REVIEW: KING KOBRA — King Kobra

 

KING KOBRA — King Kobra (2011)

Frontiers Records

It’s been a long wait, but King Kobra are back with a self-titled comeback that doesn’t just recapture the band’s ’80s spirit—it sharpens it. Reuniting the core of the classic lineup around drummer Carmine Appice and adding Paul Shortino on vocals, the album delivers exactly what hard rock fans hope for: high-energy anthems, melodic depth, and a party-ready vibe from start to finish.

After years away from the studio, Appice brought together original members David Michael-Philips (guitars), Johnny Rod (bass), and Mick Sweda (guitars) to rebuild the King Kobra sound. For vocals, they recruited Paul Shortino (ex–Rough Cutt, Quiet Riot), a choice that makes immediate sense: Shortino’s husky, blues-tinged delivery suits the band’s hard-rock direction perfectly.

Interesting context: this 2011 self-titled record is King Kobra’s fourth studio album and their first since 1986 to feature Johnny Rod, Mick Sweda, and David Henzerling (a.k.a. David Michael-Philips) together again. It arrived via Frontiers Records, with release dates staggered across regions—April 4 in Japan (13 tracks), April 15 in Europe, and May 5 in North America (12 tracks).

Another notable detail: the band recorded much of the album remotely, with Shortino’s Las Vegas studio serving as the digital hub. His engineering skills and Pro Tools setup were crucial in pulling the project together while members were scattered across different cities.

The album opens with “Rock This House,” a fast, furious, party-starting track that sets the tone immediately. “Turn Up the Good Times” keeps the momentum going—big choruses, bigger riffs, and an unapologetically celebratory feel.

Things shift with “Live Forever,” a fantastic mid-tempo melodic rocker that shows the band can balance energy with hooks. “Tear Down the Walls” leans hard into ’80s aesthetics—think big guitars, anthemic choruses, and a sense of nostalgia that never feels tired.

“This Is How We Roll” returns to high-octane hard rock, while “Midnight Woman” stands out as one of the album’s highlights, blending swagger with memorable melody. “We Got a Fever” brings a bluesy edge to the hard-rock framework, and “Top of the World” brings the party mood right back.

“You Make It Easy” is a melodic hard-rock masterpiece—rich harmonies, layered guitars, and a chorus that sticks. “Crying Turns to Rain” offers another strong mid-tempo moment, and “Screamin’ for More” lives up to its title: straightforward, energetic, and satisfying. The album closes with “Fade Away,” a beautiful ballad that gives the record a well-earned emotional cooldown.

The songs are consistently strong, the performances are tight, and Shortino’s presence gives the band a fresh vocal identity without losing the King Kobra essence. The production is clean and powerful, letting the guitars bite and the rhythms drive—exactly what this style demands.

For anyone who grew up with ’80s hard rock or simply enjoys well-crafted, high-energy rock records, this album is a must-hear. It’s a confident return that proves King Kobra still know how to write anthems, deliver hooks, and make you want to turn it up loud

Kostas  Rigas

REVIEW: ARTILLERY — My Blood

 

ARTILLERY — My Blood (2011)

Metal Mind Productions

Artillery have sold their soul to the devil—and on My Blood, they sound like a band that made the deal willingly, then spent the next decade collecting on it. From the opening bars of the seven-and-a-half-minute epic “Mi Sangre (The Blood Song)”, the Danish veterans announce a second youth with the kind of confidence only earned by decades in the thrash trenches. What follows is not nostalgia, but a renewed, expansive vision of what thrash can be in the hands of seasoned songwriters who refuse to play it safe.

“Mi Sangre (The Blood Song)” is more than an appetizer; it’s a mission statement. Clocking in at 7:33, the track builds like a mini-symphony of aggression, weaving melodic interludes, mid-tempo marches, and blistering runs into a cohesive whole that recalls the structural ambition of Metallica’s Master of Puppets era without ever feeling derivative. The song’s dynamic arcs—quiet tension giving way to explosive release—set the tone for an album that treats thrash as a language, not a template.

Where many modern thrash releases lean on speed alone, My Blood thrives on variety. Artillery introduce an oriental touch throughout the record, most notably in the Middle Eastern–flavored riffing that adds color and unpredictability to the core thrash attack. This isn’t gimmickry; it’s textural enrichment that keeps the ear engaged across an 11-track, 53-minute runtime. Tracks like “Death Is an Illusion” and “Warrior Blood” balance traditional metal grandeur with power-metal lift, while “Thrasher” and “Concealed in the Dark” deliver the kind of razor-edged, head-down momentum that defined the band’s early classics.

