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ALBERTA'S NECRO-CULT: Issue #8, Spring 2002

DARKNESS ETERNAL - Satanchrist <8.5>
Dark Salvation Productions (49 minutes)

Local 'death -dealer' George Velaetis unleashes his second dark offering of hatred and anti-Christian hymns in the form of 'Satanchrist'. Embracing the sounds of Immolation, Incantation and Morbid Angel with hints of old school gloom, this is indeed an unholy mixture of influences with enough originality to make 'noise' in the underground. It's all the more amazing to consider that George is the sole musician and composer of Darkness Eternal, and at just 24 years old I'm sure he'll be around playing his music just like Ross Dolan and John McEntee are today. What sets DE apart from the others (besides the fact I'm pro-Canadian!!) is the very personal feel that these songs possess, one listen to the songs 'Descending Into Forever' and 'To Save The Lost' it's easy to see this is more than a SATAN KILL FUCK SATAN album (not that I don't like those, too.......hehehehe!!). It makes me proud to see some top quality acts from Canada that can easily contend (and in most cases SLAY!!!) with the Americans and the Europeans that have dominated the scene for so many years. This is top notch Death Metal played with pride, talent and conviction that is sure to please even the most 'finicky' underground fan out there. With many other bands from right here in Alberta like AoA, Ouroboros (who incidentally George plays bass for on occasion), Revenge, Thorazine and the 'infamous' Lust; all playing original music that is both brutal and artistic I have a feeling that the Alberta scene is 'exploding' with talent. Satanchrist is an album that exemplifies all that is unholy Death metal................... to not own this would be inexcusable by any stretch of the imagination.

Reviewed by: Craig Derek


DARKNESS ETERNAL - "Satanchrist" CD (Dark Salvation Productions) 2001

Darkness Eternal is an one-man band, created in 1997, by the sole member George Velaetis. Before Darkness Eternal, George played in Grind and RMC. Band debut was the album "Dawn of the Suffering", released in 2000, under Dark Salvation Productions, his own label.

Again, I'm impressed with George's talent!!! The expected second album of Darkness Eternal have better production and sound more obscure and intense, now mixing much better the fast and slow parts into the dark Death Metal. The instrumental is simple, but perfect, creating an original atmosphere, specially the dual guitar works. "Satanchrist" is the return of darkness and torment!!

The amazing artwork was created by Jonzig. George is playing guitar as a live session member in Ouroboros. "Dawn of the Suffering", his debut album is also still available through Dark Salvation Prod., for US$12, buy it and support George and Darkness Eternal.

Contamination level: 09/10

Clay (Wolfgun) Schulze


DARKNESS ETERNAL “Satanchrist” Full Length Demo CD 2001

Holy fuck D.E.’s last (& debut as it were) disc was great but as I now see was only a strong precursor & distant warning towards the apocalypse yet to come!! For the uninitiated & those who dropped the ball not contacting Darkness after my first review, it is a one man band but sounds anything but. George plays all instruments and plays them all well with deep feeling bled into each riff, each bass run, every single drum hit & in every nuance of sound dripped with despair & loathing from every obscured growl George let’s escape. For me it is all about the feel, you can be a guitar wizard but if you have no true raw emotion in what you are playing, then true fans know, they can hear it and to them and me it amounts to nothing. The attentive listener who has not had that emotionally dark heathen piece of themselves deprogrammed out to be a good little consumer robot, will hear that George has that in spades and has put his blood, sweat and metallic tears into each & every second of this recording! As a jump off start point for the reader, to prepare themselves for the fury they are about to receive think of the purest deadly mix of bands like Immolation, Autopsy (1st two LPs), Grave (1st LP), Incantation just for beginners. I hear a new wholly welcomed with open arms (by me) influence of Disciples Of Power during the great introverted slowed down clean sections, for proof of these traces check out tracks # 1,5,6 & 7 and oh so briefly dead center of track # 4. Darkness Eternal takes said influences & twists them, perverts them and places his dark seal all over the blackened musical body resulting in a Valhalla of dark mind-warping sadistic decadence. The music is a swirling mass of doomy death steeped in gut-wrenchingly heavy melancholy, emotional wretchedness & pure fiery hate for this foul life and all it’s judeo-christian gutter filth trappings. George has clearly put much effort to squeeze all he can into a song without cluttering or confusing the overall flow or intent. This puts across a very involved, engaging but never overbearing listen drenched and bathed in an atmosphere of pure suffocation and desolation. I can see now it was an impossibility for me to avoid it’s clutches, it’s grip is iron and it’s resolve unending. There are some speed parts and sped up paces turned on & off like a facet but the predominant pace of “Satanchrist” is quite slow yet head-crushingly brutal, only a hardened metal fan or someone un-suicidal can hope to withstand this mental torture. I raise my goblet of poison and black blood proudly in the direction of Darkness Eternal for elevating itself to that next level separating itself from the pack of good bands to the small legion of great bands in this genre. Labels should fall over themselves trying to sign this band, if George will even bother to have them that is!


