REVIEW: THE SILENT RAGE - Harvester of Souls EP

 

THE SILENT RAGE - Harvester of Souls EP (2011)

Independent

Two years after their self-titled EP, Athens-based THE SILENT RAGE return with a new release, presenting a refreshed and now stable line-up. With Harvester of Souls, the band aims to offer a clearer picture of its musical identity, demonstrating both its compositional abilities and its potential within the melodic heavy/power metal genre.

The EP features five tracks, including three older compositions that have been re-recorded and rearranged, alongside two new songs. Unfortunately, I cannot make a direct comparison with the original versions, as I haven't had the opportunity to listen to them. Nevertheless, the material presented here stands firmly on its own merits and offers a good introduction to the band's sound.

THE SILENT RAGE play melodic heavy/power metal, with a strong emphasis on memorable melodies, well-crafted guitar solos and expressive lead work. These are undoubtedly some of the band's strongest assets, while the passionate vocal performance adds further character and intensity to the compositions. The rhythm section provides a solid and dependable foundation, maintaining the necessary drive and consistency while allowing the guitars to take the lead and develop their melodic ideas. There is a good balance between the heavier passages and the more melodic elements, giving the songs a sense of direction without sacrificing their metal edge.

Another positive aspect is the overall execution. Harvester of Souls sounds like a carefully prepared effort, with the musicians demonstrating confidence in their performances and a clear understanding of the musical direction they want to follow. The result is a professional-sounding release that combines musical ability, enthusiasm and compositional creativity. It is evident that considerable work and determination have gone into this EP, allowing the band's talent to come through without unnecessary embellishments.

I believe that more bands like THE SILENT RAGE are exactly what the Greek metal scene needs. There is plenty of talent and dedication within our country's underground, and releases of this quality can help challenge some of the prejudices that metal fans abroad may still hold towards the Greek scene. Of course, such perceptions are not always entirely unjustified, but the only way to change them is through consistent work and strong musical output.

THE SILENT RAGE have made a very positive impression with Harvester of Souls, and this is an effort that deserves the attention and support of every fan of melodic heavy and power metal. Support the band and give this EP a chance. I believe you won't regret it!

Nick Parastatidis

REVIEW: BON JOVI, 7800° Fahrenheit

 

BON JOVI, 7800° Fahrenheit (1985)

Mercury

Γιάννη μου, το μαλλί σου θέλει λακ

Το δεύτερο άλμπουμ των Bon Jovi από το όμορφο New Jersey, ένα χρόνο μετά το ομότιτλο ντεμπούτο τους. Η φωτογραφία στο οπισθόφυλλο τα λέει όλα: Richie Sambora, David Bryan, Alec John Such, Tico Torres και βεβαίως «το αφεντικό ο ίδιος» του μαγαζιού, ο καθένας με τούφες στα μαλλιά και τίγκα σε ένα κουτί λακ! Hair metal, όπως καταλαβαίνεις κι από το έξυπνο εξώφυλλο του δίσκου: εύπεπτα riff, βαριά μέχρι ενός σημείου, καλός ρυθμός. Ακόμα δεν έχει γίνει το μεγάλο μπαμ (να γίνουν όλα γης Μαδιάμ), αλλά είναι ένα κλασικό καλό δεύτερο άλμπουμ μιας καλολαδωμένης μουσικής μηχανής.

Από τα δέκα κομμάτια του ανέχομαι τα έξι-εφτά και τα αναγνωρίζω ως μεγάλες συνθέσεις. Τα In and Out of Love, The Price of Love (πολύ αγαπούλας ο Γιάννης), Only Lonely, King of the Mountain, Silent Night, Tokyo Road, Always Run to You και The Hardest Part Is the Night είναι οι κορυφαίες στιγμές ενός δίσκου με περίσσια μελωδία. Τόση, που επηρέασε μια ολόκληρη εποχή, αλλά και άλλους που ανέβηκαν στο τρένο του glam rock για να αρπάξουν την ευκαιρία, όπως κι αυτοί.

Έναν χρόνο αργότερα θα γίνει και το μπαμ που λέγαμε πριν, κι έτσι «η αγάπη θα αποκτήσει κακό όνομα» για το συγκρότημα...

