Legends Rotting Christ had an outsized impact on the early black metal scene, and before the second wave was in veritable flames, the Athens-based had already volleyed the now-classic Passage to Arcturo EP from their historic city. Through their Hall of Fame debut LP Thy Mighty Contract (1993) and its follow-up Non Serviam (1994), the group—then featuring Sakis “Necromayhem” Tolis, Themis “Necrosavron” Tolis, Jim “Mutilator” Patsouris and George “The Magus” Zacharopoulos—forged a sound as unique as their neighbors to the far north. Labeled by ardent fans as “Hellenic black metal,” the havoc of aggression, melody and mystical “Southern” atmospheres advanced by Rotting Christ (as well as Varathron and Necromantia) were sonically closer to Hell (warmer, resonating tones).
Less interested in following the Continental herd, Rotting Christ, now a trio following the departure of The Magus and feeling the weight of age (from teenage tearaways to twentysomethings with a vision), moved to position their future. The slogan “Non serviam” (“I will not serve” in Latin) wasn’t a rallying cry, but a core belief. They imbued that ethos into songs that would follow more traditional songwriting form, a hat tip to their heavy metal influences. When Rotting Christ and their new label Century Media unveiled Triarchy of the Lost Lovers in the spring of 1996, it was clear black metal was no longer mired in unvarying monochromatic expression. Opening track “King of a Stellar War” was anthemic, a larger-than-life victory march for a band who had nearly collapsed years before.
The road to Triarchy of the Lost Lovers wasn’t easy. Rotting Christ’s grimoire of almost-failures, the seminal Fuck Christ Tour in 1993, of near-deaths traversing countries in search of a new label, and avoiding the stratologia (conscription into the Hellenic Armed Forces) is almost unbelievable. Yet, hardship and love for metal, blackened or otherwise, conspired in Rotting Christ to create one of the most important blackened metal albums of our age. From the album’s clutch opener to the rampaging “Archon” and the controlled furor of “Shadows Follow,” Triarchy of the Lost Lovers looms large. They were, in fact, Hellenic black metal perfected.
Refinement is largely credited to producer Andy “Angelraper” Classen, who experienced high-end death firsthand with Asphyx’s self-titled and Belphegor’s The Last Supper in the years prior. That said, even with Classen’s sleights of hand, Necromayhem’s songs, particularly “A Dynasty From the Ice,” “One With the Forest” and the reworked “Snowing Still,” were gems on a diadem spoiled for choice.
Rotting Christ’s impact on present-day extreme metal is significant, and the group’s continued evolution and work-hardened ethics of today have their locus in Triarchy of the Lost Lovers. Decibel is hereby honored to induct said album into our hallowed Hall.
Need more classic Rotting Christ? To read the entire seven-page story, featuring interviews with all three members who performed on Triarchy of the Lost Lovers purchase the print issue from our store, or digitally via our app for iPhone/iPad or Android.
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