REVIEW: CATHEDRAL, The VIIth COMING

 

CATHEDRAL, The VIIth COMING (2002)

Spitfire Records

Ο έβδομος γιος. 

Ο έβδομος δίσκος των Άγγλων doom metal θρύλων, που διαδέχτηκε το απίστευτα βαρύ Endtyme — έναν μάλλον αφύσικα «σοβαρό» δίσκο. Εδώ επιστρέφουν μερικώς στην πεπατημένη τους: doom metal μεν, αλλά με πιο groovy ρυθμούς, κρατώντας ωστόσο σημεία απύθμενου βάρους για τα προσχήματα. Ο Lee Dorrian ερμηνεύει τους στίχους με το γνώριμο, παλιό, σχεδόν παράτονο στυλ του.

Το The Garden of Unearthly Delights, που θα ακολουθήσει το 2005, θα αποτελέσει το επιστέγασμα της επιστροφής στις ρίζες τους. Το συγκεκριμένο άλμπουμ, πάντως, είναι το σημείο καμπής της δεύτερης περιόδου τους· μιας εποχής που, όπως και να το δούμε, θα ήταν και η τελευταία αυτού του σχήματος που κράτησε το ενδιαφέρον μας αμείωτο την προηγούμενη δεκαετία.

Garry Jennings στην κιθάρα, Leo Smee στο μπάσο και Brian Dixon στα ντραμς, με κομμάτια όπως τα Phoenix Rising, Resisting the Ghost, Skullflower, Aphrodite's Winter, Nocturnal Fist, Iconoclast, Black Robed Avenger και Congregation of Sorcerers, μας θυμίζουν τις καλύτερες περασμένες εποχές τους.

English:

The Seventh Son. 

The seventh album by the English doom metal legends, following the unbelievably heavy Endtyme — a record that was, in many ways, unnaturally “serious.” Here, they partially return to their familiar path: still doom metal, but with groovier rhythms, while retaining pockets of bottomless heaviness for good measure. Lee Dorrian delivers the lyrics in his trademark, old-school, almost off‑kilter vocal style.

The Garden of Unearthly Delights, which would arrive in 2005, would become the culmination of their return to their roots. This particular album, however, marks the turning point of their second era — a period which, whichever way we look at it, would also be the last phase of the band that kept our interest unwavering throughout the previous decade.

Garry Jennings on guitar, Leo Smee on bass, and Brian Dixon on drums, with tracks like Phoenix Rising, Resisting the Ghost, Skullflower, Aphrodite's Winter, Nocturnal Fist, Iconoclast, Black Robed Avenger, and Congregation of Sorcerers, remind us of their finest past moments.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: COMA – Excess

 

COMA – Excess

Mystic Production

A brief look into their background reveals that COMA rank among Poland’s most commercially successful rock/metal acts, repeatedly topping national charts and collecting multiple Fryderyk awards—the country’s equivalent of the Grammys. Yet it took their fourth full-length album, Excess, for me to finally explore their work, and I must admit that the experience left me more perplexed than impressed.

The album’s most immediate issue is its lack of a coherent musical direction. Reviewers often criticize predictability in modern releases, but Excess swings to the opposite extreme. Each track seems to operate under a different stylistic premise, offering hints of a direction that the band never actually commits to. By the time the album ends, it’s difficult to articulate what you’ve just listened to—or what the band intended you to hear.

Stylistically, the record sits somewhere within heavy rock/metal, but it is heavily interspersed with alternative, grunge, progressive, and nu‑metal elements. To complicate matters further, the album includes several extremely mellow ballads that clash with the heavier material. One moment you’re confronted with a modern, groove‑oriented track; the next, you’re dropped into a soft, sentimental ballad. Then comes “F.T.P.” with its punk‑infused attitude, adding yet another layer to an already disjointed palette. The end result feels scattered, excessive, and padded with filler.

Excess may resonate with dedicated fans of ALICE IN CHAINS or TOOL—listeners who appreciate eclecticism, mood shifts, and genre‑blending experimentation. For most others, however, the album’s lack of cohesion and its abrupt stylistic turns may prove more frustrating than intriguing.

Christine  Parastatidou

REVIEW: KARNAK SETI – Scars of Your Decay

 

KARNAK SETI – Scars of Your Decay

Casket Music

After four demos and a career stretching back to 2001, Portuguese outfit KARNAK SETI finally take the next step with their debut full‑length, Scars of Your Decay. The title fits the material well: this is straight‑to‑the‑point melodic death metal delivered with conviction.

Before diving into the music, it’s important to clarify something upfront: KARNAK SETI are not aiming for originality or innovation. Their sound is firmly rooted in the classic melodic death metal tradition. Yet the passion, energy, and sheer quality of their riffs and ideas push the lack of novelty into the background. In fact, it’s hard not to view them as one of the strongest melodic death metal representatives to emerge from Portugal—and arguably beyond.

