REVIEW: TROUBLE, Run To The Light

 

TROUBLE, Run To The Light (1987)

Metal Blade Records

Τρίτη έκδοση

Οι Trouble από το Σικάγο του Ιλινόις είναι ένα συγκρότημα που, στο πέρασμα του χρόνου, απέκτησε πολύ μεγαλύτερες διαστάσεις απ’ ό,τι πίστευαν ακόμη και οι ίδιοι. Ταυτισμένοι με τη φωνή του Eric Wagner, ο οποίος έφυγε πρόσφατα από τη ζωή, πριν από τέσσερα χρόνια, η εποχή των τεσσάρων πρώτων δίσκων τους θεωρώ πως είναι και η πλέον αντιπροσωπευτική της πορείας τους.

Στο τρίτο τους άλμπουμ, μετά τα Psalm 9 και The Skull που είχαν προηγηθεί, εξακολουθούν να παίζουν αυτό το χαρακτηριστικό μείγμα αμερικανικού Heavy Metal με έντονες Doom Metal αναφορές. Δεν είναι αποκλειστικά «παιδιά των Black Sabbath», όπως, για παράδειγμα, οι συμπατριώτες τους και ήδη βετεράνοι τότε Pentagram, καθώς διαθέτουν τα δικά τους ιδιαίτερα στοιχεία, τα οποία τους διαφοροποιούν αισθητά.

Το παλιακό ύφος που θα καλλιεργήσουν ακόμη περισσότερο στο μέλλον εδώ περιορίζεται σε ορισμένα riffs που κάτι θυμίζουν, χωρίς όμως να παραπέμπουν ξεκάθαρα κάπου. Το συναίσθημα αυτό είναι τόσο ασαφές, ώστε χάνεται μέσα στο συνολικό μουσικό σύνολο του δίσκου.

Τα τραγούδια του, όπως τα The Misery Shows, Thinking of the Past, On Borrowed Time, Run to the Light, Born in a Prison, Peace of Mind και The Beginning, καθώς και η εξαιρετική διασκευή του Come Together των Beatles, η οποία περιλαμβάνεται στα επιπλέον κομμάτια της έκδοσης CD, συγκαταλέγονται πλέον στα κλασικά δείγματα του ήχου τους. Πρόκειται για ένα άλμπουμ που έγραψε τη δική του ιστορία στη βαριά ηλεκτρική μουσική της δεκαετίας του ’80.

English:

Third Edition

Trouble, hailing from Chicago, Illinois, are a band whose stature has grown far beyond what even they themselves could have imagined over the years. Forever associated with the voice of Eric Wagner, who passed away four years ago, I believe the era represented by their first four albums remains the most defining and representative period of their career.

On their third album, following Psalm 9 and The Skull, Trouble continue to deliver their trademark blend of American Heavy Metal enriched with strong Doom Metal overtones. They are not simply "children of Black Sabbath" in the way that, for example, their fellow countrymen and already well-established veterans Pentagram were. Trouble possess a distinctive identity of their own, and the songwriting on this album clearly highlights the elements that set them apart.

The vintage feel that they would further develop in the years to come is present here only in certain riffs that sound vaguely familiar without directly recalling any particular source. The impression is subtle enough to become absorbed into the album's overall musical character rather than standing out on its own.

Songs such as The Misery Shows, Thinking of the Past, On Borrowed Time, Run to the Light, Born in a Prison, Peace of Mind, and The Beginning, along with the outstanding cover of the Beatles' Come Together—included among the bonus tracks on the CD edition—have long since earned their place among the classic examples of the band's signature sound. This is an album that carved out its own place in the history of heavy music during the 1980s.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: VARATHRON, Gloryfication Under The Latin Moon - LIVE

 

VARATHRON, Gloryfication Under The Latin Moon - LIVE (2019)

Agonia Records

Θα ακουστεί η ελληνική σκηνή στην άλλη άκρη της Γης

Οι, πλέον Ηπειρώτες, Varathron κατέγραψαν κατά τη διάρκεια της περιοδείας τους στη Λατινική Αμερική το 2019 αυτό το ζωντανό best of άλμπουμ. Από το Μεξικό έως τη Χιλή και από το Περού έως τη Βραζιλία, αυτή η ανίερη πεντάδα του μεσογειακού Black Metal δίδαξε τι εστί ελληνικός ήχος στους πιστούς οπαδούς της στην αντίπερα όχθη του Ατλαντικού.

