REVIEW: HAMMERFALL, Hammer Of Dawn

 

HAMMERFALL, Hammer Of Dawn (2022)

Napalm Records

Πιστεύουν σε αυτό που κάνουν, άλλη μια φορά.

Τείνουν να χαρακτηριστούν ως οι Σουηδοί Manowar. Αρκετοί έχουν αφήσει πίσω τους το σχήμα ήδη από το τρίτο ή τέταρτο άλμπουμ, αλλά παρ' όλα αυτά, αφού έκαναν κι αυτοί την «κοιλίτσα» τους μετά τα μέσα της πρώτης δεκαετίας του 21ου αιώνα, σε αυτό το άλμπουμ (και το τέταρτο κατά σειρά που το πιστεύω ακράδαντα) για άλλη μια φορά «παίζουν παπάδες».

Για όσους ρομαντικούς του πραγματικού Power Metal με μια δόση επικής χροιάς υπάρχουν εκεί έξω (και υπάρχουμε αρκετοί), το πιο πρόσφατο άλμπουμ τους αποτελεί ακόμα μία ευχάριστη ρετρό σταγόνα μεταλλικού μεγαλείου από τα παλιά.

Υπό αυτό το πρίσμα, το "Hammer of Dawn" σαν δίσκος έχει και πάλι αρκετές καλές στιγμές, λίγες μέτριες και καθόλου κακές. Το αρχηγικό δίδυμο των Joacim Cans στα φωνητικά και Oscar Dronjak στην κιθάρα συνεχίζει, μαζί με τους συνεργάτες του, αυτό που κάνει εδώ και χρόνια — και, κατά τη γνώμη μου, το κάνει καλά.

Τα "Brotherhood", "Hammer of Dawn", "No Son of Odin", "Venerate Me", "Reveries Too Old to Die Young", "Live Free or Die" και "No Mercy" τα βρίσκω, περισσότερο υποκειμενικά παρά αντικειμενικά, αρκετά τίμιες στιγμές μέσα στον δίσκο.

Πείτε με για άλλη μια φορά οπαδό κι όχι απλώς φίλο. Θα το αντέξω!

English:

They believe in what they do, once again.

They are often regarded as the Swedish Manowar. Many people had already left the band behind after their third or fourth album, but nevertheless, after they too experienced a bit of a decline after the mid-2000s, with this album (and this is the fourth time in a row that I strongly believe it), they prove once again that they can truly deliver.

For all the romantics of true Power Metal with an epic touch out there (and there are quite a few of us), their latest album is yet another pleasant retro drop of the old-school metal grandeur we grew up with.

Seen from this perspective, Hammer of Dawn once again offers several great moments, a few average ones, and absolutely no bad tracks. The leading duo of Joacim Cans on vocals and Oscar Dronjak on guitar continues, alongside their collaborators, to do what they have been doing for years — and, in my opinion, they are doing it well.

"Brotherhood", "Hammer of Dawn", "No Son of Odin", "Venerate Me", "Reveries Too Old to Die Young", "Live Free or Die" and "No Mercy" are, more from a subjective point of view than an objective one, some truly honest and worthy moments on this album.

Call me a fanboy once again and not merely a friend. I can handle that!

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: DARK REFLEXIONS - Beyond Obscurity

 

DARK REFLEXIONS - Beyond Obscurity

Silent Noise Records

DARK REFLEXIONS should consider themselves among the very few and fortunate bands that, shortly after their formation and without having released any demos or independent material, managed to secure a record deal and deliver their debut album within roughly a year. Of course, this cannot be attributed to luck alone; the talent, skills and dedication of the band members are clearly present. However, it is also true that they chose to operate within the melodic death metal/metalcore genre, a style that currently enjoys great popularity and a strong presence worldwide. This can certainly be an advantage for emerging bands, but at the same time it creates an additional challenge, as they need to offer something fresh, distinctive and memorable in order to rise above the countless acts that populate the scene.

With “Beyond Obscurity”, DARK REFLEXIONS prove that they possess the qualities required to make a name for themselves within this genre. Their compositions are built around the necessary intensity and aggression, yet they never sacrifice melody or atmosphere. The band successfully combines crushing, heavy sections with more emotional and melodic moments, while the use of acoustic guitars and carefully crafted passages provides a dynamic contrast that leads into some truly powerful and brutal outbursts. Add to this the angry and passionate vocal delivery, as well as the incorporation of progressive elements and unexpected twists, and the result is an album that offers much more than straightforward aggression.

