REVIEW: SNOWBLIND – Prisoners of Planet Earth

 

SNOWBLIND – Prisoners of Planet Earth (2011)

Sleaszy Rider Records

SNOWBLIND return with their fourth full‑length album, Prisoners of Planet Earth, released through Sleaszy Rider Records, and they do so with the confidence of a band that knows exactly what kind of heavy metal it wants to deliver. After listening to countless metal albums over the years — both as a fan and as a writer — I’ve realized that the records that stay with me are the ones built on memorable melodies, sharp riffs, and solos with real personality, the kind JUDAS PRIEST have always championed. SNOWBLIND embrace that same spirit, and it’s the main reason this album became such a pleasure to revisit.

What makes the band stand out is their distinctive blend of traditional heavy/power metal with a darker emotional tone. At times, that shadowy atmosphere brings to mind SENTENCED during their Amok and Down era, not because SNOWBLIND imitate them, but because they channel a similar sense of melancholy and weight. If you’re looking for traditional metal that carries both melody and darkness, Prisoners of Planet Earth is an album that will reward you from the very first spin.

One of the most interesting aspects of this release is how fresh and unchanged the band sounds despite the five‑year gap since their previous album. SNOWBLIND remain true to their identity: riff‑driven, melodic, and emotionally charged. The album also carries a small but meaningful piece of Greek metal history. The track “Diva” is a cover of a song originally performed by NIGHTFALL, the former band of SNOWBLIND guitarist Mike G., creating a bridge between two eras of Greek metal through one musician’s creative journey. The album includes another cover as well: “We Are the Future,” originally by Vice Human, one of Greece’s earliest heavy metal bands. These choices reveal SNOWBLIND’s deep respect for the roots of the Greek scene and their desire to honor it.

A few additional details give the album an unexpected emotional weight. The artwork was created by Mike Schindler, who passed away in 2016, making this release one of the last projects to feature his work. The band also produced a music video for the title track “Prisoners on Planet Earth,” a rare move for them and a highlight in their visual catalog. The recording and mixing were handled by Mike Galiatsos, reinforcing how SNOWBLIND operate as a tight, self‑sufficient creative unit.

The more I listen to this album, the more it grows on me. SNOWBLIND have always been a band whose material reveals new layers with repeated plays, and Prisoners of Planet Earth is no exception. Tracks like “In the Name of God,” “Human God,” “The Road Has No Name,” “Macedonia (Forever Child of Greece)” — an epic highlight — and “Modern Killer” showcase the band’s ability to balance melody, heaviness, and atmosphere with confidence.

Prisoners of Planet Earth feels familiar yet fresh, rooted in traditional heavy metal but enriched with a darker emotional tone. SNOWBLIND prove once again that they are one of the Greek scene’s most consistent and underrated forces, delivering an album that deserves the attention of anyone who values metal with heart, melody, and a touch of shadow.

Nick  Parastatidis

REVIEW: U.F.O., Force It

 

U.F.O., Force It (1975)

Chrysalis

Απ’ το καλό στο καλύτερο

Πάνε περίπατο όποιες χίππικες νότες είχαν απομείνει στο Phenomenon. Το επόμενο άλμπουμ των ανερχόμενων U.F.O., το τέταρτο συνολικά, τους βάζει εντελώς στη σωστή τροχιά. Βαρύ, ηλεκτρικό, με ρυθμούς που καλπάζουν, μπαλάντες· όλα τα έχει!

Σε μια εποχή που τα παλιά rock σχήματα βρίσκουν τοίχο λόγω της ανόδου άλλων, νέων εμπορικών υποειδών, όπως η χορευτική disco, το funk, αλλά κυρίως το εισαγόμενο —προσέξτε πώς το διατυπώνω, μη τσακωθούμε— εκ της Νέας Υόρκης punk rock, που θα εξαπλωθεί στη Μ. Βρετανία τάχιστα (και δεν θέλω ενστάσεις περί τούτου), η μπάντα, αντικειμενικά, αν και ανήκει στη γενιά που «κινδυνεύει», ακριβώς επειδή βαραίνει εδώ αισθητά, όχι απλά διασώζεται, αλλά έχει στη φαρέτρα της ένα από τα καλύτερα άλμπουμ της δεύτερης εποχής της, αυτής με τον πιτσιρικά Γερμανό κιθαρίστα Michael Schenker, δηλαδή.

Αφήστε δε το εξώφυλλο! Αν είχε βγει σήμερα, απλά θα κοβόταν πριν τυπωθεί ο δίσκος καν! Η πραγματικά εμετική εποχή που ζούμε έχει ανάγει το δήθεν σε πολιτικά ορθό και το ζήτημα της τέχνης απομένει δεύτερο και ξερό.

