REVIEW: BATON ROUGE MORGUE – High End of the Season

 

BATON ROUGE MORGUE – High End of the Season

Independent

It is always a pleasant surprise to stumble upon a seasoned band that has managed to fly under your radar. High End of the Season is the fifth release from Finland’s Baton Rouge Morgue—and while it serves as my introduction to the band, it proves that it is never too late to discover high-quality music.

Musically, High End of the Season is a traditional heavy metal album deeply rooted in the golden era of the 1980s, yet it benefits significantly from a crisp, modern production. The band’s sonic DNA draws clear inspiration from legendary acts like Accept, Iron Maiden, Judas Priest, and Riot, while occasionally weaving in a melodic, 80s hard rock flair.

The instrumentation throughout the album is remarkably tight and technically skillful, showcasing a band that has truly honed their craft over five releases. Fronting the band is a vocalist whose tone and delivery are perfectly tailored for this style of classic metal. The energy captured across these tracks is palpable, strongly suggesting that Baton Rouge Morgue would be a formidable force to witness in a live setting.

Beyond the music, the professionalism dedicated to the physical product is highly commendable. Released independently, the album comes in a premium digipak format that includes a bonus DVD featuring a collection of engaging video clips. Both the sonic production and the visual packaging rival the output of major industry labels.

It is genuinely baffling how a band of this caliber remains an underground secret without major label backing. If you are a devotee of traditional heavy metal, High End of the Season is an essential listen. This is an impressive, top-tier independent effort, and one can only hope a prominent label takes notice and grants them the broader exposure they richly deserve.

Recommended for fans of: Accept, Judas Priest, Riot, Classic 80s Heavy Metal.

Nick Parastatidis

REVIEW: ROTTING CHRIST, Aealo

 

ROTTING CHRIST, Aealo (2010)

Season of Mist

Άλωση της νέας πραγματικότητας

Το ιστορικό σχήμα που έβαλε τη χώρα μας στον χάρτη της ευρωπαϊκής ακραίας metal ιστορίας μπήκε στη δεύτερη δεκαετία του 21ου αιώνα με αυτόν τον δίσκο, διάδοχο του πολύ στιβαρού Thogonia που προηγήθηκε. Με περισσότερα στοιχεία της ελληνικής παραδοσιακής μουσικής, όπως την τσαμπούνα (μη γελάτε, είναι αρχαίο ελληνικό όργανο, ο ασκαύλος), βυζαντινής έμπνευσης απαγγελία σε σημεία, αλλά και συνοδευτικές, κυρίως γυναικείες φωνητικές, να αναμιγνύονται στα κομμάτια του. Περισσότερη ακόμα χρήση της ελληνικής γλώσσας στους τίτλους και στους στίχους (καλά κάνουν), αν και οι ρυθμοί πάλι απέχουν από αυτό που έχει ο μέσος ακροατής στο μυαλό του ως black metal.

Οι κιθαριστικές εκτελέσεις αποτελούν ένα πολύ τίμιο δείγμα δίσκου. Έχει ειπωθεί ότι αυτό το άλμπουμ ήταν η "μανιέρα" για ό,τι άλλο θα κυκλοφορήσει στο μέλλον, ακόμα και το τελευταίο τους άλμπουμ, που κυκλοφόρησε πρόσφατα. Ίσως να είναι έτσι, αλλά και πάλι, σαν το πρώτο δείγμα αυτής της μουσικής συμπεριφοράς, αξίζει να το ακούσεις.

Με τίτλους όπως το ομώνυμο του δίσκου Aealo, τα Eon Aenaos, Δαίμων Βρώσης, Noctis Era, Fire, Death and Fear, Nekron Iaches, Thou Art Lord (τίτλος φόρος τιμής στο ιστορικό alter ego σχήμα τους, μαζί με τον Magus), Santa Muerte, Order From the Dead, να μας υπενθυμίζουν συχνά τη σημασία και τη δύναμή τους.

