REVIEW: REX MUNDI – Perception In Design

 

REX MUNDI – Perception In Design

Steel Gallery Records

The debut full‑length from the northern Greek outfit REX MUNDI arrives after a long incubation period. Formed in 2002 and familiar to many local gig‑goers from their support slots for acts like NEVERMORE and ATHEIST, the band now presents their first complete statement through Steel Gallery Records, the longest‑running active metal label in Greece. It’s worth noting that the group’s guitarist has also been involved with the U.S. power‑metal project FINAL ANSWER, whose album was likewise released by the same label—an interesting thread that hints at the band’s broader network and influences.

Musically, Perception sits firmly in the realm of modern technical thrash, with clear death‑metal undercurrents. The influence of NEVERMORE is unmistakable—not in a derivative way, but in the sense of adopting that sharp, angular riffing and a generally dark, introspective atmosphere. REX MUNDI handle this territory with confidence; the playing is tight, the structures are well thought‑out, and the band seems to understand exactly what they want to achieve within this stylistic framework.

Two tracks stood out most to me: “Perception” and “Images from a Mirror.” Both pieces showcase the band’s strengths—precise riff work, dynamic shifts, and a sense of controlled aggression. The vocal approach didn’t resonate with me personally, but that’s a matter of taste rather than execution. Fans who gravitate toward this particular blend of thrash and death metal will likely find plenty to appreciate.

Perception may not fall squarely within my usual listening habits, yet it’s a solid and sincere debut that should speak directly to listeners already invested in this corner of the metal spectrum.

Ioannis Kaskamanidis

REVIEW: SABBAT, Dreamweaver-Reflections Of Our Yesterdays

 

SABBAT, Dreamweaver-Reflections Of Our Yesterdays (1989)

Noise Records

Γνώριμη είναι η φωνή που ακούς.

Ωραίο εξώφυλλο· ας δω τι παίζει από πίσω. Γνωστές φάτσες — μα αυτός δεν είναι ο Martin Walkyier; εδώ νέος και χωρίς το ξανθό μουστάκι του, με το οποίο έγινε πολύ γνωστότερος, αφού τραγουδάει στους κλασικούς δίσκους των Skyclad από το 1990. Ένας από τους δύο κιθαρίστες μοιάζει πολύ στον διάσημο παραγωγό Andy Sneap — και είναι όντως αυτός, τότε φυσικά νέος και με μακρύ μαλλί.

Οι Άγγλοι Sabbat είναι ένα παραγνωρισμένο συγκρότημα που, μέσα σε έξι χρόνια και τρεις δίσκους, έχει καταφέρει να θεωρούνται οι δύο από αυτούς κλασικοί: αυτό το CD και το προηγούμενο άλμπουμ, το ντεμπούτο τους History of a Time to Come.

Είναι γνωστό ότι στο παρακλάδι του Thrash Metal το νησί της ομίχλης, των αρουραίων, του εμετικού αποικιοκρατικού παρελθόντος, του ποδοσφαίρου και γενέτειρα του NWOBHM, δεν έχει πολλά να δώσει. Ενδεικτικά, οι τεράστιοι Onslaught και φυσικά οι Sabbat αποτελούν δύο από τις ελάχιστες εξαιρέσεις.

Αυτό το άλμπουμ περιέχει υλικό που είναι κρίμα να μην ακούσει ο μέσος metal οπαδός. Βασικά, έγκλημα είναι — όχι κρίμα. Αν σας είναι οικεία η πιο αιχμηρή και τραχιά μουσική των δύο πρώτων δίσκων των Skyclad, κάνατε την τύχη σας. Επενδύστε άφοβα και το Dreamweaver δεν θα σας απογοητεύσει.

Ο φλεγματικός Martin «φτύνει» κι εδώ τους στίχους στο γνώριμο στυλ του, αλλά ακόμη πιο γρήγορα σε ρυθμό. Τα πλέον κλασικά άσματα — The Clerical Conspiracy, Advent of Insanity, Do Dark Horses Dream of Nightmares? (ερωτήματα είναι, όχι αστεία!), The Best of Enemies, How Have the Mighty Fallen? (όλο ερωτηματικά), Wildfire, Mythistory — έχουν την έδρα τους εδώ και για πάντα.

