REVIEW: OVERTURES – Rebirth

 

OVERTURES – Rebirth (2011)

Sleaszy Rider Records

With Rebirth, their second full‑length album, Italian melodic heavy/power metallers Overtures take a confident step forward, refining their identity while honoring the genre’s European lineage. My first encounter with the band was through their contribution to the official Running Wild tribute ReUnation, where their spirited take on “Pirate Song” hinted at a group capable of more than simple imitation. Rebirth confirms that promise.

Overtures draw inspiration from the classic pillars of European power metal — Helloween, early Edguy, and Stratovarius — yet they filter these influences through their own prism. The result is not a derivative homage but a vibrant fusion of uplifting melodies, sharp riffing, and a modern production aesthetic. Even as someone who isn’t naturally drawn to this particular sound, I found myself enjoying the album’s energy and craftsmanship.

A major highlight is vocalist Michele Guaitoli, whose performance stands at the center of Rebirth. His tone and phrasing evoke a compelling blend of Michael Kiske and Tobias Sammet, bringing both clarity and theatrical flair to the material. Guaitoli’s later career confirms the strength of his talent: he would go on to become the lead singer of Visions of Atlantis and Temperance, establishing himself as one of Italy’s most versatile metal vocalists.

Instrumentally, the album is tight and dynamic. Guitarists Daniele Piccolo and Marco Falanga deliver crisp, melodic lines supported by a rhythm section that keeps everything grounded. The production — recorded and mixed at DM Studio in Gorizia and mastered at the legendary Finnvox Studios in Helsinki by Mika Jussila (known for his work with Nightwish, Edguy, Children of Bodom, HIM, and more) — gives the album a polished, modern sheen without sacrificing its metallic bite.

One particularly interesting detail: the track “Delirium” unfolds in four conceptual parts — Inferno, Purgatory, Ascension, and Paradise — each featuring guest vocalists from various European metal acts, including members of Elvenking, Halor, and Insanity Fair. This multi‑section structure adds a theatrical dimension rarely seen in second‑album releases.

Stylistically, Rebirth is exactly what fans of melodic power metal crave. If you’re not into the genre, this album won’t convert you — but if you are, it’s a release you simply shouldn’t overlook. The songwriting is catchy, the choruses memorable, and the musicianship consistently strong.

Standout Tracks:

“Here We Fall” – A powerful opener with a dramatic flair; its atmosphere even recalls Bruce Dickinson’s solo work.

“You Can’t Spit on Me” – Sharp, energetic, and built around a defiant chorus.

“My Name Is Fear” – Fast, melodic, and quintessentially European power metal.

Rebirth is a confident, well‑crafted album that shows Overtures stepping into their own identity. It’s melodic, uplifting, and executed with professionalism that exceeds expectations for a sophomore release. Fans of the genre will find plenty to love — and even skeptics may be surprised by how enjoyable it is.

Nick Parastatidis

REVIEW: U.F.O., Lights Out

 

U.F.O., Lights Out (1977)

Chrysalis

Καλά το πήγαινε ο Μιχαλάκης.

Ήτοι ο κ. Michael Schenker, μικρός αδερφός του Rudolf των Scorpions. Γερμανός αστέρας κιθαρίστας, ανάμεσα σε τέσσερις Άγγλους (Phil Mogg, Paul Raymond, Pete Way, Andy Parker), σε ένα από τα πιο αντιπροσωπευτικά άλμπουμ της προ-heavy metal —αν μπορώ να την πω έτσι— Hard/Heavy Rock εποχής, που ήταν πραγματικά στο μεταίχμιο με το επερχόμενο μουσικό κίνημα του New Wave of British Heavy Metal, με εφαλτήριο το 1978-79.

Ο πιο αγαπημένος, σε μένα, δίσκος των τεσσάρων Άγγλων με τον Γερμανό κιθαρίστα βρήκε εύφορο το χωράφι και αποτελεί τη σπορά της επόμενης μουσικής περιόδου. Είναι η βασική αιτία που προσωπικά δεν διαχωρίζω, στην αντίληψή μου, το Rock από το Metal ακόμη και μέχρι σήμερα, διότι έχω πολλούς φίλους, μεγαλύτερους από μένα, που για κάποιο λόγο διαχωρίζουν τη μουσική σε «πριν» και «μετά». Δίσκοι σαν το Lights Out ανήκουν εξίσου και στις δύο όψεις του ίδιου νομίσματος, τελικά.

Μέσα ακούμε με μανία τα Too Hot to Handle, Lights Out, Just Another Suicide, Try Me, Electric Phase, την όμορφη διασκευή στο Alone Again Or των Love και, φυσικά, το προοδευτικό έπος Love to Love. Είναι όλα τους highlights του δίσκου!

English:

Micha the Kid Was Doing Just Fine.

Or, to put it properly, Mr. Michael Schenker, younger brother of Rudolf of the Scorpions. A German guitar star standing among four Englishmen — Phil Mogg, Paul Raymond, Pete Way and Andy Parker — on one of the most representative albums of that pre-heavy metal, if I may call it that, Hard/Heavy Rock era, a period that truly stood on the threshold of the coming New Wave of British Heavy Metal movement, with 1978–79 as its launching point.

