One Night of Insurrection is a live DVD released by
AFM Records to celebrate the 30th anniversary of NIGHTMARE, a French heavy
metal band that originally emerged in the 1980s. The band released two albums
during that decade and later returned to recording activity in the 2000s,
producing several more releases.
This package also includes a bonus live CD featuring
13 songs performed by the band. The track list focuses exclusively on material
from NIGHTMARE's albums of the previous decade: the title track from
Cosmovision (2001), three songs from The Dominion Gate (2005), three songs from
Genetic Disorder, and five songs from Insurrection.
I have to admit that before listening to this release,
I was not familiar with the albums NIGHTMARE recorded during the 2000s. Based
on this live performance, their style reminded me to some extent of the solo
works of Rob Halford. However, I would say that Halford's albums are heavier,
more dynamic, and overall more inspired in terms of songwriting and atmosphere.
One of the main issues with this release is the
production. The sound is extremely clear and powerful, but it also feels
heavily processed. In many moments, the songs give the impression of being
studio recordings rather than a genuine live performance. The audience can only
be heard briefly at the end of some tracks, which reduces the feeling of being
present at an actual concert. The overall sound has been polished to such an
extent that the live character of the performance is almost lost.
Although the musicianship is solid and the band
delivers a professional performance, the artificial production prevents this
release from capturing the energy and atmosphere that a good live album should
provide. For listeners interested in discovering NIGHTMARE, I would recommend
starting with the band's first two albums from the 1980s, which represent a
more authentic period of their career.
In my opinion, One Night of Insurrection is not an
essential release and would not be my first recommendation for fans looking to
explore the band.
Το
άλμπουμ που μου γνώρισε τον βασιλιά του τρόμου το βρήκα σε Picture Disc βινύλιο
κανά δυο μέρες μετά την επίσημη κυκλοφορία του, τότε, και το σκοτάδι ξεχύθηκε
από τα ηχεία του παλιού μας στερεοφωνικού και έμεινε εκεί για πάντα.
Ιστορικά,
η δεκαετία του ’90 ήταν αρκετά υποτονική σε σχέση με την προηγούμενη, κατά την
οποία όλα τα μεγάλα άλμπουμ του King Diamond κυκλοφορούσαν σχεδόν κάθε χρόνο. Η
επαναδραστηριοποίηση των Mercyful Fate ίσως να έπαιξε ρόλο σε αυτή την
κατάσταση. Πάντως, μετά το The Spider’s Lullaby, που ήταν το αμέσως πιο
αξιόλογο άλμπουμ του, το The Graveyard, που κυκλοφόρησε ακριβώς δύο χρόνια πριν
από αυτό εδώ, δεν με βρήκε ιδιαίτερα ζεστό. Αυτό προφανώς συνέβη γιατί το
άκουσα μετά το Voodoo, οπότε έχασε στη σύγκριση.
Η
ιστορία μας μεταφέρει στη Λουιζιάνα των αρχών του 20ού αιώνα, όπου από το δάσος
έξω από την έπαυλη (ναι, άλλη μία έπαυλη γεμάτη σκοτεινά μυστήρια) των
Lafayette ακούγονται κάθε βράδυ τα τύμπανα των Κρεολών Αφροαμερικανών, οι
οποίοι ασκούν την πρακτική/παραθρησκευτική τελετουργία Voodoo στο μυστικό
νεκροταφείο τους που βρίσκεται εκεί, εν αγνοία των κατοίκων του σπιτιού. Έτσι
δημιουργούνται πολύ περίεργες και υπερφυσικές καταστάσεις.
Τα
υπόλοιπα ακούστε τα μέσα από τα Loa House, Life After Death, Voodoo (στο σόλο
του οποίου συμμετέχει φιλικά ο αείμνηστος πλέον Dimebag Darrell των Pantera),
Salem, One Down Two to Go, The Exorcist, Sending of Dead, Sarah’s Night και
Cross of Baron Samedi. Σύντομα θα μπείτε στο πετσί του ρόλου των ηρώων ενός από
τα καλύτερα θεματικά άλμπουμ του βασιλιά, μαζί με τον μόνιμο συνεργάτη του
κιθαρίστα Andy LaRoque, τον έτερο κιθαρίστα Herb Simonsen, τον Chris Estes στο
μπάσο και τον ντράμερ John Luke Hebert, για τη δεκαετία εκείνη.
English:
The Great Comeback
The album that introduced me to the King of Horror, I
found on Picture Disc vinyl a couple of days after its official release back
then, and darkness poured out of the speakers of our old stereo and stayed
there forever.
Historically speaking, the ’90s were a rather subdued
decade compared to the previous one, when all of King Diamond’s major albums
were coming out almost every year. The reactivation of Mercyful Fate may have
played a role in this situation. In any case, after The Spider’s Lullaby, which
was his next truly noteworthy album, The Graveyard, released exactly two years
before this one, didn’t really warm me up. This was obviously because I heard
it after Voodoo, so it lost in comparison.
