REVIEW: DEEP PURPLE, Slaves And Masters

 

DEEP PURPLE, Slaves And Masters (1990)

RCA

Πίσω πάλι το καράβι.

Ο δίσκος που συνδυάζει τους Rainbow μετά το 1981 με τους Deep Purple, μετά από μια τεταμένη περίοδο μεταξύ του Ritchie Blackmore και του Ian Gillan, ο δεύτερος εγκαταλείπει το σχήμα για δεύτερη φορά. Οι Roger Glover, Ian Plaice και ο μακαρίτης πλέον John Lord δέχονται την ιδέα να προσλάβουν το συγκρότημα έναν πρόσφατα γνωστό στους δύο (Glover, Blackmore), τον συμπαθή και καθόλα Joe Lynn Turner, με τον οποίο μέχρι το 1983 ήταν οι τρεις τους στους Rainbow του Blackmore. Έτσι, το ειρωνικό προσωνύμιο "Purple Rainbow" μπαίνει πάνω στο κεφάλι τους, και τόσο το συγκρότημα λίγο μετά γράφει αυτό.

Τώρα, αν με ρωτήσετε αν το συμπαθώ, θα πω... σχεδόν ναι! Ένα συνονθύλευμα της εποχής των "Perfect Strangers" με το "Straight Between the Eyes" των Rainbow, αλλά με πιο χαμηλά στάνταρ, είναι το απόσταγμα αυτού του συνόλου. Έχει τις καλές στιγμές του στα "The Cut Runs Deep", "Breakfast in Bed", "King of Dreams", "Fortuneteller", τη κλασική δακρύβρεχτη μπαλάντα "Love Conquers All", "Wicked Ways", αλλά πώς να το κάνουμε, δε δένει το γλυκό με τίποτα! Τόσο πολύ, που μετά τη παγκόσμια περιοδεία που τότε τους έφερε πρώτη φορά και στην Ελλάδα, ο J.L. Turner είδε την πόρτα να ανοίγει και ο παροιμιώδης εγωισμός του Ritchie αποδέχτηκε την επιστροφή του Ian Gillan.

English:

The ship is sailing back again.

The album that merges Rainbow after 1981 with Deep Purple, following a tense period between Ritchie Blackmore and Ian Gillan—who left the band for the second time. Roger Glover, Ian Plaice, and the now-deceased Jon Lord accepted the idea of recruiting a recently known musician to both of them (Glover and Blackmore), the amiable and fully capable Joe Lynn Turner, with whom they had played in Blackmore’s Rainbow until 1983. Thus, the ironic nickname "Purple Rainbow" was born, and the band briefly adopted it.

Now, if you ask me whether I like it, I’d say… almost! It’s a mixture of the "Perfect Strangers" era with Rainbow’s "Straight Between the Eyes," but with lower standards — the essence of this lineup. It has its good moments in songs like "The Cut Runs Deep," "Breakfast in Bed," "King of Dreams," "Fortuneteller," the classic tearjerker ballad "Love Conquers All," and "Wicked Ways." But, let’s face it, it just doesn’t quite gel! So much so that after the worldwide tour that even brought them to Greece for the first time, J.L. Turner saw the door open again, and Ritchie’s legendary ego accepted Ian Gillan’s return.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: BLOODBOUND – Unholy Cross

 

BLOODBOUND – Unholy Cross

AFM Records

Periodically, artists benefit from exploring different musical styles, often as a means of gaining new inspiration and subsequently returning to their core sound with renewed vigor. BLOODBOUND, a band I hold in high regard, faced a notable disappointment with their previous release, Tabula Rasa, which veered into Gothenburg melodic death metal with clean vocals—an approach that did not resonate with my expectations for their typical style.

Their upcoming release, Unholy Cross (scheduled for release in mid-March), signifies a conscious return to their traditional heavy/power metal roots. The album predominantly features galloping, energetic tracks that draw clear influence from classic bands such as ACCEPT, HELLOWEEN, IRON MAIDEN, and RIOT—most notably in songs like “Message from Hell.”

