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

REVIEW: EPISODE 13 – Death Reclaims the Earth

 

EPISODE 13 – Death Reclaims the Earth

Misanthrof ANTIRecords

Who says you need to hail from Scandinavia or be from cold, barren lands to craft compelling black metal? Not at all. Like any genre within metal, black metal must flow through your veins to produce authentic, memorable music capable of resonating with listeners. EPISODE 13, a Turkish band, clearly understands this principle and aims to demonstrate it, even to the most discerning black metal enthusiasts.

Their third full-length album, Death Reclaims the Earth, delivers a collection of epic, icy black metal anthems. The band's sound bridges the raw, primitive black metal of Norway with more intricate melodic elements, incorporating dark atmospheres and haunting melodies that amplify the coldness and intensity of their compositions.

Lyrically, EPISODE 13 explores themes familiar to the black metal universe—anti-religion and misanthropy—yet their approach remains sincere and impactful. The album is well-produced, capturing the rawness and atmosphere essential to the genre, and it encompasses all the core attributes that define black metal.

In summary, Death Reclaims the Earth stands as a testament to the idea that authentic black metal knows no borders, and that passion and conviction are what truly matter in creating music that can both stand out and stand the test of time.

Christine  Parastatidou

REVIEW: JACK STARR'S BURNING STAR, Stand Your Ground

 

JACK STARR'S  BURNING STAR, Stand Your Ground (2017)

High Roller Records

Πολύ πάνω από κλασικό.

Ο αρχικός κιθαρίστας των δύο πρώτων δίσκων των Virgin Steele (και αρχικός κάτοχος του ονόματος, για να βάλουμε τα πράγματα στη θέση τους, κύριε De Feis!) επέστρεψε το 2017 με τον Rhino στα τύμπανα (πρώην Manowar, στο The Triumph of Steel), έχοντας στο μικρόφωνο σταθερά τον Todd Michael Hall, πλέον και των Riot V. Μας δείχνει πάλι τι εννοείται με τον όρο U.S. Power Metal. Καταιγίδα ήχων, στίχων αλλά κυρίως αισθητικής. Πολύ δυνατό CD που δεν θυμίζει σε τίποτα ούτε Virgin Steele ούτε τα 80's solo άλμπουμ του Jack. Ίσως η τελική παραγωγή να ήθελε λιγάκι ανέβασμα, αλλά και πάλι, έχοντας στο μυαλό τον ήχο των Virgin Steele I και του επόμενου Guardians of the Flame, που αν και κλασικά, από ήχο δεν είναι και ό,τι καλύτερο, τούτο εδώ είναι μια χαρά! Κομμάτια γεμάτα μεταλλικό πάθος και αγάπη για τη μεγαλύτερη μουσική που ακούγεται στον πλανήτη, εκφράζονται μέσω ύμνων όπως τα The Secrets We Hide, The Enemy, Stand Your Ground, Hero, Destiny, The Sky Is Falling, Worlds Apart, Escape From the Night, Stronger Than Steel, False Gods. Ένα από τα πιο αληθινά άλμπουμ του κλασικού Metal ήχου της τελευταίας δεκαετίας.

English:

Far beyond just being classic.

The original guitarist of the first two Virgin Steele albums (and the initial owner of the band’s name, to set things straight, Mr. De Feis!) returned in 2017 with Rhino on drums (former Manowar, on The Triumph of Steel), featuring Todd Michael Hall on vocals—now also of Riot V—who once again proves what U.S. Power Metal truly means. A storm of sound, lyrics, and, most importantly, style. A very powerful CD that bears no resemblance whatsoever to Virgin Steele or Jack’s 80s solo albums. Perhaps the final production could have been a bit louder, but still, considering the sound of Virgin Steele I and the next album, Guardians of the Flame, which, although classic, is not the best sonically, this one is more than fine! Tracks filled with metallic passion and love for the greatest music on the planet, expressed through anthems like The Secrets We Hide, The Enemy, Stand Your Ground, Hero, Destiny, The Sky Is Falling, Worlds Apart, Escape From the Night, Stronger Than Steel, False Gods. One of the most genuine albums of the classic metal sound of the last decade.

Τάκης "Ε-Μortal One" Γιώτης