Review by Dominik on February 20, 2025.

Sometimes, just by looking at a band's rating history, you can pinpoint the exact moment things went south. With Keep Of Kalessin I felt like witnessing a car slowly veer off the road—you see the warning signs, you pray for a course correction, but inevitably, the wreck happens. My patience started to run out the moment the band completed their transformation from a promising black metal band into something… else. For me, Armada was the tipping point—a blistering, extreme metal album that had already started shedding its blackened roots but still held everything together. What followed, however, was a slow descent into inconsistency and disappointment. Kolossus, Reptilian, and especially Epistemology showcased a band trying too hard to expand their stylistic range, mixing in melodic death, a touch too much symphonic sweetness, and technical prowess that, while impressive, often lacked cohesion, direction, and a clear purpose. Every album had its moments—just think of the iconic first four minutes of "Reptilian Majesty"—but each time, there was too much fluff, too much filler. And yet, with each release, I kept hoping. Like a starving dog in front of its bowl, I drooled at the prospect of Keep Of Kalessin finally finding their way back.

Then Katharsis arrived, and I wasn't exactly rushing to grab a copy. Repeated disappointment teaches you caution. But patience is a virtue, and good things come to those who wait. The album is the long-awaited reward for those of us who endured Keep Of Kalessin's musical adolescence. Against all expectations, this album quickly became my favorite of their discography. Katharsis constantly teeters on the brink of excess—melodic, dramatic, at times even too polished, it hovers on the edge of a melodic sugar rush, sometimes sticking a whole foot over the saccharine cliff, but for once, it all works. All the ingredients that previously led to frustration are here: clean singing, melodies that refuse to quit, sometimes grand dramatic choral arrangements, subtle (and not-so-subtle) keyboards, even an attempt at a ballad ("Journey's End") which we'll address later because I need a moment to prepare my disdain. But this time, the balance is right. The drummer sounds like he's on steroids, blasting along as if there's no tomorrow, the guitars are razor-sharp, the vocals are dynamic, covering a wide range of emotions, and most importantly—there are good songs. Songs that feel well-constructed rather than a collection of flashy riffs stapled together. Even the album's longest track, "The Obsidian Expanse", which in the past might have felt bloated, remains gripping throughout.

Katharsis starts with an outstanding trio of tracks that made me believe, that Keep Of Kalessin had finally nailed it. Fast-paced, yet dynamic, with relentless drumming, soaring melodies, and multi-layered vocals. "The Omni" in particular dances dangerously close to the line of excessive sugar-coating—diabetics, keep your insulin nearby—but it somehow stays just on the right side of grandiose. It may be a tad too epic, a bit too dramatic, but that depends entirely on your mood. This is an album that can either lift your spirits or drive you into a deep depression. On a bad day, its relentless upbeat energy might just push you over the edge. Or it might be exactly what you need. Try for yourself. For me, it works most of the time, and that says a lot.

The first break in intensity comes with "War Of The Wyrm", one of the two album's slower tracks, though still powerful enough to maintain momentum. Whereas "From The Stars And Beyond" gets us back on the speed train moving through Willy Wonka's chocolate factory, the stress testing comes with "Journey's End". This is where things get… unfortunate. A ballad as misplaced as a fork in a soup bowl, a track that lands with all the grace of a cow tumbling down a spiral staircase. The frontman, for all his strengths, is not a ballad singer. The song itself brings nothing unexpected, musically or emotionally, and the tragic fallen-hero lyrics feel like something borrowed from an old power metal handbook. Thankfully, Keep Of Kalessin have learned from past mistakes. This remains the album's only real misstep, and they course-correct swiftly.

Ignoring the useless outro, the album closes on a strong note, with "The Obsidian Expanse" standing out as a ten-minute showcase of everything Katharsis gets right: furious drumming, powerful melodies, just enough vocal drama, and a perfectly timed break before an explosive finish. It's probably the track that comes closest to "Armada" (the song) in spirit—more melodic, but equally memorable, especially in the buildup to its chorus. "Throne Of Execration" follows suit, delivering the album's most aggressive opening before wrapping things up in a way that leaves you wondering: why did it take them this long to realize they had everything they needed all along? Instead, they spent years serving us an inconsistent diet of half-baked experiments.

And so, after years of walking through the desert of musical indecision, Keep Of Kalessin have finally found their promised land. If this is the direction they stick with, we might finally be in for something truly great. If not—well, I'll just go back to waiting, like a battered spouse hoping the next album won't let me down again.

Rating: 8.4 out of 10, because perseverance sometimes does pay off, even if it takes a decade. After years of wandering, the band finally remembered how to write a great album.

Review by Krys on March 16, 2001.

After their third great album "Bloody Blasphemy", God Dethroned comes back with an even better killer, "Ravenous. This is not just another death metal album, it’s music created by people with the goal of making you shit your pants. Those guys are ready to fuck everything that walks, sleeps, smells, pukes and drools.

"Ravenous" is a wild fury delivered in 11 superb mixed shots of acid. Although Slayer’s influence hits us a little too often, the combination of melody and outstanding riffs leaves a very satisfying feeling. Actually it’s more than satisfying. The combined guitar skills of Jens van der Valk and Henri Sattler works seamlessly throughout the whole album. They know exactly how to play death metal and they do it with such a commitment and passion that all tracks sound like Beethoven’s symphonies in that each note means something and builds the perfect background for another. Just listen to the title track or "Swallow the Spikes", "Villa Vampiria" or "The Crown for the Morbid" and you’ll understand what drooling means.

Another thing that can’t go unnoticed is work of their session drummer Tony Laureano (Angel Corpse, Nile). I got this strange feeling that he’s the main reason for the much more aggressive and furious sounds of God Dethroned. His unlimited drum-molesting skills push this band into another level of greatness. Two slower tracks, Macabre End’s cover "Consumed By Darkness" and "The Iconoclast Deathride" give us a much-deserved break from the high-intensity speed that dominates on "Ravenous". Masterfully played Death’s "Evil Dead" not only remind us of the roots of this genre but also show how much fervor and intensity emanates from these guys.

Bottom Line: Definitely a Death Metal highlight of the year! No excuses, buy it or die in disgrace.

Rating: 8.5 out of 10