American
progressive heavy metal project Shade Of Memories has
unveiled its new single, “Pyramid.” The track
was recorded, mixed, and mastered at Delbox Audio Studios.
Founded in 2013 by Seattle/Tacoma musician Jay Pratt, Shade Of Memories operates as a one‑man project blending heavy metal intensity with cinematic storytelling. Pratt’s debut album, Glaciers of Tomorrow (2021), earned international attention for its disciplined musicianship and concept‑driven approach.
TRELLEBORG
– Lands of Njord
Stygian Crypt Productions
The Viking metal scene has expanded rapidly in recent
years, and with such an explosion it becomes clear how few bands genuinely have
something to contribute. Many releases fall into the “decent but forgettable”
category. TRELLEBORG, however, arrive from Russia with a debut full‑length that shows they are not content to follow the
well‑worn
path.
While Lands of Njord contains the expected folk
elements—melodic lines, keyboards, accordions—the band avoids the common trap
of imitating the genre’s established giants. Instead, they introduce touches
that feel refreshingly atypical for Viking metal. One of the album’s strengths
is its playful streak: humorous musical passages appear throughout, reminiscent
of the light‑hearted
approach ALESTORM occasionally take, yet without slipping into parody. This
sense of character helps the album stand apart.
The songwriting also resists predictability.
Structures shift, themes evolve, and several tracks hold surprises even for
seasoned listeners. Considering the apparent young age of the musicians, the
level of maturity and confidence in their arrangements is particularly notable.
Lands of Njord ultimately stands as a strong
Viking/pagan metal release—rooted in the genre’s traditions but unafraid to
diverge from them. It is an album that grows with repeated listens, revealing
more of its personality each time. The closing track, the orchestral and
soundtrack‑styled
“Birth of Skerriz,” is a striking finale that highlights the band’s broader
compositional ambitions.
Nick Parastatidis
DARKTHRONE, The Underground Resistance
(2013)
Peaceville Records
Έχουν
ξεφύγει πραγματικά εδώ.
Οι
Νορβηγοί είναι πασίγνωστοι. Όσοι προτιμούν τη Black Metal, την ιστορία τους, υποθέτω ότι μισούν
την εποχή τους από το 2002 και μετά. Όσοι είμαστε περίεργοι, την ψάχνουμε. Και
τί δεν έχουν παίξει: από Crust
Punk influenced Metal έως και επικό Heavy, με αρκετά NWOBHM στοιχεία εδώ. Και γιατί όχι; Το κλασικό
Heavy Metal, επιδραστικό για ολόκληρο το φάσμα των
σκηνών, υπάρχει παντού.
Οι Fenriz και Nocturno Culto, ως μουσικοί, έχουν προφανώς μεγαλώσει
με τους κλασικούς του είδους. Έχουν δει τί κατάφεραν πρώτοι οι Bathory, που στράφηκαν από τον
ακραίο στον επικό ήχο. Να λοιπόν πεδίο δόξης λαμπρό!
Έξι
κομμάτια στα περίπου σαράντα λεπτά συνολικά, και το Dead Early να μην κρύβει τις βαθιές επιρροές τους
από τους Celtic
Frost.
Ακολουθούν τα Valkyrie, Lesser Men, The One's You Left Behind, Come Warfare the Entire Doom, Leave No Cross Unturned, που συγκεντρώνουν και πάλι
όλα τα ακούσματα αυτής της πλευράς των δύο φίλων και συνεργατών μουσικών.
Όπως
και τα περισσότερα άλμπουμ αυτής της πειραματικής περιόδου τους (η οποία
συνεχίζεται ακατάπαυστα έκτοτε), είναι πιο ανοιχτά σε μεγαλύτερο μέρος του
κοινού. Αν αυτό κρίνεται καλό ή κακό, είναι υποκειμενικό. Απλά είτε μας αρέσει
είτε όχι.
English:
They’ve truly gone off the deep end here.The
Norwegians are well known. Those who prefer Black Metal and its history, I
assume, despise their scene from 2002 onward. As for us curious ones, we’re
exploring it. And there’s nothing they haven’t played: from Crust
Punk-influenced Metal to epic Heavy, with quite a few NWOBHM elements in the
mix. And why not? Classic Heavy Metal, influential across the entire spectrum
of scenes, is everywhere.
Fenriz and Nocturno Culto, as musicians, have
obviously grown up with the classics of the genre. They’ve seen what Bathory
achieved first, shifting from extreme to epic sound. So, here’s a field of
glorious opportunity!
