ANGA Release New Single “Demons”

 

German modern metal band ANGA have released their new single, “Demons,” offering a powerful snapshot of the band’s increasingly dark and heavy sound.

The track was recorded across three studios operated by members of the band: Thomas Höflein’s studio, SFR Recordings, run by guitarist Marvin Schäfer, and Helios Studio, operated by drummer Gabriel Illert. Mixing and mastering were handled by guitarist Thomas Höflein.

Hailing from Stuttgart and Aschaffenburg, ANGA combine crushing riffs, driving breakdowns, electronic elements, soaring vocal melodies, and the dark intensity of modern metalcore. The band features vocalist Anne Zeides, guitarists Thomas Höflein and Marvin Schäfer, bassist Fabian Streich, and drummer Gabriel Illert.

Following their 2021 debut album “Shadows” and the “Straight to Hell” EP, ANGA have continued to develop a darker and heavier musical identity. “Demons” captures this current chapter of the band: modern, aggressive, atmospheric, and confidently genre-defying.

REVIEW: Pressure Zone – Volume I

 

Pressure Zone – Volume I

Noisehead Records

Noisehead Records made a very good and genuinely smart move with Pressure Zone – Volume I, a compilation that appears to have been conceived as the first chapter in a wider series. Released in 2009 as a ten-track cardsleeve CD, the collection presents itself as a compact snapshot of the European underground rather than a conventional label sampler.

I call it a smart move for several reasons. First of all, the compilation was offered for free—which, if you happen to find a copy today, is certainly a good reason to grab it. We all know how appealing it is to discover a free compilation featuring different bands, because such releases give listeners the opportunity to explore unfamiliar corners of the metal scene and come across groups they might otherwise never encounter. If one of those bands makes a strong impression, the natural next step is to investigate their catalogue and, eventually, support them by purchasing their releases.

Noisehead Records, however, did something more interesting than simply promoting its own roster. The label brought together bands connected with different independent and established labels, creating a broader picture of the European metal underground. That approach gives Pressure Zone – Volume I a purpose beyond advertising: it functions as a small but meaningful document of a scene in motion.

The idea behind the compilation was to make metalheads more aware of the many interesting underground bands active across Europe. In that sense, Pressure Zone represents what its subtitle suggests: a European metal-underground-united movement. At a time when discovering new music was still heavily dependent on physical CDs, magazines, mail order, and word of mouth, compilations such as this one were particularly valuable. They served as musical maps, connecting listeners with bands from different countries and giving lesser-known acts an opportunity to reach an audience outside their immediate scene.

Musically, the collection is dominated by extreme metal. Nine of the ten participating bands explore styles ranging from melodic death metal to brutal death metal and metalcore. The sole traditional heavy metal representative is Toxic Virgin, a band I have known since its 2001 debut. They are a very good and interesting group that deserves support, and they contribute a catchy, memorable song that provides a welcome contrast to the more aggressive material surrounding it.

Among the extreme-metal acts, The Spektrum are truly magnificent. Their melodic death-metal approach combines heaviness with atmosphere and strong songwriting, making them the standout band for me. Their contribution is one of those tracks that immediately encourages further investigation—and that is precisely where a compilation like this succeeds.

I have mentioned these two bands because they provided my favourite moments, but this certainly does not mean that I disliked the remaining participants. The other groups all contribute worthwhile songs, and the compilation maintains a good level of quality throughout. The remaining eight bands are Demolition, Draconic, Rozenhill, Controlstate, Rien Sans Douleur, Necropsy, Nuestros Derechos and Preydatory.

Overall, Pressure Zone – Volume I is more than a free promotional disc. It is an enthusiastic attempt to unite different parts of the European underground and introduce listeners to bands that deserve attention. Its value lies not only in the individual songs, but also in the spirit behind the release: open-minded, supportive, and focused on discovery. For metalheads interested in exploring the European scene, this compilation is a small but worthwhile piece of underground history.