Δεκατρία από τα πιο κλασικά κομμάτια της δισκογραφίας τους, από το πρώτο τους άλμπουμ His Majesty at the Swamp έως το τότε πιο πρόσφατο Patriarchs of Evil, παρουσιάζονται εδώ με δαιμονική εκτελεστική αρτιότητα και ακατέργαστη συναυλιακή ενέργεια.

English:

The Greek Scene Heard at the Other End of the Earth

Now based in Epirus, Varathron captured this live best-of album during their 2019 Latin American tour. From Mexico to Chile and from Peru to Brazil, this unholy quintet of Mediterranean Black Metal showed its devoted followers on the far side of the Atlantic what the Greek sound is truly all about.

Thirteen of the most classic tracks from their discography, spanning from their debut album His Majesty at the Swamp to what was then their most recent release, Patriarchs of Evil, are presented here with demonic precision and the raw energy of a live performance.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: THE TARDS – Guillotine

 

THE TARDS – Guillotine

Independent Release

The name THE TARDS may not ring a bell for most metal fans, but the band has been active since 2005, and Guillotine marks their second release. On this album, THE TARDS deliver a distinctive blend of thrash and traditional heavy metal. While the production is modern and powerful, the riffs, songwriting approach, and overall attitude are firmly rooted in the spirit of the 1980s.

What makes THE TARDS particularly interesting is their ability to develop a recognizable identity so early in their career. Rather than relying heavily on obvious influences, they have managed to craft a sound that feels personal and distinctive. If there is one comparison that comes to mind, it is MEGADETH, mainly due to certain aspects of the song structures and arrangements rather than any direct stylistic imitation.

As a whole, Guillotine is a very interesting and rewarding release. The band's musicianship, creativity, and commitment to the metal genre are evident throughout the album. My only reservation concerns the length of some compositions. A few tracks tend to overextend themselves, becoming somewhat repetitive as they progress. More concise songwriting would help highlight the band's strongest ideas and make the material even more impactful.

That said, THE TARDS possess both the talent and dedication required to make a lasting impression. Their ability to combine traditional metal values with a fresh and personal approach sets them apart from many contemporary bands. If they continue refining their songwriting and focus on making some of their compositions more direct, they have the potential to deliver even stronger releases in the future.

Guillotine is well worth seeking out, especially for listeners who appreciate heavy/thrash metal with character and individuality. In an era where genuinely distinctive bands are increasingly rare, THE TARDS offer something that deserves attention.

Nick Parastatidis

MAMMOTHFEST 2026: A Triumphant Final Day (13/06/26)

 

The fourth and final day of Mammothfest 2026 arrived with high expectations, a diverse billing of heavy subgenres, and an eager crowd ready to see out the festival in style. Covering everything from local doom and modern djent to Swedish alternative rock and progressive metal royalty, June 13th proved to be an unforgettable marathon of live music.

The afternoon kicked off promptly at 17:30 with Katharsis, a fierce three-piece outfit hailing from Thessaloniki. Though early festival logistics meant missing their live visual delivery, reports from the barrier confirmed a devastatingly heavy start to the day. The trio tore through a calculated four-song assault alongside two brand-new, unreleased tracks that hint at a massive future release.

Katharsis Setlist:

1. The Last Battle

2. Rotting Kingdom

3. Eternal Voyage

4. Beneath the Swamp

(Plus 2 unreleased tracks)

Up next at 18:15 were Athens-based progressive groove metal/djent technicians Herta. They wasted no time injecting a massive dose of adrenaline into the growing crowd. Delivering precise, polyrhythmic syncopation and bone-shattering riffs, their performance of tracks like Monolith and The Snake Devours the Wolf proved exactly why they are a force to be reckoned with in the Greek modern metal scene. By the time they closed with Control, the crowd was thoroughly warmed up.

Herta Setlist:

1. Monolith

2. The Snake Devours the Wolf

3. Labyrinth

4. Beyond the Dead

5. The Path

6. Incarnation

7. Control

As the clock struck 19:00, the festival's namesake vibes truly took over with the arrival of Acid Mammoth. The Athenian doom/stoner icons laid down a wall of fuzzy, monolithic riffs that shook the venue to its core. Moving through the thunderous Supersonic Megafauna Collision and the suffocatingly heavy grooves of Jack the Riffer, their set was a masterclass in slow-burning, psychedelic heaviness.

