REVIEW: DARKTHRONE, Total Death

 

DARKTHRONE, Total Death (1995)

Peaceville Records

Πάγος, σκοτάδι, άδειοι πλανήτες.

Τουλάχιστον άδειοι πλανήτες μέσα σε ένα νεκρό διαστημικό τοπίο απεικονίζονταν στο αρχικό εξώφυλλο αυτού, του έκτου άλμπουμ των ιστορικών Νορβηγών black metallers. Η πρόσφατη επανέκδοση, που ευτυχώς το έκανε ξανά διαθέσιμο, υιοθετεί ένα διαφορετικό εξώφυλλο, με ένα σκοτεινό νορδικό δάσος στην άκρη ενός γκρεμού. Όμως, αυτό που πραγματικά έχει σημασία είναι η μουσική, και αυτή παραμένει αναλλοίωτη.

Το δίδυμο των Fenriz και Nocturno Culto κάνει για άλλη μία φορά αυτό που γνωρίζει καλύτερα από τον καθένα: μονολιθικό, ωμό και απέριττο Black Metal, αυτή τη φορά με μια πιο «ανθρώπινη» παραγωγή, η οποία σίγουρα δεν απογοήτευσε κανέναν από τους φίλους του συγκροτήματος εκείνη την εποχή.

Προσωπικά, πρόκειται για το πιο αγαπητό στα δικά μου αυτιά άλμπουμ της μεσαίας περιόδου τους. Περιλαμβάνει συνθέσεις που φέρνουν αμέσως στον νου τους μεγάλους πρωτοπόρους Celtic Frost, Bathory, Destruction και Venom, κάτι απολύτως φυσιολογικό, αφού αυτές υπήρξαν ανέκαθεν οι σταθερές επιρροές των DARKTHRONE. Τραγούδια όπως τα "Earth's Last Picture", "Blackwinged", "Gather for Attack on the Pearly Gates", "Black Victory of Death", "Blasphemer" και "The Serpent's Harvest" συγκαταλέγονται πλέον δικαίως στις κλασικές στιγμές της δισκογραφίας τους.

English:

Ice, darkness, empty planets.

At least that is what the original cover artwork of this, the sixth album by the legendary Norwegian black metallers, depicted: barren planets suspended in a lifeless cosmic landscape. Fortunately, the recent reissue has made the album available once again, although it replaces the original artwork with a dark Nordic forest perched on the edge of a cliff. In the end, however, what truly matters is the music, and that remains untouched.

The duo of Fenriz and Nocturno Culto once again do what they know better than anyone else: delivering monolithic, raw and stripped-down Black Metal, this time with a more "human" production that undoubtedly failed to disappoint any of the band's followers back then.

Personally, this is my favourite album from DARKTHRONE's middle period. It contains songs that instantly bring to mind the pioneering spirit of Celtic Frost, Bathory, Destruction and Venom, which is hardly surprising since those bands have always been DARKTHRONE's most enduring influences. Tracks such as "Earth's Last Picture", "Blackwinged", "Gather for Attack on the Pearly Gates", "Black Victory of Death", "Blasphemer" and "The Serpent's Harvest" have rightfully earned their place among the undisputed classics of the band's catalogue.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW:NORDAGUST - In the Mist of Mornings

 

NORDAGUST - In the Mist of Mornings

Karisma Records

I'll begin this review in a rather unorthodox way: In the Mist of Mornings is an album intended exclusively for truly open-minded listeners. Those expecting anything resembling conventional metal, despite the band's occasional association with the genre, are likely to be left puzzled. NORDAGUST have little in common with metal as it is generally perceived, instead operating in the same broad territory as those atmospheric acts that favor melancholy, introspection, and mood over heaviness and aggression.

Although the band employs traditional rock instrumentation, their sound is enriched by an impressive array of unconventional instruments, including flute, dulcimer, sallow flute, mouth harp, musical saws, and kettles. The result is an evocative blend of symphonic progressive rock infused with strong folk and medieval influences. It is a rich and carefully layered musical palette that places atmosphere above all else.

In the Mist of Mornings may be NORDAGUST's debut full-length release, but the band itself has existed for many years, and that experience is evident throughout the album. Every composition seems designed to build immersive sonic landscapes, evoking feelings of melancholy, isolation, and almost catatonic stillness. The melodies form the foundation of the music, while the interplay of multiple male and female vocalists enhances the dreamlike quality of the material, giving the album a distinctive identity.