Technically, Artillery are in formidable shape. The guitar work is precise yet passionate, the rhythm section locks in with punishing clarity, and Søren Nico Adamsen’s vocals bring a focused, modern edge to the band’s long-established identity. The production—handled for Metal Mind with an ear for both heft and detail—gives every instrument room to breathe without softening the impact; it’s a mix built to test speakers and reward repeated listens. In a genre often criticized for homogeneity, My Blood stands out for its songwriting depth and sonic confidence.

Released on April 1, 2011 via Metal Mind Productions, My Blood is Artillery’s sixth studio album and the third in their late-career resurgence that began with the 2007 reunion. Formed in 1982 in Taastrup, Denmark, Artillery were among Europe’s earliest thrash exponents, issuing the cult classics Fear of Tomorrow (1985) and By Inheritance (1989) before a series of breaks and reunions. Many fans and critics regard My Blood as the peak of their modern era—a record that honors their roots while pushing the boundaries of their sound. The album’s bonus re-recordings (“Show Your Hate 2011,” “Eternal War 2011”) further underscore the band’s willingness to revisit and refine their catalog for a new chapter.

My Blood is a thrash metal release that expands the boundaries of the thrash sound without losing its bite. If you’ve been waiting for a record that marries old-school ferocity with fresh ideas, dynamic song structures, and top-tier execution, this is it. Buy it—and prepare for the kind of album that makes you rethink what a veteran thrash band can still achieve.

Nick Parastatidis

REVIEW: U.D.O., No Limits

 

U.D.O., No Limits (1998)

GUN Records

Βρίσκοντας τον δρόμο τους

Μετά τη δεύτερη εποχή των Accept, η οποία δεν ολοκληρώθηκε σύμφωνα με τις προσδοκίες των φίλων τους, ο τραγουδιστής-ορόσημο έχει ήδη επανασυνδεθεί με το προσωπικό του σχήμα και, έχοντας πλέον τον αρχικό ντράμερ των Accept, Stefan Kaufmann, ως κιθαρίστα και συμπαραγωγό, κυκλοφόρησε το 1997 το πολύ ανανεωτικό Solid.

Η συνέχεια είναι η κυκλοφορία αυτού του άλμπουμ. Στα ίδια βήματα με το Solid, και εδώ αρχίζει η γκρίνια από τα έντυπα της εποχής (ναι, δεν είχε ακόμη ξεκινήσει καλά-καλά το ίντερνετ· διαβάζαμε ακόμη στο χαρτί!) για επανάληψη, στείρα αντιγραφή του εαυτού τους κι άλλα ωραία. Έχουμε δει τις περιβόητες «νέες ιδέες», με τη δήθεν φρεσκάδα, και πού οδήγησαν άλλα κλασικά σχήματα στα μέσα των ’90s, οπότε ας αφήσουμε τον κύριο Udo Dirkschneider να κάνει αυτό που θέλει και, στην τελική, αυτό που θέλουμε κι εμείς!

Το μόνο που μου έκανε εντύπωση τότε, μάλλον ως αξιοπερίεργο γεγονός, είναι το εξώφυλλο, το οποίο προσωπικά νομίζω ότι θυμίζει αντίστοιχα των Rage, με το μηχανικό κεφάλι ζώου.

Με τον δεύτερο Stefan, τον Schwarzmann, πάλι πίσω από το σκαμπό των ντραμς, αφού έχει γυρίσει και ξαναφύγει από τους Running Wild και τους X Wild, τον Jürgen Graf στις υπόλοιπες κιθάρες και τον Fitty Wienhold στο μπάσο, το No Limits είναι ένα καλό, τίμιο 7άρι, ένα σκαλί ίσως πιο κάτω από το Solid, αλλά μας έχει αφήσει, πέρα από το ομότιτλο κομμάτι, τα Freelance Man, Way of Life, With a Vengeance, Backstreet Loner, Manhunt, Rated X και την επανεκτέλεση — ή, ίσως, διασκευή — του κλασικού I’m a Rebel των Accept, το οποίο, βέβαια, είχε αρχικά υπάρξει και από τους AC/DC σε demo μορφή.

English:

Finding Their Way

After Accept’s second era, which failed to live up to their fans’ expectations, the landmark vocalist had already reunited with his own band and, with Accept’s original drummer Stefan Kaufmann now on guitar and co-producing, released the highly invigorating Solid in 1997.

