REVIEW: CANDLEMASS, Lucifer Rising

 

CANDLEMASS, Lucifer Rising

Nuclear Blast Records

Ένα σφηνάκι που συνοδεύεται με καλό μεζέ.

Δύο νέα κομμάτια, το αρκετά γρήγορο Lucifer Rising και το αρκετά αργόσυρτο White God, μαζί με μια επανεκτέλεση στο κλασικό Demons' Gate, δεν θα ήταν αρκετά για ένα Ε.P. των Σουηδών πατεράδων του Epic Doom Metal!

Οπότε, εννέα ακόμα κομμάτια από την εμφάνισή τους επί ελληνικού εδάφους στο Gagarin 205 της Αθήνας το 2007, τα κατατάσσουν αναγκαστικά στην κατηγορία των ειδικών/μικτών άλμπουμ.

Η σύνθεση τότε ήταν: Robert Lowe (τραγούδι), Mats Björkman και Lars Johansson (κιθάρες), ο αρχηγός Leif Edling (μπάσο) και ο Jan Lindh (ντραμς).

English:

A shot of alcohol accompanied by a good snack.

Two new tracks, the quite fast "Lucifer Rising" and the rather slow "White God," along with a cover of the classic "Demons' Gate," wouldn't be enough for a Swedish band of the fathers of Epic Doom Metal!

So, nine additional songs from their performance on Greek soil at Gagarin 205 in Athens in 2007 inevitably place the album in the category of special/mixed albums.

At that time, the lineup was: Robert Lowe (vocals), Mats Björkman and Lars Johansson (guitars), the frontman Leif Edling (bass), and Jan Lindh (drums).

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: SPEED LIMIT – Moneyshot

 

SPEED LIMIT – Moneyshot

Pure Steel Records

This is a new album from a long-running Austrian hard rock band that has been active for over 30 years. Moneyshot marks their return after nearly two decades of silence. Historically, the band released the EP Prophecy in 1988 and two full-length albums, Unchained (1986) and Perfect Inspiration (1992). Their latest work positions itself somewhere between melodic hard rock and melodic heavy metal.

What becomes immediately clear is that the band has invested significant effort into crafting a strong comeback. The vocals stand out as particularly impressive, the guitar work is consistently sharp, and the overall production delivers exactly the sound this style demands.

Among the highlights are the anthemic “Broken Mirror,” “Lost and Found,” and “Fly Like an Eagle.” The ballad-style track “Heartbreakin’ Valentine” is also well executed and placed at the right moment in the album’s flow. In fact, the entire record moves with a natural, pleasant momentum from start to finish.

In conclusion, Moneyshot is a highly satisfying release within its genre and absolutely worth exploring. Fans of melodic hard rock and melodic heavy metal will likely rate it even higher. For me, it stands as one of the strongest new entries in this corner of the metal/hard rock spectrum.

Ioannis Kaskamanidis

AEONS IN SOLITUDE Release New Video Clip for “Dreamer”

 

Athens‑based metal act Aeons In Solitude have unveiled the new video clip for “Dreamer”, the latest single taken from their forthcoming album Black Lumina, set for release on May 15, 2026 via Soman Records (FR).

Formed in 2016 by vocalist, composer and multi‑instrumentalist Alex Roussos, the project evolved from a solo endeavor into a full band by 2018. Their debut album Mourning Cloak (Rock Company, 2020) introduced a Doom/Gothic Metal foundation with progressive undertones.

With Black Lumina, the band shifts into darker Gothic Rock and Darkwave territory, embracing atmospheric synth textures and a more introspective mood while maintaining their signature sense of melancholy. The album was recorded, mixed and mastered at Fragile Studio in Athens by Vangelis Yalamas, who also handled production on their debut.

Line‑up: Alex Roussos – Vocals, Guitars, Bass, Keyboards, Drum Programming, Nepheli Sofra – Drums

Astral Goat Dominion Release Debut Album “Only Lucifer and Fuzz” in Physical Format

 

Italian psych‑ritual stoner/doom duo Astral Goat Dominion have officially issued their debut full‑length “Only Lucifer and Fuzz” in physical format. The album is now available through the band’s Bandcamp, Instagram, Facebook, and via direct mail order.

