REVIEW: MALEVOLENT CREATION – Invidious Dominion

 

MALEVOLENT CREATION – Invidious Dominion

Nuclear Blast Records

In the realm of death metal, a successful release typically strikes a balance in length and intensity, delivering memorable riffs alongside relentless energy. Invidious Dominion falls short in this regard, primarily due to its brevity and the overall execution. With only 11 tracks, the album feels somewhat underdeveloped; the brevity hampers the ability to fully appreciate the guitar work, which is often obscured by relentless blast beats. While the album exudes intensity, it suffers from a lack of variation and musical depth.

The guitar work features frequent tremolo picking, but the riffs lack the staying power or catchiness that could elevate the material. The album maintains a high level of aggression and energy, but the musical content does not offer much that is novel or particularly engaging. There is a noticeable predominance of vocals—specifically Bret Hoffman's characteristic hoarse delivery and aggressive lyrical themes—which dominate the soundscape, leaving the instrumentation somewhat in the background.

Lyrically, the focus is on themes of death, war, hatred, and violence—topics that align with the band’s established style. However, the lyrics are straightforward and lack complexity, which diminishes their impact. The vocal delivery complements the riffs but does not introduce any notable variation, resulting in a monotonous vocal presence throughout the album.

From a musical perspective, the lead guitar work is minimal and uninspired, lacking the finesse or memorable melodies that could have added depth to the album. The riffs, while technically fast and intense, do not stand out or leave a lasting impression. The album’s 35-minute duration is adequate, but it feels more like a collection of similar ideas rather than a cohesive, evolving work.

It’s worth noting that Invidious Dominion adheres to the band’s established style, which is a positive aspect for longtime fans. However, the album’s main shortcoming lies in its limited length and the absence of innovative or standout riffs. The band might have benefited from additional time in the songwriting process to craft more compelling and memorable musical moments.

In summary, Invidious Dominion is not a boring listen, but it lacks the musical complexity and originality that could have elevated it beyond a mere display of aggression. Fans seeking classic Malevolent Creation releases should consider revisiting their earlier work, where the band’s songwriting and riffing were more distinctive. For those interested in a straightforward death metal experience, this album delivers energy but falls short of leaving a lasting impression.

Ryan  "Death8699"  Fanucchi

REVIEW: RAFF, Raff

 

RAFF, Raff (2014)

Cruz del Sur Music

Από πού μας κατέβηκαν αυτοί οι τρεις;

Η –καλώς εννοούμενη– «ζημιά» που έκαναν συγκροτήματα‑τριάδες τύπου Motörhead, Tank και The Rods ανά τις δεκαετίες έχει τελικά δημιουργήσει σχολή και ξεχωριστό στυλ. Ας χαθούμε, λοιπόν, βαθιά στο underground: οι τρεις του συγκροτήματος από το Λάτσιο της Ιταλίας, ο Chris Bianco (φωνή και μπάσο), ο αδερφός του Fabiano Bianco (τύμπανα) και ο Tony Arcuri (κιθάρα), υπάρχουν ως όνομα –Raff– από τα παμπάλαια χρόνια… από τις αρχές των ’80s.

Τώρα, πώς και γιατί κυκλοφόρησε αυτό το ομώνυμο CD πριν από δέκα χρόνια, δεν το γνωρίζω. Ξέρω όμως ότι παίζουν νευρικό, κεφάτο Heavy Metal, οριακά Hard ’n’ Heavy (αλλά πιο Heavy!), και μέσα από έντεκα κομμάτια ξεδιπλώνεται ολόκληρη η παλιά καλή εποχή των δίσκων τύπου “best of”.

Ξεχωρίζουν τα Rafforce Commandos, Running Like Hell, I Trust, Rocker, Live Out Loud, Dreamer, Secret From Hell, I Want You Now (All for One), Driven Mad, Gates of Fortune. Εφόσον είναι πάνω από τα μισά, μιλάμε συνολικά για ένα αποτέλεσμα ανώτερο του «καλού».

