REVIEW: KROKUS, The Blitz

 

KROKUS, The Blitz (1984)

Arista

Και η πτώση μόλις ξεκινά.

Ό,τι ανεβαίνει κάποτε πέφτει. Το διάδοχο του μακράν καλύτερου δίσκου τους, Headhunter (1983), είναι αυτό το αχαρακτήριστο σύνολο εμπορικών, ραδιοφωνικών επιτυχιών δεύτερης διαλογής στο σύνολό τους; Εντάξει, είναι παλιά ιστορία κι οι Ελβετοί Heavy Rockers, που λάτρεψαν τους AC/DC όσο κανένας άλλος μέχρι το One Vice at a Time (1982) και με το επόμενο άλμπουμ ισοπέδωσαν σαν οδοστρωτήρας τους πάντες, έφτασαν σχεδόν στο ναδίρ της καλλιτεχνικής τους αξίας εδώ. Σχεδόν, διότι υπάρχει και το επόμενο στούντιο άλμπουμ, A Change of Address, δύο χρόνια μετά, για να τους αποτελειώσει.

Λοιπόν, η διασκευή στο Ballroom Blitz των Άγγλων Glam Rockers της δεκαετίας του ’70, Sweet, είναι το μόνο που δε μου φταίει. Το Hot Stuff, αλλά και το Rock the Nation, είναι τα καλύτερα κομμάτια του συνολικά. Από εκεί και πέρα, άβυσσος η ψυχή των τεσσάρων μουσικών του σχήματος!

Ο Marc Storace έχει λαρύγγι, αλλά δεν το χρησιμοποιεί στο έπακρο. Ο Fernando von Arb είναι τρομερός κιθαρίστας, όπως ξέρουμε, αλλά εδώ τι συμβαίνει; Ο ρυθμικός τομέας, με τον Mark Kohler στο μπάσο και τον Jeff Klaven στα ντραμς, κάνει οτιδήποτε είναι δυνατόν, αλλά είπαμε: ένα σύνολο που έγινε χρυσό στην Αμερική. Στην Ευρώπη; Δεν αναφέρονται πληροφορίες και νομίζω αυτό λέει πολλά.

English:

And the Downfall Is Only Just Beginning

Whatever rises must eventually fall. Is the follow-up to their by far superior Headhunter (1983) really this undistinguished collection of second-rate commercial, radio-friendly hits? Well, it is an old story, and the Swiss Heavy Rockers, who worshipped AC/DC like no one else up to One Vice at a Time (1982) and then ran roughshod over everyone with the following album, had almost reached the nadir of their artistic worth here. Almost, because two years later they had their next studio album, A Change of Address, waiting to finish the job.

That said, their cover of Ballroom Blitz by the English Glam Rockers Sweet, from the 1970s, is the one thing I cannot fault. Hot Stuff, along with Rock the Nation, are the best tracks on the album by far. Beyond that, the inner workings of these four musicians are a mystery!

Marc Storace has the pipes, but he does not make the most of them. Fernando von Arb is a terrific guitarist, as we know, but what is going on here? The rhythm section, with Mark Kohler on bass and Jeff Klaven on drums, does everything it possibly can, but as I said: this was a band that went Gold in America. In Europe? No information is mentioned, and I think that says a lot.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: BATTLEROAR, Blood Of Legends

 

BATTLEROAR, Blood Of Legends (2014)

Cruz del Sur Music

Από το επικό έως το φολκλορικό, ένας δίσκος δρόμος.

Οι Battleroar έχουν χαράξει το όνομά τους στην αναγέννηση της ελληνικής Heavy/Epic Metal σκηνής των αρχών του 21ου αιώνα. Τα δύο πρώτα τους άλμπουμ όργωσαν τα αφτιά μας. Στα μέσα, λοιπόν, της δεύτερης δεκαετίας, κυκλοφορούν αυτόν εδώ τον δίσκο, αγγίζοντας το μεγαλείο του πρόσφατου παρελθόντος τους, που, βέβαια, παραμένει αξεπέραστο.

