REVIEW: KROKUS, Dirty Dynamite

 

KROKUS, Dirty Dynamite (2013)

Sony Music

Είστε σίγουρα το ίδιο συγκρότημα!

Κάποτε οι AC/DC μετακόμισαν στην Ελβετία και, στο 17ο άλμπουμ λοιπόν των παλαιμάχων Hard & Heavy Rockers, ξαναστάζει από το αίμα των ηλεκτρικών Αυστραλών και πρώτων διδασκόντων, και στα δώδεκα κομμάτια του.

Εντάξει, η επιρροή είναι παραπάνω από εμφανής. Ποτέ δεν το αρνούνταν, άλλωστε, ήδη από τα τέλη της δεκαετίας του ’70, όταν μεταλλάχθηκαν από Progressive σε Hard Rock σχήμα, ότι οι AC/DC ήταν αγαπημένοι τους. Οπότε, αμαρτία εξομολογούμενη…

Κεφάτο ύφος, ζωντανή αίσθηση και καθαρή, διάφανη παραγωγή ήχου, με πολύ καλές στιγμές τα Hallelujah Rock ’n’ Roll, Go Baby Go, Rattlesnake Rumble, Dirty Dynamite, την πολύ διασκευασμένη εκδοχή του Help! των Beatles, Better Than Sex, Dőg Song, Bailout Blues, Yellow Mary και Hardrocking Man, σε παρασύρουν σε ένα άλμπουμ που, εντάξει, καλώς ή κακώς, δε θα μας έλειπε, αλλά, απ’ την άλλη πλευρά, δε μας χαλάει καθόλου η ύπαρξή του.

Είναι ένα καλό «παρών», για να μας θυμίζει πώς ήταν οι παλιές, καλές τους εποχές.

English:

Surely, You’re the Same Band!

At one point, AC/DC moved to Switzerland, and on the 17th album by these veteran Hard & Heavy rockers, the blood of the electric Australians and pioneering masters once again runs through all twelve tracks.

Okay, the influence is more than obvious. After all, they never denied, even as far back as the late ’70s, when they evolved from a Progressive outfit into a Hard Rock band, that AC/DC were among their favourites. So, a sin confessed…

A spirited approach, a lively feel, and a clean, crystal-clear production define the album, with Hallelujah Rock ’n’ Roll, Go Baby Go, Rattlesnake Rumble, Dirty Dynamite, their much-covered take on the Beatles’ Help!, Better Than Sex, Dőg Song, Bailout Blues, Yellow Mary, and Hardrocking Man standing out as particularly strong moments. They sweep you along through an album that, well, whether for better or worse, is not something we would necessarily miss, but, on the other hand, we certainly don’t mind having it around.

It is a good way of saying “we’re still here,” reminding us of what their good old days were like.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: THE SACRED TRUTH – Reflections of Tragedy II: The Final Confession

 

THE SACRED TRUTH – Reflections of Tragedy II: The Final Confession (2011)

Sleaszy Rider Records

There are moments in this job when the promotional sheet tries a little too hard. THE SACRED TRUTH’s debut full‑length, Reflections of Tragedy II – The Final Confession, arrives accompanied by descriptions of “screamo vocals” and other buzzwords clearly intended to impress. After so many years in the metal scene, though, the only thing that truly matters is the music itself. So I set the hype aside and focus on what the Australian band actually delivers.

This album continues the conceptual storyline first introduced on their 2009 EP Reflections of Tragedy. The band frame this release as the second and concluding chapter of that narrative—a personal, psychological descent told through progressive and modern metal elements. Structurally, the album is built like a theatrical arc: an overture, emotional peaks, confessions, and a final resolution. The tracklist supports this ambition, stretching from the brief opener “The Confessional Overture” to the nine‑minute closer “God’s Will”, which functions almost like a final monologue.

