Lord Agheros is a name that has been around for five years, during which time the Catanian musician Gerassimos Evangelou, sole owner of the project, has produced four albums, most recently the recently released Demiurgo, the subject of this review. Demiurgo moves on terrain contiguous to black metal in its most atmospheric version, but it must be said that the BM label applied to this project may be misleading, given that the more impetuous moments are in a clear minority compared to the ambient component, which proves to be predominant, particularly in the second half of the disc. On a lyrical level, Demiurgo is a concept dedicated to the well-known Platonic figure described as the ‘creator and father of the universe’. In an effort to consistently follow the thread of the tale, Lord Agheros represents the opposition between good and evil, between infernal and earthly night, dividing the work into two stylistically distinct parts. If in the first part, which runs from Prologue to Erebo, there are more black elements such as blast beats and venomous screaming, in the second part, which comes to life with Nyx, the sound seems to quieten down, taking on the true appearance of a dark ambient soundtrack. For my personal taste, I really appreciated the album in its first part, at least until Lyssa, thanks to the successful amalgam between the extreme sounds and the dreamlike melodies created by Gerassimos; from the following Letum, a track that will remain the last episode with partially aggressive traits, the work unfortunately loses some of the brilliance shown in its first half-hour. Having said this, it is undeniable that Demiurgo is still a good album, in which the Sicilian musician demonstrates his ability to compose dreamy and melancholic atmospheres with mastery, and is certainly a further step forward compared to his predecessor Of Beauty And Sadness. What is not entirely convincing is precisely, in this specific case, the slow but progressive weakening of the sonic impact, albeit in deference to the theme of the concept. I still think that the formula adopted in the first tracks where, as mentioned, the black and ambient components are successfully amalgamated, albeit in a reduced proportion, should be the one to pursue with greater conviction. By also improving the sonic performance of the vocal part, with a screaming that often takes second place to the other instruments, a project like Lord Agheros could aspire to reach that excellence which, in Demiurgo, is only achieved at times.

2012 – My Kingdom Music