The follow-up is the album under review here. Following the same path as Solid, this was also when the complaints from the music press of the time began (yes, the internet had barely even gotten started; we were still reading our music news and reviews on paper!) about repetition, sterile self-copying, and all the usual stuff. We have seen where those supposedly “new ideas” and their alleged freshness led other classic bands in the mid-’90s, so let’s just let Mr. Udo Dirkschneider do what he wants—and, ultimately, what we want him to do as well!

The only thing that struck me at the time, perhaps more as a curiosity, was the album cover, which I personally think bears a resemblance to some of Rage’s artwork, with its mechanical animal head.

With the second Stefan, Schwarzmann, back behind the drum kit after having joined and subsequently left Running Wild and X Wild, Jürgen Graf handling the other guitar duties, and Fitty Wienhold on bass, No Limits is a good, honest 7/10—perhaps a notch below Solid, but it has left us with, besides the title track, Freelance Man, Way of Life, With a Vengeance, Backstreet Loner, Manhunt, Rated X, and a re-recording—or perhaps a cover—of Accept’s classic I’m a Rebel, which, of course, had originally also appeared in demo form by AC/DC.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: BRATS, 1980

 

BRATS, 1980 (1980)

CBS

Πάνκικο μέταλ από τη μεταλομάνα Δανία

Τι συμβαίνει στην ηπειρωτική Ευρώπη την ίδια εποχή που στα βρετανικά νησιά το NWOBHM έχει ξεκινήσει να ανεβαίνει; Πολλά συγκροτήματα αντιγράφουν στεγνά το νέο ιδίωμα. Οι τέσσερις πιτσιρικάδες από την Κοπεγχάγη παίζουν ήδη Punk Rock και το ενώνουν με το Heavy Metal, ακριβώς όπως οι Motörhead, οι Venom λίγο αργότερα, αλλά κυρίως οι Γάλλοι Trust την ίδια εποχή. Μόνο που το τελικό αποτέλεσμα είναι πιο Punk, με ό,τι αυτό συνεπάγεται.

Τώρα, μια κρίσιμη λεπτομέρεια είναι ότι τις δύο κιθάρες του σχήματος παίζουν οι Hank Sherman και Michael Denner! Ναι, αυτοί που θα αρπάξουν τον τραγουδιστή ενός άλλου Gothic Rock συγκροτήματος, των Black Rose, έναν οπαδό των Misfits και των Uriah Heep, ονόματι King Diamond. Και, έναν χρόνο μετά από αυτό το άλμπουμ, τόσο οι Black Rose όσο και οι Brats θα αποτελούν παρελθόν. Οι Mercyful Fate θα είναι το νέο αμάλγαμα που θα έρθει στον κόσμο.

Κομμάτια όπως τα Oy-95, Tame Me (Insomniac), Punk Fashion, το σχεδόν έξι λεπτών Doom Metal τραγούδι Complex (Don't Destroy Me), Fuel, Accepted, Heavy Rocker, Pinned on My Eyelids είναι ένα ταξίδι σε μια εποχή όπου πάνκηδες, μέταλα και ροκάδες ήταν ΜΙΑ ομάδα, με παρόμοιες κοινωνικές αντιλήψεις και μόνο μουσικές διαφορές.

English:

Punkish Metal from Denmark, the Land of Metal

What was happening in continental Europe at the same time that the NWOBHM was beginning to rise in the British Isles? Many bands were simply copying the new sound. The four youngsters from Copenhagen were already playing Punk Rock and blending it with Heavy Metal, much like Motörhead, Venom a little later, and, above all, France’s Trust around the same time. Only here, the end result is more Punk-oriented, with all that this entails.

Now, one crucial detail is that the band’s two guitarists are Hank Sherman and Michael Denner! Yes, the very same two who would go on to recruit the vocalist of another Gothic Rock band, Black Rose: a Misfits and Uriah Heep fan by the name of King Diamond. And, a year after this album, both Black Rose and Brats would be history. Mercyful Fate would be the new amalgamation about to enter the world.

Tracks such as Oy-95, Tame Me (Insomniac), Punk Fashion, the almost six-minute Doom Metal song Complex (Don't Destroy Me), Fuel, Accepted, Heavy Rocker, and Pinned on My Eyelids take you on a journey back to an era when punks, metalheads, and rockers were ONE crowd, sharing similar social attitudes and divided only by their musical differences.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: ENCORION – Facing History and Ourselves

 

ENCORION – Facing History and Ourselves (2011)

Sleaszy Rider Records

The Dutch newcomers ENCORION arrived with their debut full-length, Facing History and Ourselves, presenting a distinctive rendition of folk and Viking metal while revealing themselves as a hard-working, well-bonded band with considerable potential for the future. Released by the Greek label Sleaszy Rider Records in March 2011, the album introduced a group willing to explore the meeting point between traditional folk expression and the darker, more aggressive language of extreme metal.