Six tracks in roughly forty minutes total, with Dead
Early clearly reflecting deep Celtic Frost influences. Followed by Valkyrie,
Lesser Men, The One’s You Left Behind, Come Warfare the Entire Doom, Leave No
Cross Unturned, all gathering again the sounds from this side of the two
friends and collaborators.
Like most albums from their experimental period (which
has continued relentlessly ever since), these are more accessible to a broader
audience. Whether that’s good or bad is subjective. It simply is—whether we
like it or not.
Τάκης "Ε-Μortal One" Γιώτης
DESTRAGE
- The King Is Fat 'n' Old
Coroner Records
I recall first listening to this Italian band's debut,
Urban Being, and being immediately impressed by their ability to blend classic
metal elements with modern influences, resulting in a highly catchy and
engaging sound. About a year later, they released their sophomore album, The
King Is Fat 'n' Old, which continues along a similar musical path. However, in
my opinion, it falls slightly short of the mark set by their debut.
While the album retains the core ingredients that made
their first effort stand out, it seems that in an attempt to showcase their
technical prowess and make a strong impression, DESTRAGE has overloaded many of
the compositions. The songs feature frequent tempo shifts, thematic changes,
and a multitude of ideas that, at times, come across as overwhelming. These
abrupt transitions can disrupt the natural flow, making some tracks feel more
like a patchwork of disparate parts rather than cohesive songs. As a result,
the overall listening experience can feel chaotic, with the band’s intention of
sounding progressive and elaborate occasionally working against them.
That said, DESTRAGE is undeniably a highly talented
and cohesive band. Their performances are top-notch, with well-trained
musicianship and a tight rhythm section. The guitar work is particularly
notable, especially the solos heavily influenced by Yngwie Malmsteen,
complemented by Zakk Wylde-style false harmonics. The vocals are also a
strength—capable of growling, screaming, and singing with skill and versatility.
If you enjoy modern metalcore that balances clean
vocals with harsh, aggressive tones, this album is worth exploring. It offers a
high level of musicianship and energetic songwriting. However, personally, I
would prefer more structured compositions with less embellishment.
Additionally, I find the duality of clean and harsh vocals somewhat tiresome;
while both are performed well, the frequent use of this vocal style has become
somewhat of a cliché in the genre.
In summary, The King Is Fat 'n' Old is a commendable
work that showcases the band’s technical abilities and creativity. Still, its
tendency toward chaotic arrangements and vocal duality might not appeal to all
listeners, especially those seeking more streamlined, cohesive songs.
Christine
Parastatidou
VADER, The Beast (2004)
Metal Blade Records
Ακούραστοι
Οι
Πολωνοί έχουν επανεφεύρει το τεχνικό Death Metal και πάλι, τόσο για άλλη μία
φορά όσο και για μία ακόμα κυκλοφορία τους. Πάντα τους ακούμε να βρίσκονται στο
όριο με το Thrash Metal, αλλά από την εσωτερική πλευρά του συνόρου προς το
Death Metal, δηλαδή. Ο δίσκος αυτός θα μπορούσε να είχε κυκλοφορήσει με τον
τίτλο Spiritual Disease, που νομίζω ότι θα ήταν πολύ πιο σχετικός — όχι ότι ο
απλός τίτλος The Beast είναι άσχετος, αλλά η τελική κρίση από τον ακροατή δεν
αλλάζει.
Ο
δίσκος γράφτηκε ως τρίο, με τον Piotr Wiwczarek να παίζει μπάσο, ρυθμική κιθάρα
και φυσικά να εκτελεί τα φωνητικά. Ο Maurycy Stefanowicz παίζει κιθάρα, ενώ ο
Dariusz Brzozowski παίζει ντραμς, αν και δεν ήταν επισήμως μέλος της μπάντας
εκείνη την εποχή.
Υπό
αυτό το πρίσμα, μάλλον αστάθειας, το αποτέλεσμα δεν είναι καθόλου κακό. Τα κομμάτια Out of the Deep, Dark Transmission, Forebringer, The
Sea Came in at Last, The Zone και Apopheniac αποτελούν τεράστιες στιγμές σε αυτό το CD.
Το
ενδιαφέρον μας παραμένει αμείωτο για αυτούς και εδώ.
English:
Untiring
The Poles have reinvented technical Death Metal once
again—both for another time and for another release. We always hear them
operating at the borderline with Thrash Metal, but from the inner side of that
boundary towards Death Metal. This album could have been released under the
title Spiritual Disease, which I think would be much more fitting—not that the
simple title The Beast is irrelevant, but the listener’s ultimate judgment
remains unchanged.