Reviewed by: Dale Roy

CHRONICLES OF CHAOS, Winter 2002 (http://www.chroniclesofchaos.com/reviews/albums/2-2160_darkness_eternal_satanchrist.aspx)

Darkness Eternal - Satanchrist
(Independent, 2001)

By: Adrian Bromley (7.5 out of 10)

First off, Darkness Eternal has produced an amazing album cover this time around, ten times better than the one that adorned the Dawn of the Suffering CD [CoC #48]. The last album cover was atrocious, as my review had stated, and it is good to see things improved. And much like the new artwork that is vastly improved, so is the musicianship of this one-man band (George Valaetis). While the previous effort had a pretty uneven pace to it, the new disc is well-balanced dark death metal with some great, violent death growls and some masterful guitar riffs, as well as a real grim atmosphere to boot. The most impressive thing is the fact that Velaetis plays it all, yet it seems so effortless and well assembled, as if a full band is in the studio blasting away at the music. Coating the death metal approach with a real dark edge to it, Darkness Eternal is definitely an unknown Canadian band that should see more exposure in the next little while. At least the band should, as Velaetis deserves it. You see? Hard work, an abundance of passion and a little bit of guidance allows most bands to find their best moments as the years go on. I've got my eye on Darkness Eternal. Choice cuts: "Cross of Lies" and "To Save the Lost".


Here is a very solid release of black /death metal. The music and vocals are all performed by one man, George Velaetis. However, this is not one of those "some guy who has a drum machine and a four track in his bedroom" type of recordings as solo projects often are, this is recorded in a studio and is just as good as if it were a full band. I hear influences from many places, DEATH and POSSESSED come to mind, but there's lots of more modern black metal riffs and drumming. The vocals are very low, IMMOLATION style. The CD is professionally duplicated and includes the lyrics, (always a good thing in my opinion). Very much worth checking out!

DEADTIDE.COM, Spring 2002(http://www.deadtide.com/reviews/albums/page.php?id=1585)

Satanchrist is the second album from Darkness Eternal, the death/doom project of Canada's George Velaetis and it continues to improve on the sound introduced on the previous effort, Dawn of the Suffering. This time, George sounds far more confident as a musician, especially on the drums, where he now pushes the songs with powerful blasting and creative open sections. The Darkness Eternal sound and scope has become more complex and dark, as you can hear immediately on the opening title track, the majestic Cursed to an Eternal Damnation or blasting section that begins at 2:25 of Entering the World of the Dead. Nearly every song has riffs worth killing for, and the song structures have become far more interesting with more complicated and frightening transitions between sections. These improvements are all amplified by the improved production, which is quite good, despite the annoying overuse of reverb on the vocals. He's got a decent voice, stop burying it in echo! Small hairs to split on a release this good, though.