Its greatest weakness, however, lies in the songwriting itself. Despite the abundance of instruments, textures, and vocal arrangements, many of the compositions share a remarkably similar atmosphere and structure, making them blend into one another. As a result, the listening experience can become somewhat repetitive, especially over the course of the album.

Even so, In the Mist of Mornings remains a very accomplished debut that showcases a band with a fully realized artistic vision. There is little here that feels underdeveloped or tentative. The album succeeds admirably at creating powerful emotional landscapes, but it deliberately sacrifices energy and immediacy in favor of contemplation and mood. This is music that demands patience and a particular state of mind.

Ultimately, this is an album made for a very specific audience—listeners who appreciate soundtrack-like, deeply atmospheric music where emotion outweighs momentum. While I can certainly admire NORDAGUST's artistic ambition and craftsmanship, this is one of those rare cases where I respect the music far more than I personally enjoy it. It is special music for special people, and I have to admit that I don't quite belong to that audience.

Christine  Parastatidou

CRYSTAL THRONE unveil new lyric video for "Children Of The Ruins"

 

French progressive heavy metal outfit Crystal Throne have released the official lyric video for "Children Of The Ruins", the latest single taken from their upcoming studio album, Chantry Of Sacrifice.

Formed in Metz, France, in 2019 by guitarist Max Waynn and vocalist Terry DeFire, Crystal Throne blend melodic heavy metal, power metal and progressive influences with the spirit of the 1980s. Their sound combines technical musicianship, memorable melodies and an expansive universe inspired by science fiction, mythology and fantasy.

Following their self-titled debut album in 2021, the band expanded its lineup with drummer Will Ram and second guitarist John L, adding even more depth and power to their evolving sound. The result is Chantry Of Sacrifice, a darker, more ambitious and mature concept album set in the distant year 5150. The story follows Hyldr, a war veteran and scientist who becomes the last human in a universe where Earth has mysteriously vanished. Her final mission is to travel back in time, uncover the truth and alter humanity's fate.

Combining progressive songwriting, memorable hooks and an immersive sci-fi narrative, Chantry Of Sacrifice promises to be Crystal Throne's most accomplished work to date. The band is also preparing a companion audiobook that will further expand the album's rich storyline.

For fans of: Queensrÿche, Symphony X, Crimson Glory, Judas Priest.

REVIEW: MOURNING LENORE - Loosely Bounded Infinities

 

MOURNING LENORE - Loosely Bounded Infinities

Major Label Industries Records

Portugal has produced more than its fair share of quality melodic doom/death metal acts over the years, and newcomers MOURNING LENORE have clearly drawn inspiration from that tradition. Formed only a couple of years ago and previously known only for a split CD, the band now steps forward with its debut full-length, Loosely Bounded Infinities, hoping to establish its place within the genre.

I always approach debut albums with slightly different expectations. It's only natural for young bands to still be searching for their identity while gradually breaking free from the shadow of their influences. MOURNING LENORE are very much at that stage. Their brand of melodic doom/death metal is competently written, emotionally charged, and successfully captures the feelings of melancholy, solitude, and introspection that define the style. The musicians clearly know what they're doing, the songwriting is well structured, and the production gives the material the weight and atmosphere it deserves.

The problem is that, despite all of its strengths, Loosely Bounded Infinities rarely rises above the familiar. The band's influences are evident throughout the album, and while everything is executed with confidence and sincerity, there isn't enough of a distinctive personality to make the songs truly stand apart from the countless other releases in this genre. This is by no means a weak album—far from it—but it doesn't yet reveal a band with a unique musical identity.

The potential is certainly there. MOURNING LENORE possess the musicianship and songwriting ability needed to make a lasting impression, but they still need to develop a more personal approach that will allow them to escape the confines of their influences. Once they achieve that, they could become a force worth paying close attention to.

As it stands, Loosely Bounded Infinities is a solid and enjoyable debut that will primarily appeal to devoted fans of melodic doom/death metal. Those already invested in the genre should find plenty to appreciate, while everyone else would be wise to sample a few tracks before deciding whether this is an album for them.

