Victormonica has released its new single, "The Eve Of Destruction."

 

The track was recorded at Loud Noise Production by Owen Davies, who also handled the mixing and mastering duties.

Hailing from Staffordshire, UK, Victormonica blends the precision of grindcore with the brutality of death metal, the groove of metalcore, and the aggression of hardcore. The band's lineup features vocalist Jay Hellfire, guitarist Sean Willday, bassist David Williams, and drummer Mike Ellis, delivering an uncompromising sound inspired by dark fantasy and psychological decay.

Known for their disciplined yet chaotic live performances and tracks such as "So Now the Killing Starts," Victormonica continue to strengthen their reputation as one of the UK's most intense underground extreme metal acts with the release of "The Eve Of Destruction."

REVIEW: SEPULTURA, Blood Rooted

 

SEPULTURA, Blood Rooted (1997)

Roadrunner Records

Να άλλο ένα:

Ειδικό άλμπουμ γεμάτο καλούδια, από b-sides μέχρι ζωντανές ηχογραφήσεις. Οτιδήποτε θα ήθελε ο κολλημένος με την πρώτη εποχή (εντάξει, ναι, και την καλύτερη, δεν λέω!) δημιουργίας των Βραζιλιάνων Death/Thrash metallers, των Sepultura.

Ένα CD που κυκλοφόρησε όταν πλέον η σύνθεση που ακούγεται στα κομμάτια είχε ήδη διαλυθεί: Max και Igor Cavalera, Andreas Kisser και Paulo Jr. Από το 1987 έως το 1996 κυκλοφόρησαν το ένα σπουδαίο άλμπουμ μετά το άλλο, γράφοντας τη δική τους ιστορία στον χώρο.

Εδώ θα βρούμε το "Procreation (Of the Wicked)" (διασκευή των Celtic Frost), το "Polícia" (διασκευή των Ratos de Porão), το "Symptom of the Universe" (διασκευή των Black Sabbath), ανάμεσα σε αρκετές ακόμη, αλλά και σχεδόν ένα ολόκληρο ζωντανό άλμπουμ με δικά τους κομμάτια μέχρι το τέλος.

Το μοναδικό αρνητικό είναι η απουσία της b-side διασκευής του "Orgasmatron", την οποία, καλώς ή κακώς, παίζουν πολύ πιο τσαμπουκαλεμένα από το αυθεντικό των Motörhead. Γιατί;

English:

Here's another one.

A special release packed with goodies, from B-sides to live recordings. Pretty much everything a die-hard fan of the early days (okay, yes, the best era too—I won't argue with that!) of Brazilian Death/Thrash legends Sepultura could ask for.

This CD was released after the lineup featured throughout these recordings had already fallen apart: Max and Igor Cavalera, Andreas Kisser, and Paulo Jr. Between 1987 and 1996, they released one outstanding album after another, carving out a legacy that secured their place among the giants of extreme metal.

Inside you'll find "Procreation (Of the Wicked)" (a Celtic Frost cover), "Polícia" (originally by Ratos de Porão), "Symptom of the Universe" (a Black Sabbath cover), several more cover versions, and, to top it all off, what is essentially an almost complete live album featuring Sepultura classics from start to finish.

The only downside is the absence of the B-side cover of "Orgasmatron", which, for better or worse, they perform with far more attitude and aggression than Motörhead's original. Why?

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: AEKLYPSIS - Mirror of Darkness EP (2011)

 

AEKLYPSIS - Mirror of Darkness EP (2011)

Independent

One of the greatest challenges for any band today is to develop a distinctive musical identity and leave its own mark on the style it has chosen to serve. With countless skeptics insisting that everything has already been written and played, it is easy to become pessimistic about the future of metal. Fortunately, bands like Greece's AEKLYPSIS prove that there is still plenty of room for originality and inspiration within an increasingly overcrowded scene.

