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

Gravemass Unleash New Video Clip for “This Is The Way”

 

West Coast death‑metal force Gravemass have released the official video clip for “This Is The Way,” taken from their self‑titled debut album.

Forged by veteran musicians from acts such as Zimmers Hole, Punch Drunk, 3 Inches of Blood, Revocation, Just Cause, West of Hell, Savannah, Process and The Golers, Gravemass emerge as a formidable new presence in the extreme‑metal landscape. Their collective experience fuels a sound steeped in heaviness, aggression, and sinister atmosphere.

“This Is The Way” showcases the band’s signature blend of crushing riffs and commanding death‑metal vocals, delivering a whirlwind of dark energy and precision. The video amplifies their intense stage persona, underlining why Gravemass are quickly being hailed as a rising powerhouse.

With decades of combined musicianship and an uncompromising approach to sonic brutality, Gravemass step forward not just as a new band, but as a coalition of seasoned warriors intent on asserting their dominance. Their death‑metal masterclass has officially begun.

REVIEW: FATHER'S FACE – Soundtrack for a Closing Light

 

FATHER'S FACE – Soundtrack for a Closing Light

Independent Release

I first came across FATHER'S FACE a few months ago through their self‑titled demo, and I was immediately struck by the beauty and individuality of their compositions. The Brazilian band has a rare ability to craft songs that carry a distinct identity—music that stands apart from the majority of heavy and progressive metal acts. Once you hear them, you recognize them.

Soundtrack for a Closing Light marks their debut full‑length album, featuring ten tracks: seven new compositions alongside the three pieces from their demo. The result is one of the most compelling progressive heavy metal releases I’ve encountered in quite some time. While echoes of HEAVEN'S GATE, ANGRA, and CRIMSON GLORY occasionally surface, FATHER'S FACE never fall into imitation. Their influences enrich the music without overshadowing the band’s own character.

The progressive elements are used with purpose—they serve the songs rather than showcase technical prowess for its own sake. The guitars deliver memorable melodies, the rhythm section provides solid and dynamic support, and the overall arrangements feel thoughtful and cohesive. The inclusion of harsher vocal passages in a couple of tracks adds an unexpected dramatic tension, almost like watching two opposing forces—clean and extreme vocals—argue within the same narrative.

If you’re looking for progressive heavy metal that balances personality, musicianship, and emotional depth, FATHER'S FACE is a band worth paying attention to. With Soundtrack for a Closing Light, they prove they can deliver.

Christine  Parastatidou

REVIEW: RAGE, Strings To A Web

 

RAGE, Strings To A Web (2010)

Nuclear Blast Records

Αλληλένδετα δεμένο με τη νέα εποχή τους.

Μετά το 2001, οι Γερμανοί Rage ξαναζούν κι εμείς μαζί τους μια τρίτη εποχή δημιουργικής επιστροφής. Ο γιγαντιαίος Peter "Peavey" Wagner στην ηγεσία, το μπάσο και τη φωνή, ο Victor Smolsky στην κιθάρα και ο André Hilgers στα ντραμς δίνουν και σε αυτό το άλμπουμ ό,τι καλύτερο μπορούν. Μιλάμε για ένα ακόμη τυπικό δείγμα της δουλειάς αυτής της τριάδας του τευτονικού Speed/Power Metal, ικανό να φέρει στο μυαλό εικόνες από τις πιο κλασικές κυκλοφορίες του πρόσφατου, αλλά και του απώτερου παρελθόντος τους. Η σύγκριση είναι προφανώς αναπόφευκτη, αλλά δεν υπάρχει κανένας φόβος ότι θα γύρει η πλάστιγγα εναντίον του.

Με μερικά πολύ χαρακτηριστικά κομμάτια, όπως τα "The Edge of Darkness", "Hunter and Prey", "Into the Light", "The Beggar's Last Dime", και η σουίτα "Empty Hollow" με αρκετά progressive στοιχεία, ακολουθούν το πρώτο, ομότιτλο τραγούδι και το ομώνυμο του δίσκου, που βρίσκονται μέσα στο σύνολο των μερών που την αποτελούν και μας φτάνουν στα μισά της διάρκειας. Μετά, τα "Saviour of the Dead", "Hellgirl", "Purified" και "Tomorrow Never Comes" ολοκληρώνουν το άλμπουμ με πολύ ενθαρρυντικά συναισθήματα για το μέλλον αυτού του ιστορικού σχήματος.

English:

Intertwined with their new era.

Since 2001, the Germans Rage have been experiencing, along with us, a third period of creative resurgence. The colossal Peter "Peavey" Wagner at the helm—handling bass and vocals—the talented Victor Smolsky on guitar, and André Hilgers on drums give their all on this album, delivering the best they can. We’re talking about yet another classic example of this trio’s work in the Teutonic Speed/Power Metal style, capable of evoking images of their most iconic releases from both their recent and distant past. The comparison is, of course, inevitable, but there’s no fear that the scales will tip against them.

The album features several very characteristic tracks, such as "The Edge of Darkness," "Hunter and Prey," "Into the Light," "The Beggar's Last Dime," and the suite "Empty Hollow," which contains quite a few progressive elements. Following these are the opening track, the title song, and the album’s eponymous track, all of which are part of the sequence and bring us halfway through the album’s length. Afterwards, songs like "Saviour of the Dead," "Hellgirl," "Purified," and "Tomorrow Never Comes" complete the record, leaving us with very encouraging feelings about the future of this historic band.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: FIREWIND, Between Heaven And Hell

 

FIREWIND, Between Heaven And Hell (2002)

Massacre Records

Ωμή δύναμη σαν πρώτη δόση.

