REVIEW: PENTAGRAM, Pentagram / Relentless

 

PENTAGRAM,  Pentagram / Relentless  (1985)

Peaceville Records

Όχι ο πρώτος τίτλος του άλμπουμ

Το (αρχικά ομώνυμο Pentagram) πρώτο άλμπουμ των Αμερικάνων Doom Metal, ήδη τότε βετεράνων. Μιας μπάντας που, αν δεν έχεις ακούσει, έχεις χάσει πολλά!

Τους έμαθα αργά κι εγώ, να πω την αλήθεια. Τους ήξερα χρόνια, χάρη στη συλλογή Turn to Stone (2002), αλλά επί κλεισούρας του Covid, το 2021, απέκτησα το σχετικά πρόσφατο τότε Last Rites (2011) και πήρα ξανά μπροστά για να τους ψάξω πάλι δισκογραφικά.

Οι Pentagram ξεκίνησαν το 1971-72, πατώντας πάνω στα βήματα των Black Sabbath μεν, αλλά των Black Widow κυρίως! Έμειναν στο λεγόμενο underground σχεδόν δέκα χρόνια.

Το ντεμπούτο τους βγήκε αρχικά με τον τίτλο Pentagram και χωρίς την πεντάλφα με την τραγοκεφαλή στο εξώφυλλο, το 1985, προφανώς μόνο σε βινύλιο. Η μαμά του underground απανταχού στον πλανήτη, η Peaceville Records, πήρε το 1993 τα δικαιώματα και το κυκλοφόρησε στη Μ. Βρετανία και την Ευρώπη σαν Pentagram πάλι, με το συγκεκριμένο μαύρο εξώφυλλο. Στην πλάτη, όμως, στο CD, στον τίτλο γράφει Pentagram – Relentless (η νομενκλατούρα με σκοτώνει).

Αν το πετύχετε, επενδύστε άφοβα, γιατί παλιομοδίτικοι doom ύμνοι σαν τα Death Row, All Your Sins, Sign of the Wolf, The Ghoul, Relentless, Sinister, The Deist, You're Lost, I'm Free και Dying World είναι ανεπανάληπτα αξέχαστοι.

English:

Not the Album’s Original Title

The first album by the American doom metal veterans, originally released under the eponymous title Pentagram. A band that, if you haven’t heard them, you’ve been missing out on a lot!

I came to them rather late myself, to be honest. I had known about them for years, thanks to the Turn to Stone compilation (2002), but during the Covid lockdown in 2021, I picked up their then-relatively recent album Last Rites (2011), which got me started all over again and sent me back to explore their discography.

Pentagram started out in 1971–72, following in the footsteps of Black Sabbath, certainly, but Black Widow above all! They remained in the so-called underground for almost a decade.

Their debut was originally released in 1985 under the title Pentagram, without the pentagram-and-goat-head artwork on the cover, apparently only on vinyl. In 1993, the underground’s mother label worldwide, Peaceville Records, acquired the rights and released it in the UK and Europe once again as Pentagram, this time with the now-familiar black cover. On the back of the CD, however, the title reads Pentagram – Relentless (the nomenclature drives me crazy).

If you come across a copy, invest without hesitation, because old-school doom anthems such as Death Row, All Your Sins, Sign of the Wolf, The Ghoul, Relentless, Sinister, The Deist, You’re Lost, I’m Free and Dying World are simply unforgettable.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: GHOST TOWER – Curse of the Black Blood

 

GHOST TOWER – Curse of the Black Blood (2010)

Evil Coven Records

There are bands that draw heavily from traditional metal and its familiar clichés, yet somehow manage to transform those influences into something distinctive enough to be recognized from the very first listen. GHOST TOWER belong to that category. Their debut, Curse of the Black Blood, is what I would describe as “weird metal”—not because it is experimental in the conventional sense, but because it takes familiar ingredients and rearranges them into something suitably strange, obscure and difficult to categorize.

There is no reason, however, for the term “weird” to put anyone off. At its core, this is deeply rooted in the old-school heavy metal tradition, drawing from the dark atmosphere of BLACK SABBATH, the guitar-oriented character of THIN LIZZY, the classic heavy metal vocabulary of JUDAS PRIEST and the sinister edge of early MERCYFUL FATE. The influence of the N.W.O.B.H.M. movement can also be felt, particularly in the way the riffs and melodies retain an unmistakably early-80s character.

What makes GHOST TOWER interesting is not any individual influence, but the way they combine them. The resulting sound is atmospheric, slightly eccentric and deliberately unpolished, with a strong underground identity. The album does not attempt to make its traditional metal foundations sound modern or overly polished; instead, it embraces a rougher, almost mysterious character that suits its dark lyrical and musical atmosphere.

