REVIEW: STRATOVARIUS, Elements Pt.1

 

STRATOVARIUS, Elements Pt.1 (2003)

Nuclear Blast Records

Πάρα, πάρα πολύ μεγαλόπνοο.

Εξήντα δύο λεπτά ενός δίσκου γεμάτα νεοκλασικής αισθητικής, συμφωνικό Euro Power Metal. Ήταν λίγα; Όχι, αν αναλογιστούμε ότι υπάρχει και μέρος δεύτερο. 

Η ομάδα από Φινλανδία, Σουηδία και Γερμανία, που δοκιμάστηκε και πέτυχε μέχρι το 2000, έβαλε στόχο να ξεπεράσει οτιδήποτε είχε ως επιρροή. 

Καταρχάς, να πω ότι τους αγαπώ, ακόμα και το Destiny του 1998, το οποίο, με όλα τα στραβά του, είναι ένα τίμιο άλμπουμ. 

Με το Infinite, ύστερα, κάπου είδαμε στοιχεία αλλότρια προς τον ήχο τους, αλλά ΟΚ, παλεύεται ο δίσκος. 

Απ’ εδώ και πέρα (και μέχρι τις μέρες μας) έχουν πάνω και έχουν και πολύ άσχημα κάτω. Το συγκεκριμένο, λοιπόν, το πρώτο Elements, ήταν μια Rock Opera προορισμένη είτε να λατρευτεί είτε να κάνει τον κόσμο να αναλογιστεί ότι η υπερβολή θα χαλάσει τη σούπα του ευρωπαϊκού μελωδικού ήχου. 

Εννέα, από μεγάλα έως πελώρια κομμάτια, σε μια συνταγή επιτυχίας ή αποτυχίας που, όπως πλέον ξέρουμε καλά, την είχαν και κάποια άλλα μεγαθήρια, όπως οι Iron Maiden, σαν πεπατημένη, με πολύ χλιαρά αποτελέσματα. 

Είναι αυτό που ευτυχώς, τα σχήματα εδώ του ντόπιου Power Metal απέφυγαν ήδη από τότε, στις αρχές του νέου αιώνα, στρεφόμενα προς το στυλ της απέναντι όχθης του Ατλαντικού Ωκεανού. Αυτή η φορτωμένη, ηχητικά, υπερβολικά ογκώδης ατμόσφαιρα δίσκων σαν και τούτον, δεν χαρακτηρίζει το σύνολο της σκηνής. 

Είναι του "πεταματού" λοιπόν; Όχι. Δεν είναι. Περιέχει κάποια κομμάτια κλασικής συνθετικής φύσης, όπως τα Eagleheart, Find Your Own Voice, Stratofortress και Elements. 

Παρόλα αυτά, το μαγικό κουμπί με τα δύο βελάκια που δείχνουν δεξιά, δηλαδή το πολύ χρήσιμο skip, δυστυχώς, θα χρησιμοποιηθεί αρκετά κατά τη διάρκεια αναπαραγωγής του CD. 

Θα χρειαστεί υπομονή μέχρι την επόμενη κυκλοφορία τους, το δεύτερο Elements, για να κρίνουμε συνολικά...

English:

Absolutely, incredibly grandiose.

Sixty-two minutes of an album filled with neo-classical aesthetics, symphonic Euro Power Metal. Was that enough? No, especially when considering there's a second part.

 

The band from Finland, Sweden, and Germany, which proved itself and succeeded up until 2000, set out to surpass anything that had influenced them. 

First of all, I want to say I love them, even Destiny from 1998, which, despite all its flaws, is a sincere and honest album. 

With Infinite, I saw some elements that felt alien to their sound, but okay, the album is still salvageable. 

From here on (and up to today), they have some great moments, but also some very poor ones. This particular first Elements was a Rock Opera meant either to be adored or to make people reflect that excess can spoil the European melodic sound. 

Nine tracks, ranging from large to colossal, in a recipe of success or failure, which, as we now know well, was also attempted by other giants like Iron Maiden — following a well-worn path, but with rather lukewarm results. 

Thankfully, the local Power Metal bands avoided this approach early on, at the dawn of the new millennium, turning instead toward the style of the opposite side of the Atlantic Ocean. This heavily loaded, excessively weighty sonic atmosphere of albums like this one does not define the entire scene. 

So, is it "puffed up"? No, it’s not. It contains some tracks of classic compositional quality, such as Eagleheart, Find Your Own Voice, Stratofortress, and Elements. 

