Κυριακή 7 Ιουνίου 2026

Driven by a deep love of music

 


The three Mexican sisters of The Warning are on their way to rock stardom


Reading time: 5 minutes|Listening time: You decide!


Guest article from musician and psychologist Ben Sollberger from Berne / Switzerland


Once more, love wins– How it all started


Some weeks ago, while browsing YouTube, I came across a short video in which a young female bassist with long black hair delivered a sinister and incredibly powerful bass line right at the beginning of a concert. She commanded the stage like a true rock star. She immediately grabbed my full attention. Just a few minutes later, I discovered that this bassist — Alejandra Villarreal — and her two older sisters, Daniela (guitar) and Paulina (drums), are in fact rock stars. That was the moment my love affair with the Mexican band The Warning began.


But maybe the more interesting question is: How did their love affair with music start?


Luis Villarreal and his wife Mónica from Monterrey, Mexico, never learned to play an instrument themselves. Yet they passed on their profound love of music to their three daughters by exposing them to an incredibly wide range of genres: Classic Rock and Arena Rock, Modern Alternative Rock, Pop, Piano-Driven Legends, Classical Music, and everything in between.


From Cover Versions to Original Songs and Back


“Infected” by this passion at a very early age, all three sisters began learning piano. A few years later, when Daniela (then 11) took up the guitar and Paulina (then 9) the drums, Alejandra (at age 7) decided to learn bass. Not long after, the three realized they already had everything they needed to form a rock trio. They started practicing cover versions in their rehearsal room and uploading them to YouTube — for example “We’re Not Gonna Take It” by Twisted Sister or “Resistance” by Muse.


Their electrifying version of Metallica’s “Enter Sandman,” recorded when they were 9, 12, and 14 years old, quickly went viral. To this day, the video has over 27 million views. It remains a powerful testament to both their remarkable talent and the deep love of music their parents had instilled in them.



Not much later The Warning began writing their own original songs. In 2017 they got the chance to present some of them on the prestigious TED Talks series. Besides delivering stunning performances of three songs from their first full-length album XXI Century Blood, they also spoke about their experiences in the music business.


Their advice — which can be seen as excellent general life advice — can be summarized as follows: Do what you love, believe in yourself, work hard, and don’t believe every crap others tell you — especially adults.


As a psychologist who has been interested in happiness and mental health for two decades, I really couldn’t agree more.



As you can see in the video, they already had it all back then: They were masters of their instruments, could all sing beautifully, had great stage presence, and wrote really strong songs rooted not only in (hard) rock, but also in musical theatre and classical elements. The level of love, passion, and skill that drummer Paulina brings to the first song “Unmendable” still gets me choked up every time.


That The Warning were able to grab the full attention of audiences at such a young age had a lot to do with how hard-working and focused they were. This very raw yet stunningly virtuosic rehearsal-room version of “Dull Knives (Cut Better)” perfectly illustrates their breathtaking determination — they already acted like rock stars long before the world knew what was coming. That’s the power of manifestation!



In 2021, six years after their childhood “Enter Sandman” cover, Metallica personally invited The Warning to record a new version of the song for the official tribute album The Metallica Blacklist — marking the 30th anniversary of The Black Album.


Together with Canadian singer Alessia Cara, they created a markedly different, more somber and reflective interpretation. While they kept the original vocal melody lines, they changed the chords underneath in a very elegant way.



In the past few years, The Warning have become a highly sought-after support act for major bands such as Guns N’ Roses, Foo Fighters, Halestorm and others. In 2023 they were invited by Muse as support for several European dates. Matt Bellamy, singer and guitarist of Muse, was so impressed that he gave Daniela one of his signature guitars as a gift. She could even choose the colour of it, she once said with a smile in an interview.


(Not too) Deep Dive into the harmonic recipe for greatness


Nearly 20 years ago, I wrote my doctoral dissertation on the relationship between music and emotion. One central finding was why certain pieces of music move us so deeply. The music of The Warning is a perfect example of this.


