Greek melodic death metal band AmongRuins recently released their fourth full length album, “Advent of Chaos.” I will admit that prior to listening to this album, I was completely unfamiliar with the band. Like many genres, melodeath can cover a lot of ground, and I was curious where exactly AmongRuins would land. A lot of what they are doing follows a familiar path: crushing riffs and drums intertwined with plenty of melody, memorable choruses, brutal yet intelligible growls from lead vocalist Sverd, and great guitar solos. They do all of this well, and if this is all they did, it would be considered good melodeath. However, it is the other stuff they incorporate that makes this better than just good and an album I have found myself consistently revisiting. Keyboards are not foreign to the genre, but the band uses them to great effect, generating an effect akin to atmospheric black metal, enveloping and permeating each song while at times providing an overarching cinematic aura. They also go outside the typical genre box, blending in symphonic metal on the fourth song, including the amazing talents of Christianna of Elysion taking the helm for the majority of the track. And though slower ballad-like songs are not as uncommon in the genre either (just listen to the last track off Dark Tranquillity’s latest, “Endtime Signals”), they work one in the track order that fits quite well within the overall album flow, also featuring great guest clean vocals. I really like how these varied elements meld with the more traditional melodeath features, adding some character to songs that at times could otherwise feel a bit formulaic while also providing a nice foundation for the darker tones and subject matter. Obvious influences are stalwarts in the genre like Dark Tranquillity and Omnium Gatherum, though not quite as fast and heavy as the former, and without the pop sensibility of the latter. AmongRuins is no clone, though, forging their own sound amidst these influences, delivering a great slab of atmospheric melodic brutality.

Howling winds swirl around eerie atmosphere as “Frozen to the Core” begins, a somber guitar lead breaking nature’s grip at the one minute mark. More guitar and drums layer in, paving the way for Sverd’s intelligble snarls to enter the fray as the band enters full melodeath territory. The band makes great use of smooth melody and harmony in the guitar lines, coupling with the mid-paced riffs and swelling keyboards to create urgency and atmosphere. Two thirds in as the chorus wraps, the dynamics settle to a single guitar lead, transitioning into a nice guitar solo. The song picks up the pace after, before fading out atmospherically as it began. The song has somewhat of an extended intro track feel, setting the stage for what is to come.

The title track punches you immediately, a growl introducing a driving harmonized guitar intro before the song is off to the races. The chorus features an aggressive cleaner vocal, primarily presenting as gang vocals, pitted against Sverd’s lead growls. This creates a nice dichotomy against the underlying melodic dissonance, double kicks and crushing riffs pummeling incessantly. A triumphant extended guitar solo blesses your ears before closing out with a final chorus refrain.

“Red Divine” has a driving pace, starting from the triumphant intro, drums galloping amidst the crushing riffs, keyboard atmosphere swirling around. The verse barrels ahead, mixing in nice keyboards amidst the powerful riffing. The chorus steps on the brakes a bit, letting a guitar lead driven melody drive as melodic impassioned growls fly over the top. The final salvo features a nice guitar solo and ending chorus. 

“Into the Flame” is easily one of my favorites while also one of the most different on the entire album. The atmospheric swell, piano, and harmonized guitar intro are familiar, but the vocals that start at the one minute mark are unexpected. Christianna Chazimichali of Elysion is the main voice behind the mic, her powerful vocals adding a different flavor that works super well. Sverd juxtaposes on the second half of the verse, before joining forces with her on the chorus in incredible fashion. The melodic dichotomy is incredible, two diametric voices soaring in dissonant harmony. I love the guitar melodies, simple in approach but working well as underlying support, and the drumming keeps the mid pace driving. The final 75 seconds transitions into a piano driven melody over electronic drums, atmosphere droning in the background, Christianna’s vocals angelically soaring as it fades out. AmongRuins has taken their own approach to symphonic death metal here, just without all the fancy orchestration, and I would love to see more of this in the future!

After an atmospheric melodic intro, “A Symphony of Loss” picks the pace back up, speedy drums and melodic guitar harmonies with an aggressive snarl, keyboards providing an enveloping aura. The chorus slows things, a guitar melody the key component, while the vocals amp up, impassioned in their delivery. A reprise of the intro barrels back headlong into the speedy verse, and the remainder of the song features a second and final chorus refrain sandwiching a great guitar solo before fading out.

“Open Wounds” is the other different song on the album, a softer more ballad like offering featuring the crystal clean vocals of George Prokopiou of Poem and Mother of Millions contrasting with Sverd’s growls. The almost doomy riffs are embellished with melodic guitar leads, atmosphere bolstered by keys and choir like backing vocals. The late guitar solo is big and majestic, soaring atop the crushing riffs, and despite the slower pace, the song carries a lot of heft.

“Chained” flips the speed switch, thrashy riffs over a gallop setting up an extended harmonized guitar melody, briefly slows as the vocals come in, and then blasts ahead. The tempo regularly alternates, keeping you on your toes, all while adding plenty of melody. The late extended instrumental starts slow, easing you in with a majestic solo, then develops into a thrashier groove as the solo gets bigger, eventually landing in soft atmosphere before a sprint to the finish.

Closer “Night Mother” starts with a mid-paced melodic groove before galloping ahead with speedy melodeath. The chorus embraces a melodic doom feel, including incorporating the semi-cleans that last appeared in the title track. The second verse makes a return to speed for the final time, and the doomy chorus refrain is the last time we get vocals. We are midway at this point, with the song transitioning fully into an instrumental featuring atmospheric melodic doom, thunderous drums and crushing riffs empowering powerful guitar melodies. The final minute trades the distortion for orchestration, ending in cinematic fashion.

I really enjoyed this album a lot, and an evolution from their previous album as they continue to hone their own sound. I appreciate a lot of what the band is doing to differentiate themselves, and if anything, I wish they would do this more. The songs that don’t push the boundaries as much can feel like they are following a bit of a formula, albeit very well executed. If you love melodeath, you should definitely check this album out!