REVIEW: BLUE ÖYSTER CULT, Club Ninja

 

BLUE ÖYSTER CULT, Club Ninja (1985)

Columbia Records

Ό,τί καλύτερο έβγαλαν για τα 80s.

Μετά την ανανεωτική νότα του Revolution By Night, που όσο καλό κι αν ήταν, δεν εκτιμήθηκε όσο έπρεπε τότε, οι Νεοϋορκέζοι Heavy Rockers, γράφουν αυτό κι ακροβατούν μεταξύ AOR αισθητικής και μελωδικής Rock. Όσοι βλέπε σήμερα τον όρο Adult Oriented Rock με αποτροπιασμό, μάλλον ξεχνάτε τον πάταγο κάποιων που το έβαλαν σχεδόν άμεσα στη μουσική τους σαν τους Boston, Kansas, Rainbow εποχής  Turner κι ειδικά κάποιων Journey στη δεκαετία του 80. Οι B.Ö.C. των μέσων της δεκαετίας λοιπόν παίζουν τόσο βαριά όσο και μελωδικά, ναι, έχοντας σαν διακαή πόθο το ραδιόφωνο, γιατί όχι;  Αυτό το δισκάκι δεν είχα για πολλά χρόνια γιατί δεν είχε γίνει επανέκδοση σε CD μέχρι ένα μοιραίο φθινόπωρο που κατέβηκα Ομόνοια με σκοπό να γυρίσω για τη μεσημεριανή μου βάρδια στη Πλ. Βικτωρίας μετά. Ήμουν στο παλιό Metropolis που τότε έκλεινε. Εκεί το είδα και δευτερόλεπτα μετά ήμουν στο ταμείο. Έρχονταν λίγο αργότερα στο Gagarin για εμφάνιση και τους είχα ξαναθυμηθεί μετά βαϊων και κλάδων. Ήξερα απ' τη διπλή συλλογή Workshop of the Telescopes που είχε ο συμμαθητής μου ο Παναγιώτης Γ. πρώτα τα Perfect Water και Dancin' in the Ruins φυσικά αλλά με τα τα White Flags, Make Rock not War, Spy in the House of the Night, Shadow Warrior και Madness to the Method επιβεβαίωσα την υποψία ότι ήταν μεγάλος δίσκος! Πραγματικά το καλύτερο μαζί ίσως με το Fire of Unknown Origin, αλλά για άλλους βέβαια λόγους.

English:

What better could they have produced for the '80s?

After the refreshing sound of "Revolution By Night," which, despite being good, wasn’t appreciated enough at the time, the New York heavy rockers crafted this album, balancing between AOR aesthetics and melodic rock. Those who today view the term Adult Oriented Rock with disdain might forget the impact of bands like Boston, Kansas, Rainbow during the Turner era, and particularly some Journey tracks in the '80s, as they incorporated this sound almost immediately into their music. The mid-'80s B.O.C. combined heavy riffs with melodic elements, clearly aiming for radio success—why not?

I hadn’t owned this album for many years because it hadn’t been reissued on CD until one fateful autumn when I went to Omonia Square with the intention of heading to my afternoon shift at Victoria Square afterward. I was at the old Metropolis, which was closing at the time, when I spotted the album and, moments later, found myself at the register. They were shortly after performing at Gagarin, and I had remembered them with great anticipation. I was already familiar with them from the double compilation "Workshop of the Telescopes," thanks to my classmate Panagiotis G.; I initially knew tracks like "Perfect Water" and "Dancin' in the Ruins," but with songs like "White Flags," "Make Rock Not War," "Spy in the House of the Night," "Shadow Warrior," and "Madness to the Method," I confirmed my suspicion that this was a fantastic album! It truly is possibly the best along with "Fire of Unknown Origin," though for different reasons.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: DUNGEON – Resurrection

 

DUNGEON – Resurrection

Limb Music

This particular work made a significant impact among heavy/power metal fans when it was released. To be honest, back in 2005, I didn't pay much attention to it at the time. However, if something is truly good, you will eventually notice it. At least that's what happened to me with this current release.