Musically, THE SACRED TRUTH operate within the broader field of progressive metal and modern melodic metal, but not in the DREAM THEATER school of technical exhibitionism. Their approach is more atmospheric and emotionally driven, reminiscent of bands who prioritize mood over virtuosity—names like Evergrey, Queensrÿche, Pain of Salvation, and even early Nevermore come to mind. The band clearly aim for introspective heaviness rather than aggressive impact.

To their credit, the musicianship is tight. The production—handled with a clean, modern aesthetic—allows the melodies to breathe and highlights the band’s strengths: emotive guitar lines, atmospheric layering, and a vocalist who leans heavily into the narrative weight of the concept. Tracks like “Cries of the Soul”, “Mourning Sun”, and “Scars” showcase their ability to craft memorable melodic themes, while “Retribution” and “Damage” flirt with a slightly darker edge.

However, the album’s greatest strength is also its limitation. Nearly all songs move along the same melodic, atmospheric path, with very few deviations into more aggressive territory. For a metal band, this imbalance becomes noticeable. The emotional tone is consistent—almost too consistent—resulting in a listening experience that risks monotony. Metal thrives on dynamic contrast, and THE SACRED TRUTH often seem reluctant to unleash the heavier side of their identity.

The conceptual ambition is admirable, but the execution leans toward the catatonic. The album is pleasant, well‑crafted, and certainly not without talent, yet it stops short of offering a fully rounded metal experience. The band’s melodic instincts are strong, but they need to embrace their aggressive potential to achieve the dramatic tension their concept demands.

The cover of Reflections of Tragedy II reinforces the album’s introspective nature: a confessional booth bathed in dim, sepia‑toned light, symbolizing guilt, memory, and emotional burden. It visually aligns with the album’s narrative arc—an internal struggle rendered as a spiritual confrontation. The imagery is effective, though it also hints at the same atmospheric heaviness that dominates the music.

Reflections of Tragedy II – The Final Confession is a thoughtful, melodic, and emotionally charged debut. THE SACRED TRUTH show clear talent and a strong sense of atmosphere, but their reluctance to balance melody with aggression keeps the album from reaching its full potential. A solid listen—especially for fans of introspective prog metal—but too subdued for those seeking a more complete metal experience.

Nick Parastatidis

Align the Tide Release New Single and Lyric Video “JINN”

 

Maltese modern metal/metalcore outfit Align the Tide have unveiled their new single and lyric video, “JINN,” marking a new chapter in the band’s evolution. The track captures a band that has rebuilt and refined its identity while embracing a heavier and more mature sound.

Formed in Malta in September 2015, Align the Tide spent their early years developing a distinctive approach shaped by a broad spectrum of heavy music. Their efforts culminated in the release of their debut album, Dead Religion, followed by extensive live activity both at home and abroad.

In May 2018, the band joined legendary industrial metal act Mushroomhead on their U.S. tour, performing in cities including San Diego, Seattle, Denver, Minneapolis and Cleveland. After further shows in Malta, Align the Tide expanded their reach into Europe with tours across Germany and the Czech Republic.

In April 2019, the band signed with Cleopatra Records, which subsequently issued Dead Religion worldwide on CD digipak and vinyl. During the pandemic, the band remained active in the studio, writing and recording their second album, Hollow, released through Cleopatra Records in August 2022.

Another major milestone followed in 2024, when Align the Tide supported deathcore heavyweights Suicide Silence at their London show, further establishing the band as one of Malta’s most prominent modern heavy acts.

Now, with a renewed lineup, a heavier and more mature sound, and new music on the horizon, “JINN” represents a statement of resilience and artistic rebirth. As the band explains, the song is “the sound of a band rediscovering its identity,” born from setbacks, lessons learned and countless hours in the studio.

With its message of perseverance, passion and unwavering belief in their vision, “JINN” sees Align the Tide moving forward without compromising their identity.

Watch the lyric video for “JINN” and experience the latest chapter in Align the Tide’s journey.