English:

Where did these three even come from?

The good kind of “damage” done over the decades by power‑trios like Motörhead, Tank and The Rods has clearly spawned its own school and its own style. So let’s dive deep into the underground: the three guys from Italy’s Lazio region — Chris Bianco (vocals and bass), his brother Fabiano Bianco (drums), and Tony Arcuri (guitar) — have existed under the name Raff since way back… all the way to the early ’80s.

Now, how and why this self‑titled CD of theirs was released ten years ago, I honestly don’t know. What I do know is that they play nervous, energetic Heavy Metal, right on the edge of Hard ’n’ Heavy (but definitely leaning heavier!), and across eleven tracks they unfold the entire old‑school spirit of those classic “best of”‑style records.

Standouts include Rafforce Commandos, Running Like Hell, I Trust, Rocker, Live Out Loud, Dreamer, Secret From Hell, I Want You Now (All for One), Driven Mad, Gates of Fortune. Since more than half the album hits the mark, we’re talking about a result that’s clearly above “just good.”

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: DESERT – Star of Delusive Hopes

 

DESERT – Star of Delusive Hopes

Sleaszy Rider Records

Having a good or original idea in music is undoubtedly a positive starting point, but it is not sufficient on its own. Equally important is the execution and presentation — how the music is crafted and conveyed to the audience. In the realm of metal, capturing the listener’s interest requires a balance of innovation and energy.

DESERT, a power metal band from Israel, possesses a distinctive element that sets them apart within their genre: the voice of Alexei Raymar. His gothic and atmospheric vocal style lends a unique character to the band’s sound, reminiscent of bands like SISTERS OF MERCY. This aspect is promising and adds a certain depth to their music.

However, the overall sound of DESERT tends to be quite uniform. The album predominantly features atmospheric elements, which, while atmospheric music can be compelling, here it results in a lack of energy. Consequently, the listening experience can become somewhat monotonous and repetitive. The production quality is clear but feels slightly dull, which further diminishes the album’s potential impact.

In terms of songwriting, tracks like “Letter Of Marque” (my personal favorite) and “Soul Of A Wanderer” demonstrate that the band has the capacity to craft engaging material. Had the album included more songs with similar momentum and variety, it could have been a stronger release. In today’s competitive metal scene, simply having good ideas is not enough; artists need to infuse their work with energy and diversity to stand out.

In conclusion, DESERT shows promise with their conceptual ideas and atmospheric approach, but they would benefit from adding more variety and vigor to their sound. Notably, there is a guest appearance by Joakim Brodén (SABATON) on the track “Lament For Soldier's Glory (Order 227),” which is an interesting highlight.

Nick Parastatidis

REVIEW: FIREWIND, Immortals

 

FIREWIND, Immortals (2017)

Century Media Records

Εμπνευσμένη στροφή σε πιο δημοφιλείς ήχους

Ένα ακόμη CD στην ιστορία ενός από τα πιο σημαντικά σχήματα του εγχώριου μελωδικού metal ήχου. Αυτή τη φορά, έχοντας περάσει μεταξύ σφύρας και άμβωνος, ο Σαλονικιός κιθαρίστας Gus G. έχει μαζί του τον Henning Basse στο μικρόφωνο, τον Bob Κατσιώνη στα πλήκτρα, τον Πέτρο Christo στο μπάσο και τον Jo Nunez να κάθεται στο σκαμπό του ντράμερ.

Περισσότερα μελωδικά μέρη, πράγμα επικίνδυνο για ελληνικό σχήμα, αφού το φλερτ με τον Euro-power ήχο είναι κάπως πιο έντονο, αλλά όχι καταλυτικά κακό για το συγκρότημα. Ίσως και τα πιο αλά Stratovarius πλήκτρα του Κατσιώνη να σε πάνε προς εκείνη την κατεύθυνση. Ίσως και η πιο "γερμανική" φωνή του Basse να θυμίζει πιο βόρειο στυλ. Πάντως, υπάρχει και αυτή η χαρακτηριστική Firewind λογική στις κιθάρες του Κώστα, οπότε δεν έχει κάτι να χάσει ο ακροατής. Ίσα-ίσα, πρόκειται για ένα πολύ καλό άλμπουμ, δεδομένων των αναλογιών και της εποχής του.