Christine  Parastatidou

REVIEW: DEF LEPPARD, Pyromania

 

DEF LEPPARD, Pyromania (1983)

Vertigo

Οριακά από τη νέα υπηκοότητα

Πιο Αμερικανοποιημένα δεν ήταν σε αυτή τη φάση συγκροτήματα όπως οι Ratt, οι Mötley Crüe, οι White Lion κι όλοι αυτοί της συνομοταξίας του «hair metal». Οι Άγγλοι, ως το… βρακί τους, έχουν ήδη λανσάρει στην απέναντι ακτή του Ατλαντικού τη μόδα με τα μποξεράκια και τα μπλουζάκια με τη σημαία του Ηνωμένου Βασιλείου, καθώς και με το λογότυπό τους, με αυτό εδώ το τρίτο άλμπουμ της μάλλον κάπως αδιάφορης, για μένα προσωπικά, καριέρας τους.

Αντικειμενικά, παίζουν εμπορικό αλλά καλό hard and heavy, με εφαλτήριο περισσότερο τους Genesis, τους Led Zeppelin, τους Queen και τους Sweet παρά τους Black Sabbath ή τους Deep Purple και τους Rainbow. Όπως είπαμε, όμως, οι μελωδίες τους είναι τόσο προορισμένες να αγαπηθούν από τους απέναντι, ώστε εδώ πλέον κι οι ίδιοι ξεχνούν ότι ανήκουν, χρονολογικά, στο συνάφι του NWOBHM, μαζί με τους Saxon, τους Tokyo Blade, τους Iron Maiden, τους Praying Mantis κ.ά.

Έχω δηλώσει ότι ανέχομαι αρκετά τη δισκογραφία τους μέχρι και αυτό, το τρίτο τους έργο — κάτι που δεν έχει αλλάξει μέχρι σήμερα. Η αλήθεια είναι ότι θα αποτελέσουν τόσο μεγάλη επιρροή για τα αμερικανικά συγκροτήματα, όπως αυτά που αναφέρονται στην αρχή — και για άλλα τόσα στη νιοστή δύναμη —, ώστε από το επόμενο άλμπουμ η μεταμόρφωσή τους σε «false metal», κατά τους Manowar, θα ολοκληρωθεί.

Εδώ, όμως, τα πέντε Αγγλόπουλα παίζουν καλά και με πάθος αυτό που παίζουν, οπότε τους το αναγνωρίζω, έχοντας αυτό το CD — καλά, έχω και μερικά από τα επόμενα, δεν το αρνούμαι.

Τα πιο αγαπημένα μου κομμάτια είναι το βαρύ και γρήγορο «Stagefright», το «Too Late for Love», το «Photograph» — η επιτυχία του ανερχόμενου φαινομένου του MTV, με το κλασικό βιντεοκλίπ —, τα «Die Hard the Hunter» και «Foolin’», το επίσης καλό «Rock of Ages», που ξεκινά σαν χλιαρό ποπ κομμάτι αλλά εξελίσσεται σε έναν μικρό ύμνο, καθώς και τα «Comin’ Under Fire» και «Action! Not Words». Όλα αυτά είναι χαρακτηριστικά ενός δίσκου που τους έκανε πολύ πλουσιότερους σε κινητή περιουσία, αφού πούλησε — και εξακολουθεί να πουλά — τόσες δεκαετίες μετά, τις κάλτσες του.

English:

Barely Granted a New Citizenship

At this stage, few bands were more Americanized than Ratt, Mötley Crüe, White Lion, and all those other outfits belonging to the so-called “hair metal” fraternity. The Englishmen had already launched the fashion of Union Jack boxer shorts and T-shirts, complete with their own logo, on the opposite shore of the Atlantic—and this third album marks that transition in what is, at least to me personally, a somewhat unremarkable career.

Objectively speaking, they play commercial but genuinely good hard and heavy, drawing more from Genesis, Led Zeppelin, Queen, and Sweet than from Black Sabbath, Deep Purple, or Rainbow. As I said, however, their melodies are so clearly designed to be embraced by American audiences that, by this point, even they seem to forget that, chronologically speaking, they belong to the NWOBHM camp, alongside Saxon, Tokyo Blade, Iron Maiden, Praying Mantis, and the rest.

I have said that I can tolerate their discography up to and including this, their third release—a position that has remained unchanged to this day. The truth is that they would go on to become such a major influence on American bands like the ones mentioned at the beginning—and countless others raised to the nth degree—that, from the next album onward, their transformation into what Manowar would call “false metal” would be complete.