The story takes us to early 20th-century Louisiana,
where, from the woods outside the Lafayette mansion (yes, another mansion
filled with dark mysteries), the drums of the Creole African Americans can be
heard every night as they perform the Voodoo practices and rituals in their
secret cemetery located there, completely unknown to the inhabitants of the
house. This leads to some very strange and supernatural events.
The rest of the story unfolds through Loa House, Life
After Death, Voodoo (which features a guest solo appearance by the now late
Dimebag Darrell of Pantera), Salem, One Down Two to Go, The Exorcist, Sending
of Dead, Sarah’s Night, and Cross of Baron Samedi. Before long, you will find
yourself stepping into the shoes of the protagonists of one of the King’s
finest concept albums, alongside his longtime guitar partner Andy LaRoque,
fellow guitarist Herb Simonsen, Chris Estes on bass, and drummer John Luke
Hebert, who completed the lineup for that era.
Portuguese progressive metal project Freitanás has
released its debut album, Ergo Sum. The album was recorded, mixed, and mastered
by João Pedro Freitas in his home studio.
Based in Castanheira de Pera, Portugal, Freitanás is
the solo rock and metal project of Aoidos vocalist and guitarist João Pedro
Freitas. The project’s name originated during a legendary gathering at Taberna
58 and has now reached a major milestone with the release of its first
full-length record.
Ergo Sum combines previously unreleased compositions
with brand-new material, blending the guitar-driven intensity of Zakk Wylde and
Nevermore with the atmospheric and experimental influences of Ornatos Violeta
and Devin Townsend.
Conceptually, the album explores the challenges of
adulthood, independence, and isolation, transforming personal struggles into a
powerful and cathartic progressive metal experience.
Με
τον Abaddon να τα έχει σπάσει με τους Cronos και Mantas, στα κρουστά εδώ παίζει
ο Antton. Σε λίγο καιρό θα μαζέψει κι ο Mantas κιθάρα και ενισχυτές και θα
φύγει κι αυτός. Η άσπονδη τριάδα θα ξαναδιασπαστεί πριν το επόμενο Metal Black
(εντάξει, αυτή η έλλειψη ιδεών που τους αναγκάζει να αντιστρέψουν τον τίτλο του
δεύτερου δίσκου τους είναι πολύ ενοχλητική), το οποίο θα αργήσει έξι χρόνια,
παρακαλώ.
Εδώ
πάντως έχουμε 15 κομμάτια, μάλλον πολλά για άλμπουμ των Venom!
Ο
Conrad Lant (κατά κόσμον Cronos), πλέον το μόνο αυθεντικό μέλος του γκρουπ (οι
άλλοι δύο και ο Demolition Man έχουν ονομαστεί Venom Inc. πιο μετά — και εκεί
ξεκινάει το μπλέξιμο), έχει πει ότι αυτό το άλμπουμ είναι τόσο μπερδεμένο που
του τη σπάει πια.
Η
αλήθεια είναι ότι έχει απ’ όλα μέσα. Όταν είχε βγει πάντως, δε με χάλασε πολύ.
Εντάξει, δεν είναι τόσο καλό όσο το Cast In Stone που προηγήθηκε, αλλά ένα 7/10
το παίρνει άνετα! Παλιακό thrash metal με εκείνη τη διεστραμμένη αποκρυφιστική
αίσθηση, και ομολογώ ότι μου αρέσει ακόμα!
Resurrection, Vengeance, Pandemonium, Black Flame (Of
Satan), Man Myth And Magic, Leviathan ταέχωακόμαψηλά.
English:
After the much‑talked‑about
reunion came the next split.
With Abaddon having already fallen out with Cronos and
Mantas, Antton handles the drums here. Not long after, Mantas would pack up his
guitar and amps and leave as well. The uneasy trio would break apart again
before the next Metal Black (and honestly, this lack of ideas that led them to
simply reverse the title of their second album is really irritating), which
would take six whole years to arrive.
Still, here we get 15 tracks, which is rather a lot
for a Venom album!
Conrad Lant (better known as Cronos), now the only
original member of the band (the other two plus Demolition Man would later
operate as Venom Inc. — and that’s where the confusion begins), has said that
this album is so muddled that it annoys him nowadays.
The truth is, it really has a bit of everything in it.
When it first came out, though, it didn’t bother me much. Sure, it’s not as
good as Cast In Stone before it, but it easily earns a 7/10 from me! Old‑school thrash metal with that twisted, occult vibe —
and I admit, I still like it!
Resurrection, Vengeance, Pandemonium, Black Flame (Of
Satan), Man Myth And Magic, Leviathan remain high on my list.
