Two years ago, when we were talking with Christos Antoniou about “Modern Primitive”, we were talking about the band’s concert in Mexico, accompanied by an orchestra, and how difficult and distant it seemed to repeat the project in our country.
And yet, history comes to defy expectations.
With the announcement of Septicflesh’s appearance with the State Orchestra of Athens, at Herodeion, the only thing certain was that we would be talking about a historic moment for metal in our country. Opera and it happened, with the sold out coming just four days after the announcement.
Those who have attended Herodion know the magic and electricity of the place. The orchestra took their place, as did the Libro Coro choir, and the first chilling notes of “The Vampire Of Nazareth” prompted Septicflesh to rouse the crowd, who shared their energy with yowls. With flawless sound, what we were seeing and hearing was truly mind-blowing.
Continuation with “Neuromancer”, which sounded even more epic than its studio version, with the imposing Sotiris Vagenas catching the eye. Seth’s emotion was evident in the first pieces, while many times he turned around smiling and thanking Koen Schoots, the director of the orchestra, showing that he himself could not believe what was happening on stage. A historic night, as Seth mentioned, bringing metal to one of the most emblematic places of the capital, with the contribution of the Athens State Orchestra.
Obviously the set was based exclusively on the post-Communion era, as expected. “Pyramid God” from the most metal moments of the evening, even if it didn’t have a moshpit. Raised hands, voices from the people, and everyone’s cooperation tied piece to piece. Excellent “Portrait Of A Headless Man”, where the choir brought a majestic tone to the result, while the Armenian duduk married cultures and musical history in a few seconds.
“How are you going to play metal at Herodion” – that was the thought on everyone’s mind according to Seth. “We can’t do what we usually do”, clearly referring to moshpits, wall of death and other usual in their live. He thanked the people who have respected the space, while his shyness in relation to other concerts was also evident. Maybe it was the awe, maybe even the respect for the orchestra which was not just complementary, but leading. The live debut of the “hardest track from Modern Primitive” – ”Coming storm”, dark and awkward but equally impressive.
An orchestral break, with the guest singer giving us some heartbreaking moments. “Martyr” and “A Desert Throne” that followed showed the evolution of the band’s sound, with the symphonic parts taking off to another, transcendent level. Being lucky enough to sit relatively close to the musicians, it was interesting to see people headbanging between their parts (especially members of the wind ensemble).
Back to the anti-Seth “old” tracks, with “A Great Mass Of Death” being leveling. Pure creepiness. Long awaited moment “Prometheus”, which as Seth mentioned, Prometheus returned to where he belongs. The massive “Communion” barely kept us in our seats, before the orchestral interlude brought the menacing “Hierophant”. The closing of the main set came with a thank you to everyone, the organization that took the risk and tried to make this bold venture a reality. The orchestra was deified (again) by the crowd, with a standing ovation that echoed throughout the Acropolis. “Persepolis”, more shocking than ever, took us on a journey and moved us.
As the crowd’s cheers continued, the first encore came with “Anubis”, where the melody was sung by the entire audience and acted as part of the orchestra throughout the piece. The second encore started with another instrumental piece, before closing with the epic “Dark Art” that captivated us. The applause of the people did not stop for a moment, while the band itself seemed not to want to get off the stage, living every minute, while Krimh, who was behind the plexiglass and his drums, hurried to shake hands with all the members of the orchestra could, thanking them personally.
A truly historic moment for everyone who was there, but also for metal in our country in general. An artistic aspect that had remained unexplored in this sacred space, finally found the place and recognition it deserves. After years of hard work, what Septicflesh have presented us far exceeds the boundaries of a metal band, and it is an achievement that captivated us, but also opened the door for extreme sound to the wider cultural reality of the country. Prometheus returned home.
