REVIEW: OVERDRIVE – Angelmaker

 

OVERDRIVE – Angelmaker

Lion Music

Traditional heavy metal is often dismissed as “simple,” yet Angelmaker is a reminder that writing memorable, enduring songs is anything but easy. Technical proficiency can take a musician far, but crafting hooks, dynamics, and character is a different skill altogether—and this is where OVERDRIVE show their strength.

The Swedish band approaches classic metal with confidence and a clear understanding of the genre’s foundations. Their musicianship is solid, but what stands out is their ability to shape straightforward ideas into engaging, well‑constructed songs. Angelmaker leans heavily into an ’80s aesthetic, enriched with hard rock elements—most evident in tracks like “In Gut We Trust”—and supported by a modern production that gives the album clarity and punch.

The overall atmosphere recalls the spirit of RIOT, particularly the Thundersteel era, without feeling derivative. Alongside that influence, the album nods to JUDAS PRIEST, IRON MAIDEN, ACCEPT, RAINBOW, and even STRYPER—the latter especially noticeable in “See the Light.” These references help position Angelmaker within a familiar lineage, but the band’s personality remains intact.

This is a record that speaks directly to fans of ’80s metal, while also offering younger listeners a clear example of what makes traditional heavy metal compelling. It’s an album that grows with repeated listens; its strengths become more apparent over time.

Standout tracks include “Angelmaker,” “Under the Influence,” “On with the Action,” “To Grow,” “Cold Blood,” and “The Wavebreaker”—the last of which opens with a riff that strongly echoes a classic JUDAS PRIEST moment, though I’ll leave the discovery to the listener.

Nick Parastatidis

REVIEW: VENOM, Storm The Gates

 

VENOM, Storm The Gates (2018)

Spinefarm Records

Μαύρο τραίνο

Θα αρχίσω με μια διχαστική προβοκάτσια: Είναι οι Venom ένα black metal σχήμα; Αν όχι πλέον, ήταν παλιά; Σοβαρά τώρα, η βασική τους επιρροή στην ακραία μεταλλική σκηνή είναι αδιαμφισβήτητη. Η σημερινή ομάδα των «σκέτων» Venom, του Conrad Lant —γνωστού με το τρισχαριτωμένο παρατσούκλι Cronos— αποτελεί το ένα κομμάτι των ιστορικών Venom, αφού οι άσπονδοι αρχικοί συνεργάτες του, Mantas και Abaddon, έχουν τους Venom Inc.

Πρόκειται για ένα πάρα, πάρα πολύ βαρύ σε σημεία και αλλού πολύ γρήγορο dark thrash metal τρίο. Ένα τρίο που, τουλάχιστον από τις αρχές του νέου αιώνα, παραμένει στην ίδια μουσική γραμμή: Motörhead και punk συνυπάρχουν όπως πάντα μέσα τους, ενώ επιμένουν να χρησιμοποιούν κάποια αποκρυφιστικά στοιχεία — όχι πάντα στη μουσική τους (εδώ που τα λέμε, και οι Inc. το ίδιο κάνουν!).

Το συγκεκριμένο δισκάκι είναι από τα πιο πρόσφατα έργα της περιόδου τους. Με τον προαναφερθέντα κύριο σε μπάσο και γκάρισμα, και τους Rage (κιθάρα) και Dante (ντραμς) —αγνώστων λοιπών στοιχείων ταυτότητας!— έβγαλαν τα δεκατρία κομμάτια του άλμπουμ. Καλό; Ναι, όσο «καλό ή κακό» είναι ένα από τα πρόσφατα άλμπουμ τους. Κάποιες κιθάρες τείνουν προς το κλασικό heavy metal, οι στίχοι κινούνται στο σκοτάδι, τα tempo άλλοτε βασανιστικά αργά κι άλλοτε γρήγορα. Τι άλλο να ζητά κανείς από αυτούς; Περνάς καλά ακούγοντάς το — κι αυτό είναι το νόημα.