With Satanchrist, Darkness Eternal has evolved from primitive bludgeoning to more precise attacks, but it's got the same brain-encrusted mallet strapped to it's fist. If you've been missing the real deal, look no further. MUXLOW


Cursed to an Eternal Damnation, Cross of Lies, Drowning in the Red Sea


Darkness Eternal - Satanchrist
2001, Dark Salvation Productions, Self-Released

The musical strength, sense of purpose, and originality of composition which first attracted me to this band, and led to such a fruitful collaboration with its main proponent, G. Velaetis, continues unabated on this, his newest unleashing of infernal calls to the dark. In this case it is comprised of nine novel constructions, beautifully paced, serenely destructive, effortlessly involving, and completely immersive. Once again, the doors open to Velaetis's inner world, and Darkness Eternal escorts us through this labyrinth without ever looking to the side, without stumbling along the way...no, from the very beginning it is clear that while this band has evolved, has changed, metamorphosized into something larger, variegated, more multi-hued and dynamic, there haven't been any kinds of compromises made in the entire process. This music continues as it always has: with a confident will, a conviction of virulity, determination and ambition appearing beneath each note, each perfectly-placed slash of the cymbals and crash of the rhythm guitars... For those who don't know, this is a one man band, and simply one of the best in the world when it comes down to the level of compositional skill, the technical ability of the composer, and the songwriting talent on display. As many other people have said already (maybe including me), Velaetis does not regard his status as a solo artist as any kind of detriment, but rather an opportunity for a new purity of vision. Free of all the group politics, the machinations of outside personalities, the subterfuge of contrasting wills, he is unimpeded here from writing exactly what he wants to write, without supervision, without compromises, without excuses. Most importantly: he can do so without sterile, involving, terribly time-wasting explanations. The only musician Velaetis the composer has to give directions to is Velaetis the instrumentalist, and he indeed plays everything here. Instead of frustrating himself with halfunderstood, failed attempts to communicate nuance or the purpose of select passages, the exact emotional timbre and key tone of each note and beat, he simply has to play. You can see, right at the beginning, what kind of advantage this gives him...and also the enormous responsibility for the fate of his own music. However...isn't this the way it should be? If the trials of composition (or indeed of everything involved in the writing, production, and release of his music) are more demanding, the rewards of success must be that much sweeter. This is the advanced equation that the solo artist comes to know by heart, in private, in the inviolable world of his own thoughts. For most of them, for the ones who are unapologetic, who simply want to produce music without all the excessive tangents to their expression that inevitably arise from creating a band as a vehicle of artistic endeavor, they wouldn't have it any other way. Anyone who reads this magazine regularly probably knows my own views concerning solo artists, so I won't bother to go into tedious detail about those convictions here. Let me just say that I have always believed that in the advancement of art, of any genre of music, in movements in aesthetics, individuals have to be isolated in order to reach ripeness - in order to allow what is original inside of themselves to reach a purity in the internal dialogue, and thus be broadcast later as ideal creations or works of art, sprung from the unconscious in a manner that illusionists refer to as spontaneous while the artist himself can recall the immense labor of birth, polishing, construction, eradication of the superfluous, etc. If what I, individually, seek as a listener is a straight line, the shortest point between my mind and the mind of a composer, a clarity and sincerity of purpose, a nexus where my own emotions come into closest proximity with the will, desires, and thoughts of another (isn't this the motivation at the heart of any kind of communication?) then listening to solo artists, those who remain free of compositional restrictions and who write music for themselves, to bring the internal into the external - those for whom the only strictures of creation remain their own personal issues in the artist's evolution that all must travel through alone - must surely be the apex of any important listening experiences I could possible have. I have built this theory of my own response to music from experience, and it remains solo artists whom I seek - almost instinctively, now - in my continuing efforts to reduce the effort of listening. How many souls should I have to pierce through in order to get to the heart of the matter? Ideally it will be only one. This album is of course a second series of resolutions, as I already said above, representing not only an advancement in the breadth of musical language that Velaetis carries within him, but also impressive widening of the range of his self-created entity's powers of genre compression and cross-pollination. Death metal, black metal, doom metal? What are labels to the true artist? Drawing from many different influences (most of which have already been pointed out by this reviewer and others), and yet, when all is said and done, rising atop those monuments to plan and build further monuments, the walls of a new civilization being put together in interlocking forms over the ashes of another...this is the new art of Darkness Eternal. Simply put, it would be a dire mistake to point to a few founding father bands as influences here and think that this somehow explained this band's entire output. These vicious critical circles makes blues musicians of us all, and so (in more than one way) slaves of an eternal whitewashed order. No, it must be recognized that in the creation of a viable, extensive, completely personal sense of aesthetics, as it is expressed through the musician's constant outpouring of sound, there is simply a point where the influences give way, when they are broken through and the soul takes those first