Facing History and Ourselves feels like a distillation of the band’s experiences, influences and musical ambitions. Rather than simply reproducing the established formulas of the genre, ENCORION use their debut to look backward while simultaneously trying to pave the way toward their future. The result is an engaging mixture of the elements for which folk, pagan and Viking metal are known: atmospheric melodies, a strong sense of historical identity and the forceful impact of death- and black-metal-inspired aggression.

What works particularly well here is the band’s understanding of contrast. ENCORION know how to blend traditional folk melodies with extreme-metal intensity, finding an effective balance between the soft, organic ideas of the past and the contemporary, hard-edged character of aggressive metal. The music does not treat these two sides as opposites that cannot coexist; instead, it allows them to strengthen one another. Melodic passages create atmosphere and emotional depth, while the heavier sections add urgency and power.

The violin plays an important role in shaping this identity. Its presence gives the material additional depth and helps accentuate the album’s central contradiction: the dialogue between past and present, heritage and modernity, organic melody and metallic force. In this context, the instrument is more than a decorative folk-metal detail. It becomes one of the elements that gives ENCORION’s sound its own character and helps separate the band from more conventional extreme-metal acts.

The album also reflects the broader Dutch folk-metal tradition, a scene that has produced several bands combining European folklore, pagan themes and extreme-metal foundations. ENCORION’s approach belongs to this wider musical landscape, but Facing History and Ourselves demonstrates that the band were not merely following a trend. Their emphasis on melodic development, violin-led colour and the collision of folk sensibility with black/death-metal aggression gives the release a personal and promising direction.

As a debut, Facing History and Ourselves may still carry the traces of a band developing its full identity, but that is also part of its appeal. It captures ENCORION at an early and important stage: ambitious, sincere and clearly aware of the possibilities within their chosen style. The record shows a skillful group with strong chemistry, a clear affection for folk-inspired melody and the ability to create convincing tension between atmospheric passages and extreme-metal power.

Facing History and Ourselves is a very good debut from a band that has the potential to offer even more in the future. If you are into folk, Viking or pagan extreme metal, ENCORION are certainly worth checking out—and their name is one you should keep in mind.

Christine  Parastatidou

REVIEW: VOODOO CIRCLE – Broken Heart Syndrome

 

VOODOO CIRCLE – Broken Heart Syndrome ( 2011)

AFM Records

VOODOO CIRCLE is, pretty much, a supergroup. The band features David Readman of ADAGIO and PINK CREAM 69 on vocals, Mat Sinner of SINNER and PRIMAL FEAR on bass, guitarist Alex Beyrodt—known for his work with SILENT FORCE, SINNER and PRIMAL FEAR—drummer Markus Kullmann, and keyboardist Jimmy Kresic. With a line-up like this, expectations naturally run high. Fortunately, Broken Heart Syndrome delivers exactly what its personnel promise—and then some.

Originally released by AFM Records on February 25, 2011, the album contains twelve tracks and runs for approximately 55 minutes. It is also the band’s second full-length release, and the record on which VOODOO CIRCLE truly established its musical identity.

Describing the band’s sound, I would say that Broken Heart Syndrome is a near-perfect mixture of classic RAINBOW, WHITESNAKE and Yngwie Malmsteen. In the lead-guitar department, Alex Beyrodt frequently recalls the melodic authority of Ritchie Blackmore and the neoclassical fire of Malmsteen. David Readman, meanwhile, brings a powerful, expressive delivery that occasionally carries unmistakable David Coverdale touches, while also retaining his own distinctive character.

The keyboards add another important colour to the overall sound. Their Hammond-style and vintage melodic textures bring to mind the work of Jon Lord and David Rosenthal, strengthening the album’s classic hard-rock atmosphere without ever overwhelming the guitars. This balance is one of the record’s greatest strengths: every instrument is played by an exceptional musician, yet the songs remain the centre of attention.

The rhythm section takes a somewhat fresher, more AOR-oriented approach. Mat Sinner and Markus Kullmann provide a firm, energetic foundation, giving the songs a modern sense of drive while preserving their old-school character. As a result, the album never feels like a simple exercise in nostalgia. The classic influences are obvious, but they are combined with strong songwriting, polished arrangements and enough personality to keep the record sounding alive.