I don’t want to bore you with technical and pointless analyses. After all, I am a fan of metal music, not a theoretical expert. So when I evaluate something, I do it based on my aesthetic preference and the feelings it evokes in me. Listening to this album, the first thing that comes to mind is that it should serve as a lesson on how to create meaningful and thrilling heavy/power metal.

Everything here is balanced—from the melodies to the dynamic riffs and the absolutely precise rhythmic sections. Lord Tim’s performance is both melodic and powerful. Of course, the high technical skill of the band members shines through as they avoid pointless excesses and place their abilities in the service of the composition.

This is an album that carries the influences of IRON MAIDEN and JUDAS PRIEST and translates them into the band’s personal style. There are also some euro power metal passages that harken back to early HELLOWEEN, as well as epic elements. A track like “The Legend of Huma” isn’t written every day and requires a great deal of imagination and musical ability to blend your IRON MAIDEN influences with those of MANOWAR. While all the compositions on the album are of high quality, I do have my favorites. Besides the aforementioned track, I really enjoy “Resurrection,” “Judgement Day,” “Wake Up,” “I Am Death,” among others.

It’s a great opportunity for you to discover them or, if you already have, to give this release another listen. This is where my text concludes.

Nick Parastatidis

REVIEW: GHOST, Infestissumam

 

GHOST, Infestissumam (2013)

Loma Vista Recordings

Έχουν κι αυτοί διανύσει δρόμους.

Ποτέ δε συμφώνησα ότι ανήκουν στο Doom Metal/Stoner παρακλάδι. Δηλαδή τί κοινά έχουν με τους Pentagram, Saint Vitus ή Solitude Aeternus για να ανοίκουν στο ίδιο ράφι μουσικά; Πάντως οι πέντε Σουηδοί Unknown Ghouls με αρχηγό τον Papa Emeritus II (έτσι ονομάζεται ο σκοτεινός πάπας εδώ, δηλαδή ο κύριος Tobias Forge όπως μάθαμε χρόνια μετά) στο μικρόφωνο, πιο πολύ φέρνουν στους Misfits σαν αισθητική αλλά μουσικά έχουν "δανειστεί" από τους πάντες! Ίχνη από Black Sabbath, ενδείξεις από Blue Oyster Cult,  δισολιές από Iron Maiden, αποκρυφισμός και σκοτάδι από King Diamond, ρετρό πληκτρα που θυμίζουν Doors, όπως είπαμε  λίγο από μεικαπ και τρόμο των Misfits και πάει λέγοντας... Σε αυτό το δεύτερο άλμπουμ τους που διαδέχθηκε το επίσης καλό Opus Eponymous , συνεχίζουν την τρελή πορεία τους ακόμα τότε υπό το πέπλο της σκοτεινής ανωνυμίας των μελών του συγκροτήματος, που σύντομα θα τους οδηγήσει στο "σταριλίκι" που πλέον έχουν (χάνοντας σιγά σιγά η μαγεία τους όμως). Έχει τις χάρες του ο δίσκος αυτός, είναι απ'τους πιο καλούς που μπορεί να ακούσεις απ' αυτούς. Το B.C. κάτω απ'το λογότυπο τους εδώ όπως και πριν και μετά μπήκε μετά από παρέμβαση κάποιων άλλων Ghost που αν δε κάνω λάθος ανήκουν στη hip-hop σκηνή. Λύθηκε το θέμα πάντως του ονόματος κι οι φίλοι μας το κέρδισαν λίγα χρόνια μετά. Ας εντρυφήσουμε στα Secular Haze, Jigolo Har Megiddo, Ghouleh/Zombie Queen, Body and Blood, το κλασικό Year Zero και βεβαίως το πιο γνωστό  Monstrance Clock, για τα δύο τελευταία έχουν γυριστεί και βίντεο κλιπ.

English Text:

They have also traveled their own paths.