For a useful point of reference, listeners might think of releases such as TWISTED TOWER DIRE's The Curse of Twisted Tower Dire or SOLSTICE's New Dark Age. These comparisons are not intended to suggest that GHOST TOWER sound like either band. Rather, they provide an indication of the particular corner of the traditional metal underground in which Curse of the Black Blood operates: obscure, heavy, melodic and deeply connected to the darker side of the genre's past.

And this is one of those records where words can only go so far. Describing every individual ingredient does not fully explain the atmosphere created when they come together. Curse of the Black Blood is an album that benefits considerably from repeated listening, gradually revealing its character rather than making everything immediately obvious. That slightly elusive quality is actually part of its appeal.

The guitar work is one of the album's strongest elements. Matt Preston provides the record with a convincing mixture of traditional heavy metal riffing and more atmospheric lead work, while the occasional keyboard touches add another layer to the haunted atmosphere without dominating the guitars. The instrumental “Midnight Epiphany”, in particular, demonstrates how effectively the band can create mood without relying on vocals.

Ameven's distinctive vocal delivery is another important part of the band's identity. Her performance is unconventional and sometimes deliberately unsettling, fitting the material rather than attempting to impose a conventional heavy metal vocal style upon it. There are moments where the high notes feel less controlled, but this imperfection also contributes to the peculiar character of the album. It is certainly a vocal approach that may require some adjustment, but it becomes increasingly convincing as the record unfolds.

The album itself contains nine tracks and runs for just over 38 minutes. Interestingly, several songs originated on GHOST TOWER's 2008 self-titled demo, including “Red Harvest,” “Sable Beldam,” “Curse of the Black Blood” and “Ghostly Whispers.” For the full-length, these compositions were reworked and, in several cases, retitled, with additional guitar parts and lyrical changes. This gives Curse of the Black Blood the feel of a carefully developed continuation of the band's early underground work rather than a completely isolated debut.

 

The album was released in December 2010 through Evil Coven Records, and its original edition was a CD-R release, an appropriate format for a record so deeply connected with the underground traditional-metal culture of the period. The band came from Bellevue, Nebraska, and their brief original run lasted from 2007 to 2012. They would subsequently release Head of Night in 2012, while a later reissue of that album in 2018 incorporated material from the earlier releases.

Among the songs, “Red Harvest” stands out for its dark melodic character and immediately recognizable riffing, while “Midnight Epiphany” has an almost IRON MAIDEN-meets-SLOUGH FEG quality in its traditional metal construction. “Fate of Beldam” and “Atrocity's Tomb” further demonstrate the band's ability to balance heavy riffs with an eerie, old-world atmosphere.

Curse of the Black Blood is not a record that will necessarily reveal everything during the first spin. Its appeal lies precisely in the fact that it does not fit comfortably into one category and does not attempt to do so. For listeners who appreciate traditional heavy metal with a darker, stranger and more underground character, GHOST TOWER's debut is well worth seeking out.

Recommended tracks: “Red Harvest,” “Midnight Epiphany,” “Fate of Beldam,” “Atrocity's Tomb.”

Nick Parastatidis

REVIEW: LYRIEL – Paranoid Circus

 

LYRIEL – Paranoid Circus (2011)

AFM Records

Admittedly, female-fronted gothic metal has rarely been a genre that draws me in. Lyriel, however, proves to be the exception. What sets this German outfit apart from the crowded field is not simply the ethereal, ranging vocals of Jessica Thierjung — which recall a blend of Loreena McKennitt and Candice Night — but the way the band weaves genuine folk and Celtic instrumentation, courtesy of cello and violin, into their metal foundation, accented by symphonic flourishes. The result is dreamlike, almost narcotic, conjuring the sense of stepping into a fairy-tale world untouched by cynicism. Despite its title, "Paranoid Circus" plays out as something closer to thought-provoking and tranquil than unsettling.

For readers seeking a quicker reference point: picture a meeting point between Loreena McKennitt, Blackmore's Night, Nightwish and Falconer, and you'll have a fair idea of what awaits on this record.

Formed in 2003 in Gummersbach, Germany, Lyriel built their early reputation on the road, supporting acts such as Elis, Visions of Atlantis and Xandria — a connection reinforced by Thierjung's own guest appearance on Xandria's "India." "Paranoid Circus" is the band's third full-length, originally released in January 2010 through the UK-based Femme Metal Records before AFM Records picked it up for a 2011 reissue, complete with new artwork and two bonus tracks. The album carries a notable curiosity: German voice actor Simon Jäger — known for dubbing Heath Ledger and Matt Damon in German releases — appears as a guest, narrating an introduction and reading an excerpt from Hermann Hesse's short story "The Wolf." Critics at the time noted that while the record maintained the band's high musical standard, it favored atmosphere over the faster tempos of their earlier work — an observation that lines up with the dreamy, immersive quality that defines this listen.

