REVIEW: OMEN, Hammer Damage

 

OMEN, Hammer Damage (2016)

Pure Steel Records

Γύρισε ο J.D. Kimball απ’ τον άλλο κόσμο;

Δεν ξέρω αν είναι θέμα vocal coaching, αλλά ο κύριος Kevin Goocher, που τραγουδάει στους μεγάλους Omen σε αυτό το άλμπουμ, ακούγεται εκπληκτικά κοντά στη φωνή του μακαρίτη J.D. Kimball.

Οι Kenny Powell στις κιθάρες και ο Steve Witting στα ντραμς, από την ηρωική σύνθεση των ’80s, δίνουν πόνο, ενώ ο Andy Haas στο μπάσο κρατάει τα «μπόσικα» όσο καλύτερα μπορεί.

Ένα σχετικά πρόσφατο άλμπουμ για τους αγαπημένους στη χώρα μας Καλιφορνέζους επικούς U.S. Power Metalers, στο οποίο ανταποδίδουν την αφοσίωση του κοινού τους με το κομμάτι “Hellas” (όχι όπως οι επίσης αγαπημένοι Γερμανοί Grave Digger, που έχουν κάνει διασκευή στο «Ελλάς» του Βασίλη Παπακωνσταντίνου), ένα τραγούδι που λογικά θα παίζουν ζωντανά στις πολλές επισκέψεις τους εδώ στα μέρη μας.

Ο δίσκος βρίσκεται τόσο κοντά στα τρία πρώτα άλμπουμ τους, που πραγματικά σε κάνει να απορείς! Εσκεμμένα, βέβαια, θα επέλεξαν αυτή την ιδιαίτερα πρωτόγονη παραγωγή, αν και, ομολογουμένως, δεν μας χαλάει καθόλου.

Επίσης, οι κομματάρες “Hammer Damage”, “Cry Havoc”, “Eulogy for a Warrior”, “Knights” και “Caligula” δεν μας χαλάνε καθόλου — κάθε άλλο μάλιστα.

English:

Did J.D. Kimball Return from the Other Side?

I don’t know if it is a matter of vocal coaching, but Kevin Goocher, who handles the vocals for the legendary Omen on this album, sounds remarkably close to the voice of the late J.D. Kimball.

Kenny Powell on guitars and Steve Witting on drums, both members of the band’s heroic ’80s lineup, deliver the goods, while Andy Haas on bass holds the fort as best as he can.

A relatively recent album from the beloved, here in our country, Californian epic U.S. Power Metalers, on which they repay their fans’ devotion with the song “Hellas” (unlike their also beloved German counterparts Grave Digger, who recorded a cover version of Vasilis Papakonstantinou’s “Hellas”). A song that will most likely be performed live during their many visits to our parts of the world.

The album is so close to their first three releases that it truly makes you wonder! The band must have deliberately chosen this particularly raw and primitive production style, although, truth be told, it doesn’t bother us one bit.

And then there are the killer tracks “Hammer Damage,” “Cry Havoc,” “Eulogy for a Warrior,” “Knights,” and “Caligula,” which certainly don’t bother us either — quite the opposite, actually.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: SILENT STREAM OF GODLESS ELEGY - Navaz

 

SILENT STREAM OF GODLESS ELEGY - Navaz

Season Of Mist Records

Hailing from Moravia, Czech Republic, SILENT STREAM OF GODLESS ELEGY have been active since 1995, creating their own distinctive interpretation of folk metal — a style that stands apart from most of what the genre has offered so far. With “Navaz”, the band once again proves that they are not simply following the established paths of folk metal, but instead creating a deeply personal and authentic musical expression.

One of the first things that immediately draws attention is the use of their native language, which gives the album an even stronger connection to the cultural roots and traditions of the Slavic world. The entire release is deeply immersed in Slavic folklore, melodies, emotions and atmosphere, making “Navaz” sound almost like a metallized interpretation of traditional folk songs passed down through generations.

The musicianship displayed by the band is exceptional, while the warm and expressive voice of the female singer enhances the feeling that the listener is experiencing something far beyond a typical metal album. Her performance brings an emotional depth and authenticity that perfectly captures the spirit of the music. The male vocals, alternating between deep clean passages and more aggressive growls, add another dimension to the band’s sound, highlighting the fascinating balance between folk traditions and metal intensity.

