REVIEW: DESTRAGE - The King Is Fat 'n' Old

 

DESTRAGE - The King Is Fat 'n' Old

Coroner Records

I recall first listening to this Italian band's debut, Urban Being, and being immediately impressed by their ability to blend classic metal elements with modern influences, resulting in a highly catchy and engaging sound. About a year later, they released their sophomore album, The King Is Fat 'n' Old, which continues along a similar musical path. However, in my opinion, it falls slightly short of the mark set by their debut.

While the album retains the core ingredients that made their first effort stand out, it seems that in an attempt to showcase their technical prowess and make a strong impression, DESTRAGE has overloaded many of the compositions. The songs feature frequent tempo shifts, thematic changes, and a multitude of ideas that, at times, come across as overwhelming. These abrupt transitions can disrupt the natural flow, making some tracks feel more like a patchwork of disparate parts rather than cohesive songs. As a result, the overall listening experience can feel chaotic, with the band’s intention of sounding progressive and elaborate occasionally working against them.

That said, DESTRAGE is undeniably a highly talented and cohesive band. Their performances are top-notch, with well-trained musicianship and a tight rhythm section. The guitar work is particularly notable, especially the solos heavily influenced by Yngwie Malmsteen, complemented by Zakk Wylde-style false harmonics. The vocals are also a strength—capable of growling, screaming, and singing with skill and versatility.

If you enjoy modern metalcore that balances clean vocals with harsh, aggressive tones, this album is worth exploring. It offers a high level of musicianship and energetic songwriting. However, personally, I would prefer more structured compositions with less embellishment. Additionally, I find the duality of clean and harsh vocals somewhat tiresome; while both are performed well, the frequent use of this vocal style has become somewhat of a cliché in the genre.

In summary, The King Is Fat 'n' Old is a commendable work that showcases the band’s technical abilities and creativity. Still, its tendency toward chaotic arrangements and vocal duality might not appeal to all listeners, especially those seeking more streamlined, cohesive songs.

Christine  Parastatidou

REVIEW: VADER, The Beast

 

VADER, The Beast (2004)

Metal Blade Records

Ακούραστοι

Οι Πολωνοί έχουν επανεφεύρει το τεχνικό Death Metal και πάλι, τόσο για άλλη μία φορά όσο και για μία ακόμα κυκλοφορία τους. Πάντα τους ακούμε να βρίσκονται στο όριο με το Thrash Metal, αλλά από την εσωτερική πλευρά του συνόρου προς το Death Metal, δηλαδή. Ο δίσκος αυτός θα μπορούσε να είχε κυκλοφορήσει με τον τίτλο Spiritual Disease, που νομίζω ότι θα ήταν πολύ πιο σχετικός — όχι ότι ο απλός τίτλος The Beast είναι άσχετος, αλλά η τελική κρίση από τον ακροατή δεν αλλάζει. 

Ο δίσκος γράφτηκε ως τρίο, με τον Piotr Wiwczarek να παίζει μπάσο, ρυθμική κιθάρα και φυσικά να εκτελεί τα φωνητικά. Ο Maurycy Stefanowicz παίζει κιθάρα, ενώ ο Dariusz Brzozowski παίζει ντραμς, αν και δεν ήταν επισήμως μέλος της μπάντας εκείνη την εποχή. 

Υπό αυτό το πρίσμα, μάλλον αστάθειας, το αποτέλεσμα δεν είναι καθόλου κακό. Τα κομμάτια Out of the Deep, Dark Transmission, Forebringer, The Sea Came in at Last, The Zone και Apopheniac αποτελούν τεράστιες στιγμές σε αυτό το CD. 

Το ενδιαφέρον μας παραμένει αμείωτο για αυτούς και εδώ.

English:

Untiring

The Poles have reinvented technical Death Metal once again—both for another time and for another release. We always hear them operating at the borderline with Thrash Metal, but from the inner side of that boundary towards Death Metal. This album could have been released under the title Spiritual Disease, which I think would be much more fitting—not that the simple title The Beast is irrelevant, but the listener’s ultimate judgment remains unchanged.

The album was created as a trio, with Piotr Wiwczarek playing bass, rhythm guitar, and of course, delivering the vocals. Maurycy Stefanowicz plays guitar, while Dariusz Brzozowski handles drums—even though he was not officially a band member at that time.