Whatever prompted AFM Records to bring "Paranoid Circus" back into circulation, the reissue is a welcome one. This is a beautifully crafted record, and — traditional metal loyalist though I remain — I'd happily add it to my collection if the price is right. For devotees of this sound and of female-fronted metal in general, it is not one to overlook.

Nick Parastatidis

REVIEW: DIMMU BORGIR, Death Cult Armageddon

 

DIMMU BORGIR, Death Cult Armageddon (2003)

Nuclear Blast Records

Συμφωνική παγωμένη κόλαση

Το έκτο άλμπουμ των Νορβηγών Black Metalers, που από το 1998 εξελίσσονται σε Symphonic Black Metal συγκρότημα, ήρθε για να συμπληρώσει μια ακόμη μουσική τριλογία με τα Spiritual Black Dimensions (1999) και Puritanical Euphoric Misanthropia (2001), θεωρητικά τα πιο «εμπορικά» άλμπουμ τους.

Εδώ το νορβηγικό Black Metal συναντά και πάλι τη συμφωνική μουσική σε ποσοστό 70/30. Με την πάντα αποκρυφιστική πλευρά κυρίαρχη, τα «δρακουλιάρικα» πλήκτρα του Mustis, η χαρακτηριστική φωνή του Shagrath και οι κιθάρες των Silenoz και Galder μάς μεταφέρουν και πάλι στη σύγχρονη εποχή.

Ο μόνος μη Νορβηγός, ο ντράμερ Nicholas Barker (Cradle Of Filth), χαρίζει ρυθμούς που ακούγονται οικείοι, μαζί με τον μπασίστα ICS Vortex.

Στα δώδεκα κομμάτια του digipak, με το διαφορετικό εξώφυλλο — απ’ όσο ξέρω, υπάρχουν διαφορετικά εξώφυλλα για το συγκεκριμένο άλμπουμ — περιλαμβάνεται η διασκευή στο «Satan My Master» των Bathory. Ξεχωρίζουν τα «Allegiance», «Progenies of the Great Apocalypse», «Lepers Among Us», «For the World to Dictate Our Death», «Blood Hunger Doctrine», «Cataclysm Children», «Unorthodox Manifesto» και «Heavenly Perverse».

English:

Symphonic Frozen Hell

The sixth album by these Norwegian Black Metalers, who had been gradually evolving into a Symphonic Black Metal band since 1998, forms another musical trilogy alongside Spiritual Black Dimensions (1999) and Puritanical Euphoric Misanthropia (2001), theoretically their most “commercial” releases.

Once again, Norwegian Black Metal meets symphonic music here, roughly in a 70/30 balance. The occult side remains firmly in control, while Mustis’ “draconic” keyboards, Shagrath’s unmistakable vocals, and the guitars of Silenoz and Galder give the whole thing a distinctly modern edge.

The band’s only non-Norwegian member, drummer Nicholas Barker (Cradle Of Filth), provides a familiar-sounding rhythmic backbone alongside bassist ICS Vortex.

The twelve-track digipak edition, with its different cover — as far as I know, this album was released with several different covers — also includes a cover of Bathory’s “Satan My Master.” Among the highlights are “Allegiance,” “Progenies of the Great Apocalypse,” “Lepers Among Us,” “For the World to Dictate Our Death,” “Blood Hunger Doctrine,” “Cataclysm Children,” “Unorthodox Manifesto,” and “Heavenly Perverse.”

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: SIX FEET UNDER, Commandment

 

SIX FEET UNDER, Commandment (2007)

Metal Blade Records

Εντολή βίαιου ενταφιασμού

Είναι, ρε παιδιά, κάτι μπάντες που πίστευαν από την αρχή σε αυτό που έκαναν. Ο Chris Barnes σαν άτομο και το project-συγκρότημα που ξεκίνησε τότε παράλληλα με τους Cannibal Corpse κι εξελίχθηκε στο σημαντικό αυτό Death Metal σχήμα με το πέρασμα του χρόνου, είναι ένα παράδειγμα τέτοιας περίπτωσης. Το έβδομο άλμπουμ τους σε πόσα, δεκαπέντε χρόνια; Αυτή η έντονη δραστηριότητα και παραγωγή σίγουρα δεν είναι τυχαίο γεγονός!