The cello plays a central role throughout the album, creating beautiful, melancholic and mesmerizing melodies that transport the listener to distant times and evoke images of everyday life, ancient customs and forgotten stories from the Balkan and wider Slavic regions.

“Navaz” is an excellent album, supported by a great production and a unique artistic identity. However, the metal element is not always at the forefront, and listeners looking for a heavier and more aggressive approach might find it less dominant than expected. For those who appreciate beautiful, emotional and atmospheric music with deep cultural roots, though, this release comes highly recommended.

Christine  Parastatidou

REVIEW: WHITESNAKE - Forevermore

 

WHITESNAKE - Forevermore

Frontiers Records

WHITESNAKE’s comeback album, 2008’s Good to Be Bad, came as a very pleasant surprise. After so many years away from the spotlight, not many people expected David Coverdale and his band to return with such a strong and convincing hard rock record. It proved that the legendary frontman still had plenty of great songs and ideas left in him.

When the release of a new WHITESNAKE album was announced for 2011, I have to admit that my expectations were rather cautious. My initial thought was that, after such a long and successful career, the band might have already reached the end of its creative road. I could not have been more wrong. Forevermore is not just a good album — it is an absolutely stunning hard rock statement. Few could have imagined that in 2011 WHITESNAKE would deliver a record of such quality and power.

The guitar work throughout the album is simply immense, with Doug Aldrich and Reb Beach delivering performances full of energy, feeling, and class. The rhythm section is equally impressive, providing a solid foundation that drives every song forward. As for David Coverdale, his voice may not possess the same range and power it had 25 years earlier, but his passion, personality, and unmistakable delivery remain intact. He gives everything he has, and that authenticity is what makes his performance so enjoyable.

One of the album’s greatest strengths is the way several songs bring back the classic WHITESNAKE feeling of the Saints & Sinners and Slide It In eras. The opening track, “Steal Your Heart Away”, immediately sets the pace, introducing a collection of powerful hard rock songs that capture the spirit of the band’s golden years. Tracks such as “All Out of Luck”, the first single “Love Will Set You Free”, “Tell Me How”, the simply breathtaking “Love and Treat Me Right”, the more 1987-influenced “Dogs in the Street”, “Whipping Boy Blues”, and “My Evil Ways” showcase a band that still knows exactly how to write memorable, riff-driven rock songs.

The album also includes a beautiful ballad in “Easier Said Than Done”, while the closing title track, “Forevermore”, is an epic composition that immediately recalls the atmosphere and emotion of classics like “Sailing Ships”. It is a fitting conclusion to an album that celebrates everything WHITESNAKE has always represented.

Of course, like most albums, Forevermore may contain a couple of moments that are not quite as strong as the highlights. However, these minor imperfections do little to affect the overall quality of the record. If you consider yourself a fan of hard rock, this album is simply essential. Forevermore is a celebration of everything great about the genre — powerful guitars, memorable melodies, and timeless rock attitude. It is pure hard rock heaven.

Kostas Rigas

REVIEW: LIZZY BORDEN, My Midnight Things

 

LIZZY BORDEN, My Midnight Things (2018)

Metal Blade Records

Μοναχικός λύκος σε μια νύχτα χωρίς αστέρια

Ο αγαπητός πρωτοπόρος του Shock Metal στη δεκαετία του ’80 έχει χαράξει τη δική του πορεία στη μεταλλική λεωφόρο. Μετά την επανασύσταση, από τα τέλη της δεκαετίας του ’90, του σχήματος που φέρει το ψευδώνυμο της διάσημης φόνισσας του 19ου αιώνα η οποία έσφαξε τους γονείς της, τον αντιμετωπίζω περισσότερο ως σόλο καλλιτέχνη, αν και αυτό δεν είναι απόλυτα ορθό.

