REVIEW: ACCEPT, Staying A Life

 

ACCEPT, Staying A Life (1990)

RCA International

Μύριζε επανένωση.

Κι όντως έγινε επανένωση μετά από την κυκλοφορία αυτή, καθώς όλα τα μέλη του συγκροτήματος και ο Udo, που σόλαρε από το 1987, είχαν γίνει αποδέκτες χιλιάδων γραμμάτων από τους οπαδούς τους.

Το ηχητικό ντοκουμέντο σε αυτό το διπλό CD είναι γραμμένο στην Ιαπωνία κατά την περιοδεία για το Metal Heart (1985) άλμπουμ. Τότε είχαν κυκλοφορήσει επίσημα ένα ζωντανά ηχογραφημένο EP με πέντε κομμάτια. Η πλήρης ηχογράφηση, με όλα τα κλασικά των Γερμανών Heavy Metal θεών, έμενε στα συρτάρια της RCA-BMG, μέχρι που κάποιος σκέφτηκε να τα ξαναβγάλει ως το πρώτο ζωντανό άλμπουμ τους, το 1990.

Ήδη οι Accept, με τον David Reece στη φωνή, είχαν χαρακτηριστεί άσχημα λόγω του Eat the Heat άλμπουμ, που, αν και καλό στο είδος του, δεν ήταν για δουλειά που έπρεπε να φέρει το λογότυπό τους.

Από την άλλη, ο Udo Dirkschneider μετρούσε, ως το 1990, τρία πολύ καλά —σίγουρα πολύ καλύτερα από τους Accept— άλμπουμ, με το πιο πρόσφατο Faceless World να είναι κάπως πιο φιλικό προς την εμπορική πλευρά, αλλά και πάλι να παραμένει τίμιο και στιβαρό.

Ένα ακόμη, το υπέρ το δέον γρήγορο σόλο άλμπουμ, το Timebomb (1991), γραφόταν ήδη από τον κοντό Γερμαναρά με τις παραλλαγές, και μετά οι αναμενόμενοι Accept, σαν τετράδα πλέον, θα ήταν κοντά στο κοινό τους.

Όλα αυτά, γύρω από το ζωντανό αυτό άλμπουμ.

English:

It Smelled Like a Reunion.

And indeed, a reunion did happen after this release, as all the members of the band, as well as Udo, who had been pursuing his solo career since 1987, had become the recipients of thousands of letters from their fans.

The audio document on this double CD was recorded in Japan during the tour for the Metal Heart (1985) album. At the time, they had officially released a five-track live EP. The complete recording, featuring all the classics of the German Heavy Metal gods, remained buried in the RCA-BMG archives until someone eventually thought of releasing it as their first live album in 1990.

By then, Accept, with David Reece on vocals, had already taken a serious beating in terms of their reputation because of the Eat the Heat album. Although good within its own style, it was simply not the kind of work that should have carried their logo.

On the other hand, by 1990 Udo Dirkschneider had three very good albums under his belt — certainly much better than Accept — with the most recent one, Faceless World, being somewhat more commercially friendly, while still remaining honest and solid.

Another album, the excessively fast solo record Timebomb (1991), was already being written by the short German madman with the striped trousers, and after that, the much-anticipated Accept, now reduced to a four-piece, would be back in touch with their audience.

All of this surrounding this live album.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: SIGN OF THE JACKAL - The Beyond EP

 

SIGN OF THE JACKAL - The Beyond EP (2011)

Heavy Artillery Records

It is obvious that there is a new trend of young bands rising and trying to bring back the kind of heavy metal music that was popular during the 80’s. Italy could not be an exception to that, and SIGN OF THE JACKAL are a good example of this tendency. This female-fronted band clearly draws its inspiration from the N.W.O.B.H.M. movement, combining the characteristic guitar-driven sound of the era with a straightforward and traditional heavy metal approach.

Because of the vocals, the first two WARLOCK albums also came to my mind while listening to The Beyond EP. The combination of these influences makes the band’s musical direction fairly obvious. If you enjoy this particular period and style of heavy metal, there is a good chance that SIGN OF THE JACKAL will appeal to you as well.

