Writhing loose, crawling beyond the stagnation of all too human self-dissolving tendencies toward liberation from “fallenness” means confronting the inevitable dead-end of life via angst, embracing existential dread under the bat-winged console of Athens, Greece-based doom metal quartet ΤΈΛΜΑ who bring their own form of crestfallen gloom to the ‘epic’ doom metal subsect on this debut full-length album. Carrying bold voice via an ancient tongue these fellowes channel only the best traditions of the sub-genre on ‘Ανθρωποβόρος’, acting in the spirit of the past rather than mutilating it into vague semblance. While the effect of this is initially profound and gloriously achieved the depth of the experience provided is largely front-loaded, leaving the mind wavering ’til the end.

Τέλμα formed circa 2017 by way of bassist Marios (Bohemian Grove), guitarist/bassist Kostis, and vocalist Vangelis (Voak) naming traditional doom metal as their core intent. Through dramatic vocal station, brief jumps of speed and a harmonized guitar solo or two the band’s ~9 minute introduction via “Ξίφη Στραμμένα στο Φοίνικα” (2021) made good on their interest in the more operatic ‘epic’ spectrum of post-Candlemass doom metal. With some admirable awareness they’ve already pinpointed their niche appeal in mention of Scald and Procession (Chile) alongside well-known Finnish and British doom troupes as inspiration though I would suggest fans of Italian doom will appreciate their sound and cadence per that first single. That first song doesn’t fully resemble the album they’d craft beyond that point yet the quality of their study and performances spoke directly to some earnest fandom of traditional doom metal.

The trio would become a quartet a few years later per the addition of drummer Chris Gkountelos (Extremity Obsession) and the independent digital release of ‘Ανθρωποβόρος’ followed not long after in late 2024. This review won’t go into so much detail, as the album has been available for preview for nearly a full year, but unless you are paying close attention to Dying Victims‘ output this difficult to search band/release deserves a signal boost nearby its physical release. On that same note there is a bit of an uphill climb here for folks who don’t read/speak the Greek language though I believe the more adventurous seeker of the epic doom metal niche will appreciate the strong personage of vocalist Vangelis well before they go looking for a lyrics sheet. The choice to go with their native tongue offers a fair trade of natural cadence and intrigue in exchange for something less accessible. This’ll be a non-issue if you don’t bother with lyrics, though I’d suggest some deeper meditation upon your own fandom if you are digging -this- deep into heavy metal and remain incurious of its statement.

Stoking the retro-doom mind from the first few notes and throwing in a Tim Baker-esque howl or two as opener “Καλότυχες” kicks in Τέλμα are a bit all over the place via this (relatively speaking) energetic first piece as the greater aggregate of suggested inspiration all pans out within the song’s busied stretch. At the very least we know who these folks are up front via this song and most all of those ideas are explored throughout Side A, including the slower more consistent tristesse of “Αντίο”. Otherwise the peaking interest on the album arrives quickly via “Ερπετό”, the most inspired blending of traditional doom metal and epic heavy metal riffcraft on ‘Ανθρωποβόρος’ for my own taste. The remainder of this pro thread comes via “Φωνή” where Vangelis‘ access to the baritone side of his voice alongside some spooked vibrato and sorta-growled lines recalls something like Root to some degree, a piece which takes the ritual weirdness of darker eastern European doom and gloom and gives it some cross-eyed riffing (~2:30 minutes in) for a demented, inventive piece which stood out on every pass.

Τέλμα haven’t run out of ideas or interest on Side B but I’d generally found the second half of the album less engaging overall. The dramatic cresting of “Φανοστάτης” matches the level of intrigue brought via “Ερπετό” from a different angle, echoing some inspiration taken slightly outside of the early Candlemass circle. Otherwise the final moments of the album don’t fully live up to the enthusiasm of its starting point as the mood lingers in one place too long despite the broad oeuvre of the band having been stoked. It all still works as a full listen and ‘Ανθρωποβόρος’ remains a consistent showing of traditional doom metal though the experience was front-loaded. The appeal of the band’s work is clear enough at this point as a unique sub-genre entry with a curious soul behind its familiar craft. A moderately high recommendation.

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