The release is handled by Screaming Alice Records, while U.S. listeners can purchase copies through Iron Head Records.

Formed by Oniric (bass, vocals, synth, rituals) and Khaosfuzz (guitar, vocals), Astral Goat Dominion craft a sound rooted in crushing doom riffs, occult atmospheres, and trance‑inducing fuzz worship. Following their first single “Lucifer (Part I)”, the duo now present a dense, hypnotic debut album steeped in distortion, ritualistic energy, and luciferian psychedelia.

“Only Lucifer and Fuzz” marks the band’s first major step into the physical underground doom scene, offering a raw and immersive experience for collectors and devotees of heavy ritualistic sound.

Black Metal: Genuine Revolution or Merely Reactionary?

 

In recent years, fueled by the digital proliferation of archival material, a debate has resurfaced regarding the true nature of the Black Metal scene: to what extent was it—and remains—truly revolutionary? While the genre has undeniably left a profound aesthetic and ideological mark on modern music history, a central question persists: was it a revolution, or simply a reaction?

Drawing from years of engagement with the genre, I have come to believe that Black Metal functions more as a form of reaction than a genuine revolution. This is not a mere semantic quibble; it is a fundamental distinction.

The Anatomy of Revolution

A revolution, by definition, requires more than simple negation. It requires a proposition. Its purpose is to expose societal rot, awaken the conscience, and ultimately propel the individual toward a process of self-knowledge and inquiry. It is not enough to denounce; one must open new paths of thought.

Within this framework, we must ask: did Black Metal ever truly fulfill such a role?

In my view, the answer is largely negative, save for a few notable but isolated exceptions. Rather than serving as a vehicle for consciousness, the scene frequently became trapped in an ideological and aesthetic hyperbole that prioritized shock value over substantive reflection.

Conflict Without Consequence

A defining characteristic of the scene has been its vitriolic anti-Christian sentiment. Critique of Christianity—or any institutional power—is entirely legitimate, especially considering the historical grievances associated with it. However, context matters.

Most Black Metal pioneers emerged from Scandinavian and Western European societies that already enjoyed democratic rights and religious freedom. In such environments, blasphemy does not carry the same weight or risk as it would in a theocratic or authoritarian regime.

Consider, for contrast, the Greek author Nikos Kazantzakis, who faced genuine persecution and the threat of excommunication for his ideas. This comparison highlights that a true clash with religious authority, when accompanied by personal cost, possesses a gravity that a provocative stance in a free society simply lacks.

The Logic of Imposition

The transition from rhetoric to action—most notoriously the Norwegian church burnings of the 1990s—is even more problematic. Beyond the inherent criminality, one must ask: how does such an act differ, in its underlying mentality, from Kristallnacht?

Both involve the targeting and destruction of religious spaces in the name of an ideology. Violence against symbols of faith, regardless of the direction it comes from, reflects the same logic of intolerance and the desire to impose one’s will through force.

Subversion or Stagnation?

Furthermore, the ideology permeating much of the scene appears more conservative than subversive. The glorification of raw power, individualism, dominance, and an elitist "superior artist" complex does not represent progress. Instead, it reproduces the very hierarchical structures the scene claimed to despise.

Thematic preoccupations often drifted toward misanthropy, the celebration of cruelty, and a nihilistic approach to existence. Rather than fostering understanding, it cultivated a form of alienation that can hardly be described as "creative."

We also cannot ignore the fact that several prominent figures and bands flirted—directly or indirectly—with extreme ideologies, including fascist and Nazi elements. While this does not characterize the entire genre, it reinforces the idea that Black Metal's "anti-systemic" stance lacked a clear moral or social compass.

Conclusion: Vision vs. Negation

Ultimately, Black Metal may be best understood as a form of adolescent reaction: intense, loud, and often captivating, but not necessarily mature or productive. It is a reaction drawn to power and imposition rather than to values like freedom, democracy, or collective progress.