Το κάπως cheesy "Ode to Leonidas" είναι το πιο γνωστό κομμάτι εδώ, ανάμεσα στα "Hands of Time", "We Defy", "Back to the Throne", "Live and Die By the Sword", "Warriors and Saints", "Rise From the Ashes".

English:

Inspired Shift Towards More Popular Sounds

Another CD in the history of one of the most significant bands in the domestic melodic metal scene. This time, having gone through a rollercoaster of highs and lows, the Thessalonian guitarist Gus G. is joined by Henning Basse on vocals, Bob Katsionis on keyboards, Petros Christo on bass, and Jo Nunez sitting behind the drummer’s kit.

The album features more melodic parts, which is somewhat risky for a Greek band, as flirting with Euro-power sound tends to be more pronounced. However, this isn’t necessarily detrimental to the band. Perhaps Katsionis’s more Stratovarius-like keyboards steer the music in that direction. Maybe Basse’s more “Germanic” voice hints at a more northern style. Still, the characteristic Firewind approach is present in Kostas’s guitar work, so the listener has little to lose. On the contrary, this is a very good album, considering its context and the era it was made in.

The somewhat cheesy “Ode to Leonidas” is the most well-known track here, among others like “Hands of Time,” “We Defy,” “Back to the Throne,” “Live and Die By the Sword,” “Warriors and Saints,” and “Rise From the Ashes.”

Τάκης "Ε-Μortal One" Γιώτης

MORIBUND OBLIVION Unveil Official Video for “In the Middle of the Dark Chaos”

 

THEOGONIA RECORDS has released the official music video for “In the Middle of the Dark Chaos,” the latest visual chapter from Turkish black metal veterans Moribund Oblivion. The track appears on the band’s newest album, INTERTEMPORAL, and showcases their signature blend of ferocity, atmosphere, and philosophical depth.

Written by Bahadır Uludağlar, with music and lyrics crafted by the band’s founder, the song’s arrangements were completed collectively by Moribund Oblivion. The production team behind the track includes Feyzi Ocak on mixing and Erman Aydöner on mastering at Lavega Sound Studio, delivering a dense and immersive sonic experience.

The video, directed and edited by Kenan Haliloğlu, brings the song’s dark narrative to life through stark imagery and cinematic tension. Visual depth was enhanced by colorist Thomas Hammarström and lighting designer Onur Karaca of Pusula Işık, while behind‑the‑scenes footage was captured by Alper Şengül at Josephine Studio. The full production was realized by X Medya.

With this release, Moribund Oblivion continue expanding the visual world of INTERTEMPORAL, reaffirming their status as one of Türkiye’s most enduring and influential black metal forces.

CHAOS INSIGNIA unleash new single “Dark Gate Opened” feat. Paul Tucker

 

Chaos Insignia return with another strike of ritualistic ferocity, unveiling their new single “Dark Gate Opened”, featuring Paul Tucker of the legendary U.S. black/death metal force Sathanas. The track is the latest preview from the band’s upcoming full‑length Crown of the Infernal Code, released on March 5th, 2026.

Forged in fire and ceremonial chaos, Chaos Insignia channel the primal violence of black metal and the crushing density of death metal into a relentless sonic assault. Their sound draws from the raw extremity of classic war metal, sharpened by modern precision and a distinctly occult, techno‑esoteric vision.

Crown of the Infernal Code crystallizes this ethos across ten suffocating tracks—each featuring a different guest vocalist from the black and death metal underground. The album stands as a collective invocation, with appearances from figures such as Themgoroth (ex‑Dark Funeral, Infernal), Ødemark (The 3rd Attempt), Heergott (Magoth), Ustumallagam (Denial of God), Shadow (Black Altar), Obscurus (Marras), Hrafn (Thy Dying Light, Ulfarr), Narqath (Azaghal), and Morean (Dark Fortress).

