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Come Taste The Misery – “Stone Dead Ballerina Uncovered” arrives on the scene with a roar!

Come Taste The Misery’s EP, “Stone Dead Ballerina Uncovered” arrives on the scene with a roar. This is perfectly, perfectly delivered guitar rock, with a grunge sensibility glistening under the scuzzy and grime of the distorted, muddy, guitar wizardry. Come Taste The Misery is a project created by musician and composer Christos Kariotis.  He is the guitarist for the bands: A Different Ending… and My Creepy Susanne. There have only been a few genuine indie rock guitar gods. Kariotis is one. A monster guitar player, and songwriter, with a notoriously deafeningly loud guitar mix.

Christos’ style is noisy and a tad gloomy, but nonetheless overwhelming and threatening to your eardrums. And “Stone Dead Ballerina Uncovered” is exactly what the aforementioned statements promise, a murky, distorted swamp of bone-crushing riffs.

It is an excellent record that offers a variety of different qualities. Just as important as the guitar, is the tight, creative bass playing, which lay a solid groundwork for Christos Kariotis’ stringed flights of fancy.

Nowhere is this more apparent than on the opening track “Stone Dead Ballerina” featuring Tom Llywarch, in which the bass almost sits right next to the axe. Not that it gets in the way. But the song is mixed in such a way that the bass is somewhat just as noticeable amidst the dark and heavy washes of guitar. “Dim The Lights” featuring Nathan Hakoune and Nina Red Bow is the meeting point between the Monsters of Rock and the DIY garage rock ethos.

“Love Is The Last Vampire” featuring Sven Smith, gives off the feeling that you’re not even listening to a record, per se, but rather have stumbled into the live jam session of one of the best unknown guitar bands in the world. The track drives forward with relentless chugging momentum, while dark but mellifluous vocals bring a catchy ear-warming twist to the proceedings.

“Ghost Of Love” featuring Tom Llywarch and Katty Verse breathes with the notion that music may be all that matters, from the truly awesome guitar work to the moody melody that sneaks up and surprise amidst the noise, to the resonant cello sequences which works because it seems to say, “just feel the atmosphere”.

It’s all about the atmosphere. Moreover, the music provides an incredible emotional urgency, the kind that is palpable. Christos Kariotis’ guitar work cannot be underestimated in this context.

What Come Taste The Misery create, is a recording that beholds an eloquent flow, and when paired with the incredible technicality, raw production, smart writing and overall chemistry the project displays, it morphs into one of the most unique and incredible EP’s of its kind, to be set loose this year. The closing track, “Every Time I Bleed”, featuring Lilliia Kysil is another impacting blend of grungy guitars and ethereal vocals.

All of these tracks are extremely visceral and portray the incredible amount of talent Christos Kariotis has in the palm of his hand. The sludgy, murky production and the extremely distorted guitars fuse to create an intense atmosphere, atypical to even some of the best rock records.

“Stone Dead Ballerina Uncovered” effectively demonstrates why Come Taste The Misery – who are based in Athens, Greece – should be a big deal in the alternative and indie rock worlds.



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