Acid Mammoth Setlist:

1. Supersonic Megafauna Collision

2. Tree of Woe

3. Berserker

4. Untitled

5. Them!

6. Jack the Riffer

Crossing the North Sea to join the billing, London’s Seven Sisters took the stage at 20:00, shifting gears into the realms of progressive heavy/power metal. Armed with twin-guitar harmonies reminiscent of classic NWOBHM mixed with modern complexity, their set was melodic, soaring, and technically flawless. Highlights included an epic rendition of The Cauldron and the Cross and the brilliant melodic hooks of Andromeda Descending.

Seven Sisters Setlist:

1. The Cauldron and the Cross

2. The Artifice

3. Andromeda Descending

At 21:00, Sweden’s Ambush brought pure, unadulterated 1980s traditional heavy metal nostalgia to the stage. Exuding high energy, leather, and piercing vocals, they triggered the first massive sing-alongs of the evening with tracks like Firestorm and Desecrator. A surprise, blistering cover of Judas Priest’s Metal Gods sent the crowd into a frenzy, setting the perfect stage for the final track, Don't Shoot (Let 'em Burn).

 

Ambush Setlist:

1. Evil in All Dimensions

2. Maskirovka

3. Possessed by Evil

4. Heading East

5. Firestorm

6. Desecrator

7. Natural Born Killers

8. Metal Gods (Judas Priest cover)

9. Don't Shoot (Let 'em Burn)

As night fell at 22:15, Magna Carta Cartel offered a mesmerizing change of pace. The Swedish alternative rock band draped the venue in a cinematic, dreamlike atmosphere. Their synth-kissed guitars and melancholic melodies felt like a breath of fresh air. Tracks like Silence, Metropolis Flow, and the hauntingly beautiful "Valiant Visions Dawn" captivated the audience, showcasing the depth of the festival's curation.

Magna Carta Cartel Setlist:

1. This Time

2. Turn

3. Sleepy Eye June

4. Silence

5. Metropolis Flow

6. Darling

7. Sway

8. Arrows

9. Savantgarde

10. Valiant Visions Dawn

Finally, at 23:30, progressive metal titans Soen stepped into the headlining spotlight to close out Mammothfest 2026. The Swedish quintet delivered a flawless, emotionally charged performance that balanced intricate technicality with massive, anthemic hooks. From the opening punch of Mercenary and Antagonist, Joel Ekelöf’s vocals were pristine, while Martin Lopez’s drumming anchored the night with unparalleled groove. The emotional weight of Lotus and Illusion brought chills to the audience, before the band brought the entire four-day festival to a triumphant, heavy end with a roaring performance of Unbreakable.

Soen Setlist:

1. Mercenary

2. Antagonist

3. Fraccions

4. Memorial

5. Lascivious

6. Discordia

7. Martyrs

8. Lotus

9. Primal

10. Violence

11. Illusion

12. Unbreakable

TEXT: Nick Parastatidis

PHOTOS/VIDEOS: Theofilos Bachtsevanidis

KA'APER Release New Album When Gods Walked The Earth via Satanath Records

 

Cypriot dark metal force KA'APER have unleashed their second full-length album, When Gods Walked The Earth, out now via Satanath Records.

Formed on the southern shores of Cyprus in 2024, KA'APER channel ancient mythology, death, and human tragedy into a powerful blend of crushing riffs, dark melodies, and fierce vocals. The new album features ten tracks exploring themes of life and death, love and betrayal, and the eternal struggle between chaos and order, all viewed through the lens of ancient gods and legends.

Drawing inspiration from bands such as Septicflesh, Dark Tranquillity, Rotting Christ, Insomnium, and Graveworm, the band delivers a dark and atmospheric journey through mythology and modern decay.

When Gods Walked The Earth was mixed and mastered by Max Baryshnikov and includes guest appearances from Ellen Pcheliakova (violins), Julia Selikhova (vocals on "Lament for Osiris"), and Mike Angastiniotis (vocals on "Hiding").

Tracklist:

1. Amenhotep
2. Of Chaos and Destruction
3. Pharaoh
4. Our Time of Dying
5. Eternity in Stone
6. When Gods Walked the Earth
7. Lament for Osiris
8. A Reason to Go Insane
9. After the Gods
10. Hiding

With its fusion of melodic darkness, mythological storytelling, and relentless heaviness, When Gods Walked The Earth marks another significant step forward for Cyprus' rising adepts of the dark arts.

