REVIEW: BABYLON MYSTERY ORCHESTRA The Godless, The Godforsaken and the God Damned

 

BABYLON MYSTERY ORCHESTRA The Godless, The Godforsaken and the God Damned

Independent

Music is an art form that defies confinement, restriction, and censorship. Its very essence lies in its ability to convey raw emotions and thoughts, offering both musicians and listeners a platform for authentic expression and understanding. BABYLON MYSTERY ORCHESTRA exemplifies this ethos, as it resists classification—there simply isn't a suitable label for it yet. I have followed Sidney Allen Johnson’s project from its inception, and I can confidently say it stands as one of the most unconventional, innovative, and pioneering musical endeavors one can experience. 

This band’s music may evoke polarized reactions—you will either love it or dislike it; there’s little middle ground. Sonically, BABYLON MYSTERY ORCHESTRA crafts an original and distinctive fusion of symphonic, gothic, and heavy metal elements. The compositions predominantly feature mid-tempo arrangements, complemented by vocals that are both semi-recitative and semi-sung. However, I believe the music serves primarily as a foundation for the lyrics, which are the true artistic expression. Through this project, Sidney Allen Johnson uses music as a channel to explore and communicate complex sociopolitical themes and personal reflections. 

I encourage listeners to engage with the lyrics critically—not to seek agreement but to foster thought and discussion. The lyrical content presents a spectrum of ideas, some of which may challenge or contradict personal beliefs. That’s precisely the point: societal and intellectual evolution thrive on contradiction, opposition, and free speech. 

From a production standpoint, the album is flawlessly crafted, featuring professional sound quality and meticulously designed artwork and booklet. After careful consideration, I’ve chosen not to assign a numerical grade to this release. Its value lies beyond metrics; it offers an opportunity to confront and contemplate significant issues, regardless of where one’s personal beliefs may lie. 

Christine  Parastatidou

REVIEW: STEEL PROPHET, Book Of The Dead

 

STEEL PROPHET, Book Of The Dead (2001)

Nuclear Blast Records

Δικαίωση και αποθέωση μαζί

Το χατ τρικ των πέντε μουσικών από το Connecticut ήρθε με αυτό το μικρό και δυστυχώς άγνωστο στο ευρύ κοινό άλμπουμ. Τα Dark Hallucinations και Mesiah άνοιξαν την πόρτα ώστε να ολοκληρωθεί η «αγία τριάδα», μια ακόμα όπως αρέσκομαι να βρίσκω στις δισκογραφίες τους. Έχοντας σαφείς επιρροές από τους Βρετανούς ημίθεους (τότε ακόμα, γιατί πλέον... μα ας μη χαλάσω την ατμόσφαιρα!), οι Iron Maiden γράφουν ένα ακόμα τελειολογικό σύνολο κομματιών, με τον δικό τους Eddie, που εμφανίζεται στο εξώφυλλο, όπως είχα δει σε κακεντρεχές σχόλιο κάπου τότε.

Ο Rick Mythiasin στο μικρόφωνο, οι Jim Williams και Steve Kachinsky Blakmoor στις κιθάρες, το μαύρο διαμάντι του μπάσου, ο Vince du Juan Dennis, και ο ντράμερ Karl Petter Rosquist θα μας ταξιδέψουν σε κόσμους τόσο άμεσα στο φανταστικό όσο και στο πραγματικό, άλλη μία φορά, με τη βοήθεια των When Six Was Nine. Ακολουθεί το Tragic Flames, που έχει έντονη μυρωδιά από την πρώιμη εποχή των Kamelot, το Dominion. Στη συνέχεια, τα κομμάτια Escape, Soleares, Church of Mind, Burning into Blackness, The Chamber, Phobia, και Anger Seething, ανάμεσα σε άλλα, συνθέτουν έναν ονειρικό συνολικά δίσκο.