Η σύνθεση του σχήματος έχει κι αυτή, με το πέρασμα του χρόνου, υποστεί τις αλλαγές της. Ο Gerrit Mutz στο μικρόφωνο, ο Σταύρος Αϊβαλιώτης στο μπάσο, ο Νίκος Παπαδόπουλος στα ντραμς, ο Κώστας Τζώρτζης και ο Ανδρέας Σωτηρόπουλος στις κιθάρες και, τέλος, ο Αλέξης Παπαδιαμάντης στο βιολί (κι όμως, ναι!), που προσθέτει έναν αέρα φολκ στα κομμάτια του άλμπουμ.

Αψεγάδιαστη ποιότητα παραγωγής και πολύ καλές συνθέσεις συμπληρώνουν ξανά το πακέτο ενός δίσκου άξιου να φέρει με περηφάνια το λογότυπό τους. Η «βοή της μάχης, λοιπόν, και το αίμα των θρύλων» περιλαμβάνει μερικά πλέον κλασικά κομμάτια, όπως τα The Swords Are Drawn, Poisoned Well, Blood of Legends, Immortal Chariot, The Curse of Medea, Valkyries Above Us, Exile Eternal και Relentless Waves, που θα σας ταξιδέψουν ξανά και ξανά σε μέρη ηρωικής φαντασίας.

English:

From Epic to Folk, One Album Away.

Battleroar have carved their name into the revival of the Greek Heavy/Epic Metal scene in the early years of the 21st century. Their first two albums stormed their way into our ears. By the middle of the second decade, they released this album, coming close to matching the greatness of their more recent past, which, of course, remains unsurpassed.

The band’s lineup had also undergone its share of changes over the years. Gerrit Mutz on vocals, Stavros Aivaliotis on bass, Nikos Papadopoulos on drums, Kostas Tzortzis and Andreas Sotiropoulos on guitars, and, finally, Alexis Papadiamantis on violin (yes, indeed!), adding a folk flavor to the album’s songs.

Flawless production and very strong compositions once again complete the package of an album worthy of proudly bearing the Battleroar logo. The rumble of battle and the blood of legends features several tracks that have by now become classics, such as The Swords Are Drawn, Poisoned Well, Blood of Legends, Immortal Chariot, The Curse of Medea, Valkyries Above Us, Exile Eternal, and Relentless Waves, taking you time and again to realms of heroic fantasy.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: WITCHUNTER – Crystal Demons

 

WITCHUNTER – Crystal Demons (2010)

High Roller Records

The latest trend in the underground metal scene is a wave of bands obsessed with recreating the early ’80s atmosphere — not only in sound, but in image, aesthetics, and attitude. Many of them loudly proclaim their devotion to the N.W.O.B.H.M. movement, and while the influence is real, the originality often isn’t. They’re fun to watch, sure, but after a point you start wondering whether the scene really needs yet another group of copy‑cats. Personally, I’ve always preferred bands like WOLF or 3 INCHES OF BLOOD, who channel the ’80s spirit while still injecting their own identity into the formula.

WITCHUNTER, hailing from Italy, belong to the other category: bands that reproduce the early ’80s metal blueprint almost to the letter. Their debut “Crystal Demons” first appeared in September 2010 through My Graveyard Productions, and now receives a well‑deserved vinyl reissue by High Roller Records, a label known for championing traditional heavy metal and reviving obscure gems from the past.

The band’s influences are worn proudly and openly: ANGEL WITCH, HOLOCAUST, and the dirt‑and‑speed attitude of MOTÖRHEAD form the backbone of their sound. The album’s tracklist — Shadow of the Night, Speed Killer, Princess of Hell, Witchhunterd — reads like a love letter to the era, and the production deliberately mirrors that raw, unpolished charm associated with early NWOBHM demos and first‑wave European heavy metal.

