REVIEW: ERADICATION – Dreams of Reality

 

ERADICATION – Dreams of Reality

Siege Of Amida Records

In an era where the contemporary melodic death metal and deathcore scenes are heavily oversaturated, emerging bands must possess distinctive qualities to stand out and captivate a broader audience. British-based ERADICATION (not to be confused with the French black metal band of the same name) appears to have the potential to carve their niche within the modern death metal landscape. They demonstrate solid musicianship, technical proficiency, and songwriting skills that yield catchy, aggressive compositions capable of appealing to a diverse metal audience.

That said, one area for growth lies in developing a more personal sonic identity. Currently, their compositions tend to echo established formulas and band archetypes within the genre. While this is understandable for a debut release, it is an aspect they should refine to distinguish themselves further in future works.

Musically, ERADICATION fits within the realm of modern melodic death metal, yet their sound also incorporates notable elements of deathcore, reflecting the genre's influence on their songwriting. The vocalist delivers a commendable range of guttural and high-pitched growls, adding dynamic vocal textures to their tracks. The lead guitars showcase technical prowess with intricate riffs and thematic melodies, while the rhythm section provides a robust foundation that amplifies the album's intensity and drive.

Overall, "Dreams of Reality" exhibits the band's capability to craft sharp, aggressive, and up-tempo songs, making them well-suited for live performances. Their technical skill and songwriting craft are evident, and with more emphasis on cultivating a unique artistic voice, ERADICATION could achieve remarkable growth. Fans of modern death metal and deathcore should definitely give this debut a listen, as the band clearly knows what they are doing. With further development of their originality and personal style, they have the potential to make a significant impact.

Christine  Parastatidou

REVIEW: TANK, Tank

 

TANK, Tank (1987)

Roadrunner Records

Κάτω από το ραντάρ

Ομολογώ ότι δεν είχα ασχοληθεί με αυτό το άλμπουμ, κυρίως λόγω του αφελούς εξωφύλλου του, που θύμιζε περισσότερο άρμα μάχης («tank») παρά σοβαρή δισκογραφική πρόταση. Με το πέρασμα του χρόνου, όμως, και καθώς οι αντιστάσεις ωριμάζουν, το ομώνυμο άλμπουμ των Tank διέβη τον Ρουβίκωνα της δισκοθήκης μου.

Οφείλω, λοιπόν, να παραδεχτώ το λάθος μου, καθώς έκανα ακριβώς αυτό που συνήθως αποτρέπω τους άλλους από το να κάνουν: έκρινα από το περιτύλιγμα.

Πρόκειται για έναν δίσκο που στέκεται με αξιοπρέπεια και τσαγανό δίπλα στις προηγούμενες δουλειές τους. Η σύνθεση του συγκροτήματος, πλέον τετραμελής σε σχέση με την προηγούμενη περίοδο, αποτελείται από τους Algy Ward (μπάσο, φωνητικά), Mick Tucker και Cliff Evans (κιθάρες), καθώς και τον Gary Taylor στα ντραμς.

Παλιό, καλό New Wave of British Heavy Metal, σε μια προσπάθεια επαναφοράς στον ήχο που υπηρέτησαν τόσο επιτυχημένα στις τρεις πρώτες δουλειές τους. Αυτό αποτυπώνεται σε συνθέσεις όπως τα Reign of Thunder, March on Sons of Nippon, With Your Life, None But the Brave, The Enemy Below, (The Hell They Must) Suffer και It Fell from the Sky.

Τελικά, πρόκειται για ένα τίμιο δισκάκι που αξίζει περισσότερο απ’ ό,τι προδίδει η πρώτη του εικόνα.

English:

Under the Radar

I must admit that I had never really given this album a chance, largely because of its rather naïve cover artwork, which seemed more like a literal tank than the cover of a serious heavy metal record. As time passed, however, and my resistance gradually wore down, Tank's self-titled album finally crossed the Rubicon into my record collection.

So, I have to acknowledge my mistake, because I ended up doing exactly what I always advise others against: judging a book by its cover.

This is an album that stands proudly alongside the band's previous releases, displaying both dignity and grit. The lineup, now reduced to a four-piece compared to the previous incarnation, consists of Algy Ward on bass and vocals, Mick Tucker and Cliff Evans on guitars, and Gary Taylor on drums.