This does not negate the artistic merit of many works within the genre, nor the personal significance they hold for listeners. However, if we are to evaluate it as a social or ideological phenomenon, we must be honest:

Revolution requires more than "No." It requires a vision.

Nick Parastatidis

Black Metal: Επαναστατική έκφραση ή αντιδραστική στάση;

 

Τα τελευταία χρόνια, με αφορμή την ευρεία διάδοση οπτικοακουστικού υλικού στο διαδίκτυο, έχει αναζωπυρωθεί η συζήτηση γύρω από τη φύση της black metal σκηνής και τον βαθμό στον οποίο αυτή υπήρξε –ή εξακολουθεί να είναι– επαναστατική. Πρόκειται για ένα είδος που αναμφίβολα άφησε έντονο αποτύπωμα στη σύγχρονη μουσική ιστορία, τόσο αισθητικά όσο και ιδεολογικά. Ωστόσο, το ερώτημα παραμένει: ήταν πράγματι επαναστατικό ή απλώς αντιδραστικό;

Έχοντας μια πολυετή, έστω και ερασιτεχνική, ενασχόληση με το είδος, καταλήγω στο συμπέρασμα ότι το black metal υπήρξε περισσότερο μια μορφή αντίδρασης παρά μια γνήσια επανάσταση. Και η διάκριση αυτή δεν είναι απλώς λεκτική, αλλά ουσιαστική.

Η επανάσταση, ως έννοια, προϋποθέτει κάτι περισσότερο από την άρνηση. Προϋποθέτει την πρόταση. Έχει ως στόχο να αναδείξει τα κακώς κείμενα μιας κοινωνίας, να αφυπνίσει συνειδήσεις και, τελικά, να ωθήσει τον άνθρωπο προς μια διαδικασία αυτογνωσίας και αναζήτησης. Δεν αρκεί να καταγγέλλεις· χρειάζεται να ανοίγεις δρόμους σκέψης.

Σε αυτό το πλαίσιο, είναι εύλογο να αναρωτηθεί κανείς: κατάφερε το black metal να επιτελέσει έναν τέτοιο ρόλο;

Η απάντηση, κατά τη γνώμη μου, είναι σε μεγάλο βαθμό αρνητική, με ορισμένες –αξιοσημείωτες αλλά περιορισμένες– εξαιρέσεις. Αντί να λειτουργήσει ως όχημα συνειδητοποίησης, συχνά εγκλωβίστηκε σε μια αισθητική και ιδεολογική υπερβολή, που περισσότερο στόχευε στο σοκ παρά στον ουσιαστικό προβληματισμό.

Ένα από τα βασικά χαρακτηριστικά της σκηνής υπήρξε το έντονο αντιχριστιανικό μένος. Αναμφίβολα, η κριτική προς τον Χριστιανισμό –όπως και προς κάθε θεσμική εξουσία– μπορεί να είναι απολύτως θεμιτή, ιδιαίτερα αν λάβουμε υπόψη ιστορικά γεγονότα και πρακτικές που έχουν στιγματίσει την πορεία του. Ωστόσο, το πλαίσιο μέσα στο οποίο αναπτύχθηκε αυτή η κριτική έχει σημασία.

Τα περισσότερα συγκροτήματα της black metal σκηνής προέρχονταν από χώρες της Σκανδιναβίας και της Δυτικής Ευρώπης, κοινωνίες που ήδη απολάμβαναν δημοκρατικά δικαιώματα και ανεξιθρησκία. Σε τέτοια περιβάλλοντα, η ελεύθερη έκφραση –ακόμη και η βλάσφημη– δεν συνεπάγεται τις ίδιες συνέπειες που θα είχε σε θεοκρατικά ή αυταρχικά καθεστώτα.

Χαρακτηριστική είναι η περίπτωση του Νίκου Καζαντζάκη, ενός συγγραφέα που βρέθηκε αντιμέτωπος με έντονη κατακραυγή και ουσιαστικό αφορισμό από την Εκκλησία για το έργο και τις ιδέες του. Η σύγκριση αυτή αναδεικνύει ότι η πραγματική σύγκρουση με τη θρησκευτική εξουσία, όταν συνοδεύεται από προσωπικό κόστος, αποκτά διαφορετικό βάρος από μια προκλητική στάση που εκδηλώνεται σε περιβάλλοντα πλήρους ελευθερίας.

