REVIEW: DIVINER, Realms Of Time

 

DIVINER, Realms Of Time (2019)

Ulterium Records

Η ελληνική σκηνή πάντα στην αντεπίθεση. 

Οι πέντε Αθηναίοι, εδώ στο δεύτερο άλμπουμ τους, παρουσιάζουν Power Metal με αρκετές επιρροές μάλλον πιο αμερικάνικης σχολής, σύγχρονη παραγωγή, επικές πινελιές αλλά και πιο euro‑power κιθαριστικά σόλο — όλα σε ισορροπημένες δόσεις. Οι Diviner ακούγονται εδώ σε δημιουργική άνοδο μετά το πολύ καλό ντεμπούτο τους Fallen Empires (2015), και γιατί όχι; Κανείς δεν μπορεί να αρνηθεί πως πρόκειται για ένα συγκρότημα που παλεύει και πονάει το ζήτημα Metal στις παρυφές της δεύτερης δεκαετίας του αιώνα, σε μια χώρα που συχνά βρίσκεται σε εχθρική σχέση με την ποιότητα.

Οι πέντε μουσικοί — ξεκινώντας από τον βετεράνο των Inner Wish, Rock 'N Roll Children και, γιατί όχι, των «Ελεύθερων» (ο ίδιος δεν κρύβει ότι οι «Παπαροκάδες» υπήρξαν μέρος της πορείας του!) — τον τραγουδιστή Γιάννη Παπανικολάου, τους κιθαρίστες Κώστα Φύτο και Γιώργο Μαρουλή, τον Φραγκίσκο Σαμοίλη στα ντραμς και τον Herc Booze στο μπάσο, μας προσφέρουν εδώ μερικά κομμάτια με τη στόφα του κλασικού ήχου που αγαπάμε να λατρεύουμε.

Κομμάτια όπως τα Against the Grain, Heaven Falls, Set Me Free, Cast Down in Fire, Beyond the Border, King of the Masquerade και Stargate αποτελούν, κατά τη γνώμη μου, τις καλύτερες στιγμές ενός δίσκου πολλά υποσχόμενου για το μέλλον τους.

English:

The Greek scene is always on the counterattack.

Here, on their second album, the five Athenians deliver Power Metal with strong, distinctly American‑school influences, a modern production, epic touches, and flashes of Euro‑power guitar soloing — all in balanced proportions. Diviner sound creatively ascendant here, following their excellent debut Fallen Empires (2015). And why shouldn’t they? No one can deny they’re a band that fights for — and bleeds for — Metal as we move through the second decade of the century, in a country often at odds with quality.

The five musicians — starting with veteran vocalist Yiannis Papadopoulos of Inner Wish, Rock ’N Roll Children, and yes, even the “Eleftheroi” (he openly acknowledges the “Paparakades” chapter of his career!) — together with guitarists Kostas Fytilis and Giorgos Maroulis, drummer Fragiskos Samoilis, and bassist Herc Booze, offer several tracks here with the makings of the classic sound we love to worship.

Songs like Against the Grain, Heaven Falls, Set Me Free, Cast Down in Fire, Beyond the Border, King of the Masquerade, and Stargate stand, in my view, as the album’s finest moments — highlights of a record that promises even greater things for their future.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: MORIAH – Fallen Fortress

 

MORIAH – Fallen Fortress

Arkeyn Steel Records

This double compilation CD gathers the complete recorded output of the U.S. power metal band Moriah, whose name derives from the Elvish term for the mines of Khazad- dûm, in Tolkien’s The Lord of the Rings. Musically, the band operates within the tradition of American-style technical power metal, emphasizing precision, high‑energy execution, and a clear sense of ambition in their compositions.

The first CD includes their 1990 demo and 1991 EP, while the second presents a 1993 live demo and an unreleased 1994 studio demo. This chronological structure allows listeners to follow the band’s evolution across their brief but focused activity.

Moriah perform with confidence throughout the material. Vocalist Doug St. John delivers consistently powerful high‑pitched lines that will appeal to fans of classic U.S. metal, and guitarist Noah King provides sharp, technically adept playing that defines much of the band’s character. Their performances stand out as the strongest elements of the compilation.

Among the tracks, the ones that left the most lasting impression on the first CD were “Fallen Fortress,” “Tomorrows Time,” “Holy Child,” and “Caught in the Wheel.” From the second CD, “The Other Side” and “Eternal Love” emerged as the most compelling pieces. These selections highlight the band’s ability to balance technicality with memorable melodic ideas.