What we get here is good old New Wave of British Heavy Metal, delivered in a conscious effort to recapture the sound that made their first three albums so successful. That approach shines through on tracks such as Reign of Thunder, March on Sons of Nippon, With Your Life, None But the Brave, The Enemy Below, (The Hell They Must) Suffer, and It Fell from the Sky.

In the end, this is an honest, solid album—one that deserves far more credit than its first impression might suggest.

Τάκης "Ε-Μortal One" Γιώτης!

Sunsucker Releases New Single "Heart"

 

Polish atmospheric stoner/post-metal band Sunsucker has unveiled their latest single, "Heart." Recorded at WeM Studios and mixed/mastered by Marek Kubik, the track showcases the band's immersive sound that blends hypnotic guitar dissonance, powerful basslines, electronic textures, and piercing vocals.

Formed in May 2024, Sunsucker is known for their raw emotional depth and dedication to confronting themes of vulnerability and transformation. Rejecting fleeting trends, the band focuses on creating music that functions as a ritual rather than mere performance. Their live sets are particularly iconic, offering intense shared experiences that serve as passages through shadow and truth, resonating with listeners seeking authenticity over escapism.

REVIEW: ΙMMORTAL, Pure Holocaust

 

ΙMMORTAL, Pure Holocaust (1993)

Osmose Productions

Η απαρχή του αέναου ψύχους

Μετά το ομότιτλο EP και το πρώτο τους άλμπουμ, οι δύο Νορβηγοί μουσικοί (ασχέτως της φωτογραφίας στο εξώφυλλο), Abbath Doom Occulta και Demonaz Doom Occulta, ξεκινούν την ξέφρενη πορεία τους στο ψύχος και το έρεβος των φανταστικών — ή και μη — πεδίων της μουσικής τους.

Το νορβηγικό Black Metal, το οποίο έχει ήδη εκραγεί εκείνη την περίοδο, έρχεται να δώσει αέρα ανανέωσης στη σκληρή μουσική, η οποία στις αρχές των 90s δεν διαθέτει πλέον πολλά περιθώρια εξέλιξης. Ο δίσκος κινείται σε ταχύτερα τέμπο από τον προκάτοχό του και το μυστικιστικό, αλλά ταυτόχρονα παγωμένο ύφος που οι Immortal θα καλλιεργήσουν ακόμη περισσότερο στη συνέχεια της πορείας τους είναι ήδη έντονο σε συνθέσεις όπως τα The Sun No Longer Rises (ίσως το πλέον χαρακτηριστικό κομμάτι του δίσκου), Unsilent Storms in the North Abyss, A Sign for the Norse Hordes to Ride, Frozen by Icewinds, Storming Through Red Clouds and Holocaustwinds και Pure Holocaust, τα οποία εμπεριέχουν τα βασικά συστατικά της συνολικής τους υπόστασης.

Δεν υπάρχουν εδώ αναφορές στο δίπολο φωτεινού και σκοτεινού δαίμονα, ούτε αξιοποιείται η αντιπαράθεση Θεού και Διαβόλου, στην οποία η πλειονότητα των σύγχρονών τους black metallers είχε αναλωθεί, τοποθετώντας τους δύο πόλους σε μια διαρκή σύγκρουση και υποστηρίζοντας σχεδόν πάντοτε τον δεύτερο. Αντίθετα, η φύση και οι εικόνες της μέσα στο ζωφερό σκοτάδι αποτελούν τη βασική πηγή έμπνευσής τους. Για τον λόγο αυτό, παρακολουθώ πρωτίστως αυτούς, έπειτα τους συμπατριώτες τους Darkthrone και αμέσως μετά τους Emperor.

Πρόκειται για ένα άλμπουμ που, λογικά, βρίσκεται ήδη στις συλλογές της συντριπτικής πλειονότητας των φίλων του ακραίου Metal και το οποίο, στην τελική, δεν χρειάζεται ιδιαίτερη ανάλυση.

Αξίζει, τέλος, να σημειωθεί ότι η παρουσία του αείμνηστου πλέον ντράμερ Grim (επάνω δεξιά στη φωτογραφία) ήταν μάλλον μια απλή guest συμμετοχή. Όλα τα κρουστά, καθώς και το μπάσο, τα πλήκτρα και φυσικά τα φωνητικά, ανήκουν στον Abbath!

