REVIEW: TROUBLE, Simple Mind Condition

 

TROUBLE, Simple Mind Condition (2007)

Escapi Music

Τι ακούμε σε αυτό το άλμπουμ;

Ακούμε Doom; Όχι, τουλάχιστον όχι όπως ήταν κάποτε αυτό το παρακλάδι. Το λες Stoner; Το λες, αν και πάλι δεν είναι ακριβές αυτό. Δεν παίζουν σαν τους Spiritual Beggars, ας πούμε. Είναι πιο Heavy Metal το ύφος του δίσκου. 

Είτε έτσι είτε αλλιώς, τα πιο πρόσφατα δισκογραφικά δημιουργήματα των Αμερικανών, πάλαι ποτέ θεμελιωτών του Doom Metal, έχουν ειδικό ενδιαφέρον. Το συγκεκριμένο άλμπουμ είναι το τελευταίο χρονολογικά που απέκτησα, μετά τα πιο κλασικά αδέλφια του. Παρόλα αυτά, δεν με χαλάει καθόλου! 

Έχοντας μπολιάσει τον ήχο τους με στοιχεία και από νεότερα σχήματα (Monster Magnet μου θυμίζουν κάποια riffs), τολμούν να μην πέφτουν στα ίδια και τα ίδια. Είναι πάντως άλμπουμ Trouble, δεν χωράει αμφιβολία. Με έντεκα κομμάτια, εκ των οποίων τα οκτώ είναι χαρακτηριστικής λογικής του συγκροτήματος, έχουμε ένα πολύ ενδιαφέρον συνονθύλευμα.

 

Τα "Goin' Home", "Mindbender", "Pictures of Life", "Trouble Maker", "Arthur Brown's Whiskey Bar", "Simple Mind Condition", "Ride the Sky" (τίτλος που έχει υπάρξει σε τραγούδι και από άλλα συγκροτήματα, τουλάχιστον άλλες δύο φορές, χωρίς να είναι διασκευή), και "The Beginning of Sorrows" είναι τα σημεία που ξεχωρίζουν.

English:

What do we listen to on this album?

Are we hearing Doom? Not exactly, at least not as that genre once was. Do you call it Stoner? Maybe, but even that isn't quite accurate. They don't play like Spiritual Beggars, for example. Their sound is more Heavy Metal. 

Either way, the latest recordings from the Americans—once the foundational pioneers of Doom Metal—are particularly interesting. This specific album is the most recent one I acquired, after their more classic works. That said, I have no problem with it at all! 

They've infused their sound with elements from newer bands (Monster Magnet reminds me of some riffs), and they dare not fall into the same patterns. It's definitely a Trouble album—no doubt about it. With eleven tracks, eight of which reflect the band's characteristic style, it’s a very intriguing mix. 

Standout tracks include "Goin' Home," "Mindbender," "Pictures of Life," "Trouble Maker," "Arthur Brown's Whiskey Bar," "Simple Mind Condition," "Ride the Sky" (a title that has appeared in songs by other bands at least twice, without being a cover), and "The Beginning of Sorrows.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: INTER ARBORES - Ya.Otreshennost.Granitsi.Svyatoye

 

INTER ARBORES  - Ya.Otreshennost.Granitsi.Svyatoye

Wroth Emitter / Backfire Productions

Music as an art form allows for a wide range of experimentation and interpretation. INTER ARBORES from Russia embraces this freedom, aiming to create an atmosphere characterized by darkness, industrial undertones, and emotional depth. The album features a single track exceeding 38 minutes in length, which deviates from conventional song structures and challenges the listener’s expectations.

Throughout the composition, the band employs a variety of sounds and incorporates monologues, all aimed at evoking a mood dominated by somber emotions—loneliness, despair, and introspection. However, given the album’s extended duration and the repetitive nature of its elements, maintaining engagement becomes increasingly difficult. The overarching atmosphere is one of bleakness and heaviness, which, at times, successfully resonates on an emotional level.

It is important to note that my perspective on this release is influenced by my limited familiarity with the genres of ambient and funeral doom metal, in which INTER ARBORES primarily operates. While certain passages evoke a sense of darkness that I found compelling, the prolonged monotony and the lack of variation ultimately hindered my ability to stay immersed throughout the entire piece. The experience might have been enhanced if the composition had been divided into smaller sections or included more theatrical elements to provide contrast and maintain interest.

