REVIEW: SAECULUM OBSCURUM - Into the Depths of Oblivion

 

SAECULUM OBSCURUM - Into the Depths of Oblivion

Thunderblast Records

SAECULUM OBSCURUM emerges as a compelling new entity within the extreme metal landscape, distinguished not by a specific hybrid genre but by their core sound rooted primarily in melodic death metal. Their approach transcends mere stylistic blending, presenting a cohesive and dynamic musical vision that incorporates a variety of influences and elements.

At its foundation, the band’s music is characterized by the hallmark traits of melodic death metal—aggressive riffs, intricate guitar work, and a prominent melodic sensibility. However, they do not confine themselves to this genre alone. Instead, they enrich their compositions with black metal-inspired melodies, atmospheric layers, acoustic passages, and occasional nods to classic heavy metal, resulting in a multifaceted and textured sound. This combination fosters a listening experience that is both brutal and atmospheric, with a sense of depth and complexity that belies the music’s extreme surface.

The musicianship showcased on Into the Depths of Oblivion is noteworthy. The band members demonstrate technical proficiency and a keen sense of arrangement, delivering performances that are both energetic and precise. The guitar work features compelling riffs and tasteful solos, adding an extra layer of interest and showcasing their instrumental skill. The vocals adhere to a traditional death metal rasp—gritty, guttural growls that evoke the genre’s roots—yet the absence of clean vocals or blackened screams leaves some stylistic avenues unexplored, which could have added further variety.

Overall, Into the Depths of Oblivion stands as a strong debut that will resonate particularly with fans of bands such as DARK TRANQUILLITY, ARCH ENEMY, AT THE GATES, and early IN FLAMES. It offers a well-crafted blend of intensity, melody, and atmospheric depth, executed by a talented group of musicians committed to pushing the boundaries within their chosen genre.

Christine  Parastatidou

REVIEW: SAVATAGE, Fight For The Rock

 

SAVATAGE, Fight For The Rock (1986)

Atlantic

Πόλεμος με τον κόσμο!

Μετέφρασα τον τίτλο του άλμπουμ των ομόσταυλων τους τότε Manowar (αμφότεροι στης Atlantic/ATCO Records) από το ερχόμενο έτος, γιατί αυτά τα δύο άλμπουμ έχουν φάει τη λάσπη με τη μπετονιέρα. Εδώ ίσως είναι πιο δικαιολογημένο, αφού το τρίτο πλήρες άλμπουμ των τεσσάρων τύπων από την Tampa της Florida είναι ό,τι πιο κακό (μέτριο ή κακώς εννοούμενο AOR, και εγώ δε ξέρω τί άλλο στη δισκογραφία τους). Ας αρχίσουμε από την αμερικανιά στο εξώφυλλο, με τη κλασική φωτογραφία εμπνευσμένη από την έπαρση των Αμερικανών με τη σημαία τους στην Iwo Jima, κατά τη μάχη του Ειρηνικού στον Β' Π.Π. Έχει χρησιμοποιηθεί κι από τους Uriah Heep το 1980, κάτι ανάλογο, στο πιο πειραματικό ή μέτριο άλμπουμ τους τότε. Οπότε, δε ξεκινάμε καλά! Η αμφίβολη φήμη του δίσκου αυτού προηγείται πάντα της όποιας αξίας του.

Η όποια αυτή αξία έχει τέσσερα μέρη: Fight for The Rock, Crying for Your Love, Hyde, και πολύ κλασικό για μένα, Red Light Paradise. Η διασκευή στο Wishing Well των Free είναι το πέμπτο, αλλά εκτός συναγωνισμού, αίτιο να ακούσεις αυτό το... μείγμα. Το Day After Day είναι επίσης διασκευή στους Badfinger — δύο διασκευές σε ένα άλμπουμ; Μάλιστα! Τέσσερα στα δέκα, λοιπόν, ανάλογη και η βαθμολογία του, γιατί από εκεί και πέρα δεν είναι πολύ σόι η δουλειά αυτή.

