REVIEW: VALET PARN – Riddle Figure

 

VALET PARN – Riddle Figure

Independent

The Greek metal press — especially its mainstream outlets — continues to elevate domestic bands that successfully emulate already established international acts, often presenting them as groundbreaking contributors to our scene. This tendency reflects a persistent undervaluation of originality within Greek metal, and VALET PARN are almost certainly going to be framed in that same flattering but misleading narrative.

VALET PARN’s debut aligns with the current trend dominating modern heavy music: a blend of groove‑metal riffing, metalcore breakdowns, and the familiar alternation between clean and harsh vocals. The problem is not the execution — the band clearly possesses technical skill, and the production is polished, full-bodied, and professionally handled. The issue lies in the creative direction. The album follows the genre’s established formula so closely that, at times, the only distinguishing feature seems to be the band name printed on the cover.

As composers, VALET PARN struggle to imprint a personal identity on their material. Several ideas throughout the record show promise, yet they rarely evolve into something that sets the band apart from the countless similar releases flooding the scene. The songs are competently structured, but they lack the defining element — the signature touch — that transforms solid musicianship into memorable artistry.

In essence, VALET PARN have clearly invested time in honing their performance and production standards. What they now need is to channel that discipline into developing a compositional voice that reflects who they are rather than what the market currently rewards. Until then, Riddle Figure Independent remains another release that plays well enough while it lasts, but fades from memory the moment it ends.

Nick Parastatidis

REVIEW: TROUBLE, The Skull

 

TROUBLE, The Skull (1985)

Metal Blade Records

Απόγνωση σε ηλεκτρικές νότες

Μετά το Psalm 9, που τότε ακόμη ήταν το ομώνυμο άλμπουμ τους (έχουμε αναφερθεί στην κυκλοφορία κατά την ακρόαση εκείνου του δίσκου), οι Trouble από το Σικάγο δεν αργούν να επανέλθουν· και η συνέχεια, με τον χαρακτηριστικό τίτλο The Skull, είναι ακριβώς αυτή που προμηνύει το όνομα.

Η ατμόσφαιρα γίνεται ακόμη πιο στενάχωρη από το πρώτο κιόλας κομμάτι, το Pray for the Dead, πάντα στο γνώριμο — και θα έλεγα ακόμη πιο βαρύ, χαριτολογώντας — ύφος του Doom Heavy Metal, στο οποίο υπήρξαν από τους πρωτοπόρους. Για μένα, ίσως να είναι και λίγο καλύτερο από το θρυλικό ντεμπούτο τους, έστω και με μία… τρίχα διαφορά.

Το αφύσικα ταχύ Fear No Evil ακολουθεί, και ύστερα έρχεται το δεκάλεπτο έπος The Wish. Τα Truth Is What Is, Wickedness of Man (κι αυτό έπος, πραγματικός ύμνος), Gideon και το ομότιτλο The Skull σε αρπάζουν και δεν σε αφήνουν στιγμή.

Έχοντας πλέον λιγότερα κοινά με τους μεγάλους πατέρες Black Sabbath, οι Trouble αποκτούν πιο αυτόνομο ύφος, κάτι που θα εξελιχθεί ακόμη περισσότερο στη συνέχεια της πορείας τους.

Ένα άλμπουμ που, αν δεν το ακούσεις, δύσκολα πιστεύεις πόσο καλό είναι.

English:

Despair in Electric Notes

After Psalm 9, which at the time was still their self‑titled debut (we’ve already referred to that release during the listening session of that record), Trouble from Chicago didn’t take long to return — and the follow‑up, bearing the telling title The Skull, is exactly what that name promises.

The atmosphere becomes even gloomier from the very first track, Pray for the Dead, always within the familiar — and I’d jokingly say even heavier — Doom Heavy Metal style in which they were among the pioneers. For me, it might even be slightly better than their legendary debut, if only by a… hair’s breadth.

The unnaturally fast Fear No Evil follows, and then comes the ten‑minute epic The Wish. Truth Is What Is, Wickedness of Man (another epic, a true anthem), Gideon, and the title track The Skull grab hold of you and never let go.

Having now fewer direct similarities with the great forefathers Black Sabbath, Trouble shape a more autonomous identity — something that would evolve even further in the years to come.

An album that, unless you actually listen to it, you can hardly believe just how good it is.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: AEROSMITH, Nine Lives

 

AEROSMITH, Nine Lives (1997)

Columbia

Πόσο πιο mainstream πια;

Οι βετεράνοι hard rockers, με τις ρίζες τους στις αρχές της δεκαετίας του '70 και με την εντυπωσιακή αναγέννησή τους στα charts από τα μέσα της δεκαετίας του '80, έχοντας τους Steven Tyler και Joe Perry ως το ηγετικό τους δίδυμο, έφτασαν στο δωδέκατο άλμπουμ τους έπειτα από μια σειρά εξαιρετικών δίσκων με τεράστιο ειδικό βάρος, τόσο καλλιτεχνικά όσο και εμπορικά. Φυσικά, σε αυτό συνέβαλε και το MTV – μη ξεχνιόμαστε.

