REVIEW: DEUS INFESTUS – Swansong for This Stillborn Race

 

DEUS INFESTUS – Swansong for This Stillborn Race

Independent

If there is any salvation from the stagnation and mediocrity plaguing our beloved metal scene—if a genuine escape from the prevailing trends that have dominated the past few years—then that salvation can only be found within the underground. DEUS INFESTUS exemplifies this truth, emerging as one of the most impressive and formidable bands I’ve encountered recently. Their five-track EP, Swansong for This Stillborn Race, stands as a testament that there are still compelling riffs to be played, aggressive rhythmic sections capable of igniting excitement, and dark, immersive atmospheres that can devastate and enthrall.

Without exaggeration and aligning with my personal taste, this release epitomizes what well-executed, relentless death/black metal truly is. Every moment and riff within the EP is crafted with precision, ensuring that boredom never sets in. The compositions are tight, skillfully performed, and enhanced by a superb production quality. The mixing and mastering, handled by R.D. Liapakis and C. Schmid, contribute significantly to the album’s clarity and power, highlighting the intricate details and raw intensity of each track.

The songwriting is top-tier, and what elevates this blackened death metal opus further are the technical prowess of the band members and the stellar performance by their session drummer, the renowned George Kollias (NILE, NIGHTFALL, SICKENING HORROR, among others). His drumming adds an extra layer of complexity and brutality that perfectly complements the band’s vision.

For fans of melodic death and black metal, DEUS INFESTUS offers a compelling next chapter in the genre’s evolution. Swansong for This Stillborn Race is an essential listen—an intense, expertly crafted record that no serious metal enthusiast can afford to overlook.

Christine  Parastatidou

REVIEW: EMPIRE OF THE MOON, Πανσέληνος

 

EMPIRE OF THE MOON, Πανσέληνος (2014)

Acherontas Promotions

Αναγέννηση παντού

Στη χώρα μας, έχω ξαναπεί και γράψει ότι, σε ολόκληρο το δέντρο της metal σκηνής, η ποιότητα έχει πλέον θριαμβεύσει σε τέτοιο βαθμό, ώστε να έχουμε αποβάλει οριστικά τα όποια σύνδρομα είχαμε κάποτε ως «Βαλκάνιοι φτωχοί συγγενείς».

Ειδικά η ακραία πλευρά της σκηνής, από τον Έβρο μέχρι την Κρήτη, έχει σηκώσει στους ώμους της τις αμαρτίες του παρελθόντος με περηφάνια και επιμονή. Το συγκεκριμένο άλμπουμ, από αυτό το συγκρότημα της Αθήνας, είναι μία από εκείνες τις κυκλοφορίες που επανέφεραν το ελληνικό Black Metal στη θέση που του αξίζει: πάντα ψηλά.

Και γιατί όχι; Οι συνθέσεις διαθέτουν έντονη μουσικότητα, χωρίς να απομακρύνονται από τη μαύρη μεταλλική τους ταυτότητα, ενώ η παραγωγή είναι εξαιρετικά προσεγμένη. Άλλωστε, στο πρώτο τέταρτο του 21ου αιώνα δεν είναι πλέον της μόδας να ακούγεται ο ήχος σαν το πέμπτο αντίγραφο μιας κακογραμμένης κασέτας μόνο και μόνο για να θεωρείται κάτι Black Metal.

Γενικότερα, οι τρεις μουσικοί που δημιούργησαν το άλμπουμ (Ravenlord Wampuri Draconium, Ouroboros και S.V. Mantis) γράφουν τίμια και ποιοτική μουσική. Έχοντας ακούσει τον δίσκο στο YouTube, τον αναζητούσα με μανία και, επιτέλους, τον απέκτησα σε φυσική μορφή, ώστε να απολαμβάνω όπως πρέπει πραγματικά σπουδαία τραγούδια, όπως τα Mastery of Blood, Lunar Apocalypse, Psycomanteion, The Nine Skulls of Kali και Symphony of the Draconian Queen.

English:

Renaissance Everywhere

In our country, I have said and written before that, throughout the entire metal scene, quality has now prevailed to such an extent that we have finally shed whatever inferiority complexes we once carried as the “poor Balkan relatives.”

The extreme side of the scene in particular, from Evros to Crete, has proudly and persistently shouldered the sins of the past. This album, by this Athens-based band, is one of those releases that helped restore Greek Black Metal to the position it deserves: high among the elite.

And why shouldn't it be? The compositions are highly musical without ever straying from their black metal identity, while the production is exceptionally well crafted. After all, in the first quarter of the 21st century, it is no longer fashionable for a record to sound like the fifth-generation copy of a badly recorded cassette simply to be considered Black Metal.

