Σάββατο 26 Ιουλίου 2025

REVIEW: KING DIAMOND, Conspiracy

 


KING DIAMOND, Conspiracy (1989)


Roadrunner Records


Δεύτερο μέρος μιας ακόμη ιστορίας τρόμου.


Γιατί να ονομαστεί «Them Part II»; Δεν θα υπήρχε λόγος, οπότε ο κύριος Kim Bendix Petersen από την Κοπεγχάγη, με το καλλιτεχνικό παρατσούκλι King Diamond και το συγκρότημα του και με τον κιθαρίστα Andy LaRoque πάντα μαζί του (με τον ντράμερ Mickey Dee όμως να λογίζεται πλέον σαν συνεργάτη αφού η συνεργασία του για το προσωπικό άλμπουμ του Don Dokken το κράτησε οριστικά μετά απ' αυτό το άλμπουμ, εκτός από τον Snowy Shaw που φαίνεται ήδη σαν ο νέος ντράμερ) συνεχίζει μετά από το progressive metal όργιο τρόμου της προηγούμενης χρονιάς με ένα σίκουελ που θυμίζει όντως κινηματογραφική ταινία τρόμου. Πιο άμεσο, λιγότερο prog και για κάποιους περίεργους πιο "εμπορικό", το άλμπουμ με τον μονολεκτικό τίτλο της συνομωσίας συνεχίζει με το στόρυ του μικρού King και της οικογένειας του στο παλιό αρχοντικό σπίτι Amon μετά τον θάνατο της αδερφής του Missy και κυρίως, μετά το εξιτήριο του ήρωα από την ψυχιατρική κλινική που τον οδήγησε η γιαγιά του με τη βοήθεια των αοράτων φίλων της και βεβαίως τον αόρατο γιατρό φίλο της μητέρας του. Τα υπόλοιπα επί του δίσκου! Αθάνατα metal μνημεία σαν τα "At the Graves", "Sleepless Nights", "Lies", "A Visit From the Dead", "The Wedding Dream", "Amon Belongs to Them", "Vitimized" θα στοιχειώνουν για πάντα το συλλογικό ασυνείδητο της metal κοινότητας.


English:



Second part of another horror story.


Why call it "Them Part II"? There would be no reason, so Mr. Kim Bendix Petersen from Copenhagen, known by his stage name King Diamond, along with his band—featuring guitarist Andy LaRocque always by his side (with drummer Mickey Dee now considered more of a collaborator, since his work on Don Dokken’s solo album solidified his status outside of the band, except for Snowy Shaw, who already appears as the new drummer)—continues after the metal horror frenzy of the previous year with a sequel that truly resembles a horror movie. More direct, less progressive, and for some, oddly more "commercial," the album with the single-word title of conspiracy continues the story of young King and his family in the old Amon estate after the death of his sister Missy—and mainly, after the hero’s discharge from the psychiatric clinic his grandmother led him to, aided by her invisible friends and, of course, the invisible doctor friend of his mother.


More to come on the album! Immortal metal monuments like "At the Graves," "Sleepless Nights," "Lies," "A Visit From the Dead," "The Wedding Dream," "Amon Belongs to Them," and "Victimized" will haunt the collective unconscious of the metal community forever.


Τάκης "Ε-Μortal One" Γιώτης!


REVIEW: SORROW'S PATH - The Rough Path of Nihilism

 


SORROW'S PATH - The Rough Path of Nihilism


Rock It Up Records


SORROW'S PATH's album, “The Rough Path of Nihilism”, is the debut full-length release from the Greek band. The group's journey to this point is noteworthy, having been formed in 1993. The album's creation after a significant period underscores the band's dedication and perseverance in the face of various challenges. This long-awaited debut serves as a culmination of their efforts and a definitive statement of their musical identity.