Την παραγωγή ανέλαβε ο Kevin Shirley, ο οποίος λίγα χρόνια αργότερα θα αναλάβει διαδοχικά τις παραγωγές των Iron Maiden, οδηγώντας τους – κατά τη γνώμη μου – σε δημιουργικό αδιέξοδο εδώ και περίπου 25 χρόνια.

Το Pink, που ως single και video clip μάς «ζάλισε τον έρωτα» στα μουσικά κανάλια, στα όρια της πλύσης εγκεφάλου, αποτελεί το δημοφιλέστερο κομμάτι του δίσκου. Ακολουθεί το επίσης πολυπαιγμένο Falling in Love (Is Hard on the Knees). Στα μεγάλα συν του άλμπουμ συγκαταλέγεται και η εναρκτήρια κομματάρα Nine Lives.

Άλλες αξιόλογες στιγμές είναι τα Hole in My Soul, Taste of India, Full Circle, Something's Gotta Give, Ain't That a Bitch, Attitude Adjustment και Fallen Angels, συνθέτοντας ένα ιδιαίτερα αξιόλογο σύνολο 14 τραγουδιών.

Δεν το λες κι άσχημο, έτσι;

English:

How Much More Mainstream Can You Get?

These veteran hard rockers, whose roots go back to the early '70s and who enjoyed a remarkable chart resurgence from the mid-'80s onward, with Steven Tyler and Joe Perry leading the charge, arrived at their twelfth studio album after an impressive run of records that carried enormous weight, both artistically and commercially. And, of course, MTV played no small part in that success—let's not kid ourselves.

Production duties were handled by Kevin Shirley, who would go on to become Iron Maiden's regular producer a few years later, steering them—at least in my opinion—into a creative dead end they've been stuck in for the past 25 years.

"Pink," which saturated music television as both a single and a video to the point of near brainwashing, remains the album's best-known track. It's followed by the equally overexposed "Falling in Love (Is Hard on the Knees)." On the plus side, the opening powerhouse "Nine Lives" is one of the album's undeniable highlights.

Other standout moments include "Hole in My Soul," "Taste of India," "Full Circle," "Something's Gotta Give," "Ain't That a Bitch," "Attitude Adjustment," and "Fallen Angels," making for a thoroughly worthwhile collection of 14 songs.

You can't really call that a bad album, can you?

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: JUROJIN – The Living Measure of Time

 

JUROJIN – The Living Measure of Time

Majestic Elder Recordings

The wave of progressive and groove metal that has become increasingly popular in recent years has never really appealed to me. Most of these bands leave me rather indifferent, as they often fail to offer anything that truly moves or surprises me. Every now and then, however, a band emerges with enough originality and vision to make these familiar sounds genuinely interesting.

JUROJIN is one of those bands. Their music combines modern metal in the vein of SYSTEM OF A DOWN with contemporary hard rock influences reminiscent of NICKELBACK, but what sets them apart is the way they enrich this foundation with elements of 1970s progressive rock and subtle oriental melodies. The use of traditional instruments such as the tabla and santoor adds a distinctive atmosphere to the compositions, giving them an identity that goes beyond the conventions of the genre. The track "Proem" is perhaps the best example of this successful fusion.

Although JUROJIN's style is not something I would choose to listen to on a daily basis, I have to acknowledge the band's talent and creative vision. Rather than simply following modern trends, they reshape them into something with depth, character, and genuine musical substance. Their songwriting balances heaviness with melody and atmosphere, resulting in music that invites the listener to become immersed in it rather than simply consume it.

If you are looking for a contemporary band that offers more than just technical proficiency or fashionable sounds, JUROJIN is well worth your attention. They have something meaningful to say, and they certainly deserve to be noticed.

Nick Parastatidis

REVIEW: THE VERY END – Mercy & Misery

 

THE VERY END – Mercy & Misery

Steamhammer / SPV Records

If your definition of melodic death metal is confined to clones of recent In Flames and Soilwork albums, or yet another predictable metalcore crossover, Germany’s The Very End will come as a welcome surprise. On their sophomore release, Mercy & Misery, the band proves that the melodic death metal template still has room for genuine freshness, innovation, and cross-genre experimentation.