The musicians are competent and deliver the songs with confidence, while there is also enough passion behind the performances to make the overall result convincing and, most importantly, sincere. The band does not sound like a cold attempt to reproduce an old-fashioned sound; there is a genuine enthusiasm for the music they have chosen to play. At the same time, I believe that they still have to work a little more on the variety factor, as the material could benefit from greater differentiation between the songs and a few more surprises in the songwriting.

Nevertheless, The Beyond EP is an enjoyable listen. It did not leave me particularly enthusiastic, but it certainly kept my interest and demonstrated that SIGN OF THE JACKAL know what they want to do and have the necessary ability to do it. They are good at what they do, and people who appreciate this kind of traditional, N.W.O.B.H.M.-oriented heavy metal will probably find plenty to enjoy here.

As a first step, this is a positive beginning. The Beyond EP shows potential and, more importantly, leaves you interested in hearing the band’s next works and discovering how SIGN OF THE JACKAL will develop their identity as musicians and composers.

Nick Parastatidis

REVIEW: EVIL SURVIVES – Metal Vengeance

 

EVIL SURVIVES – Metal Vengeance (2008)

Heavy Artillery Records

There is nothing wrong with drawing inspiration from the early years of Iron Maiden. The problem begins when those influences become so dominant that they leave very little room for an individual musical identity. This is essentially the issue with Metal Vengeance, the debut album from EVIL SURVIVES.

The band clearly looks toward the classic era of the New Wave of British Heavy Metal, with the first two Iron Maiden albums serving as the most obvious reference point. The riffs, melodies, arrangements and overall atmosphere repeatedly recall that particular period, to the extent that the album often sounds more like an exercise in recreating a familiar formula than an attempt to develop it further. Calling such a sound NWOBHM-influenced is understandable, although in this case the Maiden connection is considerably more prominent than the broader characteristics of the movement.

Musically, EVIL SURVIVES are competent and the performances are solid, but Metal Vengeance does not offer enough individuality to distinguish the band from the number of contemporary acts working within a similar traditional Heavy Metal framework. The songs follow recognizable patterns and rely heavily on established ideas, resulting in an album that is easy to identify stylistically but less easy to remember for its own musical character.

The vocals contribute to this impression. The singer employs a fairly consistent approach throughout the record, without the rougher edge and distinctive personality associated with Paul Di’Anno's classic performances. The comparison is inevitable given the musical direction of the album, but it also highlights one of its main limitations: reproducing the surface elements of an influential sound is considerably easier than capturing the character that made the original music distinctive.

That does not mean that Metal Vengeance is poorly played or that the band lacks an understanding of traditional Heavy Metal. On the contrary, EVIL SURVIVES clearly know the style they want to perform. The question is how much of themselves they manage to add to it. For listeners looking for another band operating in the same territory as ENFORCER and similar modern traditional Heavy Metal acts, the album may have some appeal. Those expecting a more individual interpretation of the genre may find it less convincing.

There are, after all, bands that take their classic influences and reshape them into something recognizably their own. WOLF and 3 INCHES OF BLOOD, for example, have demonstrated how elements of older Heavy Metal can be incorporated into a contemporary sound without simply reproducing their sources.

Metal Vengeance therefore remains an album primarily for listeners who enjoy this particular brand of retro Heavy Metal and have no problem with its strong Iron Maiden orientation. For others, it may serve more as a reminder of how difficult it is to transform influences into a genuinely personal musical identity.

Nick Parastatidis

REVIEW: SATYRICON, Rebel Extravaganza

 

SATYRICON, Rebel Extravaganza (1999)

Nuclear Blast Records

Η διαφορά κάνει.... τη διαφορά.

Οι Νορβηγοί Satyricon είναι (ή ήταν;) άλλη μια κλασική Black Metal μπάντα. Αυτό είναι, όμως, το άλμπουμ τους που μπορείς να το χαρακτηρίσεις και λίγο crossover με το Industrial Metal.

Οι εποχές του The Shadowthrone είχαν περάσει για αυτούς ήδη από 3-4 άλμπουμ πριν και, αν και αυτό είναι πιο πειραματικό, έχει να δώσει αρκετά, όπως και το επόμενο Volcano με τη Black N’ Roll «μελωδικότητά» του.

Πάντως, αν και τότε πολλά γράφτηκαν και ειπώθηκαν, η αλήθεια είναι ότι δεν προδίδει τις μουσικές αρχές τους. Απλώς δανείζεται στοιχεία, νεωτεριστικά ίσως, διαφορετικά από την άλλη, ακριβώς για να μην έχουμε να λέμε ότι παίζουν μία από τα ίδια.