English:

Johnny, Your Hair Needs Hairspray

Bon Jovi’s second album, from the lovely state of New Jersey, arrived a year after their self-titled debut. The photo on the back cover says it all: Richie Sambora, David Bryan, Alec John Such, Tico Torres and, of course, “the boss himself,” each one sporting a mane of teased tufts and a can’s worth of hairspray! This is hair metal, as you can tell from the clever cover art: easy-listening riffs, heavy up to a point, a solid groove. The big bang hasn’t happened yet (the whole world is about to go up in flames, as the saying goes), but it’s a classic, good second album from a well-oiled musical machine.

Of its ten tracks, I can put up with six or seven, and I recognize them as great compositions. In and Out of Love, The Price of Love (Johnny sure is a lover boy), Only Lonely, King of the Mountain, Silent Night, Tokyo Road, Always Run to You and The Hardest Part Is the Night are the high points of a record overflowing with melody. So much so that it shaped an entire era, and also influenced others who hopped aboard the glam rock train to seize the opportunity, just as they did.

A year later, the big bang I mentioned earlier would arrive, and that’s when “love would get a bad name” for the band...

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: BLUE ÖYSTER CULT, Agents Of Fortune

 

BLUE ÖYSTER CULT, Agents Of Fortune (1976)

Columbia Records

Ραδιοφιλικό από άλλη διάσταση.

Οι Νεοϋορκέζοι μάστορες του Heavy Rock παρουσιάζουν εδώ το πιο… ποπ έργο τους. Ποπ; Ίσως με την έννοια του δημοφιλούς, μιας και το «(Don't Fear) The Reaper» είναι ένα τραγούδι που έχει ακουστεί από εκατομμύρια ραδιόφωνα σε ολόκληρο τον κόσμο. Οι Space Rock αναφορές και οι μυστηριώδεις, ενίοτε Prog Rock ρυθμοί και μουσικές συνεχίζουν την παράδοση των τριών πρώτων δίσκων τους. Με μια σειρά από διαχρονικά κομμάτια, όπως τα «E.T.I. (Extra Terrestrial Intelligence)», «True Confessions», «The Revenge of Vera Gemini», «Tattoo Vampire» και το εναρκτήριο «This Ain't the Summer of Love», το άλμπουμ διαθέτει υλικό που θα μπορούσε κάλλιστα να αποτελεί μια άτυπη συλλογή με τα καλύτερα της μπάντας. Εμπορική απογείωση για τον Eric Bloom και την αθάνατη σύνθεση των Albert Bouchard, Joe Bouchard, Allan Lanier και Donald Roeser, με αυτό το τέταρτο κατά σειρά δισκογραφικό τους κατόρθωμα.

English:

Radio-Friendly from Another Dimension.

The New York masters of Heavy Rock deliver what is arguably their most… pop-oriented work here. Pop? Perhaps in the sense of popular, considering that “(Don't Fear) The Reaper” is a song that has been played on millions of radios around the world. The Space Rock influences and the mysterious, occasionally Prog Rock rhythms and musical passages continue the tradition established by their first three albums. Featuring a string of timeless tracks such as “E.T.I. (Extra Terrestrial Intelligence)”, “True Confessions”, “The Revenge of Vera Gemini”, “Tattoo Vampire” and the opening “This Ain't the Summer of Love”, the album contains enough material to almost qualify as an unofficial Best Of collection of the band's work. A commercial breakthrough for Eric Bloom and the immortal line-up of Albert Bouchard, Joe Bouchard, Allan Lanier and Donald Roeser, this fourth album stands as another remarkable achievement in their career.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: MARDUK - Iron Dawn E.P.

 

MARDUK - Iron Dawn E.P. (2011)

Regain Records

MARDUK are among the bands that have managed to translate the brutality and intensity of warfare into a musical language. Their approach to metal combines relentless speed, aggression and a dark atmosphere that makes their music particularly suitable for exploring war-related themes. Having recently spent more time listening to the band I can better understand why they are considered one of the established names in the genre. Although their music might initially sound chaotic to a listener closer attention reveals a well-structured approach to songwriting with the band managing to create a sense of order within an otherwise overwhelming sonic assault.