However, the magic button with the two arrows pointing right — the very useful skip — will unfortunately be used quite a lot during the CD playback. 

Patience will be needed until their next release, the second Elements, so we can judge the work as a whole...

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: BUTCHER – Welcome to the Night

 

BUTCHER – Welcome to the Night

Inferno Records

Are you a fan of the early 1980s U.S. metal sound? Do you appreciate bands that draw inspiration directly from the British metal scene of that era, delivering heavy metal music straight from the heart without pretension? If your answer is a loud and proud YES, then this album is worth your attention.

BUTCHER, hailing from the U.S., can be seen as a continuation of the classic 80s metal band COVEN. In fact, they include tracks from the COVEN era—such as “King Of The Hill” and “Battleaxe”—which contributes to their authentic 80s metal vibe. Their sound carries that nostalgic air, blending variety with a straightforward approach that many contemporary bands often lack.

In terms of influences, their music echoes bands like LIZZY BORDEN, RIOT, and early SAVATAGE. Additionally, there are epic touches reminiscent of CIRITH UNGOL (musically, not vocally) and MERCYFUL FATE, exemplified in tracks like “Halloween.” The band’s female-fronted lineup is highlighted by Lil Tang’s vocal performance, which perfectly complements their style and adds the necessary edge.

One minor critique concerns the inclusion of several interlude tracks between compositions, which could be reduced to enhance the album’s flow. Nevertheless, Welcome to the Night encapsulates the essence of 80s U.S. metal—raw, energetic, and uncompromising. Instead of seeking out superficial trends or bands that merely emulate the look of that era, fans should seek this release for a genuine taste of authentic 80s metal.

For those who appreciate the real deal—music that’s rooted in the spirit of early American heavy metal—this album is a recommended listen.

Nick Parastatidis

Butcher · Welcome To The Night

REVIEW: BLACK HAWK - Straight to Hell

BLACK HAWK - Straight to Hell

Karthago Records

BLACK HAWK’s fourth full-length album exemplifies a straightforward, unpretentious approach to heavy metal—music crafted from genuine passion rather than a focus on originality. The band’s attitude suggests they genuinely enjoy playing these songs, which are rooted in the classic heavy metal sounds of the 1980s.

The album adheres to a familiar formula, drawing influence from bands such as ACCEPT, GRAVE DIGGER, and early HELLOWEEN. Additionally, there are noticeable rock ‘n’ roll elements, particularly in the track “Bad Pussy,” which also features subtle neoclassical touches and hints of old METALLICA. This blend results in a high-energy, headbanging experience designed for maximum impact at loud volumes.

While predicting the album’s long-term significance is inherently uncertain, Straight to Hell is clearly made for fans who appreciate 80’s-inspired metal with a contemporary production quality. It’s a sincere release that captures the spirit of that era, appealing to those who enjoy robust, straightforward metal.

Highlights include “In Isolation,” the tribute “Shoot Shoot” (a nod to ACCEPT), the energetic “Bad Pussy,” and the epic “Guardians of the Night,” which stands out as the band’s strongest composition. The album also features a cover of SAXON’s “Crusader,” which is performed adequately but does not elevate the release significantly.

Overall, BLACK HAWK delivers a solid addition to the genre, particularly for enthusiasts of 80’s German heavy metal. Fans of that style should find much to enjoy here.

Nick Parastatidis

REVIEW: SKID ROW, Slave To The Grind

 

SKID ROW, Slave To The Grind (1991)

Atlantic Records

Ακροβατικά σε ένα λεπτό σκοινί

Το ομώνυμο ντεμπούτο έδειξε πολλά. Άλλα εδώ, το δεύτερο των νεαρών μουσικών και του τραγουδιστή, αποτελεί όνειρο για πολλά κορίτσια της εποχής του Sebastian Bach, ο οποίος θερίζει τους καρπούς της επιτυχίας. Καθαρό heavy, μήπως hard rock ή κάτι άλλο; Το σύνολο αυτό κερδίζει ακόμη περισσότερο υπό το πρίσμα της εποχής που κυκλοφόρησε, μια εποχή που έφερε το τέλος σε πολλά σχήματα που κράτησαν από τα μέσα της προηγούμενης δεκαετίας ψηλά τη σημαία αυτού του πιο εμπορικού είδους ηλεκτρικής μουσικής, αφού είδαν τα συμβόλαιά τους να σκίζονται σε μια νύχτα. 