Η πρόσφατη αυτή κυκλοφορία του κινείται στα μουσικά μονοπάτια των δύο προηγούμενων άλμπουμ του (Appointment With Death και Deal With The Devil), αλλά σε ένα ακόμη πιο γοτθικό και σκοτεινό ύφος. Για να το θέσω διαφορετικά, το συγκεκριμένο άλμπουμ και, για παράδειγμα, το κλασικό Menace To Society δεν έχουν πολλά κοινά μεταξύ τους. Μια αρκετά κοινότοπη διαπίστωση, βέβαια, αφού όλα τα σχήματα που κατάφεραν να επιβιώσουν για τόσες δεκαετίες είναι προφανές ότι δεν θα μπορούσαν ποτέ να ακούγονται ακριβώς όπως στις απαρχές τους.

Ωστόσο, εδώ έχουμε ένα σύγχρονο και αρκετά φρέσκο ηχητικά αποτέλεσμα, το οποίο έχει πράγματα να προσφέρει στον ακροατή. Προσωπικά, εξακολουθώ να προτιμώ τα τρία πρώτα άλμπουμ τους (ως συγκρότημα) μέχρι και το 1987, καθώς και το Deal With The Devil της επανένωσης, σε πολύ μεγαλύτερο βαθμό. Παρ’ όλα αυτά, είμαι εδώ και πολλά χρόνια φίλος του κυρίου Gregory Charles Harges, όπως είναι το πραγματικό του όνομα, και διαθέτω συνολικά τη δισκογραφία του.

Αν του έβαζα βαθμολογία 6/10, ίσως σε κάποιους να φαινόταν χαμηλή, όμως θεωρώ ότι είναι ένας δίκαιος βαθμός. Πρόκειται για ένα καλό, αλλά σίγουρα όχι συνταρακτικό CD, με αρκετά δυνατές στιγμές, όπως τα My Midnight Things, Obsessed With You, A Stranger to Love, Long They May Haunt Us, Run Away With Me και We Belong to the Shadows.

English:

A Lone Wolf on a Starless Night

The beloved Shock Metal pioneer of the ’80s has carved his own path along the metal highway. Since the reformation, in the late ’90s, of the band that carries the stage name of the infamous 19th-century murderess who slaughtered her parents, I have tended to view him more as a solo artist, although that is not entirely accurate.

His latest release follows the musical paths of his two previous albums (Appointment With Death and Deal With The Devil), but with an even more gothic and darker approach. To put it differently, this album and, for example, the classic Menace To Society do not share many similarities. A rather obvious observation, of course, since it is only natural that bands which have managed to survive for so many decades could never sound exactly as they did in their early years.

Nevertheless, what we have here is a modern and quite fresh-sounding release, one that has something to offer to the listener. Personally, I still prefer the first three albums of the band (as a group) up to 1987, as well as the reunion album Deal With The Devil, by a much wider margin. However, I have been a fan of Mr. Gregory Charles Harges, his real name, for many years, and I own his entire discography.

If I were to give it a rating of 6/10, some might consider it a rather low score, but I believe it is a fair one. This is a good, but certainly not groundbreaking CD, featuring several strong moments such as My Midnight Things, Obsessed With You, A Stranger to Love, Long They May Haunt Us, Run Away With Me and We Belong to the Shadows.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: LIZZY BORDEN, Menace To Society

 

LIZZY BORDEN, Menace To Society (1986)

Metal Blade Records

Το τσεκούρι...

Το δεύτερο άλμπουμ που ακολούθησε το φονικό Love You to Pieces. Ο πιο ψυχανώμαλος shock metal ερμηνευτής της Αμερικής εκείνης της εποχής, μαζί με τους τέσσερις μουσικούς του, συνεχίζει ακριβώς από εκεί όπου σταμάτησε. Τα "Generation Aliens", "Notorious", "Stiletto (Voice of Command)", "Love Kills" και "Menace to Society" συγκαταλέγονται στις κορυφαίες στιγμές του δίσκου. Το ύφος είναι πιο rock, ακολουθώντας τη γενικότερη στροφή που χαρακτήρισε τα μέσα της δεκαετίας, με ό,τι αυτό συνεπαγόταν.

English:

The Axe...