Εν πάση περιπτώσει, η ουσία είναι η εξής: Let It Roll, Shoot Shoot, High Flyer, Out in the Street, Mother Mary, Too Much of Nothing, Dance Your Life Away, This Kid’s / Between the Walls. Οπότε, θέλετε κάτι άλλο;

Όχι!

Ωραία, είμαστε σύμφωνοι.

English:

From Good to Better

Whatever hippie notes were still lingering on Phenomenon are gone. The next album by the rising U.F.O., their fourth overall, puts them firmly on the right track. Heavy, electric, driven by galloping rhythms and ballads—it has everything!

At a time when the old rock bands were beginning to hit a wall due to the rise of newer commercial subgenres such as dance-oriented disco, funk, and, above all, the imported—watch how I put this, we don't want to start an argument—New York punk rock, which would spread rapidly across the UK, the band, objectively speaking, belongs to a generation that was “under threat.” Yet precisely because they noticeably turn up the heaviness here, they do more than simply survive: they have in their arsenal one of the finest albums of their second era, the one featuring the young German guitarist Michael Schenker.

And as for the cover—don't even get me started! If it had been released today, it would probably have been censored before the record even made it to the pressing plant! The truly nauseating era we live in has elevated pretension to the status of political correctness, while the question of art has been pushed aside, completely and utterly.

In any case, the point is this: Let It Roll, Shoot Shoot, High Flyer, Out in the Street, Mother Mary, Too Much of Nothing, Dance Your Life Away, This Kid’s / Between the Walls. So, do you want anything else?

No!

Good. Then we're in agreement.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: U.F.O., Phenomenon

 

U.F.O., Phenomenon (1974)

Chrysalis

Είναι τρελός ο Γερμανός.

Στο τρίτο άλμπουμ των Άγγλων prog/space rockers, όπως ήταν μέχρι τότε, συμβαίνει η έκρηξη. Στη θέση του Mick Bolton στην κιθάρα έρχεται ένας ξανθός, μακρυμάλλης νεαρός, ονόματι Michael Schenker, ο οποίος, για λίγο καιρό μαζί με τον μεγάλο αδερφό του Rudolf, ήταν στους ακόμη άγνωστους τότε Scorpions. Η ασπρόμαυρη Flying V κιθάρα του γίνεται, από εδώ και μπρος, σήμα κατατεθέν!

Εδώ έχουμε ένα ορόσημο στην ηλεκτρική hard rock μουσική: τα σπάργανα της επόμενης μετάλλαξης, που το 1978 ένας άσημος αρθρογράφος του Sounds θα ταμπελοποιήσει για πάντα ως Heavy Metal, σε αυτό το άλμπουμ δένονται μεταξύ τους και αποκτούν υπόσταση. Τα λίγα ψυχεδελικά ίχνη που συναντώνται θα εξαφανιστούν σύντομα, παραχωρώντας τη θέση τους σε περισσότερα ηλεκτρικά riffs.

Ο ύμνος Doctor Doctor (διασκευασμένος και από τους Iron Maiden με τον Blaze Bayley το ’95), ο έτερος ύμνος Rock Bottom, τα Built for Comfort, Space Child, το εναρκτήριο Oh My και το Too Young to Know υπογράφουν το μέλλον.

Οι έτεροι τρεις κύριοι, Phil Mogg, Pete Way και Andy Parker, πλαισιώνουν τον νέο κιθαρίστα τους με συνθέσεις που όχι μόνο θέτουν, αλλά και συνταράσσουν τα θεμέλια.

English:

The German Is Crazy

On what was, up to that point, the third album by the English prog/space rockers, the explosion happens. Taking Mick Bolton’s place on guitar is a young, blond, long-haired guitarist named Michael Schenker, who, for a brief period, had been in the then still-unknown Scorpions alongside his older brother Rudolf. His black-and-white Flying V guitar would, from this point onward, become his trademark.

Here we have a landmark in electric hard rock: the early seeds of the next mutation—the one that, in 1978, an obscure Sounds writer would forever label Heavy Metal—come together and take shape on this album. The few psychedelic traces that remain would soon disappear, giving way to a heavier emphasis on electric riffs.

The anthem “Doctor Doctor” (also covered by Iron Maiden with Blaze Bayley in ’95), the equally anthemic “Rock Bottom,” along with “Built for Comfort,” “Space Child,” the opening “Oh My,” and “Too Young to Know” all point the way toward the future.