The album presents a distinctive sound that is primarily rooted in doom metal. However, SORROW'S PATH skillfully integrates other stylistic elements, including power metal and progressive rock, to forge a unique and appealing blend. This fusion results in a sound that is both heavy and dynamic, avoiding the pitfalls of simple genre imitation. The compositions are intricate and well-structured, showcasing a thoughtful approach to songwriting.



While some listeners may identify influences from established bands in the genre, such as Candlemass and Solitude Aeturnus, the band successfully filters these through their own creative lens. This process of reinterpretation allows SORROW'S PATH to develop a personal seal on their music, making it easily recognizable and distinct. The album is not merely an homage but rather an evolution of these foundational sounds, transformed into something new and engaging.


From a technical perspective, the album is well-executed. The musicianship is solid, with each member delivering a flawless performance that contributes to the overall quality of the recording. The production is clean and effective, allowing the different layers of instrumentation to be heard clearly without sacrificing the album's powerful atmosphere. For fans of doom and power metal, “The Rough Path of Nihilism” is an album that offers a fresh perspective and is well worth exploring.


Christine  Parastatidou


Πέμπτη 24 Ιουλίου 2025

REVIEW: WOLFCRY, Power Within

 


WOLFCRY, Power Within (2001)


Black Lotus Records


Όχι ακριβώς εκεί, αλλά πολύ κοντά.

 

Η μπάντα από την Αθήνα που είχε το όνομα Vanguard αρχικά τη δεκαετία του '90, και μετά το Demo και το Promo του 1999, γράφει το πρώτο της άλμπουμ, αυτό εδώ που βλέπουμε και ακούμε. Μια πολύ καλή προσπάθεια στο Heavy/Power Metal, με το δικό τους προσωπικό ήχο. Για μένα, έχοντας ακούσει πρώτο το δεύτερο τους CD, το Nightbreed, βρίσκω το Power Within ένα σκαλοπάτι πιο πίσω, όχι μόνο χρονολογικά αλλά και υποκειμενικά, μιλώντας πάντα. Πιστεύω ότι το Nightbreed είναι ουσιαστικά η απογείωσή τους, χωρίς αυτό να σημαίνει πως το ντεμπούτο τους δεν αξίζει! Μακράν, αυτό το συμπέρασμα. 


Το συγκρότημα απαρτίζουν εδώ οι: Κώστας Χατζηγεωργίου (φωνή), Σίμος Καγγελάρης (κιθάρα και πλήκτρα), Ανδρέας Κουρτίδης (ντραμς) και ο Σπύρος Τριανταφύλλου (μπάσο). Εννέα κομμάτια, με τα "The Journey", "Lonewolf’s Destiny", "The Fate of a Lonely Bard", "Reflection", "Part of a Play" και "Nightriders" να είναι κατά τη γνώμη μου τα πιο χαρακτηριστικά του δίσκου. Με μέλλον ακόμη μπροστά τους, τότε, και τα καλύτερα να έρχονται στο μέλλον.


English:



Not exactly there, but very close. 


The band from Athens, originally named Vanguard in the early '90s, and after their Demo and Promo in 1999, is now recording their first full-length album — this one we see and hear. A very good effort in Heavy/Power Metal, with their own distinctive sound. 


For me, having first listened to their second CD, Nightbreed, I see Power Within as a step back — not only chronologically but also, always subjectively speaking. I truly believe that Nightbreed is essentially their breakthrough, though that doesn't mean their debut isn’t worth it! Far from it — that’s my conclusion. 


The band members here are: Kostas Hatzigeorgiou (vocals), Simos Kaggelaris (guitar and keyboards), Andreas Kourtidis (drums), and Spyros Triantafyllou (bass). Nine tracks, with "The Journey," "Lonewolf’s Destiny," "The Fate of a Lonely Bard," "Reflection," "Part of a Play," and "Nightriders" being, in my opinion, the most characteristic of the album. They still have a bright future ahead, and the best is yet to come.