I also find their focus on war-related subject matter appropriate for their musical identity. Than depending exclusively on the satanic imagery commonly associated with black metal MARDUK have developed a thematic direction that draws heavily on military history, conflict and destruction. Their sound complements these subjects providing a musical framework for the atmosphere they seek to establish.

Two years after their full-length release the Swedish veterans return with Iron Dawn, a three-track EP that maintains their established musical characteristics. The material follows the bands ultra-fast approach with relentless drumming, aggressive guitar work and harsh vocals forming the backbone of the compositions. However speed is not the element that defines this release. Despite the intensity of the performances the songs retain structures and memorable passages avoiding the impression of an uncontrolled barrage of sound.

Another interesting aspect is the way MARDUK combine their uncompromising aggression with an occasionally epic atmosphere. The arrangements maintain a sense of tension while the interaction between the different instrumental elements gives the material sufficient variation to hold the listeners attention. Iron Dawn does not represent a departure from the bands established direction. Does it attempt to introduce substantial changes to their formula. Instead it offers another demonstration of the musical identity they have developed over the years.

Overall Iron Dawn is a release aimed primarily at those who appreciate MARDUKs approach to black metal. Its three tracks deliver the expected combination of speed, aggression and dark atmosphere making it a worthwhile addition, for followers of the band. If their established sound is what you are looking for this EP should meet your expectations.

Nick Parastatidis

Ένα όνειρο του Αρμαγεδδώνα

 

Ένα όνειρο του Αρμαγεδδώνα by H.G. Wells

My rating: 4 of 5 stars

Το βιβλίο Ένα όνειρο του Αρμαγεδδώνα είναι μια συλλογή τριών διηγημάτων του Χέρμπερτ Τζορτζ Γουέλς (H. G. Wells), ο οποίος θεωρείται, μαζί με τον Ιούλιο Βερν, ένας από τους θεμελιωτές της επιστημονικής φαντασίας. Πρόκειται για τρεις ιστορίες με διαφορετικό ύφος και διαφορετική ατμόσφαιρα, που όμως μοιράζονται ένα κοινό νήμα: τη σχέση του ανθρώπου με τη δύναμη, την καταστροφή και τα όριά του.

Είναι ένα βιβλίο που διαβάζεται εύκολα και γρήγορα, αλλά αφήνει πίσω του ερωτήματα που δεν ξεχνιούνται εύκολα.

Τα τρία διηγήματα

1. Ένα όνειρο του Αρμαγεδδώνα

Το διήγημα που έδωσε και τον τίτλο στη συλλογή. Ξεκινά σαν ένα ανέμελο ρομάντζο, τοποθετημένο σε ένα μακρινό μέλλον, και ο αναγνώστης παρασύρεται σε μια ατμόσφαιρα σχεδόν παραμυθένια. Σιγά σιγά όμως το κλίμα αλλάζει, και η ιστορία καταλήγει σε ένα δυστυχώς σκοτεινό συμπέρασμα: η καταστροφική μανία του ανθρώπου και ο πόλεμος νικούν τελικά την αγάπη.

Είναι ένα βαθιά αντιπολεμικό διήγημα και ταυτόχρονα μια προειδοποίηση. Η αντίθεση ανάμεσα στην τρυφερή αρχή και το πικρό τέλος είναι αυτή που το κάνει να μένει στο μυαλό του αναγνώστη.

2. Αιπυόρνις

Η πιο περιπετειώδης και ευφάνταστη ιστορία της συλλογής. Όσοι αγάπησαν το Jurassic Park θα βρουν εδώ ένα πνεύμα που τους θυμίζει αυτό που αγάπησαν: την ένταση, τη γοητεία και τον κίνδυνο που κρύβει η συνάντηση του ανθρώπου με πλάσματα από ένα μακρινό παρελθόν. Προσωπικά, το απόλαυσα πολύ και το βρήκα το πιο ανάλαφρο και διασκεδαστικό από τα τρία.

