Οι
Νεοϋορκέζοι μάστορες του Heavy Rock παρουσιάζουν εδώ το πιο… ποπ έργο τους.
Ποπ; Ίσως με την έννοια του δημοφιλούς, μιας και το «(Don't Fear) The Reaper»
είναι ένα τραγούδι που έχει ακουστεί από εκατομμύρια ραδιόφωνα σε ολόκληρο τον
κόσμο. Οι Space Rock αναφορές και οι μυστηριώδεις, ενίοτε Prog Rock ρυθμοί και
μουσικές συνεχίζουν την παράδοση των τριών πρώτων δίσκων τους. Με μια σειρά από
διαχρονικά κομμάτια, όπως τα «E.T.I. (Extra Terrestrial Intelligence)», «True
Confessions», «The Revenge of Vera Gemini», «Tattoo Vampire» και το εναρκτήριο
«This Ain't the Summer of Love», το άλμπουμ διαθέτει υλικό που θα μπορούσε
κάλλιστα να αποτελεί μια άτυπη συλλογή με τα καλύτερα της μπάντας. Εμπορική
απογείωση για τον Eric Bloom και την αθάνατη σύνθεση των Albert Bouchard, Joe
Bouchard, Allan Lanier και Donald Roeser, με αυτό το τέταρτο κατά σειρά
δισκογραφικό τους κατόρθωμα.
English:
Radio-Friendly from Another Dimension.
The New York masters of Heavy Rock deliver what is
arguably their most… pop-oriented work here. Pop? Perhaps in the sense of
popular, considering that “(Don't Fear) The Reaper” is a song that has been
played on millions of radios around the world. The Space Rock influences and
the mysterious, occasionally Prog Rock rhythms and musical passages continue
the tradition established by their first three albums. Featuring a string of
timeless tracks such as “E.T.I. (Extra Terrestrial Intelligence)”, “True
Confessions”, “The Revenge of Vera Gemini”, “Tattoo Vampire” and the opening
“This Ain't the Summer of Love”, the album contains enough material to almost
qualify as an unofficial Best Of collection of the band's work. A commercial
breakthrough for Eric Bloom and the immortal line-up of Albert Bouchard, Joe
Bouchard, Allan Lanier and Donald Roeser, this fourth album stands as another
remarkable achievement in their career.
MARDUK are among the bands that have managed to
translate the brutality and intensity of warfare into a musical language. Their
approach to metal combines relentless speed, aggression and a dark atmosphere
that makes their music particularly suitable for exploring war-related themes.
Having recently spent more time listening to the band I can better understand
why they are considered one of the established names in the genre. Although
their music might initially sound chaotic to a listener closer attention reveals
a well-structured approach to songwriting with the band managing to create a
sense of order within an otherwise overwhelming sonic assault.
I also find their focus on war-related subject matter
appropriate for their musical identity. Than depending exclusively on the
satanic imagery commonly associated with black metal MARDUK have developed a
thematic direction that draws heavily on military history, conflict and
destruction. Their sound complements these subjects providing a musical
framework for the atmosphere they seek to establish.
Two years after their full-length release the Swedish
veterans return with Iron Dawn, a three-track EP that maintains their
established musical characteristics. The material follows the bands ultra-fast
approach with relentless drumming, aggressive guitar work and harsh vocals
forming the backbone of the compositions. However speed is not the element that
defines this release. Despite the intensity of the performances the songs
retain structures and memorable passages avoiding the impression of an
uncontrolled barrage of sound.
Another interesting aspect is the way MARDUK combine
their uncompromising aggression with an occasionally epic atmosphere. The
arrangements maintain a sense of tension while the interaction between the
different instrumental elements gives the material sufficient variation to hold
the listeners attention. Iron Dawn does not represent a departure from the
bands established direction. Does it attempt to introduce substantial changes
to their formula. Instead it offers another demonstration of the musical
identity they have developed over the years.
Overall Iron Dawn is a release aimed primarily at
those who appreciate MARDUKs approach to black metal. Its three tracks deliver
the expected combination of speed, aggression and dark atmosphere making it a
worthwhile addition, for followers of the band. If their established sound is
what you are looking for this EP should meet your expectations.