Their debut release, the three-track Mirror of Darkness EP, delivers high-quality melodic death metal with a remarkably distinctive character. The band's compositions are intricate, built upon complex structures and arrangements that seamlessly blend a wide range of musical elements. Despite this ambitious approach, AEKLYPSIS have crafted an exceptionally cohesive and fluid listening experience that is as engaging as it is impressive. Their music is not only guaranteed to make you headbang, but also to leave you genuinely captivated by its scope and atmosphere.

The songs are immersed in an epic folk aura, enriched by majestic symphonic textures that create a truly breathtaking soundscape. However, the EP's appeal extends far beyond its enchanting melodies. AEKLYPSIS demonstrate outstanding musicianship throughout, delivering extreme metal without sacrificing technical proficiency or memorable guitar work. The rhythm section provides a powerful and dependable backbone, while the vocal performance offers remarkable versatility, shifting effortlessly between traditional death metal growls, black metal-inspired shrieks, and even occasional spoken passages that further enhance the theatrical nature of the material.

With Mirror of Darkness, AEKLYPSIS have produced some of the finest symphonic folk-infused melodic death metal I have heard in quite some time. It is an exceptionally promising debut that introduces a band with a clear artistic vision, considerable talent, and all the potential to establish themselves as one of the most exciting names in the genre. An impressive first step from an equally impressive band.

Christine  Parastatidou

Aeklypsis · Mirror of Darkness

REVIEW: SPIDER KICKERS – Alcoholic

 

SPIDER KICKERS – Alcoholic (2011)

Sleaszy Rider Records

One of Greece's oldest and most authentic extreme metal acts, SPIDER KICKERS return approximately four years after their third full-length, VIII Division, delivering nothing short of a sonic holocaust through their uncompromising brand of old school death/thrash metal. Formed back in 1986, the band has remained true to its roots, and Alcoholic is yet another testament to their dedication and consistency.

Having had the pleasure of witnessing SPIDER KICKERS perform live, I can confidently say they rank among the finest Greek extreme metal bands. Their approach to death/thrash metal is deeply rooted in the old school tradition and possesses all those increasingly rare qualities missing from many contemporary releases that lean towards a more modern sound. SPIDER KICKERS stay pure to the core, and the result is an album packed with first-class compositions overflowing with energy and aggression, yet never sacrificing technical precision or memorable melodies.

The vocal performance consists of intense, hoarse growls that perfectly enhance the brutality of the material. What makes it even more impressive is that they are delivered by the band's drummer. Not only does he prove himself to be an outstanding musician, effortlessly shifting between crushing mid-paced sections and relentless blast beats, but he also delivers his vocal performance flawlessly throughout the album.

There isn't much more to add. Both the production and the cover artwork are excellent, while the overall package proves that you don't need to be based in the capital or invest a fortune to create a truly outstanding release. Alcoholic is exactly that: a stunning old school death/thrash metal album. If you're looking for a record capable of sweeping you off your feet and dragging you through a brutal musical journey, then this is one release you shouldn't overlook.

Christine  Parastatidou

REVIEW: DEATH, Leprosy

 

DEATH, Leprosy (1988)

Combat Records

Εγένετο έκτοτε.

Η μπάντα που πατάει με το ένα πόδι στο Thrash Metal και με το άλλο βυθίζεται στα σκοτεινά, εφιαλτικά και κατά τόπους βαλτωμένα νερά του ακόμη υπό διαμόρφωση Death Metal, παρουσιάζει στο δεύτερο άλμπουμ της, μετά το εκρηκτικό Scream Bloody Gore, ένα έργο που για μένα αποτέλεσε την πρώτη επαφή με τους DEATH. Για την ακρίβεια, το πρώτο κομμάτι που άκουσα ποτέ από αυτούς ήταν το ομώνυμο "Leprosy".

Ο Chuck Schuldiner, ηγέτης, τραγουδιστής, κιθαρίστας και βασικός συνθέτης του σχήματος, είχε ήδη από το ντεμπούτο τους θεμελιώσει τον χαρακτηριστικό ήχο της μπάντας. Κάποιοι θα υποστηρίξουν ότι οι POSSESSED είχαν προηγηθεί, και δεν έχουν καθόλου άδικο. Ωστόσο, το δικό τους Seven Churches είναι περισσότερο ένα Thrash Metal άλμπουμ με εφιαλτικά φωνητικά, παρά η πλήρης γέννηση ενός νέου μουσικού είδους.

