Unearthing An ACID DEATH Album, A Quarter Century’s Past [Teaser Video And Stream]

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The classical Roman poet Virgil wrote in ‘Aeneid’, one of his most well known epics, to “be wary of Greeks bearing gifts”.  Of course, Virgil was referring to the historically significant delivery of the subterfuge Trojan horse by the Greeks in order to gain access inside the fortified walls of the Trojan stronghold in the midst of a ten year siege. Ol’ Virgil, though, never could have, in all his poetic grace, imagined the Greeks handing the metal world the offerings of Hellenic Acid Death.  Floga Records announced on March 10th that they were releasing the long buried first album from the legendary death/thrash/prog/tech metal collective known to the world as Acid Death. This album is finally seeing the light of day after a quarter of a century (25 years!) of staying in the shadows of someone’s long forgotten stash.  The band originally formed in 1989, and “Balance Of Power” was recorded in 1992 by the fledgling group who would go on to release several albums: “Pieces Of Mankind” (1997), “Random’s Manifest” (2000), “Eidolon” (2012), and most recently “Hall Of Mirrors” (2015).  The gorgeous grounds of Greece spawned this apocalyptic philosophical quartet, apropos, considering the rich history of the country. Comprised of Savvas Betinis (ex-Brainfade and ex-Kinetic) on vox and bass, Kostas Alexakis (ex-Braindfade and ex-Kinetic) keeping the beats busting on drums, John Anagnoston (ex-Released Anger and ex-The Crucifier) on rhythm guitar and last but certainly not least is axe slinger Dennis Kostopoulus (ex-Infidel) on the lead.  Despite some breaks over the years, the band returns to its’ core roots more often than not and have firmly cemented themselves as one of the major innovators and mainstays of the Greek metal scene.  Acid Death have shared the stage with such titans as KREATOR, THE HAUNTED, IMPALED NAZARENE, CHILDREN OF BODOM, ROTTING CHRIST, MAYHEM, PESTILENCE, and SEPTIC FLESH over the years, alongside some epic and raved about performances on the festival circuit.    Continue reading