Λογικό που κόντεψε να διαλυθεί το συγκρότημα τότε. Βάλανε μυαλό υπό το φόβο της διάλυσης και «η αίθουσα του βασιλιά του βουνού» λάμπει μέσα από το σκοτεινό αυτό τούνελ, που τους έμπλεξαν μάνατζερ, δισκογραφικές και η δική τους άγνοια κινδύνου.

English:

War Against the World!

I translated the title of the album by their then-homies, Manowar (both under Atlantic/ATCO Records), starting from next year, because these two albums have been heavily criticized like a cement mixer throwing mud. Perhaps it's more justified here, since the third full-length album by the four guys from Tampa, Florida, is the worst—either mediocre or badly understood AOR, and I honestly don't know what else to call it in their discography.

Let's start with the Americanism on the cover: the classic photo inspired by American bravado, featuring the flag at Iwo Jima during the Pacific battle in World War II. This image was also used by Uriah Heep in 1980, on a somewhat experimental or mediocre album of theirs at the time. So, we're not off to a good start! The dubious reputation of this record always precedes any notion of its value.

And its value, if any, has four parts: Fight for The Rock, Crying for Your Love, Hyde, and, very personally for me, Red Light Paradise. Covering Wishing Well by Free is the fifth track, but outside the competition, an odd choice that makes you listen to this... mishmash. Day After Day is also a cover—this time by Badfinger—two covers on one album? Exactly! So, a score of four out of ten, which matches my rating, because beyond that, the work just isn't very good.

It's understandable that the band nearly disbanded at that point. They woke up, out of fear of breaking up, and "the hall of the king of the mountain" shines through this dark tunnel that their manager, record labels, and their own ignorance of danger dragged them into.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: CAMEL, Breathless

 

CAMEL, Breathless (1978)

Decca

Από την άλλη εποχή τους

Οι Άγγλοι αυτοί είναι ένα πολύ ιδιαίτερο σχήμα· έχουν πάντα μια παράξενη ηρεμία, αλλά μέσα της ξέρουν να κρύβουν έντεχνα την ένταση. Στο άλμπουμ αυτό, που πελαγοδρομεί σε τόσα πολλά πράγματα —από Rock ’n’ Roll έως Baroque— ακόμη μου κάνει εντύπωση το ότι το έχω σε CD. Έχω σκεφτεί μια λίστα με συγκροτήματα με τα οποία έχω σχέση αγάπης–μίσους· οι Camel δεν θα έλεγα ότι έχουν θέση εκεί, ακριβώς λόγω δίσκων σαν κι αυτόν.

Το ομότιτλο κομμάτι ανοίγει ένα μελωδικό, ονειρικό ταξίδι, αλλά από το Echoes που ακολουθεί —ορχηστρικό στα πρώτα πέντε λεπτά, με στίχους στη συνέχεια— μπαίνει το νερό στο αυλάκι. Ένα από τα πιο «καμελίσια» κομμάτια τους. Και μετά ακολουθούν τα Wing and a Prayer, Down on the Farm, Starlight Ride, The Sleeper, Rainbow’s End, και έχεις ήδη ταξιδέψει χωρίς να το καταλάβεις.

Ο Andrew Latimer στην κιθάρα και ο Richard Sinclair είναι οι βασικοί συνθετικοί πυλώνες, αφού ο Sinclair συμμετέχει σε κάθε κομμάτι εδώ. Οι Peter Bardens στα πλήκτρα, Richard Sinclair σε φωνή και μπάσο, Andy Ward στα ντραμς και ο Mel Collins στα πολλά και διάφορα πνευστά απαρτίζουν το σχήμα που έγραψε αυτό το «χωρίς ανάσα» άλμπουμ.

Ένα από τα ίσως αδίκως λιγότερο προτεινόμενα έργα αυτών των Prog Rock τεράτων.

English:

From Another Era of Theirs

These Englishmen are a truly peculiar band; they always carry a strange sense of calm, yet within it they know how to hide tension with remarkable finesse. This album, drifting through so many different territories —from Rock ’n’ Roll to Baroque— still amazes me every time I remember I own it on CD. I’ve often made a list of bands with which I have a love–hate relationship; Camel wouldn’t really belong there, precisely because of records like this one.