3. Ο άνθρωπος που έκανε θαύματα

Το βιβλίο κλείνει με ένα διήγημα που έχει μια αντίληψη αρκετά «Στίβεν Κινγκ». Η βασική του ιδέα είναι ότι κάτι που φαίνεται καλό και ευεργετικό μπορεί, στο τέλος, να αποδειχθεί καταστροφικό. Η δύναμη χωρίς όριο και χωρίς σύνεση δεν φέρνει ευτυχία, αλλά κίνδυνο. Είναι μια ιστορία που σε κάνει να σκεφτείς πόσο λεπτή είναι η γραμμή ανάμεσα στο θαύμα και στην καταστροφή.

Το κοινό νήμα

Αν και τα τρία διηγήματα διαφέρουν πολύ μεταξύ τους, ο Γουέλς επανέρχεται σε μια σταθερή ανησυχία: ο άνθρωπος, όταν αποκτά δύναμη, δεν ξέρει πάντα πώς να τη διαχειριστεί. Είτε μέσα από τον πόλεμο, είτε μέσα από την περιπέτεια, είτε μέσα από τη δύναμη των θαυμάτων, το συμπέρασμα παραμένει επίκαιρο και σήμερα.

Η γνώμη μου

Είμαι σίγουρος ότι ο Στίβεν Κινγκ έχει επηρεαστεί από τον Γουέλς, και ειδικά στο τελευταίο διήγημα η επιρροή φαίνεται καθαρά. Και οι δύο είναι από τους αγαπημένους μου συγγραφείς, και διαβάζοντας αυτή τη συλλογή καταλαβαίνει κανείς γιατί: ξέρουν να πηγαίνουν μια ιδέα στα άκρα της και να σε αφήνουν να αναρωτιέσαι.

REVIEW: WOLVESPIRIT - Spirit Metal

 

WOLVESPIRIT - Spirit Metal (2011)

Sleaszy Rider Records

It is hardly possible to overlook the fact that we live in an era in which many bands are looking back to the past for inspiration, particularly to the musical heritage of the 1970s and 1980s. Of course, this is nothing new, as every generation has had its share of musicians drawing from earlier decades. However, there is a certain intensity to this tendency nowadays, with numerous bands revisiting the sounds, aesthetics and production approaches of those periods.

German band WOLVESPIRIT, despite what their name might suggest, have nothing to do with power metal. Their musical direction is firmly rooted in 1970s hard rock and early heavy metal, with a noticeable stoner influence adding a more contemporary dimension to their sound. One of the most distinctive elements is the use of the Hammond organ, an instrument closely associated with the hard rock scene of the late 1960s and 1970s. Its presence gives the compositions a nostalgic character and helps establish an atmosphere that brings to mind some of the classic bands of that era.

There are, indeed, some good ideas throughout the album, particularly when WOLVESPIRIT allow their older influences to take the lead. The combination of hard rock riffs, organ arrangements and a relatively straightforward approach to songwriting gives the material a certain charm. Unfortunately, as the album progresses, the band tend to place greater emphasis on the stoner elements of their sound. Personally, this is where I find the material less engaging, as the extended emphasis on repetitive grooves and familiar stoner patterns eventually becomes rather monotonous. In contrast, whenever they move closer to their 1970s hard rock roots, the songs become considerably more interesting and enjoyable.

Another element worth mentioning is the band's female vocalist, Debbie, whose warm, blues-oriented voice fits the musical direction particularly well. Her performance has the appropriate character and expressiveness for this kind of material, occasionally bringing to mind Yvonne Durand of ZED YAGO. She contributes considerably to the overall identity of the band and complements the instrumental arrangements without sounding out of place.

All in all, Spirit Metal is a typical stoner rock/metal release with some interesting glimpses of something different. Those moments come primarily through the band's 1970s hard rock influences, which, in my opinion, deserve considerably more attention. If WOLVESPIRIT chose to develop this side of their musical identity and leave some of the more predictable stoner elements behind, they could come up with some genuinely enjoyable tunes. For the time being, however, Spirit Metal will probably appeal mostly to listeners who appreciate the stoner sound, while those looking for a stronger connection with traditional 1970s hard rock may find themselves wishing the band had followed that direction more consistently.

Nick Parastatidis

REVIEW: ARGENT – Hold Your Head Up

 

ARGENT – Hold Your Head Up (1978)

Embassy

Some records are valuable for what is on the vinyl rather than for what they fetch in a collector’s guide. Hold Your Head Up is one of them. It is a ten-track compilation released in 1978 on CBS’s budget imprint Embassy. It is not a new Argent album. The band had disbanded in 1976, and this LP brings together songs from the group's most productive years.