The combination of the band's energy, strong dynamics and excellent sense of melody, alongside a solid production and an appealing cover artwork, makes “Beyond Obscurity” a very enjoyable release for fans of modern melodic death metal and metalcore. DARK REFLEXIONS may still be at the beginning of their journey, but this debut shows a band with potential, ambition and the ability to leave a lasting impression.

Christine  Parastatidou

Dark Reflexions · Beyond Obscurity

Tsar Stangra Announce Major Lineup Changes

 

Bulgarian pagan black/folk metal band Tsar Stangra has announced a significant lineup change, marking the beginning of a new chapter in the band's history. Following a decade of perseverance and the release of their sophomore album, the band explained that the decision was driven by the members' evolving long-term goals.

Tsar Stangra expressed their sincere gratitude to departing members Cindy Tecca, Wayne Barr, Simon Vaillancourt-Girard, Samuel Paré, and Olivier Vaillancourt-Girard for their commitment and invaluable contributions, particularly to the band's latest album.

At the same time, the band introduced its revamped lineup, welcoming Alexandre Guay (Rite of Decay) and Francis Wafer on guitars, along with Louis-Charles Drolet (Rite of Decay, Seventh) on drums. According to the band, the new members have already been rehearsing together for nearly a year and have written more than thirty minutes of new material, signaling an exciting new creative direction for Tsar Stangra.

REVIEW: DEFILED - In Crisis

 

DEFILED - In Crisis (2011)

Season Of Mist Records

Japan has never been among the countries most commonly associated with heavy metal, and as a result its extreme metal scene has often remained under the radar. Those willing to explore it, however, will quickly discover that it has produced a respectable number of noteworthy acts, generally divided between melodic and highly brutal approaches. DEFILED have always belonged firmly to the latter camp, as their name alone suggests, and with In Crisis they returned almost eight years after the release of their previous full-length album.

From beginning to end, In Crisis is built around one central objective: uncompromising brutality. Aggression, relentless speed, crushing riffs and an overwhelming sense of violence dominate every aspect of the record, while everything else is clearly treated as secondary. DEFILED leave no room for subtlety, atmosphere or emotional variation, instead opting for a constant barrage of bludgeoning death metal accompanied by the expected gore-inspired aesthetics.

The problem, at least from my perspective, is that the album rarely moves beyond that single idea. I've always believed that even the most extreme forms of metal benefit from memorable melodies or contrasting moments that give the music depth, balance and identity. In Crisis offers very little of that. As a result, the songs gradually begin to blend together, making it increasingly difficult to distinguish one from another. What initially feels intense eventually becomes repetitive, and the relentless aggression loses much of its impact through the absence of variation.

There is no denying that DEFILED are highly capable musicians. Their technical ability and precision are evident throughout the album, but they rarely use those strengths to expand their songwriting beyond sheer violence. Instead, In Crisis remains focused almost exclusively on delivering maximum intensity, making it feel extreme simply for the sake of being extreme rather than serving a broader musical purpose.

Ultimately, In Crisis is a straightforward brutal death metal album aimed squarely at listeners who want relentless ferocity with virtually no compromise. Fans who appreciate unfiltered violence and crushing heaviness above all else will likely find plenty to enjoy here. Those, however, who expect memorable songwriting, dynamic arrangements or even modest melodic touches may find the experience too one-dimensional to leave a lasting impression.

Christine  Parastatidou

REVIEW: DEATH, Symbolic

 

DEATH, Symbolic (1995)

Roadrunner Records

Θάνατος εδώ και τριάντα χρόνια.

Έχοντας υπόψη ότι αυτό ήταν το πρώτο άλμπουμ των DEATH που άκουσα ως παιδί, κάπου το 1997, θα έλεγα πως έκανα την καλύτερη δυνατή αρχή!