REVIEW: TEN – Stormwarning

 

TEN – Stormwarning

Frontiers Records

Stormwarning is TEN's latest release. Having been active for more than two decades, TEN have established themselves as one of the most recognizable names in the melodic hard rock and metal scene. This album marks the band's eleventh release and eighth studio album, further cementing their long-standing presence in the genre.

Musically, TEN continue to blend melodic metal with elements of pomp rock, creating a sound that is both epic and accessible. The band appears to be in particularly strong form on Stormwarning, delivering a collection of well-crafted songs characterized by memorable melodies, strong choruses, and polished musicianship.

The album's highlights include tracks such as "Endless Symphony," "Kingdom Come," and "Destiny," all of which showcase TEN's ability to write melodic rock and metal anthems with a grand, uplifting atmosphere. These songs capture the band's strengths perfectly, combining powerful vocal performances with rich instrumental arrangements.

The album's main weakness emerges during its second half, where the material becomes noticeably softer. While these more restrained moments demonstrate the band's versatility, they may not appeal equally to all listeners. For those who prefer TEN's heavier and more energetic side, some of these softer passages can slow the album's momentum and feel less engaging compared to its strongest tracks.

Overall, Stormwarning is a very solid release that should satisfy fans of melodic rock and melodic metal. The quality of the songwriting, performances, and production make it one of TEN's strongest efforts in recent years. In fact, it stands as their best album since the acclaimed Spellbound and Babylon era. As an added bonus, the album artwork is excellent and complements the music's epic atmosphere perfectly.

Ioannis Kaskamanidis

REVIEW: HYPOCRISY, Hypocrisy

 

HYPOCRISY, Hypocrisy (1999)

Nuclear Blast Records

Δυναμική συνέχεια από άλλη διάσταση.

Κι ενώ παρολίγο το σχήμα να διαλυθεί μετά το άλμπουμ The Final Chapter το 1997, η φωνή του λαού τους κράτησε ζωντανούς. Ο Peter Tagtgren σε κιθάρες, πλήκτρα και φωνή, ο Michael Hedlund στο μπάσο και ο Lars Szöke στα drums αποδεικνύουν τόσο στους ίδιους όσο και στον κόσμο πόσο δίκιο είχε που ζήτησε να μην το διαλύσουν. 

Το έκτο τους στούντιο άλμπουμ, το ομώνυμο, είναι πραγματικά ένα από τα καλύτερα—not μόνο δικά τους, αλλά και όλου του ιδιώματος του death metal. 

Κομμάτι-κομμάτι, η μία επιτυχία διαδέχεται την άλλη: Fractured Millennium, Apocalyptic Hybrid, Fusion Programmed Minds, Reversed Reflections, Until the End, Paranormal Hysteria, Disconnected Magnetic Corridors, Time Warp, Paled Empty Sphere. Ακόμη και το επιπλέον κομμάτι αυτής της αρχικής έκδοσης, Self-inflicted Overload, αποτελεί σεμινάριο της σουηδικής σχολής. 

Ένα δέκα με τόνο ακόμη για την τριάδα που γράφει τη δική της ιστορία στη σφαίρα της επιστημονικής φαντασίας και του τρόμου.

English:

A dynamic continuation from another dimension.

And while the band nearly disbanded after the The Final Chapter album in 1997, the voice of the fans kept them alive. Peter Tagtgren, on guitars, keyboards, and vocals, along with Michael Hedlund on bass and Lars Szöke on drums, prove to both themselves and the world how right they were to fight for the band’s survival. 

Their sixth studio album, the self-titled Hypocrisy, is truly one of the best—not only of their own discography but of the entire death metal genre. 

Track after track, successions of excellence: Fractured Millennium, Apocalyptic Hybrid, Fusion Programmed Minds, Reversed Reflections, Until the End, Paranormal Hysteria, Disconnected Magnetic Corridors, Time Warp, Paled Empty Sphere. Even the bonus track of this initial edition, Self-inflicted Overload, stands as a masterclass in the Swedish school of death metal. 

A perfect ten, plus one, for the trio that is writing its own history in the realms of science fiction and horror.

Τάκης "Ε-Μortal One" Γιώτης!