REVIEW: LEATHERHEAD, Violent Horror Stories

 

LEATHERHEAD, Violent Horror Stories (2026)

No Remorse Records

Παρασκευή και 13 έσκασε, Σάββατο 14 παίζει…

Αααα, οι πέντε φίλοι από τον κάμπο της Θεσσαλίας και την πρωτεύουσά του, τη Λάρισα, επιστρέφουν με νέες σκοτεινές speed metal περιπέτειες στον δεύτερο, ολοφρέσκο δίσκο τους! Η συνέχεια του ομώνυμου ντεμπούτου τους, δύο χρόνια νωρίτερα, κινείται στα ίδια πλαίσια, αλλά τη βρίσκω βελτιωμένη σε κάθε τομέα.

Ο Τόλης Μέκρας στη φωνή, οι Θάνος Μετάλιος και Δημήτρης Κομνηνός στις κιθάρες, ο Γιώργος Χατζηγεωργίου στο μπάσο και ο Μιχάλης Ζουναράκης στα τύμπανα εμφανίζονται ανελέητοι και λες και ζουν ακόμη κάπου μεταξύ 1983 και 1986 από πλευράς μουσικής. Μοιράζουν απλόχερα πόνο, ταχύτητα, συνθέσεις και άφθονη όρεξη για headbanging μέσα στις βίαιες ιστορίες τρόμου τους. Με το U.S. Metal ως βάση — παιγμένο όχι μόνο με διάθεση για αναπολήσεις ή αγιοποίηση, αλλά ως εφαλτήριο και έμπνευση — το άλμπουμ σε πιάνει από τη μούρη, όπως ο σκοτεινός ερυθρόδερμος Witchdoctor στο εξώφυλλο αρπάζει τον άτυχο θεατή μέσα από την οθόνη στο ομότιτλο V.H.S., που ανοίγει το σερί της επίθεσης.

Ακολουθούν τα Summoning the Dead, The Visitors, Children of the Beast, Incubus, Crimson Eyes, Something Evil (This Way Comes) και Dreamcatcher, που σε πηγαίνουν περίπατο για κοντά σαράντα λεπτά, ανάμεσα σε σκοτεινή φαντασία και δημιουργική ανάγκη για καλοπαιγμένη metal μουσική.

Χαλαρό 9/10 και μπράβο στην ομάδα. Ραντεβού στις σκηνές, ρε Έλληνες Απάτσι!

English:

Friday the 13th dropped, Saturday the 14th is already raging…

Aaaah, the five friends from the plains of Thessaly and their capital, Larissa, return with new dark speed‑metal adventures on their second, freshly forged album! The follow‑up to their self‑titled debut from two years ago moves in the same territory, but I find it improved in every single aspect.

Tolis Mekras on vocals, Thanos Metalios and Dimitris Komninos on guitars, Giorgos Chatzigeorgiou on bass, and Michalis Zounarakis on drums sound absolutely relentless — as if they’re still living somewhere between 1983 and 1986 musically. They dish out pain, speed, sharp songwriting, and plenty of appetite for headbanging through their violent horror tales. With U.S. Metal as their foundation — played not with mere nostalgia or worship, but as a springboard and source of inspiration — the album grabs you by the face, just like the dark red‑skinned Witchdoctor on the cover snatches the unlucky viewer through the screen on the title track V.H.S., which kicks off the attack.

What follows — Summoning the Dead, The Visitors, Children of the Beast, Incubus, Crimson Eyes, Something Evil (This Way Comes), and Dreamcatcher — takes you on a forty‑minute ride through dark fantasy and a genuine creative urge for well‑crafted metal.

A relaxed 9/10 from me, and kudos to the whole crew. See you on the stages, you Greek Apaches!

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: SYMPHORCE – Unrestricted

 

SYMPHORCE – Unrestricted

AFM Records

There are some bands like SYMPHORCE that many metal fans speak highly of, yet when I revisited parts of their back catalogue, I couldn’t quite understand what made them stand out in a scene overflowing with thousands of acts. Formed back in 1998 by vocalist Andy B. Franck—well‑known also for his work with Brainstorm—the band built its identity around a down‑tuned power/thrash approach, often compared to what NEVERMORE were doing in the late‑90s/early‑00s era. So when their new release landed on my desk, I can’t say I approached it with much excitement.

Still, persistence often pays off in metal, and Unrestricted feels like the moment SYMPHORCE finally align with the sound that suits them best. Being their seventh studio album, and produced by Dennis Ward (a name tied to some of the most polished European metal releases), the record immediately shows a cleaner, more modern direction. The darker atmosphere of Become Death (2007) is largely set aside in favor of groove‑driven metal with a contemporary edge.