I never agreed that they belong to the Doom Metal/Stoner subgenre. I mean, what do they have in common with Pentagram, Saint Vitus, or Solitude Aeternus to be shelved alongside them musically? However, the five Swedish Unknown Ghouls, led by Papa Emeritus II (that's the name of the dark pope here—Mr. Tobias Forge, as we learned years later) on vocals, bear more resemblance to the Misfits in aesthetic, but musically, they've "borrowed" from everyone! You can hear traces of Black Sabbath, hints of Blue Oyster Cult, dual guitar harmonies from Iron Maiden, occult themes and darkness from King Diamond, retro keyboard sounds reminiscent of The Doors, and as we mentioned, a touch of the makeup and horror of the Misfits—you name it. In this second album, which followed the equally good Opus Eponymous, they continue their wild journey under the shroud of the members' dark anonymity, which would soon lead them to the "stardom" they now possess (though they're slowly losing their magic). This album certainly has its charms; it’s one of the best you can listen to from them. The B.C. under their logo here, just like before and after, came about after the intervention of some other Ghosts, who, if I'm not mistaken, belong to the hip-hop scene. Nonetheless, the naming issue was resolved, and our friends won it a few years later. Let's delve into tracks like "Secular Haze," "Jigolo Har Megiddo," "Ghouleh/Zombie Queen," "Body and Blood," the classic "Year Zero," and of course the most famous "Monstrance Clock," for which music videos have been made for the last two.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: SAXON, Crusader

 

SAXON, Crusader (1984)

Carrere

Αδικημένο, αλλά με αιτία;

Δίσκος που τον επιλέγεις μόνο και μόνο και για τον επικών διαστάσεων πίνακα που κοσμεί το εξώφυλλο του, αλλά και μόνο το κομμάτι - ύμνος με το  όνομα Crusader που ανοίγει το CD να είχε, θα έφτανε. Ρεαλιστικά, μετά από πέντε κλασικά στούντιο κι ένα ζωντανό άλμπουμ οι πέντε "εκ Midlands ορμώμενοι" Byford, Dawson, Quinn, Oliver και ο αντικαταστάτης του Pete Gill o κύριος Glockler στα τύμπανα, δίχασαν το λαό τους! Είναι το πρώτο άλμπουμ της 2ης περιόδου της καριέρας τους καθώς απ' εδώ και μέχρι το Destiny του 1988, η εμπορική πλευρά της μουσικής τους θα πάρει σιγά-σιγά σάρκα κι οστά. Το κατά  τα άλλα ωραίο και μελωδικό Sailing To America, σε αυτό το άλμπουμ μάλλον περιγράφει, μεταφορικά βέβαια, τι έψαχναν να κάνουν. Δεν είναι ευτυχώς το σάρκα και ψυχή ξεπούλημα άλλων της εποχής εκείνης (π.χ. Def Leppard) που κατάντησαν μουσικές πόρνες για να πουλήσουν στην αντίπερα όχθη του Ατλαντικού. Μαζί υπάρχουν εδώ τα κλασικά Just Let Me Rock, Set Me Free, A Little Bit Of What You Fancy και το  "μπαλαντοειδές" Do It All For You. Όλα αυτά είναι ένα ανάμεικτο υλικό μουσικά. Οι πιο σκληροπυρηνικοί το έθαψαν, εμείς οι πιο της δεύτερης ευκαιρίας θα του δίναμε και τρίτη άμα λάχει!

English:

Unjustly Treated, Yet for Good Reason?

This is an album that you’d choose solely for the epic artwork that adorns its cover, but even if it only featured the anthem "Crusader" as its opening track, that would be enough. Realistically, after five classic studio albums and one live album, the five musicians from the Midlands—Byford, Dawson, Quinn, Oliver, and the new drummer Pete Gill, aka Mr. Glockler—had divided their fanbase! This marks the first album of the second phase of their career, as from here until "Destiny" in 1988, the commercial side of their music would gradually take shape. The otherwise lovely and melodic track "Sailing to America" on this album metaphorically depicts what they were attempting to achieve. Thankfully, it isn’t the blatant sellout like other bands of that era (e.g., Def Leppard), who became music 'prostitutes' to sell across the Atlantic. Here, we also have the classics "Just Let Me Rock," "Set Me Free," "A Little Bit Of What You Fancy," and the "ballad-like" "Do It All For You." All of these tracks create a mixed musical experience. The hardliners buried it, but we, the more forgiving fans, would gladly give it a third chance if given the opportunity!

Τάκης "Ε-Μortal One" Γιώτης!

PENTESILEA ROAD presents the single “The Geometry of Nothing.”

 

Italian heavy prog band "Pentesilea Road" unveil their new single titled “The Geometry of Nothing.” The track will be featured on their upcoming second full-length album, set to be released in 2025.