Ο δημιουργικός άξονας, τα δύο μέλη τους, Satyr, σε φωνή, κιθάρες και μπάσο, και ο γνωστός μας ντράμερ Frost, κινούνται σε κομμάτια με Black Metal αισθητική, αλλά και προοδευτικά στοιχεία, Industrial ενέσεις και, φυσικά, το γνωστό παγωμένο σκοτάδι τους, στο κατώφλι του επόμενου αιώνα τότε.

Tied In Bronze Chains

Rhapsody in Filth

Havoc Vulture

Prime Evil Renaissance

Supersonic Journey

Dawn of a New Age

The Scorn Torrent

θα μας κρατήσουν κοντά τους σε αυτό.

English:

The Difference Makes.... the Difference.

Norwegian Satyricon are (or were?) another classic Black Metal band. This, however, is the album of theirs that you could also describe as having a slight crossover with Industrial Metal.

The days of The Shadowthrone had already been behind them for 3-4 albums by then and, although this one is more experimental, it still has quite a lot to offer, much like the following Volcano, with its Black N’ Roll “melodicism.”

Still, although a lot was written and said about it at the time, the truth is that it does not betray their musical principles. It simply borrows certain elements—perhaps somewhat innovative ones, and certainly different ones—precisely so that we would not end up saying that they were playing the same thing over and over again.

The creative core, their two members, Satyr, handling vocals, guitars and bass, and our familiar drummer Frost, move through songs with a Black Metal aesthetic, but also progressive elements, Industrial injections and, of course, their trademark frozen darkness, standing on the threshold of the next century at the time.

Tied In Bronze Chains

Rhapsody in Filth

Havoc Vulture

Prime Evil Renaissance

Supersonic Journey

Dawn of a New Age

The Scorn Torrent

will keep us close to them in this respect.

Τάκης "Ε-Μortal One" Γιώτης!

Pandæmonic Descent Release Debut EP

 

Dutch Death Metal band Pandæmonic Descent has released its debut EP, The Weight of Being Nothing. The release was recorded at Totally Music Studios and Studio Kerssies, with Sean Jansen handling the mixing and mastering.

Based in Almelo/Vriezenveen, the Netherlands, Pandæmonic Descent features Roy Bouwman (vocals), Matteo Tettero (lead guitar), Wesley Stoop (rhythm guitar), Sean Jansen (formerly bass), and Tycho Homan (drums). Drawing inspiration from bands such as Gojira, AngelMaker, and Amon Amarth, the band combines aggressive Death Metal riffs with lyrics rooted in personal experiences and themes that are often left unspoken.

Following sold-out performances at The Little Church in Almelo and Walhalla in Deventer, the band is currently working on recording new material and writing songs for future releases.

REVIEW: PHANTOM LORD, Ιn Twilight World

 

PHANTOM LORD, Ιn Twilight World (1999)

Black Lotus Records

Κλασικό από τα παλιά, πλέον.

Μεγάλη Power Metal μπάλα στην εγχώρια σκηνή, με το «καλημέρα σας», από αυτό το συγκρότημα που, την εποχή εκείνη, άδραξε τη μέρα, εν μέσω της αναγέννησης του ευρωπαϊκού, κλασικού Metal.

Το πρώτο, λοιπόν, CD της μπάντας από την Αθήνα έδωσε νέα ελπίδα και φτερά στη σκηνή μας όταν κυκλοφόρησε. Δισκάρα με τα όλα της, δεδομένου του χαμηλού προϋπολογισμού της παραγωγής.

Beheading The Night, Phantom Lord (καμία σχέση με Metallica), See You In Hell (καμία σχέση με το ομώνυμο των Grim Reaper), In Twilight World και Full of Hate Pigs αξίζουν της προσοχής σας, σε ένα ντεμπούτο που πέρασε κάτω από το ραντάρ του ελληνικού κοινού και μάλλον αδικήθηκε αρχικά, αλλά τελικά έχει τη θέση που του πρέπει, χάρη στον αδηφάγο χρόνο.

English:

A Classic from the Old Days, by Now.

A major Power Metal force on the Greek scene right from the get-go, this band seized the day at a time when classic European Metal was experiencing a true revival.