Με στιγμές όπως τα Bring Out Your Dead, Destroyer, Immortal, Notorious, I Dark Lord, 100 Miles to Hell, Suffering Dictates, Storm the Gates να θυμίζουν τους Venom που πάντα ξέραμε, χωρίς όμως τα υπόλοιπα τραγούδια του δίσκου να υστερούν ιδιαίτερα σε σχέση με αυτά.

English:

Black Train

Let me start with a divisive provocation: Are Venom a black metal band? If not anymore, were they ever? Jokes aside, their foundational influence on the extreme metal scene is undeniable. Today’s version of the “plain” Venom, led by Conrad Lant — better known by the wonderfully mischievous nickname Cronos — represents one half of the band’s legacy, since his not‑so‑friendly original partners, Mantas and Abaddon, now run Venom Inc.

What we have here is a very, very heavy at times and elsewhere blisteringly fast dark thrash metal trio. A trio that, at least since the early 2000s, has stuck to the same musical path: Motörhead and punk still run in their veins, and they continue to sprinkle in some occult elements — not always in the music itself (to be fair, the Inc. camp does the same!).

This little record is one of their more recent offerings. With the aforementioned gentleman on bass and snarls, and Rage on guitar and Dante on drums — further identity details unknown! — they deliver the album’s thirteen tracks. Is it good? Yes, as “good or bad” as any of their recent albums. Some guitar parts lean toward classic heavy metal, the lyrics dwell in darkness, and the tempos swing from torturously slow to outright frantic. What more could anyone expect from them? You have fun listening to it — and that’s the whole point.

With moments like Bring Out Your Dead, Destroyer, Immortal, Notorious, I Dark Lord, 100 Miles to Hell, Suffering Dictates, and Storm the Gates evoking the Venom we’ve always known, the rest of the album’s tracks don’t fall far behind.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: URIAH HEEP, Sonic Origami

 

URIAH HEEP, Sonic Origami (1998)

Spitfire Records

Πόση μαγευτική μελωδία σηκώνεις;

Εποχές κι εκείνες… Τους είδα λίγο μετά το 1999 στο Ρόδον, χωρίς να έχω ακόμη αυτό το άλμπουμ, και απογοητεύτηκα γιατί το έπαιξαν σχεδόν ολόκληρο. Μόνο οι νέοι — δηλαδή Only the Young, όπως λέει και το “χιτ” του CD. Τότε ήμασταν νέοι μεν, αλλά θέλαμε να ακούσουμε τα μυθικά κομμάτια της δεκαετίας του ’70, όπως είναι λογικό.

Τι μένει λοιπόν για την εποχή αυτή, που όπως ξέρουμε θεωρείται η A.O.R. περίοδος αυτού του τεράστιου — ιστορικά και ακόμη περισσότερο δισκογραφικά — Hard Rock θηρίου; Μα πλέον οι δύο και κάτι δεκαετίες που μας χωρίζουν από αυτόν τον δίσκο μάλλον δούλεψαν υπέρ του!

Ο Bernie Shaw ήταν ήδη τότε ο μακροβιότερος τραγουδιστής τους (πόσο μάλλον τώρα που παραμένει στη θέση του). Ο Mick Box, το μόνο αρχικό και ιδρυτικό μέλος, στην ηλεκτρική και ακουστική κιθάρα… παραμένει κι αυτός. Ο πληκτράς Phil Lanzon ήταν τότε στη σύνθεση, αλλά οι — δυστυχώς — μακαρίτες Trevor Bolder στο μπάσο και ο ντράμερ που αγαπήσαμε και στον πρώτο δίσκο του Ozzy Osbourne, ο παιχταράς Lee Kerslake, μας λείπουν αφόρητα.

Εντάξει, αν είσαι ακόλουθος της αχανούς πορείας τους, θα σου έλεγα ότι πλέον ναι, ανήκει στα ύστερα κλασικά τους. Από την άλλη, αν δεν τους ξέρεις (πραγματικά απίθανο, αλλά αν…), μην ξεκινήσεις από αυτό, αλλά από τα Demons and Wizards ή The Magician’s Birthday του 1972.

