REVIEW: ACCEPT, Restless And Wild

 

ACCEPT, Restless And Wild (1982)

Brain

Ποιοί έπαιζαν έτσι τότε; Μόνο αυτοί στην ηπειρωτική Ευρώπη, τουλάχιστον. Στην γηραιά Αλβιώνα υπήρχαν κι εκεί παρόμοια, αλλά όχι ίδια ηχητικά δείγματα. Οι πέντε μουσικοί από το όμορφο (χαχα), βιομηχανικό Solingen της (τότε) Δυτικής Γερμανίας, αφού είχαν μπει σε τροχιά με το τρίτο τους άλμπουμ, το επίσης κλασικό Breaker, ένα χρόνο πριν, το τερματίζουν με το τέταρτο. 

Udo Dirksneider στο πριόνι της φωνής, Wolf Hoffman και Hermann Frank στις κιθάρες που φλέγονται, όπως και στο ευρωπαϊκό εξώφυλλο (διότι υπάρχει κι ένα άλλο, ξενερωτο, στην αμερικανική έκδοση), Peter Baltes στο μπάσο και ο ανυπέρβλητος Stefan Kauffman στη μπαταρία ρυθμού, οδηγούν έκτοτε τα μυαλά όσων πουλήσαμε τη ψυχή μας στο metal, στη σωτηρία! 

Δέκα τραγούδια, δέκα πανέμορφα δείγματα που, αν ερωτηθείς από κάποιον άσχετο τι είναι το Heavy Metal, τον καθίζεις στην καρέκλα, τον δένεις με αλυσίδες και βάζεις τα ηχεία του στερεοφωνικού στο μέγιστο, ώστε να καταλάβει μια για πάντα, πιθανώς χάνοντας την ακοή του οριστικά! 

Υπεράνω βαθμού ή κρίσης προσωπικά, θεωρώ τα εξής ως αριστουργήματα: Fast As a Shark, Restless and Wild, Neon Nights, Ahead of the Pack, Shake Your Heads, Demon's Night, Flash Rockin' Man, και το τελικό, κλασικό τους επιστέγασμα, Princess of the Dawn. Κάθε φορά που παίζουν, σπάνε τα άλατα και το σβέρκο μας!

English:

Who were playing like that back then?

Only them in continental Europe, at least. In the Old Albion, there were similar, but not identical, sound samples. The five musicians from the beautiful (haha), industrial city of Solingen in (then) West Germany, having already entered their orbit with their third album, the also classic Breaker, a year earlier, concluded their streak with the fourth. 

Udo Dirksneider on the saw of his voice, Wolf Hoffman and Hermann Frank on the blazing guitars (as seen on the European cover, since there is another, less impressive one on the American edition), Peter Baltes on bass, and the incomparable Stefan Kauffman on drums—since then, they’ve been leading the minds of those of us who sold our souls to metal, to salvation! 

Ten songs, ten beautiful examples that, if asked by an outsider what Heavy Metal is, you can sit him down, chain him up, and turn the stereo’s volume all the way up so he understands once and for all—probably losing his hearing forever! 

Beyond doubt or personal judgment, I personally consider the following masterpieces: Fast As a Shark, Restless and Wild, Neon Nights, Ahead of the Pack, Shake Your Heads, Demon’s Night, Flash Rockin’ Man, and their ultimate, classic anthem, Princess of the Dawn. Every time they play, they shatter our bones and break our necks!

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: PHASE – In Consequence

 

PHASE – In Consequence

BackStage / Insight Out

It appears that TEARS is not the only noteworthy Greek band within the progressive rock/metal scene. PHASE, which leans more towards psychedelic and progressive rock rather than metal, has released an album that commands attention. While I acknowledge that this style may not be my personal preference, I firmly believe that when a work is beautiful and well-crafted, it warrants recognition.

PHASE’s In Consequence stands out as a compelling artistic statement. The album crafts immersive soundscapes that invite the listener to embark on a sonic journey, with the potential to become fully absorbed in its depths. A particularly striking aspect is the fusion of oriental musical elements with rock and metal influences, creating a unique blend that enriches the listening experience.