Considering this context of instability, the result is not at all bad. Tracks like Out of the Deep, Dark Transmission, Forebringer, The Sea Came in at Last, The Zone, and Apopheniac are massive highlights on this CD.

Our interest in them remains as unwavering here as ever.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: VADER, Litany

 

VADER, Litany (2000)

Metal Blade Records

Βέιντερ, μαγεία, death metal λιτανεία!

Οι Πολωνοί, στο τέταρτο άλμπουμ τους, έχουν ήδη καθιερωθεί στη σκηνή από τις αρχές του τρέχοντος αιώνα. Η ιστορία τους χάνεται στη δεκαετία του ’80, πολύ πριν από την απαρχή του ακραίου metal. Στο συγκεκριμένο CD ακολουθούν μεν την πεπατημένη, αλλά πάντα με τον δικό τους τρόπο· το thrash-meets-death metal που παίζουν θυμίζει έντονα την αμερικανική σχολή εν τη γενέσει της, με μια αδιόρατη μυρωδιά από Slayer, Possessed, Morbid Angel και Obituary.

Η παραγωγή είναι ογκώδης, με χαρακτηριστικά blast beats, σε έντεκα κομμάτια που συνολικά μόλις ξεπερνούν τα τριάντα λεπτά. Τα Winds, The One Made of Dreams, Xeper, Litany, The Calling, Cold Demons, Forwards to Die!!!, North, A World of Hurt και The Final Massacre δικαιούνται επάξια τον τίτλο ότι συγκαταλέγονται σε ένα από τα καλύτερα άλμπουμ τόσο του είδους όσο και των Vader.

English:

Vader: sorcery, a death‑metal litany!

By their fourth album, the Poles had already cemented their place in the scene at the dawn of the new millennium. Their story stretches back to the ’80s, long before the rise of extreme metal. On this particular record they may follow the familiar path, yet always in their own unmistakable way; the thrash‑meets‑death metal they deliver strongly echoes the early American school, carrying a subtle scent of Slayer, Possessed, Morbid Angel and Obituary.

The production is massive, packed with signature blast beats across eleven tracks that barely exceed the thirty‑minute mark. Winds, The One Made of Dreams, Xeper, Litany, The Calling, Cold Demons, Forwards to Die!!!, North, A World of Hurt, and The Final Massacre rightfully earn the claim of belonging to one of the finest albums both of the genre and of Vader’s entire catalogue.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: BREACH THE VOID – The Monochromatic Era

 

BREACH THE VOID – The Monochromatic Era

Coroner Records

BREACH THE VOID step into the modern metal arena with The Monochromatic Era, a debut that follows the now‑familiar trajectory of contemporary melodic death metal infused with electronic and metalcore elements. The band originates from Switzerland—a detail that does offer a small point of distinction, given that the country isn’t typically associated with this particular branch of extreme metal.

The musicians deliver a competent first effort, but the album leans heavily on established formulas. Their sound owes much to the later waves of melodic death metal, especially the era when keyboards and electronic textures became central to the genre’s evolution. Listeners will easily pick up on echoes of IN FLAMES, DARK TRANQUILLITY, and most notably SOILWORK’s Figure Number Five period. These influences are not subtle; they shape the album’s identity to the point where BREACH THE VOID’s own voice has yet to fully emerge.

This doesn’t make the record poor—far from it. The performances are solid, the production is clean, and the band clearly understands the mechanics of the style they’re working within. What it does mean, however, is that The Monochromatic Era feels more like a well‑executed introduction than a defining artistic statement. Even the title brings to mind DARK TRANQUILLITY’s “Monochromatic Stains,” reinforcing the sense that the band is still operating in the shadow of their influences.

For dedicated followers of modern melodic death metal and metalcore, this album may offer enough familiar elements to be worth exploring. For everyone else, sampling a few tracks first is the safest way to determine whether BREACH THE VOID’s debut resonates beyond its genre conventions.

Christine  Parastatidou

REVIEW: FOLKEARTH - Viking’s Anthem

 

FOLKEARTH - Viking’s Anthem

Stygian Crypt Productions

Being prolific may suggest hard work, but it does not automatically guarantee artistic depth. This has often been the challenge with FOLKEARTH, a multinational collective whose ambitious concept has not always translated into equally compelling results. Over the years, I frequently felt that their numerous releases lacked something essential—focus, cohesion, or simply a strong artistic statement.