Το βιβλίο Ένα όνειρο του Αρμαγεδδώνα είναι μια συλλογή τριών διηγημάτων του Χέρμπερτ Τζορτζ Γουέλς (H. G. Wells), ο οποίος θεωρείται, μαζί με τον Ιούλιο Βερν, ένας από τους θεμελιωτές της επιστημονικής φαντασίας. Πρόκειται για τρεις ιστορίες με διαφορετικό ύφος και διαφορετική ατμόσφαιρα, που όμως μοιράζονται ένα κοινό νήμα: τη σχέση του ανθρώπου με τη δύναμη, την καταστροφή και τα όριά του.
Είναι ένα βιβλίο που διαβάζεται εύκολα και γρήγορα, αλλά αφήνει πίσω του ερωτήματα που δεν ξεχνιούνται εύκολα.
Τα τρία διηγήματα
1. Ένα όνειρο του Αρμαγεδδώνα
Το διήγημα που έδωσε και τον τίτλο στη συλλογή. Ξεκινά σαν ένα ανέμελο ρομάντζο, τοποθετημένο σε ένα μακρινό μέλλον, και ο αναγνώστης παρασύρεται σε μια ατμόσφαιρα σχεδόν παραμυθένια. Σιγά σιγά όμως το κλίμα αλλάζει, και η ιστορία καταλήγει σε ένα δυστυχώς σκοτεινό συμπέρασμα: η καταστροφική μανία του ανθρώπου και ο πόλεμος νικούν τελικά την αγάπη.
Είναι ένα βαθιά αντιπολεμικό διήγημα και ταυτόχρονα μια προειδοποίηση. Η αντίθεση ανάμεσα στην τρυφερή αρχή και το πικρό τέλος είναι αυτή που το κάνει να μένει στο μυαλό του αναγνώστη.
2. Αιπυόρνις
Η πιο περιπετειώδης και ευφάνταστη ιστορία της συλλογής. Όσοι αγάπησαν το Jurassic Park θα βρουν εδώ ένα πνεύμα που τους θυμίζει αυτό που αγάπησαν: την ένταση, τη γοητεία και τον κίνδυνο που κρύβει η συνάντηση του ανθρώπου με πλάσματα από ένα μακρινό παρελθόν. Προσωπικά, το απόλαυσα πολύ και το βρήκα το πιο ανάλαφρο και διασκεδαστικό από τα τρία.
3. Ο άνθρωπος που έκανε θαύματα
Το βιβλίο κλείνει με ένα διήγημα που έχει μια αντίληψη αρκετά «Στίβεν Κινγκ». Η βασική του ιδέα είναι ότι κάτι που φαίνεται καλό και ευεργετικό μπορεί, στο τέλος, να αποδειχθεί καταστροφικό. Η δύναμη χωρίς όριο και χωρίς σύνεση δεν φέρνει ευτυχία, αλλά κίνδυνο. Είναι μια ιστορία που σε κάνει να σκεφτείς πόσο λεπτή είναι η γραμμή ανάμεσα στο θαύμα και στην καταστροφή.
Το κοινό νήμα
Αν και τα τρία διηγήματα διαφέρουν πολύ μεταξύ τους, ο Γουέλς επανέρχεται σε μια σταθερή ανησυχία: ο άνθρωπος, όταν αποκτά δύναμη, δεν ξέρει πάντα πώς να τη διαχειριστεί. Είτε μέσα από τον πόλεμο, είτε μέσα από την περιπέτεια, είτε μέσα από τη δύναμη των θαυμάτων, το συμπέρασμα παραμένει επίκαιρο και σήμερα.
Η γνώμη μου
Είμαι σίγουρος ότι ο Στίβεν Κινγκ έχει επηρεαστεί από τον Γουέλς, και ειδικά στο τελευταίο διήγημα η επιρροή φαίνεται καθαρά. Και οι δύο είναι από τους αγαπημένους μου συγγραφείς, και διαβάζοντας αυτή τη συλλογή καταλαβαίνει κανείς γιατί: ξέρουν να πηγαίνουν μια ιδέα στα άκρα της και να σε αφήνουν να αναρωτιέσαι.
It is hardly possible to overlook the fact that we
live in an era in which many bands are looking back to the past for
inspiration, particularly to the musical heritage of the 1970s and 1980s. Of
course, this is nothing new, as every generation has had its share of musicians
drawing from earlier decades. However, there is a certain intensity to this
tendency nowadays, with numerous bands revisiting the sounds, aesthetics and
production approaches of those periods.