Throughout Unholy Cross, I observed stylistic similarities to bands like EDGUY (particularly their early albums), SABATON, and STEEL ATTACK—bands known for their melodic and powerful metal sound. The album demonstrates BLOODBOUND’s proficiency in crafting engaging metal tunes and showcases their ability to deliver memorable, high-energy compositions.

For fans of traditional heavy and power metal, Unholy Cross offers a collection of tracks that are likely to satisfy and endure over time. Personal favorites include “Drop the Bomb,” “In for the Kill,” “Together We Fight,” “Message from Hell,” and the title track “Unholy Cross.” Overall, this release reaffirms BLOODBOUND’s capabilities and provides a compelling addition to their discography, especially for listeners seeking robust and classic metal arrangements.

Nick Parastatidis

V/K PROJECT live @ Bums – Παρασκευή 22 Μαΐου – special guests ALPHASTATE

 

Αυτή την Παρασκευή, 22 Μαΐου, το BUMS στην Αθήνα θα φιλοξενήσει μία συναυλία που δεν πρέπει να χάσετε! Οι V/K PROJECT, το ζωντανό όχημα για τα επιτυχημένα άλμπουμ "Ethical Dilemma" (2022) και "Cynical Silence" (2023) του Billy Vass και Bob Katsionis, θα παρουσιάσουν ένα δυναμικό set με τεχνική αρτιότητα και συναισθηματική ένταση. Το σχήμα αποτελείται από τέσσερις ταλαντούχους μουσικούς, έτοιμους να μεταφέρουν στη σκηνή το ιδιαίτερο prog metal ύφος τους, επηρεασμένο από Queensrÿche, Fates Warning και Crimson Glory.

Μαζί τους, οι εκπρόσωποι του modern metal, ALPHASTATE, οι οποίοι με το δυναμικό τους ήχο και τις επιρροές από Metallica, Pantera και Nevermore, θα δώσουν ξεχωριστό χρώμα στη βραδιά.

Η συναυλία θα πραγματοποιηθεί στο BUMS – BLACKBIRD (Ακαδημίας 100) και τα εισιτήρια κοστίζουν 10 ευρώ. Οι πόρτες ανοίγουν στις 20:00.

Nervosa Live in Thessaloniki (May 15, 2026): The Tour Begins Here

 

On Friday, May 15, 2026, the Eightball Club in Thessaloniki, Greece, became ground zero for pure thrash and heavy metal destruction. The night was a massive celebration, acting not only as the kick-off for the legendary heavy metal band Omen and their Warning of Danger 40th-anniversary tour, but also as the monumental starting point of Nervosa’s 2026 tour.

Unleashing their relentless, all-female thrash fury, Nervosa also treated the Greek crowd to the very first live tastes of their brand-new album, Slave Machine. Backed by their powerhouse lineup—featuring Greece's own Elena Kotina and Hel Pyre alongside Prika Amaral and Michaela Naydenova—the band delivered a punishing 14-song set that completely set the venue on fire.

Nervosa did not pull any punches, seamlessly blending their classic neck-breaking anthems with fresh, aggressive material:

• Impending Doom (The perfect, ominous opener to set the mood)
• Seed of Death
• Under Ruins
• Masked Betrayer
• Ghost Notes
• Perpetual Chaos (A crowd favorite that whipped the mosh pit into a frenzy)
• Behind the Wall
• Death
• Kill the Silence
• You Are Not a Hero
• Endless Ambition
• Guided by Evil
• Slave Machine (The crushing live debut of their new album's title track)
• Jailbreak (The ultimate high-energy closer)

Opening for Omen, Nervosa proved exactly why they are one of the most exciting and dominant forces in modern thrash metal. The energy in Thessaloniki was electric, fueled by local pride for Kotina and Pyre, and a hungry crowd ready to witness history.

With the explosive live debut of Slave Machine tracks and a flawless, high-octane performance, Nervosa has officially laid waste to Thessaloniki. This show perfectly sets the bar for what is bound to be a monumental tour.