Τάκης "Ε-Μortal One" Γιώτης!


REVIEW: DIMMU BORGIR – Abrahadabra

 


DIMMU BORGIR – Abrahadabra


Nuclear Blast Records


“Abrahadabra”, released by Nuclear Blast Records in 2010, presents Dimmu Borgir's continued exploration of symphonic black metal. This album incorporates a significant presence of synthesized elements and effects, which contribute to its overall sonic landscape.


A notable characteristic of “Abrahadabra” is the prominent role of synthesizers and effects throughout the compositions. These layers are a dominant feature in the album's sound, and their integration creates a distinct atmospheric quality. The balance between these synthesized elements and other instrumentation, such as guitars and vocals, is a key aspect of the album's production. Some listeners may find the emphasis on orchestral and electronic textures to be a defining trait, while others might perceive it as overshadowing the more traditional black metal components.


Galder's guitar contributions are present throughout the album. The guitar work, particularly the riffs and lead passages, serves to complement the symphonic arrangements. The visibility of the guitar within the mix, given the layered instrumentation, is a consistent element across the tracks.



The vocal performances by Shagrath also contribute to the album's overall sound. The vocal delivery, encompassing both clean and harsher styles, is integrated within the album's rich sonic tapestry. The interaction between the vocals and the instrumental foundation is a significant aspect of “Abrahadabra's” musical approach.


From a production standpoint, the album features a mix that prioritizes the expansive symphonic elements. This mixing approach influences the prominence of various instruments, with synthesizers often at the forefront.


For those interested in exploring Dimmu Borgir's discography, “Abrahadabra” offers a specific stylistic direction within their body of work. Listeners familiar with previous albums like “Enthrone Darkness Triumphant” or “In Sorte Diaboli” may find “Abrahadabra” to represent a distinct evolution in the band's sound, particularly in its extensive use of orchestral and electronic textures.


Ryan  "Death 8699"  Fanucchi


Τετάρτη 23 Ιουλίου 2025

THE DARK SIDE OF THE MOON Unveils “Can’t Catch Me Now”

 


After their debut album “Metamorphosis”, THE DARK SIDE OF THE MOON releases their new single “Can’t Catch Me Now,” inspired by Olivia Rodrigo’s track from The Hunger Games. Blending cinematic orchestration, haunting melodies, and heavy riffs, the song offers a dark, hypnotic journey. Fronted by Melissa Bonny and featuring Hans Platz’s guitar work, it marks a bold new chapter for the band. They say, “‘Can’t Catch Me Now’ – our first release since “Metamorphosis”! A new chapter begins.”


SIMPLE EXISTENZ Returns with New Album “Trümmer”

 


German black metal project Simple Existenz, led by Nagelfar co-founder ZORN, has released “Trümmer”, an intense album exploring themes of isolation and decay. Entirely recorded in a home studio, the raw and intimate sound reflects a stark, desolate atmosphere. Praised for emotional depth and authenticity, “Trümmer” marks a powerful new chapter for the project, continuing its tradition of honest, visceral black metal.


AIRBORN new lyric-video online!!

 


Veteran Italian Heavy Metal band AIRBORN have just launched a lyric-video, of the song "Futuremaker", as a 2nd advance single for their 7th album entitled "Lizard Secrets: Part Three - Utopia" which closes the trilogy, and which will see the light on September 16th, 2025 on CD & Digital formats.