Although it is mostly based on minor scales, it rarely sounds sad. When you combine minor keys with high energy and mid-to-high tempo, you get music that touches the heart through beautiful melodies and vocal harmonies while the drive makes your blood boil. Think of “The Trooper” or “The Evil That Men Do” by Iron Maiden, “Love Gun” or “Detroit Rock City” by Kiss, “Metalingus” or “Ties That Bind” by Alter Bridge, or “Beat It” by Michael Jackson — same story, folks.


Great examples of this “ass-kicking minor” formula in The Warning’s music are:





They also like to throw in single notes and intervals that don’t belong in pure minor scales, such as the dark, sinister-sounding Phrygian half-tone interval. Good examples are the intros and main riffs of:




Can you hear the sinisterness? If not, think of the guitar riff during the intro and verses of Megadeth’s “Symphony of Destruction” — there you go!


Where from here? A final Warning.


Currently, The Warning are touring the the U.S., supporting the English musician Yungblud. On June 25th, they will play their first European show in Norway. If you are lucky, they are coming to a town near you, see: Tour - The Warning Official Store. I advise you not to miss them!


Lovers of the band use the slogan “You have been warned!” whenever their music catches someone’s soul. As I wrote in the beginning, this happened to me just some weeks ago.


Will you be warned, too?

REVIEW: GAE BOLGA - Violent MetalStorm

 


GAE BOLGA - Violent MetalStorm


Emanes Metal Records


For listeners who find modern thrash metal productions overly polished and are craving a sound that embodies the raw, aggressive spirit of the genre’s heyday, GAE BOLGA offers a compelling alternative. Hailing from Belgium, this band’s debut album, Violent MetalStorm, acts as a sonic time capsule, deliberately eschewing contemporary production trends to evoke the gritty energy of the 1980s thrash scene.


Throughout the album, GAE BOLGA channels influences from seminal bands such as Kreator, Slayer, and Destruction, while also incorporating elements reminiscent of Venom and early Running Wild. The result is a release that exudes unfiltered intensity—pure, unrefined, and confrontational. The production maintains a raw edge, emphasizing the aggressive riffs, pounding drums, and vehement vocals that define classic thrash metal.



Violent MetalStorm demands to be played loud, ideally enjoyed in a setting of camaraderie and revelry. Its unrelenting energy might even disturb the tranquility of more conservative neighborhoods, prompting neighbors to reconsider their surroundings. The album lives up to its title, delivering a relentless assault of metal that will appeal to dedicated thrash maniacs and purists alike.


In summary, this record is a strong debut from a band with promising potential. GAE BOLGA successfully captures the essence of old-school thrash and presents it with conviction, making it a must-listen for fans seeking authenticity and intensity in their metal.


Nick  Parastatidis


REVIEW: ICED EARTH, Plagues Of Babylon

 


ICED EARTH, Plagues Of Babylon (2014)


Century Media Records


Όλα είναι κύκλος


Η επιστροφή στη θεματολογία του Something Wicked κατά το ήμισυ, βρίσκει τον ενδέκατο δίσκο των Αμερικανών σε μια πολύ καλή φάση ανάκαμψης — ειδικά μετά το προηγούμενο άλμπουμ τους, Dystopia, με το οποίο μας σύστησαν τον νέο τραγουδιστή Stu Block, του οποίου η φωνή έχει αξιοπρόσεκτη ομοιότητα με εκείνη του παλιού, κλασικού Matt Barlow.


Πρόκειται, λοιπόν, για ένα ημι-θεματικό άλμπουμ στη λογική Fatal Portrait / Nosferatu αντίστοιχα των King Diamond / Helstar, το οποίο απλώς μακραίνει —με τα μισά του τραγούδια— το ήδη μεγάλο (και, μεταξύ μας, πλέον ξεχειλωμένο) αυτό concept. Παρ’ όλα αυτά, μουσικά κινείται σε πάρα πολύ καλό επίπεδο.


Με τον νέο μπασίστα Luke Appleton, αλλά με session ντράμερ τον Raphael Saini, ο κιθαρίστας και «αφεντικό» του σχήματος, Jon Schaffer, υπογράφει ξανά έναν δίσκο που τους επανέφερε στο προσκήνιο. Με τον παλιό, γνωστό φίλο Hansi Kürsch των Blind Guardian να δανείζει τη φωνή του στο Among the Living Dead, στο άλμπουμ ξεχωρίζουν επίσης τα Plagues of Babylon, Democide, Resistance, The End?, Cthulhu, Peacemaker, το Spirit of the Times —επανεκτέλεση του κομματιού από το πρότζεκτ Sons of Liberty του Schaffer— καθώς και η διασκευή στο Highwayman του Jimmy Webb.


