SOUL KILLING FEMALE is undoubtedly one of the most
intriguingly named bands I have encountered, and while the moniker itself
offers little insight into the band's musical style, it hints at a certain
intensity and unconventional approach—an impression reinforced by the album's
cover artwork. Hailing from Canada, this solo project delivers atmospheric
sludge metal infused with a distinctive and original sound characteristic of
the Canadian underground scene.
The Canadian music scene is renowned for its vibrancy
and propensity for producing innovative and unconventional bands, and SOUL
KILLING FEMALE is no exception. The project skillfully blends various elements
to craft compositions that evoke dark, immersive atmospheres without allowing
the heaviness of down-tuned guitars to overshadow the nuanced layers within the
music.
"Utopia Mine" stands out as one of the most
compelling sludge metal albums I have recently encountered. However, it is
essential to note that this album caters to a specific audience—listeners with
a refined taste for atmospheric and heavy music. Its intricate textures and
dark moods may not appeal to everyone, but for those who appreciate daring and
well-crafted sludge metal, it is highly recommended.
In summary, SOUL KILLING FEMALE's "Utopia
Mine" is a remarkable release that exemplifies Canadian originality and
depth within the genre. If you are an enthusiast of atmospheric sludge metal
seeking a challenging yet rewarding listening experience, this album is
certainly worth exploring.
Στα
τέλη της δεκαετίας του ’70, η Γαλλία είχε να επιδείξει αξιόλογη μουσική κίνηση,
όχι μόνο σε επίπεδο συγκροτημάτων αλλά και ως χώρα παραγωγής και ηχογράφησης
μερικών γνωστών άλμπουμ. Οι Γάλλοι, ως λαός, έχουν συχνά χαρακτηριστεί
σωβινιστές όσον αφορά τη χρήση ξένων γλωσσών. Ίσως όχι και τόσο άδικα, αν
σκεφτεί κανείς ότι τα γαλλικά υπήρξαν κάποτε η διεθνής γλώσσα, πριν οι Αγγλοσάξονες
επιβάλουν τη δική τους.
Τέλος
πάντων, εδώ έχουμε τους Trust στο δεύτερο άλμπουμ τους, ένα σχήμα που
συγκαταλέγεται στα πρωτοπόρα συγκροτήματα τα οποία επιχείρησαν ένα μουσικό
κράμα ανάμεσα σε Hard Rock, Punk Rock και Heavy Metal, με στίχους μάλιστα στη
μητρική τους γλώσσα, όπως αρμόζει σε γνήσιους Γάλλους. Από τις τάξεις τους είχε
περάσει και ο Nicko McBrain, χρόνια πριν ενταχθεί στους Iron Maiden, ενώ αξίζει
να θυμίσω για ακόμη μία φορά ότι το Antisocial από αυτό το άλμπουμ γνώρισε
μεγάλη επιτυχία όταν οι Anthrax το διασκεύασαν οκτώ χρόνια αργότερα στο άλμπουμ
State of Euphoria, μεταφράζοντας τους στίχους στα αγγλικά.
Τσαμπουκάς,
μεταλλοπάνκικη τσαντίλα και οι γαλλικοί στίχοι από πάνω να προσθέτουν ακόμη
μεγαλύτερο βάρος στο τελικό αποτέλεσμα. Στίχοι με έντονο κοινωνικό και πολιτικό
περιεχόμενο, σε αντίθεση με τα περισσότερα συγκροτήματα του κινήματος NWOBHM
από το νησί βόρεια της Μάγχης.
Πάρτε
AC/DC, Judas Priest, Saxon, Ramones, The Dictators και Brats σε ίσες δόσεις και
περάστε τους από τη μηχανή του κιμά. Το ματωμένο αυτό μείγμα που θα προκύψει
προσεγγίζει αρκετά το ύφος των Trust στο Répression.