English:

The voice you’re hearing is a familiar one.

Nice cover art — let’s see what’s going on behind it. Familiar faces everywhere, but… isn’t that Martin Walkyier? Here he is, young and without the blond moustache he later became known for, after fronting the classic Skyclad albums from 1990 onward. One of the two guitarists looks a lot like famed producer Andy Sneap — and it is him, of course, back when he was young and long‑haired.

The English band Sabbat is one of those criminally overlooked groups who, within six years and three albums, managed to produce two records widely regarded as classics: this CD, and the previous one, their debut History of a Time to Come.

It’s well known that when it comes to the Thrash Metal branch of things, the island of fog, rats, nauseating colonial history, football, and birthplace of the NWOBHM hasn’t exactly offered much. The mighty Onslaught and, naturally, Sabbat are two of the rare exceptions.

This album contains material the average metal fan really shouldn’t miss. Actually, scratch that — it’s not a shame, it’s a crime to skip it. If you’re fond of the sharper, rougher sound of the first two Skyclad records, you’ve hit the jackpot. Dive in without hesitation; Dreamweaver won’t let you down.

The ever‑phlegmatic Martin spits out the lyrics here in his trademark style, only even faster this time. The truly classic tracks — The Clerical Conspiracy, Advent of Insanity, Do Dark Horses Dream of Nightmares? (yes, those are questions, not jokes), The Best of Enemies, How Have the Mighty Fallen? (more questions), Wildfire, Mythistory — all have their home here, now and forever.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: DIVINER, Realms Of Time

 

DIVINER, Realms Of Time (2019)

Ulterium Records

Η ελληνική σκηνή πάντα στην αντεπίθεση. 

Οι πέντε Αθηναίοι, εδώ στο δεύτερο άλμπουμ τους, παρουσιάζουν Power Metal με αρκετές επιρροές μάλλον πιο αμερικάνικης σχολής, σύγχρονη παραγωγή, επικές πινελιές αλλά και πιο euro‑power κιθαριστικά σόλο — όλα σε ισορροπημένες δόσεις. Οι Diviner ακούγονται εδώ σε δημιουργική άνοδο μετά το πολύ καλό ντεμπούτο τους Fallen Empires (2015), και γιατί όχι; Κανείς δεν μπορεί να αρνηθεί πως πρόκειται για ένα συγκρότημα που παλεύει και πονάει το ζήτημα Metal στις παρυφές της δεύτερης δεκαετίας του αιώνα, σε μια χώρα που συχνά βρίσκεται σε εχθρική σχέση με την ποιότητα.

Οι πέντε μουσικοί — ξεκινώντας από τον βετεράνο των Inner Wish, Rock 'N Roll Children και, γιατί όχι, των «Ελεύθερων» (ο ίδιος δεν κρύβει ότι οι «Παπαροκάδες» υπήρξαν μέρος της πορείας του!) — τον τραγουδιστή Γιάννη Παπανικολάου, τους κιθαρίστες Κώστα Φύτο και Γιώργο Μαρουλή, τον Φραγκίσκο Σαμοίλη στα ντραμς και τον Herc Booze στο μπάσο, μας προσφέρουν εδώ μερικά κομμάτια με τη στόφα του κλασικού ήχου που αγαπάμε να λατρεύουμε.

Κομμάτια όπως τα Against the Grain, Heaven Falls, Set Me Free, Cast Down in Fire, Beyond the Border, King of the Masquerade και Stargate αποτελούν, κατά τη γνώμη μου, τις καλύτερες στιγμές ενός δίσκου πολλά υποσχόμενου για το μέλλον τους.

English:

The Greek scene is always on the counterattack.

Here, on their second album, the five Athenians deliver Power Metal with strong, distinctly American‑school influences, a modern production, epic touches, and flashes of Euro‑power guitar soloing — all in balanced proportions. Diviner sound creatively ascendant here, following their excellent debut Fallen Empires (2015). And why shouldn’t they? No one can deny they’re a band that fights for — and bleeds for — Metal as we move through the second decade of the century, in a country often at odds with quality.

