Review by Joshua on May 6, 2005.

Mixing electronic music with metal? Nothing special. Cubanate did that in 1992.

Using keyboards to create textured atmospheres and establish melody? Not impressive. Amorphis did that in 1993.

Smoothly integrating electronica, Swedish death metal, and a mélange of other styles and structures to create a stunning metal fusion album, ranging from experimental jazz to pounding thrash rhythms?

Okay. That is a brilliant idea.

This is the fourth album from The Elysian Fields, a relatively obscure Greek death metal outfit. The constant style fluctuations will probably merit some comparison to Japanese experimental masters Sigh, but the style’s turbulent vicissitudes aren’t that similar. It’s obvious that they’ve developed and practiced this sound, though: the technical finesse of this album is astonishing. In places it rivals the legendary Cynic album, and in places it can match the best In Flames and Edge of Sanity.

My editors will send poisonous snakes after me for placing anyone on par with Cynic, but it’s a valid comparison. The experimental jazz influence that defined the former band’s brief career shines through in many Elysian Fields segments, though it’s sometimes disappointingly ephemeral. Don’t worry, so are half a dozen other influences. You’ll hear touches of Wolfsheim in “Anathema Unveiled”, shades of Amorphis in “Ravished with the Light”, and The Haunted with a touch of London After Midnight in “An Overture of Sorrow”. In case you’re wondering, I didn’t think that was possible either, but I have since seen the light. Er, the darkness, anyhow.

Keep an open mind while listening; one moment’s keyboard introduction becomes another’s driving Gothenburg-influenced metal rhythm. Transitions rule the day, brilliant and flawless segues from one playing style into a completely different genre, then back again before you can fully realize what happened. Granted, the production is occasionally weak, and the electronics overshadow the guitars in a couple segments where the guitars should clearly dominate, but there are no major weaknesses. You might find a missed transition here and a buggy sequence there, assuming you know what you’re listening for, but the finished product sounds outstanding.

This album captures so well the spirit that escapes so many “melodic” and “experimental” albums. It’s a brilliantly innovative approach to experimental metal, often incredible, always entertaining, and in some places unforgettable. Regardless of your particular musical taste, this is worth tracking down.

Categorical Rating Breakdown

Musicianship: 9
Atmosphere: 9
Production: 7
Originality: 10
Overall: 9

Rating: 8.8 out of 10

Review by JD on December 10, 2009.

Hardcore Punk and Metal always seems to try and mix together (on more than one occasion), and make a bastard spawn that kills the defenceless and the pitiful... and that beast is called Metalcore. The thing with such a union is that sometimes it is really good, and sometimes I cringe at what was being made. It was the 80's band Carnivore (one of my favourite crossover bands) that showed that it is good when done right. Does Los Angeles based The Ghost Inside do it right... we’ll see...

Thundering out at the listener like a mile long freight train down a mountain side at full speed, The Ghost Inside is almost like an unstoppable force of nature that is out for pure devastation. Mixing the fury and heart felt angst of pure Hardcore while being able to play like any of the metallic gods past and present, the band shows that their wide influences that shape their music run the gambit of both sides of the extreme music genres.

Songs like the very intelligent 'Faith Or Forgiveness' to the brutally honest Punk anthem 'Inherent Youth' show off the two sides of the coin the band has. They show that you can combine musical complexity and straight forwardness into something that blows the competition away. They straddle the line between the two genres and come out and really put out a album that is both intriguing and simply mind blowing.

The band is almost like Motorhead meets Corrosion Of Conformity, DRI while adding in some nasty version of Nu-metal, then exhibiting a shit load of anger and aggression that makes the band so damned good... that is exactly what the Ghost boys are all about.

The Ghost Inside may not be most peoples cup of tea... but if you don’t drink tea, who bloody cares about that. The band are just a crossover act that works so damned well, kicks some major ass and then takes names to return to kick the hell out of them again. It is true that the band has not in any way have invented this ‘Metalcore’ thing... but they sure have made the genre a little bit better than what it had been.

Categorical Rating Breakdown　

Musicianship: 7.5
Atmosphere: 7
Production: 6.5
Originality: 6
Overall: 7.5

Rating: 6.9 out of 10

Review by JD on December 10, 2009.

