The Line Of The Border – 2020 - Satanath
K - 2021 – My Kingdom

Kolossus image




History & Biography
Occasionally known as ‘Kolossvs,’ this Italy-based solo act came into being in 2014. The founder claimed to have been in a band called T132 in the 1990s. The band and fellow Italian solo act Manon had a split release in 2018 before Satanath distributed The Line Of The Border album in early 2020. The follow-up came through My Kingdom Music and was simply called K.

The band was recording a new album in early 2022. It featured former Iced Earth man Raphael Saini.


Kolossus is a somewhat different, somewhat mysterious, somewhat rocking and somewhat extreme metal act whose debut album here is adorned with a colossus of an iceberg on its cover. It is a majestic sight and probably obscures or covers the disc’s title because it is nowhere to be found otherwise.
The album begins with a pop rock riff, say a la The Cult, of which the album unfortunately harbours several. Yet, and this is to be sure a pleasant surprise after that opening, The Line Of The Border contains a lot of metal of the superlative variety too. One is tempted to say the album’s title is deliberate and conscious of the fact.
Past the instrumental intro and the aforementioned poppy sound, comes Fog to spread its aura around. Alas, the sound is not as well recorded as the intro, but the drums crash, the bass makes no excuses and the speedy riffing is a complement to clean and harsh vocals, which are spread across multiple channels. Chains is next and is nothing more than a spoken word ditty with ‘nice’ soft acoustic strumming and deep thoughtful philosophizing. Yes, there is a hint of sarcasm in that description, but that is what Kolossus does. Extreme metal, snippets, pop and instrumentals merge into one. Sin is where the action is (pun intended). The obligatory female spoken intro gives way to an intrepid speed riffing to melt the smile off the Enslaved fan listener. The chanting and litany of voices are not far enough. That Fade To Grey-ish intro is soon forgotten on Sin as the track just blazes with extremeness and catchiness. Journey is low-pitched and features screeching guitars. The ominous bass sound is back on Reborn – all tracks have single-word titles – but the number is not much of a song. Shores is a cool and appropriate title with the sound effects recalling flotsam and jetsam, detritus and perhaps bottles smashing against a rocky shore. Norge comes next and, aside from potentially betraying the man’s influences, is high speed lo-fi metal with desperately throaty vocals. It all ends with an instrumental and an outro of course.
There is something special about Kolossus. The delivery is neither pure nor the most underground, but the act manages to take its environment and meld it into something it can claim ownership of. One hopes that the band’s music and career do not melt like the iceberg on the cover, which is going to succumb to global warming sooner or later. Certainly, when not growled, the vocals and chants are an acquired taste, but the band’s mix of alternative music, crooning, hypnotic and uncommercial metal works and sounds better than perhaps this description suggests.- Ali “The Metallian”