At times, the BLACK LABEL SOCIETY influence is unmistakable, and there are even subtle hard rock touches woven into the riffs. Yet the core remains firmly heavy metal. Much of this shift seems to come from guitarist Cede Dupont, whose melodic and groove‑oriented writing gives the album a more focused and confident character than some of their earlier work.

What stands out is the balance: Unrestricted sounds modern without abandoning traditional metal foundations. As someone who gravitates toward classic metal aesthetics, I found this combination surprisingly appealing. The songwriting feels sincere, the performances controlled and expressive—especially Franck’s vocals—and the overall result is an album that doesn’t rely on trends but on solid, well‑crafted metal.

SYMPHORCE may never have been a mainstream name, but this is arguably one of their most accessible and cohesive works. If you appreciate strong metal tunes regardless of era or subgenre, Unrestricted offers a straightforward and enjoyable listen. Hopefully, this is the direction they continue to explore.

Nick Parastatidis

REVIEW: ALLEN/LANDE – The Showdown

 

ALLEN/LANDE – The Showdown

Frontiers Records

The collaboration between Russell Allen (Symphony X) and Jorn Lande—two of the most respected vocalists in contemporary metal—returns with a new release, The Showdown. Although I am generally skeptical of all‑star studio projects, the duo’s previous albums received positive feedback, which made this new chapter worth exploring.

Musically, the album stays firmly within the realm of melodic heavy metal and hard rock, genres both singers have mastered through their primary bands. Their performances are, unsurprisingly, the highlight: powerful, confident, and technically impeccable. Unfortunately, the strength of the vocals only underscores the weaknesses found elsewhere.

The songwriting and instrumental work feel overly familiar, relying on melodic lines and guitar leads that have been heard countless times in similar projects. The material comes across as formulaic and overly polished, lacking the spontaneity or creative spark that could give the album a distinct identity. Instead of sounding like a cohesive artistic statement, the record often resembles a controlled experiment built around showcasing two great voices.

This impression is reinforced by the fact that neither Allen nor Lande contributed to the songwriting. While this is not inherently negative, it raises questions about how “personal” such a project can be when the core creative direction lies entirely in the hands of external musicians. The result is an album that feels detached—professionally executed, yet emotionally hollow.

Ultimately, The Showdown offers little that stands out within the hard rock and heavy metal landscape. Despite the undeniable talent of its vocalists, the album lacks memorable compositions, compelling melodies, or any sense of artistic urgency. Listeners seeking depth, personality, or innovation are unlikely to find much here.

Nick Parastatidis

REVIEW: KAMELOT, The Black Halo

 

KAMELOT, The Black Halo (2005)

Steamhammer

Από το φως στο σούρουπο

Αυτή η τελική εποχή των Αμερικανών με τον Νορβηγό Roy Khan (πρώην Conception) στο μικρόφωνο μού κάθισε κάπως περίεργα. Τα σημάδια των καιρών είχαν ήδη φανεί με το Epica, αν και εκεί το πράγμα κινήθηκε ολοταχώς προς έναν πιο συμφωνικό ήχο. Το «μαύρο φωτοστέφανο» εδώ έρπει προς ένα Gothic ύφος, παρά την ογκώδη μεταλλική/συμφωνική μεγαλοπρέπεια.

Στο March of Mephisto, που ανοίγει τον δίσκο, οι νότες συνδυάζονται αρμονικά, όπως και τα guest φωνητικά του Shagrath (των συμφωνικών black metallers Dimmu Borgir), τα οποία μπλέκονται με progressive πλήκτρα και μια σκοτεινή ατμόσφαιρα. Τα πράγματα επανέρχονται στο γνώριμο συμφωνικό power metal με το When the Lights Are Gone, στο ύφος που μας είχαν συνηθίσει ήδη από το 1999.

Ένα ακόμη trademark τους ακολουθεί με το The Haunting (Somewhere in Time), το εκπληκτικό ντουέτο — για δεύτερο συνεχόμενο δίσκο μετά το Epica — με την πάντα εντυπωσιακή, τόσο σε παρουσία όσο και σε φωνή, Simone Simons των Epica. Εδώ το gothic στοιχείο γίνεται πλέον εμφανές. Γενικά, πρόκειται για μια μεταβατική περίοδο ως προς το στυλ του σχήματος, που μοιάζει να καταπιάνεται με πολλά πράγματα μέσα στον ίδιο δίσκο.