Hardcore Punk and Metal always seems to try and mix together (on more than one occasion), and make a bastard spawn that kills the defenceless and the pitiful... and that beast is called Metalcore. The thing with such a union is that sometimes it is really good, and sometimes I cringe at what was being made. It was the 80's band Carnivore (one of my favourite crossover bands) that showed that it is good when done right. Does Los Angeles based The Ghost Inside do it right... we’ll see...

Thundering out at the listener like a mile long freight train down a mountain side at full speed, The Ghost Inside is almost like an unstoppable force of nature that is out for pure devastation. Mixing the fury and heart felt angst of pure Hardcore while being able to play like any of the metallic gods past and present, the band shows that their wide influences that shape their music run the gambit of both sides of the extreme music genres.

Songs like the very intelligent 'Faith Or Forgiveness' to the brutally honest Punk anthem 'Inherent Youth' show off the two sides of the coin the band has. They show that you can combine musical complexity and straight forwardness into something that blows the competition away. They straddle the line between the two genres and come out and really put out a album that is both intriguing and simply mind blowing.

The band is almost like Motorhead meets Corrosion Of Conformity, DRI while adding in some nasty version of Nu-metal, then exhibiting a shit load of anger and aggression that makes the band so damned good... that is exactly what the Ghost boys are all about.

The Ghost Inside may not be most peoples cup of tea... but if you don’t drink tea, who bloody cares about that. The band are just a crossover act that works so damned well, kicks some major ass and then takes names to return to kick the hell out of them again. It is true that the band has not in any way have invented this ‘Metalcore’ thing... but they sure have made the genre a little bit better than what it had been.

Categorical Rating Breakdown　

Musicianship: 7.5
Atmosphere: 7
Production: 6.5
Originality: 6
Overall: 7.5

Rating: 6.9 out of 10

Review by Felix on February 4, 2020.

Enthroned are still a great band, but they were a real force at the beginning of their career. Their debut "Prophecies of Pagan Fire" was a very powerful and promising statement, even though it delivered trace elements of naivety. The further albums also reached a good or even brilliant level. Lord Sabathan played a prominent role on these works and here he returns (not for the first time) with Slaughter Messiah. Or, to be more concrete, the spirit of early Enthroned reappears. Jagged riffs flirt with black leads, pure vehemence is combined with malignant nagging and high-pitched screams send ice-cold shivers down the spine. This is the red-hot sound of the underground that will never die, because it has this pristine passion, this fascinating negativity, the brutal yet artistic component that blows away the daily shit.

Atmospheric parts are of minor relevance, but the formidable "Bells of Damnation" touches the less swift yet still violent side of black metal. Surprise, surprise, bells ring and an excessive mid-tempo section reveals its destructive power. The entire production reminds the listener of the aforementioned Belgian black metal pioneers, but this is no act of imitation. Sabathan just sticks to his guns and three of four compositions show his unbroken mentality. The fourth track presents a Bathory cover, but it rather sounds like an old Bulldozer demo. In other words, this version is the final proof that the pretty crazy Italian trio was heavily influenced by Quorthon (R.I.P.) - but I guess, this is nothing new. "Die in Fire" does not belong to my most favourite tracks of Bathory, but even if this were the case, I would prefer an EP with four brand new tracks. This applies especially to bands like Slaughter Messiah that do not lack creativity and energy. Hell yes, Slaughter Messiah have forged two perfect tracks that possess everything a song needs to fulfil all requirements in terms of misanthropic black metal.

Both "Blasphemous Exhumation" and "Crypt of the Undead" rush over the land like a storm of steel while revealing exciting details in abundance. Usually, I am not a big fan of solos, but the 18-seconds-solo of the opener which sets in at 3:12 sounds absolutely immaculate. The imperious vocals of Lord Sabathan must be mentioned, too. He reaches his best form whenever the chorus of the first track forces its way: "Blasphemouuuuus Exhumatiooooon". The maximum pressure of "Crypt of the Undead" and its raw staccato riff at the beginning deliver further intriguing elements. No doubt, this horde knows how to celebrate a bloody feast in the slaughterhouse and so the dudes wear their band name justifiably. The dense and adequate production plays its part as well in order to make Morbid Re-Incantations to what it is: a demonstration of strength, might and violence. The re-incantation of the glorious songs of early Enthroned has been successful.

Rating: 9.1 out of 10