Έχουμε, λοιπόν, ένα άλμπουμ που πλέον, νομίζω, έχει την αξία αλλά και την προσοχή που του αρμόζει.


English:



Everything Comes Full Circle


The partial return to the Something Wicked theme finds the Americans’ eleventh album in a strong phase of resurgence — especially after their previous record, Dystopia, with which they introduced us to their new vocalist, Stu Block, whose voice bears a striking resemblance to that of the classic, longtime frontman Matt Barlow.


What we have here is a semiconcept album in the Fatal Portrait / Nosferatu tradition of King Diamond and Helstar respectively — one that simply extends, through half of its tracks, an already large (and, between us, now somewhat overstretched) concept. Even so, musically it operates at a very high level.


With new bassist Luke Appleton on board but session drummer Raphael Saini behind the kit, guitarist and bandleader Jon Schaffer delivers yet another record that brought the band back into the spotlight. With longtime friend Hansi Kürsch of Blind Guardian lending his voice to Among the Living Dead, the album also features standout moments such as Plagues of Babylon, Democide, Resistance, The End?, Cthulhu, Peacemaker, the rerecording of Spirit of the Times from Schaffer’s Sons of Liberty project, as well as a cover of Jimmy Webb’s Highwayman.


All in all, this is an album that, I believe, has now earned both the value and the attention it deserves.


Τάκης "Ε-Μortal One" Γιώτης!


Σάββατο 6 Ιουνίου 2026

REVIEW: SEPTICFLESH, Codex Omega

 


SEPTICFLESH, Codex Omega (2017)


Season of Mist


Φορτωμένο, συμφωνικό, σκοτεινό.


Από τους —τρεις, λένε κάποιοι— μεγάλους της ελληνικής ακραίας metal συνομοταξίας, οι Septicflesh (τους οποίους, παρεμπιπτόντως, ακόμη δεν μπορώ να συνηθίσω με τα δύο συνθετικά ενωμένα· θέλω το κενό όπως στις απαρχές τους), έχουν βιώσει μια δεύτερη, αν όχι τρίτη, ιστορικής σημασίας δισκογραφική εποχή. Συμφωνικό death metal, μεγαλειώδες και απόκοσμο, μας παραδίδουν και στον Codex Omega τους.


Μη ξεχνάμε ποιοι και πότε ακριβώς έκαναν την αρχή: οι γενάρχες του σκοτεινού ήχου, οι Ελβετοί Celtic Frost, είχαν ήδη από το To Mega Therion (1985) τα πρώτα στοιχεία συμφωνικής μουσικής. Οι δικοί μας Septic Flesh —από τις αρχές και ειδικά στα μέσα των ’90s (να το κενό που λέγαμε)— με μια μικρή παύση, το έχουν πάει σε εντελώς διαφορετικό επίπεδο, εισάγοντας το σκοτεινό death metal τους μέσα στη συμφωνική μουσική.


Ένα ακόμη άλμπουμ που, με το «χιτ» —ας επιτραπεί ο όρος— Portrait of a Headless Man και το απίστευτο σε συμβολισμό βίντεο κλιπ του, μου υπενθύμισε τότε ότι είναι ακόμη εδώ και, ελπίζω, θα είναι για πολλά χρόνια ακόμη.


Ο Seth Siro Anton (Σπύρος Αντωνίου) σε μπάσο και growl φωνητικά, ο αδερφός του Χρήστος Αντωνίου σε κιθάρα και καθαρή φωνή, μαζί με τον Σωτήρη Announaki V επίσης στην κιθάρα, και τον μοναδικό μη Έλληνα της παρέας, τον ντράμερ Kerim Lechner, μας καθίζουν βίαια κάτω και ρίχνουν στα αυτιά μας τα φορτωμένα με decibel, ογκοδέστατα κομμάτια του δίσκου.