Το παρακλάδι του Death Metal είχε ήδη αρχίσει να σχηματίζεται, όμως ο Chuck ήταν εκείνος που το έκανε ευρύτερα γνωστό μέσα από αυτό το ακατέργαστο, ωμό και τραχύ άλμπουμ. Ο ακραίος ήχος έκανε το επόμενο βήμα μετά το Thrash Metal, πατώντας γερά πάνω στις βάσεις του και προσθέτοντας όλα εκείνα τα θανατηφόρα συστατικά που θα καθόριζαν τη νέα μουσική πρόταση.

Κάπως έτσι ήρθε αυτός ο δίσκος, ακριβώς στην εποχή και στο σημείο όπου γεννιόταν το νέο αυτό ιδίωμα. Και τελικά, το Leprosy έγινε ένα από τα άλμπουμ που όρισαν τη γέννησή του, μέσα από τραγούδια όπως το ομώνυμο, αλλά και τα "Forgotten Past", "Left to Die", "Pull the Plug", "Open Casket" και "Primitive Ways".

English:

And so it came to pass.

A band with one foot firmly planted in Thrash Metal and the other sinking into the dark, nightmarish, and at times murky waters of a Death Metal sound that was still taking shape, DEATH returned with their second album following the explosive Scream Bloody Gore. For me, this record marked my very first encounter with the band. To be precise, the first song I ever heard by DEATH was the title track, "Leprosy."

Chuck Schuldiner, the band's leader, vocalist, guitarist, and principal songwriter, had already established DEATH's unmistakable sound with their debut album. Some will argue that POSSESSED got there first, and they are not entirely wrong. However, Seven Churches is ultimately more of a Thrash Metal album with nightmarish vocals than the complete birth of a new musical genre.

The Death Metal offshoot had already begun to take shape, but Chuck was the one who brought it to a much wider audience through this raw, unrefined, and abrasive album. Extreme music took its next evolutionary step beyond Thrash Metal, building firmly upon its foundations while adding all the lethal ingredients that would come to define this new style.

This is where Leprosy entered the picture—at precisely the right moment and in the very era when this new genre was being born. In the end, it became one of the defining albums of Death Metal's infancy, thanks to songs such as the title track, "Forgotten Past," "Left to Die," "Pull the Plug," "Open Casket," and "Primitive Ways."

Τάκης "Ε-Μortal One" Γιώτης

Live Review: Slaughter to Prevail, Crypta & Chained Saint at Moni Lazariston, Thessaloniki

 

Date: July 25, 2026

Venue: Moni Lazariston, Thessaloniki, Greece

On July 25, 2026, the historic courtyard of Moni Lazariston in Thessaloniki hosted a formidable night of extreme metal, featuring a diverse billing that spanned thrash, death metal, and modern deathcore.

Chained Saint

Doors opened at 6:30 PM, and precisely at 7:30 PM, Chained Saint kicked off the evening. Delivering an energetic dose of aggressive thrash metal, the group set a solid tone early on. Their set featured tracks like "Stronger Than Stone (Blindside)", "Punk", "1,000 Tons", "Free Reign", and "Animosity", alongside previews of unreleased material including "Uncrowned" and "Snakeskin". Their tight performance effectively warmed up the fast-growing crowd.

Crypta

Taking the stage next was the all-female Brazilian death metal force, Crypta. Known for their relentless speed and technical precision, the band delivered an uncompromising set drawn primarily from their recent work. Highlights included powerful renditions of "The Other Side of Anger", "The Outsider", "Dark Clouds", "Stronghold", "Lord of Ruins", and the fan-favorite "From the Ashes". Crypta's stage presence and razor-sharp execution proved once again why they are one of the most compelling modern acts in classic-style death metal.