With Viking’s Anthem, however, the band proves that they still have something meaningful to offer. In fact, this is, in my view, the most accomplished work of their career so far.

From a technical standpoint, the production is notably improved. The mixing is clean and balanced, allowing the listener to fully appreciate the album without distractions. This alone elevates the experience compared to several earlier releases.

Musically, the shift in approach is what truly makes the difference. The band gives more prominence to the metal instrumentation, while the folk elements—especially the violin—serve as supportive layers that enrich the atmosphere rather than dominate it. This balance results in a more cohesive and dynamic sound. If I had to place the album stylistically, I would say it leans toward the territory of ANCIENT RITES and, naturally, SKYCLAD.

Having listened to the entire FOLKEARTH discography, I can confidently say that Viking’s Anthem stands out as their strongest and most focused effort to date. If someone wants to explore their work, this is the release I would recommend without hesitation.

In a scene crowded with folk and pagan metal albums, this one manages to offer something distinct—proof that even a long-running project can still surprise its audience when everything finally aligns.

Nick Parastatidis

REVIEW: GAMMA RAY, Majestic

 

GAMMA RAY, Majestic (2005)

Mayan Records

Μαγευτικό; Δε ξέρω. Αδικημένο; Σίγουρα ναι.

Μετά τον δίσκο New World Order, που ήταν μεν καλός αλλά δεν πρόσφερε κάτι διαφορετικό σε σχέση με το αμέσως προηγούμενο Powerplant, οι τέσσερις φίλοι–μουσικοί που για μένα αποτελούσαν την πιο κλασική μορφή του συγκροτήματος — ο αγαπημένος Kai Hansen σε φωνή και ρυθμική κιθάρα, ο Henjo Richter στη δεύτερη κιθάρα, ο Dirk Schlachter στο μπάσο και ο Dan Zimmermann στα ντραμς — βάλθηκαν να αποδείξουν ότι ακόμα «το είχαν».

Οι εποχές της κόντρας Helloween και Gamma Ray είχαν ήδη ξεπεραστεί για τον κόσμο που αγαπά συνολικά τον τευτονικού τύπου power metal ήχο. Εξάλλου, ο Kai είναι ο συνδετικός κρίκος ανάμεσα σε αυτά τα δύο κολοσσιαία συγκροτήματα.

Υπό αυτές τις σκέψεις, οι Gamma Ray μας έδωσαν τότε έναν ανέλπιστα καλό και συνθετικά συμπαγή δίσκο. Αρχικά ούτε εγώ πίστευα ότι μπορούσε να είναι έτσι και άργησα να το προμηθευτώ. Ακούγοντας όμως τους γνωστούς γύρω μου να το εκθειάζουν, ρώτησα έναν κολλητό μου — βαμμένο «κωλοκυθά», όπως τον λέγαμε, φανατικό των Helloween και ειδικά του Deris από το ’94 (Νιόνιο, πού να βρίσκεσαι…) — και μου είπε: «Πάρ’ το με κλειστά μάτια, είναι κομμένο πάνω στο Walls of Jericho…».

Υπερβολική άποψη, μα όντως οι Gamma Ray, στο μαγευτικό τους αυτό — και όνομα και πράγμα — άλμπουμ, έχουν μειώσει κάπως τα space στοιχεία που μας είχαν συνηθίσει από το Somewhere Out in Space και έχουν προσθέσει επιπλέον όγκο και “βρώμικη” ταχύτητα.

My Temple, Fight, Strange World, Condemned to Hell, Spiritual Dictator, Majesty, How Long, Revelation — είναι σημεία αξεπέραστα εδώ μέσα.

Παρόλα αυτά, το συγκεκριμένο άλμπουμ δεν έτυχε της αποδοχής που ανέμεναν από το κοινό. Άγνωστο γιατί, αλλά δεν συγκαταλέγεται στα αγαπημένα πολλών.

English:

Enchanting? I’m not sure. Underrated? Absolutely.

After New World Order—a good record, yes, but one that didn’t really offer anything new compared to the immediately preceding Powerplant—the four friends-musicians who, for me, were the band’s most classic lineup set out to prove they still “had it.”

My beloved Kai Hansen on vocals and rhythm guitar, Henjo Richter on lead guitar, Dirk Schlachter on bass, and Dan Zimmermann on drums.