The title track opens a melodic, dreamlike journey, but it’s with Echoes —orchestral for its first five minutes, then shifting into vocals— that everything falls into place. One of their most quintessentially “Camel-esque” pieces. And then come Wing and a Prayer, Down on the Farm, Starlight Ride, The Sleeper, Rainbow’s End… and before you know it, you’ve already travelled far without even realizing it.

Andrew Latimer on guitar and Richard Sinclair form the core of the songwriting here, with Sinclair contributing to every track. Peter Bardens on keyboards, Richard Sinclair on vocals and bass, Andy Ward on drums, and Mel Collins on his many and varied wind instruments complete the lineup that crafted this breathless album.

One of the perhaps unjustly lesser‑recommended works by these Prog Rock giants.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: DALRIADA – Igeret

 

DALRIADA – Igeret

AFM Records

The fusion of folk and medieval music with heavy metal has become a familiar territory within the metal scene, particularly in recent years. This trend has led to a surge of folk metal bands, many of which tend to follow a formulaic approach, often driven by opportunism—aiming for commercial success and fame rather than genuine artistic innovation. However, Hungarian ensemble DALRIADA distinguishes itself from this crowd, offering a more authentic and compelling musical experience.

“Igeret” showcases DALRIADA’s commitment to integrating traditional Hungarian folk elements into their heavy metal foundation, predominantly through the use of native language vocals and folk instrumentation. These choices imbue their sound with a sense of freshness and cultural authenticity that sets them apart from many contemporaries. While the album may not reinvent the folk metal genre, it successfully maintains a level of originality and vitality that appeals to both traditional folk metal enthusiasts and newcomers alike.

In terms of comparisons, DALRIADA’s style can be seen as a close relative to bands such as SKYCLAD, early ELVENKING (prior to their recent, less favorable albums), and KORPIKLAANI. Their approach combines the energetic riffing and melodic sensibilities characteristic of these bands with a distinctive Hungarian folk influence, creating a sound that is both familiar and refreshing.

“Igeret” does not aim to revolutionize the genre but offers a solid, engaging release with enough originality to captivate listeners seeking an alternative to the often predictable folk metal landscape. It stands out as a noteworthy addition to the genre—worthy of recommendation for anyone who appreciates well-crafted folk metal that stays true to its roots while offering a touch of individuality.

Nick Parastatidis

Tsar Stangra Releases New Single «Black Song (Черна Песен)» Ahead of Upcoming Album

 

Bulgarian pagan black/folk metal band Tsar Stangra has just dropped their latest single «Black Song (Черна Песен)», building anticipation for their upcoming album Hymns of the Broken Worlds. The track was recorded at Holywaves Studios, with mixing by Stanislav Stefanovski and mastering by Olivier Vaillancourt-Girard.

Founded in 2007 in Quebec City, Canada, Tsar Stangra (Цар Стангра) evolved from a solo project into a full band in 2014. Known for blending extreme metal with Bulgarian mythology and tradition, the band has gained underground recognition through their early releases and debut album Небесният ковач (The Heavenly Blacksmith).

Having performed at notable events such as Messe des Morts and Skogen Fest alongside bands like Graveland and Tormentor, Tsar Stangra even opened for Arkona in their hometown. With their second album Химните на разрушените светове (Hymns of the Broken Worlds) on the horizon, the band continues to craft powerful music rooted in Bulgarian heritage and pagan themes.

REVIEW: SODOM, Sodom

 

SODOM, Sodom (2006)

Steamhammer

Επαναπροσδιορισμός στην πράξη

Όλα τα είδη κάθε μορφής τέχνης επαναλαμβάνουν ένα είδος μοτίβου. Οι Γερμανοί πατέρες του σκοτεινού Thrash ξεκίνησαν με εκείνο το χαρακτηριστικό, σχεδόν «άτεχνο» EP In the Sign of Evil, στα όρια του τότε νοούμενου ως Black Metal. Με το πέρασμα του χρόνου, ακούγοντας τη δισκογραφία τους, γίνεται φανερό πως διέσχισαν πολλά είδη, με τη (αντι)πολεμική θεματολογία του Thrash να παραμένει το σταθερό τους γνώρισμα.

