Athens-based dark power metal band The
Silent Rage has officially announced the addition of two new members to
their lineup: vocalist Konstantin Maris
(Forbidden Seed, I Abyssick) and lead guitarist Vasilis
Batilas (Daylight Misery, ex-Fragile Vastness).
The revamped lineup will make its live debut on Saturday,
June 6, 2026, at An Club in Athens, sharing the stage with Sunlight and
Still Dusk.
Band founder and guitarist Nikos
Siglidis expressed his excitement about the new chapter:
"It is a true pleasure to welcome Konstantin and Vasilis to the band.
We have known these guys for many years, and they have always shown genuine
respect and appreciation for The Silent Rage. Having them officially join our
ranks marks an exciting new chapter for us, and I truly look forward to seeing
what the future holds."
Vasilis Batilas (Lead Guitar):
"I am incredibly excited to be the new guitar player for The Silent
Rage. It is an honor to be part of the band, as I have been a fan of the guys
for quite some time. Onward, Legionnaires, to our new ventures. See you at An
Club!"
Konstantin Maris (Lead Vocals):
"I am really thrilled to be joining The Silent Rage. I couldn't have
asked for a warmer welcome into this new chapter. Right from the very first
moment, it felt as if we had been playing together forever. I look forward to
seeing what the future holds for us in this new journey we are embarking on
together. Gather the legions — the battle is near."
1. With Death closing the tetralogy, do you see this final chapter as a
resolution—or more of a transformation into something undefined?
More a transformation into something undefined. Death completes the
conceptual cycle, but it doesn’t feel like a final statement. It’s more the
point where form dissolves and certainty disappears. The tetralogy ends there,
but Black Reuss itself continues beyond it.
2. The river metaphor has been central to Black Reuss from the beginning.
After completing this cycle, has your personal interpretation of that symbol
changed?
Not fundamentally. The river still represents movement and inevitability.
You cannot stop it or fully control it. But over time, I became more aware that
the river also loses itself eventually. On Death, it reaches the sea and
dissolves into something larger. That became an important part of the
symbolism.
3. Death seems to explore dissolution and silence. Was there a moment
during its creation where you felt creatively “emptied” rather than inspired?
Not emptied, but quieter. The writing process was more restrained than on
the previous albums. Since Death deals with interpretations of something
unknown rather than direct experience, I approached it with more distance and
less emotional urgency. Inspiration came more from reflection than intensity.
4. Across the four albums, how has your relationship with darkness evolved?
Is it still something to confront—or has it become something you coexist with?
I think it became something I coexist with. Earlier albums are more
confrontational and reactive. Over time, darkness stopped feeling like an enemy
and became more a part of the emotional landscape. I don’t romanticize it, but
I also don’t try to escape it. It simply exists alongside everything else.
5. Your work often feels cinematic. If Death were a film, what kind of
visual world or narrative would accompany it?
It would be minimal and slow. Wide empty spaces, cold light, fog, water,
long static shots. Not much dialogue. More atmosphere than narrative. I imagine
a visual world where movement becomes gradually slower until everything
dissolves into silence and openness.
6. There’s a strong sense of solitude in Black Reuss. Do you see solitude
as a necessity for your creativity, or something that comes with a cost?
Both. Solitude gives me clarity and allows me to work honestly without too
much external noise. But it also has a cost because you carry everything
yourself creatively and emotionally. Still, Black Reuss probably couldn’t exist
in the same way without that solitude.
7. The presence of Diego Rapacchietti adds a new dynamic to Death. Did his
involvement influence the emotional direction of the album in unexpected ways?
Not the emotional direction itself, but definitely the physical presence of
the album. Diego brought precision, restraint, and weight. His understanding of
space was very important. The drums support the atmosphere rather than
overpower it, which helped reinforce the calm heaviness of the record.
8. You’ve maintained full creative control over Black Reuss. After
finishing such a large conceptual arc, have you ever felt tempted to break that
isolation and fully collaborate with others?
I’m open to collaboration, but only if it feels natural and honest. Black
Reuss was built around a very personal and consistent vision, so too many
outside influences could easily change its identity. But collaboration itself
isn’t something I reject. It simply has to serve the atmosphere rather than
redirect it.
9. Many artists fear repetition after completing a major concept. Do you
feel liberated or challenged now that the tetralogy is complete?