This release is a reissue of the early recordings of
MERCURY RISING, a very talented band from Baltimore, USA, offering a valuable
insight into the early years of this excellent act. The CD includes the band’s
first demo from 1992, as well as a previously unreleased demo recorded in 1991.
Additionally, it features several unreleased live tracks, bringing the total
running time to approximately 47 minutes.
MERCURY RISING have also released two full-length
albums during their career: Upon Deaf Ears in 1994 and Building Rome in 1998.
For this release, all material has been digitally remastered, giving the songs
a much-improved sound quality while preserving the original character and
atmosphere of the recordings. The CD comes with a very rich booklet, including
the lyrics, a detailed biography of the band, and previously unpublished
photos, making this reissue even more appealing for collectors and fans of traditional
metal.
Musically, MERCURY RISING deliver a powerful form of
US power metal that perfectly represents the early '90s era. The main influence
of the band is clearly Queensrÿche, especially in terms of the vocal approach,
melodic structures, and sense of atmosphere. However, MERCURY RISING are far
from being a simple clone; they add a heavier and more aggressive edge to their
sound, making their music closer to classic heavy metal while maintaining the
sophistication and melodic elements associated with their influences.
The vocals are one of the strongest points of the
band, with an excellent performance that combines power, melody, and emotion.
The guitar work is also very impressive, featuring strong riffs, memorable
melodies, and well-executed leads. Overall, the material is very consistent,
combining heaviness with catchy songwriting and a strong sense of identity.
Among the highlights of the release, tracks like
"Harnessed Lightning" and "Mercury Rising" stand out, but
the absolute highlight is without a doubt the magnificent "Under a Big
Sky". This song is a true anthem, featuring all the elements that make
classic US metal so memorable: powerful vocals, great guitar work, an
unforgettable chorus, and a feeling of grandeur that stays with the listener.
In conclusion, this is definitely one of the strongest
releases from Arkeyn Steel Records and also one of the most interesting
releases connected with the Greek metal scene. It is highly recommended to all
fans of classic and US power metal, but it should also appeal to listeners who
appreciate melodic, powerful, and well-crafted heavy metal. A
very important reissue that deserves to be discovered.
In my opinion, many newer bands that attempt to play
traditional metal often struggle to find their own identity and, as a result,
try to compensate by overproducing their releases. They tend to fill their
albums with excessive effects, polished production, and technical displays
meant to impress the listener rather than create memorable songs.
DEAD SHAPE FIGURE from Finland play modern thrash metal,
and there is no doubt that they are talented musicians. The band’s lead
guitarist is particularly impressive, delivering some excellent solos that
demonstrate both skill and confidence. However, beyond this aspect, the overall
sound of the album feels quite familiar, especially within the modern thrash
metal scene. The songs follow many of the genre’s established patterns, and I
often found myself missing a stronger personal character or a more distinctive
musical identity.
The main impression I get from this release is that
everything seems carefully designed to impress the listener through technical
ability and production quality, rather than focusing on creating songs that
stay with you after the album ends. After listening to the entire CD, the main
thing I will remember is the guitarist’s ability and the quality of the solos,
but unfortunately, not many of the songs themselves.
Of course, this is only my personal opinion, and I can
understand why younger metal fans or listeners who enjoy a more modern approach
to thrash metal might find this band appealing. Personally, I have always
preferred bands that can achieve a strong impact through simplicity,
atmosphere, and memorable songwriting rather than relying mainly on technical
execution.
I recommend giving DEAD SHAPE FIGURE a listen before
making any final decision, as fans of modern thrash metal may find elements
here that they will appreciate.
Το
καλοκαίρι του 2001, γυρνώντας στο κέντρο, όντας σε άδεια αφού υπηρετούσα στον
στρατό, πέρασα από το παλιό Rock City στην Ακαδημίας. Στα βινύλια, στις
προσφορές, το είδα: διπλό, ολοκαίνουργιο L.P. της SPV. Τιμή; 1.500 δραχμές. Πιο
φτηνό δεν γινόταν να είναι άλμπουμ τότε, και ειδικά μια κυκλοφορία μόλις
μερικών μηνών πριν!
Γιατί;
Πραγματικά, εμένα μου άρεσε αυτό το διαφορετικό στυλ, με αρκετές αποκλίσεις από
το Jugulator τέσσερα χρόνια πριν, έναν δίσκο που είχε διχάσει τον κόσμο τους.
Ακούγοντάς το τώρα, παρατηρώ ότι ήταν μπροστά από την εποχή του, αλλά
προσπαθούσε να ακουστεί πιο «νεανικό» —ας επιτραπεί η λέξη— Metal από τρία ήδη
αρκετά μεγάλα ηλικιακά μέλη που βρίσκονταν πάντα στο συγκρότημα από τον πρώτο
δίσκο (Tipton, Downing, Hill), έναν κάπως νεότερο (Travis) και φυσικά τον
σχετικά πιτσιρικά μπροστά τους, Tim Owens.