Ακόμη πιο προβληματική υπήρξε η μετάβαση από τη ρητορική στη δράση, όπως στην περίπτωση των εμπρησμών εκκλησιών στη Νορβηγία τη δεκαετία του ’90. Πέρα από το ότι πρόκειται για ξεκάθαρα εγκληματικές ενέργειες, γεννάται το ερώτημα: σε τι διαφέρει μια τέτοια πράξη, σε επίπεδο νοοτροπίας, από τη Νύχτα των Κρυστάλλων, όπου στοχοποιήθηκαν και καταστράφηκαν θρησκευτικοί χώροι στο όνομα μιας ιδεολογίας; Η βία απέναντι σε σύμβολα πίστης, ανεξαρτήτως κατεύθυνσης, δεν παύει να εκφράζει την ίδια λογική επιβολής και μισαλλοδοξίας.

Πέρα από αυτό, η ίδια η ιδεολογία που προέκυψε μέσα από μεγάλο μέρος της σκηνής μοιάζει περισσότερο συντηρητική παρά ανατρεπτική. Η εξύμνηση της δύναμης, του ατομισμού, της κυριαρχίας και μιας ελιτίστικης αντίληψης περί «ανώτερου» καλλιτέχνη δεν συνιστά πρόοδο, αλλά αναπαραγωγή δομών που η ίδια η σκηνή υποτίθεται ότι πολεμούσε.

Σε αρκετές περιπτώσεις, η θεματολογία κινήθηκε γύρω από έννοιες όπως η περιφρόνηση προς την ανθρωπότητα, η αποθέωση της σκληρότητας και μια σχεδόν μηδενιστική προσέγγιση της ύπαρξης. Αντί να ενθαρρύνει την κατανόηση και την αναζήτηση, καλλιέργησε μια μορφή αποξένωσης που δύσκολα μπορεί να χαρακτηριστεί δημιουργική.

Αξίζει επίσης να σημειωθεί ότι δεν ήταν λίγα τα συγκροτήματα ή τα πρόσωπα της σκηνής που φλέρταραν –άμεσα ή έμμεσα– με ακραίες ιδεολογίες, συμπεριλαμβανομένων φασιστικών ή ναζιστικών στοιχείων. Αν και αυτό δεν αφορά το σύνολο του χώρου, αποτελεί ένα φαινόμενο που δεν μπορεί να αγνοηθεί, καθώς ενισχύει την άποψη ότι η «αντισυστημικότητα» του black metal δεν είχε πάντοτε σαφή ηθικό ή κοινωνικό προσανατολισμό.

Τελικά, ίσως το black metal να εκφράζει περισσότερο μια εφηβική μορφή αντίδρασης: έντονη, θορυβώδης, συχνά γοητευτική, αλλά όχι απαραίτητα ώριμη ή παραγωγική. Μια αντίδραση που έλκεται από τη δύναμη και την επιβολή, παρά από αξίες όπως η ελευθερία, η δημοκρατία και η συλλογική πρόοδος.

Αυτό, βέβαια, δεν αναιρεί την καλλιτεχνική αξία πολλών έργων του είδους, ούτε την προσωπική σημασία που μπορεί να έχει για τους ακροατές του. Όμως, αν επιχειρήσουμε να το αξιολογήσουμε ως κοινωνικό ή ιδεολογικό φαινόμενο, οφείλουμε να είμαστε ειλικρινείς: η επανάσταση απαιτεί κάτι περισσότερο από την άρνηση. Απαιτεί όραμα.

Νικόλαος Παραστατίδης

INTERVIEW: Risen Crow

 

Genre: Melodic Power Metal

Country: Italy

Questions by: Nick Parastatidis

Answers by: Risen Crow

Site: Facebook

1. How do you precisely blend Power Metal's energy with Gothic Metal's atmosphere? What is the critical balancing point you strive for in every song?