English:

Conquest of the New Reality

The legendary band that put our country on the map of European extreme metal history entered the second decade of the 21st century with this album, a successor to the highly solid Thogonia that preceded it. Incorporating more elements of Greek traditional music, such as the tsampouna (don’t laugh, it’s an ancient Greek instrument, the askavoulos), along with Byzantine-inspired recitations in some parts, as well as primarily female vocals, which are blended into the tracks. There is also an increased use of the Greek language in the titles and lyrics (which is a good thing), although the rhythms still differ from what the average listener typically associates with black metal.

The guitar work on the album is a very honest reflection of their sound. It has been said that this record was the “muse” for everything else they would release in the future, including their most recent album. Maybe that’s true, but even so, as the first glimpse of this musical approach, it’s worth listening to.

With titles such as the eponymous Aealo, Eon Aenaos, Daimon Vrosis, Noctis Era, Fire, Death and Fear, Nekron Iaches, Thou Art Lord (a tribute to their historic alter ego band, alongside Magus), Santa Muerte, and Order From the Dead, they frequently remind us of their significance and power.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: BOLT THROWER, Honour Valour Pride

 

BOLT THROWER, Honour Valour Pride (2001)

Metal Blade Records

Ημερολόγια απ’ το μέτωπο

Οι ηγέτες του ευρωπαϊκού Death Metal επιστρέφουν με ακόμη ένα πολεμικό άλμπουμ, που ξεχειλίζει από τεχνική αρτιότητα και εικόνες θανάτου μέσα σε αιματοβαμμένα χαρακώματα. Τότε το αποκαλούσαμε «War Death Metal», ένας χαρακτηρισμός που, αν και αντικατοπτρίζει και εδώ τη δουλειά τους, παραμένει μια φτωχή ταμπέλα για να περιγράψει το εύρος της μουσικής που συνθέτουν οι πέντε μουσικοί του συγκροτήματος.

Στα φωνητικά συναντάμε τον Dave Ingram, ο οποίος αντικαθιστά τον Karl Willetts. Τη σύνθεση συμπληρώνουν οι κιθαρίστες Gavin Ward και Barry Thomson, ο Martin Kearns στα τύμπανα και, φυσικά, η εντυπωσιακή γυναικεία παρουσία της Jo Bench στο μπάσο.

Πρόκειται για το έβδομο άλμπουμ τους και, νομίζω, ο κόσμος του ακραίου ήχου το έχει αποδεχτεί και αγκαλιάσει σε τέτοιο βαθμό, ώστε να το αναδείξει σε έναν από τους πλέον αγαπημένους δίσκους της εποχής του. Τα εννέα κομμάτια του έχουν αφήσει ανεξίτηλο το στίγμα τους στους φίλους του είδους.

Ουσιαστικά, το άλμπουμ περιλαμβάνει τρία μέρη που μοιράζονται τον τίτλο του, όμως όλα τα τραγούδια — Contact – Wait Out, Inside the Wire, Honour, Suspect Hostile, 7th Offensive, Valour, K-Machine, A Hollow Truce και Pride — είναι πραγματικά αγαπημένα και, προσωπικά, τα θεωρώ ισάξια μεταξύ τους.

English:

Diaries from the Front

The leaders of European Death Metal return with yet another war-themed album, overflowing with technical prowess and vivid images of death amid blood-soaked trenches. Back then, we called it “War Death Metal,” a label that, while certainly fitting their work here as well, remains far too narrow to capture the full scope of the music these five musicians create.

On vocals, Dave Ingram steps in to replace Karl Willetts. The lineup is completed by guitarists Gavin Ward and Barry Thomson, Martin Kearns on drums, and, of course, the formidable presence of Jo Bench on bass.

This is their seventh album, and I believe the extreme metal community embraced it so wholeheartedly that it became one of the most beloved records of its era. Its nine tracks have left an indelible mark on fans of the genre.