By then, the old Helloween–Gamma Ray rivalry had long faded for those of us who love the Teutonic power metal sound as a whole. Besides, Kai is the living link between those two colossal bands.

With all that in mind, Gamma Ray delivered an unexpectedly strong and compositionally tight album. At first, even I didn’t believe it could be that good, and I took my time before picking it up. But hearing people around me rave about it, I asked a close friend of mine—a dyed‑in‑the‑wool “pumpkinhead,” as we used to call him, a hardcore Helloween fan and especially of Deris since ’94 (Nionio, wherever you are…)—and he told me:

“Buy it with your eyes closed. It’s cut straight from Walls of Jericho…”

An exaggeration, sure—but there’s truth in it. On this enchanting album—both in name and in essence—Gamma Ray dial back the space‑metal elements they’d accustomed us to since Somewhere Out in Space and instead add more weight, more grit, and a dirtier kind of speed.

My Temple, Fight, Strange World, Condemned to Hell, Spiritual Dictator, Majesty, How Long, Revelation—these are unbeatable highlights.

And yet, the album never received the recognition the band expected. For reasons unknown, it simply isn’t counted among many fans’ favorites.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: VOIVOD, War And Pain

 

VOIVOD, War And Pain (1984)

Metal Blade Records

Ηχητικός πόλεμος

Να 'μαστε λοιπόν πίσω στη δεκαετία του '80, σε πρώτο άλμπουμ ενός καναδικού συγκροτήματος που μελλοντικά θα αποτελέσει, το ίδιο όπως και ο δίσκος αυτός, μεγάλη επιρροή στον πιο ακραίο ήχο. Οι Voivod πατώντας γερά στο punk από το ένα πόδι, στον ήχο των Motörhead με το άλλο... και με το τρίτο πόδι (!) ακουμπάνε τους Venom ερωτικά! Αν υπήρχε ο όρος thrash metal από τότε (οριακά δεν υπήρχε ακόμα, οι Metallica και Slayer αποκαλούνταν power metal!), θα ήταν κατά το 60% ορθό να τους πούμε έτσι. Speed metal, punk metal ήταν το όνομα του ήχου τους εδώ. Ένα ακατέργαστο, με αρκετά φασαριόζικη παραγωγή, αλλά ανέλπιστα καλό άλμπουμ, με εξώφυλλο από το ίδιο το συγκρότημα, πιο συγκεκριμένα του ντράμερ τους, Away. Snake στη φωνή, Piggy στην κιθάρα, Blacky στο μπάσο, να συμπληρώνουν το καρέ, και, όντας από το Κεμπέκ, έχουν πραγματικά γαλλικά ονόματα οι τέσσερις σταυροφόροι από μια άλλη διάσταση. Το ομότιτλο Voivod σέρνει τον χορό, και ακολουθεί μια ηχηρή επίθεση από κομμάτια όπως τα Warriors of Ice, Suck Your Bone, War and Pain, Iron Gang, Live for Violence, Black City, Nuclear War, και το επιπλέον κομμάτι Condemned to the Gallows, από τη συμμετοχή τους στη συλλογή Metal Massacre V. Όλα αυτά ολοκληρώνουν το χάος.

English:

Sonic Warfare

So here we are back in the '80s, at the debut album of a Canadian band that would, along with this very record, go on to be a major influence on the most extreme sound. Voivod, firmly rooted in punk on one leg, leaning into the sound of Motörhead with the other... and with a third leg (!) — they lovingly touch upon Venom! If the term thrash metal had existed back then (it barely did; Metallica and Slayer were still called power metal!), it would be about 60% accurate to label them that way. Here, their sound was called speed metal or punk metal. An unrefined, somewhat noisy production, but an unexpectedly good album, with an album cover made by the band themselves—specifically the drummer, Away. Snake on vocals, Piggy on guitar, Blacky on bass, completing the quartet—and, being from Quebec, they all have truly French names, four crusaders from another dimension. The eponymous Voivod leads the way, followed by a thunderous barrage of tracks like Warriors of Ice, Suck Your Bone, War and Pain, Iron Gang, Live for Violence, Black City, Nuclear War, and the extra track Condemned to the Gallows, from their contribution to the Metal Massacre V compilation. All of this completes the chaos.

Τάκης "Ε-Μortal One" Γιώτης