The release is further enhanced by a thick, information‑rich booklet that offers valuable context about Moriah’s history and recordings, making it especially appealing to collectors and genre enthusiasts.

Overall, Fallen Fortress succeeds as a comprehensive archival release, gathering all existing Moriah material into a single, accessible package. Fans of U.S. power metal—particularly those drawn to technically inclined early‑’90s bands—will find this compilation well worth exploring.

Ioannis Kaskamanidis

DEVIL EMPIRE Unleash “Inside Infernal Anthropy Thrones” Album

 

The Tunisian black/death metal force Devil Empire returns with a blazing new chapter in their evolution, presenting the ferocious and atmospheric “Inside Infernal Anthropy Thrones.” The record stands as a symphonic black/death metal manifesto, merging extreme aggression with towering orchestral layers and dark oriental textures.

Across its tracks, the album dives deep into themes of inner chaos, spiritual rebellion, and the collapse of false thrones. Monumental keyboards, relentless blast beats, and cinematic arrangements shape a sound that balances brutality with epic, immersive depth—marking one of the band’s most mature and powerful statements to date.

Adding to the momentum, Devil Empire are preparing to unveil a new EP titled “Curse of Phillis,” promising yet another intense descent into their expanding infernal universe.

REVIEW: SPARTAN WARRIOR – Behind Closed Eyes

 

SPARTAN WARRIOR – Behind Closed Eyes

Ironage Records

The new album from the N.W.O.B.H.M. veterans SPARTAN WARRIOR marks their return after decades of silence. The band originally released two albums in the ‘80s: the debut Steel and Chains in 1983 through Guardian Records, followed by their self‑titled record in 1984 on Roadrunner Records. The latter was reissued in a limited run by Metal Mind Records roughly a year and a half ago.

The current lineup differs from the classic second‑album formation by only one member, and the band approaches this comeback with a sound rooted in traditional heavy metal but updated with a distinctly modern, 2010‑era production. Wilkinson’s vocals remain strong, and the guitar work is consistently solid—especially the solos in “Last Man Standing” and “Flesh and Blood,” which showcase the band’s melodic instincts and technical confidence.

Not all tracks reach the same level, but several standouts carry the album’s weight. “Tear Out Your Heart,” “Walking the Line,” and “Time” demonstrate the band’s ability to balance power, melody, and straightforward heavy‑metal grit.

This release will primarily appeal to fans of traditional heavy metal. Others may still find moments of interest, though the album’s stylistic focus may limit its broader reach.

 

In the end, Behind Closed Eyes is a solid and respectable return—one that suggests SPARTAN WARRIOR still have more to offer, and that their next step could be even stronger.

Ioannis Kaskamanidis

REVIEW: ACCEPT, Humanoid

 

ACCEPT, Humanoid (2024)

Napalm Records

Ένας κόσμος που αλλάζει και συνθλίβεται η ανθρωπιά

Οι συγκεκριμένοι τύποι, αν και με μόνο το 1/5 της αρχικής τους σύνθεσης να εκπροσωπείται πλέον από τον κιθαρίστα Wolf Hoffmann, αποτελούν σήμερα ένα από τα σημαντικότερα Heavy Metal είδωλα για τη μεγάλη πλειονότητα των φίλων του σκληρού ήχου. Η πορεία τους και οι διαμάχες που τη συνόδευσαν είναι γνωστές εδώ και σχεδόν πέντε δεκαετίες, οπότε δεν χρειάζεται να τις επαναλάβουμε.

Το νέο άλμπουμ, ένα ακόμη πολύ πάνω από το «καλό» μέσα στη φετινή χρονιά, συνεχίζει τον μύθο των ανανεωμένων Accept με τον Mark Tornillo στο μικρόφωνο από το 2010, τον γνώριμό μας από τους Grave Digger των ’90s Uwe Lulis στη δεύτερη κιθάρα, τον μπασίστα Martin Motnik και τον ντράμερ Christopher Williams.

Το εξώφυλλο του CD διατηρεί επαφή με το παρελθόν χάρη στο περίγραμμα της καρδιάς, ίδιο σε σχήμα με εκείνο του ιστορικού Metal Heart του 1985. Εδώ όμως λειτουργεί ως παράθυρο σε ένα ζοφερό μέλλον: ένα ανθρωποειδές κατασκευάζει ανθρώπους–σκλάβους σε έναν δυστοπικό παράλληλο κόσμο, ιδέα που βρίσκεται πίσω από το ομότιτλο δεύτερο κομμάτι του δίσκου.

