Στους δρόμους της Μικρασίας: Οδοιπορικό, 1890

 

Στους δρόμους της Μικρασίας: Οδοιπορικό, 1890 by Gaston Deschamps

My rating: 4 of 5 stars

Υπάρχουν ταξιδιωτικά βιβλία που απλώς καταγράφουν διαδρομές και άλλα που καταγράφουν έναν κόσμο. Το οδοιπορικό του Gaston Deschamps ανήκει στη δεύτερη κατηγορία. Ο Γάλλος αρχαιολόγος, περιηγητής και δημοσιογράφος διασχίζει το 1890 τη Μικρά Ασία, από τη Χίο και τη Σμύρνη ώς το Αϊδίνι, την Έφεσο, την Καρία και την Πισιδία, και αφήνει ένα έργο που είναι ταυτόχρονα ιστορικό τεκμήριο και λογοτεχνικό κείμενο.

Ένας συγγραφέας ανάμεσα σε δύο κόσμους

Ο Deschamps (1861–1931), μέλος της Γαλλικής Αρχαιολογικής Σχολής Αθηνών, ταξίδεψε εκτεταμένα στην Ελλάδα και την Ανατολή. Συνδυάζει την παρατηρητικότητα του επιστήμονα με τη γλαφυρότητα του λογοτέχνη και τη «γαλλική κομψότητα» της γραφής του. Οι περιγραφές του ανασύρουν εικόνες, χρώματα και αρώματα μιας εποχής που δεν υπάρχει πια, και ο αναγνώστης έχει την αίσθηση ότι ταξιδεύει μαζί του.

Η Οθωμανική Αυτοκρατορία πριν από το τέλος

Η μεγαλύτερη αξία του βιβλίου είναι ίσως η ματιά του στην Οθωμανική Αυτοκρατορία των τελευταίων της δεκαετιών. Με αξιοσημείωτη αντικειμενικότητα και από τη δυτική, ορθολογική του σκοπιά, ο Deschamps αποτυπώνει τη δομή και την καθημερινότητά της. Βλέπει τις κοινωνικές αντιθέσεις και την παρακμή της οθωμανικής διοίκησης, αλλά βλέπει και την οικονομική και πολιτισμική ζωντάνια των τοπικών πληθυσμών. Έτσι το κείμενο γίνεται πρωτογενής μαρτυρία για έναν κόσμο που λίγες δεκαετίες αργότερα θα διαλυθεί ολοσχερώς.

Ο νόστος για την ελληνική αρχαιότητα

Σε όλο το έργο διαπερνά ένας βαθύς ρομαντισμός και ο θαυμασμός για τον αρχαίο ελληνικό πολιτισμό. Για τον Deschamps η αρχαιότητα είναι ιδεώδες, ένας κόσμος όπου κυριαρχούσαν η λογική, η φιλοσοφική αναζήτηση και η αρμονία. Αυτός ο πνευματικός νόστος χρωματίζει το βλέμμα του καθώς περιπλανιέται ανάμεσα στα ερείπια των πόλεων, και κάθε αρχαίος λίθος γίνεται αφορμή για στοχασμό.

Τοπία και ανθρώπινη παρουσία

Οι εικόνες της υπαίθρου, της ντόπιας ζωής και των τοπίων που φιλοτεχνεί ο συγγραφέας έχουν βαθιά συναισθηματική συγγένεια με τη λογοτεχνική ατμόσφαιρα της «Αιολικής Γης» του Ηλία Βενέζη. Και στα δύο έργα η φύση, η νοσταλγία και η ανθρώπινη παρουσία πλέκονται αρμονικά, και ο μικρασιατικός χώρος ζωντανεύει ως τόπος μνήμης και συναισθήματος.

Γιατί αξίζει να διαβαστεί

Το «Στους δρόμους της Μικρασίας» είναι ένα παράθυρο στον χρόνο. Απευθύνεται στους φίλους της ιστορίας και σε όσους αγαπούν τη λογοτεχνία της περιήγησης, και προσφέρει μια σπάνια, πρωτογενή ματιά στη Μικρά Ασία του τέλους του 19ου αιώνα, πριν από τις μεγάλες ανατροπές που ακολούθησαν.

VÛLOM Release New Video for “Longing”

 

Croatian doom metal band Vûlom have released a new music video for “Longing”, a track from their latest album, Love’s Lament, released on 13 September 2026.