German band WOLVESPIRIT, despite what their name might
suggest, have nothing to do with power metal. Their musical direction is firmly
rooted in 1970s hard rock and early heavy metal, with a noticeable stoner
influence adding a more contemporary dimension to their sound. One of the most
distinctive elements is the use of the Hammond organ, an instrument closely
associated with the hard rock scene of the late 1960s and 1970s. Its presence
gives the compositions a nostalgic character and helps establish an atmosphere
that brings to mind some of the classic bands of that era.
There are, indeed, some good ideas throughout the
album, particularly when WOLVESPIRIT allow their older influences to take the
lead. The combination of hard rock riffs, organ arrangements and a relatively
straightforward approach to songwriting gives the material a certain charm.
Unfortunately, as the album progresses, the band tend to place greater emphasis
on the stoner elements of their sound. Personally, this is where I find the
material less engaging, as the extended emphasis on repetitive grooves and
familiar stoner patterns eventually becomes rather monotonous. In contrast,
whenever they move closer to their 1970s hard rock roots, the songs become
considerably more interesting and enjoyable.
Another element worth mentioning is the band's female
vocalist, Debbie, whose warm, blues-oriented voice fits the musical direction
particularly well. Her performance has the appropriate character and
expressiveness for this kind of material, occasionally bringing to mind Yvonne
Durand of ZED YAGO. She contributes considerably to the overall identity of the
band and complements the instrumental arrangements without sounding out of
place.
All in all, Spirit Metal is a typical stoner
rock/metal release with some interesting glimpses of something different. Those
moments come primarily through the band's 1970s hard rock influences, which, in
my opinion, deserve considerably more attention. If WOLVESPIRIT chose to
develop this side of their musical identity and leave some of the more
predictable stoner elements behind, they could come up with some genuinely
enjoyable tunes. For the time being, however, Spirit Metal will probably appeal
mostly to listeners who appreciate the stoner sound, while those looking for a
stronger connection with traditional 1970s hard rock may find themselves
wishing the band had followed that direction more consistently.
Some records are valuable for what is on the vinyl rather
than for what they fetch in a collector’s guide. Hold Your Head Up is one of
them. It is a ten-track compilation released in 1978 on CBS’s budget imprint
Embassy. It is not a new Argent album. The band had disbanded in 1976, and this
LP brings together songs from the group's most productive years.
Argent was formed in 1969 by former Zombies
keyboardist Rod Argent, who brought together guitarist and vocalist Russ
Ballard, his cousin Jim Rodford on bass, and drummer Bob Henrit. Former Zombies
bassist and songwriter Chris White also played an important role in the band's
early development as a songwriter and producer, although he was not a
performing member. The band's biggest hits were "Hold Your Head Up",
which reached No. 5 in both the UK and the US, "God Gave Rock and Roll to
You", which reached No. 18 in the UK, and "Tragedy", which
reached No. 34.
Argent's sound sits between pop songcraft and
progressive rock, with a harder edge that grew as the albums went on. Rod
Argent's Hammond organ is the signature instrument. It carries the melodies,
drives the long solos and gives the band a sound that is immediately
recognisable. Around it, Russ Ballard's guitar brings a riff-based, more direct
rock approach, while the rhythm section keeps everything tight and
song-focused.
The band had two distinctive songwriting voices. The
Argent/White compositions, such as "Hold Your Head Up" and
"Celebration", lean towards keyboard-led arrangements, strong vocal
hooks and room for instrumental passages. Ballard's songs, such as
"Liar", "Tragedy" and "God Gave Rock and Roll to
You", are punchier, built on guitar riffs and big choruses. Together, they
gave Argent a mix that was catchy enough for the singles charts and ambitious
enough to appeal to a progressive-rock audience. Louder described them as a
bridge between 60s pop and the harder rock associated with Cream and Led
Zeppelin, which is a fair summary of where they sit.
Side one opens with the full-length "Hold Your
Head Up" (Argent/White, 6:15), rather than the shorter radio edit, and Rod
Argent's organ solo is one of the reasons to hear it that way. "Liar"
(3:14) and "Celebration" (2:52) follow, before Russ Ballard's
"Tragedy" (4:46) and "Man for All Reasons" (4:44).
Side two begins with "God Gave Rock and Roll to
You" (6:45), followed by "Thunder and Lightning" (5:05),
"Like Honey" (3:15, Argent/White), "It's Only Money (Part
1)" (4:04) and "Highwire" (3:20, Rod Argent). The balance
between the Argent/White compositions and Ballard's harder, riff-led songs
shows why the band worked: two different songwriting voices pulling the same
group in different directions, with Rod Argent's musical contribution providing
a distinctive identity throughout.