TEXT: Nick Parastatidis

PHOTOS/VIDEOS: Theofilos Bachtsevanidis

REVIEW: INFINITY OVERTURE – The Infinite Overture Pt. 1

 

INFINITY OVERTURE – The Infinite Overture Pt. 1

Lion Music

Drawing from my personal experience, I believe that when a band lacks a clear vision of their artistic direction and attempts to blend multiple styles within a single work, the end result often becomes somewhat confusing. This impression resonates with my listening experience of INFINITY OVERTURE’s latest release from Denmark.

The band endeavors to fuse symphonic power with neoclassical metal, further incorporating gothic elements and a touch of EVANESCENCE-like atmospheric parts. Their apparent goal seems to be to craft an album that is both engaging and stylistically diverse. However, despite some commendable ideas and proficient musicianship, the album ultimately reveals a band experimenting with various influences without fully establishing which styles best complement their sound.

A notable aspect that contributes to a degree of monotony is the album’s predominantly melodic approach. While melodic passages are well-executed, the absence of more intense, dynamic sections results in a lack of variety and depth, which could otherwise elevate the overall listening experience.

On the positive side, the album’s appeal largely hinges on the skillful guitar work of Niels Vejlyt and the captivating vocal performance of Kimmie Tenna Nielsen. Her voice adds an enchanting quality that sustains interest throughout the record.

In conclusion, “The Infinite Overture Pt. 1” fits within the current landscape of female-fronted symphonic metal, aligning with modern stylistic standards. As such, it may appeal primarily to dedicated fans of this subgenre. For listeners seeking innovation or a more diverse sonic palette, this release might not provide the variety they desire.

Nick Parastatidis

REVIEW: DEEP PURPLE, Come Taste The Band

 

DEEP PURPLE, Come Taste The Band (1975)

EMI

Ο τελευταίος σταθμός

Το 1974, μετά το σούπερ Burn και το ακόμα πιο "φανκυ" Stormbringer, ο Ritchie Blackmore άφησε στα κρύα του λουτρού το συγκρότημα που ο ίδιος είχε ιδρύσει μαζί με τον Jon Lord, για τα πιο σκληρά και ηλεκτρικά πεδία των Rainbow, παρέα με τον Ronnie James Dio. Η μπάντα τσίμπησε τον αμερικανό κιθαρίστα Tommy Bolin και μαζί του τους κ.κ. Glen Hughes (μπάσο και φωνή), David Coverdale (τραγούδι), Jon Lord (πλήκτρα) και Ian Paice (ντράμς). Μας άφησαν αυτό. Μια σχετική μίξη των ήχων των Burn και Stormbringer, ουσιαστικά με έντονα hard rock στοιχεία, αλλά και πιο funky και σε μέρη ακόμη και disco στοιχεία! Ο αδικοχαμένος Bolin δεν θα βγάλει όλη την παγκόσμια περιοδεία, καθώς ο δαίμονας της ηρωίνης τον σκότωσε περίπου ένα χρόνο μετά. Η μουσική παρακαταθήκη των Deep Purple Mk. IV, λοιπόν, είναι αυτό το μοναδικό άλμπουμ. Ένα άλμπουμ, πιστεύω, αδικημένο, καθώς είναι το λιγότερο αρεστό στους φίλους του σχήματος (σχεδόν στην ίδια θέση με το Slaves and Masters του 1990, με τον Joe Lynn Turner τότε). Όμως, τα Coming Home, You Keep On Moving, Dealer, Love Child, Gettin' Tighter θα τα θυμόμαστε σαν τις καλύτερες στιγμές του, οπότε σίγουρα τίποτε δεν πάει χαμένο.

