When weâre talking of Tirania, it should be pointed out that weâre talking of a band present on the scene for some time and characterised by continuous changes; in band members as well as the playing method. This can be attributed to the youth of the main characters inclined to everlasting reformulations of interests while trying to define what they would consider satisfying in the music sense. The beginning itself, represented by thrash metal with a distinct Metallica influence, resulted in several covers of this band and a few original songs, never completely elaborated though. After a shorter pause, the band started from scratch. Owing to various affinities of the musicians gathered at the time, their readiness to compromise and desire to experiment, the result was finally an interesting union of heavy metal and violin which put into the centre of attention gave the band a recognisable colour. This union was accepted by the public in an excellent manner while Tirania was characterised as a gothic band. This, of course, was exaggerated and, in any case, not what the band wished to achieve in the music field. Looking at the broader picture, and taking into consideration the atmosphere and the intentions, both textual and musical, as well as the resulting energy not transforming into melancholy whatsoever, there can be no question of the gothic metal. Regardless of the good audience response which was very evident at the concerts, frequent at the time, the members themselves did not find it satisfactory enough. They decided upon a risky move and took the violin out of the band. What remained needed to be well elaborated. The influences were again numerous, with noticeable tinges of punk surfacing at times. Nevertheless, the frame within which the band acted was, without doubt, heavy metal, with a few trips towards thrash, noted through guitar riffs, but with rarely achieved speed and aggressiveness. Due to the bad financial situation, a demo album Illusion was recorded in extremely bad conditions of a home production. Partly due to the sense of incompleteness of the album which did not fulfil the bandâs ambitions, nor exhausted its potentials, a new shift occurred. This time, the changes werenât essential, but the technique and details were worked upon. The result was the single âThe War Afterâ, featuring progressiveness which represented a stylistic novelty. In the meantime, a separate project was initiated, a sort of a music story based on the Egyptian mythology. Four interconnected songs together formed a closed concept. Metaphorically speaking, it was a sort of a Â"religiousÂ" experience of the conscience penetrating into the sphere of gods. The Arabic scale enhanced the feeling of authenticity flowing through the entire creation. Finally, various musical tastes, as well as the notion of what a musician has to be, resulted in the final split of the longest lasting Tirania line up. Some differences became insurmountable; and ideas leading not only to absurd but also to openly conflicted combinations could no longer be realised. For Tirania, this split signified a gathering of new people around the only remaining member of the former line up, with the return of a former member who had left the band before the âThe War Afterâ stage. Stylistically speaking, the change occurred on all levels. Tirania, thus, came closer to the characteristic modern sound, featured mainly by younger generation bands, and hard to define since it encompasses various influences and deletes borders of the traditional metal division. Interestingly, the riffs pronouncedly alert to the influence of the Swedish metal sound; i.e. bands such as Amon Amarth. Should the sound of the current Tirania be classified, the melodic death metal would probably be the best fit, emphasising still that the meaning of this term is wider everyday and that it includes all the results of the creative game hard to define more specifically. It seems that, after the final music determination, which best indicates the road to be taken, interesting works followed, such as newly created songs.
1. Let The Games Begin
2. Beneath The Ashes
3. The Tyrants Come Tonight
4. March On The City Walls
5. My Revenge
6. (Chapter 1) The Essence Of Magic
7. (Chapter 2) The Magician
8. (Chapter 3) The Poison & The Enchanted Remedy
9. (Chapter 4) The Remorseful Travel
10. Rising From The Mist
Hermods Ride To Hell (Amon Amarth Cover)
March On The City Walls (Symphonyc)
Cover And Lyrics
This album (EP) is special project, a sort of a music story based on the Egyptian mythology. Four interconnected songs, together forming a closed concept. Metaphorically speaking, it was a sort of a "religious" experience of the conscience penetrating into the sphere of gods. The Arabic scale enhances the feeling of authenticity flowing through the entire creation.
All lyrics taken and remodeled from ''The Book Of Dead'', found in ''Egypt - Temple Of The Cosmos'' by Jeremy Naydler.
On the cover is divine child, Horus the Saviour, triumphing over dangerous animals.
1.The Essence Of Magic
3.The Poison & The Enchanted Remedy
4.The Remorseful Travel
5.The Tyrants Came Tonight (Bonus Track)
TIRANIA with 2 songs - ''The Essence Of Magic'' and ''The Magician'' on:
"Most Unholy Convergence II"
103 bands (plus bonus material) on one disc!!
This is the big one...! The biggest project that Satanica has yet embarked upon - over a year in the making!! Over 100 bands from all over the world, primarily in the extreme metal vein but all styles ov metal are pretty much represented here...plus some industrial, ambient etc for good measure. An Important point to note is that all these bands paid to be on here, so you know you're listening to bands who are serious about what they do! This time round all tracks have been professionally mastered by Satanica's Audio Production Division, so you can be guaranteed a smooth listen through a variety ov styles. By the way, this release comes in a DVD style case.