The sleeve is simple and striking. Four fists hold up
a white card that carries the tracklist, and the back cover repeats the design
with the credits, including an illustration credit to Michal Bonora. It looks
like a late-70s budget sleeve, and it works.
The song that gives this record much of its lasting
reputation is "God Gave Rock and Roll to You". Written by Russ
Ballard and recorded by Argent in 1973, it appeared on their album In Deep
before being released as a single that year. It reached No. 18 in the UK, while
in the US it peaked at No. 114 on the Billboard Bubbling Under chart, just
outside the main Hot 100. Its significance, however, extended well beyond its
original chart performance. KISS recorded it in 1991 as "God Gave Rock 'n'
Roll to You II" for the Bill & Ted's Bogus Journey soundtrack,
substantially rewriting the verses while retaining the recognisable chorus. The
song subsequently appeared on their album Revenge (1992) and their live album
Alive III (1993). It was also Eric Carr's final recording contribution to KISS.
Although Eric Singer played drums, Carr contributed backing vocals, making the
recording particularly significant in the context of his final months with the
band. Ballard's songwriting reached other hard-rock audiences through different
artists too, notably Rainbow, who recorded his compositions "Since You
Been Gone" and "I Surrender".
This is a budget compilation rather than a rarity, so
it is more interesting as a piece of musical history than as an investment. The
tracks originally appeared on Epic during the early 70s, and those original
album pressings are generally the ones collectors seek. A clean copy of this
Embassy LP is an affordable way to own many of the band's best-known songs,
including the longer album versions of its major tracks.
Hold Your Head Up is not the definitive Argent
statement, because that is spread across their studio albums, but it is a very
good introduction. It is full of memorable songs, held together by Argent's
keyboards and Ballard's guitar, with at least two tracks that have enjoyed a
long second life. For an inexpensive budget-label pressing, that is a lot of
music.
Μια
ελληνική μπάντα που, ω του θαύματος, παίζει Black Metal ελληνικής νοοτροπίας!
Ένα σχήμα με βασικό πυρήνα τους Ravenlord Wampyri Draconium και Ouroboros, με
τον Enocian Dreamer στο μπάσο, παρουσιάζει δύο «νέα» κομμάτια έπειτα από αρκετό
καιρό.
Πρόκειται
για το ομότιτλο Hecate Unbound και το Mastery of Blood (Alt. Version), στα
οποία συμμετέχουν επίσης ο κύριος Stefan Necroabyssius των Varathron, μια παλιά
(και βεβαίως τωρινή) δόξα του εγχώριου ακραίου ήχου, στα φωνητικά, ο Nick Yngwe
στα ντραμς και ο Achilleas C. στις κιθάρες.
Η
παραγωγή των δύο κομματιών είναι καθαρή και σκοτεινή, παραμένοντας πιστή στο
σταθερό ύφος με το οποίο μας έχει συνηθίσει το σχήμα μέσα από τα ολοκληρωμένα
άλμπουμ του, «Πανσέληνος» και «Έκλειψις» (με τους τίτλους γραμμένους, βεβαίως,
με ελληνικούς χαρακτήρες, ακόμη και στα εξώφυλλα!).
Αξίζει
να σημειωθεί ότι τα δύο κομμάτια δεν προέρχονται από την ίδια ηχογραφική
περίοδο. Το Mastery of Blood ηχογραφήθηκε το 2013, αν και το mastering είναι
πρόσφατο, ενώ το ομότιτλο Hecate Unbound αποτελεί πιο πρόσφατη ηχογράφηση.
Να
αναμένουμε κάτι παραπάνω; Νομίζω πως πρέπει...
English:
A Little New Dark Light After All This Time.
A Greek band that, believe it or not, plays Black
Metal with a distinctly Greek mentality! Built around the core members
Ravenlord Wampyri Draconium and Ouroboros, with Enocian Dreamer on bass, the
band presents two “new” tracks after quite a long absence.
The tracks are the self-titled Hecate Unbound and
Mastery of Blood (Alt. Version), both featuring some additional contributions.
On vocals, we have Mr. Stefan Necroabyssius of Varathron, a veteran (and, of
course, still active) figure of the Greek extreme metal scene. Nick Yngwe
handles the drums, while Achilleas C. contributes guitars.