Τραγούδια όπως Drying Into Sin, Frankenstein, The Reckoning, Nobody Gets Out Alive, Unbearable, Hard Times, Mind Games και Southside of Hell αποτελούν μερικούς ακόμη τίτλους που ξεχωρίζουν στο άλμπουμ.

Τους είδαμε το 2024 στο Release Festival κάτω από τον καυτό απογευματινό ήλιο του καλοκαιριού, να δίνουν τον καλύτερο εαυτό τους στην περιοδεία για τον συγκεκριμένο δίσκο. Και νομίζω πως κέρδισαν ξανά, για ακόμη μία φορά, την εκτίμησή μας.

English:

A world that changes as humanity is crushed

These guys — even if only one‑fifth of the original lineup survives today through guitarist Wolf Hoffmann — remain one of the most iconic forces in Heavy Metal for the vast majority of fans of the genre. Their long history and the conflicts that shaped it have been well documented over nearly five decades, so there’s no need to revisit them here.

The new album, another release well above “just good” in this year’s output, continues the legacy of the revitalized Accept. With Mark Tornillo on vocals since 2010, ’90s Grave Digger alumnus Uwe Lulis on second guitar, bassist Martin Motnik, and drummer Christopher Williams, the band sounds as sharp and driven as ever.

The CD cover maintains a link to the past through its heart‑shaped outline — identical in form to the one on their classic 1985 album Metal Heart. Here, however, it becomes a window into a bleak future: a humanoid figure manufacturing human slaves in a dystopian parallel world, the concept behind the album’s title track.

Songs like Drying Into Sin, Frankenstein, The Reckoning, Nobody Gets Out Alive, Unbearable, Hard Times, Mind Games, and Southside of Hell stand out as some of the album’s strongest moments.

We caught them live in 2024 at the Release Festival, performing under the scorching summer afternoon sun, giving everything they had on the tour supporting this record. And I think it’s fair to say they earned our respect once again.

Τάκης "Ε-Μortal One" Γιώτης!

Jake Worden Releases Debut Album Born into Black

 

Doom/Post‑Metal musician Jake Worden has unveiled his debut album Born into Black, recorded, mixed, and mastered at Sonic Landscapes Recording Studios by producer Jimmy Shellberg.

A multi‑instrumentalist from Jackson, Michigan, Worden draws from influences like Metallica, Type O Negative, Gojira, and Amon Amarth, shaping a style he calls Orchestral Doom Metal. The album is already gaining traction among underground press and musicians.

REVIEW: MISTHERIA – Dragon Fire

 

MISTHERIA – Dragon Fire

Lion Music Records

Lion Music has long been associated with progressive and neoclassical metal, and the label occasionally brings together projects featuring well‑known musicians from across the scene. Dragon Fire, the fourth full‑length album by Italian keyboard virtuoso Giuseppe “Mistheria” Iampieri, follows that tradition. Under the MISTHERIA banner, he has assembled an impressive roster: vocalists John West, Mark Boals, Rob Rock, Titta Tani, Lance King, and guitarists George Bellas, Roger Staffelbach, Emir Hot, and Neil Zaza, among others. Listing who appears on each track would take more space than it’s worth—anyone curious can easily find the full breakdown online.

What matters here is the music. Dragon Fire is rooted firmly in neoclassical metal, yet it approaches the genre with a more progressive mindset, occasionally touching on 70s hard‑rock aesthetics. This blend gives the album a sense of variety, and fans of the style will certainly find material that resonates with them.

The album’s main limitation lies in its lack of strong originality. While the performances are consistently high‑level, the overall sound does not stray far from what listeners already expect from neoclassical/progressive metal. Still, the caliber of the musicians involved—and their distinctive interpretive styles—elevates the material enough to keep even demanding fans engaged throughout the album’s duration.

At the same time, with a lineup of this quality, one can’t help but feel that the final result could have been more ambitious. Dragon Fire is undeniably a good album, but it doesn’t fully capitalize on the collective talent behind it or deliver the kind of breathtaking moments these artists are capable of.

My personal highlight is “The Beast,” a track that feels tailor‑made for a voice in the lineage of Ronnie James Dio—powerful, dramatic, and commanding.

Verdict: A solid neoclassical/progressive metal release with excellent musicianship, though not one that pushes the genre—or its contributors—to their full potential.

Nick Parastatidis