REVIEW: DESTRUCTION, Mad Butcher E.P.

 

DESTRUCTION, Mad Butcher E.P. (1987)

Steamhammer

Όλα τα σφάζει, όλα!

Έχοντας ξαναπεί ότι οι μικρές κυκλοφορίες είχαν παλαιότερα τη δική τους ξεχωριστή αξία, εδώ έχουμε το δεύτερο συνολικά EP των Destruction στη δισκογραφία τους, το οποίο περιλαμβάνει την επανεκτέλεση ενός παλαιότερου τραγουδιού τους με τη νέα, τότε, τετραμελή σύνθεση του συγκροτήματος.

Ακολουθεί η διασκευή του The Damned των Plasmatics, της αξέχαστης Wendy O' Williams, ενώ τα Reject Emotions και το ορχηστρικό The Last Judgment ολοκληρώνουν το σύνολο.

Μικρό σε διάρκεια αλλά φονικό σε περιεχόμενο, λειτουργεί ως ιδανική προετοιμασία για το επόμενο δισκογραφικό τους βήμα, το άλμπουμ Release from Agony.

English:

Kills Everything in Its Path!

As I’ve said before, smaller releases used to have a special value of their own. Here we have Destruction’s second EP overall, a release that features a re-recorded version of one of their earlier songs, performed by the band’s then-new four-piece lineup.

 

Next comes their cover of The Damned by Plasmatics, fronted by the unforgettable Wendy O’ Williams, while Reject Emotions and the instrumental The Last Judgment round out the tracklist.

Short in length but absolutely lethal in content, this EP serves as the perfect appetizer for their next major discographic step: the album Release from Agony.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: RAZORWYRE - Coming Out

 

RAZORWYRE - Coming Out E.P.

Independent

This band from New Zealand started its career under the name GAYWYRE, a name that hardly reflected the style of music they were playing. Fortunately, they soon realized that a more fitting name was needed and adopted the name RAZORWYRE instead. And indeed, their current moniker provides a much better indication of what listeners can expect from their music.

RAZORWYRE play traditional heavy metal enriched with strong doses of speed and thrash metal. If you can imagine a mixture of IRON MAIDEN’s melodic approach and the aggressive energy of classic OVERKILL, then you already have a fairly accurate picture of the sound offered on this release. The band successfully combines sharp, energetic riffs with memorable melodies, creating a style that feels both familiar and refreshing.

Personally, I enjoyed this EP a lot, mainly because it contains many of the elements I look for in a promising new band: strong songwriting ideas, genuine enthusiasm, and a sense of freshness that prevents the material from sounding derivative. These qualities are further enhanced by a clear and powerful production that meets professional standards and allows every instrument to be heard without sacrificing the raw energy of the music.

Special mention should be made of vocalist Z Chylde, whose voice proves to be an ideal match for the band's sound. His singing style is firmly rooted in the N.W.O.B.H.M. tradition, while at certain moments his rougher vocal approach brings to mind Cronos of VENOM. This combination gives the music additional character and helps RAZORWYRE establish a distinct identity within the genre.

Overall, Coming Out E.P. is a highly enjoyable release that will undoubtedly appeal to fans of 1980s heavy, speed, and thrash metal. RAZORWYRE demonstrate both the talent and the potential required to make a lasting impact on the heavy metal scene, and this EP serves as convincing evidence that they are a band worth keeping an eye on in the future.

Nick Parastatidis

REVIEW: ZENO MORF – Wings of Madness

 

ZENO MORF – Wings of Madness

Karthago Records

Norway is widely recognized for its extreme metal scene, particularly its black metal output. However, the country occasionally produces bands rooted in more traditional heavy metal aesthetics. ZENO MORF is one such example, and with their second full-length album, Wings of Madness, they deliver a collection of 12 tracks firmly grounded in classic heavy metal tradition.

Musically, the album draws clear inspiration from genre-defining acts such as IRON MAIDEN, BLACK SABBATH (particularly the Dio era), JUDAS PRIEST, and, to a lesser extent, METALLICA. These influences are evident throughout the record, both in the riff construction and overall compositional approach. What stands out, however, is that ZENO MORF do not merely imitate their predecessors; instead, they integrate these elements into a coherent sound that carries a degree of personal identity.

The album contains several strong compositions, and the band demonstrates a solid grasp of traditional metal songwriting. Nevertheless, one of its main limitations is a noticeable lack of dynamic variety. A significant portion of the material tends to operate within similar tempos and rhythmic structures, which can lead to a somewhat uniform listening experience across the full runtime. Greater experimentation with pacing or arrangement diversity could have elevated the overall impact of the record.