The second album to follow the murderous Love You to Pieces. America's most deranged shock metal performer of the time, together with his four bandmates, picks up exactly where he left off. Tracks such as "Generation Aliens," "Notorious," "Stiletto (Voice of Command)," "Love Kills," and "Menace to Society" rank among the album's standout moments. The overall approach leans more towards rock, reflecting the stylistic shift that had begun to define the middle of the decade, with everything that entailed.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: SCARLET RAYNE - Theater Humanitarian

 

SCARLET RAYNE - Theater Humanitarian

Arkeyn Steel Records

Arkeyn Steel Records presents the long-awaited vinyl reissue of SCARLET RAYNE's one and only album, Theater Humanitarian, following its CD re-release three years earlier. The vinyl edition is strictly limited to 525 copies, with the first 150 pressed on transparent purple heavyweight vinyl, while the remaining 375 copies come on standard black vinyl. All editions are housed in a high-quality gatefold sleeve. The CD version, limited to 2,000 copies, as well as the vinyl release, includes four bonus tracks and features a carefully executed remaster.

Theater Humanitarian is a true hidden gem of the American metal scene. Fans of QUEENSRŸCHE will immediately recognize the band's affinity for sophisticated songwriting, melodic guitar work, and intelligent vocal arrangements, but the album also holds plenty to offer listeners of melodic power metal thanks to its memorable hooks, strong musicianship, and dynamic compositions. It successfully combines technical precision with emotion, creating songs that remain engaging from beginning to end.

Although the album maintains a remarkably consistent level of quality throughout, tracks such as "Scarlet Rayne," "Covered Fear," "Alpha & Omega," and "Sands of Time" stand out as its defining moments. Each showcases the band's ability to balance melody and power while delivering memorable performances and well-crafted arrangements.

This is undoubtedly one of the finest reissues ever undertaken by a Greek record label. Not only has Arkeyn Steel treated the music with the respect it deserves through an excellent remaster, but the overall presentation is equally impressive, making both the CD and vinyl editions highly desirable collector's items.

More importantly, Theater Humanitarian is an outstanding album in its own right. Regardless of whether your preference lies in progressive metal, melodic heavy metal, power metal, or traditional metal, this is one of those rare releases that every metal fan should experience at least once. Albums of this quality deserve to be rediscovered, and thanks to this superb reissue, Theater Humanitarian finally receives the attention it has always deserved.

Ioannis Kaskamanidis

REVIEW: Klaus Schubert’s ROCK BUNNIES - Speedmachine

 

Klaus Schubert’s ROCK BUNNIES - Speedmachine

Pure Rock Records

Klaus Schubert's ROCK BUNNIES is the brainchild of Austrian guitarist Klaus Schubert, best known for his work with NO BROS. Originally formed as a blues-oriented project under the name BLUES BUNNIES, the band soon shifted towards a more hard rock-driven direction, adopting the ROCK BUNNIES name in the process. Their debut album, Speedmachine, combines 11 studio recordings with five live tracks, offering a solid introduction to the band's musical identity.

Musically, Speedmachine is firmly rooted in the classic hard rock tradition of the 1970s, drawing obvious inspiration from bands such as URIAH HEEP, DEEP PURPLE, RUSH, and the early incarnation of WHITESNAKE. At the same time, Klaus Schubert's guitar work occasionally evokes the melodic and expressive style of many notable guitarists from the 1980s, adding another dimension to the band's sound. The keyboard work deserves special mention, seamlessly alternating between warm piano passages and rich Hammond organ textures that perfectly complement the songs.

The all-female rhythm section provides a tight and dependable foundation, allowing Schubert's tasteful guitar solos and Tici Weitstreicher's melodic vocals to take centre stage. Rather than sounding like a nostalgic retro act, ROCK BUNNIES present a fresh and energetic interpretation of classic hard rock, helped considerably by a clear, powerful production that gives every instrument plenty of room to breathe. As a result, Speedmachine is an album that remains consistently enjoyable from beginning to end.

The album is not without its shortcomings. The inclusion of several cover versions feels slightly excessive, while the original material, although consistently solid, lacks that one truly unforgettable song capable of drawing the listener back repeatedly. There are no obvious standout tracks that elevate the album from good to exceptional.

Even so, Speedmachine is a highly enjoyable debut and a worthwhile listen for anyone with a passion for classic hard rock. ROCK BUNNIES successfully capture the spirit of the genre without simply imitating the past, making this an album that fans of 1970s hard rock should certainly give a chance.

Kostas  Rigas