Slaughter to Prevail

Headlining the night were Slaughter to Prevail, the Russian-born, Orlando-based deathcore titans. Opening their performance with the heavy-hitting "Bonebreaker", the band maintained intense momentum throughout their set. Frontman Alex Terrible led the crowd through explosive renditions of "Banditos", "Russian Grizzly in America", "Viking", and "Bratva".

A standout drum solo briefly shifted the spotlight before the band closed out the night with a crushing sequence featuring "Baba Yaga", "Demolisher", "Kid of Darkness", "Behelit", and "Conflict". The high-energy performance delivered exactly what the audience anticipated, bringing a heavy and memorable night at Moni Lazariston to a close.

TEXT: Nick Parastatidis

PHOTOS/VIDEOS: Theofilos Bachtsevanidis

REVIEW: HAMMERFALL, Hammer Of Dawn

 

HAMMERFALL, Hammer Of Dawn (2022)

Napalm Records

Πιστεύουν σε αυτό που κάνουν, άλλη μια φορά.

Τείνουν να χαρακτηριστούν ως οι Σουηδοί Manowar. Αρκετοί έχουν αφήσει πίσω τους το σχήμα ήδη από το τρίτο ή τέταρτο άλμπουμ, αλλά παρ' όλα αυτά, αφού έκαναν κι αυτοί την «κοιλίτσα» τους μετά τα μέσα της πρώτης δεκαετίας του 21ου αιώνα, σε αυτό το άλμπουμ (και το τέταρτο κατά σειρά που το πιστεύω ακράδαντα) για άλλη μια φορά «παίζουν παπάδες».

Για όσους ρομαντικούς του πραγματικού Power Metal με μια δόση επικής χροιάς υπάρχουν εκεί έξω (και υπάρχουμε αρκετοί), το πιο πρόσφατο άλμπουμ τους αποτελεί ακόμα μία ευχάριστη ρετρό σταγόνα μεταλλικού μεγαλείου από τα παλιά.

Υπό αυτό το πρίσμα, το "Hammer of Dawn" σαν δίσκος έχει και πάλι αρκετές καλές στιγμές, λίγες μέτριες και καθόλου κακές. Το αρχηγικό δίδυμο των Joacim Cans στα φωνητικά και Oscar Dronjak στην κιθάρα συνεχίζει, μαζί με τους συνεργάτες του, αυτό που κάνει εδώ και χρόνια — και, κατά τη γνώμη μου, το κάνει καλά.

Τα "Brotherhood", "Hammer of Dawn", "No Son of Odin", "Venerate Me", "Reveries Too Old to Die Young", "Live Free or Die" και "No Mercy" τα βρίσκω, περισσότερο υποκειμενικά παρά αντικειμενικά, αρκετά τίμιες στιγμές μέσα στον δίσκο.

Πείτε με για άλλη μια φορά οπαδό κι όχι απλώς φίλο. Θα το αντέξω!

English:

They believe in what they do, once again.

They are often regarded as the Swedish Manowar. Many people had already left the band behind after their third or fourth album, but nevertheless, after they too experienced a bit of a decline after the mid-2000s, with this album (and this is the fourth time in a row that I strongly believe it), they prove once again that they can truly deliver.

For all the romantics of true Power Metal with an epic touch out there (and there are quite a few of us), their latest album is yet another pleasant retro drop of the old-school metal grandeur we grew up with.

Seen from this perspective, Hammer of Dawn once again offers several great moments, a few average ones, and absolutely no bad tracks. The leading duo of Joacim Cans on vocals and Oscar Dronjak on guitar continues, alongside their collaborators, to do what they have been doing for years — and, in my opinion, they are doing it well.

"Brotherhood", "Hammer of Dawn", "No Son of Odin", "Venerate Me", "Reveries Too Old to Die Young", "Live Free or Die" and "No Mercy" are, more from a subjective point of view than an objective one, some truly honest and worthy moments on this album.

Call me a fanboy once again and not merely a friend. I can handle that!

Τάκης "Ε-Μortal One" Γιώτης