Τα Between Two Worlds, I Hear Voices, Heartless Land, ο ύμνος — όπως προείπαμε — Only the Young, το μαγικό A.O.R. κομμάτι Question, καθώς και τα Change, Feels Like, η γρήγορη ροκιά Everything in Life και το τελικό The Golden Palace, έχουν να δώσουν πολλά για να ονειρευτείς.

English:

How Much Enchanting Melody Can You Take?

Those were the days… I first saw them a little after 1999 at Rodon, without even owning this album yet, and I left disappointed because they played almost the whole thing. Only the young — Only the Young, as the CD’s “hit” says. Sure, we were young back then, but naturally we wanted to hear their mythical ’70s material.

So what remains for this era, the one we all know as the A.O.R. period of this massive Hard Rock beast — historically huge, and even more so discographically? Well, the two‑plus decades that now separate us from this record seem to have worked in its favor.

Bernie Shaw was already their longest‑serving vocalist at the time (let alone the fact that he’s still in the role). Mick Box, the sole original founding member, still holding down electric and acoustic guitars… remains to this day. Keyboardist Phil Lanzon was part of that lineup too, but the late Trevor Bolder on bass and the drummer we adored from Ozzy Osbourne’s debut — the phenomenal Lee Kerslake — are missed unbearably.

If you’ve followed their vast journey, I’d tell you that yes, by now this album definitely belongs to their late‑era classics. On the other hand, if you don’t know them (highly unlikely, but still…), don’t start here — go to Demons and Wizards or The Magician’s Birthday from 1972.

Between Two Worlds, I Hear Voices, Heartless Land, the anthem — as mentioned — Only the Young, the magical A.O.R. gem Question, along with Change, Feels Like, the fast rocker Everything in Life, and the closing The Golden Palace all have plenty to offer if you’re ready to dream.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: MEAN STREAK – Declaration of War

 

MEAN STREAK – Declaration of War

Black Lodge Records

MEAN STREAK’s second album finds the Swedish band leaning fully into a traditional heavy metal identity. Where their debut carried clear power‑metal traces, Declaration of War reduces those elements to a minimum and embraces an 80s‑rooted sound. The influences are immediately recognizable: the sharp edges of JUDAS PRIEST and ACCEPT, the melodic weight of DIO and IRON MAIDEN, and even a touch of RAINBOW’s flair—most evident in “No Man’s Land.” Younger listeners may also detect occasional HAMMERFALL‑like moments, subtle but present.

The songwriting stays within the familiar framework of classic metal, yet the band approaches it with precision and confidence. The performances are tight, the structures well‑built, and the lead guitar work stands out as one of the album’s most convincing elements. While Declaration of War does not attempt to expand or redefine the genre, it carries enough freshness and enthusiasm to avoid feeling stagnant.

For dedicated fans of traditional heavy metal, this is a solid and enjoyable listen—crafted with respect for the genre’s legacy and delivered with genuine passion. For listeners outside that circle, it may not offer anything essential, but it remains a competent and engaging record. As someone who appreciates this style, I found it satisfying and would rate it 7.5/10.

Nick Parastatidis

REVIEW: FIREWIND, Live Premonition

 

FIREWIND, Live Premonition (2008)

Century Media Records

Μια κορυφαία εποχή αποτυπωμένη σε ήχο

Τους είχα δει μέσα στο Gagarin 205 Club, στην ίδια τότε περιοδεία τους, όπου ανακοίνωσαν ότι θα κυκλοφορούσαν το συγκεκριμένο διπλό live λίγους μήνες αργότερα. Στην πατρίδα των δύο από τους πέντε, τη Θεσσαλονίκη, γράφτηκαν τα κομμάτια για αυτή την τόσο ξεχωριστή ζωντανή στιγμή.

