REVIEW: CHILDREN OF BODOM, Hatebreeder

 

CHILDREN OF BODOM, Hatebreeder (1999)

Nuclear Blast Records

Μεγάλη καταστροφή. 

Το πράσινο άλμπουμ που διαδέχτηκε το εξίσου καλό κόκκινο ντεμπούτο τους — δηλαδή το Something Wild — ήταν, για εμάς τότε, μια αποκάλυψη. Η παρέα από τη Φινλανδία, με επίτιμο αρχηγό τον αδικοχαμένο δυστυχώς Alexi “Wildchild” Laiho στη ρυθμική κιθάρα και στη φωνή, μας σημάδεψε. Και τι μεγάλο κακό πάθαμε όταν τρεις πρώην συμμαθητές το ακούσαμε περίπου έναν χρόνο μετά την κυκλοφορία του· δε περιγράφεται. Η μουσική τους ήταν (έτσι το βλέπαμε τότε) το μέλλον.

Μελωδικό, γρήγορο, επιθετικό, με τσιριχτή φωνή για Death Metal και με πολλαπλές επιθέσεις από πλήκτρα — όχι μόνο ως βάθος, αλλά και σε ρόλο σόλο, εναλλασσόμενα με τις κιθάρες. Κάτι που, αν δεν είχε τη φωνή να το πηγαίνει στα μουσικά άκρα, θα ήταν καλοπαιγμένο, μελωδικό Power Metal. Και αυτό το ύφος οι συγκεκριμένοι νεαροί τότε το καλλιέργησαν ακόμη περισσότερο στη συνέχεια.

Πραγματικά δημιούργησαν σχολή μέσα στον μελωδικό Death Metal ήχο, παράλληλη με εκείνη της Σουηδίας, η οποία τότε σιγά σιγά έχανε την αρχική της φλόγα. Η φωνή του Alexi σε σημεία ακούγεται σαν μαυρομεταλλικό shriek, παρά σαν ογκώδες throat vocal, που είναι βέβαια σήμα κατατεθέν στο Death Metal και σημείο διαφοροποίησης από το Black.

Νεοκλασικής επιρροής σε αρκετά σημεία τα κιθαριστικά σόλο, με παραγωγή καθαρή και γυαλιστερή μέχρι τύφλωσης — αλλά όχι πλαστική. Και τραγούδια που, είκοσι έξι χρόνια μετά, δεν τα ξεχάσαμε: Silent Night, Bodom Night (το οποίο συνέγραψε η Kimberly Goss), Hatebreeder, Bed of Razors, Towards Dead End, Black Widow, Children of Bodom, Downfall.

English:

A great disaster. 

The green album that followed their equally strong red debut — Something Wild — was, for us back then, a revelation. That Finnish bunch, led by their honorary captain, the sadly departed Alexi “Wildchild” Laiho on rhythm guitar and vocals, left a permanent mark on us. And the shock we suffered when three former classmates listened to it about a year after its release… it can’t really be described. Their music was (as we saw it then) the future.

Melodic, fast, aggressive, with a shrieking voice for Death Metal and multiple keyboard attacks — not just as background depth, but taking on solo duties, trading off with the guitars. Something that, without the vocals pushing it to the musical extremes, would have been well‑played, melodic Power Metal. And that very style was something these young musicians would cultivate even further in the years to come.

They truly created a school within the melodic Death Metal sound, parallel to the one in Sweden, which at the time was slowly losing its initial flame. Alexi’s voice at points sounds more like a black‑metal shriek than a massive throat vocal, which is of course a trademark of Death Metal and a point of differentiation from Black Metal.

The guitar solos often carry a neoclassical influence, and the production is clean and polished to the point of blindness — but never plastic. And the songs, twenty‑six years later, remain unforgettable: Silent Night, Bodom Night (co‑written by Kimberly Goss), Hatebreeder, Bed of Razors, Towards Dead End, Black Widow, Children of Bodom, Downfall.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: EMERALD SUN – Regeneration

 

EMERALD SUN – Regeneration

Pitch Black Records

If power metal is your music of choice and you can listen to it for hours every day—if you even sleep with a HELLOWEEN poster above your bed—then Regeneration might be one of the strongest releases you'll hear this year.

Following the release of Escape from Twilight in 2007 and the departure of vocalist Jimmy Santrazami, EMERALD SUN welcomed Theo Tsakiridis behind the microphone and returned with their new album, Regeneration. From the very first note to the last, the album delivers a feeling that instantly reminded me of the classic early HELLOWEEN era. I know that's a bold comparison, but that was genuinely the impression I got.

The band's songwriting is consistently strong, combining memorable melodies, energetic riffs, and uplifting choruses with lyrics that fit perfectly within the traditional power metal spirit. While the style is undeniably familiar and rooted in the genre's classic formula, EMERALD SUN manage to make it feel fresh through their passion, conviction, and excellent execution. The end result is an album that many established names in the scene could easily envy.