English:

Justice and exaltation together

The hat trick of five musicians from Connecticut arrived with this small, unfortunately little-known album to the wider audience. Dark Hallucinations and Mesiah opened the door for the completion of the “holy trinity,” another one—like I enjoy to find in their discographies. Having clear influences from the British demi-gods (back then still, because now... well, I won't spoil the mood!), Iron Maiden craft yet another perfectionist set of songs, featuring their own Eddie, who appears on the cover—something I saw in a spiteful comment somewhere back then.

Rick Mythiasin on vocals, Jim Williams and Steve Kachinsky Blakmoor on guitars, the black diamond of the bass, Vince du Juan Dennis, and drummer Karl Petter Rosquist will take us on journeys that are just as vividly real as they are fantastical—once again—with the help of When Six Was Nine. Following is Tragic Flames, which bears a strong scent of early Kamelot, the Dominion era. Then come tracks like Escape, Soleares, Church of Mind, Burning into Blackness, The Chamber, Phobia, and Anger Seething, among others, composing what is overall a dreamy record.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: STEEL PROPHET, Messiah

 

STEEL PROPHET, Messiah (2000)

Nuclear Blast Records

Παμπάλαιο σχήμα με δεύτερη ζωή.

Παίζουν U.S. Power Metal, με κύρια –και βεβαίως εμφανή– επιρροή τους Άγγλους Iron Maiden της περιόδου 1980–1988. Οι Steel Prophet της, ας την πούμε, «μεσαίας περιόδου» παίζουν εδώ ένα πιο «αεράτο», σχεδόν ευρωπαϊκό metal. Μετά τον δίσκο που τους έβαλε ξανά στο παιχνίδι, το επίσης αγαπημένο Dark Hallucinations της προηγούμενης χρονιάς –του οποίου το Messiah αποτελεί φυσική συνέχεια, εξ ου και η ομοιότητα ανάμεσα στα δύο εξώφυλλα– οι πέντε μουσικοί από το Connecticut που απαρτίζουν τον «Ατσάλινο Προφήτη», έχοντας πίσω τους μιάμιση δεκαετία ατυχούς αφάνειας, τα δίνουν όλα από εδώ και πέρα.

Το Messiah ήταν από τους πρώτους δίσκους τους που άκουσα και ακόμη και τώρα το θεωρώ άφταστο, ακόμη και για τα δικά τους δεδομένα. Έπος μετά από ύμνο, στο σύνολο των τραγουδιών: Ides of March, Messiah, Vengeance Attained, Mysteries of Iniquity, Dawn of Man, Golden Arise, 07/03/47 (η ημερομηνία αναφέρεται στο περιστατικό του Roswell), Rapture, Ghosts Once Past — όλα με εκείνη τη χαρακτηριστική, «Maiden-ίζουσα» αίσθηση που τους διακρίνει πάντα.

English:

An old band granted a second life.

They play U.S. Power Metal, with their main — and unmistakable — influence being the English Iron Maiden of the 1980–1988 era. Steel Prophet, in what we might call their “middle period,” deliver here a more airy, almost European‑sounding metal. After the album that put them back in the game, the much‑loved Dark Hallucinations from the previous year — of which Messiah is the natural continuation, hence the similarity between the two covers — the five musicians from Connecticut who make up the “Steel Prophet,” carrying a decade and a half of unfortunate obscurity on their backs, give everything they’ve got from this point onward.

Messiah was one of the first records of theirs I ever heard, and even now I consider it unbeatable — even by their own standards. It’s anthem after anthem across the entire tracklist: Ides of March, Messiah, Vengeance Attained, Mysteries of Iniquity, Dawn of Man, Golden Arise, 07/03/47 (the date refers to the Roswell incident), Rapture, Ghosts Once Past — all carrying that characteristic, ever‑present Maiden‑esque aura that defines them.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: INFECTIOUS CATHETER THERAPY – Incredible Stories from Daily Humans Life

 

INFECTIOUS CATHETER THERAPY – Incredible Stories from Daily Humans Life

Gormageddon Productions

Bands operating in brutal death metal and grindcore often push themselves toward maximum extremity—faster, heavier, more chaotic. The technical skill involved can be impressive, yet many releases struggle to offer songs that invite repeated listening. INFECTIOUS CATHETER THERAPY from Russia approach their debut with a different mindset, and that alone makes them stand out.