In its current form, the album risks becoming monotonous after a certain point, which affects its overall impact. Nonetheless, for listeners who appreciate immersive, lengthy ambient doom explorations, this work may offer a profound auditory journey.

Conclusion: While I acknowledge the artistic intent and the emotional depth conveyed, I find that the album's length and repetitive structure limit its accessibility. Therefore, I can appreciate its merits but cannot recommend it beyond an audience already inclined toward this specific aesthetic.

Nick Parastatidis

AS THE SUN FALLS Unveil New Official Video

 

THEOGONIA RECORDS has released the official video for “9 Days Of Sorrow”, the latest single from Finnish melodic death metal act AS THE SUN FALLS. The track is taken from the band’s upcoming album Songs From The Veil, set for release on May 22nd, 2026.

Steeped in grief, memory, and the slow descent through darkness, “9 Days Of Sorrow” showcases the band’s signature fusion of melodic and atmospheric death metal. Haunting guitar lines and somber textures drive the song’s emotional weight, offering one of the most introspective moments on the forthcoming record.

The accompanying video visually amplifies the track’s themes, portraying the lingering ache of loss and the fragile passage through mourning. Its stark imagery mirrors the band’s continued exploration of Finnish mythology, northern landscapes, and human vulnerability.

With Songs From The Veil, their third full-length album, AS THE SUN FALLS deepen their atmospheric storytelling, crafting a sound that feels both vast and intimately personal.

REVIEW: BABYLON MYSTERY ORCHESTRA The Godless, The Godforsaken and the God Damned

 

BABYLON MYSTERY ORCHESTRA The Godless, The Godforsaken and the God Damned

Independent

Music is an art form that defies confinement, restriction, and censorship. Its very essence lies in its ability to convey raw emotions and thoughts, offering both musicians and listeners a platform for authentic expression and understanding. BABYLON MYSTERY ORCHESTRA exemplifies this ethos, as it resists classification—there simply isn't a suitable label for it yet. I have followed Sidney Allen Johnson’s project from its inception, and I can confidently say it stands as one of the most unconventional, innovative, and pioneering musical endeavors one can experience. 

This band’s music may evoke polarized reactions—you will either love it or dislike it; there’s little middle ground. Sonically, BABYLON MYSTERY ORCHESTRA crafts an original and distinctive fusion of symphonic, gothic, and heavy metal elements. The compositions predominantly feature mid-tempo arrangements, complemented by vocals that are both semi-recitative and semi-sung. However, I believe the music serves primarily as a foundation for the lyrics, which are the true artistic expression. Through this project, Sidney Allen Johnson uses music as a channel to explore and communicate complex sociopolitical themes and personal reflections. 

I encourage listeners to engage with the lyrics critically—not to seek agreement but to foster thought and discussion. The lyrical content presents a spectrum of ideas, some of which may challenge or contradict personal beliefs. That’s precisely the point: societal and intellectual evolution thrive on contradiction, opposition, and free speech. 

From a production standpoint, the album is flawlessly crafted, featuring professional sound quality and meticulously designed artwork and booklet. After careful consideration, I’ve chosen not to assign a numerical grade to this release. Its value lies beyond metrics; it offers an opportunity to confront and contemplate significant issues, regardless of where one’s personal beliefs may lie. 

Christine  Parastatidou

REVIEW: STEEL PROPHET, Book Of The Dead

 

STEEL PROPHET, Book Of The Dead (2001)

Nuclear Blast Records

Δικαίωση και αποθέωση μαζί

Το χατ τρικ των πέντε μουσικών από το Connecticut ήρθε με αυτό το μικρό και δυστυχώς άγνωστο στο ευρύ κοινό άλμπουμ. Τα Dark Hallucinations και Mesiah άνοιξαν την πόρτα ώστε να ολοκληρωθεί η «αγία τριάδα», μια ακόμα όπως αρέσκομαι να βρίσκω στις δισκογραφίες τους. Έχοντας σαφείς επιρροές από τους Βρετανούς ημίθεους (τότε ακόμα, γιατί πλέον... μα ας μη χαλάσω την ατμόσφαιρα!), οι Iron Maiden γράφουν ένα ακόμα τελειολογικό σύνολο κομματιών, με τον δικό τους Eddie, που εμφανίζεται στο εξώφυλλο, όπως είχα δει σε κακεντρεχές σχόλιο κάπου τότε.

