Bulgarian pagan black/folk metal band Tsar Stangra has
announced a significant lineup change, marking the beginning of a new chapter
in the band's history. Following a decade of perseverance and the release of
their sophomore album, the band explained that the decision was driven by the
members' evolving long-term goals.
Tsar Stangra expressed their sincere gratitude to
departing members Cindy Tecca, Wayne Barr, Simon Vaillancourt-Girard, Samuel
Paré, and Olivier Vaillancourt-Girard for their commitment and invaluable
contributions, particularly to the band's latest album.
At the same time, the band introduced its revamped
lineup, welcoming Alexandre Guay (Rite of Decay) and Francis Wafer on guitars,
along with Louis-Charles Drolet (Rite of Decay, Seventh) on drums. According to
the band, the new members have already been rehearsing together for nearly a
year and have written more than thirty minutes of new material, signaling an
exciting new creative direction for Tsar Stangra.
Japan has never been among the countries most commonly
associated with heavy metal, and as a result its extreme metal scene has often
remained under the radar. Those willing to explore it, however, will quickly
discover that it has produced a respectable number of noteworthy acts,
generally divided between melodic and highly brutal approaches. DEFILED have
always belonged firmly to the latter camp, as their name alone suggests, and
with In Crisis they returned almost eight years after the release of their
previous full-length album.
From beginning to end, In Crisis is built around one
central objective: uncompromising brutality. Aggression, relentless speed,
crushing riffs and an overwhelming sense of violence dominate every aspect of
the record, while everything else is clearly treated as secondary. DEFILED
leave no room for subtlety, atmosphere or emotional variation, instead opting
for a constant barrage of bludgeoning death metal accompanied by the expected
gore-inspired aesthetics.
The problem, at least from my perspective, is that the
album rarely moves beyond that single idea. I've always believed that even the
most extreme forms of metal benefit from memorable melodies or contrasting
moments that give the music depth, balance and identity. In Crisis offers very
little of that. As a result, the songs gradually begin to blend together,
making it increasingly difficult to distinguish one from another. What
initially feels intense eventually becomes repetitive, and the relentless
aggression loses much of its impact through the absence of variation.
There is no denying that DEFILED are highly capable
musicians. Their technical ability and precision are evident throughout the
album, but they rarely use those strengths to expand their songwriting beyond
sheer violence. Instead, In Crisis remains focused almost exclusively on
delivering maximum intensity, making it feel extreme simply for the sake of
being extreme rather than serving a broader musical purpose.
Ultimately, In Crisis is a straightforward brutal
death metal album aimed squarely at listeners who want relentless ferocity with
virtually no compromise. Fans who appreciate unfiltered violence and crushing
heaviness above all else will likely find plenty to enjoy here. Those, however,
who expect memorable songwriting, dynamic arrangements or even modest melodic
touches may find the experience too one-dimensional to leave a lasting
impression.
Έχοντας
υπόψη ότι αυτό ήταν το πρώτο άλμπουμ των DEATH που άκουσα ως παιδί, κάπου το
1997, θα έλεγα πως έκανα την καλύτερη δυνατή αρχή!
Οι
DEATH της δεκαετίας του '90 αποτελούσαν ένα μοναδικό μείγμα ακραίου και
προοδευτικού Metal, με τη ζυγαριά να γέρνει περισσότερο προς το δεύτερο. Το
"Symbolic" είναι το επιστέγασμα και η απόλυτη τελειοποίηση αυτής της
μουσικής συνταγής, η οποία ανανέωσε αισθητά το ήδη κατασταλαγμένο Death Metal.
Ένα ιδίωμα που τότε έδειχνε να έχει αρχίσει να λαχανιάζει, προσπαθώντας να
αντισταθεί στην ξέφρενη επέλαση του νεότερου και ακόμη πιο ακραίου δεύτερου
κύματος του Black Metal, το οποίο είχε ήδη αρχίσει να του κλέβει τη δόξα από το
1992 περίπου.
Το
υπερσυγκρότημα των DEATH είχε πλέον φτάσει στην ιδανική του μορφή. Πλάι στον
αείμνηστο ηγέτη, τραγουδιστή και κιθαρίστα Chuck Schuldiner, συναντάμε τον
Bobby Koelble στη lead κιθάρα, τον Steve Di Giorgio και τον Kelly Conlon στο
μπάσο, καθώς και τον αχανή Gene Hoglan πίσω από τα τύμπανα, να ισοπεδώνει
κυριολεκτικά κάθε δέρμα που βρίσκεται μπροστά του.
Για
μένα, πρόκειται για έναν δίσκο που βαθμολογείται με απόλυτο 10/10, οπότε
πραγματικά δεν χρειάζεται να προστεθεί τίποτα άλλο. Απλώς τον βάζεις στο
στερεοφωνικό, πατάς το play και χάνεσαι μέσα σε σκοτεινά, προοδευτικά
αριστουργήματα όπως τα "Symbolic", "Zero Tolerance",
"Empty Words", "Sacred Serenity", "1,000 Eyes",
το υπέρ-κλασικό "Crystal Mountain" και το συγκλονιστικό "Perennial
Quest".