In essence, the album includes three sections that share its title, yet every song on the record—Contact – Wait Out, Inside the Wire, Honour, Suspect Hostile, 7th Offensive, Valour, K-Machine, A Hollow Truce, and Pride—is genuinely cherished, and personally, I regard them all as equally outstanding.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: HELHEIM – Åsgards Fall

 

HELHEIM – Åsgards Fall

Dark Essence Records

"Åsgards Fall" is HELHEIM's eighth official release, following six full-length albums and one EP. This release offers two completely new tracks that, according to the band, will remain exclusive to this EP and will not appear on their forthcoming album. In addition, the EP includes "Dualitet og Ulver" from the upcoming album Heiðenðomr ok Motgangr, as well as a re-recorded version of the classic "Jernskogen", originally featured on Blod & Ild.

The overall impression this EP left on me is one of epic grandeur and darkness. These qualities are conveyed through the band's imposing mid-tempo approach and their characteristic Viking black metal atmosphere, both of which are undeniably effective. The musicianship is strong throughout, showcasing a technically proficient and tightly coordinated band capable of crafting expansive and immersive compositions.

That being said, the two new songs ultimately felt somewhat tiring and repetitive to my ears. Despite their solid execution and evident technical merit, they lacked the sense of inspiration and memorability that I have come to associate with HELHEIM's strongest material. Inevitably, I found myself comparing them to the re-recorded "Jernskogen", a track that highlights the band's songwriting strengths far more convincingly and serves as a reminder of how inspired and compelling HELHEIM can be at their best.

The other track that truly stood out for me was "Åsgards Fall, Pt. II". This twelve-minute opus immediately brought the mighty BATHORY to mind, both in spirit and atmosphere. The song embodies everything that Viking black metal should represent: epic scope, powerful pacing, and a cold, majestic aura that transports the listener on a journey through Nordic landscapes and mythology. Its sense of grandeur is captivating, and its immersive nature makes it the most memorable piece on the EP.

While "Åsgards Fall" contains moments that effectively showcase HELHEIM's musical abilities and atmospheric strengths, I found the new material uneven when measured against the band's past achievements. Nevertheless, "Åsgards Fall, Pt. II" alone makes a strong case for seeking out this release, standing as its unquestionable highlight and, for me, the primary reason to own this EP.

Christine  Parastatidou

AGELESS WARRIOR Release Debut Album "Unifier"

 

American Power/Heavy Metal band Ageless Warrior have officially released their debut full-length album, Unifier. The record was recorded, mixed, and mastered by founding member Micah Devereaux at his home studio.

Formed in Minnesota's Twin Cities in 2018 by Micah Devereaux and Jeff Igelsrud, Ageless Warrior emerged with a mission to challenge traditional metal elitism. Combining classic heavy and power metal influences with a tongue-in-cheek attitude, the band first made its mark with the 2018 release Defy The Ages, quickly gaining momentum on the local live circuit.

Although the COVID-19 pandemic forced the band into hiatus and delayed the release of Unifier, the album finally sees the light of day, showcasing Ageless Warrior's distinctive blend of old-school metal spirit and modern creativity. The release stands as a testament to the band's determination to push the genre forward while honoring its roots.

REVIEW: DEUS INFESTUS – Swansong for This Stillborn Race

 

DEUS INFESTUS – Swansong for This Stillborn Race

Independent

If there is any salvation from the stagnation and mediocrity plaguing our beloved metal scene—if a genuine escape from the prevailing trends that have dominated the past few years—then that salvation can only be found within the underground. DEUS INFESTUS exemplifies this truth, emerging as one of the most impressive and formidable bands I’ve encountered recently. Their five-track EP, Swansong for This Stillborn Race, stands as a testament that there are still compelling riffs to be played, aggressive rhythmic sections capable of igniting excitement, and dark, immersive atmospheres that can devastate and enthrall.

Without exaggeration and aligning with my personal taste, this release epitomizes what well-executed, relentless death/black metal truly is. Every moment and riff within the EP is crafted with precision, ensuring that boredom never sets in. The compositions are tight, skillfully performed, and enhanced by a superb production quality. The mixing and mastering, handled by R.D. Liapakis and C. Schmid, contribute significantly to the album’s clarity and power, highlighting the intricate details and raw intensity of each track.