Τολμώ να πω ότι ήταν η χρυσή εποχή τους, με τον Appolo Papathanasio στη φωνή, τον Mark Cross στα ντραμς, τον Bob Κατσιώνη στα πλήκτρα και στην επιπλέον κιθάρα, και τους βασικούς παίκτες της ομάδας μέχρι σήμερα: τον Gus G. (Κώστα Καραμητρούδη κατά κόσμον) στην κιθάρα και τον Πέτρο Χριστοδουλίδη στο μπάσο.

Μεγάλες στιγμές, μεγάλα κομμάτια από τα πρώτα πέντε –ως τότε– στούντιο άλμπουμ των Firewind, ενός από τα συγκροτήματα που επανέφεραν το επίθετο «ελληνικό» πριν από την περιγραφή Power Metal. Ένα άλμπουμ που σε γυρνά πίσω. Αξέχαστες εποχές!

English:

A defining era captured in sound

I had seen them at the Gagarin 205 Club, on that very same tour, when they announced that this double live album would be released a few months later. In the hometown of two of the five members, Thessaloniki, the tracks for this unique live moment were written.

I dare say it was their golden era: Appolo Papathanasio on vocals, Mark Cross on drums, Bob Katsionis on keyboards and additional guitar, and the core players who remain the backbone of the band to this day—Gus G. (Konstantinos Karamitroudis, in everyday terms) on guitar and Petros Christo on bass.

Great moments, great songs from the first five studio albums Firewind had released up to that point—one of the bands that brought the word “Greek” back into the description of Power Metal. An album that takes you back. Unforgettable times.

Τάκης "Ε-Μortal One" Γιώτης

Ka’aper unveil new single “After The Gods”

 

Ka’aper introduce their new single “After The Gods”, taken from the upcoming album When Gods Walked the Earth. The track follows “Amenhotep” and “Lament For Osiris”, continuing the band’s descent into ancient myth and spiritual collapse.

With imagery of forgotten ancestors, blood‑washed roots, and abandoned temples, “After The Gods” captures a world stripped of faith and hope — a fitting preview of the album’s dark, ceremonial atmosphere.

REVIEW: EVIL ONE – Militia of Death

 

EVIL ONE – Militia of Death

Pervade Productions / Manitou Music

When thrash metal intersects with traditional heavy metal, the result often recalls bands such as Overkill, Annihilator, Hallow's Eve, Metallica, and Megadeth. In the current scene, Evil One operate within a similar stylistic framework. With their third release, Militia of Death, the French band present what can be considered their most mature and cohesive work to date.

From the outset, the album stands out for its balanced production and clarity. A key strength, noticeable from the first listen, is the band’s ability to transition naturally between aggressive thrash passages and more melodic, traditionally rooted heavy metal sections. These shifts feel fluid rather than forced, contributing to the album’s overall strong sense of flow.

The mixing and mastering, handled by Herman Frank, play an important role in shaping the album’s sound. The production enhances both the heavier and more melodic elements without allowing either to dominate excessively. The result is a clear, powerful sound that supports the band’s songwriting and performances throughout.

Militia of Death unfolds smoothly from the opening track to the closing moments, maintaining consistency in tone and energy. The album suggests that Evil One have the potential to move beyond the confines of the French underground scene and attract broader international attention.

Guest appearances further enrich the record. Jeff Waters (Annihilator) performs a guitar solo on “Militia of Death,” Betov of ADX contributes a solo to “Straight to Hell,” Herman Frank appears again with a solo on “Suicide Fanatics,” and Gerre of Tankard provides lead vocals on “Militia of Beer.” These collaborations add variety while remaining consistent with the album’s overall direction.

Among the standout tracks are “Evil Invasion,” “Baptized by Fire,” “Memories,” and the instrumental piece “Instrumetal,” each highlighting different aspects of the band’s sound—from driving thrash intensity to more melodic and structured compositions.

Overall, Militia of Death is a solid heavy/thrash metal release that balances aggression and melody effectively. Listeners seeking a well-produced, energetic, and musically coherent metal album may find this release worth their attention.

Nick Parastatidis