Ο Rick Mythiasin στο μικρόφωνο, οι Jim Williams και Steve Kachinsky Blakmoor στις κιθάρες, το μαύρο διαμάντι του μπάσου, ο Vince du Juan Dennis, και ο ντράμερ Karl Petter Rosquist θα μας ταξιδέψουν σε κόσμους τόσο άμεσα στο φανταστικό όσο και στο πραγματικό, άλλη μία φορά, με τη βοήθεια των When Six Was Nine. Ακολουθεί το Tragic Flames, που έχει έντονη μυρωδιά από την πρώιμη εποχή των Kamelot, το Dominion. Στη συνέχεια, τα κομμάτια Escape, Soleares, Church of Mind, Burning into Blackness, The Chamber, Phobia, και Anger Seething, ανάμεσα σε άλλα, συνθέτουν έναν ονειρικό συνολικά δίσκο.

English:

Justice and exaltation together

The hat trick of five musicians from Connecticut arrived with this small, unfortunately little-known album to the wider audience. Dark Hallucinations and Mesiah opened the door for the completion of the “holy trinity,” another one—like I enjoy to find in their discographies. Having clear influences from the British demi-gods (back then still, because now... well, I won't spoil the mood!), Iron Maiden craft yet another perfectionist set of songs, featuring their own Eddie, who appears on the cover—something I saw in a spiteful comment somewhere back then.

Rick Mythiasin on vocals, Jim Williams and Steve Kachinsky Blakmoor on guitars, the black diamond of the bass, Vince du Juan Dennis, and drummer Karl Petter Rosquist will take us on journeys that are just as vividly real as they are fantastical—once again—with the help of When Six Was Nine. Following is Tragic Flames, which bears a strong scent of early Kamelot, the Dominion era. Then come tracks like Escape, Soleares, Church of Mind, Burning into Blackness, The Chamber, Phobia, and Anger Seething, among others, composing what is overall a dreamy record.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: STEEL PROPHET, Messiah

 

STEEL PROPHET, Messiah (2000)

Nuclear Blast Records

Παμπάλαιο σχήμα με δεύτερη ζωή.

Παίζουν U.S. Power Metal, με κύρια –και βεβαίως εμφανή– επιρροή τους Άγγλους Iron Maiden της περιόδου 1980–1988. Οι Steel Prophet της, ας την πούμε, «μεσαίας περιόδου» παίζουν εδώ ένα πιο «αεράτο», σχεδόν ευρωπαϊκό metal. Μετά τον δίσκο που τους έβαλε ξανά στο παιχνίδι, το επίσης αγαπημένο Dark Hallucinations της προηγούμενης χρονιάς –του οποίου το Messiah αποτελεί φυσική συνέχεια, εξ ου και η ομοιότητα ανάμεσα στα δύο εξώφυλλα– οι πέντε μουσικοί από το Connecticut που απαρτίζουν τον «Ατσάλινο Προφήτη», έχοντας πίσω τους μιάμιση δεκαετία ατυχούς αφάνειας, τα δίνουν όλα από εδώ και πέρα.

Το Messiah ήταν από τους πρώτους δίσκους τους που άκουσα και ακόμη και τώρα το θεωρώ άφταστο, ακόμη και για τα δικά τους δεδομένα. Έπος μετά από ύμνο, στο σύνολο των τραγουδιών: Ides of March, Messiah, Vengeance Attained, Mysteries of Iniquity, Dawn of Man, Golden Arise, 07/03/47 (η ημερομηνία αναφέρεται στο περιστατικό του Roswell), Rapture, Ghosts Once Past — όλα με εκείνη τη χαρακτηριστική, «Maiden-ίζουσα» αίσθηση που τους διακρίνει πάντα.

English:

An old band granted a second life.

They play U.S. Power Metal, with their main — and unmistakable — influence being the English Iron Maiden of the 1980–1988 era. Steel Prophet, in what we might call their “middle period,” deliver here a more airy, almost European‑sounding metal. After the album that put them back in the game, the much‑loved Dark Hallucinations from the previous year — of which Messiah is the natural continuation, hence the similarity between the two covers — the five musicians from Connecticut who make up the “Steel Prophet,” carrying a decade and a half of unfortunate obscurity on their backs, give everything they’ve got from this point onward.