The other three gentlemen—Phil Mogg, Pete Way, and Andy Parker—surround their new guitarist with compositions that not only lay the foundations, but shake them to their core.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: MONDHAURN – Maze of Desolation

 

MONDHAURN – Maze of Desolation (2010)

Independent Release

The United States may be globally associated with heavy/power metal, industrial hybrids, and modern mainstream trends, yet its extreme underground remains one of the most fertile and uncompromising scenes worldwide. Mondhaurn stands as a striking testament to that reality—a project that channels the raw, frostbitten essence of black metal with conviction and craft.

Although often referred to as a band, Mondhaurn is in fact a one‑man creation. Multi‑instrumentalist Marius Kozlowski handles every aspect of the music, from composition to performance and production. This approach places him firmly within a long‑standing black‑metal tradition: seminal acts such as Burzum, Xasthur, Leviathan, and Nargaroth began as solitary visions, proving that isolation can be a creative force rather than a limitation. Kozlowski embraces that lineage wholeheartedly.

Maze of Desolation is an EP built on addictive, tightly‑woven compositions that balance bleak atmosphere with memorable melodic hooks. The riffs carry that unmistakable icy aura—cold, desolate, and steeped in darkness—yet they never fall into monotony. Instead, Kozlowski injects each track with inspired guitar lines and surprisingly catchy motifs, demonstrating a keen understanding of black‑metal dynamics: tension, release, and emotional immersion.

The production is notably strong for an independent release. Rather than burying details under lo‑fi murk, Mondhaurn opts for clarity without sacrificing authenticity. Every layer—riff, vocal, drum pattern—remains audible, allowing listeners to fully explore the EP’s chilling sonic landscape. The cover artwork complements the music perfectly, echoing the EP’s themes of isolation, frost, and inner turmoil.

The American black‑metal scene has grown significantly over the past two decades, with respected acts such as Panopticon, Wolves in the Throne Room, Uada, and Lamp of Murmuur gaining international recognition. Mondhaurn fits comfortably within this wave of artists who honor the genre’s roots while forging their own identity. Kozlowski’s work carries that same spirit of dedication: primitive where it needs to be, sharp and melodic where it matters, always true to the genre’s core.

Maze of Desolation is a release that both purists and modern black‑metal fans can appreciate. Its atmosphere is beautifully cold and gripping—an immersive experience that proves Mondhaurn keeps the black flame burning bright.

Christine  Parastatidou

REVIEW: OVERTURES – Rebirth

 

OVERTURES – Rebirth (2011)

Sleaszy Rider Records

With Rebirth, their second full‑length album, Italian melodic heavy/power metallers Overtures take a confident step forward, refining their identity while honoring the genre’s European lineage. My first encounter with the band was through their contribution to the official Running Wild tribute ReUnation, where their spirited take on “Pirate Song” hinted at a group capable of more than simple imitation. Rebirth confirms that promise.

Overtures draw inspiration from the classic pillars of European power metal — Helloween, early Edguy, and Stratovarius — yet they filter these influences through their own prism. The result is not a derivative homage but a vibrant fusion of uplifting melodies, sharp riffing, and a modern production aesthetic. Even as someone who isn’t naturally drawn to this particular sound, I found myself enjoying the album’s energy and craftsmanship.

A major highlight is vocalist Michele Guaitoli, whose performance stands at the center of Rebirth. His tone and phrasing evoke a compelling blend of Michael Kiske and Tobias Sammet, bringing both clarity and theatrical flair to the material. Guaitoli’s later career confirms the strength of his talent: he would go on to become the lead singer of Visions of Atlantis and Temperance, establishing himself as one of Italy’s most versatile metal vocalists.

Instrumentally, the album is tight and dynamic. Guitarists Daniele Piccolo and Marco Falanga deliver crisp, melodic lines supported by a rhythm section that keeps everything grounded. The production — recorded and mixed at DM Studio in Gorizia and mastered at the legendary Finnvox Studios in Helsinki by Mika Jussila (known for his work with Nightwish, Edguy, Children of Bodom, HIM, and more) — gives the album a polished, modern sheen without sacrificing its metallic bite.

One particularly interesting detail: the track “Delirium” unfolds in four conceptual parts — Inferno, Purgatory, Ascension, and Paradise — each featuring guest vocalists from various European metal acts, including members of Elvenking, Halor, and Insanity Fair. This multi‑section structure adds a theatrical dimension rarely seen in second‑album releases.

Stylistically, Rebirth is exactly what fans of melodic power metal crave. If you’re not into the genre, this album won’t convert you — but if you are, it’s a release you simply shouldn’t overlook. The songwriting is catchy, the choruses memorable, and the musicianship consistently strong.

Standout Tracks:

“Here We Fall” – A powerful opener with a dramatic flair; its atmosphere even recalls Bruce Dickinson’s solo work.