English:

The Beginning of the Eternal Frost

Following their self-titled EP and debut album, the two Norwegian musicians (regardless of what the cover photo might suggest), Abbath Doom Occulta and Demonaz Doom Occulta, embark on their relentless journey into the frost and darkness of the imaginary—or perhaps not so imaginary—realms that define their music.

At a time when Norwegian Black Metal had already erupted onto the scene, bringing a breath of renewal to heavy music, which by the early '90s seemed to have little room left for further evolution, this album pushed things forward. The record adopts faster tempos than its predecessor, while the mystical yet freezing atmosphere that Immortal would continue to refine throughout their career is already fully present in songs such as The Sun No Longer Rises (arguably the album's defining track), Unsilent Storms in the North Abyss, A Sign for the Norse Hordes to Ride, Frozen by Icewinds, Storming Through Red Clouds and Holocaustwinds, and Pure Holocaust. Together, these compositions contain all the essential elements of the band's identity.

There are no references here to the duality of a benevolent and malevolent demon, nor to the God-versus-Devil conflict that so many of their contemporaries in the Black Metal scene had become preoccupied with, portraying the two forces in perpetual opposition while almost invariably siding with the latter. Instead, nature itself—and its imagery shrouded in bleak darkness—serves as their primary source of inspiration. For that reason, Immortal have always been the band I followed first, followed by their compatriots Darkthrone and then Emperor.

This is an album that, in all likelihood, already occupies a place in the collections of the vast majority of extreme Metal fans and, ultimately, one that hardly requires extensive analysis.

Finally, it is worth noting that the presence of the late drummer Grim (pictured in the upper-right corner of the photograph) was most likely nothing more than a guest appearance. All drum performances, as well as the bass, keyboards, and of course the vocals, were handled by Abbath himself.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: PALLAS – XXV

 

PALLAS – XXV

Mascot Records

PALLAS is a UK-based progressive rock band that emerged as one of the pioneering acts within the neo-progressive movement during the early 1980s, a period marked by the resurgence of progressive rock’s second wave. Alongside contemporaries such as Marillion, IQ, and Pendragon, PALLAS contributed to a revitalization of the genre at a time when progressive rock was largely considered unfashionable, overshadowed by the prevailing influence of pop and new wave music—not to be confused with the New Wave of British Heavy Metal (N.W.O.B.H.M.).

Originally founded under the name RAINBOW, the band changed its moniker following Richie Blackmore’s departure from Deep Purple and his formation of a new band called RAINBOW. PALLAS began performing regularly in the club circuit, riding the grassroots wave of progressive rock’s revival, which sought to reconnect with the genre’s more elaborate and melodic roots.

Their seventh studio album, XXV, continues to demonstrate the band’s proficiency in crafting compelling melodies within the progressive rock framework. The album’s compositions are characterized by strong melodic lines and atmospheric textures, showcasing the band’s experience and songwriting skills. Notable tracks such as “Falling Down,” “Crash and Burn,” and “Sacrifice” stand out for their memorable hooks and emotional depth.

It is worth noting that XXV presents a somewhat introspective and contemplative tone, which may require listeners to engage with the album multiple times to fully appreciate its nuances. Its reflective nature adds to its depth but might challenge casual listeners expecting more immediate impact.

In conclusion, XXV is a solid addition to PALLAS’s discography and a commendable release within the progressive rock genre. While it may not quite reach the artistic heights of landmark albums like Beat the Drum, it nevertheless exemplifies the band’s continued craftsmanship and dedication to their musical identity. For fans of the genre and the band, it offers a rewarding listening experience that rewards attentive and repeated listens.

Ioannis Kaskamanidis

REVIEW: HEMOPTYSIS – Misanthropic Slaughter

 

HEMOPTYSIS – Misanthropic Slaughter

Metal Matters PR

A truly exceptional metal album acts as an energy amplifier—an adrenaline rush that leaves you feeling invincible and empowered. This metric of impact is how I often gauge the effectiveness of a record, and Hemoptisis’ Misanthropic Slaughter has achieved this to an extraordinary degree.

From my perspective, this band warrants global touring, positioning themselves among the elite of the metal scene. Their raw power and commanding presence on stage are undeniable, and I am confident they will soon receive the recognition they deserve—indeed, the moment is approaching.