Messiah was one of the first records of theirs I ever heard, and even now I consider it unbeatable — even by their own standards. It’s anthem after anthem across the entire tracklist: Ides of March, Messiah, Vengeance Attained, Mysteries of Iniquity, Dawn of Man, Golden Arise, 07/03/47 (the date refers to the Roswell incident), Rapture, Ghosts Once Past — all carrying that characteristic, ever‑present Maiden‑esque aura that defines them.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: INFECTIOUS CATHETER THERAPY – Incredible Stories from Daily Humans Life

 

INFECTIOUS CATHETER THERAPY – Incredible Stories from Daily Humans Life

Gormageddon Productions

Bands operating in brutal death metal and grindcore often push themselves toward maximum extremity—faster, heavier, more chaotic. The technical skill involved can be impressive, yet many releases struggle to offer songs that invite repeated listening. INFECTIOUS CATHETER THERAPY from Russia approach their debut with a different mindset, and that alone makes them stand out.

All the familiar genre elements are present, but the band filters them through a noticeably more melodic lens. Their foundation blends brutal death metal with touches of traditional heavy and thrash metal, giving the material a clearer sense of structure. What truly defines their sound, however, is the use of samples. The band incorporates disco, pop, and trance textures into their compositions, adding unexpected color and variety without undermining the aggression.

I am not a dedicated follower of this particular hybrid approach, yet it’s hard to deny that INFECTIOUS CATHETER THERAPY deliver an album with personality and a genuine spark of originality. For listeners searching for something different within the brutal death metal/grindcore spectrum, this debut offers exactly that—an unconventional take that invites curiosity rather than relying solely on extremity.

Nick Parastatidis

Whipworm Announce New Album “Death Beyond”

 

Los Angeles thrash/death metal duo Whipworm return with their fifth album, “Death Beyond,” a dark and ambitious concept release that pushes their sound into even more intense territory. The record follows a man guided by a prophetic letter toward a fate that may lead him to confront — and possibly overthrow — Death itself.

Musically, Whipworm sharpen their blend of thrash aggression and death‑metal brutality, delivering crushing riffs, blistering drums and atmospheric, cinematic passages. Formed in 2020 by Travis Weinand and Dave Ferarra, the band continue to evolve their high‑speed, high‑intensity approach with each release.

“Death Beyond” stands as their most expansive and ferocious chapter yet.

BUTT SPLITTERS Drop New Live Video for “Homeland”

 

Italian metal outfit Butt Splitters have released a new live video for their track “Homeland,” showcasing the raw power and unfiltered intensity that define their onstage identity. Filmed during a recent performance and now available on YouTube, the clip captures the band in full force — heavy riffs, relentless rhythms, and a direct, high-voltage presence.

Rejecting polished studio aesthetics, “Homeland (Live)” highlights the band’s tight musicianship and their visceral connection with the crowd, emphasizing authenticity over perfection. The release adds another dynamic entry to their growing catalog and reinforces their reputation within the underground metal scene.

Hailing from Italy, Butt Splitters blend thrash, death, and groove metal with uncompromising sound, sharp lyrics, and high-intensity performances that continue to push the limits of the genre.

REVIEW: HYPERBOREA - Cryogenic Somnia

 

HYPERBOREA - Cryogenic Somnia

Independent

I have emphasized this point repeatedly, but it bears repeating: the future and vitality of heavy metal music reside within the underground scene, which continues to produce exceptional bands that, with the right support and promotion, have the potential to reach a broader audience. One such band is HYPERBOREA from Bulgaria, whose sophomore album, Cryogenic Somnia, was released in 2007. Although I only recently discovered this record, it exemplifies the qualities that make underground metal so compelling—and demonstrates that it’s never too late to encounter a hidden gem. 

Cryogenic Somnia showcases HYPERBOREA’s distinctive approach to death metal, combining aggression and brutality with melodic sensibilities. The guitars deliver sharp, intense riffs alongside melodic lines that are both memorable and enriching, adding depth to the overall sound. The band incorporates groove elements and complex technical passages, indicating a proficiency that positions them within the technical death metal subgenre. 

Overall, Cryogenic Somnia is a solid release that will likely resonate with fans of the genre worldwide. Its blend of brutality, melody, and technical skill highlights the band’s potential and reinforces the idea that the underground scene remains a fertile ground for innovative and powerful metal music.