Οι DEATH της δεκαετίας του '90 αποτελούσαν ένα μοναδικό μείγμα ακραίου και προοδευτικού Metal, με τη ζυγαριά να γέρνει περισσότερο προς το δεύτερο. Το "Symbolic" είναι το επιστέγασμα και η απόλυτη τελειοποίηση αυτής της μουσικής συνταγής, η οποία ανανέωσε αισθητά το ήδη κατασταλαγμένο Death Metal. Ένα ιδίωμα που τότε έδειχνε να έχει αρχίσει να λαχανιάζει, προσπαθώντας να αντισταθεί στην ξέφρενη επέλαση του νεότερου και ακόμη πιο ακραίου δεύτερου κύματος του Black Metal, το οποίο είχε ήδη αρχίσει να του κλέβει τη δόξα από το 1992 περίπου.

Το υπερσυγκρότημα των DEATH είχε πλέον φτάσει στην ιδανική του μορφή. Πλάι στον αείμνηστο ηγέτη, τραγουδιστή και κιθαρίστα Chuck Schuldiner, συναντάμε τον Bobby Koelble στη lead κιθάρα, τον Steve Di Giorgio και τον Kelly Conlon στο μπάσο, καθώς και τον αχανή Gene Hoglan πίσω από τα τύμπανα, να ισοπεδώνει κυριολεκτικά κάθε δέρμα που βρίσκεται μπροστά του.

Για μένα, πρόκειται για έναν δίσκο που βαθμολογείται με απόλυτο 10/10, οπότε πραγματικά δεν χρειάζεται να προστεθεί τίποτα άλλο. Απλώς τον βάζεις στο στερεοφωνικό, πατάς το play και χάνεσαι μέσα σε σκοτεινά, προοδευτικά αριστουργήματα όπως τα "Symbolic", "Zero Tolerance", "Empty Words", "Sacred Serenity", "1,000 Eyes", το υπέρ-κλασικό "Crystal Mountain" και το συγκλονιστικό "Perennial Quest".

English:

Death for Thirty Years.

Considering that this was the first DEATH album I ever heard as a kid, sometime around 1997, I'd say I couldn't have asked for a better introduction.

The DEATH of the '90s represented a unique fusion of extreme and progressive Metal, with the balance leaning increasingly toward the latter. "Symbolic" stands as the culmination and ultimate refinement of that musical formula, one that breathed new life into an already well-established Death Metal scene. At the time, the genre seemed to be running out of steam, struggling to keep pace with the furious rise of the younger and even more extreme second wave of Black Metal, which had already begun stealing much of its spotlight around 1992.

By this point, DEATH had evolved into the ultimate supergroup. Alongside the late mastermind, vocalist, and guitarist Chuck Schuldiner were lead guitarist Bobby Koelble, bassists Steve Di Giorgio and Kelly Conlon, and the colossal Gene Hoglan behind the drum kit, absolutely demolishing every drumhead placed in front of him.

As far as I'm concerned, this is a flawless 10/10 album, so there really isn't much more to say. You simply put it on your stereo, press play, and lose yourself in dark, progressive masterpieces such as "Symbolic," "Zero Tolerance," "Empty Words," "Sacred Serenity," "1,000 Eyes," the immortal classic "Crystal Mountain," and the breathtaking "Perennial Quest."

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: DARKTHRONE, Total Death

 

DARKTHRONE, Total Death (1995)

Peaceville Records

Πάγος, σκοτάδι, άδειοι πλανήτες.

Τουλάχιστον άδειοι πλανήτες μέσα σε ένα νεκρό διαστημικό τοπίο απεικονίζονταν στο αρχικό εξώφυλλο αυτού, του έκτου άλμπουμ των ιστορικών Νορβηγών black metallers. Η πρόσφατη επανέκδοση, που ευτυχώς το έκανε ξανά διαθέσιμο, υιοθετεί ένα διαφορετικό εξώφυλλο, με ένα σκοτεινό νορδικό δάσος στην άκρη ενός γκρεμού. Όμως, αυτό που πραγματικά έχει σημασία είναι η μουσική, και αυτή παραμένει αναλλοίωτη.

Το δίδυμο των Fenriz και Nocturno Culto κάνει για άλλη μία φορά αυτό που γνωρίζει καλύτερα από τον καθένα: μονολιθικό, ωμό και απέριττο Black Metal, αυτή τη φορά με μια πιο «ανθρώπινη» παραγωγή, η οποία σίγουρα δεν απογοήτευσε κανέναν από τους φίλους του συγκροτήματος εκείνη την εποχή.