Instead of merely copying their peers, The Very End builds a robust foundation informed by the aggressive thrash of Metallica and Kreator. They then layer this framework with unexpected elements of traditional heavy metal and subtle, gritty undertones of stoner rock. This eclectic mix prevents the album from feeling one-dimensional. That is not to say they abandon the genre's roots entirely; tracks like "Rat Nation" deliver the quintessential, high-octane melodic death metal assault that purists expect.

Ultimately, Mercy & Misery stands out as a highly compelling album within its subgenre, characterized by its commendable sonic variety and vibrant energy. If The Very End continues on this upward trajectory, they possess the songwriting caliber and distinct identity required to rise to the top tier of the scene.

This is a remarkably strong release. Mercy & Misery comes highly recommended—not just for melodic death metal enthusiasts, but for any metal fan looking for a high-quality, original, and broad-minded album. Definitively worth checking out.

Nick Parastatidis

REVIEW: EMPIRE OF THE MOON, Έκλειψις

 

EMPIRE OF THE MOON, Έκλειψις (2020)

Iron Bonehead Productions

Δεύτερη σκοτεινή έγερση

Οι Αθηναίοι black metallers, με το πρώτο τους άλμπουμ, έξι χρόνια πριν από αυτό, ξανάγραψαν φωτεινές σελίδες για τον ελληνικό ακραίο ήχο. Με το δεύτερο αυτό άλμπουμ, ομολογώ πως, ενώ περίμενα μια απλώς καλή επανάληψη, έλαβα πολύ περισσότερα.

Καταρχάς, κιθαριστικά διακρίνεται μια έντονη σύνδεση με το κλασικό Heavy Metal, κάτι που, βέβαια, χαρακτηρίζει τη συντριπτική πλειονότητα των ελληνικών ακραίων σχημάτων ήδη από τις απαρχές της σκηνής, δηλαδή από την περίοδο 1989-1990. Τα riffs είναι σαφώς περισσότερο επηρεασμένα από το κλασικό Heavy Metal παρά από το επίσης κλασικό black metal riffing της σκανδιναβικής σχολής.

Η χρήση τόσο της λατινικής όσο και της ελληνικής γλώσσας δεν περιορίζεται μόνο στον τίτλο του δίσκου ή στους δευτερεύοντες τίτλους των κομματιών, αλλά εμφανίζεται και με τη μορφή απαγγελίας ανάμεσα στους βασικούς στίχους, προσδίδοντας μια ιδιαίτερη ατμόσφαιρα.

Τέλος, η παραγωγή είναι πραγματικά υποδειγματική, προσδίδοντας ακόμη μεγαλύτερο όγκο, δύναμη και διαύγεια στη δουλειά των τριών μουσικών.

Αν θα ήθελα να κάνω μια άμεση σύγκριση με το άλμπουμ Πανσέληνος, θα έλεγα πως το Έκλειψις ανεβαίνει ακόμη ψηλότερα, αν όχι συνολικά, τότε σίγουρα στα σημεία. Πρόκειται, φυσικά, για μια καθαρά υποκειμενική εκτίμηση, καθώς δεν τίθεται ουσιαστικά ζήτημα σύγκρισης μεταξύ δύο τόσο αξιόλογων δουλειών.

Το ορχηστρικό Arrival λειτουργεί ως ιδανική εισαγωγή στο Imperium Tridentis, την τριμερή, κατά κάποιον τρόπο, σουίτα που ακολουθεί: Per Aspera Ad Lunae – I. The Resonance Within, Per Aspera Ad Lunae – II. Two Queens Appear και Per Aspera Ad Lunae – III. Descending. Έπειτα έρχεται το Devi Maha Devi, πριν ολοκληρωθεί ο κύκλος με το τελικό μέρος της σουίτας, Per Aspera Ad Lunae – IV.

Ο Υιός της Φωτιάς είναι πραγματικά ό,τι καλύτερο μπορεί να βρεθεί στο στερεοφωνικό σας από ένα νέο, ανερχόμενο συγκρότημα του χώρου. Πρόκειται για έναν δίσκο που επιβεβαιώνει ότι η ελληνική black metal σκηνή εξακολουθεί να διαθέτει έμπνευση, προσωπικότητα και υψηλό καλλιτεχνικό επίπεδο.

English:

Second Dark Awakening

With their debut album, released six years ago, these Athenian black metallers wrote another glorious chapter in the history of the Greek extreme metal scene. With this sophomore effort, I must admit that while I expected little more than a worthy follow-up, I ended up getting far more than that.

From a guitar perspective, the album displays a strong connection to classic Heavy Metal—a trait that has characterized the overwhelming majority of Greek extreme metal bands since the scene's formative years, around 1989–1990. The riffs draw much more heavily from traditional Heavy Metal than from the equally classic Scandinavian school of black metal riffing.