Argent was formed in 1969 by former Zombies keyboardist Rod Argent, who brought together guitarist and vocalist Russ Ballard, his cousin Jim Rodford on bass, and drummer Bob Henrit. Former Zombies bassist and songwriter Chris White also played an important role in the band's early development as a songwriter and producer, although he was not a performing member. The band's biggest hits were "Hold Your Head Up", which reached No. 5 in both the UK and the US, "God Gave Rock and Roll to You", which reached No. 18 in the UK, and "Tragedy", which reached No. 34.

Argent's sound sits between pop songcraft and progressive rock, with a harder edge that grew as the albums went on. Rod Argent's Hammond organ is the signature instrument. It carries the melodies, drives the long solos and gives the band a sound that is immediately recognisable. Around it, Russ Ballard's guitar brings a riff-based, more direct rock approach, while the rhythm section keeps everything tight and song-focused.

The band had two distinctive songwriting voices. The Argent/White compositions, such as "Hold Your Head Up" and "Celebration", lean towards keyboard-led arrangements, strong vocal hooks and room for instrumental passages. Ballard's songs, such as "Liar", "Tragedy" and "God Gave Rock and Roll to You", are punchier, built on guitar riffs and big choruses. Together, they gave Argent a mix that was catchy enough for the singles charts and ambitious enough to appeal to a progressive-rock audience. Louder described them as a bridge between 60s pop and the harder rock associated with Cream and Led Zeppelin, which is a fair summary of where they sit.

Side one opens with the full-length "Hold Your Head Up" (Argent/White, 6:15), rather than the shorter radio edit, and Rod Argent's organ solo is one of the reasons to hear it that way. "Liar" (3:14) and "Celebration" (2:52) follow, before Russ Ballard's "Tragedy" (4:46) and "Man for All Reasons" (4:44).

Side two begins with "God Gave Rock and Roll to You" (6:45), followed by "Thunder and Lightning" (5:05), "Like Honey" (3:15, Argent/White), "It's Only Money (Part 1)" (4:04) and "Highwire" (3:20, Rod Argent). The balance between the Argent/White compositions and Ballard's harder, riff-led songs shows why the band worked: two different songwriting voices pulling the same group in different directions, with Rod Argent's musical contribution providing a distinctive identity throughout.

The sleeve is simple and striking. Four fists hold up a white card that carries the tracklist, and the back cover repeats the design with the credits, including an illustration credit to Michal Bonora. It looks like a late-70s budget sleeve, and it works.

The song that gives this record much of its lasting reputation is "God Gave Rock and Roll to You". Written by Russ Ballard and recorded by Argent in 1973, it appeared on their album In Deep before being released as a single that year. It reached No. 18 in the UK, while in the US it peaked at No. 114 on the Billboard Bubbling Under chart, just outside the main Hot 100. Its significance, however, extended well beyond its original chart performance. KISS recorded it in 1991 as "God Gave Rock 'n' Roll to You II" for the Bill & Ted's Bogus Journey soundtrack, substantially rewriting the verses while retaining the recognisable chorus. The song subsequently appeared on their album Revenge (1992) and their live album Alive III (1993). It was also Eric Carr's final recording contribution to KISS. Although Eric Singer played drums, Carr contributed backing vocals, making the recording particularly significant in the context of his final months with the band. Ballard's songwriting reached other hard-rock audiences through different artists too, notably Rainbow, who recorded his compositions "Since You Been Gone" and "I Surrender".

This is a budget compilation rather than a rarity, so it is more interesting as a piece of musical history than as an investment. The tracks originally appeared on Epic during the early 70s, and those original album pressings are generally the ones collectors seek. A clean copy of this Embassy LP is an affordable way to own many of the band's best-known songs, including the longer album versions of its major tracks.

Hold Your Head Up is not the definitive Argent statement, because that is spread across their studio albums, but it is a very good introduction. It is full of memorable songs, held together by Argent's keyboards and Ballard's guitar, with at least two tracks that have enjoyed a long second life. For an inexpensive budget-label pressing, that is a lot of music.

Nick Parastatidis