REVIEW: FACE DOWN – The Runaway

 

FACE DOWN – The Runaway (2010)

Independent

FACE DOWN’s The Runaway is a release built for listeners who want their heavy metal dirty, mean, raw, and completely unfiltered. The band leans into down‑tuned guitars, sharp and hostile riffing, and vocals that carry genuine fury — the kind that feels instinctive rather than theatrical. Across its five tracks, the EP moves with a force that doesn’t simply progress; it charges, collides, and levels everything in its path, delivering the kind of groove‑driven aggression that defines the best southern‑infused crossover metal.

Although FACE DOWN hail from France, their musical DNA is rooted firmly in the American groove‑metal tradition. Their sound channels the weight and swagger of PANTERA, the gritty attitude of BLACK LABEL SOCIETY, the sludgy southern punch of DOWN, and the hard‑rocking edge of BRAND NEW SIN. Yet FACE DOWN never fall into imitation; they filter these influences through their own perspective, creating a sound that feels familiar but distinctly theirs. The grooves are tight, the riffs are memorable, and the choruses have the kind of hook that stays with you long after the EP ends.

The production is clear, loud, and heavy — exactly what this style demands. The mix gives the guitars room to breathe while keeping the low‑end thick and punishing, enhancing the EP’s overall impact. FACE DOWN understand that groove metal lives or dies by its rhythmic weight, and The Runaway delivers that weight consistently and convincingly.

Released independently in October 2010, The Runaway was a fully self‑financed effort that circulated through underground webzines, forums, and DIY networks, helping the band build an early international following. More importantly, it became the creative blueprint for their later evolution, directly shaping their 2013 full‑length The Long Lost Future. In hindsight, this EP marks the moment where FACE DOWN solidified their identity and proved they had the potential to rise far beyond the local scene.

Ultimately, The Runaway stands as one of the most convincing European interpretations of groove/southern metal in recent memory. It guarantees satisfaction, delivers countless head‑banging hours, and showcases a band with both the ability and the drive to climb much higher if given the spotlight. Grab a beer, turn the volume up, and let FACE DOWN lead the way.

Christine  Parastatidou

REVIEW: KROKUS, The Blitz

 

KROKUS, The Blitz (1984)

Arista

Και η πτώση μόλις ξεκινά.

Ό,τι ανεβαίνει κάποτε πέφτει. Το διάδοχο του μακράν καλύτερου δίσκου τους, Headhunter (1983), είναι αυτό το αχαρακτήριστο σύνολο εμπορικών, ραδιοφωνικών επιτυχιών δεύτερης διαλογής στο σύνολό τους; Εντάξει, είναι παλιά ιστορία κι οι Ελβετοί Heavy Rockers, που λάτρεψαν τους AC/DC όσο κανένας άλλος μέχρι το One Vice at a Time (1982) και με το επόμενο άλμπουμ ισοπέδωσαν σαν οδοστρωτήρας τους πάντες, έφτασαν σχεδόν στο ναδίρ της καλλιτεχνικής τους αξίας εδώ. Σχεδόν, διότι υπάρχει και το επόμενο στούντιο άλμπουμ, A Change of Address, δύο χρόνια μετά, για να τους αποτελειώσει.

Λοιπόν, η διασκευή στο Ballroom Blitz των Άγγλων Glam Rockers της δεκαετίας του ’70, Sweet, είναι το μόνο που δε μου φταίει. Το Hot Stuff, αλλά και το Rock the Nation, είναι τα καλύτερα κομμάτια του συνολικά. Από εκεί και πέρα, άβυσσος η ψυχή των τεσσάρων μουσικών του σχήματος!