Τρίτη 22 Ιουλίου 2025

REVIEW: TESTAMENT, The Gathering

 


TESTAMENT, The Gathering (1999)


Nuclear Blast Records


Όταν έχεις πειραματιστεί με Heavy Metal, Groove Metal, Death Metal, και ίσως και Industrial στοιχεία που και που στους τελευταίους τρεις δίσκους, ήρθε η ώρα να στρωθείς στη δουλειά και να ωριμάσουν οι συνθήκες ώστε να γυρίσεις στο Thrash Metal, που είναι και η ειδικότητά σου εξαρχής. Βέβαια, το πρόβλημα δεν είναι δίσκοι όπως το «The Ritual», το «Low» ή το «Demonic», που αντιστοιχούν στις κατηγορίες που προαναφέρθηκαν. Ήταν για την εποχή του ο καθένας μια χαρά. Το θέμα είναι το προσωπικό που έχεις στο συγκρότημα, όταν απομένουν μόνο ο Chuck Billy και ο Eric Peterson ως πυρήνας της κάποτε μεγάλης πεντάδας των πρώτων χρόνων! 


Ήδη από το 1994, έχει συνεργαστεί σχεδόν μόνιμα ο James Murphy (Death, Obituary) στις υπόλοιπες κιθάρες. Εσχάτως, το 1998, ανακοινώνεται πως ο ντράμερ Dave Lombardo (Slayer, Grip Inc.) και ο μπασίστας και είδωλο Steve Di Giorgio (Sadus, Death, Iced Earth και μετά) είναι ήδη από το προηγούμενο άλμπουμ «Demonic» πάλι κοντά σου. Δεν γίνεται λοιπόν να μην αναγράψεις στο ρόστερ σου ότι αυτός ο δίσκος με αυτό το προσωπικό θα είναι τουλάχιστον μεγαλειώδης. 


Και ναι, λοιπόν, η "μάζωξη" που λέγαμε τότε, κάπως σκωπτικά, ήταν το καλύτερο δυνατό άλμπουμ που αυτό το σχήμα, το Φρανκενστάιν (με την καλή έννοια), θα μπορούσε να κάνει. Δυστυχώς, το 2000, στο Ρόδον Live! ο κόσμος δεν τίμησε τη μπάντα και το δίσκο όσο έπρεπε και οφείλονταν. Δε πειράζει—όσοι ήμασταν τότε εκεί, είδαμε ένα σχήμα να πουλά την ψυχή του μπροστά μας για τη Thrash Metal.

 

Στη reissue που έχω εδώ, και που περιέχει τα κλασικά κομμάτια όπως και στο αρχικό CD με εκείνο το παράξενο εξώφυλλο (το οποίο εδώ είναι πολύ βελτιωμένο), τα ακόλουθα ξεχωρίζουν: «D.N.R. (Do Not Resuscitate)», «Down For Life», «True Believer», «3 Days in Darkness», «Beginnings of the End», «Legions of the Dead», «Careful What You Wish For», «Riding the Snake», «Fall of Sipledome». Αυτά είναι τα πιο αγαπημένα, ενώ επιπλέον περιλαμβάνεται και το ορχηστρικό κομμάτι «Hammer of the Gods».


English:



Having experimented with Heavy Metal, Groove Metal, Death Metal, and perhaps some Industrial elements from time to time on the last three albums, it's now time to get down to work and create the conditions for returning to Thrash Metal, which has been your specialty from the beginning. Of course, the problem isn't albums like “The Ritual”, “Low”, or “Demonic”, which fit into the categories mentioned above—they were perfectly fine for their time. The real issue lies with the personnel in the band, especially now that only Chuck Billy and Eric Peterson remain as the core of what was once the great Big Five of the early days.


Since 1994, James Murphy (Death, Obituary) has been almost permanently involved on the other guitars. More recently, in 1998, it was announced that drummer Dave Lombardo (Slayer, Grip Inc.) and bassist and icon Steve Di Giorgio (Sadus, Death, Iced Earth, and beyond) have been close to the band since the previous album, “Demonic”. It’s safe to say that you couldn’t help but include in your roster that an album with this lineup would at least be monumental.


And yes, the "gathering," as we somewhat jokingly called it back then, was the best possible album this Frankenstein of a band (in the best sense) could produce. Unfortunately, in 2000, at the Rodon Live!, the audience didn’t honor the band and the album as they should have. But that’s okay—those of us who were there saw a band sell its soul right in front of us for Thrash Metal.


