The figure of a snake has always been present within the realms of Rock and Metal, giving names to bands, gracing the album covers and accompanying the most notorious stage antics the genre's ever witnessed. The Polish band Cri, fronted by legendary singer Grzegorz Kupczyk, are the next to utilize it as the symbol of the original si becomes a theme of their new album 'Snakes Of Eden'. In spite of CETI's previous offering, 'Brutus Syndrome', having fts certain catchy moments, it's been quite a while since the band had an instant hit up their sleeves. That is, until a single 'Wild & Free' saw the light of day prior to the release of '...Eden'; it ticked all the right boxes with its power, simplicity and eighties-tinted, infectious melody. The rest of the album is deliberately heavier in comparison, starting from the slightly Iron Maiden-esque, powerful opener 'Edge Of Madness'. Although modern production and thick instrumental background make it impossible to call 'Notes Of Freedom' or '2027' a blast from the past, there are certain flavours to both which all fans of eighties Melodic Metal will enjoy —the keyboard embellishments in particular. Further into the album there's a place for both rich, elaborate pieces of Heavy Metal grandeur, remarkable for its guitar wizardry ('Empire Of Loss', 'Snakes Of Eden') and furious gallops driven by a pulsating rhythm section ('Fire & Ice', 'Midnight Rider', 'Break Down The Rules'). Also, there's no typical ballad on Eden', in spite of the slow-ish and atmospheric opening part of the seventh track 'Lady From The Dark'. Guessing just by the amount of sheer energy captured on 'Snakes Of Eden', you might have thought it's the first time CETI had hit the recording studio. The band's cohesiveness and mature sound, on the other hand, speaks volumes about decades they've spent polishing their talents. But what really makes one raise their eyebrows is the fact that these ten songs have been processed by the same set of pipes which helped first introduce Metal music to Poland more than thirty years ago. This leads to a Więcej conclusion that 1958 might prove itself to be the best year for the future history of Heavy Metal. There must have been something in the water then — no matter if we talk Worksop, England or Poznan, in what was then the Polish People's Republic...
Alexandra Mrozowska
The figure of a snake has always been present within the realms of Rock and Metal, giving names to bands, gracing the album covers and accompanying the most notorious stage antics the genre's ever witnessed. The Polish band Cri, fronted by legendary singer Grzegorz Kupczyk, are the next to utilize it as the symbol of the original si becomes a theme of their new album 'Snakes Of Eden'. In spite of CETI's previous offering, 'Brutus Syndrome', having fts certain catchy moments, it's been quite a while since the band had an instant hit up their sleeves. That is, until a single 'Wild & Free' saw the light of day prior to the release of '...Eden'; it ticked all the right boxes with its power, simplicity and eighties-tinted, infectious melody. The rest of the album is deliberately heavier in comparison, starting from the slightly Iron Maiden-esque, powerful opener 'Edge Of Madness'. Although modern production and thick instrumental background make it impossible to call 'Notes Of Freedom' or '2027' a blast from the past, there are certain flavours to both which all fans of eighties Melodic Metal will enjoy —the keyboard embellishments in particular. Further into the album there's a place for both rich, elaborate pieces of Heavy Metal grandeur, remarkable for its guitar wizardry ('Empire Of Loss', 'Snakes Of Eden') and furious gallops driven by a pulsating rhythm section ('Fire & Ice', 'Midnight Rider', 'Break Down The Rules'). Also, there's no typical ballad on Eden', in spite of the slow-ish and atmospheric opening part of the seventh track 'Lady From The Dark'. Guessing just by the amount of sheer energy captured on 'Snakes Of Eden', you might have thought it's the first time CETI had hit the recording studio. The band's cohesiveness and mature sound, on the other hand, speaks volumes about decades they've spent polishing their talents. But what really makes one raise their eyebrows is the fact that these ten songs have been processed by the same set of pipes which helped first introduce Metal music to Poland more than thirty years ago. This leads to a Więcej conclusion that 1958 might prove itself to be the best year for the future history of Heavy Metal. There must have been something in the water then — no matter if we talk Worksop, England or Poznan, in what was then the Polish People's Republic...
Alexandra Mrozowska
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