Υλικό όπως τα 3rd Testament (Codex Omega), Enemy of Truth, Martyr, Dark Art, Our Church Below the Sea, Faceless Queen και Trinity.


English:



Loaded, symphonic, dark.


Among the —three, some say— giants of the Greek extreme metal lineage, Septicflesh (whom, incidentally, I still can’t get used to seeing written as one word; I want the space back, like in their early days) have lived through a second, if not a third, historically significant creative era. Symphonic death metal, majestic and otherworldly, is once again what they deliver on their Codex Omega.


Let’s not forget who started all this, and when: the forefathers of the dark sound, Switzerland’s Celtic Frost, had already introduced the first symphonic elements back on To Mega Therion (1985). Our own Septic Flesh —from the early and especially the mid’90s (there’s that space again)— with a brief pause in between, took it to an entirely different level, weaving their shadowdrenched death metal into full symphonic form.


Another album which, with its “hit” —if the term may be allowed— Portrait of a Headless Man, and its symbolically staggering music video, reminded me back then that they are still here and, hopefully, will remain for many years to come.


Seth Siro Anton (Spyros Antoniou) on bass and growl vocals, his brother Christos Antoniou on guitar and clean vocals, together with Sotiris Announaki V also on guitar, and the only nonGreek member, drummer Kerim Lechner, forcefully pin us to our seats and hurl into our ears the decibelladen, massive compositions of this record.


Material such as 3rd Testament (Codex Omega), Enemy of Truth, Martyr, Dark Art, Our Church Below the Sea, Faceless Queen, and Trinity.


Τάκης "Ε-Μortal One" Γιώτης!


REVIEW: DARK COVENANT - Eulogies for the Fallen

 


DARK COVENANT - Eulogies for the Fallen


Emanes Metal Records


Playing doom metal is an inherently challenging endeavor. The genre’s monolithic nature demands not only innovative ideas but also a vocalist capable of delivering powerful, emotive performances. Unfortunately, with their debut album, DARK COVENANT appears to fall short on both fronts.


Their approach to doom metal is notably conventional, drawing heavily on the archetypes established by bands like CANDLEMASS and, to a lesser extent, SOLITUDE AETURNUS. The result is a sound that feels somewhat derivative and uninspired. Throughout the album, many tracks exhibit repetitive and similar structures, which diminishes the overall engagement, especially for seasoned listeners accustomed to more dynamic compositions. The predictability of the songwriting becomes a significant drawback, reducing the sense of surprise or emotional impact.


The vocal performance further complicates the album's reception. The singer’s voice, reminiscent of Messiah Marcolin, attempts to evoke a similar deep, commanding tone; however, it is notably weak and often overshadowed by the instrumentation. This diminishes the emotional resonance that a compelling doom metal vocal should convey, leaving the vocals feeling underwhelming and secondary to the music.



The sole exception on the album, in my opinion, is the track “A Broken Sword Reforged,” which manages to stand out as a more engaging and interesting piece. Aside from this, the album remains within the realm of typicality—predictable and lacking in the innovative spark necessary to elevate it beyond the most basic expectations of epic doom metal.


Overall, Eulogies for the Fallen is likely to appeal only to dedicated doom metal enthusiasts who appreciate traditional and heavily familiar sounds. For potential listeners, I recommend sampling the album beforehand, as it may not offer enough novelty or emotional depth to justify a purchase for the casual or more discerning metal fan.


Nick  Parastatidis


Παρασκευή 5 Ιουνίου 2026

Bible of the Devil: The Diabolic Procession of the Innocent

 


The relationship between heavy metal and the history of the Crusades is old, close, and well-tested. For most of us, our first musical contact with the subject came from the European school: Grave Digger’s monumental Knights of the Cross (1998) set the terms of the game, capturing the rise and fall of the Templars with grit, epic grandeur, and theatricality.


However, the history of medieval religious wars has many facets—some of them so dark and tragic that they defy imagination. To discover them, we need to cross to the other side of the Atlantic and stand before an underground "hidden force" of the American heavy sound.


In 2006, Chicago’s Bible of the Devil released their fourth album, titled The Diabolic Procession, through Italy’s Cruz Del Sur Music. Instead of the geopolitics of powerful knights, the Americans chose to shed light on the most controversial, blood-soaked, and betrayed page of the 13th century: the Children's Crusade (1212).