The five musicians — starting with veteran vocalist Yiannis Papadopoulos of Inner Wish, Rock ’N Roll Children, and yes, even the “Eleftheroi” (he openly acknowledges the “Paparakades” chapter of his career!) — together with guitarists Kostas Fytilis and Giorgos Maroulis, drummer Fragiskos Samoilis, and bassist Herc Booze, offer several tracks here with the makings of the classic sound we love to worship.

Songs like Against the Grain, Heaven Falls, Set Me Free, Cast Down in Fire, Beyond the Border, King of the Masquerade, and Stargate stand, in my view, as the album’s finest moments — highlights of a record that promises even greater things for their future.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: MORIAH – Fallen Fortress

 

MORIAH – Fallen Fortress

Arkeyn Steel Records

This double compilation CD gathers the complete recorded output of the U.S. power metal band Moriah, whose name derives from the Elvish term for the mines of Khazad- dûm, in Tolkien’s The Lord of the Rings. Musically, the band operates within the tradition of American-style technical power metal, emphasizing precision, high‑energy execution, and a clear sense of ambition in their compositions.

The first CD includes their 1990 demo and 1991 EP, while the second presents a 1993 live demo and an unreleased 1994 studio demo. This chronological structure allows listeners to follow the band’s evolution across their brief but focused activity.

Moriah perform with confidence throughout the material. Vocalist Doug St. John delivers consistently powerful high‑pitched lines that will appeal to fans of classic U.S. metal, and guitarist Noah King provides sharp, technically adept playing that defines much of the band’s character. Their performances stand out as the strongest elements of the compilation.

Among the tracks, the ones that left the most lasting impression on the first CD were “Fallen Fortress,” “Tomorrows Time,” “Holy Child,” and “Caught in the Wheel.” From the second CD, “The Other Side” and “Eternal Love” emerged as the most compelling pieces. These selections highlight the band’s ability to balance technicality with memorable melodic ideas.

The release is further enhanced by a thick, information‑rich booklet that offers valuable context about Moriah’s history and recordings, making it especially appealing to collectors and genre enthusiasts.

Overall, Fallen Fortress succeeds as a comprehensive archival release, gathering all existing Moriah material into a single, accessible package. Fans of U.S. power metal—particularly those drawn to technically inclined early‑’90s bands—will find this compilation well worth exploring.

Ioannis Kaskamanidis

DEVIL EMPIRE Unleash “Inside Infernal Anthropy Thrones” Album

 

The Tunisian black/death metal force Devil Empire returns with a blazing new chapter in their evolution, presenting the ferocious and atmospheric “Inside Infernal Anthropy Thrones.” The record stands as a symphonic black/death metal manifesto, merging extreme aggression with towering orchestral layers and dark oriental textures.

Across its tracks, the album dives deep into themes of inner chaos, spiritual rebellion, and the collapse of false thrones. Monumental keyboards, relentless blast beats, and cinematic arrangements shape a sound that balances brutality with epic, immersive depth—marking one of the band’s most mature and powerful statements to date.

Adding to the momentum, Devil Empire are preparing to unveil a new EP titled “Curse of Phillis,” promising yet another intense descent into their expanding infernal universe.

REVIEW: SPARTAN WARRIOR – Behind Closed Eyes

 

SPARTAN WARRIOR – Behind Closed Eyes

Ironage Records

The new album from the N.W.O.B.H.M. veterans SPARTAN WARRIOR marks their return after decades of silence. The band originally released two albums in the ‘80s: the debut Steel and Chains in 1983 through Guardian Records, followed by their self‑titled record in 1984 on Roadrunner Records. The latter was reissued in a limited run by Metal Mind Records roughly a year and a half ago.

The current lineup differs from the classic second‑album formation by only one member, and the band approaches this comeback with a sound rooted in traditional heavy metal but updated with a distinctly modern, 2010‑era production. Wilkinson’s vocals remain strong, and the guitar work is consistently solid—especially the solos in “Last Man Standing” and “Flesh and Blood,” which showcase the band’s melodic instincts and technical confidence.

Not all tracks reach the same level, but several standouts carry the album’s weight. “Tear Out Your Heart,” “Walking the Line,” and “Time” demonstrate the band’s ability to balance power, melody, and straightforward heavy‑metal grit.