The album follows A Step Closer to the Grave (2023) and explores deeply personal themes of love, guilt, sorrow and loss, focusing on the emotional scars left by past experiences and the difficult process of accepting inevitable endings.

Drawing inspiration from bands such as Saturnus, October Tide, Dawn of Solace, Hamferð, Paradise Lost and Swallow the Sun, Vûlom combine melodic passages with crushing heaviness and melancholic atmospheres. Their lyrics explore mortality, human insignificance and personal struggles, shaping a sound rooted in the darker, more introspective side of doom metal.

Vûlom’s current lineup consists of Domagoj Zrinski (vocals), Sandro Radan (guitar, backing vocals), Marko Katavić (guitar), Andrej Andonov (bass) and Bruno Biloglav (drums).

With Love’s Lament, the band continues to develop its emotionally driven approach to doom metal, with “Longing” offering another glimpse into the album’s sombre and reflective world.

REVIEW: ACCEPT, Eat The Heat

 

ACCEPT, Eat The Heat (1989)

RCA

Πολλοί το δοκίμασαν, ελάχιστοι επέζησαν

Με τον κύριο Dirkschneider να έχει ήδη δώσει δείγματα γραφής με τους U.D.O., κυκλοφορώντας το Animal House (με τα περισσότερα κομμάτια του άλμπουμ να φέρουν την υπογραφή των Accept) και, την ίδια χρονιά, το Mean Machine, η παλιά του ομάδα στρατολογεί τον David Reece (πρώην Bonfire), ο οποίος έχει αξιοπρεπέστατη απόδοση στο μικρόφωνο, καθώς και τον Jim Stacey στις δεύτερες κιθάρες, και παρουσιάζει το Eat the Heat.

Πρόκειται για μια προσπάθεια να ακουστούν σαν μια μπάντα με βασική επιδίωξη να υιοθετήσει τον ήχο του Glam/Hair Metal, με απώτερο σκοπό την αμερικανική αγορά! Σε λιγότερο από έναν χρόνο, διαλύονται ξανά και τα πράγματα αρχίζουν σιγά σιγά να οδηγούνται προς ένα reunion.

Από το άλμπουμ, ας πούμε ότι τα «X-T-C», «Generation Clash», «D-Train» και «Chain Reaction» τρώγονται. Μάλιστα, το δεύτερο επανηχογραφήθηκε αργότερα από την ίδια την μπάντα, με τον Udo και πάλι στα φωνητικά, ενώ το πρώτο το έχει «διασκευάσει» ξανά ο Udo με το προσωπικό του σχήμα, τους U.D.O., καθώς παραμένει κάπως μπερδεμένο το πότε γράφτηκαν τα κομμάτια και από ποια πρώην ή τότε νυν μέλη των Accept.

Αν δεν έφερε το λογότυπό τους, θα ήταν ένα πολύ καλό άλμπουμ για μια πρωτοεμφανιζόμενη μπάντα. Εφόσον, όμως, γράφει Accept πάνω στη γωνία, το αποτέλεσμα δεν είναι το αναμενόμενο.

English:

Many Tried, Few Survived

With Mr. Dirkschneider having already made his intentions clear with U.D.O., releasing Animal House (most of whose tracks were penned by Accept) and, in the same year, Mean Machine, his former band recruits David Reece (ex-Bonfire), who delivers a respectable performance on vocals, as well as Jim Stacey on second guitar, and comes up with Eat the Heat.

The idea is to sound like a band whose main ambition is to embrace the Glam/Hair Metal sound, with the American market as the ultimate target! Less than a year later, Accept split up again, and the wheels gradually begin turning towards a reunion.

As for the album itself, let's just say that "X-T-C," "Generation Clash," "D-Train" and "Chain Reaction" are reasonably palatable. In fact, the second track was re-recorded by the band years later, with Udo back on vocals, while the first has also been "covered" by Udo with his own band, U.D.O. The whole matter remains somewhat confusing, though, as it is not entirely clear when the songs were written or which former or then-current members of Accept were responsible for them.