The use of both Latin and Greek extends beyond the album title and the secondary song titles, appearing also in spoken-word passages woven into the main lyrics, lending the music a distinctive and atmospheric character.

Finally, the production is nothing short of exemplary, adding even greater weight, power, and clarity to the work of the three musicians.

If I were to make a direct comparison with Panselinos, I would say that Ekleipsis reaches even greater heights—or, if not overall, then certainly on points. This is, of course, an entirely subjective assessment, as there is little point in drawing strict comparisons between two works of such high quality.

The instrumental Arrival serves as the perfect introduction to Imperium Tridentis, the three-part suite that follows: Per Aspera Ad Lunae – I. The Resonance Within, Per Aspera Ad Lunae – II. Two Queens Appear, and Per Aspera Ad Lunae – III. Descending. Next comes Devi Maha Devi, before the cycle reaches its conclusion with the suite's final chapter, Per Aspera Ad Lunae – IV.

Son of Fire is truly among the finest records you could have spinning on your stereo from a young and fast-rising band in today's scene. It is an album that confirms, once again, that the Greek black metal scene continues to thrive, possessing inspiration, individuality, and an exceptionally high artistic standard.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: KAMELOT, The Shadow Theory

 

KAMELOT, The Shadow Theory (2018)

Napalm Records

Βρήκαν τις στροφές τους – συνεχίζουν στο ίδιο μοτίβο.

Η εποχή που σηματοδότησε η αποχώρηση του Roy Khan από το συγκρότημα και η αντικατάστασή του από τον Tommy Karevik ως τραγουδιστή είναι πλέον δεδομένη και αποδεκτή. Στο δωδέκατο συνολικά άλμπουμ τους, οι Αμερικανοί power metalers προσφέρουν ξανά —για πολλοστή φορά— αυτό που ξέρουμε ότι μπορούν, χωρίς όμως να μιλάμε για ένα απόλυτο αριστούργημα.

Ουσιαστικά, οτιδήποτε κι αν ακούσετε από το The Black Halo και μετά, θα βρείτε μια ομοιογενή συμπεριφορά στη μουσική των δίσκων τους. Ίσως να βασίζονται στην πεπατημένη για μεγαλύτερη σιγουριά; Αυτό το στοιχείο είναι έκδηλο και εδώ: ντουέτα με γυναικεία φωνητικά όπως τα Phantom Divine (Shadow Empire) και Mindfall Remedy με τη Lauren Hart, ή το In Twilight Hours με την Jennifer Haben· γρήγορα, μελωδικά και μάλλον πιο ευρωπαϊκής τεχνοτροπίας κομμάτια όπως τα Raven Light, Amnesiac, Burns to Embrace, The Proud and the Broken, Kevlar Skin, Vespertine (My Crimson Bride), όλα με δόσεις λυρικής μελαγχολίας.

Γενικά, θα βρείτε ένα αρκετά αντιπροσωπευτικό δείγμα της ύστερης δουλειάς τους, που στέκει επάξια ανάμεσα στα προηγούμενα άλμπουμ. Ειλικρινά, το βρήκα τίμιο ως σύνολο — αλλά μόνο αν είστε φίλος του συγκροτήματος. Για κάποιον που θα ξεκινήσει με αυτό, νομίζω πως θα δοθεί η λάθος εντύπωση για το τι είναι ακριβώς οι Kamelot ιστορικά.

Όπως και να έχει, του δίνω επτά στα δέκα, και αυτό σημαίνει «αρκετά καλό.

English:

They’ve found their stride – and continue in the same pattern

The era marked by Roy Khan’s departure from the band and his replacement by Tommy Karevik as vocalist is now a settled and accepted reality. On their twelfth studio album, the American power metalers once again deliver—yet again—what we already know they are capable of, though we’re not talking about an absolute masterpiece.

Essentially, anything you listen to from The Black Halo onward reveals a homogeneous consistency in the character of their music. Perhaps they rely on familiar ground for greater certainty? That tendency is evident here as well: duets with female vocals such as Phantom Divine (Shadow Empire) and Mindfall Remedy featuring Lauren Hart, or In Twilight Hours with Jennifer Haben; fast, melodic, and somewhat more European‑styled tracks like Raven Light, Amnesiac, Burns to Embrace, The Proud and the Broken, Kevlar Skin, Vespertine (My Crimson Bride)—all carrying touches of lyrical melancholy.

Overall, you’ll find a fairly representative sample of their later‑period work, standing respectably among their previous albums. Honestly, I found it solid as a whole—but only if you’re already a fan of the band. For someone starting with this record, I think it might give the wrong impression of what Kamelot truly are, historically.

In any case, I give it seven out of ten, which means “quite good.”

Τάκης "Ε-Μortal One" Γιώτης!