Ο Marc Storace έχει λαρύγγι, αλλά δεν το χρησιμοποιεί στο έπακρο. Ο Fernando von Arb είναι τρομερός κιθαρίστας, όπως ξέρουμε, αλλά εδώ τι συμβαίνει; Ο ρυθμικός τομέας, με τον Mark Kohler στο μπάσο και τον Jeff Klaven στα ντραμς, κάνει οτιδήποτε είναι δυνατόν, αλλά είπαμε: ένα σύνολο που έγινε χρυσό στην Αμερική. Στην Ευρώπη; Δεν αναφέρονται πληροφορίες και νομίζω αυτό λέει πολλά.

English:

And the Downfall Is Only Just Beginning

Whatever rises must eventually fall. Is the follow-up to their by far superior Headhunter (1983) really this undistinguished collection of second-rate commercial, radio-friendly hits? Well, it is an old story, and the Swiss Heavy Rockers, who worshipped AC/DC like no one else up to One Vice at a Time (1982) and then ran roughshod over everyone with the following album, had almost reached the nadir of their artistic worth here. Almost, because two years later they had their next studio album, A Change of Address, waiting to finish the job.

That said, their cover of Ballroom Blitz by the English Glam Rockers Sweet, from the 1970s, is the one thing I cannot fault. Hot Stuff, along with Rock the Nation, are the best tracks on the album by far. Beyond that, the inner workings of these four musicians are a mystery!

Marc Storace has the pipes, but he does not make the most of them. Fernando von Arb is a terrific guitarist, as we know, but what is going on here? The rhythm section, with Mark Kohler on bass and Jeff Klaven on drums, does everything it possibly can, but as I said: this was a band that went Gold in America. In Europe? No information is mentioned, and I think that says a lot.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: BATTLEROAR, Blood Of Legends

 

BATTLEROAR, Blood Of Legends (2014)

Cruz del Sur Music

Από το επικό έως το φολκλορικό, ένας δίσκος δρόμος.

Οι Battleroar έχουν χαράξει το όνομά τους στην αναγέννηση της ελληνικής Heavy/Epic Metal σκηνής των αρχών του 21ου αιώνα. Τα δύο πρώτα τους άλμπουμ όργωσαν τα αφτιά μας. Στα μέσα, λοιπόν, της δεύτερης δεκαετίας, κυκλοφορούν αυτόν εδώ τον δίσκο, αγγίζοντας το μεγαλείο του πρόσφατου παρελθόντος τους, που, βέβαια, παραμένει αξεπέραστο.

Η σύνθεση του σχήματος έχει κι αυτή, με το πέρασμα του χρόνου, υποστεί τις αλλαγές της. Ο Gerrit Mutz στο μικρόφωνο, ο Σταύρος Αϊβαλιώτης στο μπάσο, ο Νίκος Παπαδόπουλος στα ντραμς, ο Κώστας Τζώρτζης και ο Ανδρέας Σωτηρόπουλος στις κιθάρες και, τέλος, ο Αλέξης Παπαδιαμάντης στο βιολί (κι όμως, ναι!), που προσθέτει έναν αέρα φολκ στα κομμάτια του άλμπουμ.

Αψεγάδιαστη ποιότητα παραγωγής και πολύ καλές συνθέσεις συμπληρώνουν ξανά το πακέτο ενός δίσκου άξιου να φέρει με περηφάνια το λογότυπό τους. Η «βοή της μάχης, λοιπόν, και το αίμα των θρύλων» περιλαμβάνει μερικά πλέον κλασικά κομμάτια, όπως τα The Swords Are Drawn, Poisoned Well, Blood of Legends, Immortal Chariot, The Curse of Medea, Valkyries Above Us, Exile Eternal και Relentless Waves, που θα σας ταξιδέψουν ξανά και ξανά σε μέρη ηρωικής φαντασίας.

English:

From Epic to Folk, One Album Away.

Battleroar have carved their name into the revival of the Greek Heavy/Epic Metal scene in the early years of the 21st century. Their first two albums stormed their way into our ears. By the middle of the second decade, they released this album, coming close to matching the greatness of their more recent past, which, of course, remains unsurpassed.