More liberated than challenged. The tetralogy gave structure, but it also
created boundaries. Finishing it opens space creatively. There’s no pressure to
continue the same narrative anymore, which allows new directions to emerge
naturally.
10. The titles “Oblivion,” “Endgame,” “Phoenix,” and “Elysium” suggest both
finality and rebirth. Is Death more about endings—or hidden continuations?
It’s about both existing at the same time. Some songs represent dissolution
or judgment, while others move toward continuation or peace. I didn’t want the
album to define death through one perspective only. The idea was to let
different interpretations coexist without deciding which one is correct.
11. How important is silence in your music—not just musically, but
emotionally?
Very important. Silence creates space for reflection. Musically, it gives
weight to what surrounds it. Emotionally, silence often says more than
intensity or noise. Especially on Death, space and restraint became
essential parts of the atmosphere.
12. Looking back, is there a moment within the tetralogy where you feel
Black Reuss truly found its identity?
Probably during Journey. That was the point where the emotional
direction, atmosphere, and philosophical side of the project aligned most
clearly. From there on, the identity became much more defined and grounded.
13. Your music is deeply introspective. Do you ever worry that exposing so
much of your inner world leaves you vulnerable in ways that are difficult to
reconcile?
Not really anymore. Earlier on, maybe more. But over time I understood that
honesty creates connection rather than weakness. Also, with Death, the
writing became less autobiographical and more interpretative, which created a
certain distance naturally.
14. The production on Death is described as dense and immersive. Did you
consciously push the sonic boundaries further than on Arrival?
Yes, but not by making it bigger or more aggressive. The focus was on
density and atmosphere. I wanted the album to feel immersive and physically
heavy without overcrowding it. Space and decay became just as important as the
instruments themselves.
15. Artists often change once they complete a long-term vision. In what
ways has Black Reuss changed you as a person?
It taught me patience and acceptance. The project developed slowly over
many years, and through that process I became more comfortable with uncertainty
and less attached to needing clear answers. Creatively, I learned to trust
restraint more.
16. If someone listens to the four albums in sequence, what emotional
journey do you hope they experience by the end?
I hope they experience movement toward acceptance. The cycle begins with
fragmentation and confrontation, moves through struggle and grounding, and ends
in stillness. Not despair — more a sense of calm reflection and openness.
17. Do you think concepts like “death” in your work are more literal,
symbolic, or something beyond both?
Mostly symbolic and interpretative. I never wanted to define death
literally. The album explores different perspectives — dissolution, rebirth,
peace, continuation, judgment. It’s more about the emotional and philosophical
possibilities surrounding death than about explaining it.
18. Now that this chapter is complete, do you already sense where the
“river” might flow next—or is that still unknown even to you?
I think the direction is still open. The river continues, but without the
structure of the tetralogy guiding it anymore. That uncertainty feels healthy. I
don’t want to force the next chapter before it naturally reveals itself.
THE EVIL AMIDST is a formidable death metal powerhouse
from the United States, featuring members with notable pedigrees from
influential bands such as the death metal legends MALEVOLENT CREATION, the
black metal giants KULT OV AZAZEL, and the renowned grinders HATEPLOW. On their
album Lords of the Nine, the band crafts a distinctive and compelling fusion of
death, black, and thrash metal, resulting in a sound that is both dynamic and
multifaceted.
Throughout the album, there is a deliberate balance
between brutality and melody. At times, the compositions lean heavily into
aggressive, relentless passages, emphasizing their raw, blackened intensity. At
other moments, the focus shifts toward intricate melodies and technical solos,
showcasing the band’s versatility and musicianship. One of the defining
elements of this release is the sheer power and intensity of the songwriting,
which exudes a dark, almost demonic aura that is impossible to ignore. The
album’s flow guides the listener through dark, ominous passages interwoven with
mesmerizing melodic lines, creating a compelling and immersive experience.
What truly sets THE EVIL AMIDST apart from many of their
contemporaries is their fearless incorporation of complex, technical elements
into their music. The band isn’t afraid to include intricate solos and
elaborate riffs, recognizing that extremity in metal can manifest in diverse
ways. Their sound is both brutally aggressive and melodically rich, often
infused with an epic atmosphere that elevates the listening experience.
Additionally, subtle oriental influences occasionally surface, adding an exotic
touch to their otherwise dark and aggressive palette.