Here, though, the five English lads play their music well and with passion, and I give them credit for that. I own this CD—and, all right, I also have a few of the later ones; I’m not going to deny it.

My favorite tracks are the heavy and fast “Stagefright,” “Too Late for Love,” “Photograph”—the hit that helped establish MTV as a rising phenomenon, complete with its classic video—“Die Hard the Hunter,” “Foolin’,” and the equally good “Rock of Ages,” which begins like a tepid pop song but develops into a minor anthem. “Comin’ Under Fire” and “Action! Not Words” are also among the album’s highlights.

Together, these songs are representative of a record that made the band considerably richer in movable assets, since it sold—and continues to sell, all these decades later—an absolute ton.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: THE BLACK RIDERS – Chosen Few

 

THE BLACK RIDERS – Chosen Few

GI Records

Some records survive because they were successful. Others survive because collectors refuse to let them disappear. Chosen Few by The Black Riders belongs firmly to the second category: an obscure British heavy-metal release with limited documentation, conflicting catalog information, and the unmistakable appeal of an underground discovery.

Little reliable biographical information about The Black Riders has surfaced, but the music gives a clearer impression of the band than the surviving paperwork. Chosen Few presents raw, direct British heavy rock rooted in the New Wave of British Heavy Metal, yet shaped by the harder, more street-level sound of the early 1980s.

The album is commonly listed as a 1984 release, although a later full-album upload identifies it as a GI Records release from 1988. It contains nine tracks: “Can’t Stop Us Now,” “Mindless Violence,” “Can’t Hold On,” “Twilight Zone,” “Frankenstein,” “Chosen Few,” “Addiction,” “Time To Run,” and “Money Talks.” The material also reportedly appeared on a 1993 Hot Metal Records split CD with Preyer’s Terminator, although this may represent a later archival or bootleg circulation rather than the original release. Until an original sleeve, label scan, catalog number, or matrix detail is examined, the exact release history remains uncertain.

Such confusion is hardly unusual for obscure independent metal records of the period. Unlike the better-known NWOBHM acts, The Black Riders left behind little verifiable biography, stable lineup information, or contemporary press coverage. They appear to have been one of the many small independent bands that emerged from the era's local scenes, recording and circulating their music without ever reaching the wider audience enjoyed by bands such as Iron Maiden, Saxon, Diamond Head, or Tygers of Pan Tang.

Musically, Chosen Few is best described as raw NWOBHM-influenced hard rock. There is little interest in technical showmanship or elaborate production. Instead, the songs rely on straightforward guitar riffs, driving rhythms, gritty vocals, and memorable choruses. The rough production, typical of an obscure independent recording, gives the album a direct, almost live-room character.

The material is generally mid-tempo and forceful rather than relentlessly fast, placing the band closer to traditional heavy metal and hard rock than to the speed and thrash metal that would soon dominate the underground. The aggression comes through weight, attitude, and subject matter rather than extreme tempos or harsh vocals.

“Can’t Stop Us Now” is a natural introduction to the band's straightforward, chorus-driven approach, while “Mindless Violence” brings a darker and more confrontational edge. “Can’t Hold On” reveals a more melodic hard-rock side, showing that the band was not limited to blunt aggression. “Time To Run” captures their driving character particularly well, combining a firm rhythm section, prominent guitars, and an urgent vocal delivery.

The remaining titles—“Twilight Zone,” “Frankenstein,” “Chosen Few,” “Addiction,” and “Money Talks”—suggest a mixture of dark imagery, social commentary, and rebellious self-definition, reinforcing the distinctly early-'80s underground-metal atmosphere.

Chosen Few is not important because The Black Riders became one of British heavy metal's defining names. They didn't. Its appeal lies elsewhere: this is the sound of a band operating outside the spotlight, using the language of heavy metal and hard rock to create something direct, energetic, and personal.

For collectors, the uncertain release history only adds to the fascination. Any original copy should be checked against label details, catalog numbers, sleeve credits, country of manufacture, and matrix information, particularly when distinguishing it from later archival or bootleg appearances.