Το ομότιτλο άλμπουμ τους ήρθε στα μέσα της πρώτης δεκαετίας του νέου αιώνα, με διάθεση να επαναλάβει τις πρόσφατες μέρες δόξας δίσκων όπως το M-16 ή, λίγο πιο πίσω, το Code Red, αλλά με μια δόση «μαύρου» ως επίγευση. Με το City of God να αποτελεί το κομμάτι που έκτοτε έμεινε παρακαταθήκη στο ζωντανό τους playlist, και άλλα όπως τα Blood on Your Lips και Buried on the Justice Ground —το οποίο τόσο ως τίτλος όσο και ως ήχος θυμίζει Megadeth—, καθώς και τα Bibles and Guns, Axis of Evil, Lords of Depravity, Nothing to Regret, The Enemy Inside, ενώ κάπου ανάμεσα το Lay Down the Law φέρνει στο μυαλό εποχές Better Off Dead λόγω τίτλου, η προσπάθεια των τριών μουσικών δεν αφήνει καμία κακή εντύπωση.

Έτσι κι αλλιώς, μιλάμε για ένα σχήμα που δεν έχει κακό δίσκο στη γκάμα της δουλειάς του.

English:

Redefinition in Practice

All forms of art repeat certain patterns. The German godfathers of dark Thrash began with that characteristic, almost “unpolished” EP In the Sign of Evil, sitting right on the edge of what was then understood as Black Metal. As the years went by, listening through their discography makes it clear that they crossed through many stylistic territories, with the (anti)‑war thematic core of Thrash remaining their defining trademark.

Their self‑titled album arrived in the mid‑2000s, aiming to recapture the recent glory days of records like M‑16 or, a bit further back, Code Red, but this time with a hint of “blackness” lingering as an aftertaste. With City of God becoming the track that has since stayed as a staple in their live playlist, and others like Blood on Your Lips and Buried on the Justice Ground —the latter evoking Megadeth both in title and sound— along with Bibles and Guns, Axis of Evil, Lords of Depravity, Nothing to Regret, The Enemy Inside, and somewhere in between Lay Down the Law, whose title alone brings to mind the Better Off Dead era, the trio’s effort leaves no negative impression whatsoever.

After all, we’re talking about a band that simply does not have a bad album in its entire body of work.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: AGELESS OBLIVION – Temples of Transcendent Evolution

 

AGELESS OBLIVION – Temples of Transcendent Evolution

Siege Of Amida Records

AGELESS OBLIVION is an intriguing emerging band within the thrash/death metal scene, distinguished by their incorporation of slightly blackened vocal elements in certain parts of their compositions. Their debut album, Temples of Transcendent Evolution, demonstrates a compelling blend of heavy, atmospheric, and technical elements that showcase their musical versatility.

The album opens with a notable emphasis on doom-inspired heaviness, characterized by slow, crushing riffs and a dense, atmospheric presence. As the album progresses, however, it transitions into a markedly faster, more aggressive approach, with the band embracing higher tempos and intricate riffing. Despite the momentum shift, the album maintains occasional atmospheric and slower passages, providing dynamic contrast and depth.

Hailing from the UK, AGELESS OBLIVION exhibits a high level of technical proficiency and cohesiveness. Their compositions incorporate progressive themes and complex arrangements, reflecting a well-bonded band capable of delivering both brutality and sophistication. The riffs are sharp, tight, and impactful, emphasizing a brutal yet precise approach.

The production quality of Temples of Transcendent Evolution is respectable and professional, effectively highlighting the musicians' technical skills and potential. The mix balances clarity with heaviness, allowing each instrument to stand out without sacrificing the overall intensity.

In summary, AGELESS OBLIVION’s debut offers a compelling listen for fans of progressive, technical death and thrash metal. Their ability to blend brutality with technicality and atmospheric elements makes Temples of Transcendent Evolution a noteworthy addition to the genre, deserving of attention from listeners seeking innovative and skillful metal.

George Kefalas