Γρήγορο, κεφάτο, βαρύ και συμπαγές hard rock με μια υποβόσκουσα πινελιά heavy metal. Δυστυχώς, ήταν ένα βραχύβιο σχήμα, με τον Bach να φεύγει μετά το τρίτο και καθόλου συγκρίσιμο άλμπουμ Subhuman Race, και να αντικαθίσταται από τον πρόσφατα μακαρίτη Johnny Solinger.

 

Το Slave to the Grind, που είναι το τραγούδι-νονός του δίσκου και πετάει στη στρατόσφαιρα! Τα κομμάτια Monkey Business, Riot Act, Quicksand Jesus, Psycho Love, Get The Fuck Out, The Threat, Livin' on a Chain Gang είναι κλασικά δείγματα.

 

Ομολογώ ότι το πρώτο άλμπουμ ίσως το εκτιμώ λίγο παραπάνω, αλλά και εδώ δαγκώνουν άγρια.

English:

Balancing on a Thin Rope

The self-titled debut showed many things. But here, with the band's second album and the vocalist, it became a dream come true for many girls of Sebastian Bach’s era, as he reaps the fruits of his success. Pure heavy metal, or maybe hard rock, or something else? This whole ensemble gains even more significance when viewed in the context of the time it was released—a period that marked the end for many bands that, since the mid-1980s, had flown the flag for this more commercial form of electric music, only to see their contracts torn up overnight.

Fast, lively, heavy, and solid hard rock, with a lurking touch of heavy metal. Unfortunately, it was a short-lived project, with Bach leaving after the third album—Subhuman Race, which is not comparable—and being replaced by the recently deceased Johnny Solinger.

Slave to the Grind, the title track and godfather of the album, soars into the stratosphere! Tracks like Monkey Business, Riot Act, Quicksand Jesus, Psycho Love, Get The Fuck Out, The Threat, and Livin’ on a Chain Gang are classic examples.

I must admit, I probably appreciate the first album a little more, but even here, they bite hard.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: SIX FEET UNDER, Death Rituals

 

SIX FEET UNDER, Death Rituals (2008)

Metal Blade Records

Οι AC/DC του Death Metal

Ο Chris Barnes είναι η πιο χαρακτηριστική φωνή του death metal υποείδους. Το συγκρότημά του, που υπενθυμίζεται ότι ξεκίνησε ως παράλληλο project με τους Cannibal Corpse, έχει γράψει μέχρι σήμερα μια ματωμένη ιστορία στον ακραίο ήχο. Το Death Rituals είναι ένας ακόμη δίσκος — ο όγδοος κατά σειρά — για τους φανατικούς οπαδούς του είδους.

Περιλαμβάνει όλα τα στοιχεία που περιμένει κανείς από μια τέτοια δουλειά: εναλλαγές ρυθμών και ταχυτήτων, thrash‑driven κιθάρες, groovy ρυθμούς, παραγωγή‑ξυράφι και πολλά αιμοσταγή, θεματολογικά κομμάτια. Είναι ένα από τα αγαπημένα μου άλμπουμ τους· το βάζω σε άμεση σύγκριση με τα δύο πρώτα και τα ανταγωνίζεται με άνεση.

Οι Steve Swanson (κιθάρα), Terry Butler (μπάσο) και Greg Gall (ντραμς) συμπληρώνουν το σχήμα. Το άλμπουμ περιλαμβάνει δεκατρία σκοτεινά, εφιαλτικά κομμάτια, εκ των οποίων τα έντεκα είναι ανόθευτα thrash‑ö‑death έπη: Death by Machete, Involuntary Movement of Dead Flesh, None Will Escape, Eulogy for the Undead, Seed of Filth, Bastard (περίεργο, αλλά πρόκειται για διασκευή σε Mötley Crüe), Into the Crematorium, Shot in the Head, Killed in Your Sleep, Ten Deadly Plagues, Murder Addiction. Δεν ξεχωρίζω κανένα πάνω από τα άλλα· είπαμε, είναι ένα από τα αγαπημένα μου άλμπουμ.

English:

The AC/DC of Death Metal

Chris Barnes remains the most defining voice of the death metal subgenre. His band—originally conceived as a side project while he was still with Cannibal Corpse—has carved a blood‑soaked path through the extreme music landscape. Death Rituals is yet another entry in that legacy, their eighth album to date, tailor‑made for the die‑hard faithful.

It delivers everything you’d expect from a record of this kind: shifting tempos and speed bursts, thrash‑driven guitars, groovy rhythmic undercurrents, razor‑sharp production, and plenty of blood‑drenched, morbid themes. It’s one of my favorite albums of theirs; I place it right next to the first two, and it holds its ground with ease.