Chosen Few is an obscure but rewarding document of British heavy rock. The Black Riders sound like a determined underground band somewhere between NWOBHM, traditional heavy metal, and gritty hard rock. Their songs are direct, their production rough, and their musical vocabulary familiar—but the combination has enough character to make the album more than a historical curiosity.

This is not a lost masterpiece in the conventional sense. It is a cult discovery: imperfect, under-documented, and rooted in the uncompromising spirit of the British metal underground. For listeners interested in obscure NWOBHM, private-press heavy metal, and rough-edged early-'80s hard rock, Chosen Few deserves a place on the listening list.

Nick Parastatidis

REVIEW: KROKUS, Dirty Dynamite

 

KROKUS, Dirty Dynamite (2013)

Sony Music

Είστε σίγουρα το ίδιο συγκρότημα!

Κάποτε οι AC/DC μετακόμισαν στην Ελβετία και, στο 17ο άλμπουμ λοιπόν των παλαιμάχων Hard & Heavy Rockers, ξαναστάζει από το αίμα των ηλεκτρικών Αυστραλών και πρώτων διδασκόντων, και στα δώδεκα κομμάτια του.

Εντάξει, η επιρροή είναι παραπάνω από εμφανής. Ποτέ δεν το αρνούνταν, άλλωστε, ήδη από τα τέλη της δεκαετίας του ’70, όταν μεταλλάχθηκαν από Progressive σε Hard Rock σχήμα, ότι οι AC/DC ήταν αγαπημένοι τους. Οπότε, αμαρτία εξομολογούμενη…

Κεφάτο ύφος, ζωντανή αίσθηση και καθαρή, διάφανη παραγωγή ήχου, με πολύ καλές στιγμές τα Hallelujah Rock ’n’ Roll, Go Baby Go, Rattlesnake Rumble, Dirty Dynamite, την πολύ διασκευασμένη εκδοχή του Help! των Beatles, Better Than Sex, Dőg Song, Bailout Blues, Yellow Mary και Hardrocking Man, σε παρασύρουν σε ένα άλμπουμ που, εντάξει, καλώς ή κακώς, δε θα μας έλειπε, αλλά, απ’ την άλλη πλευρά, δε μας χαλάει καθόλου η ύπαρξή του.

Είναι ένα καλό «παρών», για να μας θυμίζει πώς ήταν οι παλιές, καλές τους εποχές.

English:

Surely, You’re the Same Band!

At one point, AC/DC moved to Switzerland, and on the 17th album by these veteran Hard & Heavy rockers, the blood of the electric Australians and pioneering masters once again runs through all twelve tracks.

Okay, the influence is more than obvious. After all, they never denied, even as far back as the late ’70s, when they evolved from a Progressive outfit into a Hard Rock band, that AC/DC were among their favourites. So, a sin confessed…

A spirited approach, a lively feel, and a clean, crystal-clear production define the album, with Hallelujah Rock ’n’ Roll, Go Baby Go, Rattlesnake Rumble, Dirty Dynamite, their much-covered take on the Beatles’ Help!, Better Than Sex, Dőg Song, Bailout Blues, Yellow Mary, and Hardrocking Man standing out as particularly strong moments. They sweep you along through an album that, well, whether for better or worse, is not something we would necessarily miss, but, on the other hand, we certainly don’t mind having it around.

It is a good way of saying “we’re still here,” reminding us of what their good old days were like.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: THE SACRED TRUTH – Reflections of Tragedy II: The Final Confession

 

THE SACRED TRUTH – Reflections of Tragedy II: The Final Confession (2011)

Sleaszy Rider Records

There are moments in this job when the promotional sheet tries a little too hard. THE SACRED TRUTH’s debut full‑length, Reflections of Tragedy II – The Final Confession, arrives accompanied by descriptions of “screamo vocals” and other buzzwords clearly intended to impress. After so many years in the metal scene, though, the only thing that truly matters is the music itself. So I set the hype aside and focus on what the Australian band actually delivers.

This album continues the conceptual storyline first introduced on their 2009 EP Reflections of Tragedy. The band frame this release as the second and concluding chapter of that narrative—a personal, psychological descent told through progressive and modern metal elements. Structurally, the album is built like a theatrical arc: an overture, emotional peaks, confessions, and a final resolution. The tracklist supports this ambition, stretching from the brief opener “The Confessional Overture” to the nine‑minute closer “God’s Will”, which functions almost like a final monologue.