Ένα άλμπουμ ενός... side project, καθαρά. Τότε, ένας νεαρός Σαλονικιός κιθαρίστας των Σουηδών ήδη φτασμένων Power Metal συγκροτημάτων Dream Evil, ο Κώστας Καραμητρούδης, γνωστός στον χώρο μας ως Gus G, προτρέπεται από τον τεράστιο, θρυλικό και εγώ δε ξέρω τί άλλο κιθαρίστα, αλλά και παραγωγό, David Chastain, να δοκιμάσει τον τραγουδιστή Stephen Frederick, όταν του ζητά τη βοήθειά του για να στήσει αυτό το άλμπουμ.

Έχοντας το demo του ως βάση, ο Gus G θέλει να μεταλαμπαδεύσει την προσπάθειά του σε έναν δικό του δίσκο. Μαζί τους οι Brian Harris στα ντραμς και ο Κωνσταντίνος στο μπάσο. Ένα άλμπουμ που πραγματικά δεν ξεπεράστηκε ποτέ από μεγάλο αριθμό φίλων του κλασικού Heavy και Power Metal, και νομίζω δίκαια! Οι επιρροές όλων, και ειδικότερα του Gus G, ξεκινούν από Helloween, Rainbow, Malmsteen, Stratovarius και φτάνουν σε Crimson Glory, Gargoyle, Queensryche και Warlord από την άλλη πλευρά του Ατλαντικού.

Ένα άλμπουμ που, αν σας χτυπά άσχημα ο Euro Power ήχος, θα το πρότεινα ανεπιφύλακτα (όπως και το επόμενο Burning Earth, που έχει ακόμη πιο U.S. Speed Metal ηχητικά) για σίγουρα αποτελέσματα!

Στα δώδεκα κομμάτια της αρχικής έκδοσης θα βρείτε μερικά πολύ κλασικά πλέον δείγματα, όπως το ομώνυμο του άλμπουμ, τα Warrior, World of Conflict, τον ύμνο τους, Destination Forever, και επιπλέον τα Tomorrow Can Wait, την απίστευτη διασκευή στο Pictured Life της άψογης πρώτης εποχής των Scorpions, Firewind Raging, Who Am I και το τρίτο single του δίσκου και στη συνείδησή μας, το Fire.

English:

Raw power as a first dose.

A pure side project album. Back then, a young Thessalonian guitarist from the already established Swedish Power Metal bands Dream Evil, Kostas Karamitroudis—known in our scene as Gus G—was encouraged by the legendary, iconic, and I might add, otherworldly guitarist and producer David Chastain to try out vocalist Stephen Frederick when he asked for his help in putting together this album.

Using his demo as a foundation, Gus G aimed to channel his effort into his own record. Joining him were Brian Harris on drums and Konstantinos on bass. An album that truly has never been surpassed by a large number of fans of classic Heavy and Power Metal—and I believe rightfully so! The influences for all of them, especially Gus G, range from Helloween, Rainbow, Malmsteen, Stratovarius, to Crimson Glory, Gargoyle, Queensryche, and Warlord on the other side of the Atlantic.

If you're heavily into Euro Power metal, I would wholeheartedly recommend this album (as well as the next, Burning Earth, which leans even more toward U.S. Speed Metal in sound) for guaranteed results!

Among the twelve tracks of the original release, you'll find some now-classic examples, such as the title track, Warrior, World of Conflict, their anthem Destination Forever, as well as Tomorrow Can Wait, the incredible cover of Pictured Life from the early, flawless era of the Scorpions, Firewind Raging, Who Am I, and the third single on the album—and in our consciousness—the song Fire.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: NOCTURNA PERAMBULANT IN TENEBRIS - Death Dawn

 

NOCTURNA PERAMBULANT IN TENEBRIS - Death Dawn

Casket Music

Italy is not a country that has accustomed us to a large number of death metal releases. There is certainly an extreme scene, but personally I am not very familiar with it. NOCTURNA PERAMBULANT IN TENEBRIS, with their debut “Death Dawn,” introduce a sound rooted in mid‑tempo death metal as it was primarily shaped by U.S. bands. Upon this foundation, they incorporate elements from black and traditional metal, creating a hybrid approach that broadens their stylistic palette.

One aspect worth highlighting is the band’s lyrical direction. They avoid the usual zombie, gore, and serial‑killer themes often associated with the genre. Instead, their lyrics lean toward war‑driven and epic narratives reminiscent of BOLT THROWER. Musically, if comparisons must be drawn, their sound sits somewhere between SIX FEET UNDER, DEBAUCHERY, and the darker, mid‑tempo side of ROTTING CHRIST.

“Death Dawn” contains several good ideas, yet as a complete release it tends to feel somewhat monotonous. The lack of variety becomes noticeable—an understandable challenge when working within the constraints of mid‑tempo death metal. There are positive elements throughout, but the band would benefit from developing more dynamic shifts and broader compositional contrasts in future work.

For now, I believe the album will primarily appeal to diehard fans of this specific sound. Tracks like “Immortal End” and the more epic “Lachedaimonios” stand out, but after a certain point the repetition makes the material blend together. Still, it’s worth giving the album a listen and drawing your own conclusions.

Nick Parastatidis