Steve Swanson (guitars), Terry Butler (bass), and Greg Gall (drums) complete the lineup. The album features thirteen dark, nightmarish tracks, eleven of which are pure, unfiltered thrash‑ö‑death epics: Death by Machete, Involuntary Movement of Dead Flesh, None Will Escape, Eulogy for the Undead, Seed of Filth, Bastard (oddly enough, a Mötley Crüe cover), Into the Crematorium, Shot in the Head, Killed in Your Sleep, Ten Deadly Plagues, Murder Addiction. I can’t single out any one track above the rest—like I said, this is one of my favorite albums.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: KRAKEN - Abandoned

 

KRAKEN - Abandoned

Arkeyn Steel Records

KRAKEN’s Abandoned returns once more through Arkeyn Steel Records, marking the label’s second effort to preserve and spotlight this long‑lost chapter of Canadian heavy metal history. Originally recorded in 1982—and, if memory serves, released shortly after—the album carries the unmistakable stamp of its era, yet it also feels strikingly ahead of its time. The production, handled by Lips of ANVIL, gives the material a raw but purposeful edge that suits the band’s classic heavy/power metal direction.

The album’s nine tracks show a band with clear vision and surprising maturity for such an early release. Several songs stand out immediately: “Burn Witch Burn,” “Greed & Deception,” “Vampire,” “Easy Sleazy,” and “Desperate Solutions” all showcase strong songwriting, memorable riffs, and a sense of urgency that elevates them beyond typical early‑’80s underground metal. The remaining tracks hold their own as well, rounding out a consistent and engaging listen.

The vocals fit the material effectively, and the guitar work—arguably the album’s strongest asset—adds both character and momentum. Arkeyn Steel’s reissue treatment is also worth noting: the booklet, presentation, and sound restoration demonstrate real care and respect for the source material, making this edition feel definitive.

For fans of classic heavy and power metal, this release is an essential pickup. For listeners outside the genre, it’s still a compelling snapshot of a band that deserved far more recognition than it received. Abandoned stands as one of the year’s strongest re-releases and a highlight in Arkeyn Steel Records’ catalog.

Ioannis Kaskamanidis

REVIEW: SCHEEPERS - Scheepers

 

SCHEEPERS - Scheepers

Frontiers Records

Ralf Scheepers’ solo album is one of those rare cases where a long‑established frontman steps outside his main band without simply repeating himself—or at least without feeling redundant. I’m usually skeptical of side projects by musicians who already belong to well‑known groups, especially when the musical direction doesn’t stray far from what they’re known for. Scheepers manages to bypass that hesitation. His personal album may not reinvent his formula, but it delivers it with conviction, clarity, and a sense of purpose.

The material stays firmly within the territory he has shaped over the years: heavy metal rooted in the legacy of JUDAS PRIEST, ACCEPT, and GAMMA RAY. That is exactly what the listener gets—well‑crafted, traditionally minded metal with a modern production and a vocalist who still attacks every line with intensity. The album also benefits from a series of notable guest appearances. Tim “Ripper” Owens adds grit and character to “Remission of Sin”, a track that openly nods to ACCEPT. Elsewhere, contributions from Kai Hansen (GAMMA RAY), Victor Smolski (RAGE), Mike Chlasciak (HALFORD), and several others enrich the record without overshadowing Scheepers himself.

There is an ironic twist behind the album’s creation: all these songs were originally written for PRIMAL FEAR, but the band decided they didn’t align with the direction of their recent releases. Their decision becomes Scheepers’ gain. The album contains several strong, straightforward heavy metal tracks that fans of the traditional sound will appreciate.

Highlights include:

“Locked in the Dungeon” — Scheepers pushes his voice to its limits with impressive power.

“Remission of Sin” — a muscular duet with Owens and one of the album’s most memorable riffs.

“Cyberfreak” and “Saints of the Rock” — energetic, hook‑driven tracks that showcase his melodic instincts.

“The Pain of the Accused” — a well‑built ballad that adds emotional weight.

“Play with the Fire” — the standout of the album, combining strong songwriting with a commanding performance.

For listeners who miss the early PRIMAL FEAR sound or simply want a sincere, well‑produced heavy metal record delivered by one of the genre’s most recognizable voices, Scheepers is a rewarding listen. And the collaboration with Tim “Ripper” Owens inevitably sparks a thought: how striking it would be to one day hear these two vocalists join forces with the Metal God himself, Rob Halford.

Nick  Parastatidis