In the reissue I have here, which contains the classic tracks just like the original CD with that strange cover (much improved here), the following stand out: “D.N.R. (Do Not Resuscitate)”, “Down For Life”, “True Believer”, “3 Days in Darkness”, “Beginnings of the End”, “Legions of the Dead”, “Careful What You Wish For”, “Riding the Snake”, “Fall of Sipledome”. These are the favorites, and additionally, it includes the instrumental track “Hammer of the Gods”.


Τάκης "Ε-Μortal One" Γιώτης!


REVIEW: ATTICK DEMONS - Atlantis

 


ATTICK DEMONS - Atlantis


Pure Steel Records


ATTICK DEMONS' "Atlantis," released in 2011 by Pure Steel Records, stands as a compelling example of high-quality heavy metal emerging from a country not traditionally recognized as a genre stronghold. Hailing from Portugal, the band exhibits a sound deeply rooted in the classic British heavy metal tradition.


A prominent characteristic of "Atlantis" is the striking vocal performance of Artur Almeida, whose delivery bears a notable resemblance to that of Bruce Dickinson, particularly in his tone and melodic phrasing. While the influence of Iron Maiden is undeniably pervasive throughout the album, ATTICK DEMONS successfully transcends mere imitation. With eleven years of experience prior to this release, "Atlantis" demonstrates a mature songwriting approach. The band skillfully integrates their influences into their own musical identity, offering a nuanced interpretation rather than a direct replication. This allows the album to stand on its own merits, often inviting comparisons to the quality of more established acts within the genre.



Further enhancing the album's appeal are guest appearances by notable figures in heavy metal. The title track, "Atlantis," features a guitar solo by Ross "The Boss" Friedman (ex-Manowar) and additional vocals by Paul Di'Anno (ex-Iron Maiden), adding further prestige and depth to the record.


Musically, "Atlantis" is a robust heavy metal album, occasionally incorporating power metal elements. The album consistently delivers strong tracks with replay value. Among the album's highlights, "Meeting the Queen" is particularly noteworthy. This track effectively blends Artur Almeida's vocals with female counterparts, creating a distinctly lyrical and atmospheric soundscape that sets it apart.


Overall, "Atlantis" is a well-crafted and engaging heavy metal album that successfully pays homage to its influences while showcasing ATTICK DEMONS' own distinctive musicianship and songwriting prowess. It represents a significant contribution to the heavy metal landscape, particularly from the Portuguese scene.


Nick Parastatidis


Δευτέρα 21 Ιουλίου 2025

WEDNESDAY 13 Launches Fun, Campy "Rotting Away" Video

 


UK horror rocker WEDNESDAY 13 has released a playful new music video for "Rotting Away" from his Mid Death Crisis album, amid his Summer Blood Storm UK/European tour. The video features the Duke of Spook on a spooky picnic with a petrified date, inspired by “Night of the Living Dead”, Tom Petty, and “Weekend at Bernie’s”.


“I wanted to put the fun back in funeral,” says WEDNESDAY 13. “It’s campy, different, and a good time.” Fans can watch the hauntingly humorous clip now.


REVIEW: SAXON, Solid Ball Οf Rock

 


SAXON, Solid Ball Οf Rock (1990)


Virgin Records


Επαναφορά εργοστασιακών ρυθμίσεων. 


Μετά τα τέσσερα πιο εμπορικά άλμπουμ τους, οι Βρετανοί, με πληγωμένη την υπερηφάνεια τους και εξαιτίας και της δικής τους απόδοσης και στάσης από το 1985 και μετά, ξυπνούν από το κακό όνειρο που τους κατέταξε σε εκείνη τη μεγάλη μαύρη τάφρο με την ένδειξη "ξεπούλημα" στη συνείδηση των οπαδών (δεν είναι απολύτως ακριβές αυτό, αλλά μιλάμε με τα στάνταρ της εποχής εκείνης), με αυτό το συμπαγές και πλέον τόσο κλασικό άλμπουμ. 


