REVIEW: STARGAZERY — Eye on the Sky

 

STARGAZERY — Eye on the Sky (2011)

Pure Legend Records

Pure Legend Records, STARGAZERY’s debut full-length Eye on the Sky arrives as the inaugural release from Pure Legend Records, the new sub-label of Germany’s Pure Steel Records, and it makes a confident first impression in the melodic power-metal field. Though the Finnish quintet had previously issued only a 2007 single, the album presents a focused, melodically driven set that balances classic power-metal fire with accessible songwriting and a clear sense of dynamics.

Eye on the Sky is notable not only as STARGAZERY’s first album but also as the very first title on Pure Legend, positioning the record as a statement of intent for the imprint. Pure Steel’s decision to launch a sub-label with a debut from a relatively unknown act suggests both faith in the band’s material and a strategy to spotlight fresh melodic metal under a trusted distribution umbrella. For readers tracking label activity, this release effectively marks Pure Legend’s entry into the market with a European power-metal profile.

The album’s ten-track core (with an expanded Japanese edition adding a bonus track) is built around strong melodic hooks, direct choruses, and a vocal approach that leans into classic hard-rock phrasing without sacrificing power-metal intensity. Frontman Jari Tiura—previously associated with MSG, Masterstroke, and Snakegod—delivers a seasoned, expressive performance that anchors the songs and gives them immediate identity. The rhythm section and guitars maintain a tight, driving foundation, while the keyboard work adds texture without overwhelming the guitar-led arrangements.

Standout tracks include the anthemic “Dying,” the soaring “How Many Miles,” and the urgent “S.O.S.,” all of which showcase the band’s ability to marry big choruses with concise structures. The power ballad “Everytime I Dream of You,” placed early in the running order, is a deliberate dramatic highlight that sets an emotional tone for the record and demonstrates the group’s dynamic range. Another notable moment is the closing cover of BLACK SABBATH’s “Headless Cross,” a bold choice that reframes a Tony Martin–era track through a melodic power-metal lens and underlines the band’s classic-metal affinities.

The production is clean and forward-facing, emphasizing vocal clarity and guitar definition—traits that suit the album’s hook-driven songwriting. While the overall approach is undeniably loud and direct, the mix leaves room for the melodic elements to breathe, which helps maintain listener engagement across the full runtime. For those who prefer power metal with an emphasis on melody over sheer speed, Eye on the Sky delivers a consistent, accessible listen that rewards repeat plays.

Eye on the Sky is a assured debut that positions STARGAZERY as a competent melodic power-metal act with strong songwriting instincts and a clear vocal identity. With its memorable choruses, strategic ballad placement, and the unexpected “Headless Cross” cover, the album stands out within its 2011 cohort and justifies attention from fans of European melodic metal.

Ioannis Kaskamanidis

REVIEW: INSANE, Wait And Pray

 

INSANE, Wait And Pray

High Roller Records

Φόρος τιμής σε έναν μόνο δίσκο συγκροτήματος

Τους έμαθα από ένα σχόλιο γραμμένο κάτω από αφιέρωμα στους Slayer, που έλεγε: «Ακούστε το Wait and Pray των Ιταλών Insane, είναι το Show No Mercy ξαναγραμμένο από την αρχή».

Και ναι, έχουμε δει κι έχουμε δει συγκροτήματα-tribute σε τεράστια άλλα συγκροτήματα του παρελθόντος, αλλά οι συγκεκριμένοι παίζουν ακριβώς όπως οι Slayer στο ντεμπούτο τους, Show No Mercy, και μόνο! Και δεν είναι μόνο θέμα στυλ! Οι συνθέσεις του συγκεκριμένου CD είναι τα alter ego καθενός από τα τραγούδια του πρώτου δίσκου των Αμερικανών Thrash Metal θεών!!! Είναι απίστευτη η εγγενής ομοιότητα, όχι απλά στα riff, στον ρυθμό, στη φωνή και στην ταχύτητα, αλλά και στις μελωδικές γραμμές.

Οι τρεις τύποι αυτοί κάθισαν κι έγραψαν το δικό τους Show No Mercy, όπως αυτοί θα το έπαιζαν εάν αυτό δεν υπήρχε και δεν είχε κυκλοφορήσει τότε, το 1983.