As the ancient Greek saying goes, "A good start is half of everything," and Regeneration proves that point perfectly. The opening tracks, "We Won't Fall" and "Theater of Pain," immediately capture the listener's attention. Their impact is so strong that, instead of rushing to the next song, you'll probably find yourself hitting the rewind button just to experience them once more.

The title track, "Regeneration," and the anthemic "Planet Metal" continue the album's momentum, offering some of its most memorable moments. The band also demonstrates its ambition with the 12-minute epic "Fantasmagoria," a composition that showcases a more progressive and adventurous side without losing the album's melodic identity. To close things off, EMERALD SUN deliver an enjoyable cover of the classic rock hit "Holding Out for a Hero," adding their own power metal touch while remaining respectful to the original.

Regeneration may not reinvent the power metal genre, but it doesn't have to. Its strength lies in exceptional songwriting, impressive musicianship, and a genuine love for classic European power metal. It's an album that deserves to be heard by every fan of the genre and one that I believe will continue to be talked about long after this year is over.

Highly recommended.

Dimitris  Konstantinidis

MAJESTAS REGIA Release Self-Titled Debut EP

 

Finnish doom metal band Majestas Regia have released their self-titled debut EP, marking the official arrival of the trio after years of collaboration. The EP was recorded at Clock Bridge Studios by H., mixed by the band, and mastered by Valo Elios.

Although the musicians have been jamming together since 2018, Majestas Regia officially emerged in 2026. Featuring veteran musicians Mika S. (guitar/vocals), Markus W. (guitar/vocals), and Ilmari J. (drums), the band draws inspiration from the underground tape-trading culture of the 1980s and 1990s, forging a sound built on classic doom riffs, crushing heaviness, and dark atmospheres.

Collectively, the members bring decades of experience from Finnish underground acts including Defection, Mindgrind, TIMB3R, Slugathor, Azazel, and Witchtiger, as well as performances at events such as Finnish Death Metal Maniacs and Metal Warning. Blending the legacy of Black Sabbath and Candlemass with elements of black metal and slow death metal, Majestas Regia deliver a cold, monumental take on traditional doom.

REVIEW: HADEAN – Parasite

 

HADEAN – Parasite

Sleepcast Records

Composing a song is always a demanding process. It begins with strong ideas, but it also requires skilled musicians and a clear sense of direction. HADEAN, on their debut release Parasite, demonstrate that they possess both technical ability and solid musical chemistry. The band sounds tight, confident, and well‑rehearsed, and throughout the album it becomes evident that they have ideas worth developing. What they lack, however, is a defined artistic identity. Their songwriting suggests a group still experimenting with different influences rather than committing to a cohesive musical vision.

The album blends several stylistic elements that do not always sit comfortably together. There are clear Metallica references, especially from the Black Album era, where mid‑tempo grooves and heavy, straightforward riffs dominate. At the same time, HADEAN incorporate touches reminiscent of late‑period Iced Earth, particularly in their rhythmic patterns and chugging guitar work. On the opposite end of the spectrum, they flirt with gothic metal influences similar to Sentenced, adding a melancholic tone to certain passages. There are even moments where the band leans toward atmospheric doom metal, slowing down into brooding, introspective territory. Each of these influences is executed competently, but together they create a sound that feels stylistically unsettled.

Another issue that affects the album’s impact is its pacing. A large portion of Parasite unfolds in melodic, mid‑tempo rhythms, which results in a listening experience that lacks energy and dynamic contrast. Even when heavier riffs appear, they rarely escalate into moments of intensity or emotional release. The band’s technical skill is evident, but the compositions often feel restrained, as if they never fully commit to the potential power behind their ideas. This consistent mid‑tempo approach ultimately weakens the album’s momentum and makes several tracks blend into one another.

Despite these shortcomings, Parasite does not suggest a band without promise. On the contrary, HADEAN clearly have talent, discipline, and a sense of musical ambition. What they need now is to refine their compositional approach and decide what kind of band they want to be. If they manage to focus their influences and develop a more unified identity, their future work could be far more compelling. As it stands, Parasite is a debut that shows potential, but also highlights the need for stronger direction and more confident songwriting.

Nick Parastatidis

REVIEW: JUDAS PRIEST, Point Of Entry

 

JUDAS PRIEST, Point Of Entry (1981)

CBS

Τι σημείο βρασμού έχει το πυρίτιο;

Δεν θα έβραζα ούτε το CD αυτού του άλμπουμ των ημίθεων του heavy metal. Από την άλλη, όμως, ούτε... τρώγεται με τίποτα αυτός ο δίσκος.