This album is not easily digestible; it defies casual listening and demands active engagement. It’s not an accompaniment for multitasking but rather an immersive experience that reveals its full dynamic and magic through attentive listening. The marriage of Western rock sounds with traditional oriental and Greek musical motifs is executed with such finesse that it leaves a lasting impression.

In Consequence is more than just an album to listen to—it is an experience to be lived. For those seeking something different yet rooted in rock, this release is highly recommended for exploration.

Nick Parastatidis

REVIEW: SAECULUM OBSCURUM - Into the Depths of Oblivion

 

SAECULUM OBSCURUM - Into the Depths of Oblivion

Thunderblast Records

SAECULUM OBSCURUM emerges as a compelling new entity within the extreme metal landscape, distinguished not by a specific hybrid genre but by their core sound rooted primarily in melodic death metal. Their approach transcends mere stylistic blending, presenting a cohesive and dynamic musical vision that incorporates a variety of influences and elements.

At its foundation, the band’s music is characterized by the hallmark traits of melodic death metal—aggressive riffs, intricate guitar work, and a prominent melodic sensibility. However, they do not confine themselves to this genre alone. Instead, they enrich their compositions with black metal-inspired melodies, atmospheric layers, acoustic passages, and occasional nods to classic heavy metal, resulting in a multifaceted and textured sound. This combination fosters a listening experience that is both brutal and atmospheric, with a sense of depth and complexity that belies the music’s extreme surface.

The musicianship showcased on Into the Depths of Oblivion is noteworthy. The band members demonstrate technical proficiency and a keen sense of arrangement, delivering performances that are both energetic and precise. The guitar work features compelling riffs and tasteful solos, adding an extra layer of interest and showcasing their instrumental skill. The vocals adhere to a traditional death metal rasp—gritty, guttural growls that evoke the genre’s roots—yet the absence of clean vocals or blackened screams leaves some stylistic avenues unexplored, which could have added further variety.

Overall, Into the Depths of Oblivion stands as a strong debut that will resonate particularly with fans of bands such as DARK TRANQUILLITY, ARCH ENEMY, AT THE GATES, and early IN FLAMES. It offers a well-crafted blend of intensity, melody, and atmospheric depth, executed by a talented group of musicians committed to pushing the boundaries within their chosen genre.

Christine  Parastatidou

REVIEW: SAVATAGE, Fight For The Rock

 

SAVATAGE, Fight For The Rock (1986)

Atlantic

Πόλεμος με τον κόσμο!

Μετέφρασα τον τίτλο του άλμπουμ των ομόσταυλων τους τότε Manowar (αμφότεροι στης Atlantic/ATCO Records) από το ερχόμενο έτος, γιατί αυτά τα δύο άλμπουμ έχουν φάει τη λάσπη με τη μπετονιέρα. Εδώ ίσως είναι πιο δικαιολογημένο, αφού το τρίτο πλήρες άλμπουμ των τεσσάρων τύπων από την Tampa της Florida είναι ό,τι πιο κακό (μέτριο ή κακώς εννοούμενο AOR, και εγώ δε ξέρω τί άλλο στη δισκογραφία τους). Ας αρχίσουμε από την αμερικανιά στο εξώφυλλο, με τη κλασική φωτογραφία εμπνευσμένη από την έπαρση των Αμερικανών με τη σημαία τους στην Iwo Jima, κατά τη μάχη του Ειρηνικού στον Β' Π.Π. Έχει χρησιμοποιηθεί κι από τους Uriah Heep το 1980, κάτι ανάλογο, στο πιο πειραματικό ή μέτριο άλμπουμ τους τότε. Οπότε, δε ξεκινάμε καλά! Η αμφίβολη φήμη του δίσκου αυτού προηγείται πάντα της όποιας αξίας του.