Christine  Parastatidou

REVIEW: THERION, Lepaca Kliffoth

 

THERION, Lepaca Kliffoth (1995)

Nuclear Blast Records

Η έκρηξη πλέον συμβαίνει με αυτό.

Είναι το τέταρτο άλμπουμ τους, το πρώτο που άκουσα πλάι πλάι με το επόμενο, το πρώτο καθαρά συμφωνικό, Theli του 1996. Εδώ οι τρεις μουσικοί του πυρήνα του σχήματος περνούν σε άλλες ατραπούς. Το Death Metal τους στα δύο πρώτα εγχειρήματά τους άλλαξε ρότα με το Symphony Masses: Ho Drakon Ho Megas του 1994, με την προσθήκη μελωδικών, goth αλλά και ιχνών από συμφωνικό metal. Εδώ, τα πράγματα είναι πιο απλά. Οι αξίες που σχεδόν δέκα χρόνια πριν μπήκαν στον ακραίο ήχο από τους πρωτοπόρους Ελβετούς Celtic Frost, αποτελούν το σημείο της δημιουργικής αναφοράς. Δηλαδή, πιο απλά, κρατάμε και πολλαπλασιάζουμε τα επιπλέον στοιχεία του προηγούμενου και βάζουμε πιο πίσω το ακραίο του death, προσθέτοντας το avant-garde, ανατολίτικα μοτίβα και κλασικότροπο metal από τη δεκαετία του 1990.

Ο Christopher Johnson σε φωνή, κιθάρα, πλήκτρα, μαζί με τον Piotr Wawrzeniuk στα ντραμς και τον Fredrik Isaksson στο μπάσο, και με τη βοήθεια του κλασικού thrash παραγωγού Harris Jones, προσπαθούν να πραγματοποιήσουν τη δική τους μετάβαση στον νέο ήχο τους. Είναι ένα τύποις κύκνειο άσμα, αφού η συμφωνική πλευρά τους, που ήδη φαίνεται, θα καταλάβει τον ήχο αυτό από το επόμενο άλμπουμ τους και μέχρι σήμερα.

Πάντως, απολαύστε εδώ τα The Wings of the Hydrae, Melez, Arrival of the Darkest Queen, The Beuryyin Black, Riders of Theli, Darkness Eve, τη διασκευή στο Sorrows of the Moon των "νονών" Celtic Frost, Lepaca Kliffoth, Evocation of Vovin, και Enter the Voids.

English

The explosion now happens with this.

It is their fourth album, the first I listened to side by side with the next, and the first purely symphonic one, Theli from 1996. Here, the core three musicians of the band move in different directions. Their death metal in the first two projects shifted course with Symphony Masses: Ho Drakon Ho Megas from 1994, incorporating melodic, goth elements as well as traces of symphonic metal. Here, things are simpler. The values that, nearly ten years earlier, the pioneering Swiss band Celtic Frost had introduced into extreme metal serve as their point of creative reference. In other words, they keep and multiply the additional elements from the previous work, while pushing back the extreme death metal aspect, adding avant-garde influences, Eastern motifs, and a more classical metal sound from the 1990s.

Christopher Johnson, on vocals, guitar, and keyboards, along with Piotr Wawrzeniuk on drums and Fredrik Isaksson on bass, and with the help of the legendary thrash producer Harris Jones, attempt their own transition into this new sound. It is, in effect, a kind of swan song, since their already apparent symphonic side would fully realize this sound from their next album onward and up to the present day of the band.

In any case, enjoy here the tracks The Wings of the Hydrae, Melez, Arrival of the Darkest Queen, The Beuryyin Black, Riders of Theli, Darkness Eve, the cover of Sorrows of the Moon by the "pioneers" Celtic Frost, Lepaca Kliffoth, Evocation of Vovin, and Enter the Voids.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: ANDEM - Doch' Lunnogo Sveta

 

ANDEM - Doch' Lunnogo Sveta

Apollon Records

With their debut albums, NIGHTWISH introduced a fresh element to the Euro power metal scene by incorporating operatic female vocals, a move that influenced many bands in the genre. While some succeeded in offering something new, the majority struggled to bring originality or innovation. Personally, I have become somewhat disillusioned with the scene, not expecting to encounter anything particularly noteworthy anymore—until I discovered this release from the Russian band ANDEM.