The songwriting is top-tier, and what elevates this blackened death metal opus further are the technical prowess of the band members and the stellar performance by their session drummer, the renowned George Kollias (NILE, NIGHTFALL, SICKENING HORROR, among others). His drumming adds an extra layer of complexity and brutality that perfectly complements the band’s vision.

For fans of melodic death and black metal, DEUS INFESTUS offers a compelling next chapter in the genre’s evolution. Swansong for This Stillborn Race is an essential listen—an intense, expertly crafted record that no serious metal enthusiast can afford to overlook.

Christine  Parastatidou

REVIEW: EMPIRE OF THE MOON, Πανσέληνος

 

EMPIRE OF THE MOON, Πανσέληνος (2014)

Acherontas Promotions

Αναγέννηση παντού

Στη χώρα μας, έχω ξαναπεί και γράψει ότι, σε ολόκληρο το δέντρο της metal σκηνής, η ποιότητα έχει πλέον θριαμβεύσει σε τέτοιο βαθμό, ώστε να έχουμε αποβάλει οριστικά τα όποια σύνδρομα είχαμε κάποτε ως «Βαλκάνιοι φτωχοί συγγενείς».

Ειδικά η ακραία πλευρά της σκηνής, από τον Έβρο μέχρι την Κρήτη, έχει σηκώσει στους ώμους της τις αμαρτίες του παρελθόντος με περηφάνια και επιμονή. Το συγκεκριμένο άλμπουμ, από αυτό το συγκρότημα της Αθήνας, είναι μία από εκείνες τις κυκλοφορίες που επανέφεραν το ελληνικό Black Metal στη θέση που του αξίζει: πάντα ψηλά.

Και γιατί όχι; Οι συνθέσεις διαθέτουν έντονη μουσικότητα, χωρίς να απομακρύνονται από τη μαύρη μεταλλική τους ταυτότητα, ενώ η παραγωγή είναι εξαιρετικά προσεγμένη. Άλλωστε, στο πρώτο τέταρτο του 21ου αιώνα δεν είναι πλέον της μόδας να ακούγεται ο ήχος σαν το πέμπτο αντίγραφο μιας κακογραμμένης κασέτας μόνο και μόνο για να θεωρείται κάτι Black Metal.

Γενικότερα, οι τρεις μουσικοί που δημιούργησαν το άλμπουμ (Ravenlord Wampuri Draconium, Ouroboros και S.V. Mantis) γράφουν τίμια και ποιοτική μουσική. Έχοντας ακούσει τον δίσκο στο YouTube, τον αναζητούσα με μανία και, επιτέλους, τον απέκτησα σε φυσική μορφή, ώστε να απολαμβάνω όπως πρέπει πραγματικά σπουδαία τραγούδια, όπως τα Mastery of Blood, Lunar Apocalypse, Psycomanteion, The Nine Skulls of Kali και Symphony of the Draconian Queen.

English:

Renaissance Everywhere

In our country, I have said and written before that, throughout the entire metal scene, quality has now prevailed to such an extent that we have finally shed whatever inferiority complexes we once carried as the “poor Balkan relatives.”

The extreme side of the scene in particular, from Evros to Crete, has proudly and persistently shouldered the sins of the past. This album, by this Athens-based band, is one of those releases that helped restore Greek Black Metal to the position it deserves: high among the elite.

And why shouldn't it be? The compositions are highly musical without ever straying from their black metal identity, while the production is exceptionally well crafted. After all, in the first quarter of the 21st century, it is no longer fashionable for a record to sound like the fifth-generation copy of a badly recorded cassette simply to be considered Black Metal.

More generally, the three musicians behind this album—Ravenlord Wampuri Draconium, Ouroboros, and S.V. Mantis—write sincere, high-quality music. Having first heard the record on YouTube, I searched for it obsessively and was delighted to finally acquire it in physical format, allowing me to experience outstanding songs such as Mastery of Blood, Lunar Apocalypse, Psycomanteion, The Nine Skulls of Kali, and Symphony of the Draconian Queen the way they were meant to be heard.

Τάκης "Ε-Μortal One" Γιώτης!