| Musical Style: Power Metal | Produced By: Bob Katsionis |
| Record Label: Symmetric Records | Country Of Origin: Greece |
| Year Released: 2025 | Artist Website: Dynamis |
| Tracks: 9 | Rating: 85% |
| Running Time: 44:42 |
As its name implies, the July of 2025 debut full length Byzantine Metal from Dynamis is a power metal project based around orthodox hymnography and hymnology. When further factoring manner in which the Athens, Greece based band of vocalist and keyboardist Christopher Laskos and multi-instrumentalist Bob Katsionis (guitars, bass, drums & keyboards) lyrically draws heavily from the Book of Psalms, I am reminded of Himmelschor, whom on its June of 2025 Soundmass Records self-titled debut re-imagines timeless hymns within a Gothic metal context. Similar to Himmelschor, Dynamis makes generous use of layered choirs, choral vocals and Gregorian chanting to create a cathedral like landscape evoking images of the melancholic, grandiose and atmospheric.
Musically, both bands are near images of one another in that Dynamis takes a foundation of power metal and branches out into epic, symphonic, progressive and Gothic metal territory. Main difference, however, and as noted, Himmelschor approaches from more a Gothic standpoint in utilizing operatic female vocals and clean male vocals alongside those on the occasional extreme side, while Dynamis makes exclusive use of baritone and classic tenor male vocals. Lyrically, the Himmelschor prose is entirely in English, while Dynamis break down evenly between English and its native Greek, albeit I do not have a lyric sheet to confirm specifics.
Opener “Kyrie Ekekraxa (Psalm 140)” fades in to church bells ahead of flowing forward to the Gregorian chanting and sure rhythm guitar compelling its span. Two and half minutes in and impulse picks up as guest lead vocalist Billy Vass (Terra) ameliorates the burnished Theocracy style melody with his classic tenor form (akin to Rob Rock). The group does not forsake its instrumental side found in its use of classical style lead guitar.
Medieval style choirs compel “Polyeleos (Psalm 135)” its breadth, interweaving with symphonic keyboards to create a swarthy if not doleful effect. Song shifts between reticent and restful mid-tempo melodic hard rock passages and others uplifted in regally splendid power metal form- back and forth and back and forth again. A keyboards solo covers the instrumental moments.
“Kyrie Eleison” initiates in form of a Gothic ballad as cinematic keyboards and buffeting drums join with Gregorian chanting to speak of the wistfully pensive. Song picks up at the minute and half mark to make a more sonorous statement, as voluminous guitars join with Vass’ soaring vocals - ‘have mercy, have mercy on me…’ - to gallop with power metal fury. All the while the Gregorian chanting makes its elegant presence felt.
“Antiphon (Psalm 145)” personifies a moody and mid-paced joining of entrenched rhythm guitar, symphonic keyboards and church organ. At moments notice, however, song intermittently picks up as hectic double bass and every bit uneasy guitar riffs take command. Katsionis’ scintillating lead guitar rounds things out instrumentally.
“Kontakion (To Thee The Champion Leader)”, two and half minutes of baritone chanting and deeply resonant keyboards, leads the way to “Alosis 1453 (Psalm 78)”. One of albums signature tracks, it hits with knife-edge authority from the start to a symphonic joining of cinematic keyboards and despoiling overtures as deep end choral vocals prevail to speak of the medieval. Upshot is a profound, unfathomable and uncontested mindset to stay with you for time to come. Inspiration elevates for the upraised instrumental run.
“Trisagion (Святый Боже)” impresses as albums most expeditious. No, not speed metal but ambitious nonetheless, emanating a straight from the gate daring mentality as rolling drums, swirling key boards and staunch guitar coalesce with somber straight from the cavernous depth vocals. Song, however, makes intermittent time signatures to a slower form with the contemplative doom like written on it.
“Cherubic Hymn” sees Vass return for his final performance, melding his classic tenor croon with choir like chanting and mosaic harmonies. Impact is bombastic and momentous, resulting in a worshipful melody and borderline progressiveness found in a weighty Theocracy like prestige. This one challenges “Alosis 1453 (Psalm 78)” as albums finest.
Opening to a thunderstorm and ringing bells, “Arate Pylas (Psalm 23)” forward to ominous overtures as distinguished riffs and cathedral like baritone chanting sluggishly draw things ahead. As incentive crowns, an uninhibited low end and grandiose keyboards take charge only for the intensive scene to draw back to a settled form. The Dynamis progressive aspect is understated.
If a fan of re-imagined hymns and/or hymnology within context of a power metal framework, aptly entitled Dynamis debut Byzantine Metal fits the bill. A power metal label, however, is limiting in that the group imbues its creative sound with aspects of the doom based, symphonic, epic and progressive. The baritone vocals and Gregorian chanting not to mention guest front man Billy Vass work to perfection in this regard, which leads to my lone constructive commentary: perhaps added variances would lend to the Dynamis sound if on future releases it follows the lead of Himmelschor and makes use of symphonic female vocals and occasional extreme growls. Still, I look forward to what the future holds for the duo of Christopher Laskos and Bob Katsionis.
Review by Andrew Rockwell
Track Listing: “Kyrie Ekekraxa (Psalm 140)” (6:19), “Polyeleos (Psalm 135)” (4:09), “Kyrie Eleison” (4:49), “Antiphon (Psalm 145)” (5:11), “Kontakion (To Thee The Champion Leader)” (2:20), “Alosis 1453 (Psalm 78)” (5:17), “Trisagion (Святый Боже)” (4:40), “Cherubic Hymn” (6:18), “Arate Pylas (Psalm 23)” (5:41)
Musicians
Christopher Laskos - Vocals, Choirs, Keyboards & Choir Conducting
Bob Katsionis - Guitars, Bass, Keyboards & Drums
Additional Musicians
Billy Vass - Lead Vocals
Kyriakos GP - Lead Guitar