Musically, THE SACRED TRUTH operate within the broader field of progressive metal and modern melodic metal, but not in the DREAM THEATER school of technical exhibitionism. Their approach is more atmospheric and emotionally driven, reminiscent of bands who prioritize mood over virtuosity—names like Evergrey, Queensrÿche, Pain of Salvation, and even early Nevermore come to mind. The band clearly aim for introspective heaviness rather than aggressive impact.

To their credit, the musicianship is tight. The production—handled with a clean, modern aesthetic—allows the melodies to breathe and highlights the band’s strengths: emotive guitar lines, atmospheric layering, and a vocalist who leans heavily into the narrative weight of the concept. Tracks like “Cries of the Soul”, “Mourning Sun”, and “Scars” showcase their ability to craft memorable melodic themes, while “Retribution” and “Damage” flirt with a slightly darker edge.

However, the album’s greatest strength is also its limitation. Nearly all songs move along the same melodic, atmospheric path, with very few deviations into more aggressive territory. For a metal band, this imbalance becomes noticeable. The emotional tone is consistent—almost too consistent—resulting in a listening experience that risks monotony. Metal thrives on dynamic contrast, and THE SACRED TRUTH often seem reluctant to unleash the heavier side of their identity.

The conceptual ambition is admirable, but the execution leans toward the catatonic. The album is pleasant, well‑crafted, and certainly not without talent, yet it stops short of offering a fully rounded metal experience. The band’s melodic instincts are strong, but they need to embrace their aggressive potential to achieve the dramatic tension their concept demands.

The cover of Reflections of Tragedy II reinforces the album’s introspective nature: a confessional booth bathed in dim, sepia‑toned light, symbolizing guilt, memory, and emotional burden. It visually aligns with the album’s narrative arc—an internal struggle rendered as a spiritual confrontation. The imagery is effective, though it also hints at the same atmospheric heaviness that dominates the music.

Reflections of Tragedy II – The Final Confession is a thoughtful, melodic, and emotionally charged debut. THE SACRED TRUTH show clear talent and a strong sense of atmosphere, but their reluctance to balance melody with aggression keeps the album from reaching its full potential. A solid listen—especially for fans of introspective prog metal—but too subdued for those seeking a more complete metal experience.

Nick Parastatidis

Align the Tide Release New Single and Lyric Video “JINN”

 

Maltese modern metal/metalcore outfit Align the Tide have unveiled their new single and lyric video, “JINN,” marking a new chapter in the band’s evolution. The track captures a band that has rebuilt and refined its identity while embracing a heavier and more mature sound.

Formed in Malta in September 2015, Align the Tide spent their early years developing a distinctive approach shaped by a broad spectrum of heavy music. Their efforts culminated in the release of their debut album, Dead Religion, followed by extensive live activity both at home and abroad.

In May 2018, the band joined legendary industrial metal act Mushroomhead on their U.S. tour, performing in cities including San Diego, Seattle, Denver, Minneapolis and Cleveland. After further shows in Malta, Align the Tide expanded their reach into Europe with tours across Germany and the Czech Republic.

In April 2019, the band signed with Cleopatra Records, which subsequently issued Dead Religion worldwide on CD digipak and vinyl. During the pandemic, the band remained active in the studio, writing and recording their second album, Hollow, released through Cleopatra Records in August 2022.

Another major milestone followed in 2024, when Align the Tide supported deathcore heavyweights Suicide Silence at their London show, further establishing the band as one of Malta’s most prominent modern heavy acts.

Now, with a renewed lineup, a heavier and more mature sound, and new music on the horizon, “JINN” represents a statement of resilience and artistic rebirth. As the band explains, the song is “the sound of a band rediscovering its identity,” born from setbacks, lessons learned and countless hours in the studio.

With its message of perseverance, passion and unwavering belief in their vision, “JINN” sees Align the Tide moving forward without compromising their identity.

Watch the lyric video for “JINN” and experience the latest chapter in Align the Tide’s journey.