Πρόκειται
για ένα διαφορετικό και ενδιαφέρον μουσικό ύφος, το οποίο αναγνωρίστηκε στη
Γαλλία. Εκτός συνόρων, όμως, οι περισσότεροι έμαθαν τους Trust κυρίως χάρη
στους Anthrax.
Τα
Instinct de Mort, Monsieur Comédie, Au Nom de la Race, Saumur, Fatalité και
Sects αποτελούν το απόσταγμα του δίσκου και τα κομμάτια που μένουν περισσότερο
στη μνήμη μετά το τέλος της ακρόασης.
English:
A Blend That Probably Didn’t Work, Unfortunately
By the late 1970s, France had a noteworthy music scene
to show for itself, not only in terms of bands but also as a country where
several well-known albums were produced and recorded. The French, as a people,
have often been labeled chauvinistic when it comes to the use of foreign
languages. Perhaps not entirely unfairly, considering that French was once the
international language before the Anglo-Saxons imposed their own.
In any case, here we have Trust with their second
album, a band that ranks among the pioneers who attempted a musical fusion of
Hard Rock, Punk Rock, and Heavy Metal, complete with lyrics in their native
tongue—as befits true Frenchmen. Nicko McBrain passed through their ranks years
before joining Iron Maiden, and it's worth reminding once again that Antisocial
from this album became a major hit when Anthrax covered it eight years later on
State of Euphoria, translating the lyrics into English.
Attitude, metal-punk aggression, and French-language
lyrics that add even more weight to the overall impact. The lyrics are heavily
charged with social and political themes, in contrast to most of the NWOBHM
bands from the island north of the English Channel.
Take AC/DC, Judas Priest, Saxon, Ramones, The
Dictators, and Brats in equal proportions and run them through a meat grinder.
The bloody concoction that comes out the other end comes fairly close to
describing Trust's style on Répression.
It's a distinctive and interesting musical approach,
one that earned the band recognition in France. Outside their homeland,
however, most people came to know Trust mainly through Anthrax.
Instinct de Mort, Monsieur Comédie, Au Nom de la Race,
Saumur, Fatalité, and Sects are the album's standout cuts and the tracks that
linger most strongly in the memory after the listening experience is over.
Το
συγκρότημα με τη μυθική επιρροή σε ολόκληρο το φάσμα του ηλεκτρικού ήχου, που
έχει ανάγει σε επιστήμη το «μία από τα ίδια», αλλά παρ’ όλα αυτά διατηρεί
σχεδόν πάντα σε υψηλή ποιότητα την αξία της μουσικής του. Οι Αυστραλοί, με αυτό
το άλμπουμ, ξαναπιάνουν τα πολύ υψηλά ποιοτικά στάνταρ που είχαν αφήσει λίγο να
υποχωρήσουν μετά το εκπληκτικό εκείνο Ballbreaker των μέσων της προηγούμενης
δεκαετίας.
Δεκαπέντε
κομμάτια, ακριβώς όπως τα φανταζόμασταν και όπως έπρεπε πράγματι να είναι. Η
ιστορία του δίσκου έχει και το δικό της «κουτσομπολιό», αφού το CD κυκλοφόρησε
σε τέσσερις διαφορετικές εκδοχές, με μοναδική ουσιαστική διαφορά το χρώμα στο
λογότυπό τους! Προσωπικά, πέτυχα την κόκκινη έκδοση σε δισκάδικο που υπήρχε
τότε μέσα στις εγκαταστάσεις του αεροδρομίου της Αθήνας.
Η
συναυλία τους στο Ολυμπιακό Στάδιο, λίγο καιρό αργότερα, τους έφερε για πρώτη
και, προς το παρόν… τελευταία φορά στη χώρα μας. Είμαστε τελικά τυχεροί όσοι
βρεθήκαμε εκείνο το ανοιξιάτικο βράδυ μέσα στο στάδιο!
