REVIEW: THE EVIL AMIDST - Lords of the Nine

 

THE EVIL AMIDST - Lords of the Nine

Metal Matters PR

THE EVIL AMIDST is a formidable death metal powerhouse from the United States, featuring members with notable pedigrees from influential bands such as the death metal legends MALEVOLENT CREATION, the black metal giants KULT OV AZAZEL, and the renowned grinders HATEPLOW. On their album Lords of the Nine, the band crafts a distinctive and compelling fusion of death, black, and thrash metal, resulting in a sound that is both dynamic and multifaceted. 

Throughout the album, there is a deliberate balance between brutality and melody. At times, the compositions lean heavily into aggressive, relentless passages, emphasizing their raw, blackened intensity. At other moments, the focus shifts toward intricate melodies and technical solos, showcasing the band’s versatility and musicianship. One of the defining elements of this release is the sheer power and intensity of the songwriting, which exudes a dark, almost demonic aura that is impossible to ignore. The album’s flow guides the listener through dark, ominous passages interwoven with mesmerizing melodic lines, creating a compelling and immersive experience.

What truly sets THE EVIL AMIDST apart from many of their contemporaries is their fearless incorporation of complex, technical elements into their music. The band isn’t afraid to include intricate solos and elaborate riffs, recognizing that extremity in metal can manifest in diverse ways. Their sound is both brutally aggressive and melodically rich, often infused with an epic atmosphere that elevates the listening experience. Additionally, subtle oriental influences occasionally surface, adding an exotic touch to their otherwise dark and aggressive palette.

For listeners who appreciate bands that blend brutality with technical depth and a willingness to explore diverse musical landscapes, Lords of the Nine offers a rich and rewarding experience. It is a testament to the band’s commitment to pushing boundaries within extreme metal, resulting in a record that is as multifaceted as it is intense.

Christine  Parastatidou

REVIEW: DREAM THEATER, Dream Theater

 

DREAM THEATER, Dream Theater (2013)

Roadrunner Records

Ειλικρινά δε το περίμενα τόσο καλό.

Έχοντας υπόψη τα πρόσφατα ως τότε (και λίγο το επόμενο) άλμπουμ τους βρήκα το CD του ομώνυμου δίσκου τους πολύ μετά τη κυκλοφορία του. Από την αρχή με κράτησε μουσικά πολύ περισσότερο απ'ότι τα  Train of Thought, Octavarium και  A Dramatic Turn of Events με το καλημέρα, ενώ τα προαναφερθέντα, θέλουν πολύ χρόνο για να εντρυφήσει κάνεις στα περιεχόμενα τους. Είναι ακριβώς ότι είναι οι Rush στο prog rock οι Theater στο prog metal, ένα προοδευτικό συγκρότημα που πλέον έχει αφήσει τη χρυσή εποχή πίσω του εδώ (πόσο μάλλον πλέον) και προσπαθεί, κάνοντας καλά, λίγα μέτρια και που και που πολύ καλά βήματα δισκογραφικά μιλώντας. Εδώ λοιπόν ένα 8 στα δέκα είναι μια από τις καλές φάσεις τους σε μια θάλασσα από 6ρια ως 7ρια πριν. Συνθέσεις με τη γνωστή πολύπλοκη δομή αλλά metal χωρίς πολλά πολλά από τα κορδελάκια πο που είχαν πριν θα ακούσεις εδώ. Υλικό σαν την εναρκτήρια τριμερή False Awakening Suite, The Enemy Inside, Enigma Machine, Behind the Veil (σ.σ. αυτό βάφτισε προφανώς το blog μας!), Surrender to Reason, Along for the Ride και τη τελική σουίτα Illumination Theory. Το θεωρώ λοιπόν μια ηλιακή έκλαμψη στη συννεφιά της πρόσφατης δισκογραφίας των Αμερικανών.

English:

Honestly, I didn’t expect it to be this good.

Keeping in mind their most recent albums at the time (as well as, to some extent, the following one), I came across the CD of their self-titled record long after its release. From the very first listen, it held my attention far more than Train of Thought, Octavarium, and A Dramatic Turn of Events, albums that require a considerable amount of time for someone to fully immerse themselves in their content.

Dream Theater are to prog metal exactly what Rush are to prog rock: a progressive band that has long left its golden era behind and now moves forward with releases that are sometimes good, sometimes mediocre, and every now and then genuinely excellent. In that context, an 8/10 here stands as one of their stronger moments amid a sea of previous 6s and 7s.

