God in a Cone
Category: Electro / Industrial / Alt. Rock
Blurb: Nikos Marinos debuts the first album from his solo project God in a Cone, which seamlessly blends a variety of styles and genres into a delectable album sans boundaries.
When does Nikos Marinos sleep? Not only is the Athens, Greece native the vocalist in three different bands of different genres (Madleaf, iola11, and Slitherum), he’s the sole member of his newest project God in a Cone and has released three albums in a span of just five months. Marinos’ debut release, Agrypnia (a medical term of Greek origin meaning “insomnia,” which perhaps answering this reviewer’s initial question) does not conform to any one genre and celebrates a mixture of musical styles and influences.
It’s clear that Marinos loves music and finds inspiration from a variety of eras and sources. The songs on Agrypnia incorporate elements from classic electro/industrial, heavy metal, alternative rock, synthpop, hip-hop, and even a dash of reggae. “Agrypnia,” the title track starts off with a sinister mid-tempo beat and distorted synths, which gradually build into layers of deep soothing vocals contrasted with metal style screams and heavy guitars. The following two tracks stick to the mid-tempo beat, but incorporate gentler synths and strings with softer, more introspective vocals. “Beddrug” evokes a ‘90s alternative rock vibe mixed with electro, which is what would be the result if The Smashing Pumpkins and Depeche Mode had a baby. Mid album, things take a turn for the fast and furious. “Dog Dust” and “30 Days” explode into hard rock a la Metallica with a hearty dollop of Type O Negative. Marinos shows off his impressive vocal range that starts in the hypnotic valley of the baritone to the high peaks of seething death metal screams. The album winds down with the two-part tune “Death Laments.” It’s on the heavier side with metal riffs and double kick drums at parts, yet the chanted Greek lyrics at the beginning create the feeling of being a congregant at a dark mass in a remote temple in the forest. Part two shows the result of what was conjured at the dark mass in an up-tempo rock tune with distorted bellowing screams.
Agrypnia is an album that cannot be pigeonholed into one genre. Just like the metaphysical concept of the project’s name, God in a Cone, the inspiration and parts come from everywhere with no fixed points, yet they meld and mix seamlessly into something satisfyingly whole without needing to be defined.