Προσωπικά, πρόκειται για το πιο αγαπητό στα δικά μου αυτιά άλμπουμ της μεσαίας περιόδου τους. Περιλαμβάνει συνθέσεις που φέρνουν αμέσως στον νου τους μεγάλους πρωτοπόρους Celtic Frost, Bathory, Destruction και Venom, κάτι απολύτως φυσιολογικό, αφού αυτές υπήρξαν ανέκαθεν οι σταθερές επιρροές των DARKTHRONE. Τραγούδια όπως τα "Earth's Last Picture", "Blackwinged", "Gather for Attack on the Pearly Gates", "Black Victory of Death", "Blasphemer" και "The Serpent's Harvest" συγκαταλέγονται πλέον δικαίως στις κλασικές στιγμές της δισκογραφίας τους.

English:

Ice, darkness, empty planets.

At least that is what the original cover artwork of this, the sixth album by the legendary Norwegian black metallers, depicted: barren planets suspended in a lifeless cosmic landscape. Fortunately, the recent reissue has made the album available once again, although it replaces the original artwork with a dark Nordic forest perched on the edge of a cliff. In the end, however, what truly matters is the music, and that remains untouched.

The duo of Fenriz and Nocturno Culto once again do what they know better than anyone else: delivering monolithic, raw and stripped-down Black Metal, this time with a more "human" production that undoubtedly failed to disappoint any of the band's followers back then.

Personally, this is my favourite album from DARKTHRONE's middle period. It contains songs that instantly bring to mind the pioneering spirit of Celtic Frost, Bathory, Destruction and Venom, which is hardly surprising since those bands have always been DARKTHRONE's most enduring influences. Tracks such as "Earth's Last Picture", "Blackwinged", "Gather for Attack on the Pearly Gates", "Black Victory of Death", "Blasphemer" and "The Serpent's Harvest" have rightfully earned their place among the undisputed classics of the band's catalogue.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW:NORDAGUST - In the Mist of Mornings

 

NORDAGUST - In the Mist of Mornings

Karisma Records

I'll begin this review in a rather unorthodox way: In the Mist of Mornings is an album intended exclusively for truly open-minded listeners. Those expecting anything resembling conventional metal, despite the band's occasional association with the genre, are likely to be left puzzled. NORDAGUST have little in common with metal as it is generally perceived, instead operating in the same broad territory as those atmospheric acts that favor melancholy, introspection, and mood over heaviness and aggression.

Although the band employs traditional rock instrumentation, their sound is enriched by an impressive array of unconventional instruments, including flute, dulcimer, sallow flute, mouth harp, musical saws, and kettles. The result is an evocative blend of symphonic progressive rock infused with strong folk and medieval influences. It is a rich and carefully layered musical palette that places atmosphere above all else.

In the Mist of Mornings may be NORDAGUST's debut full-length release, but the band itself has existed for many years, and that experience is evident throughout the album. Every composition seems designed to build immersive sonic landscapes, evoking feelings of melancholy, isolation, and almost catatonic stillness. The melodies form the foundation of the music, while the interplay of multiple male and female vocalists enhances the dreamlike quality of the material, giving the album a distinctive identity.

Its greatest weakness, however, lies in the songwriting itself. Despite the abundance of instruments, textures, and vocal arrangements, many of the compositions share a remarkably similar atmosphere and structure, making them blend into one another. As a result, the listening experience can become somewhat repetitive, especially over the course of the album.

Even so, In the Mist of Mornings remains a very accomplished debut that showcases a band with a fully realized artistic vision. There is little here that feels underdeveloped or tentative. The album succeeds admirably at creating powerful emotional landscapes, but it deliberately sacrifices energy and immediacy in favor of contemplation and mood. This is music that demands patience and a particular state of mind.

Ultimately, this is an album made for a very specific audience—listeners who appreciate soundtrack-like, deeply atmospheric music where emotion outweighs momentum. While I can certainly admire NORDAGUST's artistic ambition and craftsmanship, this is one of those rare cases where I respect the music far more than I personally enjoy it. It is special music for special people, and I have to admit that I don't quite belong to that audience.

Christine  Parastatidou