REVIEW: UNDERDARK – In the Name of Chaos

 

UNDERDARK – In the Name of Chaos

Sleaszy Rider Records

Are you prepared to discover a band capable of invigorating the current death metal landscape? If so, UNDERDARK from Poland offers a compelling proposition. Their debut album, In the Name of Chaos, stands as a notable example of aggressive death metal that merits attention.

Underdark’s sound defies simple categorization. While it incorporates elements from both brutal and melodic death metal, it does not fit neatly into either. Instead, their style blends influences, with a predominant emphasis on intensity and aggression. Despite the brutality, the band maintains a strong melodic presence, largely thanks to their guitars, which craft intricate and expressive lines that provide a striking contrast to the guttural vocals and the powerful, steady rhythm section.

The album showcases technical proficiency and complexity, with elaborate guitar work and intricate solos that introduce progressive nuances into their sound. The rhythm section is particularly strong, employing blast beats and double bass drumming that amplify the album’s brutality and volume. The production quality is professional, ensuring all instruments are clearly defined within the mix, and the artwork complements the music’s aesthetic effectively.

For fans of technical death metal and bands such as Morbid Angel, Vader, and Malevolent Creation, In the Name of Chaos offers a worthy exploration. It demonstrates that UNDERDARK is a band worth watching, capable of making a meaningful impact in the genre.

Christine  Parastatidou

REVIEW: CATHEDRAL, The Ethereal Mirror

 

CATHEDRAL, The Ethereal Mirror (1993)

Earache Records

Επόμενο βήμα ενός εκκολαπτόμενου συγκροτήματος.

Οι τέσσερις νεαροί τότε Άγγλοι, στο υπ’ αριθμόν 2 άλμπουμ τους, πλησιάζουν την εικόνα που έχουν σχηματίσει στο μυαλό τους. Doom Metal με πολλές δόσεις των μεγάλων Black Sabbath, αλλά με τον δικό τους τρόπο. Ο Lee Dorrian, έχοντας παρελθόν στους grindcore πρωτοπόρους Napalm Death, τους άφησε για να δημιουργήσει αυτό το σχήμα. Μαζί του βρίσκονται οι Garry Jennings σε μπάσο και σε μερικά κιθαριστικά μέρη, Adam Lehan στην κιθάρα, και Mark Ramsey Wharton στα ντραμς. Αυτό το άλμπουμ είναι ίσως το πρώτο τους αμιγώς Groove/Doom. Χαρακτηριστικά riffs, με αυτήν την παράξενη χαρούμενη αίσθηση, όπως στον ύμνο Midnight Mountain (εδώ), το πιο γνωστό κομμάτι του δίσκου, εναλλάσσονται με καθαρά αργά και μακρόσυρτα κομμάτια, και πολλές φορές, μέσα στο ίδιο τραγούδι! Επίσης, περιέχει κι άλλα πρώιμα κλασικά κομμάτια με χαρακτηριστικά ονόματα, όπως Ride, Enter the Worms, Fountain of Innocence, Grim Luxuria, Jaded Eternity, Ashes You Leave, Phantasmagoria. Ίσως δεν είναι το πιο κλασικό τους άλμπουμ, αλλά σύντομα θα βρεθούν εκεί.

English:

The next step for a budding band.

The four young Englishmen, on their second album, are moving closer to the vision they have in mind. Doom Metal with strong influences from the great Black Sabbath, but with their own unique twist. Lee Dorrian, having a background with the grindcore pioneers Napalm Death, stepped away from that path to form this band. Alongside him are Garry Jennings on bass and some guitar parts, Adam Lehan on guitar, and Mark Ramsey Wharton on drums. This album is perhaps their first truly groove/doom record. Characteristic riffs, with that strange, almost joyful feeling—similar to the hymn Midnight Mountain (here), which is the most well-known track on the album—alternate with slow, elongated pieces, and often within the same song! It also features other early classics with distinctive titles, such as Ride, Enter the Worms, Fountain of Innocence, Grim Luxuria, Jaded Eternity, Ashes You Leave, and Phantasmagoria. It might not be their most classical album yet, but they will soon find their place there.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: TROUBLE, Simple Mind Condition

 

TROUBLE, Simple Mind Condition (2007)

Escapi Music

Τι ακούμε σε αυτό το άλμπουμ;

Ακούμε Doom; Όχι, τουλάχιστον όχι όπως ήταν κάποτε αυτό το παρακλάδι. Το λες Stoner; Το λες, αν και πάλι δεν είναι ακριβές αυτό. Δεν παίζουν σαν τους Spiritual Beggars, ας πούμε. Είναι πιο Heavy Metal το ύφος του δίσκου. 

Είτε έτσι είτε αλλιώς, τα πιο πρόσφατα δισκογραφικά δημιουργήματα των Αμερικανών, πάλαι ποτέ θεμελιωτών του Doom Metal, έχουν ειδικό ενδιαφέρον. Το συγκεκριμένο άλμπουμ είναι το τελευταίο χρονολογικά που απέκτησα, μετά τα πιο κλασικά αδέλφια του. Παρόλα αυτά, δεν με χαλάει καθόλου! 