English:
Death for Thirty Years.
Considering that this was the first DEATH album I ever
heard as a kid, sometime around 1997, I'd say I couldn't have asked for a
better introduction.
The DEATH of the '90s represented a unique fusion of
extreme and progressive Metal, with the balance leaning increasingly toward the
latter. "Symbolic" stands as the culmination and ultimate refinement
of that musical formula, one that breathed new life into an already
well-established Death Metal scene. At the time, the genre seemed to be running
out of steam, struggling to keep pace with the furious rise of the younger and
even more extreme second wave of Black Metal, which had already begun stealing
much of its spotlight around 1992.
By this point, DEATH had evolved into the ultimate
supergroup. Alongside the late mastermind, vocalist, and guitarist Chuck
Schuldiner were lead guitarist Bobby Koelble, bassists Steve Di Giorgio and
Kelly Conlon, and the colossal Gene Hoglan behind the drum kit, absolutely
demolishing every drumhead placed in front of him.
As far as I'm concerned, this is a flawless 10/10
album, so there really isn't much more to say. You simply put it on your
stereo, press play, and lose yourself in dark, progressive masterpieces such as
"Symbolic," "Zero Tolerance," "Empty Words,"
"Sacred Serenity," "1,000 Eyes," the immortal classic
"Crystal Mountain," and the breathtaking "Perennial Quest."
Τουλάχιστον
άδειοι πλανήτες μέσα σε ένα νεκρό διαστημικό τοπίο απεικονίζονταν στο αρχικό
εξώφυλλο αυτού, του έκτου άλμπουμ των ιστορικών Νορβηγών black metallers. Η
πρόσφατη επανέκδοση, που ευτυχώς το έκανε ξανά διαθέσιμο, υιοθετεί ένα
διαφορετικό εξώφυλλο, με ένα σκοτεινό νορδικό δάσος στην άκρη ενός γκρεμού.
Όμως, αυτό που πραγματικά έχει σημασία είναι η μουσική, και αυτή παραμένει
αναλλοίωτη.
Το
δίδυμο των Fenriz και Nocturno Culto κάνει για άλλη μία φορά αυτό που γνωρίζει
καλύτερα από τον καθένα: μονολιθικό, ωμό και απέριττο Black Metal, αυτή τη φορά
με μια πιο «ανθρώπινη» παραγωγή, η οποία σίγουρα δεν απογοήτευσε κανέναν από
τους φίλους του συγκροτήματος εκείνη την εποχή.
Προσωπικά,
πρόκειται για το πιο αγαπητό στα δικά μου αυτιά άλμπουμ της μεσαίας περιόδου
τους. Περιλαμβάνει συνθέσεις που φέρνουν αμέσως στον νου τους μεγάλους
πρωτοπόρους Celtic Frost, Bathory, Destruction και Venom, κάτι απολύτως
φυσιολογικό, αφού αυτές υπήρξαν ανέκαθεν οι σταθερές επιρροές των DARKTHRONE.
Τραγούδια όπως τα "Earth's Last Picture", "Blackwinged",
"Gather for Attack on the Pearly Gates", "Black Victory of
Death", "Blasphemer" και "The Serpent's Harvest"
συγκαταλέγονται πλέον δικαίως στις κλασικές στιγμές της δισκογραφίας τους.
English:
Ice, darkness, empty planets.
At least that is what the original cover artwork of
this, the sixth album by the legendary Norwegian black metallers, depicted:
barren planets suspended in a lifeless cosmic landscape. Fortunately, the
recent reissue has made the album available once again, although it replaces
the original artwork with a dark Nordic forest perched on the edge of a cliff.
In the end, however, what truly matters is the music, and that remains
untouched.
The duo of Fenriz and Nocturno Culto once again do
what they know better than anyone else: delivering monolithic, raw and
stripped-down Black Metal, this time with a more "human" production
that undoubtedly failed to disappoint any of the band's followers back then.
Personally, this is my favourite album from
DARKTHRONE's middle period. It contains songs that instantly bring to mind the
pioneering spirit of Celtic Frost, Bathory, Destruction and Venom, which is
hardly surprising since those bands have always been DARKTHRONE's most enduring
influences. Tracks such as "Earth's Last Picture",
"Blackwinged", "Gather for Attack on the Pearly Gates",
"Black Victory of Death", "Blasphemer" and "The
Serpent's Harvest" have rightfully earned their place among the undisputed
classics of the band's catalogue.
I'll begin this review in a rather unorthodox way: In
the Mist of Mornings is an album intended exclusively for truly open-minded
listeners. Those expecting anything resembling conventional metal, despite the
band's occasional association with the genre, are likely to be left puzzled.