The result? A staggering concept album that functions as a timeless, chilling parable.


1. The Birth of Illusion and Blind Fanaticism


The story begins with two parallel movements in France and Germany. Two young boys, Stephen of Cloyes and Nicholas, claim to have seen visions of Christ, who commanded them to gather an "army of the innocent" to liberate Jerusalem peacefully. The promise? The sea would dry up before them so they could walk all the way to the Holy Lands.

 

Bible of the Devil open the album with the instrumental, ominous "Ecclesia Novorum Innocentium" ("The Church of the New Innocents"), immediately setting the philosophical framework:


“Timeless fable of a generation lost / Countless thousands perished for the cross… Of the body count a holy war will bring / And the power lust of he, who would be king”


Musically, the band avoids symphonic excesses. Instead, they deliver a seminar in pure, fan-driven heavy metal with a twin-guitar attack that marries the melody of Thin Lizzy with the galloping nerve of early Iron Maiden and Riot.


In "Sepulchre", the lyrics introduce us to the "false Messiah" and the hypnosis of the masses. Experienced soldiers failed in previous campaigns, so the "youthful legions" blindly follow the lie: “Youthful Moses / Rally cry / Bring the children / Feed the lie”.


In the tracks "Orphans of Doom" and "Millenialism", we enter the heart of religious hysteria. The term "Millenialism" describes the blind faith in an imminent golden age of peace. The prophet promises the destitute serfs that they do not need weapons because faith will illuminate the darkness (“Faith shall illuminate the darkness”). For the children of poor peasants, this fairy tale looks like salvation compared to the daily tortures of poverty. The band comments cynically: “Minds of the youth / Have gone insane / A world reborn in innocence through massacre”.


In "Legions of the Oriflamme", the army begins its march along the Rhone River, with the boy from Cloyes leading upon a gilded chariot, while the lyrics foreshadow the slaughter: “Emblazoned in red / For blood to be shed”.


2. The "Elusive Miracle" and the Betrayal of the Judas Ships


When the destitute armies finally reach the shores of Marseilles (France) and Brindisi (Italy), harsh reality strikes like a hammer. The miracle does not happen. The sea does not open.


"The Elusive Miracle" is the crushing turning point of the album. The sea ignores them, faith gives way to terror, and shame returns the "romantic" youth to reality: “Youth leaves me ripe for exploitation / By savages known and feared”. In "Heinous Corpus", the horror culminates as thousands of children die of hunger and disease on the way back or are slaughtered in local conflicts.


But this is where the darkest epilogue of history is written. In Marseilles, two local merchants, Hugh the Iron and William the Pig, appear as "saviors" and offer to transport the children to Palestine for free on seven ships, supposedly out of Christian charity.


The track "Judas Ships" exposes their absolute hypocrisy through the lyrics:


“He's Hugh the Iron, I'm William the Pig / Seven vessels shall bear the flesh cargo / Quite a price they'll fetch in Bujeiah / At the helm are the agents of profit”


There was no charity. They were ruthless slave traders. They steered the ships straight to the ports of North Africa and sold the children into the slave markets of the Saracens.


The album closes with the epic "Slaves". Eighteen years later, a priest who survived returns to Europe and reveals the truth. Two ships were wrecked off Sardinia, drowning everyone, but the remaining five delivered their live cargo: “And remain as slaves / Slaves / The master changed / But their fate's the same”.



3. The Dark Parable: The Road to Hell


Bible of the Devil’s choice to name the album The Diabolic Procession hides the entire philosophical weight of their work. This album is the living confirmation of the proverbs stating that "the road to hell is paved with good intentions" and that "the devil can appear even as an angel of light".


Those thousands of children started with the purest, most innocent intentions, chasing a holy vision. Yet, blinded by ignorance and manipulated by propaganda, they became pawns in a "diabolic procession."


The band underlines something that remains relevant across the centuries: those who preach fanaticism, self-sacrifice, and grand ideals, most of the time do so for self-interest. Whether they are religious leaders thirsting for power ("power lust"), or opportunists hiding in the shadows to plunder, rob, and exploit the desperation of the masses, the victim remains the same: the ordinary, unsuspecting human being.