Thomas Youngblood (κιθάρα), Casey Grillo (ντραμς) και Glen Barry (μπάσο) αποτελούν τη βασική σύνθεση του γκρουπ, με πολλές συμμετοχές — ήδη δύο στα κομμάτια 1 και 3, όπως αναφέραμε. Άλλες στιγμές που κινούν το ενδιαφέρον και την περιέργεια είναι τα Soul Society, Abandoned, Moonlight, The Black Halo, Memento Mori, Nothing Ever Dies, σε ένα άλμπουμ που πολλοί χαρακτηρίζουν «το πετράδι στο στέμμα», «το ζενίθ της δημιουργικότητάς τους» και άλλες τέτοιες μεγαλοστομίες, τυπικές των οπαδών κάθε δίσκου.

Προσωπικά, τα ερωτηματικά που μου δημιουργεί ο δίσκος με κρατούν δέσμιο σε μια ισορροπία ως προς το τι μπορώ να πω. Μια χαρά μεν, αλλά με αστερίσκους· αφού, ειλικρινά, για μένα οι Kamelot έπαψαν να βγάζουν «δεκάρια» μετά το Karma.

English:

From Light to Dusk

This final era of the Americans with Norwegian vocalist Roy Khan (formerly of Conception) never sat entirely right with me. The signs were already there on Epica, even though that album charged head‑first into a more symphonic direction. Here, the “black halo” creeps toward a Gothic aesthetic, despite the album’s massive metallic/symphonic grandeur.

The record opens with March of Mephisto, where the melodies blend seamlessly with the guest vocals of Shagrath (from symphonic black metallers Dimmu Borgir), interwoven with progressive keyboards and a dark, brooding atmosphere. Things return to more familiar symphonic power metal territory with When the Lights Are Gone, in the style they had accustomed us to since at least 1999.

Another of their trademarks follows with The Haunting (Somewhere in Time) — the stunning duet (their second in a row after Epica) with the always impressive Simone Simons of Epica, striking both in presence and in voice. Here, the gothic element becomes unmistakably prominent. Overall, this feels like a transitional period for the band’s style, as if they’re tackling many different ideas within a single album.

Thomas Youngblood (guitars), Casey Grillo (drums), and Glen Barry (bass) form the core lineup, accompanied by numerous guest appearances — two of them already on tracks 1 and 3, as mentioned. Other moments that spark interest and curiosity include Soul Society, Abandoned, Moonlight, The Black Halo, Memento Mori, and Nothing Ever Dies, in an album many describe as “the jewel in the crown,” “the zenith of their creativity,” and other such grand declarations typical of devoted fans.

Personally, the questions this album raises keep me suspended in a delicate balance regarding what I can truly say about it. It’s perfectly fine — but with asterisks. Because, honestly, for me, Kamelot stopped delivering “perfect tens” after Karma.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: WARCRY – Revenge in Blood

 

WARCRY – Revenge in Blood

Pure Steel Records

Back in the late ’90s, a wave of retro thrash metal emerged—bands attempting to revive the spirit of the ’80s by blending classic thrash with traditional heavy metal and adopting deliberately old‑school production. Many of these acts were entertaining at first, yet most ultimately proved forgettable, unable to capture the authenticity or songwriting strength of the original era. BEWITCHED remains one of the few exceptions that genuinely stood out.

On their second release, WARCRY from Germany clearly embrace this retro thrash aesthetic. Revenge in Blood channels strong nostalgia for ’80s metal, combining N.W.O.B.H.M. elements with Bay Area and European thrash riffing, topped off with harsh, gritty vocals. Stylistically, they sit close to bands like SACRED STEEL and BEWITCHED, though they don’t quite reach the same level of impact.

Despite their sincere dedication to true heavy metal, the album struggles to deliver memorable ideas. The energy is there, the attitude is there, but the songwriting rarely offers hooks or moments that linger after the first listen. For many listeners, returning to the album may prove difficult simply because the material doesn’t demand it. Passion alone isn’t enough to elevate the record beyond mediocrity.

Revenge in Blood isn’t a bad release, but it left me largely indifferent. The standout moment is their solid cover of OMEN’s “Deathrider,” which shows what the band can achieve when the material is stronger. Overall, their debut felt more inspired than this follow‑up.

Nick  Parastatidis

REVIEW: EVERGREY, The Dark Discovery

 

EVERGREY, The Dark Discovery (1998)

InsideOut Music America

Πολλά υποσχόμενο.