For listeners who appreciate bands that blend
brutality with technical depth and a willingness to explore diverse musical
landscapes, Lords of the Nine offers a rich and rewarding experience. It is a
testament to the band’s commitment to pushing boundaries within extreme metal,
resulting in a record that is as multifaceted as it is intense.
Έχοντας
υπόψη τα πρόσφατα ως τότε (και λίγο το επόμενο) άλμπουμ τους βρήκα το CD του
ομώνυμου δίσκου τους πολύ μετά τη κυκλοφορία του. Από την αρχή με κράτησε
μουσικά πολύ περισσότερο απ'ότι ταTrainofThought, Octavarium καιADramaticTurnofEvents με το
καλημέρα, ενώ τα προαναφερθέντα, θέλουν πολύ χρόνο για να εντρυφήσει κάνεις στα
περιεχόμενα τους. Είναι ακριβώς ότι είναι οι Rush στο progrock οι Theater στο progmetal, ένα προοδευτικό συγκρότημα που πλέον έχει αφήσει τη χρυσή εποχή πίσω του
εδώ (πόσο μάλλον πλέον) και προσπαθεί, κάνοντας καλά, λίγα μέτρια και που και
που πολύ καλά βήματα δισκογραφικά μιλώντας. Εδώ λοιπόν ένα 8 στα δέκα είναι μια
από τις καλές φάσεις τους σε μια θάλασσα από 6ρια ως 7ρια πριν. Συνθέσεις με τη
γνωστή πολύπλοκη δομή αλλά metal χωρίς πολλά
πολλά από τα κορδελάκια πο που είχαν πριν θα ακούσεις εδώ. Υλικό σαν την
εναρκτήρια τριμερή FalseAwakeningSuite, TheEnemyInside, EnigmaMachine, BehindtheVeil (σ.σ. αυτό
βάφτισε προφανώς το blog μας!), SurrendertoReason, AlongfortheRide και τη
τελική σουίτα IlluminationTheory. Το θεωρώ λοιπόν μια ηλιακή έκλαμψη στη συννεφιά της πρόσφατης
δισκογραφίας των Αμερικανών.
English:
Honestly, I didn’t expect it to be this good.
Keeping in mind their most recent albums at the time
(as well as, to some extent, the following one), I came across the CD of their
self-titled record long after its release. From the very first listen, it held
my attention far more than Train of Thought, Octavarium, and A Dramatic Turn of
Events, albums that require a considerable amount of time for someone to fully
immerse themselves in their content.
Dream Theater are to prog metal exactly what Rush are
to prog rock: a progressive band that has long left its golden era behind and
now moves forward with releases that are sometimes good, sometimes mediocre,
and every now and then genuinely excellent. In that context, an 8/10 here
stands as one of their stronger moments amid a sea of previous 6s and 7s.
What you’ll hear on this album are compositions with
their trademark complex structures, but with a tighter metal edge and without
many of the excessive musical “ornaments” of the past. Material such as the
opening three-part False Awakening Suite, The Enemy Inside, Enigma Machine,
Behind the Veil (which, incidentally, quite obviously inspired the name of our
blog!), Surrender to Reason, Along for the Ride, and the closing epic
Illumination Theory come together to form an album that I consider a small
solar flare shining through the gloom of the Americans’ more recent discography.
Greek heavy experimentalists RISABOV have officially returned with
their highly anticipated second full-length album, "Light Years Toward Impact." Following their debut
release Rise, this new 44-minute concept-driven record cements the
band’s reputation as one of the most compelling forces in the Greek underground
scene.
Released on April 20, 2024, Light
Years Toward Impact is a dark, atmospheric voyage that seamlessly navigates
death/thrash outbursts, progressive structures, and a cinematic sci-fi
aesthetic.
RISABOV caters to listeners
who thrive in the spaces between death
metal, progressive metal, sludge, post-metal, and experimental heavy music.
Across standout tracks like "Sanction,""Dreaming
Infinity,""Predator,""Directive 4,""Inner State," and "Outer State," the band
builds a sonic world dripping with tension, existential dread, and cosmic
themes.