ANTHEM OF OBLIVION Shines with New Single: "Heaven's Conjuring"

 

Mexico City-based Melodic Death Metal band, Anthem of Oblivion, is thrilled to announce the release of their latest single, "Heaven's Conjuring."

"Heaven's Conjuring" showcases a unique fusion of intense, modern metal soundscapes intertwined with atmospheric melodies. This composition takes listeners on a captivating journey that oscillates between raw aggression and intricate musicality.

Lyrically, the song tackles profound themes, exploring divine judgment and the consequences of humanity's downfall. It delves into issues of self-destruction and moral decay, emphasizing that humanity is ultimately responsible for its own fate. Additionally, the track draws crucial parallels to real-world environmental crises, particularly the urgent issue of water shortages.

With this release, Anthem of Oblivion invites music enthusiasts to experience the depth and intensity of "Heaven's Conjuring," further establishing their presence in the Melodic Death Metal landscape.

REVIEW: ATTACK, Seven Years In The Past

 

ATTACK, Seven Years In The Past (1992)

Iceland Records

Πόσο "κάλτ" σηκώνετε στους ώμους σας;

Οι τρεις αυτοί Γερμανοί (υπάρχουν Βρετανοί 60s rockers και Σουηδοί metalers με το ίδιο όνομα!) είναι η πεμπτουσία του επικού, ονειρικού και με επιρροές από Jethro Tull.....ως Omen meets Helloween αλλά πάντα κλασικού τευτονικού Heavy Metal. Το άλμπουμ αυτό, το πέμπτο τους είναι ένα τυπικό παράδειγμα των έργων τους με υλικό για υπερβόρειες μυθικές ιστορίες, πλεγμένες στον ιστό νορδικών θεών, πολεμιστών και της όλης σχετικής παραφιλολογίας στιχουργικά, που πώς να το κάνουμε, είναι μεγάλο κομμάτι ειδικά της δεκαετίας του '80. Δέκα κομμάτια με το ομώνυμο του δίσκου να περιλαμβάνει το πολυχρηστικό και πολυχρησιμοποιημένο κομμάτι In the Hall of the Mountain King στο κιθαριστικό σόλο, που έχουν τιμήσει ουκ ολίγοι (Helloween, Savatage, Rainbow για να αναφέρουμε κάποιους) μαζί  με χρήση  και φλάουτου στο εναρκτήριο In the Gloom, το επικό The Fighter, τα On the Run, Eternal War, Battledrums, Hades of Steel, Indian Lady είναι η σφραγίδα που άφηνει πίσω του ο δίσκος αυτός, καλά πατημένη στο πετσί μας.

English:

How much "cult" do you carry on your shoulders?

These three Germans (note that there are British 60s rockers and Swedish metalers with the same name!) embody the essence of epic, dreamlike music influenced by Jethro Tull... a blend of Omen meets Helloween but always rooted in classic Teutonic Heavy Metal. This album, their fifth, is a quintessential example of their work, featuring material that draws on mythical tales from the North entwined with the lore of gods, warriors, and all related themes that, let’s face it, are a significant part of the 1980s scene.

Comprising ten tracks, the album includes its namesake piece, which features the highly versatile and frequently covered "In the Hall of the Mountain King" with its unforgettable guitar solo, honored by many (including Helloween, Savatage, and Rainbow, to name a few). Along with the use of flute in the opener "In the Gloom," the epic "The Fighter," and tracks like "On the Run," "Eternal War," "Battledrums," "Hades of Steel," and "Indian Lady," this record leaves a lasting imprint, well-engraved on our souls.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: TOKYO BLADE, Night Of The Blade -The Night Before

 

TOKYO BLADE, Night Of The Blade -The Night Before - (1984)

Zoom Club Records

Από Ιαπωνία σίγουρα....