Had it not carried the Accept logo, this would have been a very good album for a band making its debut. However, when the Accept name is stamped on the cover, the result falls short of expectations.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: IN LEGEND - Ballads ‘n’ Bullets

 

IN LEGEND - Ballads ‘n’ Bullets (2011)

SPV Records

Metal never stops creating new genres, and IN LEGEND is another example of musicians trying to explore a different approach to the familiar sounds of the genre. Following VAN CANTO, the a cappella power metal band whose music is both fun and genuinely enjoyable to listen to, we now have IN LEGEND, a band that could be described as playing piano metal. This is certainly an interesting idea, as it proves that there are still musicians out there willing to experiment and use their imagination, even if the commercial potential of such an unusual approach cannot be entirely ignored.

On their debut album, Ballads ‘n’ Bullets, IN LEGEND retain the drums and bass but replace the traditional metal guitars with the piano, which becomes the main instrument responsible for carrying the melodies and providing the musical power. The result is an album with a predominantly melancholic atmosphere, built around melodic compositions and a more sensitive approach to heavy music. The piano is not simply an occasional addition to the arrangements; it takes the central role normally occupied by the guitars, giving the songs their own distinctive character.

Naturally, this is not the kind of release you should choose if you are looking for aggressive riffs, relentless speed or music that will make you bang your head from beginning to end. IN LEGEND follow a different path, focusing on atmosphere, melody and emotional expression rather than the more straightforward elements of heavy metal. If you can imagine the more sensitive moments of SAVATAGE without the guitars, you will have a fairly good idea of what to expect. The comparison is not exact, of course, but it provides a useful reference point for understanding the musical direction of the album.

Personally, I found the whole work very pleasant to listen to (this is the third time I have written this), and its melodic approach makes it an interesting alternative to more conventional metal releases. However, pleasant listening does not necessarily translate into a lasting emotional connection. Although I appreciated the musicians' effort and the unusual concept behind the music, the album did not create the kind of intense emotions that would make me want to return to it anytime soon. There is enough here to justify giving IN LEGEND a chance, but whether their piano-based approach will appeal to you is another matter.

So, if you are curious about this rather unusual combination of piano and metal, give Ballads ‘n’ Bullets a listen before deciding what to do with your money. After all, originality deserves attention, but personal taste remains the final judge.

Nick Parastatidis

REVIEW: REQUIEM - Within Darkened Disorder

 

REQUIEM - Within Darkened Disorder (2011)

Twilight Records

Swiss death metallers REQUIEM make a strong comeback with Within Darkened Disorder, arriving approximately two years after the release of their fifth studio album, Infiltrate... Obliterate... Dominate. The band once again delivers clear, pure and in-your-face death metal, without unnecessary frills, experimental detours or embellishments that might distract from its primary objective: sheer brutality.

Within Darkened Disorder is the real deal for fans of brutal death metal. Although its sound draws influences from the European scene, REQUIEM are arguably closer to the American school of death metal, with deep, guttural vocals, extremely heavy and fast rhythms, and a relentless combination of intricate riffs and solos. The music balances sheer aggression with enough technical detail to keep things interesting, avoiding the impression that speed and heaviness are its only defining characteristics.

The production deserves special mention, as it allows all the instruments to stand out while preserving the weight and intensity of the band's sound. The guitars retain their crushing impact, the rhythm section provides a solid foundation for the relentless assault, and the vocals complement the music's uncompromising character. Everything serves the same purpose, resulting in an album that delivers its brutality with clarity and precision rather than sacrificing definition for sheer sonic force.

REQUIEM are not here to reinvent death metal or offer something particularly original. They are here because they love the genre, and Within Darkened Disorder reflects that straightforward approach without compromises or unnecessary alterations. The band knows exactly what it wants to achieve and stays firmly focused on that goal from beginning to end.

So, if you appreciate traditional death metal with a brutal edge, deep guttural vocals and an uncompromising approach to songwriting, REQUIEM's Within Darkened Disorder is certainly an experience worth having. No frills, no unnecessary distractions, just death metal delivered straight to the point!

Christine  Parastatidou

REVIEW: VILLAGERS OF IOANNINA CITY – Age Of Aquarius

 

VILLAGERS OF IOANNINA CITY – Age Of Aquarius (2019)

Napalm Records

Magic exists, and it exists in a form that is far from spectacular, far removed from the kind of spectacle that dazzles you for a moment only to be forgotten the next. It exists in a much more profound way, in a manner that is almost alchemical.