The album boasts a crisp,
modern production while fiercely honoring an old-school extreme metal ethos. It strikes a
masterclass balance between:
Aggressive groove and
thrash bursts
Atmospheric
melancholy and post-metal textures
Progressive complexity and
cinematic intensity
"Light Years Toward
Impact does not function merely as another metal release, but as a
concept-driven sonic universe that explores alienation, time, human
consciousness, and the inevitable collision with the unknown."
The album's auditory
philosophy is perfectly mirrored by its visual identity. RISABOV pairs their
music with psychedelic textures, cosmic
aesthetics, and a gritty, dark urban imagery that captures the record's
overarching concept.
The release has already begun
turning heads globally. International underground metal media, including transcending-the-mundane.com,
have highlighted RISABOV as one of the most exciting and uncompromising new
acts emerging from the Greek heavy scene.
Light
Years Toward Impact is
available now on all major digital streaming platforms.
Formed in Nashville by multi-instrumentalist Blake
Bailey, Conjurist has rapidly carved out a distinct niche in the underground
scene by fusing elements of melodic death metal, post-black/blackgaze, doom,
and hardcore. I Am the Earth marks a definitive milestone for the project,
showcasing a signature hybrid style that seamlessly balances technical
aggression with crushing, doom-laden melodies.
The ambitious debut was recorded entirely by Bailey,
with mixing and mastering handled by Robbie Bingham, ensuring a dense and
powerful sonic landscapes that mirrors the album's weighty themes.
"Conjurist pairs its dense sonic concepts with
striking arcane visuals."
Beyond the music, Conjurist is known for exploring
deep mysticism, mythology, and raw human emotion—a conceptual focus brought to
life by striking, ritualistic aesthetics. The band recently captivated
audiences by performing in elaborate animal skull masks in the music video for
their track "Solace for the Shaman."
I Am the Earth is available now on all major streaming
platforms.
Αναφέρομαι
στον τέταρτο δίσκο της πρώτης εποχής των Αμερικανών Power/Speed Metal
πρωτοπόρων. Πρόκειται για ένα κατά το ήμισυ θεματικό άλμπουμ που αφηγείται μια
παραλλαγή στην κλασική ιστορία του Bram Stoker με θέμα ένα βαμπίρ. Ίσως να μην
είναι πρωτοτυπία, αλλά μουσικά αποτελεί ένα δείγμα προς μίμηση.
Με
τη θεωρούμενη κλασική σύνθεση των James Rivera, Larry Barragan, Andre Corbin,
Jerry Abarca και Frank Ferreira, έχουμε το πιο αγαπημένο σε μεγάλο ποσοστό του
κοινού τους άλμπουμ. Ύμνοι όπως τα «Baptized in Blood», «To Sleep, Per Chance
to Scream», «Harker's Tale (Mass of Death)», «Perseverance and Desperation»,
«The Curse Has Passed Away» (η ιστορία που προαναφέραμε), καθώς και τα «Harsh
Reality», «Swirling Madness» και «Aieliaria and Everonn» στολίζουν με το
σκοτεινό τους αποτύπωμα τον ήχο από τα ηχεία μας όταν παίζουν.
Μετά
από αυτό, οι Helstar μπήκαν στον πάγο, με τον Rivera να φορμάρει τους Destiny's
End στα μέσα της δεκαετίας του '90, που αποτελούν βέβαια την ηχητική συνέχεια
τους. Αργότερα, η επανασύνδεσή τους έφερε πάλι χαρά στο κοινό.
English:
The pinnacle of their four best albums.
I am referring to the fourth album of the first era of
the American Power/Speed Metal pioneers. It is a semi-thematic record that
narrates a variation of the classic Bram Stoker story, centered around a
vampire. It may not be an innovation, but musically, it stands as a model to be
emulated.
With the so-called classic lineup of James Rivera,
Larry Barragan, Andre Corbin, Jerry Abarca, and Frank Ferreira, this is their
most beloved album for a large portion of the audience. Anthems such as
"Baptized in Blood," "To Sleep, Per Chance to Scream,"
"Harker's Tale (Mass of Death)," "Perseverance and Desperation,"
and "The Curse Has Passed Away" (the story we've mentioned) along
with "Harsh Reality," "Swirling Madness," and
"Aieliaria and Everonn" adorn the sound with their dark imprint
whenever they play.
After this, Helstar went on hiatus, with Rivera
reforming Destiny's End in the mid-1990s, which of course represents their
sonic continuation. Later, their reunion once again brought joy to their fans.