At a time when many Swedish bands (the very country where this style was born and shaped) seem determined to sound “modern,” “original,” or commercially accessible—often by adding hardcore, metalcore, or other contemporary elements—KARNAK SETI take the opposite route. They remind listeners what melodic death metal actually means and how it can still hit hard without compromise.

Scars of Your Decay is a tight, well‑produced, and confidently executed album. The band incorporates a few progressive touches, plenty of catchy riffs, strong solos, and tasteful keyboard accents. Crucially, they avoid the clean‑vocal formulas, nu‑metal leanings, and core‑infused aesthetics that dominate much of today’s melodic death metal landscape. Instead, they stay true to their foundations.

Musically, the album aligns closely with the spirit of DARK TRANQUILLITY, AT THE GATES, and early IN FLAMES and SOILWORK—melodic, aggressive, and focused.

If you’re looking for a modern reminder of how this genre can still sound when played with heart and without unnecessary embellishments, KARNAK SETI are worth your time. Check them out and let the music speak for itself.

Christine  Parastatidou

REVIEW: ANNIHILATOR, Carnival Diablos

 

ANNIHILATOR, Carnival Diablos (2001)

Steamhammer

Οι μεταμορφώσεις συνεχίζουν ακάθεκτες.

Δοκίμασαν ακόμη και επανένωση της Alice in Hell εποχής, αλλά ούτε αυτό κράτησε πολύ. Ο ταλαντούχος κιθαρίστας, συνθέτης και στιχουργός Jeff Waters έχει αυτό το «κουσούρι»: δεν του φτουράνε οι τραγουδιστές και οι μουσικοί στο συγκρότημά του.

Επόμενο βήμα, ο Joe Comeau, γνωστός τόσο από τις φωνητικές του ικανότητες στο ορόσημο άλμπουμ Master Control των Liege Lord, όσο και ως κιθαρίστας στους Overkill στα μέσα της προηγούμενης δεκαετίας. Ο Dave Scott Davis στην άλλη κιθάρα, ο Russell Bergquist στο μπάσο και ο Ray Hartmann στα ντραμς συνθέτουν ένα σχήμα που, σε αυτόν τον δίσκο, προσπαθεί —και τελικά καταφέρνει— να επαναφέρει τους κάποτε speed και thrash υπερήρωες ξανά στο προσκήνιο.

Με κομμάτια κομμένα και ραμμένα για το αυτί του κλασικού φίλου του συγκροτήματος, όπως τα Denied, The Perfect Virus, Battered, Carnival Diablos, το «wanna be AC/DC» Shallow Grave, καθώς και τα Time Bomb, Epic of War, Hunter Killer, έχουμε ένα τιμιότατο άλμπουμ από ένα σχήμα που αγαπήθηκε ιδιαίτερα στη χώρα μας. Μαζί του αναπολούμε και την τότε co-headline εμφάνιση επί ελληνικού εδάφους, στο Ρόδον, με τους Nevermore.

Άρα, πάντα θα θυμόμαστε αυτό το CD με τις καλύτερες αναμνήσεις. Και θα υπήρχε και συνέχεια — περιέργως πώς.

English:

The transformations just keep coming.

They even tried a reunion of the Alice in Hell era, but that didn’t last long either. The talented guitarist, composer, and lyricist Jeff Waters has that familiar “quirk”: singers and musicians never seem to stick around in his band for long.

The next step was Joe Comeau — known both for his vocal work on Liege Lord’s landmark Master Control album and for his stint as a guitarist with Overkill in the mid‑’90s. Alongside him, Dave Scott Davis on the second guitar, Russell Bergquist on bass, and Ray Hartmann on drums form a lineup that, on this record, tries — and ultimately succeeds — in bringing these former speed and thrash metal superheroes back into the spotlight.

With tracks tailor‑made for the classic Annihilator fan — Denied, The Perfect Virus, Battered, Carnival Diablos, the “wanna‑be AC/DC” Shallow Grave, plus Time Bomb, Epic of War, Hunter Killer — what we get is an honest, rock‑solid album from a band that was especially beloved in Greece. It also brings back memories of their co‑headline show on Greek soil at the Rodon with Nevermore.

So yes, this is a CD we’ll always remember fondly. And strangely enough, there would be more to come.

Τάκης "Ε-Μortal One" Γιώτης

Richthammer Unleash New Single “Durch Trieb zur Qual”

 

Austrian Death/Black Metal force Richthammer have returned with a new single, “Durch Trieb zur Qual,” marking their first release since their recent period of regrouping and writing.

The track was produced, recorded, mixed and mastered by Victor Bullok at Germany’s renowned Woodshed Studios, known for its work with extreme metal heavyweights. The accompanying video, directed by Jakob Wallner, adds a stark visual edge to the band’s latest creative chapter.