Πέρα
από όλα τα αναμενόμενα κλασικά τους κομμάτια, σχεδόν το μισό συγκεκριμένο
άλμπουμ τιμήθηκε δεόντως: Rock ’n’ Roll Train, Big Jack, War Machine, Skies on
Fire, She Likes Rock ’n’ Roll, Black Ice είναι ένα μικρό δείγμα ενός τελικά
μεγάλου δίσκου.
English:
The True Return to Black
The band with the legendary influence across the
entire spectrum of electric sound, a group that has turned “more of the same”
into an art form, yet still manages to preserve the quality and value of its
music at an exceptionally high level almost every time. With this album, the
Australians once again reach the very high standards they had allowed to slip
slightly after that remarkable Ballbreaker from the middle of the previous decade.
Fifteen tracks, exactly as we imagined them and
exactly as they truly should have been. The story behind the record also comes
with its own bit of “gossip,” as the CD was released in four different
editions, with the only real difference being the colour of their logo!
Personally, I came across the red edition in a record store that existed at the
time inside the facilities of Athens Airport.
Their concert at the Olympic Stadium, a short while
later, brought them to our country for the first and, so far… only time. In the
end, those of us who were there inside the stadium on that spring evening were
truly lucky!
Beyond all their expected classics, almost half of
this particular album received its due honouring in the setlist: Rock ’n’ Roll
Train, Big Jack, War Machine, Skies on Fire, She Likes Rock ’n’ Roll, Black Ice
— just a small sample of what ultimately proved to be a great record.
Here we have a new American band moving in the
heavy/speed metal direction. This is their debut EP, containing three songs
that introduce the band’s musical identity and give a first taste of what they
are capable of.
Behind the microphone we find Jill Janus, a former
Playboy model who proves that her involvement with music is not just a
publicity move. Her vocal performance is actually quite strong, and this comes
from someone who has never been a big fan of female vocals, whether they belong
to the old school or the newer generation of metal bands such as NIGHTWISH,
LACUNA COIL, or THE GATHERING. Jill’s voice fits the aggressive and powerful character
of the music, adding personality and energy to the songs.
The guitar work is also quite impressive, with solid
riffs and a good understanding of the heavy/speed metal style. Although this is
only a short release, all three tracks maintain a good level of quality and
show that the band has potential. Among them, "The Creeper" stands
out as probably the strongest song of the EP, combining the best elements of
their sound.
This is a promising first step from HUNTRESS, and the
band are preparing to release their first full-length album soon. Until then,
they are definitely a name worth keeping in mind for fans of modern heavy metal
with a strong traditional influence.
THE NEW BLACK is one of the very few bands that made
such an immediate and lasting impression on me from the very first moment I had
the pleasure of listening to their music. After so many years in the metal
scene and countless hours spent discovering new bands and albums, I've reached
a point where I'm not easily impressed, excited, or genuinely enthusiastic. In
fact, the number of bands that make it onto my long-term playlist is remarkably
small. However, Germany's THE NEW BLACK possesses that special quality that
instantly caught my attention, so it goes without saying that I was eagerly
anticipating their sophomore release.
Fortunately, for the second time, these guys have not
disappointed.
If you're a fan of Southern groove metal, it's hard to
imagine not enjoying what THE NEW BLACK has to offer. The band has a remarkable
ability to combine memorable melodies, infectious grooves, and highly effective
sing-along choruses, all delivered through superb musicianship and a powerful,
crystal-clear production. Their songwriting strikes an excellent balance
between heaviness and accessibility, making their material equally appealing to
both dedicated metal fans and listeners who appreciate strong hooks and melody.
II: Better in Black picks up right where the band's
self-titled debut left off, while also showcasing a slightly more rock-oriented
approach. At times, the album brings to mind the more inspired side of
NICKELBACK, blended with the unmistakable influence of Zakk Wylde's signature
pinch harmonics and Southern swagger. Rather than simply repeating the formula
of the debut, the band expands upon it, delivering a collection of songs that
feel both familiar and refreshed.
Special mention must also go to vocalist Markus
Hammer, whose warm, expressive voice adds an extra dimension to the material.