Undoubtedly, ANDEM’s sound is influenced by NIGHTWISH’s early work; however, what sets them apart is the exceptional talent of their vocalist, Yuliana Savchenko. Her voice imparts a profound lyricism to the music, elevating the compositions beyond mere homage. It would be unfair not to acknowledge the meticulous craftsmanship evident in the arrangements, which are thoughtfully detailed and possess a freshness often lacking in similar bands.

"Doch' Lunnogo Sveta" (which translates to "Moonlight Daughter") is an album that can be appreciated even by listeners who are not dedicated fans of this genre. Yuliana’s voice is truly captivating, transporting the listener into worlds of fantasy and emotion. Additionally, the choice to sing in their native language adds authenticity and depth to the music.

Having experienced such a compelling release, I can confidently say it stands alongside the best of the genre, reminiscent of NIGHTWISH’s “Oceanborn.” I encourage those interested in this style to give ANDEM a genuine chance.

Nick  Parastatidis

REVIEW: GRIP INC., Nemesis

 

GRIP INC., Nemesis (1997)

Steamhammer

Τιτάνια προσπάθεια

Με αυτόν τον τρόπο τους έμαθε πολύς κόσμος τότε, ανάμεσά τους κι εγώ. Το συγκρότημα των Waldemar Sorychta στην κιθάρα, Jason Viebrooks στο μπάσο, ο μακαρίτης πλέον τραγουδιστής Gus Chambers και ο ντράμερ-είδωλο Dave Lombardo, πρώην των Slayer, με το πρώτο τους άλμπουμ Power of Inner Strength να έχει αφήσει πολύ καλή εντύπωση. Η τετράδα αποβάλλει το πολύ groove στοιχείο που υπήρχε πριν, χάριν του κλασικού thrash metal. Αυτό ήταν κάτι που στα τέλη της δεκαετίας εκείνης το έκαναν πολλοί, όπως οι Testament, Nevermore, Over Kill, Exodus κ.ά. Η "ζημιά", ας την πούμε, που προκάλεσε το groove metal στην Αμερική με το μπαμ των Pantera, συνέβη σε αντιδιαστολή προς το grunge. Πάντως, από το 1996 και μετά, φαίνεται τάση υποχώρησης. Ο δίσκος αυτός είναι, λοιπόν, ένα δείγμα που χάθηκε στον χρόνο αυτής της εποχής. Κανείς, βέβαια, δε ξεχνάει την εμφάνισή τους τότε στο Rockwave, μαζί με τον Bruce Dickinson και τους Megadeth, στο γήπεδο του Απόλλωνα Αθηνών (νυν Σμύρνης) στη Ριζούπολη. Με τα κομμάτια Pathetic Loar, Portrait of Henry, Empress (Of Rancor), Descending Darkness, War Between One, Myth of a Man, Code of Silence να χαίρουν ακόμη της εκτίμησής μας. Ας θυμηθούμε, λοιπόν, αυτό το άλμπουμ ορόσημο για το τότε του σκληρού ήχου.

English:

Titanic Effort

Back then, this is how many people learned about them, including myself. The band featuring Waldemar Sorychta on guitar, Jason Viebrooks on bass, the late vocalist Gus Chambers, and the iconic drummer Dave Lombardo, formerly of Slayer, left a very good impression with their debut album Power of Inner Strength. The quartet removed much of the groove element that was present before, in favor of classic thrash metal. This was something many bands did towards the end of that decade, like Testament, Nevermore, Overkill, Exodus, and others.

The "damage," so to speak, caused by groove metal in America with Pantera’s explosive rise, was in contrast to grunge. However, from 1996 onward, there was a clear trend of decline. This album is, therefore, a lost relic of that era. No one, of course, forgets their appearance at Rockwave, back then, alongside Bruce Dickinson and Megadeth, at the Apostolos Nikolaidis Stadium (now Peace and Friendship Stadium) in Rizoupoli. Tracks like Pathetic Loar, Portrait of Henry, Empress (Of Rancor), Descending Darkness, War Between One, Myth of a Man, and Code of Silence still earn our respect today.

Let us remember, then, this landmark album for the heavy sound of that time.

Τάκης "Ε-Μortal One" Γιώτης