4. The Tragic Irony of History


For the end, history itself kept a terribly ironic twist, which seals the magnitude of the tragedy.


While the fate of the French Stephen was lost forever in the slave markets of Africa, the German "prophet," Nicholas, had a different destiny. After leading his part of the army all the way to Rome, Pope Innocent III ordered them to return to their homes, seeing the futility of it all. During the painful journey back through the frozen passes of the Alps, the majority of the children died of cold and starvation.


Nicholas, however, survived. And here comes the absolute irony: a few years later, now an adult, he took part as a regular, armed soldier in the Fifth Crusade, fighting on the battlefields of Egypt. The child who once preached the peaceful and bloodless liberation of the Holy Lands ended up a gear in the very same bloody, warlike machinery that had enchanted his childhood years.


With The Diabolic Procession, Bible of the Devil delivered a historical and social manifesto. Through their rushing guitars, they did not hymn the glory of swords, but mourned the most betrayed generation of the Middle Ages, reminding us that when reason sleeps, the monsters of fanaticism awake.


Nick Parastatidis


Bible of the Devil: Η Διαβολική Πομπή των Αθώων

 


Η σχέση του heavy metal με την ιστορία των Σταυροφοριών είναι παλιά, στενή και δοκιμασμένη. Για τους περισσότερους από εμάς, η πρώτη μουσική επαφή με το θέμα ήρθε από την ευρωπαϊκή σχολή: το μνημειώδες Knights of the Cross (1998) των Grave Digger έθεσε τους όρους του παιχνιδιού, αποτυπώνοντας την άνοδο και την πτώση των Ναϊτών με τραχύτητα, επικότητα και θεατρικότητα.


Όμως, η ιστορία των θρησκευτικών πολέμων του Μεσαίωνα έχει πολλές πτυχές—κάποιες από αυτές τόσο σκοτεινές και τραγικές που ξεπερνούν κάθε φαντασία. Για να τις ανακαλύψουμε, χρειάζεται να περάσουμε στην άλλη πλευρά του Ατλαντικού και να σταθούμε σε μια underground «κρυφή δύναμη» του αμερικανικού σκληρού ήχου.


Το 2006, οι Bible of the Devil από το Σικάγο κυκλοφόρησαν μέσω της ιταλικής Cruz Del Sur Music το τέταρτο άλμπουμ τους με τίτλο The Diabolic Procession. Αντί για τη γεωπολιτική των πανίσχυρων ιπποτών, οι Αμερικανοί επέλεξαν να φωτίσουν την πιο αμφιλεγόμενη, ματωμένη και προδομένη σελίδα του 13ου αιώνα: τη Σταυροφορία των Παιδιών (1212).


Το αποτέλεσμα; Ένα συγκλονιστικό concept άλμπουμ που λειτουργεί ως μια διαχρονική, ανατριχιαστική παραβολή.


1. Η Γέννηση της Ψευδαίσθησης και ο Τυφλός Φανατισμός

Η ιστορία ξεκινά με δύο παράλληλα κινήματα στη Γαλλία και τη Γερμανία. Δύο νεαρά αγόρια, ο Stephen ο Cloyes και ο Nicholas, ισχυρίζονται ότι είδαν οράματα από τον Χριστό, ο οποίος τους διέταξε να μαζέψουν έναν «στρατό αθώων» για να απελευθερώσουν την Ιερουσαλήμ ειρηνικά. Η υπόσχεση; Η θάλασσα θα στερέψει μπροστά τους για να περάσουν περπατώντας μέχρι τους Αγίους Τόπους.


Οι Bible of the Devil ανοίγουν το άλμπουμ με το ορχηστρικό, δυσοίωνο "Ecclesia Novorum Innocentium" («Η Εκκλησία των Νέων Αθώων»), θέτοντας αμέσως το φιλοσοφικό πλαίσιο:


“Timeless fable of a generation lost / Countless thousands perished for the cross… Of the body count a holy war will bring / And the power lust of he, who would be king”


Μουσικά, η μπάντα αποφεύγει τις συμφωνικές υπερβολές. Αντίθετα, παραδίδει ένα σεμινάριο καθαρόαιμου, οπαδικού heavy metal με ένα twin-guitar attack που παντρεύει τη μελωδία των Thin Lizzy με το καλπάζον νεύρο των πρώιμων Iron Maiden και των Riot.