His performance consistently elevates the songs, giving them both character and
emotional depth while providing the perfect complement to the band's
groove-laden sound.
Supported by strong songwriting, excellent
performances, and first-class production values, II: Better in Black is a
highly satisfying follow-up that confirms THE NEW BLACK as one of the most
promising acts in the modern Southern groove metal scene.
If Southern groove metal is your thing, then this
album deserves a place in your collection. I know it will certainly remain in
mine.
Οι
Trouble από το Σικάγο του Ιλινόις είναι ένα συγκρότημα που, στο πέρασμα του
χρόνου, απέκτησε πολύ μεγαλύτερες διαστάσεις απ’ ό,τι πίστευαν ακόμη και οι
ίδιοι. Ταυτισμένοι με τη φωνή του Eric Wagner, ο οποίος έφυγε πρόσφατα από τη
ζωή, πριν από τέσσερα χρόνια, η εποχή των τεσσάρων πρώτων δίσκων τους θεωρώ πως
είναι και η πλέον αντιπροσωπευτική της πορείας τους.
Στο
τρίτο τους άλμπουμ, μετά τα Psalm 9 και The Skull που είχαν προηγηθεί,
εξακολουθούν να παίζουν αυτό το χαρακτηριστικό μείγμα αμερικανικού Heavy Metal
με έντονες Doom Metal αναφορές. Δεν είναι αποκλειστικά «παιδιά των Black
Sabbath», όπως, για παράδειγμα, οι συμπατριώτες τους και ήδη βετεράνοι τότε
Pentagram, καθώς διαθέτουν τα δικά τους ιδιαίτερα στοιχεία, τα οποία τους
διαφοροποιούν αισθητά.
Το
παλιακό ύφος που θα καλλιεργήσουν ακόμη περισσότερο στο μέλλον εδώ περιορίζεται
σε ορισμένα riffs που κάτι θυμίζουν, χωρίς όμως να παραπέμπουν ξεκάθαρα κάπου.
Το συναίσθημα αυτό είναι τόσο ασαφές, ώστε χάνεται μέσα στο συνολικό μουσικό
σύνολο του δίσκου.
Τα
τραγούδια του, όπως τα The Misery Shows, Thinking of the Past, On Borrowed
Time, Run to the Light, Born in a Prison, Peace of Mind και The Beginning,
καθώς και η εξαιρετική διασκευή του Come Together των Beatles, η οποία
περιλαμβάνεται στα επιπλέον κομμάτια της έκδοσης CD, συγκαταλέγονται πλέον στα
κλασικά δείγματα του ήχου τους. Πρόκειται για ένα άλμπουμ που έγραψε τη δική
του ιστορία στη βαριά ηλεκτρική μουσική της δεκαετίας του ’80.
English:
Third Edition
Trouble, hailing from Chicago, Illinois, are a band
whose stature has grown far beyond what even they themselves could have
imagined over the years. Forever associated with the voice of Eric Wagner, who
passed away four years ago, I believe the era represented by their first four
albums remains the most defining and representative period of their career.
On their third album, following Psalm 9 and The Skull,
Trouble continue to deliver their trademark blend of American Heavy Metal
enriched with strong Doom Metal overtones. They are not simply "children
of Black Sabbath" in the way that, for example, their fellow countrymen
and already well-established veterans Pentagram were. Trouble possess a
distinctive identity of their own, and the songwriting on this album clearly
highlights the elements that set them apart.
The vintage feel that they would further develop in
the years to come is present here only in certain riffs that sound vaguely
familiar without directly recalling any particular source. The impression is
subtle enough to become absorbed into the album's overall musical character
rather than standing out on its own.
Songs such as The Misery Shows, Thinking of the Past,
On Borrowed Time, Run to the Light, Born in a Prison, Peace of Mind, and The
Beginning, along with the outstanding cover of the Beatles' Come
Together—included among the bonus tracks on the CD edition—have long since
earned their place among the classic examples of the band's signature sound.