English:

The Last Stop

In 1974, after the superb Burn and the even more "funky" Stormbringer, Ritchie Blackmore left the band he had co-founded with Jon Lord, for the heavier and more electrifying realms of Rainbow, alongside Ronnie James Dio. The band picked up American guitarist Tommy Bolin, and together with him, musicians Glen Hughes (bass and vocals), David Coverdale (vocals), Jon Lord (keyboards), and Ian Paice (drums), they created this. It represents a relative blend of the sounds of Burn and Stormbringer, essentially with strong hard rock elements, but also infused with funk and even disco influences at times. The tragically lost Bolin did not complete the entire world tour, as heroin took his life approximately a year later. Therefore, the musical legacy of Deep Purple Mk. IV is this unique album. I believe it is an underrated record, as it is among the least favored by fans of the band (almost on the same level as Slaves and Masters from 1990, with Joe Lynn Turner at the vocals). However, tracks like Coming Home, You Keep On Moving, Dealer, Love Child, and Gettin' Tighter will be remembered as some of their best moments, so nothing is truly lost.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: CAMEL, Music Inspired Βy The Snow Goose

 

CAMEL, Music Inspired Βy The Snow Goose (1975)

Decca Records.

Μουσική για μια ταινία που δε γυρίστηκε ποτέ

Ένα ακόμα ονειρικό ταξίδι σε νότες και μελωδίες από μια άλλη πλευρά, καλύτερα ένα άλλο παράλληλο σύμπαν, μοιάζει αυτό το τρίτο κατά σειρά άλμπουμ των Βρετανών παραγνωρισμένων Progressive Rock γιγάντων. Ένα soundtrack με βάση τη νουβέλα του Paul Gallico, Η Χήνα του Χιονιά, με ορχηστρικό περιεχόμενο, καθώς ο συγγραφέας είχε αντιρρήσεις τόσο στο να μπει ο τίτλος του έργου του αυτούσια (γι'αυτό και στο τίτλο του δίσκου χρησιμοποιείται το πρόθεμα Music inspired by), όσο και στο να περιληφθούν ολόκληρα αποσπάσματα αφήγησης απευθείας από το βιβλίο στους στίχους των τραγουδιών. Αυτά αρχικά είχαν σκοπό να περιλάβουν οι Andrew Latimer, Doug Ferguson, Peter Bardens και Andy Ward.

Πρόκειται για ένα ιδιότυπο και ιδιόρρυθμο μουσικό λεύκωμα, με όλα εκείνα που λατρεύεις στο κλασικό Mirage, έναν χρόνο πριν, αλλά σε διπλάσιο μέγεθος. Μιλάμε για ένα κόσμημα της δισκογραφίας τους, που μάλιστα το επανηχογράφησαν οι Camel το 2013, με τη σύνθεση που είχαν τότε!

Εφόσον δε μιλάμε για τραγούδια, αλλά για κομμάτια, δεκαέξι στο σύνολο (χωρίς τα επιπλέον του reissue CD), δεν θα αναφέρω τίτλους. Είπαμε, είναι σαν να ακούς τη συνοδευτική μουσική σε σκηνές μιας ταινίας. Απλά, θα το ακούμε από την αρχή ως το τέλος — και αυτό αρκεί!

English:

Music for a film that was never made

Another dreamlike journey through notes and melodies from an alternate side—better yet, from another parallel universe—this seems to be what the third studio album by the British overlooked progressive rock giants is. A soundtrack inspired by Paul Gallico’s novella The Snow Goose, featuring orchestral content, as the author had objections both to including the title of his work verbatim (hence the use of the phrase Music inspired by in the album title) and to incorporating entire narrative excerpts directly from the book into the lyrics. These were originally intended to be included by Andrew Latimer, Doug Ferguson, Peter Bardens, and Andy Ward.

It’s a peculiar and idiosyncratic musical anthology, with everything you loved in the classic Mirage—just a year earlier—doubled in size. We’re talking about a gem in their discography, which Camel re-recorded in 2013 with the lineup they had then.

Since we’re not dealing with songs but with instrumental pieces—sixteen in total (not counting the additional tracks from the reissue CD)—I won’t be listing titles. As I said, it’s like listening to the soundtrack of scenes from a film. Simply put, we’ll listen from start to finish— and that’s enough!

Τάκης "Ε-Μortal One" Γιώτης