Στο "Sepulchre", οι στίχοι μάς συστήνουν τον «ψεύτικο Μεσσία» και την Ύπνωση των μαζών. Οι έμπειροι στρατιώτες απέτυχαν στις προηγούμενες εκστρατείες, οπότε οι «νεανικές λεγεώνες» ακολουθούν τυφλά το ψέμα: “Youthful Moses / Rally cry / Bring the children / Feed the lie”.


Στα κομμάτια "Orphans of Doom" και "Millenialism", μπαίνουμε στην καρδιά της θρησκευτικής υστερίας. Ο όρος «Χιλιασμός» (Millenialism) περιγράφει την τυφλή πίστη σε μια επικείμενη χρυσή εποχή ειρήνης. Ο προφήτης υπόσχεται στους εξαθλιωμένους δουλοπάροικους ότι δεν χρειάζονται όπλα, γιατί η πίστη θα σκίσει το σκοτάδι (“Faith shall illuminate the darkness”). Για τα παιδιά των φτωχών χωρικών, αυτό το παραμύθι φαντάζει λύτρωση μπροστά στα καθημερινά βασανιστήρια της φτώχειας. Η μπάντα σχολιάζει κυνικά: “Minds of the youth / Have gone insane / A world reborn in innocence through massacre”.


Στο "Legions of the Oriflamme", η στρατιά ξεκινά την πορεία της κατά μήκος του ποταμού Ροδανού, με το αγόρι από το Cloyes να ηγείται πάνω σε ένα χρυσό άρμα, ενώ οι στίχοι προοικονομούν το μακελειό: “Emblazoned in red / For blood to be shed”.


2. Το «Άπιαστο Θαύμα» και η Προδοσία των Πλοίων του Ιούδα


Όταν οι εξαθλιωμένες στρατιές φτάνουν επιτέλους στις ακτές της Μασσαλίας (Γαλλία) και του Μπρίντιζι (Ιταλία), η σκληρή πραγματικότητα χτυπά σαν σφυρί. Το θαύμα δεν συμβαίνει. Η θάλασσα δεν ανοίγει.


Το "The Elusive Miracle" είναι το συντριπτικό σημείο καμπής του δίσκου. Η θάλασσα τους αγνοεί, η πίστη δίνει τη θέση της στον τρόμο και η ντροπή επιστρέφει τη «ρομαντική» νεολαία στην πραγματικότητα: “Youth leaves me ripe for exploitation / By savages known and feared”. Στο "Heinous Corpus", η φρίκη ολοκληρώνεται καθώς χιλιάδες παιδιά πεθαίνουν από την πείνα και τις ασθένειες στο δρόμο της επιστροφής ή σφαγιάζονται σε τοπικές συγκρούσεις.


Εδώ όμως γράφεται ο πιο μαύρος επίλογος της ιστορίας. Στη Μασσαλία, δύο ντόπιοι έμποροι, ο Hugh the Iron (Ούγος ο Σιδηρούς) και ο William the Pig (Γουλιέλμος ο Χοίρος), εμφανίζονται ως «σωτήρες» και προσφέρονται να μεταφέρουν τα παιδιά δωρεάν με επτά πλοία στην Παλαιστίνη, δήθεν από χριστιανική ευσπλαχνία.


Το κομμάτι "Judas Ships" ξεμπροστιάζει την απόλυτη υποκρισία τους μέσα από τους στίχους:


“He's Hugh the Iron, I'm William the Pig / Seven vessels shall bear the flesh cargo / Quite a price they'll fetch in Bujeiah / At the helm are the agents of profit”


Δεν υπήρχε καμία ευσπλαχνία. Ήταν στυγνοί δουλέμποροι. Οδήγησαν τα πλοία κατευθείαν στα λιμάνια της Βόρειας Αφρικής και πούλησαν τα παιδιά στα σκλαβοπάζαρα των Σαρακηνών.