Έχω στο στερεοφωνικό, έπειτα από χρόνια, το πιο μέτριο άλμπουμ των Άγγλων, με μοναδικό αντίπαλο στη δισκογραφία τους όχι το Rocka Rolla ή το Turbo, όπως ίσως θα νομίζατε, αλλά το Demolition, που κυκλοφόρησε σχεδόν είκοσι χρόνια αργότερα. Ακόμα κι εκείνο, βέβαια, δεν το βρίσκω τόσο μέτριο — ας μην πω κακό.

Άγευστο, ραδιοφωνικό και γεμάτο περιττά τραγούδια (fillers), αποτελεί την άνοστη γέμιση ανάμεσα στα δύο ψωμάκια του σάντουιτς που λέγονται British Steel και Screaming for Vengeance. Με ποια λογική γράφτηκε η πλειονότητα των τραγουδιών από την ίδια πεντάδα που μας χάρισε τα προαναφερθέντα άλμπουμ, πριν και μετά από αυτό, δεν θα το κατανοήσω ποτέ.

Την εποχή που είχα τη βινυλιακή έκδοσή του, το είχα βρει στην αμερικανική κυκλοφορία, με το ακόμη χειρότερο εξώφυλλο: μια λωρίδα χαρτιού εκτυπωτή — ή μήπως τηλεομοιοτυπίας (fax); — που σχημάτιζε την εικόνα ενός αυτοκινητόδρομου μέσα στην έρημο.

Κι ενώ συνήθως μπορώ να βρω αρκετά καλά στοιχεία σε κάθε δίσκο, εδώ αυτά περιορίζονται στα Heading Out to the Highway, Desert Plains, Hot Rockin' και, άντε, στο Solar Angels, που παραλίγο να γίνει το όνομα του σχολικού μας συγκροτήματος, όταν ήμουν μαθητής λυκείου.

Στην remastered επανέκδοση υπάρχει το ενδιαφέρον, μέχρι τότε ακυκλοφόρητο, bonus κομμάτι Thunder Road, σαν τυράκι για να αγοράσετε το CD.

Έτερον ουδέν...

English:

What's the Boiling Point of Silicon?

I wouldn't even bother boiling the CD of this album by the demigods of heavy metal. Then again, this record isn't exactly digestible either.

After many years, I've put what I consider the most mediocre album by the Brits back on the stereo. Its only real rival in their catalog isn't Rocka Rolla or Turbo, as you might expect, but Demolition, released almost twenty years later. Even that one, though, I don't find nearly as mediocre—dare I say bad.

Bland, radio-friendly, and padded with too many fillers, this album is the tasteless filling between the two slices of bread known as British Steel and Screaming for Vengeance. How the same five musicians who gave us those masterpieces immediately before and after this one came up with most of these songs is something I'll never understand.

Back when I owned it on vinyl, I had the American pressing, complete with an even worse cover: what looked like a strip of continuous computer paper—or was it fax paper?—forming the image of a desert highway.

While I can usually find plenty to appreciate on every Priest album, here the highlights are limited to Heading Out to the Highway, Desert Plains, Hot Rockin', and—just about—Solar Angels, which very nearly became the name of our high school band.

The remastered reissue throws in the previously unreleased bonus track Thunder Road as bait to entice you into buying the CD.

And that's all there is to say...

Τάκης "Ε-Μortal One" Γιώτης!

Tidal Dreams Release First Live Album "Live @ Piraeus Club Academy"

 

Greek epic heavy/power metal band Tidal Dreams have released their first official live album, "Live @ Piraeus Club Academy", now available on all major digital streaming platforms. At the same time, the complete concert film premieres on YouTube in 4K quality.

Recorded during the band's performance at Piraeus Club Academy on May 2, 2026, the release captures a 17-song set spanning Tidal Dreams' discography to date. The live album features tracks including "Argonauts," "Hear the Engines Roar," "King in the North," "Odyssey," "Warrior," "Reach for the Sky," and "Midnight Rider," among others.

The concert film was directed by Alexandros Charitakis, while editing, mixing, and mastering were handled by Paris Valadakis, aiming to faithfully reproduce the energy of the band's live performance.

The release also includes the debut of "In the Streets of Glasgow," a previously unreleased song that offers the first glimpse of the band's upcoming studio material. During the concert, Tidal Dreams also confirmed that work on new compositions for their next album is already underway.

Antithetic Release Debut Album Kadath

 

American black metal band Antithetic have released their debut full-length album, Kadath. The album was recorded, mixed, and mastered at Gavett Hall Studios by Mikhail Amrayev and William Seastrand.

Formed in Rochester, New York, Antithetic features Hauras (lead guitar, vocals, synths), Surma (guitar), Nøkken (bass), and drummers Onidaiko and Andrew Dewar. The band's sound combines melodic black metal with influences from the Finnish and Russian scenes, incorporating atmospheric and cinematic elements.

Drawing inspiration from Lovecraftian themes, cosmic horror, and medieval imagery, Kadath explores a dark and immersive musical landscape. The band's approach is further emphasized by their live performances, where members conceal their identities to place the focus on the music and its atmosphere.