The album also features “Hellbound,” a faithful cover of TYGERS OF PAN TANG’s “Hellbound” from the landmark Spellbound LP (1981). It’s a fitting choice, since Tygers were one of the defining forces of the NWOBHM era WITCHUNTER worship so intensely. Their rendition stays close to the original, further underlining the band’s devotion to early‑’80s British steel — though it also highlights the broader issue: WITCHUNTER are far more comfortable emulating their heroes than carving out their own identity.

Historically, it’s worth noting that Italy had a surprisingly active underground metal scene in the late ’70s and early ’80s, with bands like Death SS, Black Hole, and Dark Quarterer shaping a uniquely occult and theatrical identity. WITCHUNTER, however, choose not to tap into that heritage; instead, they aim squarely at the British template. Their visual aesthetic — leather, studs, Marshall stacks, and a logo straight out of 1982 — reinforces that mission.

As for the music itself, “Crystal Demons” is undeniably fun if you’re a devotee of the era. The riffs are energetic, the choruses are catchy, and the band clearly understands the mechanics of classic heavy metal. But the album suffers from two major issues: lack of variety and lack of personality. Many tracks follow the same structural pattern, making the listening experience predictable even for fans of the style. The band reproduces the sound faithfully, but rarely adds anything of their own — no twist, no signature element, no moment where you say “this is unmistakably WITCHUNTER.”

It’s enjoyable, yes. It scratches that nostalgic itch. But it’s not the kind of album that will thrill you or demand repeated listens. Dedicated NWOBHM collectors will appreciate it; everyone else will likely move on to more distinctive releases.

In short: Crystal Demons is a lovingly crafted tribute to early ’80s metal — but a tribute is all it remains.

Nick Parastatidis

REVIEW: DIEHARD – When Illusions Gone

 

DIEHARD – When Illusions Gone (2011)

Independent Release

DIEHARD’s debut When Illusions Gone constitutes a noteworthy case study in emergent extreme‑metal practices, particularly in relation to genre hybridization and the negotiation of aesthetic identity within early‑stage projects. Despite the band’s brief existence, the German duo articulate a surprisingly mature structural logic, suggesting an awareness of both black‑metal lineage and contemporary electronic methodologies.

Central to the album’s construction is a deliberate bifurcation of sonic materials. DIEHARD juxtapose the traditional signifiers of black metal — distorted guitars, abrasive textures, and an overarching sense of urgency — with industrial and electronic frameworks that introduce digital precision, programmed rhythms, and synthetic atmospheres. This duality is not merely stylistic ornamentation; it functions as the album’s organizing principle. The tension between organic and digital elements becomes a site of productive friction, generating a sound world that is neither strictly orthodox nor indiscriminately experimental.

From a compositional standpoint, the band’s emphasis on concise, riff‑centric structures is significant. Even as electronic components expand the textural palette, the underlying architecture remains grounded in recognizable extreme‑metal forms. This balance enables the record to maintain coherence while engaging with contemporary production aesthetics. The equilibrium between guitars and keyboards is particularly notable, offering a model for how hybridized metal can retain structural clarity without sacrificing innovation.

The production reinforces this dual framework with a clean yet weighty presentation, while the cover artwork situates the release firmly within a black‑metal visual tradition. Vocally, the distorted harsh lines integrate effectively into the album’s sonic matrix, contributing to its intensity and aligning with its thematic direction. The clean female vocals, by contrast, introduce moments of instability; their intonation issues disrupt the otherwise controlled interplay of elements and raise questions about the role of contrast within the band’s vocal strategy.

A relevant detail is the project’s two‑member configuration. The density of the arrangements and the breadth of stylistic influences underscore the duo’s technical and organizational discipline, highlighting the increasing viability of small‑unit production models within the independent metal sphere.

From a critical perspective, When Illusions Gone can be read as an exploration of how emerging acts negotiate identity within a genre that is simultaneously tradition‑bound and technologically adaptive. DIEHARD’s debut does not merely combine black‑metal and industrial elements; it interrogates the boundaries between them, proposing a hybrid form that is both structurally disciplined and aesthetically forward‑leaning.