Η δεκαετία του '90, που ανέτειλε, φέρθηκε καλά σε ελάχιστα σχήματα της προηγούμενης δεκαετίας. Οι Saxon ήταν ένα απ' αυτά, και πλέον ένα σερί δισκογραφικών χτυπημάτων θα τους επαναφέρει σε αυτό που ήταν κάποτε. 


Η "συμπαγής μπάλα από πέτρα" είναι ένα μεταλλικό ζενίθ που περιέχει τόσο μα, τόσο κλασικά κομμάτια, που πραγματικά σε κάνει να απορείς γιατί δεν συνέβη νωρίτερα. Το ομώνυμο κομμάτι, δυναμίτης που αρχίζει τον δίσκο, ακολουθεί μια πλημμύρα με τα κομμάτια: «Altar of the Gods», «Requiem (We Will Remember)», «Lights in the Sky», «I Just Can't Get Enough», «Baptism of Fire», «Ain't Gonna Take It», «I'm On Fire», ανάμεσα σε άλλα.


English:



Factory reset. 


After their four most commercial albums, the British band, with their pride wounded and partly due to their own performance and attitude since 1985, wake up from the bad dream that relegated them to that great black pit labeled "sellout" in the fans' conscience (this isn't entirely accurate, but it reflects the standards of that era), with this solid and now so classic album. 


The 1990s, which followed, treated only a few bands from the previous decade well. Saxon was one of them, and now a series of record-breaking releases will bring them back to what they once were.

 

The "solid ball of rock" is a metallic zenith containing so many, so very classic tracks that it truly makes you wonder why it didn't happen sooner. The title track, a dynamite opener for the album, is followed by a flood of songs: “Altar of the Gods”, “Requiem (We Will Remember)”, “Lights in the Sky”, “I Just Can't Get Enough”, “Baptism of Fire”, “Ain't Gonna Take It”, “I'm On Fire”, among others.


Τάκης "Ε-Μortal One" Γιώτης!


REVIEW: UNHERZ – Herzschlag

 


UNHERZ – Herzschlag


Massacre Records


Released in 2011, “Herzschlag” is the second album from German hard rock/heavy metal band UNHERZ, notable for its exclusive use of German-language lyrics.


From a musical standpoint, “Herzschlag” demonstrates a high level of performance and production quality. The band exhibits tight musicianship, and the album is sonically well-engineered. However, the instrumental compositions largely adhere to established hard rock and heavy metal conventions. While competently executed, the album's musical ideas may be perceived as lacking distinctiveness, potentially blending into the broader landscape of the genre.



For listeners unfamiliar with the German language, the lyrical content remains inaccessible, which could diminish engagement. Without the added dimension of lyrical understanding, the album relies solely on its musicality to captivate. In this regard, “Herzschlag” may function more as background music rather than a primary focus, as it generally does not feature melodies or innovative arrangements that consistently command full attention.


Despite its conventional core, UNHERZ does make efforts to introduce variability into their sound. Elements of punk rock and blues are integrated into several tracks, suggesting an attempt to broaden their sonic palette beyond traditional heavy metal structures.


Ultimately, prospective listeners are encouraged to sample “Herzschlag” to form their own assessment, particularly if they have an appreciation for German-language rock or a specific interest in the blend of genres UNHERZ explores.


Nick Parastatidis


Κυριακή 20 Ιουλίου 2025

REVIEW: HYPOCRISY, Catch 22

 


HYPOCRISY, Catch 22 (2002)


Nuclear Blast Records


Όρεξη για θανατηφόρες μουσικές.