The production is clear yet dark, remaining faithful
to the band's established sound, which listeners will recognise from its
full-length albums «Πανσέληνος» and «Έκλειψις» (with the titles, naturally,
written in the Greek alphabet, even on the covers!).
It is worth noting that the two tracks do not
originate from the same recording period. Mastery of Blood was recorded back in
2013, although its mastering is recent, while the self-titled Hecate Unbound is
a more recent recording.
Should we expect something more? I certainly think we
should...
National Health emerged in 1975 from the Canterbury
scene, the loose community of English musicians connected to Soft Machine,
Caravan, Gong, Egg and Hatfield and the North. After Hatfield and the North
disbanded, keyboardist Dave Stewart and guitarist Phil Miller continued working
together and were joined by keyboardist Alan Gowen, whose earlier band
Gilgamesh shared the same jazz-rock orientation. The group was never a
commercial force. It was a collective of highly skilled composers and players
who favored intricate writing over radio-friendly songs. Their self-titled
debut appeared in 1978, and Of Queues and Cures followed in 1978.
The second album arrived with a changed lineup.
Bassist Neil Murray, who played on the debut, was replaced by John Greaves,
previously of Henry Cow, which brought a more angular, Rock in Opposition
sensibility into the group. Murray’s career is worth noting because it took him
far from Canterbury. A bassist of remarkable range, he worked with Colosseum
II, Gogmagog, Gary Moore, Cozy Powell’s Hammer, Whitesnake, Vow Wow, Black
Sabbath, the Brian May Band, the Peter Green Splinter Group, the Michael Schenker
Group and Snakecharmer. His time in National Health shows how fluidly musicians
moved between jazz-rock and hard rock and metal in this period, and it is one
of the more concrete links between the Canterbury world and heavier music.
The core quartet on the record was Stewart on organ,
electric and acoustic piano, and synthesizer, Miller on guitar, Greaves on bass
and vocals, and Pip Pyle on drums, supported by guests who add flute,
clarinets, oboe, trumpet and steel drums. The album was recorded in July 1978
at Ridge Farm in Surrey using a mobile studio, which gives the sessions a
relaxed, countryside character. Charly Records issued it in the UK under
catalogue number CRL 5010. The title plays on the “queues” and “cures” of the
National Health Service, a dry joke that fits the group’s name and the
understated, slightly absurd wit that runs through Canterbury music.
The music is largely instrumental and built on
composition rather than improvisation alone. The album opens with Dave
Stewart’s “The Bryden 2-Step (for Amphibians),” whose first part is a brisk,
shifting theme in which organ, electric piano and guitar interlock. Its second
part closes the album and frames the record as a whole. “Collapso” is a lighter
piece with a Caribbean flavor and steel drums, offering a humorous break from
the denser material. John Greaves’s “Squarer for Maud” is the most cerebral
track, a long and carefully structured piece that reflects his Henry Cow
background. Side two begins with Phil Miller’s “Dreams Wide Awake,” a lyrical
showcase for his warm, distinctive guitar tone. Pip Pyle’s “Binoculars” is
another extended piece, and “Phlakaton,” an eight-second fragment, is a
characteristic joke. Because the band is mostly instrumental, its lyrical
themes are secondary and tend toward gentle surrealism, wordplay and English
eccentricity rather than protest or narrative. Much of the humor lives in the
titles themselves.
As for rarity, the original Charly pressing is a
sought-after item among progressive rock collectors rather than an extreme
rarity. It was a small-label release by a cult act, and clean copies tend to
command moderate prices. CD reissues, including those from Cuneiform, make the
music easy to obtain. Current market values vary with condition, so Discogs sales
history is the most reliable guide.
The band’s legacy is that of a respected but
specialist group. The album is frequently cited among the high points of
late-1970s Canterbury jazz-rock, and it was followed by D.S. al Coda (1982), a
tribute to Alan Gowen, who died in 1981. Its influence is better described as
part of a broader tradition than as a direct lineage. Metal musicians drawn to
jazz-fusion and progressive music, such as those in Opeth, Cynic and Atheist,
share some of its harmonic and structural ambition, but I am not aware of
documented statements crediting National Health specifically, so the connection
should be presented as stylistic affinity rather than confirmed inspiration.
Stewart’s rigorous writing and the group’s blend of complexity and humor remain
its most lasting contributions. Drummer Pip Pyle died in 2006 and guitarist
Phil Miller in 2017, and their work continues to find listeners through
reissues and word of mouth.