steps into a new territory - which of course, as it is unconscious ground that is covered, memories, dreams, desires - will always remain half-familiar to the artist himself, if not to the rest of us. I think Velaetis has accomplished that here, as the majority of this material does not really sound like any other band. Of course there are the various references that are thrown out as sign posts, landmarks, etc. in order for us to orient ourselves, and for the composer to align himself among the criss-crossing webs of genre affiliation, but that is their only purpose. The basic drive at the center of it all remains the selfcreated machinery of Velaetis's efforts to communicate emotional states, and while his music may carry sharp knives in order to cut away all of our comfortable layers of personal protection - those cocoons that protect us from the world - they are double-edged in that they are constantly slicing away his own protection as well. Violence is necessary in order to reach the soul. As the art evolves, the form that is the musician's pure message advances further and further into the light, and our sight is made clearer in order to see it. Of these nine songs (the number nine was held to be sacred by the Ancient Greeks as it represented the count of the Muses, those goddesses who inspired) I think I can point to a select few as being especially important to me. For example, the first song, the title track, is a tour-de-force that sums up, in six short minutes, almost the entire range of this band's evocative ability. Journeying from melancholy, world-weary melodicism (braced and mounted behind sheets of translucent guitar reverb like a Catholic relic beneath breath-frosted glass, or life itself just out of the reach of an invalid, framed in his view in a rainwashed window at the close of an Autumn sunset, the darkness always on the horizon) to triumphant, bitter lance-points and sudden lunges of rhythmic cruelty which lapse at their apex back into languid moments of depression, from strident, militaristic batterings of distortion which explode outwards at the climax of their short, microsecond-long lives like hollow point bullets to waves upon drowning waves of suicidal turns toward the black, once again, the music itself becomes, in its abstractions, a sort of unsafe harbor at flood tide, the murderous calm before an ever more lethal storm. Velaetis succeeds here in functioning as a true artist, an architect of the beautiful, by transforming bitterness, despair, the ending impotence of rage, into forms that soothe, comfort, and inspire - he turns tragedy into triumph, if only for seconds at a time...but what artist could ever do more? If these claims seem extravagant, I only have this music to blame. I can only communicate what these songs create inside of me... For those who fear, the rest of the music follows suit...dark, brooding, immensely heavy death metal, with Velaetis's gift for melodic transport shining through in every moment. However, these are just surfaces, it what the melodies are saying to me that is really important... Considered pragmatically, turning to the technical, what Darkness Eternal gives us is a base, a foundation, a sensibility that has been reared on the most ethereal elements of death metal. One can feel, by listening to this music, that the parts of other albums, other songs, other artists' work that have inspired the composer in his own way has only been the moments - sometimes sheer seconds of upward flight - that reach towards the transcendent, that climb over themselves in order to create worlds completely separate from our own. It is this concentration that makes the art of Velaetis idiosyncratic in this age of bands who have turned completely towards this world and who have forsaken the abilities of music to instantly cause to come into being dimensions of sound that allow us spiritual movement (either towards the sky or downwards, it usually doesn't matter) outside the range we have as waking, breathing human beings. Inspired by these songs, I have to ask: if the music isn't transcendent, if it doesn't lead us to farther shores, what is the use of it? The etymological root of the word 'mundane' is, after all, the Latin term 'mundanus', which not only means 'earthly' or 'of this world', as it has come to be understood, but also is the word for a specific type of tomb. Artistic movements die as they drink too much of the stagnant reality we are given every day. Is it a coincidence that Velaetis himself often refers to the Earth as a 'graveyard'? Of course, this has more than one meaning (the one I am giving it here), but it is because death metal has immersed itself so completely in 'reality' that it ceases to be inspiring as a genre, on the whole. And death - what seemed to most as the goal and main focus point of this movement - now becomes clear as only a method of transcendence in itself, both as a gate to further mysteries and the starting point of a return to life, braced with eyes filled with the sights of other worlds. Darkness Eternal wants to go beyond. What is death metal if it doesn't go past death...in that sense, beyond this life? If it is a paradox to quicken life by exploring death to the limits of its personal meaning, then I put my faith in paradoxes. The best death metal, I think, reminds us of this problem, this complexity, or, rather, it puts it at the forefront of our minds by way of diffuse, abstract communication, on the other side of the reach of language or direct verbal signs. Perhaps what we need, in the end, is not so much a telling as a building, a world that we can enter wordlessly without the interference of our conscious efforts to interpret, and it is bands like Darkness Eternal that excel at this form of art, this bringing-into-being of personal dimensions because, in the end...it is perhaps the only way they can communicate effectively. 'Satanchrist', no matter what the lyrics may say or the overt concepts may point to, convinces on the merit of the music alone, the basic equations of guitars, bass, screams, and drums as they are converted into pure sound, pure form, and then translated back into meaning by my memories, my desires, my own anger, my own isolation, my own internal darkness... State of the art, perfectly constructed music by an uniquely talented artist, by a man whom I am proud to call my friend...