This is an album that carved out its own place in the history of heavy music
during the 1980s.
VARATHRON,
Gloryfication Under The Latin Moon - LIVE (2019)
Agonia
Records
Θα
ακουστεί η ελληνική σκηνή στην άλλη άκρη της Γης
Οι,
πλέον Ηπειρώτες, Varathron κατέγραψαν κατά τη διάρκεια της περιοδείας τους στη
Λατινική Αμερική το 2019 αυτό το ζωντανό best of άλμπουμ. Από το Μεξικό έως τη
Χιλή και από το Περού έως τη Βραζιλία, αυτή η ανίερη πεντάδα του μεσογειακού
Black Metal δίδαξε τι εστί ελληνικός ήχος στους πιστούς οπαδούς της στην
αντίπερα όχθη του Ατλαντικού.
Δεκατρία
από τα πιο κλασικά κομμάτια της δισκογραφίας τους, από το πρώτο τους άλμπουμ
His Majesty at the Swamp έως το τότε πιο πρόσφατο Patriarchs of Evil,
παρουσιάζονται εδώ με δαιμονική εκτελεστική αρτιότητα και ακατέργαστη
συναυλιακή ενέργεια.
English:
The Greek Scene Heard at the Other End of the Earth
Now based in Epirus, Varathron captured this live
best-of album during their 2019 Latin American tour. From Mexico to Chile and
from Peru to Brazil, this unholy quintet of Mediterranean Black Metal showed
its devoted followers on the far side of the Atlantic what the Greek sound is
truly all about.
Thirteen of the most classic tracks from their
discography, spanning from their debut album His Majesty at the Swamp to what
was then their most recent release, Patriarchs of Evil, are presented here with
demonic precision and the raw energy of a live performance.
The name THE TARDS may not ring a bell for most metal
fans, but the band has been active since 2005, and Guillotine marks their
second release. On this album, THE TARDS deliver a distinctive blend of thrash
and traditional heavy metal. While the production is modern and powerful, the
riffs, songwriting approach, and overall attitude are firmly rooted in the
spirit of the 1980s.
What makes THE TARDS particularly interesting is their
ability to develop a recognizable identity so early in their career. Rather
than relying heavily on obvious influences, they have managed to craft a sound
that feels personal and distinctive. If there is one comparison that comes to
mind, it is MEGADETH, mainly due to certain aspects of the song structures and
arrangements rather than any direct stylistic imitation.
As a whole, Guillotine is a very interesting and
rewarding release. The band's musicianship, creativity, and commitment to the
metal genre are evident throughout the album. My only reservation concerns the
length of some compositions. A few tracks tend to overextend themselves,
becoming somewhat repetitive as they progress. More concise songwriting would
help highlight the band's strongest ideas and make the material even more impactful.
That said, THE TARDS possess both the talent and
dedication required to make a lasting impression. Their ability to combine
traditional metal values with a fresh and personal approach sets them apart
from many contemporary bands. If they continue refining their songwriting and
focus on making some of their compositions more direct, they have the potential
to deliver even stronger releases in the future.
Guillotine is well worth seeking out, especially for
listeners who appreciate heavy/thrash metal with character and individuality.
In an era where genuinely distinctive bands are increasingly rare, THE TARDS
offer something that deserves attention.
The fourth and final day of Mammothfest 2026 arrived
with high expectations, a diverse billing of heavy subgenres, and an eager
crowd ready to see out the festival in style. Covering everything from local
doom and modern djent to Swedish alternative rock and progressive metal royalty,
June 13th proved to be an unforgettable marathon of live music.
The afternoon kicked off promptly at 17:30 with
Katharsis, a fierce three-piece outfit hailing from Thessaloniki. Though early
festival logistics meant missing their live visual delivery, reports from the
barrier confirmed a devastatingly heavy start to the day. The trio tore through
a calculated four-song assault alongside two brand-new, unreleased tracks that
hint at a massive future release.