 

Οι τρεις Σουηδοί συνεχίζουν αυτό που ξέραμε ότι ξέρουν να κάνουν καλύτερα: ευρωπαϊκό Death Metal με πολλές Thrash αναφορές, αρκετά πλήκτρα (ήδη αυτό το στοιχείο ήταν έντονο) και απόκοσμα στιχουργικά θέματα από το υπερπέραν, αλλά πλέον όχι μόνο, καθώς η πλάστιγγα γέρνει (και καλώς) και προς άλλα θέματα, ακόμη και κοινωνικοπολιτικά. Βέβαια, ακούστηκαν και κάποια παράπονα απ’ τους ελιτιστές, αλλά και τους Death-only purists, για το άλμπουμ, πράγμα που οδήγησε έξι χρόνια μετά σε remix από τον Peter. Πάντως, αν οι κινηματογραφικές ταινίες του sequel «Alien» ήταν splatter τρόμου, θα έπρεπε να είχαν μουσική του Peter Tagtgren, του Mikael Hedlund και του Lars Szoke. Ίσως να είναι μια πινελιά πιο μελωδικό από τα προηγούμενα άλμπουμ τους, κι ο ήχος της τελικής παραγωγής να το αδικεί, αλλά εδώ μπαίνουν οριστικά στον νέο αιώνα με πολύ καλές ή ίσως πολύ κακές προθέσεις. Τα «Don’t Judge Me», «Destroyed», «On the Edge of Madness», «Public Puppet», «Hatred», «Seeds of the Chosen One», «All Turns Black» θα τα υπογραμμίσουμε ως στιγμές που θα μας κρατήσουν το ενδιαφέρον.


English:



A craving for deadly music. 


The three Swedes continue doing what we know they do best: European Death Metal with numerous Thrash influences, plenty of keyboards (already a prominent element), and haunting lyrical themes from the beyond. But now, not only that—they are shifting (and rightly so) toward other topics, even social and political issues. Of course, some complaints were heard from elitists and pure death metal purists about the album, which led to a remix by Peter six years later. 


If the sequel Alien movies were splatter horror, they should have music by Peter Tagtgren, Mikael Hedlund, and Lars Szoke. Perhaps this album is a touch more melodic than their previous ones, and the final production sound may undermine it, but they are definitely stepping into the new century with very good—or perhaps very questionable—intentions. 


Tracks like "Don’t Judge Me," "Destroyed," "On the Edge of Madness," "Public Puppet," "Hatred," "Seeds of the Chosen One," and "All Turns Black" stand out as moments that will keep our interest alive.


Τάκης "Ε-Μortal One" Γιώτης!


REVIEW: MAJESTY - Own the Crown

 


MAJESTY - Own the Crown


 Massacre Records


Released in September 2011, Majesty's "Own the Crown" compilation marked a significant moment for the German heavy metal band. This double-CD set, priced comparably to a single album, offered over two hours of material, aiming to provide substantial value to listeners.


Majesty, a band that initially gained recognition with their self-released debut "Keep It True," cultivated a reputation for delivering traditional heavy metal. Their sound was characterized by a straightforward approach, often described by fans as embodying the core tenets of the genre. In 2008, the band underwent a transformation, rebranding as Metalforce. While the name changed, the musical direction of Metalforce largely maintained stylistic similarities to Majesty's earlier work. After a three-year period operating as Metalforce, the group reverted to the Majesty moniker, with "Own the Crown" serving as a celebratory release for this return.



The compilation's tracklist encompasses a breadth of the band's material. It features a selection of previously released songs, alongside a notable inclusion of unreleased tracks and re-recorded versions of older material. A particularly significant component of "Own the Crown" is the inclusion of the band's 1998 demo tape, which had previously been available only in limited, early formats. This addition provides historical context to the band's origins for those interested in their complete discography.


"Own the Crown" primarily targets an audience familiar with or interested in traditional heavy metal. Its extensive content and the inclusion of rare material position it as a comprehensive overview of Majesty's output up to that point.


Nick Parastatidis