More generally, the three musicians behind this album—Ravenlord Wampuri Draconium, Ouroboros, and S.V. Mantis—write sincere, high-quality music. Having first heard the record on YouTube, I searched for it obsessively and was delighted to finally acquire it in physical format, allowing me to experience outstanding songs such as Mastery of Blood, Lunar Apocalypse, Psycomanteion, The Nine Skulls of Kali, and Symphony of the Draconian Queen the way they were meant to be heard.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: RORY GALLAGHER, Blueprint

 

RORY GALLAGHER, Blueprint (1973)

Polydor

Ανοδική αλλαγή υψομέτρου

Το τρίτο σόλο άλμπουμ του Ιρλανδού πρώην κιθαρίστα των Taste. Προηγήθηκαν τα Rory Gallagher, το Deuce, καθώς και το ζωντανό Live in Europe. Σε αυτό το άλμπουμ ξεδιπλώνεται ακόμη περισσότερο το ταλέντο του Rory Gallagher, τόσο κιθαριστικά όσο και συνθετικά, αλλά και ερμηνευτικά.

Ο Rod De'Ath έρχεται στα ντραμς, ο Gerry McAvoy στο μπάσο και ο Lou Martin (πρώην μέλος των Taste κι αυτός) στα πλήκτρα.

Τα «Walk on Hot Coals», «Daughter of the Everglades», «Race the Breeze», «Seventh Son of a Seventh Son» (τι, μόνο οι Iron Maiden το 1988 θα είχαν τέτοιο τίτλο;) και «If I Had a Reason» είναι τα τραγούδια που ξαναθυμήθηκα πως αγαπούσα σε αυτό το αδικημένο — από μένα — CD.

Κακώς δεν το σπινάρω συχνότερα στο στερεοφωνικό μου!

English:

An Upward Change in Altitude

The third solo album by the Irish former guitarist of Taste. It was preceded by Rory Gallagher, Deuce, as well as the live album Live in Europe. On this album, Rory Gallagher’s talent unfolds even further — as a guitarist, a songwriter, and a performer.

Rod De'Ath joins on drums, Gerry McAvoy on bass, and Lou Martin (also a former member of Taste) on keyboards.

“Walk on Hot Coals,” “Daughter of the Everglades,” “Race the Breeze,” “Seventh Son of a Seventh Son” (what, only Iron Maiden would have such a title in 1988?) and “If I Had a Reason” are the songs that made me remember how much I loved this CD — a CD that I myself had unfairly neglected.

I really should be spinning it on my stereo far more often!

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: BUGUL NOZ - Night Shepherd

 

BUGUL NOZ - Night Shepherd

Independent

It's impressive to witness how much the Greek metal scene has evolved and progressed over the past few years, as it continues to deliver not only extreme metal bands but also artists representing a wide range of different sounds and approaches. BUGUL NOZ from Corinth are yet another proud example of what dedication, hard work, and a clear artistic vision can achieve. With their debut album, "Night Shepherd", the band presents a very interesting first step, offering songs, ideas, and musical elements that immediately create expectations for what the future may bring.

One of the most appealing aspects of "Night Shepherd" is the band's ability to move naturally between different genres while maintaining a strong sense of identity and cohesion. Rather than sounding like a collection of unrelated influences, the album manages to combine various elements through BUGUL NOZ's own perspective, resulting in a fresh and surprisingly mature sound for a debut release.

Musically, the band delivers a stoner rock foundation enriched with doom, grunge, modern rock, and classic hard rock influences, creating the diversity that defines their overall approach. However, stoner rock remains the core of their sound, built around strong melodies, atmospheric passages, and a variety of vocal styles that add different shades and emotions to the compositions. The rhythm section is mostly focused on mid-paced grooves, perfectly serving the heavy and hypnotic nature of the music, although the band does include some faster and more energetic moments that add further dynamics to the album.

"Night Shepherd" is a release that should appeal not only to followers of the stoner rock scene but also to listeners who appreciate bands that combine heaviness with melody and a strong sense of atmosphere. Fans of acts such as DANZIG, KYUSS, DOWN, and SPIRITUAL BEGGARS will probably find many familiar elements while also discovering the unique character that BUGUL NOZ bring to their music.

If you are into heavy riffs, memorable melodies, and a sound that successfully blends different rock and metal influences, then "Night Shepherd" is definitely worth checking out. Visit the band's official channels and give BUGUL NOZ the attention they deserve, as this debut shows a band with potential and plenty of room to grow.

Christine  Parastatidou

REVIEW: KA'APER - When Gods Walked The Earth

 

KA'APER - When Gods Walked The Earth

Satanath Records

Ancient Egypt has long served as a powerful source of inspiration for the global heavy metal scene, functioning as a thematic cornerstone from Iron Maiden's iconic Powerslave to the establishment of fully Egyptology-inspired death metal by Nile. Within this thematic tradition comes a new and particularly noteworthy addition: Ka'aper. Based in Cyprus, the band is a multinational project that brings together musicians from Russia and Ukraine, demonstrating in practice the enduring ability of art to unite people beyond geopolitical and economic conflicts.

