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

REVIEW: TYGERS OF PAN TANG, Spellbound

 

TYGERS OF PAN TANG, Spellbound (1981)

Music On CD

Αληθινό ντεμπούτο, αν και πρόκειται για το δεύτερο άλμπουμ τους.

Έναν χρόνο μετά το ντεμπούτο τους, Wildcat, οι Βρετανοί μπαίνουν πλέον γερά στο επόμενο στάδιο της καριέρας τους. Με ανανεωμένη σύνθεση ως πεντάδα, συνεχίζουν την πορεία τους στο μεταλλικό μονοπάτι έχοντας τον Jon Deverill πλέον στη φωνή, τους Robb Weir και John Sykes (ο οποίος από εδώ και πέρα γίνεται «ο μεγάλος») στις κιθάρες, τον Richard Laws στο μπάσο και τον Brian Dick στα ντραμς.

Αυτό το δισκάκι είναι ό,τι δεν ήταν η πρώτη τους κυκλοφορία: νευρικό, με σχετικά γρήγορα tempos, ακόμα καλύτερη παραγωγή από τον Chris Tsangarides (για δεύτερη φορά) και πάρα, πάρα πολύ όρεξη για NWOBHM. Το μουσικό σύνολο του δίσκου χαρακτηρίζεται από μελωδίες αλά Saxon, δισολιές αλά Iron Maiden και γκάζι αλά Motörhead, στον βαθμό που μπορεί βέβαια να παρομοιαστεί με άλλα συγκροτήματα της γενιάς του.

Με κομμάτια όπως τα Gangland (από το οποίο ίσως οι Maiden να άντλησαν τον τίτλο για το δικό τους, μάλλον μέτριο τραγούδι), Take It, Minotaur, Hellbound, τη μπαλάντα Mirror, Silver And Gold, Blackjack, The Story So Far και Tyger Bay, αυτός ο δίσκος δεν περνάει απαρατήρητος, ακόμη και πάνω από σαράντα χρόνια μετά.

English:

A true debut, even if it is actually their second album.

Just one year after their debut, Wildcat, the Brits are now making a dynamic entry into the next stage of their career. Armed with a refreshed five-piece lineup, they forge ahead on their heavy metal path, now featuring Jon Deverill on vocals, Robb Weir and John Sykes (who from this point on becomes "the great one") on guitars, Richard Laws on bass, and Brian Dick on drums.

This record is everything their first release wasn’t: edgy, with relatively fast tempos, an even better production by Chris Tsangarides (returning for a second time), and an absolute, massive hunger for NWOBHM. If one were to compare the album's overall sound to other bands of their generation, it is characterized by Saxon-style melodies, twin-guitar solos à la Iron Maiden, and a Motörhead-infused grit.

Packed with tracks like Gangland (from which Maiden might have lifted the title for their own rather mediocre song), Take It, Minotaur, Hellbound, the ballad Mirror, Silver And Gold, Blackjack, The Story So Far, and Tyger Bay, this album refuses to go unnoticed, even more than forty years later.

Τάκης "Ε-Μortal One" Γιώτης

Carlos Perón & Melting Rust Opera Unveil Fourth Collaboration

 

A new chapter in experimental electronic–industrial fusion has arrived as Carlos Perón, co‑founding member of the legendary Swiss group Yello, teams up once again with Germany’s Melting Rust Opera for their fourth collaborative track. The release marks a meeting point between Perón’s avant‑garde electronic legacy and the band’s gritty metal‑industrial aesthetic.

Perón, who helped shape Yello’s identity in Zurich in 1979 before departing in 1983 to pursue a prolific solo career, brings his signature conceptual edge—echoes of works like Impersonator and Die Schwarze Spinne. Melting Rust Opera counterbalance this with their raw, metallic pulse, creating a hybrid sound that feels both mechanical and emotional.

The new track explores themes of identity, transformation, and the shadows we carry. Lines such as “There are echoes, I hear them… I once was down, now I am standing above” set the tone for a piece that moves between introspection and confrontation. The lyrics drift through darkness—“Hiding in the dark… it will get darker”—while still reaching for renewal and self‑reinvention.