My favorite album by the four Englishmen with the German guitarist found fertile ground and became part of the seed from which the next musical era would grow. It is the main reason why, personally, I have never separated Rock from Metal in my perception of music, even to this day. I have many friends older than me who, for some reason, divide music into “before” and “after.” Albums like Lights Out ultimately belong equally to both sides of the same coin.

Here we get, with great enthusiasm, Too Hot to Handle, Lights Out, Just Another Suicide, Try Me, Electric Phase, the beautiful cover of Love’s Alone Again Or and, of course, the progressive epic Love to Love. They are all highlights of the album!

Τάκης "Ε-Μortal One" Γιώτης

ABYSSAL DECAY Announce New Album Call of the Abyss

Bellingham, WA — July 24, 2026 — Underground thrash metal force Abyssal Decay have announced their forthcoming full-length album, Call of the Abyss, due for release on October 30, 2026.

Drawing inspiration from cosmic horror and the terrifying mythology of Nihilash, the Faceless Sovereign, the album promises a relentless assault of razor-sharp riffs, crushing thrash rhythms, and dark atmospheric elements. Its concept explores themes of corrupted power, mass madness, decay, and the bleak nature of existence, presenting the Abyss as an endless ocean of living rot beyond the boundaries of time.

The first single, “On The Desolate Plain,” was released on August 7, 2026, offering the first glimpse into the album’s bleak and disturbing world. The track serves as an ominous introduction to the desolate landscapes shaped by Nihilash and the cosmic darkness at the heart of Call of the Abyss.

“Where Nihilash walks, death is not the end. It is merely the first layer of decay,” the band states, describing their music as an uncompromising assault inspired by serial killers, corrupted power, and the darkest horrors of the world.

Call of the Abyss is set to arrive on October 30, 2026, promising a dark and uncompromising journey into the depths of cosmic horror and extreme thrash metal.

Lugubre Cenacle Releases New Single “Sealed Shell of Existence”

 

Canadian progressive black metal/dark ambient project Lugubre Cenacle has released a new single, “Sealed Shell of Existence.” The track was recorded by Mickael Goyec and mixed and mastered by Mobo at Conkrete Studio.

Founded in 2006 by French musician Mickael Goyec, Lugubre Cenacle is a solo project now based in Quebec, Canada. Following the release of its debut full-length Désillusion in 2011, the project has entered a more refined era, combining intricate songwriting, atmospheric textures, haunting melodies, and emotional depth.

With recent material such as “Flesh Disguise” and “Sealed Shell of Existence,” Lugubre Cenacle explores themes of existence, perception, and human complexity, favoring evolving structures and immersive atmospheres over pure aggression.

The new single offers another glimpse into the project's evolving sound, as Lugubre Cenacle continues its journey toward an upcoming full-length album.

REVIEW: VENOM, Metal Black

 

VENOM, Metal Black (2006)

Sanctuary Records

Ανίερη ιεροσυλία

Πλέον έχει διαχωριστεί οριστικά το στάχυ απ’ την ήρα. Αν το ένα ή το άλλο είναι οι κύριοι Cronos, Mykνs, Antton, που είναι εδώ η σύνθεση, ή τα άλλα δύο ιστορικά στελέχη, Mantas και Abandon, αυτό δεν το ξέρω, αλλά και να το ήξερα, δεν θα εμπλακώ σε οικογένειες και μουσικά διαζύγια!

Ένα είναι το σίγουρο: αυτοί οι Venom έχουν μόνο ένα ιστορικό μέλος, που δεν είναι κι αρχικό κιόλας, όντας ο τελευταίος που μπήκε στο σχήμα, στην αρχική τετράδα των Guoltine, τότε, κι ύστερα στην τριάδα, πλέον ως Venom. Γνωστά αυτά για τον Conrad Lant (Cronos), αλλά, όπως και να έχει, αυτό εδώ το άλμπουμ είναι έργο αυτής της εποχής.

Το ότι αντιστρέφεται ο τίτλος και, από πάνω, παραλλάσσεται το εξώφυλλο του δεύτερου ιστορικού άλμπουμ τους, από το 1982, τόσα χρόνια μετά, μάλλον για λόγους σύνδεσης με το παρελθόν γίνεται, όσο για τίποτα άλλο.

Καμία σχέση με το ύφος εκείνου του δίσκου, που βάφτισε ένα ολόκληρο υποείδος. Εκμοντερνισμός στον ήχο και τσαμπουκάς υπό την επήρεια των δήθεν άγριων Pantera, ως και Machine Head (αμφότεροι η επιτομή του fake attitude), αν και με σχεδόν δέκα χρόνια καθυστέρηση. Υπάρχουν, βέβαια, και σημεία που, ναι, είναι μια χαρά.

Ένα άλμπουμ μισό-μισό, που το 6 στα 10 το πιάνει, αλλά με μεγάλη προσπάθεια και κόπο. Melficarvm, Antichrist (καμία πρωτοτυπία πια;), Rege Satanas, House of Pain, Darkest Realm, Lucifer Rising, Metal Black κάτι προσπαθούν να μας πούνε, εν τέλει.