Όχι, τα παιδιά (τότε) ήταν το " ανφάν γκατέ " της NWOBHM σκηνής παίζοντας ένα μείγμα Iron Maiden εποχής Killers, Saxon εποχής Wheels of Steel και το υπόλοιπο κομμάτι του ήχου τους να είναι αποκλειστικά δικό τους. Όψιμη μπάντα του μουσικού ύφους αυτού, στο δεύτερο αυτό έργο της δισκογραφίας τους στη ίδια κατηγορία περίπου σαν τους Demon και τους Satan, σίγουρα δε πάει σε αυτούς το μυαλό σου όταν σκέφτεσαι το κλασικό 80s Heavy Metal! Φωνή εδώ ο κλασικός Alan Marsh, κιθάρες οι John Wiggins & Andy Boulton, μπάσο από τον Andy Wrighton και τύμπανα ο Steve Pierce κι αν δεν το έχετε ακούσει.... χάνετε ένα τρομερό άλμπουμ από μια μπάντα που αν και δεν έφτασε τότε εκεί που έπρεπε, νομίζω έχει μετά τόσες δεκαετίες αναγνωριστεί στον κόσμο μας. Το CD της επανέκδοσης περιέχει το Maxi  single Lightning Strikes (μόνο το b' side του!) και το E.P Madame Guillotine, της ίδιας εποχής σαν ένα, ενιαίο άλμπουμ, με αυτή την οπτική κρατάω τα Night of the Blade, Warrior of the  Rising Sun, Unleash the Beast (από πού πήραν χρόνια μετά οι Saxon τον τίτλο Ε;), Atack-Attack, Love Struck , Fever, Dead of the Night, Madame Guillotine (ΥΜΝΟΣ)

English:

From Japan, for sure... 

No, the band at that time was the "also-ran" of the NWOBHM scene, playing a mix of Iron Maiden’s early "Killers," Saxon’s "Wheels of Steel," and a sound that was distinctly their own. As a later band in this musical style, their second album comes close to those of Demon and Satan, but they probably aren't the first names that come to mind when you think of classic 80s Heavy Metal! The vocals here are delivered by the iconic Alan Marsh, with guitars by John Wiggins & Andy Boulton, bass from Andy Wrighton, and drums by Steve Pierce. If you haven't heard this album, you're missing out on a fantastic record from a band that, although they didn’t quite make it to the top back in the day, I believe has gained recognition in recent decades. The reissued CD includes the Maxi single "Lightning Strikes" (just the B-side of it!) along with the E.P. "Madame Guillotine," presented as a single, cohesive album. With this perspective, I cherish tracks like "Night of the Blade," "Warrior of the Rising Sun," "Unleash the Beast" (from where Saxon borrowed the title years later?), "Attack-Attack," "Love Struck," "Fever," "Dead of the Night," and "Madame Guillotine" (anthemic)!

Τάκης "Ε-Μortal One" Γιώτης!

CANDLEMASS Reveal Heavy Title Track From New EP

 

Grammy-nominated doom pioneers CANDLEMASS have announced the release of their new EP, *Black Star*, set for May 9, 2025, via Napalm Records, celebrating their impressive 40-year legacy.

The title track “Black Star” blends haunting melodies with introspective lyrics, featuring the iconic vocals of Johan Längqvist. Written by Leif Edling, it explores themes of existential struggle and darkness, encapsulated by CANDLEMASS' signature sound. The release is accompanied by a dark, atmospheric music video. Pre-orders for the EP are now live!

CANDLEMASS states: “‘Black Star’ is the big heavy track. It includes a melodic verse, a monolithic riff, an up-tempo Sabbathy mid-part, and a grand ending a 'la Rainbow!”

DOOMNEZEU released new single

 

Romanian Doom Metal band Doomnezeu has released their new single "Al Doilea Legământ," recorded live in the studio and mixed and mastered by Neagoe. Formed in 2019, the band combines doom metal with ecclesiastical music and gained recognition with their 2023 debut album, which led to theatrical live performances. In 2024, they released a split concept album titled Atotțiiitorul alongside Church of Cthulhu. The recent single "Al Doilea Legământ" is part of their transition to a larger live band, coinciding with a planned 9-city, 9-day tour.

REVIEW: ARMORED SAINT, Punching The Sky

 

ARMORED SAINT, Punching The Sky (2020)

Metal Blade Records

Σε ώμους γιγάντων.