With “Dark Gate Opened,” Chaos Insignia continue to carve their place as one of the most uncompromising new forces in extreme metal—ritualistic, violent, and unflinchingly devoted to their infernal code.

REVIEW: FIREWIND, The Premonition

 

FIREWIND, The Premonition (2008)

Century Media Records

Η κορυφή ενός βουνού

Ως εδώ είναι οι Firewind, που λατρεύουν οι περισσότεροι. Όσο κι αν ακούγεται αφοριστικά και απόλυτα η φράση, κρύβει αλήθεια. Το πέμπτο στούντιο άλμπουμ του κατά βάση ελληνικού συγκροτήματος Power Metal είναι το μέγιστο που έφτασαν με τη συγκεκριμένη σύνθεση μουσικών: Κώστας Καραμητρούδης (πολύ πιο γνωστός ως Gus G.) στην κιθάρα, Bob Κατσιώνης στα πλήκτρα και στην κιθάρα, ο γεννημένος στη Σουηδία Appolo Papathanasio στη φωνή, Πέτρος Χριστοδουλίδης στο μπάσο και ο τιτάνας ελληνογερμανός ντράμερ Mark Cross. Μαζί αποδίδουν ένα σύνολο κομματιών που, τόσα χρόνια μετά, παραμένει ονειρικά άφθαρτο. Ένα μείγμα τόσο μοντέρνου μελωδικού Power Metal, με αρκετά στοιχεία κλασικών συγκροτημάτων, όπως οι Q5, σε αναλογία 50/50.

Ο δίσκος αυτός συμπίπτει με την πρώτη φορά που τους είδα ζωντανά στο Gagarin 205, σε εκείνη την περιοδεία. Ομολογώ ότι, αν και ήξερα καλά τί παίζουν, αφού είχα και τα τέσσερα άλμπουμ τους πριν, η ζωντανή εμφάνιση ήταν πραγματικά μια άλλη κλάση τους! Την επόμενη ή μεθεπόμενη μέρα έσπευσα να βρω το CD, διότι η κασέτα που μου το είχαν αντιγράψει ήταν πολύ φτωχή να αποδώσει το φάσμα κομματιών όπως τα "Into the Fire", "Head Up High", "Mercenary Man", "Angels Forgive Me", "Circle of Life", "Remembered", "Life Forclosed" αλλά και τη διασκευή στο χορευτικό "Maniac" του Danbello, που η επιμετάλλωση το μετέτρεψε σε σχεδόν μόνιμο κομμάτι στο ζωντανό τους playlist από τότε.

English:

The Peak of a Mountain

Firewind are, without question, the band most loved by many. As much as the phrase might sound absolute and definitive, it holds true. Their fifth studio album, by a mostly Greek Power Metal band, represents the highest achievement they’ve reached with this particular lineup: Kostas Karamitroudis (better known as Gus G.) on guitar, Bob Katsiounis on keyboards and guitar, the Swedish-born Apollo Papathanasio on vocals, Petros Christodoulidis on bass, and the titan Greek-German drummer Mark Cross. Together, they deliver a collection of songs that, even after all these years, remain dreamily timeless. A blend of modern melodic Power Metal with significant elements reminiscent of classic bands like Q5, in a 50/50 ratio.

This album coincided with the first time I saw them live at Gagarin 205, during that tour. I must admit that, although I was already familiar with what they played—having all four of their albums beforehand—the live performance was truly a different level of their artistry. The very next day or the day after, I rushed to find the CD, because the cassette copy I had was too poor to do justice to tracks like “Into the Fire,” “Head Up High,” “Mercenary Man,” “Angels Forgive Me,” “Circle of Life,” “Remembered,” “Life Foreclosed,” as well as their cover of Danbello’s dance hit “Maniac,” which the reissue transformed into an almost permanent part of their live playlist ever since.

Τάκης "Ε-Μortal One" Γιώτης