International atmospheric black/post-metal project MIK
have released their debut album, Ajmaq. The album was recorded, mixed and
mastered by Elmer González at Rite Studios.
Formed in 2026, MIK brings together Salvadoran
guitarist and vocalist Elmer González and Galician rhythm guitarist Hilda
Fernández, alongside bassist Elka Pérez and drummer Oscar Freites.
Drawing inspiration from acts such as Burzum, Enslaved
and Silencer, the project combines hypnotic repetition, atmospheric tension and
elements inspired by Mayan and Nahuat symbolism. Lyrically and thematically,
Ajmaq explores eternal recurrence, existential dread and psychological
fragmentation, presenting a bleak perspective on the human condition.
Through its melancholic intensity and immersive soundscapes,
MIK seeks to capture emotional turmoil and the psychological weight of human
consciousness, avoiding conventional themes of redemption or resolution.
Canadian thrash metal pioneers SOOTHSAYER have
released a new music video for “Work ’n’ Roll,” taken from their album Chapter
IV.
Formed in Quebec in 1985, Soothsayer earned
international recognition within the underground metal scene through their cult
demo To Be a Real Terrorist (1986) and debut album Have a Good Time (1989). The
band subsequently established a lasting presence in the history of Canadian
extreme music.
After a 16-year hiatus, the group reunited in 2007 and
continues to perform with its original five-member lineup. Remaining faithful
to their roots, Soothsayer maintain their distinctive blend of raw crossover
thrash energy.
Οι
Αμερικανοί, προφανώς εκ Βοστώνης, δεσπόζουν στο δεύτερο άλμπουμ τους μετά το
ομότιτλο ντεμπούτο, που μας τους έμαθε από την καλή. Μελωδικό rock, ξανά με
ιδιαίτερα κιθαριστικά riffs και πολυφωνικά φωνητικά στα ρεφρέν (Queen κι Uriah
Heep οι δάσκαλοι): γενικά ένα μουσικό ταξίδι… αλλού, πάνω στον τεράστιο
ιπτάμενο δίσκο τους, με ολόκληρη την πόλη τους επάνω, όπως και στο εξώφυλλο του
άλμπουμ. Μουσική γραμμένη για τα ερτζιανά κύματα των ραδιοφωνικών σταθμών
FM/AM, αλλά πολύ καλά γραμμένη. Ίσως λίγο πιο πίσω από το πρώτο τους άλμπουμ
(αυτό είναι υποκειμενικό), πάντως το ομώνυμο του δίσκου, που ξεκινά μαζί με τα
«The Journey», «It’s Easy», «A Man I’ll Never Be» (του οποίου το δεύτερο riff
θυμίζει κάτι από το «More Than a Feeling» του πρώτου δίσκου), «Feelin’
Satisfied», «Party» και «Don’t Be Afraid», σου μένουν στο υποσυνείδητο. Ένα
ακόμη πρωτόλειο A.O.R. διαμάντι το δεύτερό τους, κάτι που δυστυχώς δεν
επαναλήφθηκε ξανά. Ο χρόνος μετράει ήδη αντίστροφα για τη μπάντα, καθώς η
εταιρεία τους σύντομα θα απαιτήσει πολλά περισσότερα από όσα θα μπορούσαν να
πετύχουν, βάζοντάς τους σε μια ατραπό δικαστικών περιπετειών που ολοκληρώθηκε
το 1985!
English:
They Come, They Sweep You Away, and They’re Gone
The Americans, from Boston as one might expect,
dominate their second album, which follows the self-titled debut that
introduced them to us in the best possible way. Melodic rock once again, with
distinctive guitar riffs and layered vocal harmonies in the choruses (Queen and
Uriah Heep are the masters here): all in all, a musical journey… to somewhere
else, aboard their enormous flying saucer with their entire city on board, just
as on the album cover. This is music written for the airwaves of FM/AM radio, but
very well written. It is perhaps a little behind their first album (a
subjective call), yet the title track, which opens the record, along with “The
Journey,” “It’s Easy,” “A Man I’ll Never Be” (whose second riff recalls “More
Than a Feeling” from the debut), “Feelin’ Satisfied,” “Party,” and “Don’t Be
Afraid,” all stay with you in the back of your mind. Another early A.O.R. gem,
this second album is something that, sadly, was never repeated. The clock is
already ticking for the band, as the label would soon demand far more than they
could deliver, pushing them down a path of legal battles that did not end until
1985!