Πραγματικά, αν δεν το ακούσεις, δεν πιστεύεις ότι μπορεί να έχει γίνει κάτι τέτοιο. Είναι λες και, σε ένα παράλληλο σύμπαν, οι Slayer από την Καλιφόρνια να μην υπήρξαν ποτέ, να είναι τρεις Ιταλοί και να λέγονται Insane. Ακόμη και το λογότυπο θυμίζει, βεβαίως, το λογότυπο των αυθεντικών Slayer.

Απερίγραπτη ατμόσφαιρα! Βρείτε το, αν είστε κι εσείς λάτρεις του πρώιμου Blackened Thrash, γεμάτου από Punk, NWOBHM, Venom και Motörhead στοιχεία, σκοτάδι και αγωνιώδη φωνή αλά Tom Araya της εποχής 1983–84.

Οπότε, ναι: δέκα στα δέκα, άνετα!

English:

A Tribute to One Album — and One Album Only

I discovered them through a comment posted beneath a feature on Slayer, which read: “Listen to Wait and Pray by the Italian band Insane. It’s Show No Mercy rewritten from scratch.”

And yes, we’ve seen plenty of tribute bands dedicated to legendary acts from the past. But these guys sound exactly like Slayer on their debut, Show No Mercy — and only Show No Mercy! And it’s not merely a matter of style. The songs on this CD are the alter egos of every track from the first album by the American Thrash Metal gods!!! The inherent similarity is absolutely astonishing, not only in the riffs, rhythm, vocals and speed, but also in the melodic lines.

These three guys simply sat down and wrote their own Show No Mercy — the way they would have played it if the album had never existed and had never been released back in 1983.

Seriously, if you haven’t heard it, you won’t believe something like this is even possible. It’s as if, in a parallel universe, the California-based Slayer had never existed, and instead there were three Italians called Insane. Even the logo, of course, bears a striking resemblance to the original Slayer logo.

An indescribable atmosphere! Seek this one out if you, too, are lovers of early Blackened Thrash, packed with Punk, NWOBHM, Venom and Motörhead influences, darkness, and an anguished vocal delivery à la Tom Araya circa 1983–84.

So, yes: a straight-up ten out of ten!

Τάκης "Ε-Μortal One" Γιώτης

NIHILUS Release New Single “Absurd Patterns”

 

Indian technical death metal band Nihilus have released their new single, “Absurd Patterns,” taken from their forthcoming album, Borealis, which is scheduled for release in October 2026.

The video for the single was filmed at Drummachari Studios and edited by Aashank Pereira.

Formed in Bangalore, India, in 2009 by Siddharth Manoharan and Manu Manjunath, Nihilus have developed a sound that combines intricate musicianship with the intensity and aggression associated with technical death metal. Their lyrical themes explore subjects including post-apocalyptic decay, modern geopolitics, and humanity’s destructive tendencies.

The band established the foundations of their complex musical approach with their 2016 EP, Without Grey Matter. Their forthcoming album, Borealis, represents a further development of these ideas, presenting a concept-driven dystopian narrative centered on the gradual collapse of Earth.

Rather than following a single continuous storyline, Borealis is structured around a series of standalone stories connected by an overarching vision of catastrophic ruin. “Absurd Patterns” offers a first glimpse into the album’s thematic and musical direction ahead of its October 2026 release.

SENSE OF FEAR Release Official Lyric & Animated Video for “Kleos”

 

Greek metal band SENSE OF FEAR have released the official lyric and animated video for “Kleos,” a track taken from their latest album, Infernal Decay.

The song draws its inspiration from the ancient Greek concept of κλέος (kleos), traditionally associated with glory, honor and lasting fame. In ancient Greek culture, kleos represented the enduring legacy achieved through courage, sacrifice and great deeds—a reputation intended to survive long after one’s death.

The band’s new visual presentation combines animated imagery with the song’s lyrical themes, creating a journey through the world of heroes, legends and the pursuit of eternal glory.

“Kleos” is featured on Infernal Decay, and the newly released video is now available to watch online.