This collaboration continues to expand the sonic universe shared by Perón and Melting Rust Opera, proving that electronic pioneers and industrial metal innovators can still find fresh ground together.

HKSPK Drops Blistering New Single «Rot In Despair»

 

German Black/Death Metal trio HKSPK is back with a vengeance. The Frankfurt (Oder)-based band has officially unleashed their latest sonic assault, a brand-new single titled «Rot In Despair».

Recorded at "Room 013" and mixed/mastered by the band’s own frontman Jim Tonik, the track promises to deliver the band's signature blend of aggressive riffing and suffocatingly dark atmospheres.

About HKSPK: Formed in 2023, the band consists of Jim Tonik (vocals, guitars), Leon Sabiers (guitars), and Arne (drums). They have been rapidly carving out a name for themselves in the extreme metal underground, exploring raw themes of human darkness and social tension.

If you haven't put HKSPK on your radar yet, now is the perfect time to catch up. The band has been on an absolute tear over the last two years, building serious international momentum with back-to-back releases:

• 2024: Released their crushing debut album, Holy Scum.
• 2025: Followed up with the critically acclaimed EP, The Human Butcher.
• 2026: Returning to their roots with «Rot In Despair», cementing their place in the modern Black/Death metal scene.

With its roots planted firmly in classic extreme metal while pushing a modern, chaotic energy, «Rot In Despair» is a must-listen for anyone who likes their metal fast, heavy, and unapologetically bleak.

«Rot In Despair» is available now. Go spin it and break your neck.

REVIEW: ACCEPT, Restless And Wild

 

ACCEPT, Restless And Wild (1982)

Brain

Ποιοί έπαιζαν έτσι τότε; Μόνο αυτοί στην ηπειρωτική Ευρώπη, τουλάχιστον. Στην γηραιά Αλβιώνα υπήρχαν κι εκεί παρόμοια, αλλά όχι ίδια ηχητικά δείγματα. Οι πέντε μουσικοί από το όμορφο (χαχα), βιομηχανικό Solingen της (τότε) Δυτικής Γερμανίας, αφού είχαν μπει σε τροχιά με το τρίτο τους άλμπουμ, το επίσης κλασικό Breaker, ένα χρόνο πριν, το τερματίζουν με το τέταρτο. 

Udo Dirksneider στο πριόνι της φωνής, Wolf Hoffman και Hermann Frank στις κιθάρες που φλέγονται, όπως και στο ευρωπαϊκό εξώφυλλο (διότι υπάρχει κι ένα άλλο, ξενερωτο, στην αμερικανική έκδοση), Peter Baltes στο μπάσο και ο ανυπέρβλητος Stefan Kauffman στη μπαταρία ρυθμού, οδηγούν έκτοτε τα μυαλά όσων πουλήσαμε τη ψυχή μας στο metal, στη σωτηρία! 

Δέκα τραγούδια, δέκα πανέμορφα δείγματα που, αν ερωτηθείς από κάποιον άσχετο τι είναι το Heavy Metal, τον καθίζεις στην καρέκλα, τον δένεις με αλυσίδες και βάζεις τα ηχεία του στερεοφωνικού στο μέγιστο, ώστε να καταλάβει μια για πάντα, πιθανώς χάνοντας την ακοή του οριστικά! 

Υπεράνω βαθμού ή κρίσης προσωπικά, θεωρώ τα εξής ως αριστουργήματα: Fast As a Shark, Restless and Wild, Neon Nights, Ahead of the Pack, Shake Your Heads, Demon's Night, Flash Rockin' Man, και το τελικό, κλασικό τους επιστέγασμα, Princess of the Dawn. Κάθε φορά που παίζουν, σπάνε τα άλατα και το σβέρκο μας!

English:

Who were playing like that back then?

Only them in continental Europe, at least. In the Old Albion, there were similar, but not identical, sound samples. The five musicians from the beautiful (haha), industrial city of Solingen in (then) West Germany, having already entered their orbit with their third album, the also classic Breaker, a year earlier, concluded their streak with the fourth. 