What you’ll hear on this album are compositions with their trademark complex structures, but with a tighter metal edge and without many of the excessive musical “ornaments” of the past. Material such as the opening three-part False Awakening Suite, The Enemy Inside, Enigma Machine, Behind the Veil (which, incidentally, quite obviously inspired the name of our blog!), Surrender to Reason, Along for the Ride, and the closing epic Illumination Theory come together to form an album that I consider a small solar flare shining through the gloom of the Americans’ more recent discography.

Τάκης "Ε-Μortal One" Γιώτης

RISABOV Unleash New Album "Light Years Toward Impact"

 

Greek heavy experimentalists RISABOV have officially returned with their highly anticipated second full-length album, "Light Years Toward Impact." Following their debut release Rise, this new 44-minute concept-driven record cements the band’s reputation as one of the most compelling forces in the Greek underground scene.

Released on April 20, 2024, Light Years Toward Impact is a dark, atmospheric voyage that seamlessly navigates death/thrash outbursts, progressive structures, and a cinematic sci-fi aesthetic.

RISABOV caters to listeners who thrive in the spaces between death metal, progressive metal, sludge, post-metal, and experimental heavy music. Across standout tracks like "Sanction," "Dreaming Infinity," "Predator," "Directive 4," "Inner State," and "Outer State," the band builds a sonic world dripping with tension, existential dread, and cosmic themes.

The album boasts a crisp, modern production while fiercely honoring an old-school extreme metal ethos. It strikes a masterclass balance between:

• Aggressive groove and thrash bursts
• Atmospheric melancholy and post-metal textures
• Progressive complexity and cinematic intensity

"Light Years Toward Impact does not function merely as another metal release, but as a concept-driven sonic universe that explores alienation, time, human consciousness, and the inevitable collision with the unknown."

The album's auditory philosophy is perfectly mirrored by its visual identity. RISABOV pairs their music with psychedelic textures, cosmic aesthetics, and a gritty, dark urban imagery that captures the record's overarching concept.

The release has already begun turning heads globally. International underground metal media, including transcending-the-mundane.com, have highlighted RISABOV as one of the most exciting and uncompromising new acts emerging from the Greek heavy scene.

Light Years Toward Impact is available now on all major digital streaming platforms.

Conjurist has officially unleashed its highly anticipated debut full-length album, I Am the Earth

 

Formed in Nashville by multi-instrumentalist Blake Bailey, Conjurist has rapidly carved out a distinct niche in the underground scene by fusing elements of melodic death metal, post-black/blackgaze, doom, and hardcore. I Am the Earth marks a definitive milestone for the project, showcasing a signature hybrid style that seamlessly balances technical aggression with crushing, doom-laden melodies.

The ambitious debut was recorded entirely by Bailey, with mixing and mastering handled by Robbie Bingham, ensuring a dense and powerful sonic landscapes that mirrors the album's weighty themes.

"Conjurist pairs its dense sonic concepts with striking arcane visuals."

Beyond the music, Conjurist is known for exploring deep mysticism, mythology, and raw human emotion—a conceptual focus brought to life by striking, ritualistic aesthetics. The band recently captivated audiences by performing in elaborate animal skull masks in the music video for their track "Solace for the Shaman."

I Am the Earth is available now on all major streaming platforms.

REVIEW: HELSTAR, Nosferatu

 

HELSTAR, Nosferatu (1989)

Metal Blade Records

Αποκορύφωμα των τεσσάρων καλύτερων δίσκων τους.

Αναφέρομαι στον τέταρτο δίσκο της πρώτης εποχής των Αμερικανών Power/Speed Metal πρωτοπόρων. Πρόκειται για ένα κατά το ήμισυ θεματικό άλμπουμ που αφηγείται μια παραλλαγή στην κλασική ιστορία του Bram Stoker με θέμα ένα βαμπίρ. Ίσως να μην είναι πρωτοτυπία, αλλά μουσικά αποτελεί ένα δείγμα προς μίμηση.

Με τη θεωρούμενη κλασική σύνθεση των James Rivera, Larry Barragan, Andre Corbin, Jerry Abarca και Frank Ferreira, έχουμε το πιο αγαπημένο σε μεγάλο ποσοστό του κοινού τους άλμπουμ. Ύμνοι όπως τα «Baptized in Blood», «To Sleep, Per Chance to Scream», «Harker's Tale (Mass of Death)», «Perseverance and Desperation», «The Curse Has Passed Away» (η ιστορία που προαναφέραμε), καθώς και τα «Harsh Reality», «Swirling Madness» και «Aieliaria and Everonn» στολίζουν με το σκοτεινό τους αποτύπωμα τον ήχο από τα ηχεία μας όταν παίζουν.