Just as the alchemists claimed that any metal could be transmuted into gold, so too do Villagers of Ioannina City, on Age of Aquarius, transform seemingly disparate musical genres into something unified, cohesive, and narratively compelling.

On Age of Aquarius, the progressive rock sensibilities of PINK FLOYD and TOOL converge with the sounds of stoner rock and doom metal, enriched by elements of heavy metal and, at times, epic passages that perhaps evoke the mid-tempo grandeur of bands such as MANOWAR and BATHORY. These elements become even more pronounced on their latest album, Venceremos. Nor are blues-rock experiments absent, as the track “Millennium Blues” demonstrates. All these sounds are woven together by the sometimes commanding, sometimes understated presence of the clarinet and the bagpipe, instruments rooted in the musical traditions of Epirus and beyond. Personally, having roots in Florina, I also discerned echoes of the traditional music of Western Macedonia in “Dance of Night.”

Villagers of Ioannina City offer a sonic ritual, an album that transports you without severing your connection to reality. An album that celebrates life, while also reminding us of the need to struggle, to stand together, and to strive to make that life better. It is the kind of musical experience one encounters only in the work of truly great progressive rock bands, The Wall by PINK FLOYD being one such example.

After all, according to astrological and esoteric traditions, the Age of Aquarius is the new era that succeeds the Age of Pisces. It is associated with technology and innovation, with an emphasis on science, the internet, and artificial intelligence. It is also associated with collectivism: a shift from “I” to “we,” in which communities and networks take the place of traditional hierarchies. Finally, it represents spirituality and freedom, a movement away from rigid dogmas and towards the pursuit of individual spiritual expression. No one can say with certainty exactly when this new age begins. In other words, it is an era of transformation and human betterment, and this album seems, in its own way, to serve that very ideal.

An album whose lengthy compositions never become tiresome. Instead, like a seed that finds fertile soil, it grows and takes root within you, deepening its hold with every successive listen.

Nick Parastatidis

REVIEW: THE BLOODSHOT GAMBLERS - Pain and Other Simple Pleasures

 

THE BLOODSHOT GAMBLERS - Pain and Other Simple Pleasures (2009)

Demon Deluxe Records

Arizona-based duo THE BLOODSHOT GAMBLERS, featuring Tim David Kelly and Brian Anderson of KICKING HAROLD, have once again reminded me of the universal truth that one should never say never. I have never been particularly fond of rock music, let alone alternative rock, yet there are always exceptions that make you reconsider your position. THE BLOODSHOT GAMBLERS are one of them. This does not mean that I will suddenly start exploring the genre on a regular basis, but it does mean that Pain and Other Simple Pleasures has won me over, despite being far removed from the kind of music I usually listen to.

The duo's compositions possess a distinctive warmth and appeal, combining seductive melodies with a dark atmosphere coloured by melancholy and bitterness. There is an emotional depth to these songs that makes them immediately engaging without relying on unnecessary embellishments or exaggerated dramatics. Instead, the music draws the listener into its own world through the interplay between its melodic sensibility and its more restrained, sombre elements.

One of the album's strongest points is the balance THE BLOODSHOT GAMBLERS achieve between their rougher, more forceful passages and their smoother, more melodic moments. Neither side dominates at the expense of the other, allowing the material to maintain a natural flow while retaining its dynamics and emotional intensity. The arrangements feel cohesive, yet the songs have enough variation to prevent the album from becoming monotonous. This combination of consistency and contrast gives Pain and Other Simple Pleasures much of its character.

The musicianship is equally convincing, with the duo demonstrating a clear understanding of the atmosphere they want to create and the means required to achieve it. Tim David Kelly's vocals deserve particular mention, as his warm, expressive delivery adds considerable weight to the compositions. His performance brings out their emotional nuances, reinforcing both their melodic appeal and their underlying sense of darkness. The result is a collection of songs that feels genuine, carefully crafted and capable of leaving a lasting impression.

Pain and Other Simple Pleasures may not be the kind of release that would normally attract the average metalhead, but quality music deserves recognition regardless of genre boundaries. THE BLOODSHOT GAMBLERS have delivered an album that succeeds through its atmosphere, songwriting and emotional sincerity, proving that a musical style outside one's usual preferences can still offer plenty to appreciate. If you are open-minded enough to explore beyond your familiar territory and have a taste for well-crafted rock music, this is a release I highly recommend!

Christine  Parastatidou