Vocally, the performance is distinctive and immediately recognizable. The singer has a clear stylistic identity, which adds character to the music. However, there is room for broader expressive variation, as the delivery occasionally remains within a relatively narrow range of techniques and dynamics. Expanding vocal approaches could further enhance the emotional depth of the material.

Despite these criticisms, Wings of Madness remains an enjoyable and well-executed traditional metal release. It will likely appeal most strongly to dedicated fans of classic heavy metal, while listeners outside this sphere may find it less compelling. It is a solid and promising effort from a band with clear potential, even if it suggests that further development could yield even stronger results in the future.

Highlights: “Riding the Tundra” (notable for its epic atmosphere), “Requiem”, and “Badgers in the Attic”.

Nick Parastatidis

REVIEW: SAXON, Metalhead

 

SAXON, Metalhead (1999)

Steamhammer

Άλλη μία επικίνδυνη στροφή με μεγάλη ταχύτητα.

Ο δίσκος αυτός έχει συνειδητά αγνοηθεί από τους σκληροπυρηνικούς «σαξονικούς», αφενός επειδή κινήθηκε σε διαφορετική κατεύθυνση και αφετέρου επειδή τότε αυτή η κατεύθυνση τούς φαινόταν ξένη. Όσο περνά ο καιρός και πλησιάζοντας προς το τέλος της δεκαετίας, οι «δεινόσαυροι» του παλιού NWOBHM βρίσκουν όλο και περισσότερο έμπνευση και παρηγοριά στο ευρωπαϊκό power metal. Εδώ ίσως το παρακάνουν, αλλά και πάλι, πώς να πει κανείς ότι πρόκειται για κακό άλμπουμ; Δεν ισχύει κάτι τέτοιο.

Στιβαρή παραγωγή, θεματολογία από επιστημονική φαντασία αλλά και ιστορικά στοιχεία, όπως πάντα. Δεν καταλαβαίνω γιατί οι παλιοί το αγνοούν επιδεικτικά. Περιλαμβάνει, και τι δεν περιλαμβάνει: Conquistador, All Guns Blazing και Prisoner (αμφότερα δεν είναι διασκευές σε Judas Priest και Iron Maiden!), Metalhead, Are We Travelers in Time, Sea of Life — τόσα κλασικά κομμάτια, που πλέον πώς να μη θεωρείται ένα από τα καλύτερα άλμπουμ της εποχής τους;

Θυμάμαι με νοσταλγία τη συναυλία τους το 2000 στο Ρόδον, στην Αθήνα, στα πλαίσια της περιοδείας για αυτόν τον δίσκο. Δεν κατέβαιναν από τη σκηνή με τίποτα. Δεν υπήρχε άλλο συγκρότημα πριν από αυτούς· βγήκαν λίγο μετά τις εννιά το βράδυ και το πάρτι τελείωσε γύρω στα μεσάνυχτα.

English:

Another dangerous turn taken at high speed.

This album has been deliberately overlooked by the hardcore “Saxon loyalists,” partly because it moved in a different direction and partly because, at the time, that direction felt alien to them. As the years go by and we approach the end of the decade, the “dinosaurs” of the old NWOBHM era increasingly find inspiration and comfort in European power metal. They may be overdoing it here, perhaps—but even so, how could anyone honestly call this a bad album? That simply isn’t the case.

Solid production, themes drawn from science fiction as well as history, as always. I don’t understand why the old guard dismisses it so openly. It contains—what doesn’t it contain? Conquistador, All Guns Blazing, and Prisoner (neither are covers of Judas Priest or Iron Maiden songs!), Metalhead, Are We Travelers in Time, Sea of Life—so many tracks that have become classics that it’s hard not to regard this as one of the strongest albums of their era.

I still remember with nostalgia their 2000 concert at Rodon in Athens, part of the tour supporting this album. They simply refused to leave the stage. There was no opening act; they came on shortly after nine in the evening and the party didn’t end until around midnight.

Τάκης "Ε-Μortal One" Γιώτης!

Before We Fall Release Debut Album Synthetic Life

 

Hungarian modern metal outfit Before We Fall have officially unveiled their long‑awaited debut album “Synthetic Life”, marking a major milestone in their rise from underground studio project to full‑fledged force in the European metal scene.