Ένα ακόμα τυπικά αιματοβαμμένο άλμπουμ, γεμάτο πτώματα, θάνατο, διαμελισμένα σώματα και λοιπές θεματικές από ταινίες τρόμου, είναι στο στερεοφωνικό. Τι άλλο θα ήταν δηλαδή; Χαρούμενα ζωάκια να βόσκουν χορτάρι σε ένα ηλιόλουστο δάσος; Ε, όχι βέβαια! Αισθητική μεταξύ Slayer κι Obituary, φωνή πιο βραχνή και μαζί πιο μπάσα κι από νεκραναστημένο ζόμπι που τραγουδάει άρια όπερας, κιθαριστικά ριφ σαν ξυράφια — όλα όσα περιμένει ο φίλος του παραδοσιακού, ανόθευτου Death Metal σχολής Florida δηλαδή.

Τίτλοι σαν τα Doomsday, Thou Shall Kill, Zombie Executioner, The Edge of the Hatchet, Bleed to Death, Resurrection of the Rotten, As the Blade Turns, In a Vacant Grave, Ghosts of the Undead, αν δε σας πείθουν για όλα τα παραπάνω, τι να πω; Ξαναπατήστε το play στο στερεοφωνικό, μπας και πάρετε μπροστά...

English:

Order of Violent Interment

There are, folks, some bands that believed in what they were doing right from the start. Chris Barnes as an artist, and the project-band that began back then alongside Cannibal Corpse and, over the years, evolved into this significant Death Metal act, is a prime example of exactly that. Their seventh album in what, fifteen years? That kind of sustained activity and output is certainly no accident!

Here's another typically blood-soaked release, packed with corpses, death, dismembered bodies, and the usual horror-movie fare, spinning on the stereo. What else would it be, really? Happy little animals grazing on grass in a sun-dappled forest? Not a chance! An aesthetic somewhere between Slayer and Obituary, vocals both hoarser and deeper than a resurrected zombie belting out an opera aria, guitar riffs sharp as razors — everything a fan of traditional, undiluted Florida-school Death Metal could ask for.

Titles like Doomsday, Thou Shall Kill, Zombie Executioner, The Edge of the Hatchet, Bleed to Death, Resurrection of the Rotten, As the Blade Turns, In a Vacant Grave, Ghosts of the Undead — if none of that convinces you of the above, what more can I say? Hit play on the stereo again, maybe it'll finally sink in...

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: TOKYO BLADE — Thousand Men Strong

 

TOKYO BLADE — Thousand Men Strong (2011)

Fastball Music

Fifteen years after their last full-length effort, TOKYO BLADE return with a new studio album that reaffirms their standing as one of the founding acts of the New Wave of British Heavy Metal. The band first made its mark with two genuinely essential records, "Tokyo Blade" and "Night of the Blade", along with the EP "Midnight Rendez-vous" — releases that remain touchstones of the genre's early years. In the decades that followed, the band's sound drifted toward a more melodic, radio-friendly direction. "Thousand Men Strong" marks a deliberate return to those classic roots, delivering traditional heavy metal filtered through a thoroughly modern production.

That production carries real pedigree: it comes courtesy of the late Chris Tsangarides, the celebrated producer behind JUDAS PRIEST's landmark "Painkiller". Over a long career, Tsangarides also worked with the likes of Ozzy Osbourne, THIN LIZZY, Y&T, FREE, BLACK SABBATH, Ian Gillan and ANVIL, among many others — a résumé that speaks for itself and lends this record an extra layer of credibility.

Musically, "Thousand Men Strong" delivers on that promise. Standout tracks include "Lunch-Case", "Forged in Hell's Fire" and "Condemned by Fire" [flagged: I read this as a likely typo for your original "Codemned to Fire" — let me know if you meant something else], each showcasing the band at their sharpest. The album also revisits the band's signature anthem "Night of the Blade" in a re-recorded form; while competently done, it's unlikely to displace the original in longtime fans' affections. New vocalist Nicolaj Ruhnow acquits himself well throughout, bringing solid presence to the material without overreaching.

In the end, "Thousand Men Strong" stands as a worthy comeback from a genuine NWOBHM pioneer. Fans of traditional heavy metal would do well to give it their attention.

Ioannis Kaskamanidis

Sternweh Releases Debut Album «Sehnflucht»

 

German atmospheric black metal and shoegaze project Sternweh has released its debut album, «Sehnflucht». The recording was tracked, mixed, and mastered in-house by the project's founder, Christian Witt.

Formed in Germany in 2025, Sternweh is an independent one-man project helmed by multi-instrumentalist Christian Witt, who is also known as a horror and fantasy author. The project receives occasional vocal contributions from Witt's wife, Yvonne.

Musically, «Sehnflucht» explores themes of cosmic longing, escapism, and emotional isolation, juxtaposing dense walls of guitar and anguished screamed vocals with fragile acoustic passages and clean singing. The album marks Sternweh's first full-length release since the project's formation.