Η όποια αυτή αξία έχει τέσσερα μέρη: Fight for The Rock, Crying for Your Love, Hyde, και πολύ κλασικό για μένα, Red Light Paradise. Η διασκευή στο Wishing Well των Free είναι το πέμπτο, αλλά εκτός συναγωνισμού, αίτιο να ακούσεις αυτό το... μείγμα. Το Day After Day είναι επίσης διασκευή στους Badfinger — δύο διασκευές σε ένα άλμπουμ; Μάλιστα! Τέσσερα στα δέκα, λοιπόν, ανάλογη και η βαθμολογία του, γιατί από εκεί και πέρα δεν είναι πολύ σόι η δουλειά αυτή.

Λογικό που κόντεψε να διαλυθεί το συγκρότημα τότε. Βάλανε μυαλό υπό το φόβο της διάλυσης και «η αίθουσα του βασιλιά του βουνού» λάμπει μέσα από το σκοτεινό αυτό τούνελ, που τους έμπλεξαν μάνατζερ, δισκογραφικές και η δική τους άγνοια κινδύνου.

English:

War Against the World!

I translated the title of the album by their then-homies, Manowar (both under Atlantic/ATCO Records), starting from next year, because these two albums have been heavily criticized like a cement mixer throwing mud. Perhaps it's more justified here, since the third full-length album by the four guys from Tampa, Florida, is the worst—either mediocre or badly understood AOR, and I honestly don't know what else to call it in their discography.

Let's start with the Americanism on the cover: the classic photo inspired by American bravado, featuring the flag at Iwo Jima during the Pacific battle in World War II. This image was also used by Uriah Heep in 1980, on a somewhat experimental or mediocre album of theirs at the time. So, we're not off to a good start! The dubious reputation of this record always precedes any notion of its value.

And its value, if any, has four parts: Fight for The Rock, Crying for Your Love, Hyde, and, very personally for me, Red Light Paradise. Covering Wishing Well by Free is the fifth track, but outside the competition, an odd choice that makes you listen to this... mishmash. Day After Day is also a cover—this time by Badfinger—two covers on one album? Exactly! So, a score of four out of ten, which matches my rating, because beyond that, the work just isn't very good.

It's understandable that the band nearly disbanded at that point. They woke up, out of fear of breaking up, and "the hall of the king of the mountain" shines through this dark tunnel that their manager, record labels, and their own ignorance of danger dragged them into.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: CAMEL, Breathless

 

CAMEL, Breathless (1978)

Decca

Από την άλλη εποχή τους

Οι Άγγλοι αυτοί είναι ένα πολύ ιδιαίτερο σχήμα· έχουν πάντα μια παράξενη ηρεμία, αλλά μέσα της ξέρουν να κρύβουν έντεχνα την ένταση. Στο άλμπουμ αυτό, που πελαγοδρομεί σε τόσα πολλά πράγματα —από Rock ’n’ Roll έως Baroque— ακόμη μου κάνει εντύπωση το ότι το έχω σε CD. Έχω σκεφτεί μια λίστα με συγκροτήματα με τα οποία έχω σχέση αγάπης–μίσους· οι Camel δεν θα έλεγα ότι έχουν θέση εκεί, ακριβώς λόγω δίσκων σαν κι αυτόν.

Το ομότιτλο κομμάτι ανοίγει ένα μελωδικό, ονειρικό ταξίδι, αλλά από το Echoes που ακολουθεί —ορχηστρικό στα πρώτα πέντε λεπτά, με στίχους στη συνέχεια— μπαίνει το νερό στο αυλάκι. Ένα από τα πιο «καμελίσια» κομμάτια τους. Και μετά ακολουθούν τα Wing and a Prayer, Down on the Farm, Starlight Ride, The Sleeper, Rainbow’s End, και έχεις ήδη ταξιδέψει χωρίς να το καταλάβεις.

Ο Andrew Latimer στην κιθάρα και ο Richard Sinclair είναι οι βασικοί συνθετικοί πυλώνες, αφού ο Sinclair συμμετέχει σε κάθε κομμάτι εδώ. Οι Peter Bardens στα πλήκτρα, Richard Sinclair σε φωνή και μπάσο, Andy Ward στα ντραμς και ο Mel Collins στα πολλά και διάφορα πνευστά απαρτίζουν το σχήμα που έγραψε αυτό το «χωρίς ανάσα» άλμπουμ.