Highly Recommended.
U. Amtey
11 February 2001


DARKNESS ETERNAL - Satanchrist (self-released 2001)

It's been about a year and a half since the release of Dawn of the Suffering and George Velaetis is back with Darkness Eternal's sophomore record, Satanchrist. As you readers know, I counted Dawn of the Suffering as one of the year's best albums in 2000. Now I'm prepared to proclaim Satanchrist as one of this year's top records. Satanchrist sees George progressing musically in a very healthy way. Though I thought Dawn of the Suffering was skillfully written, George's influences--Incantation, Immolation and pure American death metal in general--were plain to see (or hear, rather). This album is a bit more original sounding. Of course, there are still similarities to the two above-mentioned bands, with the emphasis more on Immolation this time; now, however, George is using those influences as a springboard to something greater. Still present are the overwhelmingly dark doom metal touches ("Entering the World of the Dead") as well as the all-out blasting speed attacks (the title-track opener), mixed together for a truly crushing outcome. Each and every riff is a tasteful journey into memorability, creating a need for constant repeat listening. One of the many cool things about Satanchrist is the continued use of what I lovingly term "metronome blast", only this time, instead of just doing the kick-drum metronome, he expands it to encompass much of the cymbal work, be it hi-hat, ride or crash. Returning to George's aid at the soundboard is Stew Kirkwood and I'm pleased to say the production is top-notch, exceeding that of Dawn of the Suffering! Each instrument is clear and evenly-mixed, with thunderous bass drums, always intelligible snare--which is a most vital component in any metal release, in my opinion--and equally balanced rhythm/lead guitars and bass guitar. George's vocals could stand to be a little higher in the mix, but he does a fine job, continuing his uniquely caustic and ominous full-on death growls. I tend to think most bands release their best material early on in their careers, but Satanchrist shows that Darkness Eternal still has plenty of ideas and doesn't show any sign of letting up. I, for one, can't wait to hear the third Darkness Eternal record. This is easily one of the best albums of the year! Superb. Preferred tracks: "Entering the World of the Dead", "Satanchrist", "Dark Salvation", "Cross of Lies". Reviewed by Kenneth “Goden” Nieman.

GRENDEL WEBZINE, Summer 2002 (http://www.angelfire.com/music4/metalattack/pg22.html)

Darkness Eternal
"Satanchrist" 2001--B

Hailing from Canada, George Velaetis, is truly a talent, playing all the instruments himself on his second self-released full length, "Satanchrist". "Satanchrist" is mid-fast paced black metal with death metal vocals. Mr. Velaetis's guitar work on his Mockingbird-quantily named-'The Demonaxe' for rhythms & his Warlock-'The Serpent' for leads, are impressive to say the least. Darkness Eternal music is evil, dark, and satanic. Nine tales of blackness included on "Satanchrist", some titles include: "Cursed to An Eternal Damnation", "Dark Salvation", "Cross of Lies", & "Descending in the Red Sea". If you like black metal, you will enjoy this piece of work, reminiscent of Dark Throne. The art work on this release is done by Jonzig (http://www.jonzig.com)-very nice. --SkullCrusher