Misanthropic Slaughter epitomizes modern thrash metal at its finest; it is a record that promises to become a classic in my collection. Its depth and complexity only reveal themselves more with each listen, as new elements and nuances emerge, solidifying its status as a timeless piece.

Where to begin? Perhaps with the compositions themselves—crafted with precision and ferocity. The riffs are irresistibly catchy, complemented by sharp, aggressive guitar work, intricate solos, and a concrete rhythmic foundation. The vocals are top-tier, elevating the album's brutality and extremity without compromise.

This release encapsulates the essence of thrash metal: relentless, visceral, and uncompromising. Yet, it also seamlessly weaves in classic heavy metal sensibilities and touches of melodic death metal, adding layers of depth and diversity to the sound. It’s remarkable how such a highly talented band remains unsigned—an oversight that seems destined to be rectified soon.

Ultimately, Misanthropic Slaughter is a death/thrash metal onslaught—technical, ferocious, and impeccably produced. I am left utterly stunned and in awe of its intensity and craftsmanship. This album is a brutal, relentless force, and I believe it will leave a lasting mark on the metal landscape.

Christine  Parastatidou

REVIEW: MX,MX

 

MX,MX (2016)

Eat Metal Records

Βαθιά ανάσα και βύθιση στο βάθος του υπεδάφους.

Λοιπόν, αυτό το δισκάκι το έχω από τον γνωστό, σε μεγάλο βαθμό, από την εταιρεία παραγωγής/δισκογραφική/δισκάδικο Γρήγορη. Δεν θα κάνω διαφήμιση, δε χρειάζεται άλλωστε! Μια μέρα μου λέει: «Πάρε αυτό, τους ξέρεις;» Απαντώ μηχανικά: «Ναι, οι MX είναι από το Σάο Πάολο, οι Thrashers...» Μεγάλη κουβέντα, μη τη λες ποτέ με σιγουριά! Λάθος, και όμως, αυτό το άλμπουμ - συλλογή είναι κάποιων άλλων MX από την Ατλάντα των Η.Π.Α., που πότε δεν τους ήξερα. Πλέον τους έμαθα και έτσι μοιραζόμαστε εδώ μια γνώμη.

Ας το πούμε κανονική κυκλοφορία, αν κι όπως ανέφερα, είναι μια συλλογή από κομμάτια τους από διάφορες εποχές. Κλασικό U.S. Heavy, Power, Speed Metal, ακόμη και κάποια πιο επικά σε δομή κομμάτια, και όλα αυτά είναι μερικά από τα ευαίσθητα σημεία μου. Το CD χτύπησε φλέβα!

Υπάρχει κι underground, και υπήρχε παντού και πάντα. Ε, ρε τί πάθαμε!

Τα τραγούδια είναι: Electrocuted Madness, Deceiver (όχι διασκευή σε Judas Priest), Straight Line, Riding on the Edge (μου βγάζει πολύ Cirith Ungol αυτό), Epilogue, Hellbound (εδώ, μουσικά, έχουν επιρροή μόνο οι Omen), Fly With Me Tonight, Purgatory (ούτε αυτό έχει καμία σχέση με Iron Maiden), Infested και Out Of Control.

English:

Deep breath and a plunge into the depths of the underground.

So, I have this little record from the well-known, to a large extent, Gregory company—production, record label, record shop. I won’t bother with advertising; it’s not needed anyway! One day, they tell me: "Take this, do you know them?" I reply mechanically: "Yes, MX are from São Paulo, the Thrashers..." Big talk, never say it with certainty! Wrong, and yet, this album—this compilation—is by some other MX from Atlanta, USA, whom I never knew before. Now I’ve learned about them, and here we share an opinion.

Let’s call it a proper release, although, as I mentioned, it’s a collection of tracks from various eras. Classic U.S. Heavy, Power, Speed Metal, even some more epic-structured songs—all of which are some of my sensitive points. The CD hit a nerve!

There’s also underground, which has always been everywhere and always will be. Oh, what have we been through!

The songs are: Electrocuted Madness, Deceiver (not a cover of Judas Priest), Straight Line, Riding on the Edge (it gives me strong Cirith Ungol vibes), Epilogue, Hellbound (musically, they’re influenced only by Omen here), Fly With Me Tonight, Purgatory (which has nothing to do with Iron Maiden), Infested, and Out Of Control.

Τάκης "Ε-Μortal One" Γιώτης