Ένα από τα ίσως αδίκως λιγότερο προτεινόμενα έργα αυτών των Prog Rock τεράτων.

English:

From Another Era of Theirs

These Englishmen are a truly peculiar band; they always carry a strange sense of calm, yet within it they know how to hide tension with remarkable finesse. This album, drifting through so many different territories —from Rock ’n’ Roll to Baroque— still amazes me every time I remember I own it on CD. I’ve often made a list of bands with which I have a love–hate relationship; Camel wouldn’t really belong there, precisely because of records like this one.

The title track opens a melodic, dreamlike journey, but it’s with Echoes —orchestral for its first five minutes, then shifting into vocals— that everything falls into place. One of their most quintessentially “Camel-esque” pieces. And then come Wing and a Prayer, Down on the Farm, Starlight Ride, The Sleeper, Rainbow’s End… and before you know it, you’ve already travelled far without even realizing it.

Andrew Latimer on guitar and Richard Sinclair form the core of the songwriting here, with Sinclair contributing to every track. Peter Bardens on keyboards, Richard Sinclair on vocals and bass, Andy Ward on drums, and Mel Collins on his many and varied wind instruments complete the lineup that crafted this breathless album.

One of the perhaps unjustly lesser‑recommended works by these Prog Rock giants.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: DALRIADA – Igeret

 

DALRIADA – Igeret

AFM Records

The fusion of folk and medieval music with heavy metal has become a familiar territory within the metal scene, particularly in recent years. This trend has led to a surge of folk metal bands, many of which tend to follow a formulaic approach, often driven by opportunism—aiming for commercial success and fame rather than genuine artistic innovation. However, Hungarian ensemble DALRIADA distinguishes itself from this crowd, offering a more authentic and compelling musical experience.

“Igeret” showcases DALRIADA’s commitment to integrating traditional Hungarian folk elements into their heavy metal foundation, predominantly through the use of native language vocals and folk instrumentation. These choices imbue their sound with a sense of freshness and cultural authenticity that sets them apart from many contemporaries. While the album may not reinvent the folk metal genre, it successfully maintains a level of originality and vitality that appeals to both traditional folk metal enthusiasts and newcomers alike.

In terms of comparisons, DALRIADA’s style can be seen as a close relative to bands such as SKYCLAD, early ELVENKING (prior to their recent, less favorable albums), and KORPIKLAANI. Their approach combines the energetic riffing and melodic sensibilities characteristic of these bands with a distinctive Hungarian folk influence, creating a sound that is both familiar and refreshing.

“Igeret” does not aim to revolutionize the genre but offers a solid, engaging release with enough originality to captivate listeners seeking an alternative to the often predictable folk metal landscape. It stands out as a noteworthy addition to the genre—worthy of recommendation for anyone who appreciates well-crafted folk metal that stays true to its roots while offering a touch of individuality.

Nick Parastatidis

Tsar Stangra Releases New Single «Black Song (Черна Песен)» Ahead of Upcoming Album

 

Bulgarian pagan black/folk metal band Tsar Stangra has just dropped their latest single «Black Song (Черна Песен)», building anticipation for their upcoming album Hymns of the Broken Worlds. The track was recorded at Holywaves Studios, with mixing by Stanislav Stefanovski and mastering by Olivier Vaillancourt-Girard.

Founded in 2007 in Quebec City, Canada, Tsar Stangra (Цар Стангра) evolved from a solo project into a full band in 2014. Known for blending extreme metal with Bulgarian mythology and tradition, the band has gained underground recognition through their early releases and debut album Небесният ковач (The Heavenly Blacksmith).

Having performed at notable events such as Messe des Morts and Skogen Fest alongside bands like Graveland and Tormentor, Tsar Stangra even opened for Arkona in their hometown. With their second album Химните на разрушените светове (Hymns of the Broken Worlds) on the horizon, the band continues to craft powerful music rooted in Bulgarian heritage and pagan themes.