IN DARK PURITY WEBZINE, Spring 2003 (http://www.geocities.com/indarkpuritypilipinas/auditoryabused.html)


This is George Velaetis' second release and it continues the onslaught that "Dawn Of The Suffering" began so if you dig the debut you'll definitely go suicidal on this one. George Velaetis outdid himself here in terms of songwriting, production and not to mention the killer cover artwork by Jon Zig that really captures the darkness of the music. Get a copy and slash your wrists.

INFERNAL HERETIC WEBZINE, Winter 2002 (http://www.fortunecity.com/emachines/e12/236/blackmetalzine/id25.htm)



KREPUSKULUM WEBZINE, Summer 2002 (http://www.geocities.com/krepuskulum/8cdsa.htm)

DARKNESS ETERNAL - Satanchrist (CD - Dark Salvation Productions - Canada).

The underground darkness nightmare from Canada returns with the second full-length!! Darkness Eternal play a kind of extreme dark black death metal, and its debut album was a good surprise, this second act is more intense, with a great sound production and a putrid beautiful cover. Darkness Eternal is a one man band and the mastermind behind this tormented musical allucination is George Velaetis, a good instrumentist and a gore vocalist!! The album have climatic surprises all times, creating real nightmare/apocalyptic atmospheres, the best moments are the tracks: "Entering the World of the Dead", "Descending Into Forever" & "For All Eternity". Dark death monster to bury your soul in the black abysses of eternal shadows!

METALCORE FANZINE, ISSUE #31, Spring/Summer 2002

Darkness Eternal/Satanchrist-My friend George returns with his 2nd release and this is much better than his first as good as that was. Think Autopsy, Incantation and Immolation mixing together. Riff after punishing riff will have you on your knees bowing. And to think he does this all on his own!!! Vocals are Immolation like and totally rule. This is one of the better unsigned bands out there for sure. Info: darknesseternal666@hotmail.com

METAL NIGHTMARE ZINE: Issue #12, Spring/Summer 2002(http://www.metalnightmare.com/issue_twelve/reviewstwelve.html)


Finally. A new satanic death metal band. I had thought the genre had been completely abandoned in favor of childish rantings of depraved sex and mutilations. This is a one man project, and George Velaetis truly does everything. Vocals, guitars (using different models for rhythm and lead), bass, and drums. But not keyboards. Not a single plink or plunk is to be heard on this album. I'm truly grateful for that. Although hailing from Canada, DARKNESS ETERNAL is immersed in the New York death metal sound favored by the likes of IMMOLATION and INCANTATION (yes, some of us remember when they came from NY, not Ohio!). An abysmal, elder god sort of feeling pervades the album, with an extremely brooding mood. Darkness eternal indeed. I might be reading too much Lovecraft as of late, but Cthulhu may well be imprisoned within this CD. DARKNESS ETERNAL has the same kind of wandering songwriting style favored by INCANTATION, and one never knows what dank and black corridor George will lead us down next.

MUSIC EXTREME WEBZINE, Winter 2002 (http://www.musicextreme.com/CD0201.htm)

DARKNESS ETERNAL - SATANCHRIST (Dark Salvation Prods., 2001)

Produced by George Velaetis
Recorded and Engineered by Stew Kirkwood
Graphic Arts Carol Pylypow

Tracks: 1-Satanchrist, 2- Cursed To an Eternal Damnation, 3- Entering the World of the Dead, 4- Cross of Lies, 5- Descending Into Forever, 6- To Save the Lost, 7- Drowning In the Red Sea, 8- For All Eternity, 9- Dark Salvation

George Velaetis sent me some months ago his previous Darkness Eternal album, called "The Dawn of The Suffering"...and this "Satanchrist" is a big improvement, not only in sound but in the composition side too. That mix of death metal, black metal and doom with a lot of atmospheric parts is here too but much better. George is the man behind all this music and he is also performing all the instruments doing a really good job with all of them. The music here makes a big emphasis on atmosphere, melodies and the different moods that are creating (specially on the parts with a lot of clean guitars (that for my ear seem sometimes like keyboards...even if there is no use of keyboards on this CD) or where the guitar is doing really melodic lines). Completely recommended for death/black fans who want music with a lot of ideas. Favorite Tracks: "Entering the World of the Dead", "Descending Into Forever" and "For All Eternity".