Katharsis Setlist:
1. The Last Battle
2. Rotting Kingdom
3. Eternal Voyage
4. Beneath the Swamp
(Plus 2 unreleased tracks)
Up next at 18:15 were Athens-based progressive groove
metal/djent technicians Herta. They wasted no time injecting a massive dose of
adrenaline into the growing crowd. Delivering precise, polyrhythmic syncopation
and bone-shattering riffs, their performance of tracks like Monolith and The
Snake Devours the Wolf proved exactly why they are a force to be reckoned with
in the Greek modern metal scene. By the time they closed with Control, the
crowd was thoroughly warmed up.
Herta Setlist:
1. Monolith
2. The Snake Devours the Wolf
3. Labyrinth
4. Beyond the Dead
5. The Path
6. Incarnation
7. Control
As the clock struck 19:00, the festival's namesake
vibes truly took over with the arrival of Acid Mammoth. The Athenian
doom/stoner icons laid down a wall of fuzzy, monolithic riffs that shook the
venue to its core. Moving through the thunderous Supersonic Megafauna Collision
and the suffocatingly heavy grooves of Jack the Riffer, their set was a
masterclass in slow-burning, psychedelic heaviness.
Acid Mammoth Setlist:
1. Supersonic Megafauna Collision
2. Tree of Woe
3. Berserker
4. Untitled
5. Them!
6. Jack the Riffer
Crossing the North Sea to join the billing, London’s
Seven Sisters took the stage at 20:00, shifting gears into the realms of
progressive heavy/power metal. Armed with twin-guitar harmonies reminiscent of
classic NWOBHM mixed with modern complexity, their set was melodic, soaring,
and technically flawless. Highlights included an epic rendition of The Cauldron
and the Cross and the brilliant melodic hooks of Andromeda Descending.
Seven Sisters Setlist:
1. The Cauldron and the Cross
2. The Artifice
3. Andromeda Descending
At 21:00, Sweden’s Ambush brought pure, unadulterated
1980s traditional heavy metal nostalgia to the stage. Exuding high energy,
leather, and piercing vocals, they triggered the first massive sing-alongs of
the evening with tracks like Firestorm and Desecrator. A surprise, blistering
cover of Judas Priest’s Metal Gods sent the crowd into a frenzy, setting the
perfect stage for the final track, Don't Shoot (Let 'em Burn).
Ambush Setlist:
1. Evil in All Dimensions
2. Maskirovka
3. Possessed by Evil
4. Heading East
5. Firestorm
6. Desecrator
7. Natural Born Killers
8. Metal Gods (Judas Priest cover)
9. Don't Shoot (Let 'em Burn)
As night fell at 22:15, Magna Carta Cartel offered a
mesmerizing change of pace. The Swedish alternative rock band draped the venue
in a cinematic, dreamlike atmosphere. Their synth-kissed guitars and
melancholic melodies felt like a breath of fresh air. Tracks like Silence,
Metropolis Flow, and the hauntingly beautiful "Valiant Visions Dawn"
captivated the audience, showcasing the depth of the festival's curation.
Magna Carta Cartel Setlist:
1. This Time
2. Turn
3. Sleepy Eye June
4. Silence
5. Metropolis Flow
6. Darling
7. Sway
8. Arrows
9. Savantgarde
10. Valiant Visions Dawn
Finally, at 23:30, progressive metal titans Soen
stepped into the headlining spotlight to close out Mammothfest 2026. The
Swedish quintet delivered a flawless, emotionally charged performance that
balanced intricate technicality with massive, anthemic hooks. From the opening
punch of Mercenary and Antagonist, Joel Ekelöf’s vocals were pristine, while
Martin Lopez’s drumming anchored the night with unparalleled groove. The
emotional weight of Lotus and Illusion brought chills to the audience, before
the band brought the entire four-day festival to a triumphant, heavy end with a
roaring performance of Unbreakable.