In this sense, the album contributes meaningfully to ongoing discussions about the evolution of extreme metal in the digital era. For listeners and scholars interested in boundary‑testing practices, DIEHARD offer a compelling example of how new projects can position themselves within — and against — established genre frameworks..

Christine  Parastatidou

REVIEW: MARAUDER, Life?

 

MARAUDER, Life? (2004)

Eat Metal Records

Οι τρεις γνωστές μας λέξεις: Ελληνικό Power Metal

Μετά το επικών διαστάσεων εγχείρημά τους, το θεματικό άλμπουμ για την Ελληνική Επανάσταση, το φοβερό και τρομερό, αλλά μέχρι πριν από λίγο καιρό δυσεύρετο CD «1821», οι αγαπημένοι, κλασικής Metal παιδείας, φίλοι μας από τη μεταλλομάνα Αθήνα (άμα δεν παινέψεις το σπίτι σου…) καταπιάνονται με το επόμενο και, θα έλεγα, ακόμη καλύτερό τους εγχείρημα.

Καλύτερο από πλευράς παραγωγής, πολύ επιθετικό και μελωδικά βαρύ, με μαγικά κιθαριστικά riffs και κοφτερές, γρήγορες δισολίες που σε στέλνουν. Ένας δίσκος που τιμά απόλυτα αυτό το συγκρότημα των βετεράνων της ελληνικής σκηνής.

Μιχάλης Σμέρος στα φωνητικά, Γιώργος Σοφρώνας και Ανδρέας Τσαούσης στις κιθάρες, Κώστας Βαγιώτης στο μπάσο και Μάνος Μάτσος στα τύμπανα — αυτή είναι η σύνθεση του θρυλικού αυτού σχήματος εδώ.

Δεκατρία κομμάτια στο CD, με τα «Power From The Sky», «Nightmare», «Magic Art», το ονειρικό «Life», «Bastards», «Evil’s Curse», «Runner», τον επικό metal ύμνο «Defenders», «Falling Star» και «Death From Glory and Gold», «Nuclear Terror» να ξεχωρίζουν ως τουλάχιστον τα καλύτερα σε ένα, κατά τα άλλα, αψεγάδιαστο σύνολο, νομίζω.

English:

The Three Words We All Know: Greek Power Metal

Following their epic undertaking, the concept album dedicated to the Greek War of Independence, the formidable and mighty, yet until recently hard-to-find CD “1821,” our beloved friends from Athens, steeped in the traditions of classic Metal (well, you have to praise your own hometown sometimes…), have now embarked on their next project — and, I would say, an even better one.

Better in terms of production, highly aggressive yet melodically heavy, with magical guitar riffs and sharp, fast twin-guitar harmonies that send you soaring. An album that does full justice to this veteran band of the Greek Metal scene.

Michalis Smeros on vocals, Giorgos Sofronas and Andreas Tsousis on guitars, Kostas Vagiotis on bass, and Manos Matsos on drums — this is the line-up of this legendary outfit here.

Thirteen tracks make up the CD, with “Power From The Sky,” “Nightmare,” “Magic Art,” the dreamy “Life,” “Bastards,” “Evil’s Curse,” “Runner,” the epic Metal anthem “Defenders,” “Falling Star,” “Death From Glory and Gold,” and “Nuclear Terror” standing out as, at the very least, the highlights of what I consider an otherwise flawless whole.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: ANTIPEEWEE - Human Grill Party

 

ANTIPEEWEE - Human Grill Party  

Good Damn Records/ G.U.C.

Human Grill Party is the debut full‑length album by German thrashers Antipeewee, first released on 29 November 2013 through Good Damn Records. Recorded at Slash Zero Studio and produced by Robert “Hubi” Hofmann, the album captures a young band exploding with speed, humor, and chaotic energy. A year later, on 1 August 2014, the album received a vinyl reissue through G.U.C., pressed in a limited run of 666 copies. This LP edition expanded the visual identity of the record with neon colors, grotesque cartoon figures, and a surreal Cthulhu‑themed barbecue scene, giving the album a more elaborate and humorous aesthetic without altering its musical core.

