Review by Felix on May 8, 2023.

Greek thrashers Riffobia haven’t taken the world by storm so far, but this is not their guilt. Instead, this is just reality in an unfair world with myriads of disoriented people who have a miserable music taste. Thank God, none of those losers is visiting this site and so we can talk about Riffobia’s new album in a relaxed manner – although, thank God again, the music is anything but laid-back.

Some music managers think the third album is the make it or break it work and some others say that a self-titled full-length has to deliver an outstanding statement. I don’t care about this gossip, I just want to listen to a good collection of thrash songs. This is exactly what Riffobia dishes up. The album reaches its absolute peak with the powerful, robust and fiery 'Consume – Obey'. Each and every tone of this masterpiece fits perfectly and the staccato of the shouted two-word-chorus is a nice contrast to the brilliant flow of the song. The solo part attacks without mercy as well and especially this highlight makes the crystal clear, bone-dry and aggressive production shine in full glory. It’s a direct and hard-hitting kick in the face. Hopefully, you all have the money for a new set of false teeth.

Evidently, the quartet enjoys its own music. The dude’s joy of playing is omnipresent. The lively guitar work, the precise and incorruptible drumming and the pretty f**ked up vocals are presented with a high portion of dedication and hooray, even the bass guitar is audible (from time to time). Yet it is in particular the guitar power which makes the album to a sovereign representative of the subgenre in terms of quality and quantity. Yes, the length of 40 minutes is a more or less important factor here, because compared with their first two works, we get ten extra minutes and so there is room for the almost epic closer. 'Soul Collector' does not offer another high speed devastation, but it sets its focus on a dark aura with howling guitars and creepy parts at the beginning and the end. It’s a – very late – kind of thrash metal answer to AC/DC’s “Night Prowler”. Moreover, the tumultuous guitars in the background during the last section of the closer is almost able to send pleasant shivers down my spine, because it reminds me a bit of the fantastic ending of “Hardening Of The Arteries”.

'Death From Above' had a more promising, more atmospheric intro, but over the entire distance, Riffobia gains the award for the best album of the four-piece so far. Consequently, the upward trend continues, as the second album was already better than the debut. Perhaps due to its stable line-up, the band plays in a very tight manner. Okay, one can say that a few tracks are “only” thrash business as usual, for example 'God Of Hate', but come on: there is not much better music to find outside than ordinary thrash. Anyway: if the combat unit from the cradle of European culture is able to integrate a few more catchy sections without letting the reins slip, their fourth full-length will be a milestone.

Rating: 8.2 out of 10

Review by Dominik on February 19, 2025.

Arkona is clearly not in a rush when it comes to releasing new albums. Following the old wisdom that good things take time, the Polish black metal veterans have let five years slip by since Age Of Capricorn. While they seem to take their sweet time, I'll cut straight to the chase for those who are already late for something: Stella Pandora sticks to the signature sound Arkona has been perfecting since Lunaris (2016). The overall quality is high, and the album improves on its predecessor in several ways. What's still missing, though, is a true standout track—something like "Lunaris" title track that lingers long after the album is over. Instead, Arkona has turned up the melodic elements, embraced a touch more cheesiness, and delivered a polished, melodic, sometimes atmospheric black metal album. Recommended for anyone who enjoys their darkness professionally produced and slightly saccharine.

From the first moments of Stella Pandora, two things become clear. First, this album is entirely built around its lead guitars. They don't just guide the songs; they dictate their fate. The entire album orbits around its melodic path—when it works, the result is gripping. When it doesn't, well, you get "Necropolis", a track that just lacks the bite and character found elsewhere. It wouldn't be fair to say the lead guitar overshadows everything else, but its omnipresence is impossible to ignore, and the dependency is more pronounced than ever. The second observation is more amusing: Arkona much like Keep of Kalessin has a habit of skimming dangerously close to waters best left to (symphonic) power metal bands. Don't get me wrong—the band still operates well within black metal's framework, but the catchiness of some sections reaches a level that could, in theory, make them radio-friendly. Not that any mainstream radio would ever touch this, but it's an entertaining thought, nonetheless.

The album starts off with its strongest moment: "Pandora". As openers often do, this track encapsulates what Stella Pandora is all about, showcasing the album's strengths and (very few) weaknesses. The melodic theme is cleverly woven throughout, creating cohesion and an almost cinematic quality, underlined at times by subtle female vocals. Arkona clearly put a lot of effort into song structures and vast, immersive, even epic soundscapes. The change between very precise blast beats and well-timed mid-tempo sections keeps you engaged as they do not follow a predictable songwriting pattern. A particularly welcome surprise is the bass, which plays a much more prominent role than what we're used to in black metal, adding depth to the mix rather than just existing as a distant rumble beneath the tremolo.

However, where "Pandora" shines and finds the perfect balance between aggression and respite, the closer "Aurora" stumbles and overstays its welcome. At nine minutes long, it feels like a case of a band being too much in love with its own material to recognize when enough is enough. A slow, melancholic introduction drags on far too long before finally leading into a fantastic section of melodic aggression. The problem? You'll have already spent three minutes wondering if the song is ever going to start. This is the kind of moment where you wish Arkona had applied a bit more discipline and trimmed the excess fat. It leaves you wondering how much stronger the album could have been if they had practiced a bit more self-restraint. Don't get me wrong. Everything is proof of excellent songwriting skills, the successful effort to synchronize the bleak lyrics with the mood conveyed by the music, but here and there the band gets lost in its own musical universe.

If you need more proof that Arkona's formula works when the song is a more focused affair, then "Prometheus" is the track to check out. This second highlight, which is only slightly behind "Pandora" in terms of quality, doesn't knock politely—it kicks the damn door down. The structure follows a similar pattern: high-speed blasting giving way to grooving mid-tempo sections, all supported by a bubbling, ever-present bass. It's the most direct, digestible and instantly engaging track here, stripped of unnecessary indulgences. And yet… Arkona decides to just fade it out at the end. After all that firepower, all that energy and precision, they settle for the musical equivalent of sneaking out of the room through the back door, while no one is looking. A bit underwhelming, to say the least.

Some final thoughts need to be spent on the vocals. There must be something in the water in Poland, because every black metal vocalist from the country seems to sound like a distant cousin. Also on this album the vocal performance is aggressive, desperate, and dripping with contempt—basically, everything you could want in this genre. It complements the music well, ensuring that Stella Pandora doesn't lose its edge despite the cleaner production which is crisp, powerful, and undeniably professional. If anything, it's almost too polished—borderline overproduced in places. While Stella Pandora still has enough grit to avoid feeling sterile, one can only hope Arkona doesn't continue softening their edges in future releases. A little more of their early rawness wouldn't hurt.

Rating: 8.3 out of 10, because it's a damn solid, lead guitar driven black metal album that showcases Arkona's strengths, even if they occasionally indulge a little too much in their own brilliance. If they trim the fat and reintroduce a little more rawness next time, we might be looking at a real masterpiece.