All the familiar genre elements are present, but the band filters them through a noticeably more melodic lens. Their foundation blends brutal death metal with touches of traditional heavy and thrash metal, giving the material a clearer sense of structure. What truly defines their sound, however, is the use of samples. The band incorporates disco, pop, and trance textures into their compositions, adding unexpected color and variety without undermining the aggression.

I am not a dedicated follower of this particular hybrid approach, yet it’s hard to deny that INFECTIOUS CATHETER THERAPY deliver an album with personality and a genuine spark of originality. For listeners searching for something different within the brutal death metal/grindcore spectrum, this debut offers exactly that—an unconventional take that invites curiosity rather than relying solely on extremity.

Nick Parastatidis

Whipworm Announce New Album “Death Beyond”

 

Los Angeles thrash/death metal duo Whipworm return with their fifth album, “Death Beyond,” a dark and ambitious concept release that pushes their sound into even more intense territory. The record follows a man guided by a prophetic letter toward a fate that may lead him to confront — and possibly overthrow — Death itself.

Musically, Whipworm sharpen their blend of thrash aggression and death‑metal brutality, delivering crushing riffs, blistering drums and atmospheric, cinematic passages. Formed in 2020 by Travis Weinand and Dave Ferarra, the band continue to evolve their high‑speed, high‑intensity approach with each release.

“Death Beyond” stands as their most expansive and ferocious chapter yet.

BUTT SPLITTERS Drop New Live Video for “Homeland”

 

Italian metal outfit Butt Splitters have released a new live video for their track “Homeland,” showcasing the raw power and unfiltered intensity that define their onstage identity. Filmed during a recent performance and now available on YouTube, the clip captures the band in full force — heavy riffs, relentless rhythms, and a direct, high-voltage presence.

Rejecting polished studio aesthetics, “Homeland (Live)” highlights the band’s tight musicianship and their visceral connection with the crowd, emphasizing authenticity over perfection. The release adds another dynamic entry to their growing catalog and reinforces their reputation within the underground metal scene.

Hailing from Italy, Butt Splitters blend thrash, death, and groove metal with uncompromising sound, sharp lyrics, and high-intensity performances that continue to push the limits of the genre.

REVIEW: HYPERBOREA - Cryogenic Somnia

 

HYPERBOREA - Cryogenic Somnia

Independent

I have emphasized this point repeatedly, but it bears repeating: the future and vitality of heavy metal music reside within the underground scene, which continues to produce exceptional bands that, with the right support and promotion, have the potential to reach a broader audience. One such band is HYPERBOREA from Bulgaria, whose sophomore album, Cryogenic Somnia, was released in 2007. Although I only recently discovered this record, it exemplifies the qualities that make underground metal so compelling—and demonstrates that it’s never too late to encounter a hidden gem. 

Cryogenic Somnia showcases HYPERBOREA’s distinctive approach to death metal, combining aggression and brutality with melodic sensibilities. The guitars deliver sharp, intense riffs alongside melodic lines that are both memorable and enriching, adding depth to the overall sound. The band incorporates groove elements and complex technical passages, indicating a proficiency that positions them within the technical death metal subgenre. 

Overall, Cryogenic Somnia is a solid release that will likely resonate with fans of the genre worldwide. Its blend of brutality, melody, and technical skill highlights the band’s potential and reinforces the idea that the underground scene remains a fertile ground for innovative and powerful metal music.

Christine  Parastatidou