Recorded at Stray Heart Records with engineer István Diószegi and mixed/mastered at No Silence Studio by István Simon, the album captures the band’s signature blend of sharp modern riffing, dual‑vocal intensity, and atmospheric tension.

Formed in Budapest in 2018, Before We Fall evolved from a studio experiment into a tight five‑piece featuring Takács Attila (vocals), Róth Henrik (vocals, guitar), Tagscherer István (guitar), Csécsei Szabolcs (bass), and Táncos Bence (drums). After gaining traction with their EPs Leaves and Healed by Fear, the band now take a decisive step forward with Synthetic Life, their most ambitious and polished work to date.

REVIEW: SAXON, Unleash The Beast

 

SAXON, Unleash The Beast (1997)

Steamhammer

Ποιο είναι τελικά αυτό το θηρίο;

Έχοντας ήδη κυκλοφορήσει, από το 1990 έως τότε, τρία στούντιο άλμπουμ πολύ υψηλού επιπέδου, οι γερόλυκοι εξακολουθούν να ουρλιάζουν. Σε έναν δίσκο που είναι και πάλι εμποτισμένος με την αισθητική του NWOBHM των πρώτων τους βημάτων, οι πέντε Άγγλοι παραδίδουν νέα μαθήματα heavy metal.

Το εκπληκτικό ομότιτλο τραγούδι του άλμπουμ, που ανοίγει τη γιορτή, διαδέχονται τα Terminal Velocity, Circle of Light, The Thin Red Line, Ministry of Fools, The Preacher, Cut Out the Disease και All Hell Breaking Loose, τα οποία αποτελούν τα πιο λαμπερά στολίδια αυτού του χορταστικού δίσκου του Biff Byford και της παρέας του.

Όσοι διέκριναν σποραδικές power metal πινελιές στο αμέσως προηγούμενο Dogs of War, εδώ θα διαπιστώσουν ότι αυτές έχουν πλέον μετατραπεί σε ολόκληρη συμφωνία αυτής της σχολής. Και γιατί όχι; Οι Saxon, στον δίσκο με το πέτρινο gargoyle στο εξώφυλλο, πλησιάζουν ολοένα και περισσότερο αυτό το ιδίωμα. Μάλιστα, λίγο αργότερα στην πορεία τους, θα το ενστερνιστούν ακόμη πιο έντονα.

English:

What Is This Beast, After All?

Having already released three studio albums of exceptionally high quality between 1990 and this point, the old wolves are still howling. On an album once again steeped in the NWOBHM spirit of their early days, the five Englishmen deliver yet another masterclass in heavy metal.

The album's stunning title track, which kicks off the festivities, is followed by Terminal Velocity, Circle of Light, The Thin Red Line, Ministry of Fools, The Preacher, Cut Out the Disease, and All Hell Breaking Loose—the brightest jewels adorning this rich and rewarding record from Biff Byford and company.

Those who detected occasional power metal touches on the immediately preceding Dogs of War will find that, here, those elements have blossomed into a full-fledged symphony of the style. And why not? On the album featuring the stone gargoyle on its cover, Saxon move ever closer to that particular musical territory. In fact, a little further down the road, they would embrace it even more wholeheartedly.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: ONSLAUGHT - Sounds of Violence

 

ONSLAUGHT - Sounds of Violence

AFM Records

How many times can one listen to the same material repeatedly before it loses its impact? Respect to ONSLAUGHT and their long-standing history within the thrash metal scene, but this acknowledgment does not exempt the album from critical evaluation. Sounds of Violence presents an impression of a band that appears to be fatigued, seemingly lacking fresh ideas to contribute to the genre. The band seems aware of this stagnation, attempting to compensate through polished production and heavily down-tuned guitars.

However, the down-tuning feels overdone and, frankly, detrimental. When will bands realize that this approach, while adding perceived volume, often diminishes the overall character and clarity of the music? Instead of strengthening the riffs, it tends to mask them, leading to a sound that, while thick, lacks definition.

The album echoes many modern thrash releases—familiar patterns and structures that, despite their technical guitar solos, fail to leave a lasting impression. The solos, impressive at first glance, do little to elevate the overall experience, which quickly becomes forgettable after the initial listen. Sounds of Violence fits comfortably into the current landscape of thrash metal, sounding too typical and formulaic.

In conclusion, this record might appeal primarily to dedicated fans eager to complete their collection, but for most listeners seeking innovation or memorable songwriting, it may fall short. Those seeking something more distinctive should explore other releases that offer greater originality and depth.

Nick Parastatidis