Μετά από αυτό, οι Helstar μπήκαν στον πάγο, με τον Rivera να φορμάρει τους Destiny's End στα μέσα της δεκαετίας του '90, που αποτελούν βέβαια την ηχητική συνέχεια τους. Αργότερα, η επανασύνδεσή τους έφερε πάλι χαρά στο κοινό.

English:

The pinnacle of their four best albums.

I am referring to the fourth album of the first era of the American Power/Speed Metal pioneers. It is a semi-thematic record that narrates a variation of the classic Bram Stoker story, centered around a vampire. It may not be an innovation, but musically, it stands as a model to be emulated.

With the so-called classic lineup of James Rivera, Larry Barragan, Andre Corbin, Jerry Abarca, and Frank Ferreira, this is their most beloved album for a large portion of the audience. Anthems such as "Baptized in Blood," "To Sleep, Per Chance to Scream," "Harker's Tale (Mass of Death)," "Perseverance and Desperation," and "The Curse Has Passed Away" (the story we've mentioned) along with "Harsh Reality," "Swirling Madness," and "Aieliaria and Everonn" adorn the sound with their dark imprint whenever they play.

After this, Helstar went on hiatus, with Rivera reforming Destiny's End in the mid-1990s, which of course represents their sonic continuation. Later, their reunion once again brought joy to their fans.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: TEARS - Unravelling Travesties

 

TEARS - Unravelling Travesties

Freedom Records

Progressive metal is a genre I often find myself disinclined towards, primarily due to the tendency of many bands within it to prioritize showcasing technical prowess over crafting engaging, memorable compositions that invite repeated listening. However, TEARS from Greece present a refreshing departure from this norm.

While their music can be classified as progressive metal, it is inherently infused with a strong sense of progressive rock sensibility in its approach to composition. The band skillfully blends a wide spectrum of sounds—ranging from the melodic nuances of progressive rock to the intensity of heavy and progressive metal—yet manages to do so in a manner that feels cohesive and deliberate, rather than a mere collage of styles.

A notable aspect of "Unravelling Travesties" is its theatrical atmosphere, which is effectively conveyed through the expressive and warm vocals of the lead singer. This vocal delivery enhances the album’s emotional depth and adds a layer of sophistication to the overall listening experience.

This release stands out as a progressive metal offering that strives for authenticity rather than spectacle. The musicians behind TEARS are clearly driven by artistic expression, prioritizing the conveyance of their thoughts and feelings through music rather than conforming to genre conventions or technical showmanship for their own sake.

In essence, "Unravelling Travesties" not only enriches the Greek metal scene but also exemplifies the potential for progressive metal to be both innovative and emotionally resonant. It is highly recommended for listeners seeking music of genuine quality and artistic integrity. A commendable effort that earns my full respect.

Nick Parastatidis

REVIEW:PICTURES OF PAIN – The Reckoning

 

PICTURES OF PAIN – The Reckoning

Pitch Black Records

Contrary to the common perception that Norway's metal scene is solely defined by its prolific black metal output, there exists a diverse spectrum of bands that deserve recognition. Pictures of Pain exemplifies this diversity, showcasing a sound that bridges melodic death metal and progressive metal elements.

Their debut album, released after a dedicated five-year development period, demonstrates a clear personal artistic vision. The band has succeeded in crafting compositions that are both technically proficient and stylistically cohesive, blending elements from death metal, progressive metal, and classic heavy metal traditions. The meticulous songwriting results in tight, well-structured tracks that avoid unnecessary complexity or showmanship, emphasizing instead the musicians' skill and musical maturity.

The lineup comprises highly skilled musicians whose performances are both intricate and tasteful. Guitar solos and thematic development exhibit sophistication without descending into gratuitous technicality, highlighting a balanced approach to musicianship. The rhythm section is notably solid and weighty, providing a strong backbone that supports the more elaborate melodic and harmonic elements.

A notable aspect of Pictures of Pain is the vocal duality, which significantly enhances the album's depth. The clean vocals evoke the sensibilities of progressive metal, characterized by clarity and melodic nuance. In contrast, the brutal growls are delivered with the raw intensity typical of death and black metal, adding an aggressive edge that complements the more melodic passages.

Overall, The Reckoning is a compelling release that appeals not only to fans of diverse metal genres but also to listeners seeking intricate, well-executed compositions. It is a testament to the band's growth and artistic vision, and it warrants serious attention from those who appreciate music that balances complexity with craftsmanship. Highly recommended for those willing to explore beyond the traditional boundaries of Norwegian metal.

Christine  Parastatidou