The opening track, “No Solution Blues,” immediately sets the tone with its blues-based hard-rock attack, muscular rhythm section and unmistakable 1980s atmosphere. “King of Your Dreams” highlights Beyrodt’s elegant, Blackmore-inspired soloing, while “Devil’s Daughter” and “Blind Man” lean further into the bluesier side of the band’s sound. “The Heavens Are Burning” is another clear highlight, built around dramatic keyboards, memorable guitar melodies and Readman’s commanding vocal performance.

Even the slower passages benefit from the band’s musicianship. Beyrodt’s guitar often seems to speak rather than simply demonstrate technique, particularly when the arrangements leave room for expressive solos and sustained melodies. The album’s twelve-track sequence also gives the listener plenty of variety, moving between driving melodic hard rock, blues-infused numbers and more atmospheric moments before closing with “Wings of Fury.”

What makes Broken Heart Syndrome especially satisfying is that, despite the musicians’ impressive reputations, VOODOO CIRCLE does not sound like a collection of unrelated solo careers placed in the same room. The album has a clear identity: vintage hard rock at its core, melodic metal in its precision, AOR in its accessibility and blues rock in its emotional weight. The result is smooth, confident and exceptionally well performed.

The songs catch you from the very first riff, and I am sure as hell that I am going to melt this CD by listening to it over and over again. All lovers of melodic hard rock and classic metal should give Broken Heart Syndrome a chance. Satisfaction is 100% guaranteed!

Dimitris  Pantsiopoulos

REVIEW: U.D.O., Timebomb

 

U.D.O., Timebomb (1991)

RCA

Δυναμίτης με το φιτίλι να καίγεται

Στο τρίτο άλμπουμ των U.D.O. του δαιμόνιου Udo Dirkschneider, το κλασικό Faceless World, είδαμε μια πιο εμπορική στροφή, και αυτό στην Ευρώπη δεν έκανε και την καλύτερη εντύπωση στους πολυάριθμους φίλους τους. Ήρθε, λοιπόν, η ώρα να εφαρμοστεί το άτυπο αξίωμα του overcorrection στο επόμενο άλμπουμ, που κυκλοφόρησε έναν χρόνο αργότερα και είναι αυτό εδώ το μικρό Speed/Power Metal διαμάντι.

Πέραν του κοντού, ξανθού Γερμανού ερμηνευτή, ως τετράδα εδώ συμπράττουν οι Mathias Dieth στην κιθάρα, Thomas Smuszynski στο μπάσο και Stefan Schwarzmann στα ντραμς, ενώ ο Udo συνεργάζεται στους στίχους με την Deaffy, τη σύζυγο του Wolf Hoffmann, κιθαρίστα και συνεργάτη του, βέβαια, στο ιστορικό σχήμα των Accept. Το τελευταίο γεγονός δεν ήταν καθόλου τυχαίο, αφού η επανένωση για το Objection Overruled ήταν πλέον ζήτημα χρόνου — και θα συνέβαινε!

Επιθετικό, αλλά και τραχύ στην παραγωγή, γρήγορο και στακάτο Metal, κομμένο και ραμμένο στα χνάρια του Painkiller των Judas Priest, θα έλεγα. Μας έμειναν έκτοτε σταμπαρισμένα στ’ αφτιά και στο μυαλό τα «Metal Eater», «Thunderforce», «Overloaded», «Burning Heat», «Timebomb», «Powersquad», «Soldiers of Darkness» και «Metal Maniac Master Mind».

English:

Dynamite with the Fuse Lit

On U.D.O.’s third album, the classic Faceless World, the formidable Udo Dirkschneider and his band took a noticeably more commercial turn—a move that didn’t sit well with many of their devoted European fans. So, for the follow-up released just a year later, the unwritten rule of “overcorrection” kicked in, resulting in the compact Speed/Power Metal gem you’re holding now.

Beyond the short, blond German frontman, the core quartet here features Mathias Dieth on guitar, Thomas Smuszynski on bass, and Stefan Schwarzmann on drums. Lyrically, Udo co-writes with Deaffy—the wife of Wolf Hoffmann, his longtime Accept bandmate and collaborator. That connection was no coincidence: with the Accept reunion for Objection Overruled already a matter of time (and it did happen), the creative bridges were being rebuilt.

The album is aggressive and raw in its production—fast, staccato Metal cut to the pattern of Judas Priest’s Painkiller. Since then, certain tracks have burned themselves into our ears and minds: “Metal Eater,” “Thunderforce,” “Overloaded,” “Burning Heat,” “Timebomb,” “Powersquad,” “Soldiers of Darkness,” and “Metal Maniac Master Mind.”

Τάκης "Ε-Μortal One" Γιώτης