The band’s lineup had also undergone its share of changes over the years. Gerrit Mutz on vocals, Stavros Aivaliotis on bass, Nikos Papadopoulos on drums, Kostas Tzortzis and Andreas Sotiropoulos on guitars, and, finally, Alexis Papadiamantis on violin (yes, indeed!), adding a folk flavor to the album’s songs.

Flawless production and very strong compositions once again complete the package of an album worthy of proudly bearing the Battleroar logo. The rumble of battle and the blood of legends features several tracks that have by now become classics, such as The Swords Are Drawn, Poisoned Well, Blood of Legends, Immortal Chariot, The Curse of Medea, Valkyries Above Us, Exile Eternal, and Relentless Waves, taking you time and again to realms of heroic fantasy.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: WITCHUNTER – Crystal Demons

 

WITCHUNTER – Crystal Demons (2010)

High Roller Records

The latest trend in the underground metal scene is a wave of bands obsessed with recreating the early ’80s atmosphere — not only in sound, but in image, aesthetics, and attitude. Many of them loudly proclaim their devotion to the N.W.O.B.H.M. movement, and while the influence is real, the originality often isn’t. They’re fun to watch, sure, but after a point you start wondering whether the scene really needs yet another group of copy‑cats. Personally, I’ve always preferred bands like WOLF or 3 INCHES OF BLOOD, who channel the ’80s spirit while still injecting their own identity into the formula.

WITCHUNTER, hailing from Italy, belong to the other category: bands that reproduce the early ’80s metal blueprint almost to the letter. Their debut “Crystal Demons” first appeared in September 2010 through My Graveyard Productions, and now receives a well‑deserved vinyl reissue by High Roller Records, a label known for championing traditional heavy metal and reviving obscure gems from the past.

The band’s influences are worn proudly and openly: ANGEL WITCH, HOLOCAUST, and the dirt‑and‑speed attitude of MOTÖRHEAD form the backbone of their sound. The album’s tracklist — Shadow of the Night, Speed Killer, Princess of Hell, Witchhunterd — reads like a love letter to the era, and the production deliberately mirrors that raw, unpolished charm associated with early NWOBHM demos and first‑wave European heavy metal.

The album also features “Hellbound,” a faithful cover of TYGERS OF PAN TANG’s “Hellbound” from the landmark Spellbound LP (1981). It’s a fitting choice, since Tygers were one of the defining forces of the NWOBHM era WITCHUNTER worship so intensely. Their rendition stays close to the original, further underlining the band’s devotion to early‑’80s British steel — though it also highlights the broader issue: WITCHUNTER are far more comfortable emulating their heroes than carving out their own identity.

Historically, it’s worth noting that Italy had a surprisingly active underground metal scene in the late ’70s and early ’80s, with bands like Death SS, Black Hole, and Dark Quarterer shaping a uniquely occult and theatrical identity. WITCHUNTER, however, choose not to tap into that heritage; instead, they aim squarely at the British template. Their visual aesthetic — leather, studs, Marshall stacks, and a logo straight out of 1982 — reinforces that mission.

As for the music itself, “Crystal Demons” is undeniably fun if you’re a devotee of the era. The riffs are energetic, the choruses are catchy, and the band clearly understands the mechanics of classic heavy metal. But the album suffers from two major issues: lack of variety and lack of personality. Many tracks follow the same structural pattern, making the listening experience predictable even for fans of the style. The band reproduces the sound faithfully, but rarely adds anything of their own — no twist, no signature element, no moment where you say “this is unmistakably WITCHUNTER.”

It’s enjoyable, yes. It scratches that nostalgic itch. But it’s not the kind of album that will thrill you or demand repeated listens. Dedicated NWOBHM collectors will appreciate it; everyone else will likely move on to more distinctive releases.

In short: Crystal Demons is a lovingly crafted tribute to early ’80s metal — but a tribute is all it remains.

Nick Parastatidis