Έχοντας μπολιάσει τον ήχο τους με στοιχεία και από νεότερα σχήματα (Monster Magnet μου θυμίζουν κάποια riffs), τολμούν να μην πέφτουν στα ίδια και τα ίδια. Είναι πάντως άλμπουμ Trouble, δεν χωράει αμφιβολία. Με έντεκα κομμάτια, εκ των οποίων τα οκτώ είναι χαρακτηριστικής λογικής του συγκροτήματος, έχουμε ένα πολύ ενδιαφέρον συνονθύλευμα.

 

Τα "Goin' Home", "Mindbender", "Pictures of Life", "Trouble Maker", "Arthur Brown's Whiskey Bar", "Simple Mind Condition", "Ride the Sky" (τίτλος που έχει υπάρξει σε τραγούδι και από άλλα συγκροτήματα, τουλάχιστον άλλες δύο φορές, χωρίς να είναι διασκευή), και "The Beginning of Sorrows" είναι τα σημεία που ξεχωρίζουν.

English:

What do we listen to on this album?

Are we hearing Doom? Not exactly, at least not as that genre once was. Do you call it Stoner? Maybe, but even that isn't quite accurate. They don't play like Spiritual Beggars, for example. Their sound is more Heavy Metal. 

Either way, the latest recordings from the Americans—once the foundational pioneers of Doom Metal—are particularly interesting. This specific album is the most recent one I acquired, after their more classic works. That said, I have no problem with it at all! 

They've infused their sound with elements from newer bands (Monster Magnet reminds me of some riffs), and they dare not fall into the same patterns. It's definitely a Trouble album—no doubt about it. With eleven tracks, eight of which reflect the band's characteristic style, it’s a very intriguing mix. 

Standout tracks include "Goin' Home," "Mindbender," "Pictures of Life," "Trouble Maker," "Arthur Brown's Whiskey Bar," "Simple Mind Condition," "Ride the Sky" (a title that has appeared in songs by other bands at least twice, without being a cover), and "The Beginning of Sorrows.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: INTER ARBORES - Ya.Otreshennost.Granitsi.Svyatoye

 

INTER ARBORES  - Ya.Otreshennost.Granitsi.Svyatoye

Wroth Emitter / Backfire Productions

Music as an art form allows for a wide range of experimentation and interpretation. INTER ARBORES from Russia embraces this freedom, aiming to create an atmosphere characterized by darkness, industrial undertones, and emotional depth. The album features a single track exceeding 38 minutes in length, which deviates from conventional song structures and challenges the listener’s expectations.

Throughout the composition, the band employs a variety of sounds and incorporates monologues, all aimed at evoking a mood dominated by somber emotions—loneliness, despair, and introspection. However, given the album’s extended duration and the repetitive nature of its elements, maintaining engagement becomes increasingly difficult. The overarching atmosphere is one of bleakness and heaviness, which, at times, successfully resonates on an emotional level.

It is important to note that my perspective on this release is influenced by my limited familiarity with the genres of ambient and funeral doom metal, in which INTER ARBORES primarily operates. While certain passages evoke a sense of darkness that I found compelling, the prolonged monotony and the lack of variation ultimately hindered my ability to stay immersed throughout the entire piece. The experience might have been enhanced if the composition had been divided into smaller sections or included more theatrical elements to provide contrast and maintain interest.

In its current form, the album risks becoming monotonous after a certain point, which affects its overall impact. Nonetheless, for listeners who appreciate immersive, lengthy ambient doom explorations, this work may offer a profound auditory journey.

Conclusion: While I acknowledge the artistic intent and the emotional depth conveyed, I find that the album's length and repetitive structure limit its accessibility. Therefore, I can appreciate its merits but cannot recommend it beyond an audience already inclined toward this specific aesthetic.

Nick Parastatidis

AS THE SUN FALLS Unveil New Official Video

 

THEOGONIA RECORDS has released the official video for “9 Days Of Sorrow”, the latest single from Finnish melodic death metal act AS THE SUN FALLS. The track is taken from the band’s upcoming album Songs From The Veil, set for release on May 22nd, 2026.

Steeped in grief, memory, and the slow descent through darkness, “9 Days Of Sorrow” showcases the band’s signature fusion of melodic and atmospheric death metal. Haunting guitar lines and somber textures drive the song’s emotional weight, offering one of the most introspective moments on the forthcoming record.

The accompanying video visually amplifies the track’s themes, portraying the lingering ache of loss and the fragile passage through mourning. Its stark imagery mirrors the band’s continued exploration of Finnish mythology, northern landscapes, and human vulnerability.

With Songs From The Veil, their third full-length album, AS THE SUN FALLS deepen their atmospheric storytelling, crafting a sound that feels both vast and intimately personal.