For us it happens naturally, we create a power metal draft with notes that aren't too epic or happy and then the magic happens when Alex inserts darker and more gothic melodies with the keyboard.

 

2. Considering your influences (Nightwish, Kamelot, etc.), what is the single, definitive signature element that makes the Risen Crow sound immediately recognizable as yours?

Let's say that our peculiarity is the two voices, how they dialogue with each other in the songs without creating rivalry and neither prevails over the other.

 

3. Does the history and atmosphere of Rome actively influence your lyrical themes or melodic structure, and if so, how?

There are some historic alleys in Rome that at night create a darker and noir atmosphere, which contributes in some way, but the most obvious inspirations come from our more melancholic and dark side and why not also a pinch of Tim Burton that we love

 

4, Out of obsession, damned love, and sacrifice, which theme was the most challenging to translate into compelling metal lyrics for “Requiem For A Damned Love”?

Our idea was to create a love story but with dark nuances and a dramatic ending that makes the listener understand that love goes beyond death.

 

5. Why was the track "Risen Crow" chosen to be the single? How does it specifically prepare the listener for the full emotional arc of the album?

We thought the best way to attract the listener was to offer a powerful song, with an intro that could enter the head and heart and I think Risen Crow is the most appropriate one.

 

6. How did forming the band in 2020—during a period of global isolation—uniquely shape the intensity or dark nature of the music you created?

2020 was a terrible time. Seeing so many people dying and being isolated at home triggered an explosive mix within us, made of sadness but at the same time hope, and the addition of a pinch of madness greatly helped our creativity.

 

7. Which specific instrumentation or production technique is non-negotiable for achieving the "haunting melodies and atmospheric soundscapes" you describe?

There isn't really a single instrument or technique, but keyboards have certainly played a fundamental role in our songs, creating those atmospheric soundscapes that characterize our sound.

We don't use particularly sophisticated or rare hardware: we work primarily "in the box," leveraging software and plugins, trying to focus more on the idea and emotion than on the instrumentation itself.

Rather, what really makes the difference is the way we treat the sounds: the use of wide reverbs, delays, and layering allows us to add depth and movement, transforming even simple timbres into something more evocative.

In the end, it's a balance between writing and producing: we start with essential elements and then gradually enrich them, always trying to leave space and breathing room, so that each sound contributes to creating a coherent atmosphere.

 

8. In the context of the new album, is the theme of 'sacrifice' portrayed as a necessary good, a pure tragedy, or something else entirely?

The theme of sacrifice is central and is particularly evident in the final track, "Black Rose," where he forgives her and lets her know how much he loves her. She, in turn, understands the importance of being by his side and ultimately takes her own life to join him. True love transcends death.

 

9. What is the most essential non-musical element (stage design, props, or lighting) needed to translate the album's dark, romantic narrative to a live audience?

We don't use any special effects live; we like to be a little theatrical when we sing, using darker, less colorful lightin6g. The intro to "Funeral Jack" is absolutely essential; it shows the listener just how twisted Rose's mind is.

 

10. As a new face, what specific mark or change do Risen Crow intend to make on the international perception of the contemporary Italian metal scene?

We really like Italian metal like Vision Divine and Labyrinth, but we're trying to lean more towards a Teutonic style. It's not easy to create new music, but at least we're trying.

 

11. When songwriting, do you prioritize emotional impact over instrumental complexity, or must both technical precision and depth always be achieved?

We look for depth and precision first and foremost, and we believe it's not important to include virtuosity. We spend more time on orchestral parts and vocals rather than necessarily finding virtuosity.

 

12. Now, almost a year after the release of Requiem For A Damned Love, what has been the most surprising or rewarding audience reaction to the album, and based on that response, what is the immediate creative direction or priority Risen Crow will pursue heading into 2026?

The public asked us not to fear the shadows, and in 2026, that's exactly where Risen Crow has chosen to dwell.

In short: the immediate priority is to consolidate the 'Theatrical Gothic-Power' brand, transforming what was an intuition from the first album into the cornerstone of our musical future.