U.D.O. is a singer and a personality of the heavy
metal scene who needs no introduction. If the name says nothing to you, you are
probably not much into the genre. As the original voice of ACCEPT, he is for
me, along with the guitars, the one who gave that band its personal touch, and
he is also the one who kept its legacy and sound alive through his own
releases. So nobody should expect big surprises from Mr. UDO and his band. His
albums all walk the same musical path, and the only real choice is which ones
you like more or less.
“Rev-Raptor” gives you what you would expect: fast
songs, mid-tempo ones, and a few slow, ballad-type tracks. With 13 tracks on
the album, there is something for every taste, and the band sounds as tight and
confident as ever. Nothing here feels forced or out of place for a U.D.O.
record.
Personally, though, it did not move me the way his
previous releases did. It has everything I want to hear from one of his albums,
but I found it a bit short on inspiration and melodies, and I rarely caught
myself waiting for the next chorus. It is not bad and it is not boring. It is
just a decent album from a decent artist, and it does its job of marking his
presence in 2011. I also hope it means we will get to see him live here in
Greece at some point. A simple good album, then, from an artist who has got us
used to exceptional ones. Longtime fans will probably be happy with it, but it
is not the place I would send someone to start.
My favourite songs are “True Born Winners”, “Rock ’n’
Roll Soldiers”, “Days of Hope and Glory” (my favourite of the album), “Dr.
Death” and “Fairy Tales of Victory”.
Two years after their self-titled EP, Athens-based THE
SILENT RAGE return with a new release, presenting a refreshed and now stable
line-up. With Harvester of Souls, the band aims to offer a clearer picture of
its musical identity, demonstrating both its compositional abilities and its
potential within the melodic heavy/power metal genre.
The EP features five tracks, including three older
compositions that have been re-recorded and rearranged, alongside two new
songs. Unfortunately, I cannot make a direct comparison with the original
versions, as I haven't had the opportunity to listen to them. Nevertheless, the
material presented here stands firmly on its own merits and offers a good
introduction to the band's sound.
THE SILENT RAGE play melodic heavy/power metal, with a
strong emphasis on memorable melodies, well-crafted guitar solos and expressive
lead work. These are undoubtedly some of the band's strongest assets, while the
passionate vocal performance adds further character and intensity to the
compositions. The rhythm section provides a solid and dependable foundation,
maintaining the necessary drive and consistency while allowing the guitars to
take the lead and develop their melodic ideas. There is a good balance between
the heavier passages and the more melodic elements, giving the songs a sense of
direction without sacrificing their metal edge.
Another positive aspect is the overall execution.
Harvester of Souls sounds like a carefully prepared effort, with the musicians
demonstrating confidence in their performances and a clear understanding of the
musical direction they want to follow. The result is a professional-sounding
release that combines musical ability, enthusiasm and compositional creativity.
It is evident that considerable work and determination have gone into this EP,
allowing the band's talent to come through without unnecessary embellishments.
I believe that more bands like THE SILENT RAGE are
exactly what the Greek metal scene needs. There is plenty of talent and
dedication within our country's underground, and releases of this quality can
help challenge some of the prejudices that metal fans abroad may still hold
towards the Greek scene. Of course, such perceptions are not always entirely
unjustified, but the only way to change them is through consistent work and
strong musical output.
THE SILENT RAGE have made a very positive impression
with Harvester of Souls, and this is an effort that deserves the attention and
support of every fan of melodic heavy and power metal. Support the band and
give this EP a chance. I believe you won't regret it!
Το
δεύτερο άλμπουμ των Bon Jovi από το όμορφο New Jersey, ένα χρόνο μετά το
ομότιτλο ντεμπούτο τους. Η φωτογραφία στο οπισθόφυλλο τα λέει όλα: Richie
Sambora, David Bryan, Alec John Such, Tico Torres και βεβαίως «το αφεντικό ο
ίδιος» του μαγαζιού, ο καθένας με τούφες στα μαλλιά και τίγκα σε ένα κουτί λακ!
Hair metal, όπως καταλαβαίνεις κι από το έξυπνο εξώφυλλο του δίσκου: εύπεπτα
riff, βαριά μέχρι ενός σημείου, καλός ρυθμός. Ακόμα δεν έχει γίνει το μεγάλο
μπαμ (να γίνουν όλα γης Μαδιάμ), αλλά είναι ένα κλασικό καλό δεύτερο άλμπουμ
μιας καλολαδωμένης μουσικής μηχανής.