The album was created as a trio, with Piotr Wiwczarek
playing bass, rhythm guitar, and of course, delivering the vocals. Maurycy
Stefanowicz plays guitar, while Dariusz Brzozowski handles drums—even though he
was not officially a band member at that time.
Considering this context of instability, the result is
not at all bad. Tracks like Out of the Deep, Dark Transmission, Forebringer,
The Sea Came in at Last, The Zone, and Apopheniac are massive highlights on
this CD.
Our interest in them remains as unwavering here as
ever.
Τάκης "Ε-Μortal One" Γιώτης
VADER,
Litany (2000)
Metal Blade Records
Βέιντερ, μαγεία, death metal λιτανεία!
Οι
Πολωνοί, στο τέταρτο άλμπουμ τους, έχουν ήδη καθιερωθεί στη σκηνή από τις αρχές
του τρέχοντος αιώνα. Η ιστορία τους χάνεται στη δεκαετία του ’80, πολύ πριν από
την απαρχή του ακραίου metal. Στο συγκεκριμένο CD ακολουθούν μεν την
πεπατημένη, αλλά πάντα με τον δικό τους τρόπο· το thrash-meets-death metal που
παίζουν θυμίζει έντονα την αμερικανική σχολή εν τη γενέσει της, με μια αδιόρατη
μυρωδιά από Slayer, Possessed, Morbid Angel και Obituary.
Η
παραγωγή είναι ογκώδης, με χαρακτηριστικά blast beats, σε έντεκα κομμάτια που
συνολικά μόλις ξεπερνούν τα τριάντα λεπτά. Τα Winds, The One Made of Dreams,
Xeper, Litany, The Calling, Cold Demons, Forwards to Die!!!, North, A World of
Hurt και The Final Massacre δικαιούνται επάξια τον τίτλο ότι συγκαταλέγονται σε
ένα από τα καλύτερα άλμπουμ τόσο του είδους όσο και των Vader.
English:
Vader: sorcery, a death‑metal litany!
By their fourth album, the Poles had already cemented
their place in the scene at the dawn of the new millennium. Their story
stretches back to the ’80s, long before the rise of extreme metal. On this
particular record they may follow the familiar path, yet always in their own
unmistakable way; the thrash‑meets‑death metal they deliver strongly echoes the early
American school, carrying a subtle scent of Slayer, Possessed, Morbid Angel and
Obituary.
The production is massive, packed with signature blast
beats across eleven tracks that barely exceed the thirty‑minute mark. Winds, The One Made of Dreams, Xeper,
Litany, The Calling, Cold Demons, Forwards to Die!!!, North, A World of Hurt,
and The Final Massacre rightfully earn the claim of belonging to one of the
finest albums both of the genre and of Vader’s entire catalogue.
Τάκης "Ε-Μortal One" Γιώτης
BREACH
THE VOID – The Monochromatic Era
Coroner Records
BREACH THE VOID step into the modern metal arena with
The Monochromatic Era, a debut that follows the now‑familiar trajectory of contemporary melodic death
metal infused with electronic and metalcore elements. The band originates from
Switzerland—a detail that does offer a small point of distinction, given that
the country isn’t typically associated with this particular branch of extreme
metal.
The musicians deliver a competent first effort, but
the album leans heavily on established formulas. Their sound owes much to the
later waves of melodic death metal, especially the era when keyboards and
electronic textures became central to the genre’s evolution. Listeners will
easily pick up on echoes of IN FLAMES, DARK TRANQUILLITY, and most notably
SOILWORK’s Figure Number Five period. These influences are not subtle; they
shape the album’s identity to the point where BREACH THE VOID’s own voice has
yet to fully emerge.
This doesn’t make the record poor—far from it. The
performances are solid, the production is clean, and the band clearly
understands the mechanics of the style they’re working within. What it does
mean, however, is that The Monochromatic Era feels more like a well‑executed introduction than a defining artistic
statement. Even the title brings to mind DARK TRANQUILLITY’s “Monochromatic
Stains,” reinforcing the sense that the band is still operating in the shadow
of their influences.
For dedicated followers of modern melodic death metal
and metalcore, this album may offer enough familiar elements to be worth
exploring. For everyone else, sampling a few tracks first is the safest way to
determine whether BREACH THE VOID’s debut resonates beyond its genre
conventions.
Christine Parastatidou