English:

Unholy Sacrilege

By now, the wheat has been definitively separated from the chaff. Whether one side or the other is represented by the gentlemen Cronos, Mykνs and Antton, who make up the lineup here, or by the other two historical members, Mantas and Abaddon, I don’t know—and even if I did, I wouldn’t get involved in family affairs and musical divorces!

One thing is certain: these Venom have only one historical member, and he isn’t even an original one, having been the last to join the band, back when they were the original four-piece known as Guoltine, and later the three-piece that became Venom. We all know the story concerning Conrad Lant (Cronos), but, regardless, this album is a product of that particular era.

The fact that the title is reversed and, on top of that, the cover of their second historic album, from 1982, has been altered so many years later is probably meant as some sort of link to the past, and nothing more.

There is absolutely no connection with the style of that record, the one that gave an entire subgenre its name. Here we get a modernized sound and plenty of swagger, under the influence of the supposedly wild Pantera, even Machine Head (both the epitome of fake attitude), albeit almost a decade late. There are, of course, moments that, yes, are perfectly fine.

A half-and-half album, one that just about scrapes a 6 out of 10, and only with considerable effort and hard work. Melficarvm, Antichrist (no originality left?), Rege Satanas, House of Pain, Darkest Realm, Lucifer Rising and Metal Black are ultimately trying to tell us something.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: SOUL KILLING FEMALE - Landmines

 

SOUL KILLING FEMALE - Landmines

Independent

SOUL KILLING FEMALE may be a one-man band, with Michael being literally responsible for everything, but that certainly doesn’t prevent him from being highly productive and full of inspiration. So, instead of offering us an EP, or at least a debut album like most newcomers, he delivers two full-length albums! Last month, I had the pleasure of presenting to you his chronological debut, Utopia Mine, and now I’m here to talk about his second work, which was actually recorded and produced more or less during the same period as the first one.

I’m sure the first thought of the sceptics will be: “What’s the point? All the songs must sound identical, or at least very similar…” My answer to that is an absolute no. It’s true that there wasn’t enough time between the two albums for the band to digest the sound of the debut, but Michael has nevertheless managed to deliver something entirely different here!

Landmines is once again an impressive atmospheric sludge metal album, and it remains intense to the core. However, this time its intensity lies mainly in the emotions and thoughts it creates in the listener rather than in the sheer force of the compositions themselves. The rhythms are creeping, slow and extremely imposing, while the atmosphere is so gloomy and eerie that it immediately gets under your skin and refuses to let go until long after the album has finished.

SOUL KILLING FEMALE write original and unique music, and they take things one step further on this album. Each instrument was recorded in a single complete pass, with no editing or fixing whatsoever, as the intention was to preserve the right mood and, above all, give the recordings a genuine live feeling. This approach works remarkably well and adds an organic, almost raw character to the entire album.

Another impressive and rather pioneering element of Landmines is its almost complete lack of guitars. Most of the guitar parts have actually been played on bass, an unusual choice that makes the songs sound more primitive and harsh, while simultaneously adding considerable weight and volume to the overall sound.

Landmines is another excellent album from SOUL KILLING FEMALE and further proof that Michael has plenty of ideas to explore. This is not music for those looking for the familiar or the predictable, but for open-minded listeners who consider experimentation an essential part of metal. Highly recommended!

Christine  Parastatidou

REVIEW: PIEL DE SERPIENTE – Inevitable

 

PIEL DE SERPIENTE – Inevitable (2011)

Pure Rock Records

I knew the band’s name, as I had heard people in the underground scene mentioning PIEL DE SERPIENTE and comparing them to TIERRA SANTA. Until now, however, I had never actually listened to them, and Inevitable is their third album. Having finally given it a listen, I have to say that, apart from the use of the Spanish language, I don’t find that the band has that much in common with TIERRA SANTA.

PIEL DE SERPIENTE’s sound balances somewhere between ’80s hard rock and traditional heavy metal — the kind of style we usually describe as hard ’n’ heavy. So, if names like PRETTY MAIDS and PINK CREAM 69 come to mind, along with more metal-oriented influences such as ACCEPT and IRON MAIDEN, then you are on the right track. This is the musical territory in which PIEL DE SERPIENTE operate.

Overall, Inevitable is a very enjoyable album, although there are a few exceptions. “El Umbral,” for example, is simply too happy, cheesy and predictable for my taste. It sounds like the kind of song that was written with radio airplay in mind. Fortunately, the album has enough strong material to compensate for moments like this.

Among the highlights, I would definitely mention “Rabia,” “Sangre” — which does, indeed, bring TIERRA SANTA to mind — “Inevitable,” the excellent “Ronnie James,” and “Sueños Perdidos.” These are the songs that really show what PIEL DE SERPIENTE are capable of when they combine their melodic side with their heavier influences.

If you don’t have a problem with a band singing entirely in Spanish, then Inevitable is certainly worth checking out. It is a good, passionate and fresh hard ’n’ heavy album, and another interesting example of how the classic ’80s sound can still find a place in today’s underground scene.

Nick Parastatidis