Udo Dirksneider on the saw of his voice, Wolf Hoffman and Hermann Frank on the blazing guitars (as seen on the European cover, since there is another, less impressive one on the American edition), Peter Baltes on bass, and the incomparable Stefan Kauffman on drums—since then, they’ve been leading the minds of those of us who sold our souls to metal, to salvation! 

Ten songs, ten beautiful examples that, if asked by an outsider what Heavy Metal is, you can sit him down, chain him up, and turn the stereo’s volume all the way up so he understands once and for all—probably losing his hearing forever! 

Beyond doubt or personal judgment, I personally consider the following masterpieces: Fast As a Shark, Restless and Wild, Neon Nights, Ahead of the Pack, Shake Your Heads, Demon’s Night, Flash Rockin’ Man, and their ultimate, classic anthem, Princess of the Dawn. Every time they play, they shatter our bones and break our necks!

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: PHASE – In Consequence

 

PHASE – In Consequence

BackStage / Insight Out

It appears that TEARS is not the only noteworthy Greek band within the progressive rock/metal scene. PHASE, which leans more towards psychedelic and progressive rock rather than metal, has released an album that commands attention. While I acknowledge that this style may not be my personal preference, I firmly believe that when a work is beautiful and well-crafted, it warrants recognition.

PHASE’s In Consequence stands out as a compelling artistic statement. The album crafts immersive soundscapes that invite the listener to embark on a sonic journey, with the potential to become fully absorbed in its depths. A particularly striking aspect is the fusion of oriental musical elements with rock and metal influences, creating a unique blend that enriches the listening experience.

This album is not easily digestible; it defies casual listening and demands active engagement. It’s not an accompaniment for multitasking but rather an immersive experience that reveals its full dynamic and magic through attentive listening. The marriage of Western rock sounds with traditional oriental and Greek musical motifs is executed with such finesse that it leaves a lasting impression.

In Consequence is more than just an album to listen to—it is an experience to be lived. For those seeking something different yet rooted in rock, this release is highly recommended for exploration.

Nick Parastatidis

REVIEW: SAECULUM OBSCURUM - Into the Depths of Oblivion

 

SAECULUM OBSCURUM - Into the Depths of Oblivion

Thunderblast Records

SAECULUM OBSCURUM emerges as a compelling new entity within the extreme metal landscape, distinguished not by a specific hybrid genre but by their core sound rooted primarily in melodic death metal. Their approach transcends mere stylistic blending, presenting a cohesive and dynamic musical vision that incorporates a variety of influences and elements.

At its foundation, the band’s music is characterized by the hallmark traits of melodic death metal—aggressive riffs, intricate guitar work, and a prominent melodic sensibility. However, they do not confine themselves to this genre alone. Instead, they enrich their compositions with black metal-inspired melodies, atmospheric layers, acoustic passages, and occasional nods to classic heavy metal, resulting in a multifaceted and textured sound. This combination fosters a listening experience that is both brutal and atmospheric, with a sense of depth and complexity that belies the music’s extreme surface.

The musicianship showcased on Into the Depths of Oblivion is noteworthy. The band members demonstrate technical proficiency and a keen sense of arrangement, delivering performances that are both energetic and precise. The guitar work features compelling riffs and tasteful solos, adding an extra layer of interest and showcasing their instrumental skill. The vocals adhere to a traditional death metal rasp—gritty, guttural growls that evoke the genre’s roots—yet the absence of clean vocals or blackened screams leaves some stylistic avenues unexplored, which could have added further variety.

Overall, Into the Depths of Oblivion stands as a strong debut that will resonate particularly with fans of bands such as DARK TRANQUILLITY, ARCH ENEMY, AT THE GATES, and early IN FLAMES. It offers a well-crafted blend of intensity, melody, and atmospheric depth, executed by a talented group of musicians committed to pushing the boundaries within their chosen genre.

Christine  Parastatidou