Από
τα δέκα κομμάτια του ανέχομαι τα έξι-εφτά και τα αναγνωρίζω ως μεγάλες
συνθέσεις. Τα In and Out of Love,
The Price of Love (πολύαγαπούλαςοΓιάννης), Only Lonely, King of the Mountain, Silent Night,
Tokyo Road, Always Run to You και The Hardest Part Is the Night είναιοικορυφαίεςστιγμέςενόςδίσκουμεπερίσσιαμελωδία. Τόση, που επηρέασε μια ολόκληρη εποχή,
αλλά και άλλους που ανέβηκαν στο τρένο του glam rock για να αρπάξουν την
ευκαιρία, όπως κι αυτοί.
Έναν
χρόνο αργότερα θα γίνει και το μπαμ που λέγαμε πριν, κι έτσι «η αγάπη θα
αποκτήσει κακό όνομα» για το συγκρότημα...
English:
Johnny, Your Hair Needs Hairspray
Bon Jovi’s second album, from the lovely state of New
Jersey, arrived a year after their self-titled debut. The photo on the back
cover says it all: Richie Sambora, David Bryan, Alec John Such, Tico Torres
and, of course, “the boss himself,” each one sporting a mane of teased tufts
and a can’s worth of hairspray! This is hair metal, as you can tell from the
clever cover art: easy-listening riffs, heavy up to a point, a solid groove.
The big bang hasn’t happened yet (the whole world is about to go up in flames,
as the saying goes), but it’s a classic, good second album from a well-oiled
musical machine.
Of its ten tracks, I can put up with six or seven, and
I recognize them as great compositions. In and Out of Love, The Price of Love
(Johnny sure is a lover boy), Only Lonely, King of the Mountain, Silent Night,
Tokyo Road, Always Run to You and The Hardest Part Is the Night are the high
points of a record overflowing with melody. So much so that it shaped an entire
era, and also influenced others who hopped aboard the glam rock train to seize
the opportunity, just as they did.
A year later, the big bang I mentioned earlier would
arrive, and that’s when “love would get a bad name” for the band...
Οι
Νεοϋορκέζοι μάστορες του Heavy Rock παρουσιάζουν εδώ το πιο… ποπ έργο τους.
Ποπ; Ίσως με την έννοια του δημοφιλούς, μιας και το «(Don't Fear) The Reaper»
είναι ένα τραγούδι που έχει ακουστεί από εκατομμύρια ραδιόφωνα σε ολόκληρο τον
κόσμο. Οι Space Rock αναφορές και οι μυστηριώδεις, ενίοτε Prog Rock ρυθμοί και
μουσικές συνεχίζουν την παράδοση των τριών πρώτων δίσκων τους. Με μια σειρά από
διαχρονικά κομμάτια, όπως τα «E.T.I. (Extra Terrestrial Intelligence)», «True
Confessions», «The Revenge of Vera Gemini», «Tattoo Vampire» και το εναρκτήριο
«This Ain't the Summer of Love», το άλμπουμ διαθέτει υλικό που θα μπορούσε
κάλλιστα να αποτελεί μια άτυπη συλλογή με τα καλύτερα της μπάντας. Εμπορική
απογείωση για τον Eric Bloom και την αθάνατη σύνθεση των Albert Bouchard, Joe
Bouchard, Allan Lanier και Donald Roeser, με αυτό το τέταρτο κατά σειρά
δισκογραφικό τους κατόρθωμα.
English:
Radio-Friendly from Another Dimension.
The New York masters of Heavy Rock deliver what is
arguably their most… pop-oriented work here. Pop? Perhaps in the sense of
popular, considering that “(Don't Fear) The Reaper” is a song that has been
played on millions of radios around the world. The Space Rock influences and
the mysterious, occasionally Prog Rock rhythms and musical passages continue
the tradition established by their first three albums. Featuring a string of
timeless tracks such as “E.T.I. (Extra Terrestrial Intelligence)”, “True
Confessions”, “The Revenge of Vera Gemini”, “Tattoo Vampire” and the opening
“This Ain't the Summer of Love”, the album contains enough material to almost
qualify as an unofficial Best Of collection of the band's work. A commercial
breakthrough for Eric Bloom and the immortal line-up of Albert Bouchard, Joe
Bouchard, Allan Lanier and Donald Roeser, this fourth album stands as another
remarkable achievement in their career.