NORDAGUST have little in common with metal as it is generally perceived,
instead operating in the same broad territory as those atmospheric acts that
favor melancholy, introspection, and mood over heaviness and aggression.
Although the band employs traditional rock
instrumentation, their sound is enriched by an impressive array of unconventional
instruments, including flute, dulcimer, sallow flute, mouth harp, musical saws,
and kettles. The result is an evocative blend of symphonic progressive rock
infused with strong folk and medieval influences. It is a rich and carefully
layered musical palette that places atmosphere above all else.
In the Mist of Mornings may be NORDAGUST's debut
full-length release, but the band itself has existed for many years, and that
experience is evident throughout the album. Every composition seems designed to
build immersive sonic landscapes, evoking feelings of melancholy, isolation,
and almost catatonic stillness. The melodies form the foundation of the music,
while the interplay of multiple male and female vocalists enhances the
dreamlike quality of the material, giving the album a distinctive identity.
Its greatest weakness, however, lies in the
songwriting itself. Despite the abundance of instruments, textures, and vocal
arrangements, many of the compositions share a remarkably similar atmosphere
and structure, making them blend into one another. As a result, the listening
experience can become somewhat repetitive, especially over the course of the
album.
Even so, In the Mist of Mornings remains a very
accomplished debut that showcases a band with a fully realized artistic vision.
There is little here that feels underdeveloped or tentative. The album succeeds
admirably at creating powerful emotional landscapes, but it deliberately
sacrifices energy and immediacy in favor of contemplation and mood. This is
music that demands patience and a particular state of mind.
Ultimately, this is an album made for a very specific
audience—listeners who appreciate soundtrack-like, deeply atmospheric music
where emotion outweighs momentum. While I can certainly admire NORDAGUST's
artistic ambition and craftsmanship, this is one of those rare cases where I
respect the music far more than I personally enjoy it. It is special music for
special people, and I have to admit that I don't quite belong to that audience.
French progressive heavy metal outfit Crystal Throne
have released the official lyric video for "Children Of The Ruins",
the latest single taken from their upcoming studio album, Chantry Of Sacrifice.
Formed in Metz, France, in 2019 by guitarist Max Waynn
and vocalist Terry DeFire, Crystal Throne blend melodic heavy metal, power
metal and progressive influences with the spirit of the 1980s. Their sound
combines technical musicianship, memorable melodies and an expansive universe
inspired by science fiction, mythology and fantasy.
Following their self-titled debut album in 2021, the
band expanded its lineup with drummer Will Ram and second guitarist John L,
adding even more depth and power to their evolving sound. The result is Chantry
Of Sacrifice, a darker, more ambitious and mature concept album set in the
distant year 5150. The story follows Hyldr, a war veteran and scientist who
becomes the last human in a universe where Earth has mysteriously vanished. Her
final mission is to travel back in time, uncover the truth and alter humanity's
fate.
Combining progressive songwriting, memorable hooks and
an immersive sci-fi narrative, Chantry Of Sacrifice promises to be Crystal
Throne's most accomplished work to date. The band is also preparing a companion
audiobook that will further expand the album's rich storyline.
For fans of: Queensrÿche, Symphony X, Crimson Glory,
Judas Priest.
Portugal has produced more than its fair share of
quality melodic doom/death metal acts over the years, and newcomers MOURNING
LENORE have clearly drawn inspiration from that tradition. Formed only a couple
of years ago and previously known only for a split CD, the band now steps
forward with its debut full-length, Loosely Bounded Infinities, hoping to
establish its place within the genre.
I always approach debut albums with slightly different
expectations. It's only natural for young bands to still be searching for their
identity while gradually breaking free from the shadow of their influences. MOURNING
LENORE are very much at that stage. Their brand of melodic doom/death metal is
competently written, emotionally charged, and successfully captures the
feelings of melancholy, solitude, and introspection that define the style. The
musicians clearly know what they're doing, the songwriting is well structured,
and the production gives the material the weight and atmosphere it deserves.
The problem is that, despite all of its strengths,
Loosely Bounded Infinities rarely rises above the familiar. The band's
influences are evident throughout the album, and while everything is executed
with confidence and sincerity, there isn't enough of a distinctive personality
to make the songs truly stand apart from the countless other releases in this
genre. This is by no means a weak album—far from it—but it doesn't yet reveal a
band with a unique musical identity.
The potential is certainly there. MOURNING LENORE
possess the musicianship and songwriting ability needed to make a lasting
impression, but they still need to develop a more personal approach that will
allow them to escape the confines of their influences. Once they achieve that,
they could become a force worth paying close attention to.
As it stands, Loosely Bounded Infinities is a solid
and enjoyable debut that will primarily appeal to devoted fans of melodic
doom/death metal. Those already invested in the genre should find plenty to
appreciate, while everyone else would be wise to sample a few tracks before
deciding whether this is an album for them.