“You Can’t Spit on Me” – Sharp, energetic, and built around a defiant chorus.

“My Name Is Fear” – Fast, melodic, and quintessentially European power metal.

Rebirth is a confident, well‑crafted album that shows Overtures stepping into their own identity. It’s melodic, uplifting, and executed with professionalism that exceeds expectations for a sophomore release. Fans of the genre will find plenty to love — and even skeptics may be surprised by how enjoyable it is.

Nick Parastatidis

REVIEW: U.F.O., Lights Out

 

U.F.O., Lights Out (1977)

Chrysalis

Καλά το πήγαινε ο Μιχαλάκης.

Ήτοι ο κ. Michael Schenker, μικρός αδερφός του Rudolf των Scorpions. Γερμανός αστέρας κιθαρίστας, ανάμεσα σε τέσσερις Άγγλους (Phil Mogg, Paul Raymond, Pete Way, Andy Parker), σε ένα από τα πιο αντιπροσωπευτικά άλμπουμ της προ-heavy metal —αν μπορώ να την πω έτσι— Hard/Heavy Rock εποχής, που ήταν πραγματικά στο μεταίχμιο με το επερχόμενο μουσικό κίνημα του New Wave of British Heavy Metal, με εφαλτήριο το 1978-79.

Ο πιο αγαπημένος, σε μένα, δίσκος των τεσσάρων Άγγλων με τον Γερμανό κιθαρίστα βρήκε εύφορο το χωράφι και αποτελεί τη σπορά της επόμενης μουσικής περιόδου. Είναι η βασική αιτία που προσωπικά δεν διαχωρίζω, στην αντίληψή μου, το Rock από το Metal ακόμη και μέχρι σήμερα, διότι έχω πολλούς φίλους, μεγαλύτερους από μένα, που για κάποιο λόγο διαχωρίζουν τη μουσική σε «πριν» και «μετά». Δίσκοι σαν το Lights Out ανήκουν εξίσου και στις δύο όψεις του ίδιου νομίσματος, τελικά.

Μέσα ακούμε με μανία τα Too Hot to Handle, Lights Out, Just Another Suicide, Try Me, Electric Phase, την όμορφη διασκευή στο Alone Again Or των Love και, φυσικά, το προοδευτικό έπος Love to Love. Είναι όλα τους highlights του δίσκου!

English:

Micha the Kid Was Doing Just Fine.

Or, to put it properly, Mr. Michael Schenker, younger brother of Rudolf of the Scorpions. A German guitar star standing among four Englishmen — Phil Mogg, Paul Raymond, Pete Way and Andy Parker — on one of the most representative albums of that pre-heavy metal, if I may call it that, Hard/Heavy Rock era, a period that truly stood on the threshold of the coming New Wave of British Heavy Metal movement, with 1978–79 as its launching point.

My favorite album by the four Englishmen with the German guitarist found fertile ground and became part of the seed from which the next musical era would grow. It is the main reason why, personally, I have never separated Rock from Metal in my perception of music, even to this day. I have many friends older than me who, for some reason, divide music into “before” and “after.” Albums like Lights Out ultimately belong equally to both sides of the same coin.

Here we get, with great enthusiasm, Too Hot to Handle, Lights Out, Just Another Suicide, Try Me, Electric Phase, the beautiful cover of Love’s Alone Again Or and, of course, the progressive epic Love to Love. They are all highlights of the album!

Τάκης "Ε-Μortal One" Γιώτης

ABYSSAL DECAY Announce New Album Call of the Abyss

Bellingham, WA — July 24, 2026 — Underground thrash metal force Abyssal Decay have announced their forthcoming full-length album, Call of the Abyss, due for release on October 30, 2026.

Drawing inspiration from cosmic horror and the terrifying mythology of Nihilash, the Faceless Sovereign, the album promises a relentless assault of razor-sharp riffs, crushing thrash rhythms, and dark atmospheric elements. Its concept explores themes of corrupted power, mass madness, decay, and the bleak nature of existence, presenting the Abyss as an endless ocean of living rot beyond the boundaries of time.

The first single, “On The Desolate Plain,” was released on August 7, 2026, offering the first glimpse into the album’s bleak and disturbing world. The track serves as an ominous introduction to the desolate landscapes shaped by Nihilash and the cosmic darkness at the heart of Call of the Abyss.

“Where Nihilash walks, death is not the end. It is merely the first layer of decay,” the band states, describing their music as an uncompromising assault inspired by serial killers, corrupted power, and the darkest horrors of the world.

Call of the Abyss is set to arrive on October 30, 2026, promising a dark and uncompromising journey into the depths of cosmic horror and extreme thrash metal.