Το πιο πρόσφατο άλμπουμ των Αμερικανών Heavy Metalers  συνεχίζει τη παράδοση που έχτισαν από το Revelation που σήμανε  την επανεμφάνιση τους στα δρώμενα και μετά (με μια βέβαια εξαίρεση, αλλά όλα είναι σχετικά). Ένα άλμπουμ που δε θα απογοητεύσει τον κόσμο που ακόμα αγαπά τον ιδιαίτερο ήχο τους, όπως αυτός έχει εξελιχθεί όσα χρόνια έχουν περάσει απ' την επανένωση τους. Η συνέχεια του (πιο δυναμικού νομίζω) Win Hands Down,  έχει κομμάτια να δώσει: Standing on the shoulders of Giants, End of the Attention Span, Bubble, My  Jurisdiction, Lone Wolf, Missile to Gun Unfair και Never you Fret είναι συνθέσεις που σε τραβάνε να τις ξανακούσεις. Ο  κιθαρίστας Jeff Duncan πάνω απ' τριάντα χρόνια μέλος τους έχει προσαρμοστεί στο ύφος των Joey Vera, John Bush και των αδερφών Sandoval σε σημείο που νομίζεις ότι όντως η φυσική αύρα του μακαρίτη Pritchard είναι εκεί! Δεν είναι σίγουρα το επόμενο Delirious Nomad ή το δεύτερο Symbol of Salvation, είναι το συγκρότημα στις αρχές της δεύτερης δεκαετίας του 21ου αιώνα κι έτσι πρέπει νομίζω να κρατήσουν.

English:

On the Shoulders of Giants

The latest album from the American heavy metal band continues the tradition they established with "Revelation," which marked their return to the scene (with one notable exception, but everything is relative). This album will not disappoint those who still cherish their unique sound, as it has evolved over the years since their reunion. Following the more dynamic "Win Hands Down," it features tracks that invite you to listen again: "Standing on the Shoulders of Giants," "End of the Attention Span," "Bubble," "My Jurisdiction," "Lone Wolf," "Missile to Gun Unfair," and "Never You Fret" are compositions that draw you in. Guitarist Jeff Duncan, a member for over thirty years, has adapted to the style of Joey Vera, John Bush, and the Sandoval brothers to the point where you might think the spirit of the late Pritchard is indeed present! While it may not be the next "Delirious Nomad" or the second "Symbol of Salvation," the band represents itself at the beginning of the second decade of the 21st century, and I think that's how they should continue.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: WRATH - Nothing to Fear

 

WRATH - Nothing to Fear

Medusa Records

This particular WRATH, one of the many bands with the same name in the metal scene, is a group that began its career in 1982 and remained active until 1995. After a 3-year hiatus, they reformed in 1998 and have been active ever since. I will focus on the band's second studio album, “Nothing to Fear”, released in 1987, which, to be honest, is the only album I have listened to by them. And what an album it is…

I must admit that, in relation to thrash metal, I particularly enjoy bands that aren't strictly thrash but incorporate elements of either classic metal or power metal into their sound. Well, the WRATH do this exceptionally well. While their sound is primarily thrash metal, with clear influences from bands like METALLICA and OVERKILL (who, to be fair, also blend classic metal elements in their music), there’s also a strong presence of heavy metal in their compositions. This ingredient gives the entire album a sense of variety and makes it very engaging to listen to.

To give you a better idea, if you love bands like METAL CHURCH, LȦȦZ ROCKIT, and MELIAH RAGE, not only are you great friends of mine with excellent taste, but you’ll also absolutely love this release.

In short, this album easily qualifies as one of the “lost” gems of 80s thrash metal that never received the recognition it truly deserved—but hey, it’s never too late…

Nick Parastatidis

REVIEW: SΚYCLAD, The Answer Machine?

 

SΚYCLAD, The Answer Machine? (1997)

Massacre Records

Από κλασικό ως μεγαλειώδες.