Οι Σουηδοί Evergrey αποτελούν μια ιδιαίτερη περίπτωση στο progressive/power metal. Το Dark Discovery είναι η πρώτη τους προσπάθεια και, σε σχέση με το ιδίωμα στο οποίο ανήκουν, λειτουργεί σχεδόν ως το αντίθετο των Kamelot. Δηλαδή, ενώ οι Evergrey παίζουν ένα prog που παραπέμπει σε αμερικανικό ήχο — όπως και οι Kamelot, που όμως, αν και Αμερικανοί, παίζουν metal ευρωπαϊκής λογικής — το αποτέλεσμα είναι εντελώς διαφορετικό.

Τα φωνητικά του Tom S. Englund έχουν ήδη από το ντεμπούτο αυτό το χαρακτηριστικό ύφος που τον κάνει μοναδικό. Σε πολλά σημεία μοιάζει να “ραπάρει” τις φράσεις, κολλώντας τις αράδες των στίχων σαν να αποτελούν ένα ενιαίο σώμα.

Μουσικά, το άλμπουμ βρίσκεται κοντά στους Fates Warning, ενώ ειδικά εδώ θυμίζει και Iced Earth, κρατώντας το heavy metal ύφος αλλά με μπλεγμένα riffs που απαιτούν πολλές ακροάσεις για να μπεις στη λογική τους.

Στο κιθαριστικό κομμάτι υπεύθυνος είναι ο Dan Bronell, στα πλήκτρα ο Will Chandra, στο μπάσο ο Daniel Nojd και στα ντραμς ο Patrick Carlson.

Με κομμάτια όπως τα December 26th, Dark Discovery, Blackened Dawn, Trust and Betrayal, When the River Calls, For Every Tear That Falls, το άλμπουμ παραμένει ένα από τα πιο αγαπημένα του κοινού τους — ενός κοινού που παραμένει πιστό στο συγκρότημα μέχρι και σήμερα.

English:

Very promising.

Sweden’s Evergrey are a special case within the progressive/power metal spectrum. Dark Discovery is their first effort and, compared to the stylistic space they occupy, it functions almost as the opposite of Kamelot. In other words, Evergrey play a kind of prog that evokes an American‑leaning sound — while Kamelot, despite being American, perform metal with a distinctly European sensibility — yet the end result is completely different.

Tom S. Englund’s vocals already display, from this debut onward, that unmistakable style that makes him unique. At many points he almost “raps” the phrasing, stitching the lines together as if the lyrics form one continuous flow.

Musically, the album sits close to Fates Warning, and in this particular case even recalls Iced Earth, maintaining a heavy metal backbone but with interwoven riffs that demand multiple listens before their logic fully reveals itself.

The guitar work is handled by Dan Bronell, with Will Chandra on keyboards, Daniel Nojd on bass, and Patrick Carlson on drums.

With tracks like December 26th, Dark Discovery, Blackened Dawn, Trust and Betrayal, When the River Calls, and For Every Tear That Falls, the album remains one of the band’s most beloved releases — cherished by a fanbase that has stayed loyal to Evergrey to this day.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: STEELWING – Lord of the Wasteland

 

STEELWING – Lord of the Wasteland

NoiseArt Records

Lord of the Wasteland marks the full‑length debut of this young Swedish heavy metal outfit, and it’s a confident statement of intent. STEELWING lean unapologetically into classic heavy metal, drawing heavily from the IRON MAIDEN school of galloping riffs, melodic twin guitars, and soaring vocals. The result feels familiar in the best possible way: energetic, tightly executed, and rooted in the genre’s traditions without sounding derivative.

The album’s concise runtime works in its favor, keeping the momentum high and avoiding the fatigue that often comes with longer debuts. While the tracklist is consistently solid, a few songs stand out for their immediacy and strong hooks—particularly “Headhunter,” “The Nightcrawler,” “Point of Singularity,” and “Clash of the Two Tribes.” These tracks showcase the band’s ability to balance melody and speed while maintaining a clear sense of identity.

For fans of classic heavy metal, this is an album worth seeking out. It sits comfortably among the notable releases of 2010, alongside records from SCORPIONS, ATLANTEAN KODEX, ARRYAN PATH, ENFORCER, and SKULL FIST. STEELWING are currently touring with SABATON, though unfortunately Greek audiences haven’t had the chance to catch them live yet.

Their debut shows real promise, and it will be interesting to see how they evolve from here.

Ioannis Kaskamanidis