The band’s first CD, coming out of Athens, gave the Greek scene a new sense of hope and spread its wings when it was released. A damn fine album in every respect, especially considering the low production budget.

Beheading The Night, Phantom Lord (nothing to do with Metallica), See You In Hell (nothing to do with the Grim Reaper classic of the same name), In Twilight World, and Full of Hate Pigs are all tracks that deserve your attention, on a debut that flew under the radar of the Greek audience and was probably overlooked at first, but has ultimately earned the place it deserves, thanks to the relentless passage of time.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: CRUACHAN – Blood on the Black Robe

 

CRUACHAN – Blood on the Black Robe (2011)

Candlelight Records

There are so many pagan and Viking metal bands out there. So many guys and girls dress like Vikings, Celts, ancient Greeks and Romans, creating an impressive visual image around their music. All this is nice to watch, but most of the time the music itself cannot really support the image. Either it becomes too happy, too predictable or simply boring, with melodies that make you think one band is borrowing from another to the point where they all start sounding the same.

CRUACHAN, however, are a different story. With Blood on the Black Robe, their sixth full-length album, the Irish band demonstrate why they have always been one of the more distinctive names in Celtic folk metal. Originally released in 2011 through Candlelight Records, the album combines Celtic folk influences with traditional heavy metal and darker black metal elements, while keeping the metal side of the music firmly at its centre.

This is one of the things that works particularly well here. CRUACHAN do not simply place folk instruments over a metal background in order to create an exotic atmosphere. The whistles, fiddles, mandolin, bouzouki, percussion and other traditional elements are incorporated into the compositions and used to enrich the metal foundation. The result is a sound that can be aggressive and dark without losing its Celtic character.

The other positive element is the way the band combines traditional metal, black metal and folk melodies. Blood on the Black Robe can become heavy and aggressive, but it also has an epic character, with several songs built around strong, almost war-like melodies and memorable vocal passages. Tracks such as “I Am Warrior” and “The Column” have that particular battle-anthem feeling, while “The Voyage of Bran” and “An Bean Sidhe” demonstrate the more atmospheric and traditionally Celtic side of the band. The album also includes the instrumental “Brian Boru’s March”, adding another dimension to the overall sequence.

CRUACHAN also avoid one of the biggest problems of the folk metal genre: sounding exactly like everybody else. Their music has enough variety to move between darker black metal passages, traditional metal riffs, Celtic melodies and more atmospheric sections without losing its identity. The heavier approach of this particular album is especially noticeable, giving the record a darker and more aggressive character than some of the band's earlier material. At the same time, the folk elements remain an essential part of the compositions rather than merely decoration.

Another interesting aspect of Blood on the Black Robe is the presence of Karen Gilligan, who had previously been a full-time vocalist with the band. Although she was no longer a permanent member by this point, she returned as a guest on several tracks, including “An Bean Sidhe” and “The Voyage of Bran”. Her contributions provide an additional contrast to Keith Fay's predominantly harsher vocal approach and work particularly well where the music moves towards its more traditional and atmospheric side.

 

The lyrical and thematic side of the album also remains closely connected to Ireland, its history, mythology and pagan traditions. Songs such as “The Voyage of Bran” draw on Irish mythology, while other material deals with historical conflicts and the relationship between paganism, Christianity and Ireland's past. This gives the music a stronger sense of identity than the generic medieval or Viking imagery that is often found elsewhere in the genre.

Finally, in my opinion, CRUACHAN are one of the very few bands that have managed to approach, in their own way, the greatness and authenticity of the good old SKYCLAD. They understand that folk music should not simply be used as a costume for metal. It has to become part of the music itself. That is exactly where CRUACHAN succeed: the traditional elements are not there merely to create an image, but to give the songs their character.

So, the conclusion is quite simple. If you want to listen to epic Celtic folk metal that combines metal aggression with traditional melodies, Blood on the Black Robe is a release that deserves your attention. It has the darkness of black metal, the weight of traditional metal and the unmistakable character of Irish folk music, while CRUACHAN's own identity remains present throughout the album.

Along with SUIDAKRA's contemporary work, this is the kind of folk metal that, for me, proves there is much more to the genre than costumes, medieval imagery and melodies copied from one band to another.

Nick Parastatidis