Ο δίσκος κλείνει με το επικό "Slaves". Δεκαοκτώ χρόνια μετά, ένας ιερέας που επέζησε επιστρέφει στην Ευρώπη και αποκαλύπτει την αλήθεια. Δύο πλοία ναυάγησαν στη Σαρδηνία πνίγοντας τους πάντες, αλλά τα υπόλοιπα πέντε παρέδωσαν το ζωντανό φορτίο τους: “And remain as slaves / Slaves / The master changed / But their fate's the same”.



3. Η Σκοτεινή Παραβολή: Ο Δρόμος για την Κόλαση


Η επιλογή των Bible of the Devil να ονομάσουν τον δίσκο The Diabolic Procession («Η Διαβολική Πομπή») κρύβει όλο το φιλοσοφικό βάρος του έργου τους. Αυτό το άλμπουμ είναι η ζωντανή επιβεβαίωση των γνωμικών που λένε ότι «ο δρόμος για την κόλαση είναι στρωμένος με αγαθές προθέσεις» και ότι «ο διάβολος μπορεί να εμφανιστεί ακόμα και ως άγγελος φωτός».


Τα χιλιάδες εκείνα παιδιά ξεκίνησαν με τις πιο αγνές, αθώες προθέσεις, κυνηγώντας ένα ιερό όραμα. Όμως, τυφλωμένα από την αμάθεια και χειραγωγημένα από την προπαγάνδα, έγιναν πιόνια σε μια «διαβολική πομπή».


Η μπάντα υπογραμμίζει κάτι που παραμένει επίκαιρο ανά τους αιώνες: αυτοί που κηρύττουν τον φανατισμό, την αυτοθυσία και τα μεγάλα ιδανικά, τις περισσότερες φορές το κάνουν για ίδιον όφελος. Είτε πρόκειται για θρησκευτικούς ηγέτες που διψούν για εξουσία ("power lust"), είτε για καιροσκόπους και επιτήδειους που κρύβονται στις σκιές για να κάνουν πλιάτσικο, να λησέψουν και να εκμεταλλευτούν την απελπισία των μαζών, το θύμα παραμένει το ίδιο: ο απλός, ανυποψίαστος άνθρωπος.


4. Ο Ειρωνικός Επίλογος της Ιστορίας


Για το τέλος, η ίδια η ιστορία κρατούσε ένα τρομερά ειρωνικό γύρισμα, το οποίο σφραγίζει το μέγεθος της τραγωδίας.


Ενώ η τύχη του Γάλλου Stephen χάθηκε για πάντα στα σκλαβοπάζαρα της Αφρικής, ο Γερμανός «προφήτης», ο Nicholas, είχε διαφορετική μοίρα. Αφού οδήγησε το δικό του κομμάτι της στρατιάς μέχρι τη Ρώμη, ο Πάπας Ιννοκέντιος Γ' τους διέταξε να επιστρέψουν στα σπίτια τους, βλέποντας το μάταιο του πράγματος. Κατά την οδυνηρή επιστροφή μέσα από τα παγωμένα περάσματα των Άλπεων, η πλειοψηφία των παιδιών πέθανε από το κρύο και την πείνα.


Ο Nicholas όμως επέζησε. Και εδώ έρχεται η απόλυτη ειρωνεία: λίγα χρόνια αργότερα, όντας πλέον ενήλικας, πήρε μέρος ως κανονικός, ένοπλος στρατιώτης στην Ε' Σταυροφορία, πολεμώντας στα πεδία των μαχών της Αιγύπτου. Το παιδί που κάποτε κήρυττε την ειρηνική και αναίμακτη απελευθέρωση των Αγίων Τόπων, κατέληξε γρανάζι του ίδιου αιματηρού, πολεμικού μηχανισμού που είχε μαγέψει τα παιδικά του χρόνια.


Οι Bible of the Devil παρέδωσαν με το The Diabolic Procession ένα ιστορικό και κοινωνικό μανιφέστο. Μέσα από τις καταιγιστικές τους κιθάρες, δεν ύμνησαν τη δόξα των σπαθιών, αλλά θρήνησαν την πιο προδομένη γενιά του Μεσαίωνα, θυμίζοντάς μας ότι όταν η λογική κοιμάται, τα τέρατα του φανατισμού ξυπνούν.


Νικόλαος Παραστατίδης