REVIEW: BABYLON MYSTERY ORCHESTRA The Godless, The Godforsaken and the God Damned

 

BABYLON MYSTERY ORCHESTRA The Godless, The Godforsaken and the God Damned

Independent

Music is an art form that defies confinement, restriction, and censorship. Its very essence lies in its ability to convey raw emotions and thoughts, offering both musicians and listeners a platform for authentic expression and understanding. BABYLON MYSTERY ORCHESTRA exemplifies this ethos, as it resists classification—there simply isn't a suitable label for it yet. I have followed Sidney Allen Johnson’s project from its inception, and I can confidently say it stands as one of the most unconventional, innovative, and pioneering musical endeavors one can experience. 

This band’s music may evoke polarized reactions—you will either love it or dislike it; there’s little middle ground. Sonically, BABYLON MYSTERY ORCHESTRA crafts an original and distinctive fusion of symphonic, gothic, and heavy metal elements. The compositions predominantly feature mid-tempo arrangements, complemented by vocals that are both semi-recitative and semi-sung. However, I believe the music serves primarily as a foundation for the lyrics, which are the true artistic expression. Through this project, Sidney Allen Johnson uses music as a channel to explore and communicate complex sociopolitical themes and personal reflections. 

I encourage listeners to engage with the lyrics critically—not to seek agreement but to foster thought and discussion. The lyrical content presents a spectrum of ideas, some of which may challenge or contradict personal beliefs. That’s precisely the point: societal and intellectual evolution thrive on contradiction, opposition, and free speech. 

From a production standpoint, the album is flawlessly crafted, featuring professional sound quality and meticulously designed artwork and booklet. After careful consideration, I’ve chosen not to assign a numerical grade to this release. Its value lies beyond metrics; it offers an opportunity to confront and contemplate significant issues, regardless of where one’s personal beliefs may lie. 

Christine  Parastatidou

REVIEW: STEEL PROPHET, Book Of The Dead

 

STEEL PROPHET, Book Of The Dead (2001)

Nuclear Blast Records

Δικαίωση και αποθέωση μαζί

Το χατ τρικ των πέντε μουσικών από το Connecticut ήρθε με αυτό το μικρό και δυστυχώς άγνωστο στο ευρύ κοινό άλμπουμ. Τα Dark Hallucinations και Mesiah άνοιξαν την πόρτα ώστε να ολοκληρωθεί η «αγία τριάδα», μια ακόμα όπως αρέσκομαι να βρίσκω στις δισκογραφίες τους. Έχοντας σαφείς επιρροές από τους Βρετανούς ημίθεους (τότε ακόμα, γιατί πλέον... μα ας μη χαλάσω την ατμόσφαιρα!), οι Iron Maiden γράφουν ένα ακόμα τελειολογικό σύνολο κομματιών, με τον δικό τους Eddie, που εμφανίζεται στο εξώφυλλο, όπως είχα δει σε κακεντρεχές σχόλιο κάπου τότε.

Ο Rick Mythiasin στο μικρόφωνο, οι Jim Williams και Steve Kachinsky Blakmoor στις κιθάρες, το μαύρο διαμάντι του μπάσου, ο Vince du Juan Dennis, και ο ντράμερ Karl Petter Rosquist θα μας ταξιδέψουν σε κόσμους τόσο άμεσα στο φανταστικό όσο και στο πραγματικό, άλλη μία φορά, με τη βοήθεια των When Six Was Nine. Ακολουθεί το Tragic Flames, που έχει έντονη μυρωδιά από την πρώιμη εποχή των Kamelot, το Dominion. Στη συνέχεια, τα κομμάτια Escape, Soleares, Church of Mind, Burning into Blackness, The Chamber, Phobia, και Anger Seething, ανάμεσα σε άλλα, συνθέτουν έναν ονειρικό συνολικά δίσκο.

English:

Justice and exaltation together

The hat trick of five musicians from Connecticut arrived with this small, unfortunately little-known album to the wider audience. Dark Hallucinations and Mesiah opened the door for the completion of the “holy trinity,” another one—like I enjoy to find in their discographies. Having clear influences from the British demi-gods (back then still, because now... well, I won't spoil the mood!), Iron Maiden craft yet another perfectionist set of songs, featuring their own Eddie, who appears on the cover—something I saw in a spiteful comment somewhere back then.

Rick Mythiasin on vocals, Jim Williams and Steve Kachinsky Blakmoor on guitars, the black diamond of the bass, Vince du Juan Dennis, and drummer Karl Petter Rosquist will take us on journeys that are just as vividly real as they are fantastical—once again—with the help of When Six Was Nine. Following is Tragic Flames, which bears a strong scent of early Kamelot, the Dominion era. Then come tracks like Escape, Soleares, Church of Mind, Burning into Blackness, The Chamber, Phobia, and Anger Seething, among others, composing what is overall a dreamy record.

Τάκης "Ε-Μortal One" Γιώτης