REVIEW: DEF LEPPARD, High 'N' Dry

 

DEF LEPPARD, High  'N' Dry (1981)

Vertigo

Απομάκρυνση από τις αξίες

Απομάκρυνση από τα άλλα NWOBHM σχήματα, με εξαίρεση ίσως τους Tygers of Pan Tang και, βέβαια, τους Saxon, που κι αυτοί, σε τρία χρόνια, θα κάνουν ανάλογη στροφή προς δυσμάς.

Στο δεύτερο άλμπουμ τους, τα πέντε παιδιά από το Sheffield — οι κύριοι Joe Elliott, Rick Allen, Pete Willis, Rock Savage και Steve Clark — προχωρούν στα ίδια μουσικά πεδία με το ντεμπούτο τους, On Through the Night, αλλά κάτι στο βάθος ακούγεται αλλόκοτο σε σχέση με εκείνο.

Στα δύο πρώτα κομμάτια του δίσκου, Let It Go και Another Hit and Run, αυτό δεν γίνεται αντιληπτό. Από το τρίτο, όμως, και ομότιτλο High 'n' Dry (Saturday Night), αρχίζουν να ξηλώνουν το βάρος.

Μετά το πρώτο μεγάλο hit της καριέρας τους, Bringing On the Heartbreak, μία αντικειμενικά μεγάλη power ballad στιγμή επιβεβαιώνει ότι θέλουν το ραδιόφωνο — και μάλιστα όχι μόνο της χώρας τους!

Παρακάτω συνεχίζουν δυναμικά και με αρκετή μελωδία, με τα On Through the Night (να πάλι η μόδα «βάζω τίτλο από τον προηγούμενο δίσκο στον επόμενο»), No No No, You Got Me Runnin', Lady Strange και Mirror Mirror (Look Into My Eyes). Εξαίρεση αποτελεί το ορχηστρικό Switch 625, που τους γυρνά στις μεταλλικές ρίζες τους, έστω και για λίγο.

Το CD που κυκλοφόρησε είναι το αμερικανικό Remixed 1984 άλμπουμ και περιέχει τα Me and My Wine και, για δεύτερη φορά, το Bringing On the Heartbreak σε άλλο mix — υποθέτω το αρχικό της βρετανικής έκδοσης.

Ένα άλμπουμ που θα ακούμε πάντα με νοσταλγία, γιατί μετά... το πράγμα θα πάει εντελώς αλλού για το συγκρότημα.

English:

A Departure from the Values

A departure from the other NWOBHM bands, with the possible exception of Tygers of Pan Tang and, of course, Saxon, who themselves would make a similar turn towards the West three years later.

On their second album, the five lads from Sheffield — Joe Elliott, Rick Allen, Pete Willis, Rock Savage and Steve Clark — continue to explore the same musical territory as their debut, On Through the Night, but something in the background already sounds strangely different.

You don’t really notice it on the album’s first two tracks, Let It Go and Another Hit and Run. But from the third track, the title cut High 'n' Dry (Saturday Night), they begin to shed some of their heaviness.

Then comes the first major hit of their career, Bringing On the Heartbreak, an objectively great power-ballad moment that confirms they are aiming for radio — and not just the radio stations back home!

They continue in a dynamic and fairly melodic vein with On Through the Night (there’s that fashion again: “let’s take the title of the previous album and put it on the next one”), No No No, You Got Me Runnin', Lady Strange and Mirror Mirror (Look Into My Eyes). The exception is the instrumental Switch 625, which takes them back to their metallic roots, if only for a while.

The CD edition I have is the American Remixed 1984 version, which includes Me and My Wine and, for a second time, Bringing On the Heartbreak in a different mix — I assume the original mix from the British edition.

An album we will always listen to with nostalgia, because after this... things would take the band somewhere completely different.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: URIAH HEEP – Into the Wild

 

URIAH HEEP – Into the Wild (2011)

Frontiers Records

This is the new album from this truly great English hard rock band, and their 23rd studio release, arriving three years after their previous effort. Once again, URIAH HEEP sound like a band in a really good mood! Mick Box, Bernie Shaw and company are in great shape, and they have managed to deliver a really strong album that proves there is still plenty of life left in this legendary group.

It is difficult for me to choose which tracks are the best because Into the Wild is a very consistent album from beginning to end. However, “I Can See You,” “Money Talk,” “Believe,” “Lost” and “I Am Ready” are perhaps a little superior to the rest and are the songs that stand out for me.