This release will primarily appeal to fans of traditional heavy metal. Others may still find moments of interest, though the album’s stylistic focus may limit its broader reach.

 

In the end, Behind Closed Eyes is a solid and respectable return—one that suggests SPARTAN WARRIOR still have more to offer, and that their next step could be even stronger.

Ioannis Kaskamanidis

REVIEW: ACCEPT, Humanoid

 

ACCEPT, Humanoid (2024)

Napalm Records

Ένας κόσμος που αλλάζει και συνθλίβεται η ανθρωπιά

Οι συγκεκριμένοι τύποι, αν και με μόνο το 1/5 της αρχικής τους σύνθεσης να εκπροσωπείται πλέον από τον κιθαρίστα Wolf Hoffmann, αποτελούν σήμερα ένα από τα σημαντικότερα Heavy Metal είδωλα για τη μεγάλη πλειονότητα των φίλων του σκληρού ήχου. Η πορεία τους και οι διαμάχες που τη συνόδευσαν είναι γνωστές εδώ και σχεδόν πέντε δεκαετίες, οπότε δεν χρειάζεται να τις επαναλάβουμε.

Το νέο άλμπουμ, ένα ακόμη πολύ πάνω από το «καλό» μέσα στη φετινή χρονιά, συνεχίζει τον μύθο των ανανεωμένων Accept με τον Mark Tornillo στο μικρόφωνο από το 2010, τον γνώριμό μας από τους Grave Digger των ’90s Uwe Lulis στη δεύτερη κιθάρα, τον μπασίστα Martin Motnik και τον ντράμερ Christopher Williams.

Το εξώφυλλο του CD διατηρεί επαφή με το παρελθόν χάρη στο περίγραμμα της καρδιάς, ίδιο σε σχήμα με εκείνο του ιστορικού Metal Heart του 1985. Εδώ όμως λειτουργεί ως παράθυρο σε ένα ζοφερό μέλλον: ένα ανθρωποειδές κατασκευάζει ανθρώπους–σκλάβους σε έναν δυστοπικό παράλληλο κόσμο, ιδέα που βρίσκεται πίσω από το ομότιτλο δεύτερο κομμάτι του δίσκου.

Τραγούδια όπως Drying Into Sin, Frankenstein, The Reckoning, Nobody Gets Out Alive, Unbearable, Hard Times, Mind Games και Southside of Hell αποτελούν μερικούς ακόμη τίτλους που ξεχωρίζουν στο άλμπουμ.

Τους είδαμε το 2024 στο Release Festival κάτω από τον καυτό απογευματινό ήλιο του καλοκαιριού, να δίνουν τον καλύτερο εαυτό τους στην περιοδεία για τον συγκεκριμένο δίσκο. Και νομίζω πως κέρδισαν ξανά, για ακόμη μία φορά, την εκτίμησή μας.

English:

A world that changes as humanity is crushed

These guys — even if only one‑fifth of the original lineup survives today through guitarist Wolf Hoffmann — remain one of the most iconic forces in Heavy Metal for the vast majority of fans of the genre. Their long history and the conflicts that shaped it have been well documented over nearly five decades, so there’s no need to revisit them here.

The new album, another release well above “just good” in this year’s output, continues the legacy of the revitalized Accept. With Mark Tornillo on vocals since 2010, ’90s Grave Digger alumnus Uwe Lulis on second guitar, bassist Martin Motnik, and drummer Christopher Williams, the band sounds as sharp and driven as ever.

The CD cover maintains a link to the past through its heart‑shaped outline — identical in form to the one on their classic 1985 album Metal Heart. Here, however, it becomes a window into a bleak future: a humanoid figure manufacturing human slaves in a dystopian parallel world, the concept behind the album’s title track.

Songs like Drying Into Sin, Frankenstein, The Reckoning, Nobody Gets Out Alive, Unbearable, Hard Times, Mind Games, and Southside of Hell stand out as some of the album’s strongest moments.

We caught them live in 2024 at the Release Festival, performing under the scorching summer afternoon sun, giving everything they had on the tour supporting this record. And I think it’s fair to say they earned our respect once again.

Τάκης "Ε-Μortal One" Γιώτης!