Christine  Parastatidou

REVIEW: TESTAMENT, The Ritual

 

TESTAMENT, The Ritual (1992)

Atlantic Records

Το γκρι

Έχοντας πάρει στο κατόπι τα μεγάλα τους αδέρφια, τους Metallica, οι πέντε μουσικοί το πάνε κι αυτοί ένα βήμα παραπέρα. Κάποια έντυπα βάφτισαν αυτή τη νέα κατεύθυνση Post-Thrash· όπως κι αν θέλει κανείς να την ονομάσει, η ανοιχτή στροφή που ξεκίνησε με το Souls of Black δύο χρόνια νωρίτερα ολοκληρώνεται εδώ, στο The Ritual.

Οι πιο heavy μελωδίες κυριαρχούν, με το ομώνυμο κομμάτι του δίσκου να αποτελεί, κατά κάποιον τρόπο, το δικό τους "Sad But True" (περνώντας πρώτα από το ύφος του "The Unforgiven"). Ο δίσκος λοιδορήθηκε, λες και ο κόσμος περίμενε να κυκλοφορήσουν ξανά το δεύτερο ή το τρίτο The New Order. Ας ξεκαθαρίσουμε, όμως, τα πράγματα: το The Ritual είναι καλύτερο από το Souls of Black και αποτελεί ένα σκοτεινό, βαρύ heavy metal άλμπουμ, με ορισμένες thrash αναφορές, χωρίς ούτε μία πραγματικά αδύναμη στιγμή.

Αν το καλοσκεφτεί κανείς, βρισκόμαστε στις αρχές της δεκαετίας του '90 και το να γράφεται τόσο βαριά μουσική εν μέσω grunge, groove metal και χυδαίας εμπορικότητας δεν ήταν καθόλου αυτονόητο. Δυστυχώς, ο δίσκος δεν τα πήγε καλά εμπορικά, με αποτέλεσμα να διαλυθεί για πρώτη φορά η σύνθεση που παρέμενε σταθερή από τότε που ο Chuck Billy αντικατέστησε τον Steve Souza, έναν χρόνο πριν από την κυκλοφορία του The Legacy (1987).

Οι Eric Peterson, Alex Skolnick, Louie Clemente και Greg Christian, μαζί με τον τεράστιο Chuck Billy στο μικρόφωνο, ηχογράφησαν εδώ το τελευταίο τους άλμπουμ με αυτή τη σύνθεση… μέχρι το reunion στα μέσα της επόμενης δεκαετίας.

Από το The Ritual, τα "Signs of Chaos", "Electric Crown", "Let Go of My World", "The Ritual", "As the Seasons Grey", "Agony", "The Sermon", το ονειρικό "Return to Serenity" και το "Troubled Dreams" αποτελούν πραγματικά κομμάτια-σταθμούς.

English:

The Grey One

Having followed in the footsteps of their bigger brothers, Metallica, the five musicians took things one step further themselves. Some magazines labeled this new direction Post-Thrash; whatever one chooses to call it, the stylistic shift that began with Souls of Black two years earlier reaches its full realization here, on The Ritual.

Heavier melodies dominate throughout, with the album's title track serving, in a way, as their own "Sad But True" (after first passing through the atmosphere of "The Unforgiven"). The album was heavily criticized, as if people expected them to release another The New Order. But let's set the record straight: The Ritual is a better album than Souls of Black. It is a dark, weighty heavy metal record with a handful of thrash references, yet not a single genuinely weak moment.

When you stop to think about it, this was the beginning of the '90s, and writing music this heavy in the midst of grunge, groove metal, and rampant commercialism was anything but a given. Unfortunately, the album failed to meet commercial expectations, leading to the first breakup of the lineup that had remained intact since Chuck Billy replaced Steve Souza a year before the release of The Legacy (1987).

Eric Peterson, Alex Skolnick, Louie Clemente, Greg Christian, and the mighty Chuck Billy on vocals recorded their final album together with this classic lineup... until their reunion in the middle of the following decade.

From The Ritual, "Signs of Chaos," "Electric Crown," "Let Go of My World," "The Ritual," "As the Seasons Grey," "Agony," "The Sermon," the dreamy "Return to Serenity," and "Troubled Dreams" all stand as genuine milestone tracks.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: OMEN, Hammer Damage

 

OMEN, Hammer Damage (2016)

Pure Steel Records

Γύρισε ο J.D. Kimball απ’ τον άλλο κόσμο;

Δεν ξέρω αν είναι θέμα vocal coaching, αλλά ο κύριος Kevin Goocher, που τραγουδάει στους μεγάλους Omen σε αυτό το άλμπουμ, ακούγεται εκπληκτικά κοντά στη φωνή του μακαρίτη J.D. Kimball.