Musically, Human Grill Party is driven by speed thrash metal, with rapid riffing, sharp rhythmic bursts, and vocals that shift between thrash bark and punk‑infused shouting. The band frequently breaks into punk outbursts, injecting spontaneity and raw immediacy into the songs. There is also a noticeable Motörhead feeling in several moments, especially in the rhythmic swagger and dirty rock‑n‑roll attitude that creeps into the mid‑tempo sections. It’s not imitation — it’s attitude. Antipeewee channel that gasoline‑soaked looseness Lemmy embodied, translating it into a more violent,crossover‑thrash environment.

Although Antipeewee are German, their sound carries a surprisingly U.S. thrash metal flavor. The speed and aggression recall early Exodus, while the humorous extremity and crossover punch bring to mind D.R.I., Municipal Waste, or Ghoul. Yet, despite this American leaning, they also echo their compatriots: the unpredictable speed‑thrash of RISK, and the beer‑soaked humor of TANKARD. This dual identity — American‑leaning thrash with unmistakable German attitude — gives the album a distinctive place within the European underground.

The band’s name itself reinforces this playful identity. “Peewee” is an English slang term meaning small, tiny, childish, or harmless. By calling themselves Antipeewee, the band humorously declares the opposite: they are not small, not weak, and certainly not harmless. It’s a tongue‑in‑cheek statement that fits perfectly with their exaggerated, cartoonish aesthetic. This playful contradiction may even explain one of the most charming details in the LP artwork: a band member proudly holding a tiny Chihuahua with a thrash‑metal attitude. The image becomes a visual joke — the smallest, most harmless creature presented as part of a loud, aggressive thrash ensemble. It’s a perfect embodiment of the band’s name and their humorous approach to extreme music.

Lyrically and visually, Human Grill Party embraces exaggerated violence, cartoonish gore, and Lovecraftian parody. Tracks like “Cool Guy Cthulhu” turn cosmic horror into comedic thrash storytelling, while songs such as “Surf Mosh and Die” celebrate the crossover tradition of mixing humor with high‑speed aggression. The artwork, especially in the 2014 LP edition, reinforces this identity with grotesque figures, neon colors, and chaotic backyard barbecue imagery. It is deliberately over‑the‑top, matching the album’s musical excess and giving the record a strong visual personality.

Overall, Human Grill Party succeeds because it knows exactly what it wants to be: a fast, fun, violent, humorous thrash record with no pretensions. Antipeewee combine speed thrash intensity with punk spontaneity and a rock‑n‑roll swagger reminiscent of Motörhead, all wrapped in a visual and lyrical package that celebrates the absurd. Their sound may be rooted in U.S. thrash tradition, but the spirit of German speed metal — from RISK to TANKARD — is unmistakably present. The result is an album that feels both familiar and fresh, a chaotic party where thrash, punk, humor, and self‑aware absurdity collide.

Nick Parastatidis

SMERDEAD Release New Album “Night of All Saints”

 

Russian Death Metal/Zombie Metal band Smerdead has unleashed their new album, Night of All Saints (Ночь всех святых), delivering another dose of their horror-soaked brand of extreme metal.

Recorded at Watta Studios and Nord Sound, the album was mixed and mastered by Alexey Kolenchenko, with cover artwork created by Yuri Shumbasov.

Formed in Siberia in 2018, Smerdead features Kozlodyor (vocals), Smerd (guitars), Khrych (bass), and Dorf (drums). The band describes their music as “Zombie Metal,” combining the aggressive force of Death Metal with theatrical, horror-driven storytelling.

With razor-sharp riffs, crushing rhythms, and a macabre atmosphere populated by undead creatures, sirens, and wandering monsters, Night of All Saints invites listeners into Smerdead’s cinematic nightmare—and further expands the band’s gruesome empire in the underground extreme metal scene.