Formed in 2024, the group has displayed remarkable productivity, unveiling its first full-length album, When Gods Walked the Earth, after only two years of existence. The title itself contains clear references to alternative prehistory and ancient astronaut theories—evoking associations with the work of Erich von Däniken—and immediately prepares the listener for the album's mysterious and epic atmosphere.

The band's name most likely derives from Kaaper (c. 2500 BC), an ancient Egyptian scribe and priest of the Fourth and Fifth Dynasties, also known as "Sheikh el-Beled" ("Village Chief"). When his tomb at Saqqara was discovered by Auguste Mariette, the strikingly realistic wooden statue depicting him—carved from sycamore wood and featuring eyes made of rock crystal and copper—astonished local excavators because of its uncanny resemblance to their own village headman. Today, this statue is regarded as one of the finest examples of realistic sculpture from Egypt's Old Kingdom and is displayed at the Egyptian Museum in Cairo.

Musically, When Gods Walked the Earth is characterized by an exceptionally balanced structure, with compositions that remain focused and effective without unnecessary excess or overextension. Ka'aper's core sound is rooted in modern melodic death metal, yet it is approached through a distinctly atmospheric and immersive lens.

The album's orchestration is layered and dynamic. The aggression of the rhythmic riffs and death-metal vocals is expertly balanced by the extensive use of keyboards, which function not merely as background texture but as an integral element in shaping the dark and ancient character of the material. Stylistically, Ka'aper draw clear inspiration from the European school of melodic death metal. The atmospheric sensibilities of Hypocrisy are readily apparent, as are the structural melodicism and refined guitar work associated with Dark Tranquillity.

Particular mention must be made of the track "Lament for Osiris." Here, the influence of Dark Tranquillity becomes even more pronounced, while the incorporation of expressive clean female vocals lends the composition a deeply dramatic and ritualistic quality, creating a compelling contrast with the brutal vocal delivery. At the same time, the band is unafraid to broaden its horizons by selectively incorporating elements of progressive metal and symphonic metal. These additions are applied with restraint and precision, serving as subtle embellishments that enrich the production's depth without compromising its death metal foundation.

Drawing direct inspiration from ancient Egyptian culture, Ka'aper avoid simple historical narration, choosing instead to explore its metaphysical dimensions. Through their lyrics, the band employs the Egyptian pantheon and beliefs concerning the afterlife as vehicles for addressing humanity's timeless existential questions. Concepts such as mortality, the cycle of life and death, and the deeper meaning of existence are examined with seriousness and thoughtfulness, providing a lyrical framework that perfectly complements the album's evocative musical atmosphere.

When Gods Walked the Earth stands as an impressively mature debut from a band with only two years of history behind it. Ka'aper have succeeded in delivering a work distinguished by a cohesive identity, careful production, and genuine compositional substance. For fans of atmospheric and melodic death metal, as well as listeners who appreciate releases enriched by deep historical and philosophical themes, this album is unquestionably one that deserves a place on their radar.

Nick Parastatidis

Orgasmic Savage Releases New Single "Sacrificial Betrayal"

 

American deathcore band Orgasmic Savage has dropped their latest single, "Sacrificial Betrayal," ahead of their upcoming album. The track was recorded by guitarist Darrell Young and mixed/mastered by Paul Francis at GetRight Recordings Studio.

Hailing from Redford, Michigan, the band was formed in April 2024 by Young, and expanded into a full lineup within a year, driven by pure passion. Known for their dark, gritty, horror-infused sound, Orgasmic Savage delivers a brutal sonic experience that lives up to their name. Their raw creative process, often fueled by substance use, continues to shape their intense music, as exemplified in their previous single, "Prelude To Assimilation."

UNDER THE SHADOWS Release New Video for "Persephone Rising"

Heavy metal project Under The Shadows has unveiled a new music video for the track "Persephone Rising", taken from its forthcoming album "Thesmophoria", scheduled for release on July 2 via Lion Music.

After more than three decades exploring the darker realms of heavy metal, gothic music, and neoclassical folk, Under The Shadows returns with a new chapter that reflects years of creative evolution and experimentation. The project combines the raw energy of classic metal, the introspective atmosphere of gothic soundscapes, and the storytelling traditions of folk music.

According to the band, Thesmophoria is not a debut but an artistic return to its core identity, shaped by decades of experience, collaboration, and musical growth. The album explores themes of darkness and resilience, memory, and the search for meaning across genre boundaries, resulting in a sound that is both heavy and reflective.