Οι Kenny Powell στις κιθάρες και ο Steve Witting στα ντραμς, από την ηρωική σύνθεση των ’80s, δίνουν πόνο, ενώ ο Andy Haas στο μπάσο κρατάει τα «μπόσικα» όσο καλύτερα μπορεί.

Ένα σχετικά πρόσφατο άλμπουμ για τους αγαπημένους στη χώρα μας Καλιφορνέζους επικούς U.S. Power Metalers, στο οποίο ανταποδίδουν την αφοσίωση του κοινού τους με το κομμάτι “Hellas” (όχι όπως οι επίσης αγαπημένοι Γερμανοί Grave Digger, που έχουν κάνει διασκευή στο «Ελλάς» του Βασίλη Παπακωνσταντίνου), ένα τραγούδι που λογικά θα παίζουν ζωντανά στις πολλές επισκέψεις τους εδώ στα μέρη μας.

Ο δίσκος βρίσκεται τόσο κοντά στα τρία πρώτα άλμπουμ τους, που πραγματικά σε κάνει να απορείς! Εσκεμμένα, βέβαια, θα επέλεξαν αυτή την ιδιαίτερα πρωτόγονη παραγωγή, αν και, ομολογουμένως, δεν μας χαλάει καθόλου.

Επίσης, οι κομματάρες “Hammer Damage”, “Cry Havoc”, “Eulogy for a Warrior”, “Knights” και “Caligula” δεν μας χαλάνε καθόλου — κάθε άλλο μάλιστα.

English:

Did J.D. Kimball Return from the Other Side?

I don’t know if it is a matter of vocal coaching, but Kevin Goocher, who handles the vocals for the legendary Omen on this album, sounds remarkably close to the voice of the late J.D. Kimball.

Kenny Powell on guitars and Steve Witting on drums, both members of the band’s heroic ’80s lineup, deliver the goods, while Andy Haas on bass holds the fort as best as he can.

A relatively recent album from the beloved, here in our country, Californian epic U.S. Power Metalers, on which they repay their fans’ devotion with the song “Hellas” (unlike their also beloved German counterparts Grave Digger, who recorded a cover version of Vasilis Papakonstantinou’s “Hellas”). A song that will most likely be performed live during their many visits to our parts of the world.

The album is so close to their first three releases that it truly makes you wonder! The band must have deliberately chosen this particularly raw and primitive production style, although, truth be told, it doesn’t bother us one bit.

And then there are the killer tracks “Hammer Damage,” “Cry Havoc,” “Eulogy for a Warrior,” “Knights,” and “Caligula,” which certainly don’t bother us either — quite the opposite, actually.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: SILENT STREAM OF GODLESS ELEGY - Navaz

 

SILENT STREAM OF GODLESS ELEGY - Navaz

Season Of Mist Records

Hailing from Moravia, Czech Republic, SILENT STREAM OF GODLESS ELEGY have been active since 1995, creating their own distinctive interpretation of folk metal — a style that stands apart from most of what the genre has offered so far. With “Navaz”, the band once again proves that they are not simply following the established paths of folk metal, but instead creating a deeply personal and authentic musical expression.

One of the first things that immediately draws attention is the use of their native language, which gives the album an even stronger connection to the cultural roots and traditions of the Slavic world. The entire release is deeply immersed in Slavic folklore, melodies, emotions and atmosphere, making “Navaz” sound almost like a metallized interpretation of traditional folk songs passed down through generations.

The musicianship displayed by the band is exceptional, while the warm and expressive voice of the female singer enhances the feeling that the listener is experiencing something far beyond a typical metal album. Her performance brings an emotional depth and authenticity that perfectly captures the spirit of the music. The male vocals, alternating between deep clean passages and more aggressive growls, add another dimension to the band’s sound, highlighting the fascinating balance between folk traditions and metal intensity.

The cello plays a central role throughout the album, creating beautiful, melancholic and mesmerizing melodies that transport the listener to distant times and evoke images of everyday life, ancient customs and forgotten stories from the Balkan and wider Slavic regions.

“Navaz” is an excellent album, supported by a great production and a unique artistic identity. However, the metal element is not always at the forefront, and listeners looking for a heavier and more aggressive approach might find it less dominant than expected. For those who appreciate beautiful, emotional and atmospheric music with deep cultural roots, though, this release comes highly recommended.

Christine  Parastatidou