NOCTURNAL HALL WEBZINE, Winter 2005 (http://www.nocturnalhall.com/reviews/D/darknesseternal_satanchrist_e.htm)

Label: Dark Salvation Productions
Release: November 15, 2001
By: Empress
Rating: 9/10
Time: 49:20
Style: Death/Black/Doom Metal
URL: Darkness Eternal

Picking up after his debut album, George Velaetis' one-man project DARKNESS ETERNAL, was ready to unleash his destructive forces on the metal society with his second full-length release: Satanchrist. Progressing not only musically, but talent wise, this release proved to be more extreme, more profane, more disturbing, and brilliantly darker. Satanchrist is the album that cemented DARKNESS ETERNAL's unique sound. Catapulting DARKNESS ETERNAL's, status from underground phenomenon, to being voted best independent/unsigned band of 2002, best self-released CD, and rated number twelve in the top fifty releases of 2001-2002 by Vae Solis Webzine. Among many other praises, Canadian Assault Zine praised the release "for elevating itself to that next level separating itself from the pack of good bands to the small legion of great bands in this genre." Now undoubtedly one of the most unique and unrelenting projects in the underground metal scene, lets put it to the test. How exactly does this album rank against all the praise it’s been given? Let’s find out....

Starting up where the previous album left off, the second I put this disc in my CD Changer, I'm hooked into it. More brutal and much better recording sound make this album more directly devastating than its predecessor Dawn Of The Suffering. Without a doubt this album is a blasphemic praise to the Dark Lord, emphasized by dramatic growling, down-tuned guitars, and superb drum blasts. Track 2 Cursed To An Eternal Damnation artfully precise guitar-work, blaring into an aural attack of brutal riffs and double-bass onslaught. Track 3 Entering The World Of The Dead takes more of a black metal approach on its riffing, a bit faster and more blunt and to the point. This track is by far one of my faves off this album. Hurling a jagged spear at your soul, this album is a demonic episode of blistering guitars, gut-wrenching drum work, and brutal vocalizations. Right when the song gets to the point of being almost too brutal, it hits you in the face with a slow, clean almost doom-ish sound. Not only will this album appeal to any black or death metal fan, but even the most die-hard Doom metal fans will feel right at home with this album. A must have for any metal fans collection. This album has most assuredly lived up to the praise it has been given; by far one of the most original albums I have heard in a long time.

OLD TEMPLE WEBZINE, Spring 2007 (http://www.magazine.oldtemple.com/darknesseternal_satanchrist_vc.html)

Second album of Canadian Darkness Eternal is in one word Evil! Total old school death metal inspired with early recordings of Incantation and mixed with debut of Grave and Autopsy plus some parts with clear guitars. And what else can I say apart from that here I should end this review? On it we can find mainly everything what each maniac of old death metal can only wish of. I'll start from vocals which are low growls and they completely fill the atmosphere created by dark and repleted with Evil guitar riffs. The riffs are built better comparing it with the debut album, these are more filled with finesse and I would say there also more slow parts and braking tempo parts in suitable moments in the songs but it doesn't mean that these are predictable, these just suits better in the whole composition. Rhythm section plays better patents maybe even easier to remember, less chaotic; it just sounds like all this evil was put into listener direction and thanks to be a little bit more catchy is easier to fill in him. I will describe it that progress and musical development of George went forward and everybody can easy hear that. "Satanchrist" also brings better cover art done by Jon Zig himself, which might be less symbolic but still dark and sick in 100%. I can say only that you should spend some money on this album because it is worthy position on death metal scene.




