.” Another breathtaking composition by Nick Varsamis, divided into three sections -I. In Templum Dei & II. Finalis Actum (The Last String Warble)- which in several places brought to mind the American ENCHANTER (from Michigan, USA), due to the restless music and, generally, the technical development of the song, characterized by a variety of rhythms and themes. These gradually take us back to the early days of AIRGED L’AMH, open pages from the history of WRATHBLADE, and even reach the first album by LITANY. Yes, all of this in a single song that simply carries all of the above within its own Prophecy.
I have referred separately to every song on the album, and yet I feel that I still have so much more to write. And I am going to put this desire on the list of the album’s virtues. Because that is what great Works do. They make you want to talk about them, to externalize what you have discovered in a repetitive pattern, because every new listen is a new emotion, a new discovery.
I can, however, repeat the sentence from the opening paragraph of this text, now that I have explained the how and the why: ““Ad Gloriam” is an unparalleled masterpiece, one of those rare albums that emerge in our times, so listen to it, live it, and place it next to the great albums in your record collection, whatever those may be.”
With these thoughts in mind, I look at the two mounted warriors on the album cover, gazing upon the misty landscape that calls to them. This very calling is what epic metal is all about: a call to seek through Art. And it is records like “Ad Gloriam” that show the way to those who choose to move forward, “Towards Glory.”
The album will be released this autumn by Eat Metal Records.
Check the discussion about the album in our forum pages.
