Review: The Magus – Daemonosophia
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Review by Jeger
The Magus – Daemonosophia
Record Label: The Circle Music
Year: 2026
Rating: 9/10
The Magus! Extraordinary man, extraordinary music… For those of you who may not be familiar, The Magus played a key role in the formation of the early Greek Black Metal scene; having contributed to Rotting Christ, Thou Art Lord and Necromantia’s discographies. As you already know, The Magus embarked on his namesake venture in 2022 and has released one, soon-to-be two LPs via The Circle Music: 2023’s “Βυσσοδομώντας” and “Daemonosophia”, scheduled for a February 20, 2026 drop. And it’s into the throes of sacred Grecian nights, of ritual’s grip and under the spell of true Hellenic Black Metal that we do throw ourselves during this time of celebration. New year, new album and as always, fresh perspectives to spark inspiration for the annual to come. This Is Black Metal of the transcendent kind! Of the intrinsic and vital consort. When the power of music and the mystification of magick converge, records like “Daemonosophia” are born.
The Magus
On a pure talent level, this is the cream of Greek Black Metal: grandiose, elaborate, dramatic and complex like a Bordeaux. The Magus has surely put together a fine lineup of musicians with the inclusion of the legendary Maelstrom (Thou Art Lord, Embrace of Thorns) and El (Thou Art Lord, Soulskinner). Not only is the talent there, but also a level of instinct-based cohesiveness that is usually only shared among Artists who’ve been playing with each other for years. And the passion… “Daemonosophia” literally pulsates with the kind of energy that only passion can produce. Like a living entity of its own and once you submit yourself over to it completely, that’s when it starts to work on you: hypnotizing, mesmerizing and engrossing, as the blasphemous intro, “Pater Noster”, is engulfed by the intensity of the following track, “Pseudoprophetae” – a keyboards/blast-ridden and urgent cut that also allows for The Magus’ talents behind his bass to shine. Like a subway train barreling its way through tunnels underground do his progressions rumble as all other phases glimmer at surface level, particularly percussion. Maelstrom alternates between power and finesse throughout the title-track. Pounding rhythms one second and delicate ride strikes the next. The atmosphere is alive with a nuclear sort of radiance, as concentrated sound and energy rage above in tempestuous fashion.
“Daemonosophia” features a reimagining of the Thou Art Lord classic, “The Era of Satan Rising” in “The Era of Lucifer Rising”. Chorales and dreamlike clean guitar parts set to abstract rhythms create a deep contemplative vibe just before the vocals kick in. The Magus delivers a colorful performance where he experiments with dramatic, almost theatrical styles along with his aged-to-perfection growl. Some moments are explosive like those that make up “Magia Obscura”, while others are captivating like what you experience during the intro to “The Chapel of Iniquities”: tribal rhythms and bizarre, terror-inducing soundscapes.
“Daemonosophia” comes to a close with the organ-dominated “La Llorna Negra”. From organ to piano and a whimsical parlor-esque vocal performance. Theatrical to the max here in these final minutes as desperate pleas are made to Satan, all the while as a most bewildering soundtrack to it all plays. A brilliant realization of an olde ghost story.
As the Sun sets o’er Olympian horizons; bringing forth the blessed Hellenic night in fabled fashion, The Magus continues to astonish us all! Something so intricately elaborate and yet without a second’s pretentiousness or gaud. A fine balance achieved and what a victory for Greek BM. You just don’t get this in Scandinavia. This is Mediterranean Black Metal Magick through and through. Look forward to this one. You’ll cherish it for years to come. Nicely done.
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