Το τρίτο άλμπουμ που άκουσα από τους "ουρανοντυμένους" και μετά τα Irational Anthems και Oui Avant Garde A Chance που καί τά δύο βγήκαν 1996, οι δραστηριοτατοι μουσικοί, έβγαλαν και αυτό. Συνεχίζει την πιο ας επιτραπεί, φολκλορική πλευρά τους, χωρίς βέβαια να είναι "φόλα". Κατά τη γνώμη μου από το '96 βρίσκονταν σε  μια δεύτερη ανοδική πορεία μετά τις αρχές των 90's κάτι που ελάχιστοι κατάφεραν τότε έτσι; Οι κύριοι Martin Walkyier (πρώην Sabbat) φωνή, Graeme English (Satan, Pariah) μπάσο, Steve Ramsey (Satan, Pariah κι αυτός) κιθάρα, Paul A.T. Kinson ντραμς κι η κυρία της παρέας Georgina Biddle σε βιολί και πλήκτρα.  Με τα Building A Ruin, Worn Out Sole To Heel, The Thread Of Evermore,  Eirenarch, Troublesometimes, Isle Of Jura, Catherine At The Wheel που είναι τα πιο καλά του κομμάτια δεν μπορεί παρά να είναι αξιομνημόνευτο άλμπουμ.

English:

From classic to majestic.

This is the third album I've listened to from the "dressed in heaven" band, and following "Irational Anthems" and "Oui Avant Garde A Chance," both released in 1996, these active musicians have delivered yet another gem. It continues their more, dare I say, folkloric side, without coming off as "cheesy." In my opinion, since '96, they have been on a second upward trajectory after the early '90s—something very few managed to achieve back then. The lineup includes Martin Walkyier (formerly of Sabbat) on vocals, Graeme English (Satan, Pariah) on bass, Steve Ramsey (also from Satan, Pariah) on guitar, Paul A.T. Kinson on drums, and the delightful Georgina Biddle on violin and keyboards. With standout tracks like "Building A Ruin," "Worn Out Sole To Heel," "The Thread Of Evermore," "Eirenarch," "Troublesometimes," "Isle Of Jura," and "Catherine At The Wheel," this album is nothing short of memorable.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: PENTAGRAM, Sub-Basement

 

PENTAGRAM, Sub-Basement (2001)

Black Widow Records

Απ'όλα έχει μέσα το μαγαζί.

Οι Αμερικάνοι Pentagram, μια ακόμη μπάντα ορόσημο τόσο για το cult στάτους της όσο και για το Doom Metal υποείδος του οποίου είναι χαρακτηριστικό δείγμα, στο πέμπτο άλμπουμ τους μια εποχή που το ενδιαφέρον του κοινού μάλλον είχε υποχωρήσει. Ο Joe Hasselvander συνήθως ο ντράμερ τους εδώ παίζει επίσης κιθάρα και μπάσο οπότε ανήκει στο περίοπτο είδος των ανθρώπων - ορχήστρα! Φωνή απ' το υπερπέραν πάντα ο αειθαλής Bobby Liebling που άντλησε την έμπνευση από τις οικογενειακές του εμπειρίες ζώντας για χρόνια σε ένα δεύτερο υπόγειο και έδωσε  τη μαυρίλα που αποκόμισε σε δέκα κομμάτια που για doom, παλατζάρουν επικίνδυνα με το κλασικό Heavy Metal σε αρκετά σημεία του δίσκου. Ξεχωρίζουν τα Bloodlust, Buzzsaw, Drive to the Grave, Sub-Basement, Go In Circles (Reaching for an End), Mad Dod, Tidal Wave, Target συν τα bonus της επανέκδοσης Review Your Choices  και το Megalania, outakes και τα δύο απ' το 1999.

English:

The store has a bit of everything.

Pentagram, the American band known for both its cult status and as a quintessential example of the Doom Metal subgenre, released their fifth album during a time when public interest seemed to be waning. Joe Hasselvander, typically their drummer, also takes on guitar and bass duties here, so he belongs to that rare breed of multi-talented musicians! The ever-energetic Bobby Liebling lends his voice—drawing inspiration from his family experiences of living for years in a second basement—infusing the music with the darkness he has gathered into ten tracks that, while firmly rooted in doom, dangerously flirt with classic Heavy Metal at various points throughout the album. Standout tracks include "Bloodlust," "Buzzsaw," "Drive to the Grave," "Sub-Basement," "Go In Circles (Reaching for an End)," "Mad Dod," "Tidal Wave," and "Target," along with the bonus tracks from the reissue: "Review Your Choices" and "Megalania," both outtakes from 1999.

Τάκης "Ε-Μortal One" Γιώτης!