In conclusion, this is one of the best comebacks from a mainstream rock band that I have heard in the last few years, alongside releases from bands such as OVERKILL, SCORPIONS and, perhaps, ELOY. What makes this even more impressive is that URIAH HEEP have never received quite the recognition they deserve.

Even though URIAH HEEP are a well-known name, I personally believe they remain rather underrated in the rock world, especially when compared with other, arguably inferior, groups that have enjoyed much greater commercial recognition, such as AEROSMITH.

So, fans of classic rock should definitely give this album a chance — and preferably buy it! And if, somehow, you are one of the few people who do not know URIAH HEEP, despite their more than four decades of history, then you should first explore classics such as Look at Yourself and Demons and Wizards. Those albums are, of course, superior to Into the Wild, but they will also show you exactly why this band has remained such an important part of hard rock history.

Ioannis Kaskamanidis

REVIEW: BILLION DOLLAR BABIES — Die for Diamonds

 

BILLION DOLLAR BABIES — Die for Diamonds (2011)

Pure Rock Records

Sweden has long been the unlikely heartland of melodic rock’s modern revival, and Billion Dollar Babies fit right into that lineage with a debut that feels both nostalgic and refreshingly immediate. Formed in Falun in 2005, the group spent years sharpening their live show and songwriting before committing their sound to tape. Die for Diamonds—their first full-length album, following a self-released EP the same year they formed—arrives as a compact, ten-track statement of intent: under 40 minutes, densely packed with hooks, and unapologetically devoted to the spirit of late‑’80s melodic hard rock.

What makes Die for Diamonds so effective is its discipline. There’s no filler, no overindulgence—just ten songs that move quickly and land hard. From the opening “Boys Nights Out,” the band telegraphs its influences with a punchy horn section and an arena-ready swagger that channels Aerosmith’s groove and KISS’s theatricality in equal measure. It’s an attention-grabber that sets the tone: this is music designed for big rooms and bigger choruses.

“Restless Minds” and “Key to my Heart” double down on that promise. The latter, in particular, has the kind of lift-and-release dynamic that defines a potential single: a verse that coils tightly, a pre-chorus that opens the space, and a chorus built to be shouted back by a crowd. Elsewhere, “Highest Mountain” offers anthemic breadth, while “Right on Time” leans into a Poison-esque bounce from the first riff to the final refrain. “We Don’t Live Forever,” with its darker, brooding edge, nods toward Skid Row’s blend of grit and melody, rounding out an album that never loses sight of the genre’s core appeal.

Frontman Pat’s delivery is a key part of the record’s identity. His tone carries a gritty, expressive quality that invites comparison to Jean Beauvoir of Crown of Thorns—another vocalist known for marrying melodic clarity with a rough-hewn, lived-in edge. That comparison isn’t superficial; it points to a shared understanding of how to make melody feel earned rather than polished into oblivion.

Context matters here. Billion Dollar Babies quickly became known in Sweden for explosive live performances, complete with pyrotechnics and stagecraft that hark back to the genre’s most flamboyant era. That live energy translates well to Die for Diamonds, which benefits from a production approach that keeps the vocals forward, the guitars bright but not brittle, and the rhythms propulsive. The band would later work with producer Rikard Löfgren on their House of Dreams EP series, but even at this early stage their sense of arrangement and dynamics suggests a group already thinking in terms of setlists and audience response.

Why this debut still grabs attention

• Economy of form: Ten tracks in under 40 minutes is a virtue in an age of bloated releases; every song has a job to do.
• Clear influences, distinct voice: Aerosmith/KISS drive, Poison bounce, Skid Row edge—yet the band’s identity comes through in vocal character and melodic construction.
• Single-ready writing: “Key to my Heart” and “Right on Time” have the structural hallmarks of radio-friendly melodic rock without sacrificing grit.
• Swedish melodic rock pedigree: Part of a broader wave that includes acts like M.ill.ion and later Dynazty, Billion Dollar Babies helped reassert Sweden as a hub for hook-first hard rock.

For readers who remember the late‑’80s heyday—or for newcomers curious about how that spirit survives today—Die for Diamonds is a concise, high-impact entry point. It’s the kind of album that rewards repeat listens, not because it hides its hand, but because its best ideas reveal themselves more fully each time through.

Chris Kappas