Darkness Eternal (Can): "Satanchist" CD. Second album of this very underrated but fantastic band. Same style as always which means very dark death /doom metal with heavy riffs, killer leads, rotten vocals, and pounding drums. Totally recommended.

PRELUDE TO DARKNESS WEBZINE, Spring 2002 (http://www.geocities.com/prelude666/reviews/feb2002/reviewde.html)

"Satanchrist "
When can we say that a band (or project) deserves to be considered as wild, interesting, or simply good? Well, it seems to us that among the many factors that come into play when making an objective critique, we think that one of the factors that plays an important role is the feeling of satisfaction that you get from listening to the disc and that makes you say something like : "Shit, that's a good disc!" Definitely, a second production should show improvement in relation with its predecessor; with this we don't mean that there should be radical changes, or dumb experiments, but the opposite altogether, simply to maintain a line and drive towards perfection. Such is the case with Darkness Eternal, and that is how its only member, George Velaetis, who, after delivering his good debut CD "Dawn of the Suffering" in mid-2000, presents at the end of 2001 the disc labeled "Satanchrist", a production full of hate, which definetely scores higher than its predecessor and, in addition, shows the progress with respect to it to which we referred earlier. In "Satanchrist" you will find heavy material from the darkest side of the human nature and expressed through the forcefullnes of death metal. There´s no doubt that George worked very hard to acheive a disc like this, and the result is simply magnificent : nine killing songs that keep the fire of true death metal lit on! The musical job has improved in many ways : the percussion appears pretty attractive when attention is paid to it, and the guitar riffs are now even more precise and drilling than before; it's difficult to point out a particular song, given that all of them share the same devastating apocalyptical atmosphere. By the way, when "Dawn of the Suffering", the first disc by Darkness Eternal, came out, one of the things that we found least attractive was the disc cover and the album's artwork, but in this opportunity, the artwork for "Satanchrist", which was in charge of Jonzig, is in general pretty good. We´re certain not to be making a mistake by telling you that this is a disc that you must have!

UNCHAIN THE UNDERGROUND WEBZINE, Summer, 2002 (http://www.unchain.com/current/music_reviews23a.html#5)

Darkness Eternal - Satanchrist (Self-released, 2001)

Rating: 8.5/10

Further solidifying his spot as one of the most proficient "one man bands" in all of extreme metal, George Velaetis returns with the second Darkness Eternal full-length, Satanchrist. The Incantation and Immolation-influenced death metal that made up the debut release, Dawn of the Suffering, is still very-much the flavor on this release, and once again Velaetis expands on the formula of those bands to bring new things to the sound. Tracks like "Descending Into Forever" display the dynamics that Velatetis is capable of, going from brutal-yet-melodic guitar passages to all-out demonic blasting at the drop of a dime. While most one-man projects go for a streamlined approach more due to a lack of proficiency on each instrument, on Satanchrist Velaetis has again managed to sound more like a dual-guitar, full band than most full bands do. The material is in the same vein as Dawn of the Suffering, with little differentiating one disc from the other aside from the improved production on Satanchrist. - Al Kikuras

VAE SOLIS WEBZINE, Winter 2002 (http://www.rusmetal.ru/vae_solis/reviewsblackxv.html)

Dark Salvation
Rating: 6 / 6

“Satanchrist” somehow reminds me of “Jesusatan” by INFESTDEAD, not only because of similar title, but also due to the fact it’s antichristian death metal as well. Musically different, though. If there’s a band DARKNESS ETERNAL sounds rather like, be it INCANTATION. Yep, almost the same kind of stuff: mid-paced and sometimes even pretty slow dark death metal, although way more atmospheric. If you asked me who I prefer, I’d definitely say DARKNESS ETERNAL. Note that George is the only one behind the band, and this is not a common thing nowadays, at least when it comes to this genre. Do I like it or not? I believe… yes. Yes, I do like it. And hopefully, so will you. And no, there’s no drummachine whatsoever. No keyboards. No girls. No happy melodies. Just darkness itself. Unbelievably huge step ahead in comparison with “Dawn Of The Suffering”, the former work by DARKNESS ETERNAL. (review by Herr Stalhammar)