GODDESS OF DESIRE – Awaken Pagan Gods

This band was born in 1995 somewhere in Holland with the intention to revive at least a small part of the 80s magical and metallic atmosphere. For this reason, Goddess Of Desire started performing cover songs from legendary bands from that most important decade of Metal music. In order to enforce their live performances, they implemented an elaborate dressing style with corpse painting, spikes, fur, and studded leather belts, along with a colorful stage show comprising pyrotechnics, skulls, chains, and two females whose costumes and dances create a unique atmosphere. Their live performances in Holland whereabouts built their reputation. To that extent, that they started writing/playing their own songs. The first serious step in developing their discography happened in 1999 when Metal Blade Records offered the band a contract that lead to the release of the second Goddess Of Desire full-length album, Symbol Of Triumph. Their most recent album, now, is entitled Awaken Pagan Gods.

Definitely, the music in Awaken Pagan Gods is by no means groundbreaking; the riffs are simple, but catchy, the rhythm section is solid with a galloping tempo, and the vocals are sometimes aggressive with deep growls and sometimes powerful and harsh “full of Epic” feeling. The lyrics are not intellectual, but serve their role like they did in the 80s with bands like Manowar and Running Wild.

It’s really fun to track down all the music influences that fill the 11 tracks of the album (there is a small intro). “Dead End Street” is a classic Thrash track in the famous style of Destruction and some Annihilator-esque guitar riffs in the background. “Demolition” and “Booze” feature a solid heavy-as-hell bass guitar line and the matching evil vocals that have the rawness of Mr. Chronos’s legendary and infamous style during the glory Venom days. There is a Motorhead feeling in “Nothing’s Free” with the repetitive rhythm guitar riff, the tormenting bass guitar sound, and the Lemmy-like harsh and “dirty” vocals. The band pays the proper respect to the raw and Maiden style of the Epic Metal scene in songs like “March To Meet,” “Holy War,” and “Victory Is Mine,” where the catchy leads and the sing-along chorus lines are in the spotlight. “Bloodstained Sight” is like a tribute to the German Thrash scene with Sodom influences implanting, ton-heavy bass guitar sound, and devilish vocals.

The sound production has succeeded in reproducing the 80s atmosphere, presenting a raw, unpolished and powerful package that will remind the old and teach the young about a small part of Metal history. Goddess Of Desire was formed to play some old-school Thrash meets Epic Metal and to pay respect to the pioneers that paved the way back in the rough years, and that’s what whoever buys this album will find if they want to take this retro trip. The bottom line it is good to get in touch with history because sometimes you feel lost with all the new trends in the current Metal scene.