Formed in 2009 in Waidhofen an der Ybbs, Richthammer carved their path through intense live performances and early contest success, leading to their debut demo Gematert Geschunden Verheert in 2012. Their 2018 concept album “Ascheland” became a milestone, earning them festival slots and wider recognition.

Following lineup changes and a short hiatus, the band is pushing forward once again — and “Durch Trieb zur Qual” signals a sharpened, revitalized direction as they continue crafting new material.

REVIEW: MOTÖRHEAD, Kiss Of Death

 

MOTÖRHEAD, Kiss Of Death (2006)

Steamhammer

Καμία πρωτοτυπία, ούτε καν ο τίτλος του δίσκου.

Και έτσι περάσαμε τα μισά της πρώτης δεκαετίας του τότε νέου αιώνα. Η τριάδα αυτή, με σταθερή μουσική απόδοση και χωρίς τίποτα να έχει να χάσει, διανύει ήδη δέκα και πλέον χρόνια ανανέωσης της δημιουργικότητάς της. Μετά από δύο επετειακά ζωντανά άλμπουμ, προχωρούν στην τρίτη στούντιο δουλειά τους. Ένα βαρύτερο από το προηγούμενο Hammered άλμπουμ, σε κάθε τομέα της παραγωγής και του γενικού ήχου, που έφερε ξανά τα χαμόγελα — κυρίως στους πιο σκληροπυρηνικούς φίλους τους.

Οι εποχές των παχιών αγελάδων μπορεί να έχουν περάσει, αλλά, σε πείσμα όλων, ο Lemmy και οι δύο συνεργοί του στο «έγκλημα», σε άπιαστη φόρμα, μας παραδίδουν ένα από τα καλύτερα έργα τους ως σύνολο, τουλάχιστον μετά το 1996.

Αρχίζουμε ανάποδα, από το bonus του CD: το Whiplash των φίλων τους Metallica, που δέχεται μία «μέσα στη μάπα» διασκευή από τους τρεις gringos. Τι άλλο θέλουμε στα υπόλοιπα δώδεκα κομμάτια του άλμπουμ που να μην μας το δίνουν; Sucker, One Night Stand, Trigger, God Was Never on Your Side, Living in the Past, Christine, Sword of Glory, Kingdom of the Worm αρκούν — κι όμως είναι μόνο τα μισά σχεδόν κομμάτια του δίσκου.

English:

No originality whatsoever — not even in the album title.

And so we crossed the halfway mark of the first decade of what was then the new century. This trio, delivering consistently solid performances and with nothing left to lose, had already spent more than ten years renewing their creative spark. After two anniversary live albums, they moved on to their third studio effort. A record heavier than the previous Hammered in every aspect of production and overall sound — one that brought the smiles back, especially to their most hardcore followers.

The fat‑cow years may be long gone, but despite everything, Lemmy and his two accomplices in “crime,” in unstoppable form, deliver one of their best works as a whole, at least since 1996.

We start backwards, from the CD bonus: Whiplash by their friends Metallica, taking a straight‑to‑the‑face cover version from the three gringos. What more could we possibly want from the remaining twelve tracks that they don’t already give us? Sucker, One Night Stand, Trigger, God Was Never on Your Side, Living in the Past, Christine, Sword of Glory, Kingdom of the Worm — more than enough, and yet they’re barely half the album.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: MONDVOLLAND – D' Olde Roop

 

MONDVOLLAND – D' Olde Roop

Apollon Records

Genre: Extreme Folk / Black Metal

Upon first inspection of the cover art for D’ Olde Roop, one might anticipate a standard entry into the saturated folk metal genre. To an extent, that initial impression holds ground; however, this debut full-length from the Dutch trio—who have spent the last five years honing their sound through demos and an EP—reveals a more nuanced identity upon closer listening.

The Compositional Balance

While the "folk" elements of the album adhere to familiar territory—utilizing established structures, rhythmic riffs, and deep, reciting clean vocals—the band distinguishes itself through its foundational aggression.

Where many contemporaries relegate metal elements to a secondary role, MONDVOLLAND prioritizes a Black Metal framework. This stylistic choice provides the following:

• Atmosphere: A dark, "frozen" hue that permeates the melodic passages.
• Edge: A level of aggression and bite often missing from more commercial folk releases.
• Balance: An equal distribution between folk melodies and black metal intensity.

Key Characteristics

• The Folk Elements: Consistent with genre standards, featuring traditional melodic "non-metal" touches and clean vocal delivery.
• The Black Metal Influence: Dominant and well-integrated, elevating the compositions from "typical" to "extreme."
• Production: The synthesis of both styles results in a record that feels cohesive rather than fragmented.

Final Verdict: If your interest lies in the intersection of folk and black metal, but you find the current scene lacking in grit, MONDVOLLAND provides a compelling alternative. D' Olde Roop doesn't reinvent the wheel, but it certainly sharpens the spikes.

Christine  Parastatidou