Όσοι
τότε δεν τρελαθήκαμε με το πρώτο δείγμα αυτού του lineup, είδαμε αυτό το
δεύτερο θετικά, τουλάχιστον στην αρχή. Η αλήθεια, όμως, είναι πιο πολύπλοκη και
μάλλον πιο στενάχωρη.
Ένα
άλμπουμ που έχει όλα όσα διαθέτουν από το 2007 και ύστερα οι άλλοι μεγάλοι,
δηλαδή οι Iron Maiden, αλλά που στην περίπτωση των Priest κανένας δεν το
αποκαλούσε «το καλύτερο άλμπουμ», «υπερδίσκο» και όλα τα άλλα υπερβολικά και
—τολμώ να πω— ψυχαναγκαστικά εγκώμια που ακούγονται για την πολυτελή σαβούρα
την οποία κυκλοφορούν τα μεγαθήρια της παλιάς Heavy Metal συνομοταξίας (ναι,
ναι, τα A Matter of Life and Death μέχρι και το πρόσφατο Senjutsu εννοώ).
Το
να έχεις δεκατρία κομμάτια και διάρκεια κοντά στη μία ώρα δεν σημαίνει
απαραίτητα ότι έχεις έμπνευση. Εδώ, λοιπόν, έχουμε ένα 5/10, και μάλιστα με
πολύ ευνοϊκή ματιά. Αν είχε κυκλοφορήσει από ένα άλλο ανερχόμενο σχήμα, θα
πλησίαζε το 8, αλλά περιμέναμε πολύ περισσότερα και δεν τα είχε.
Τι
θυμάστε από το άλμπουμ; Χωρίς να δείτε αμέσως τους τίτλους, πείτε… Εγώθυμάμαιμόνοτα Machine Man και One on One. Τα άλλα έντεκα κομμάτια;
Εκεί υπάρχει σκοτάδι.
Όσο
τεράστια κι αν είναι η μορφή του Owens ζωντανά (και ήταν πράγματι), αφού
ερμήνευε όλα τα κλασικά κομμάτια ίσως και ένα σκαλί καλύτερα από τον Halford,
αυτό το άλμπουμ ήταν η τελευταία στούντιο εμφάνισή του με το σχήμα. Πλήρωσε την
εμπορική ανάγκη να δούμε ξανά τον Halford πίσω στο μικρόφωνο.
Βέβαια,
στην περίπτωσή τους αυτό είχε σταθερά θετικό πρόσημο, με μία μόνο κοιλιά στη
συνέχεια.
English:
It stands there deserted, ruined, haunted.
In the summer of 2001, while walking around downtown,
being on leave from the army, I passed by the old Rock City store on Akadimias
Street. There, among the vinyl records and the bargain offers, I saw it: a
brand-new double LP released by SPV. The price? 1,500 drachmas. An album simply
could not be cheaper back then, especially a release that had come out only a
few months earlier!
Why? Because, honestly, I liked this different
approach, with its significant departures from Jugulator four years earlier —
an album that had divided their fan base. Listening to it now, I realize it was
ahead of its time, but it was also trying to sound more “young” — if that word
is allowed — more modern Metal coming from three already older members who had
been in the band since the very first record (Tipton, Downing, Hill), one
somewhat younger member (Travis), and of course the relatively young guy
standing at the front, Tim Owens.
Those of us who were not blown away by the first glimpse
of this lineup saw this second attempt in a positive light, at least initially.
The truth, however, is more complicated and probably more disappointing.
An album that has everything the other giants — namely
Iron Maiden — have possessed since 2007 onward, but which, in the case of
Priest, nobody ever called “the best album,” a “masterpiece,” or any of the
other exaggerated and —I dare say— almost obsessive praises that are constantly
thrown at the luxurious mediocrity released by the giants of the old Heavy
Metal establishment (yes, yes, I mean everything from A Matter of Life and
Death up to the recent Senjutsu).
Having thirteen songs and a running time close to an
hour does not automatically mean you have inspiration. So, here we have a 5/10,
and that is already with a very generous perspective. If it had been released
by another up-and-coming band, it would have been closer to an 8, but we
expected much more, and it simply did not deliver.
What do you actually remember from the album? Without
immediately looking at the track titles, tell me… I only remember Machine Man
and One on One. The other eleven songs? A complete blank.
As huge as Owens’ presence was live (and it truly
was), since he performed all the classic songs perhaps even one step better
than Halford, this album was his final studio appearance with the band. He paid
the price for the commercial necessity of having Halford back behind the
microphone.
Of course, in their case, that decision had a
consistently positive outcome, with only one real dip later on.
