REVIEW: HAMMERFALL, (r)Evolution

 

HAMMERFALL, (r)Evolution (2014)

Nuclear Blast Records

Το σφυρί του Έκτορα

Λοιπόν, ξέρω ότι μεγάλο ποσοστό των φίλων του κλασικού ήχου τούς έχει βαρεθεί. Αντικειμενικά, είναι ένα συγκρότημα του οποίου οι χρυσές εποχές έχουν πλέον παρέλθει. Αλλά το ίδιο ισχύει και για κάθε άλλο σχήμα του σκληρού, ηλεκτρικού, μελωδικού ήχου, έτσι δεν είναι;

Ας προσεγγίσουμε, λοιπόν, κι αυτό το άλμπουμ των Σουηδών ως αυτό που πραγματικά προσφέρει κατά την ακρόασή του. Έχει όλα όσα θα ήθελε ο φίλος του κλασικότροπου Heavy Metal, αλλά και του επικού Power Metal; Τα έχει!

Με το "Hector's Hymn", για τον πολεμιστή με τη μαύρη πανοπλία που κοσμεί τα περισσότερα εξώφυλλα των άλμπουμ τους, ονόματι Έκτορα (δεν κατάλαβα ποτέ γιατί έχει το όνομα του πρίγκιπα της Τροίας, αλλά τέλος πάντων), να ανοίγει τον δίσκο, και μετέπειτα το κάπως κλισέ αλλά τυπικό, ως προς τη σύνθεσή τους, ομότιτλο "(r)Evolution", όπως και τα υπόλοιπα σημαντικά κομμάτια "Bushido", "Live Life Loud" (γραμμένο για τους φίλους του συγκροτήματος όλα αυτά τα χρόνια), "We Won't Back Down", "Origins", "Tainted Metal", "Evil Incarnate" και "Wildfire" (να ρωτήσω τα παλικάρια από το δικό μας ανερχόμενο Metal σχήμα με αυτό το όνομα αν το εμπνεύστηκαν από εδώ), είναι ακριβώς αυτό που περιμένεις να ακούσεις.

Τίποτα περισσότερο, τίποτα λιγότερο. Έτσι, περνάει σχετικά εύκολα και αυτό το CD τους τη δοκιμασία.

English:

Hector’s Hammer

Well, I know that a large percentage of fans of the classic sound have grown tired of them. Objectively speaking, they are a band whose golden era has now passed. But the same applies to every other act in the hard, electric, melodic genre, doesn’t it?

So, let’s approach this album by the Swedes for what it truly offers during the listening experience. Does it have everything a fan of traditional Heavy Metal, as well as epic Power Metal, would want? It does!

Opening with “Hector’s Hymn”, featuring the warrior in black armor who adorns most of their album covers, named Hector (I never really understood why he was given the name of the Trojan prince, but anyway), and followed by the somewhat clichéd yet compositionally typical-for-them title track “(r)Evolution”, along with the other notable songs “Bushido”, “Live Life Loud” (written for the band’s fans throughout all these years), “We Won’t Back Down”, “Origins”, “Tainted Metal”, “Evil Incarnate”, and “Wildfire” (I have to ask the guys from our own rising Metal band with the same name whether they were inspired by this one), it is exactly what you expect to hear.

Nothing more, nothing less. And so, this CD passes the test relatively easily as well.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: FINALLY DECEASED - Finally Deceased

 

FINALLY DECEASED - Finally Deceased

Twilight Records

A Resurrection of Old School Death Metal.

Twilight Records presents Finally Deceased, the long-awaited debut release from the legendary band of the same name. Originally formed in 1992, Finally Deceased was among the youngest death metal acts on the scene at the time, carving out a distinct presence in the early '90s underground. Their initial discography includes the 1995 EP Blessed by Demons, after which the band disbanded a few years later.

Over thirteen years later, the members regrouped with a mission to finally share the fruits of their labor—an album recorded in 1995 but never officially released until now. Produced by Andy Classen, the album embodies a raw, unfiltered snapshot of old school death metal, capturing the band’s authentic sound and aggressive spirit.

With their self-titled debut, Finally Deceased delivers a straightforward, sharp, and relentless dose of old school death metal, infused with occasional black metal undertones. The band exhibits solid chemistry and musicianship, evident in their tight rhythm sections and riffs that demonstrate both skill and potential. The production maintains a natural, unpolished aesthetic—drums devoid of triggers and instruments free from excessive effects—resulting in an authentic, organic sound that pays homage to the genre’s roots.

While the album’s authenticity and rawness are commendable, it’s important to note that, given its age, it offers little in terms of originality or innovation. It stands as a competent, traditional death metal record—faithful to its influences but not pushing boundaries or redefining the genre.

In conclusion, Finally Deceased is a solid addition to the old school death metal canon—an honest, unadulterated record that will resonate with purists and fans of the genre’s classic era.

Christine  Parastatidou

REVIEW: DEVASTATING ENEMY – The Fallen Prophet

 

DEVASTATING ENEMY – The Fallen Prophet

Twilight Records

A couple of years after the release of their debut EP, The Gods of Reason, and after gaining considerable experience through numerous live performances at clubs and festivals, the Austrians DEVASTATING ENEMY felt ready to unleash their debut full-length album, The Fallen Prophet. The record incorporates all the elements the band members appreciate in extreme metal, filtering their influences through their own perspective and creating a sound that is both diverse and distinctive.

Musically, DEVASTATING ENEMY fall under the broad umbrella of modern death metal, although their approach is far from one-dimensional. At its core lies melodic death metal, which is seamlessly blended with more brutal and extreme aspects of the genre. The band further enriches its sound with numerous thrash metal influences, noticeable metalcore touches, and even occasional black metal-inspired passages. The constant presence of melody gives the songs a memorable identity, while the aggressive riffing and deep guttural vocals provide the necessary weight and intensity, resulting in a sound that is both complex and highly dynamic.

The musicianship displayed throughout the album is impressive. The twin guitars deliver sharp, memorable riffs alongside well-crafted and technically proficient solos, while the rhythm section provides a solid backbone with relentless blastbeats, crushing breakdowns, and tight, energetic drumming that keeps the momentum high from beginning to end.

On the vocal front, the band's singer demonstrates notable versatility by employing a wide range of techniques. In addition to his deep guttural growls, he delivers convincing high-pitched growls and metalcore-style screams, all of which complement the album's aggressive nature. The clean vocals, however, are the one aspect that fails to convince me. While they add variety to the material, I find this particular style of clean singing somewhat formulaic and out of place, diminishing the impact of some otherwise excellent compositions.

Overall, The Fallen Prophet is a strong and confident debut full-length that showcases DEVASTATING ENEMY's songwriting abilities, technical skills, and willingness to combine different elements of extreme metal into a cohesive whole. Although there is still room for refinement, the album makes it clear that the band possesses both the talent and the potential to establish itself as a notable name within the modern death metal scene.

Christine  Parastatidou

REVIEW: OMEN, Eternal Black Dawn

 

OMEN, Eternal Black Dawn (2003)

Mausoleum Records

Απρόσμενα καλό, αν και διαφορετικό.

Οι προπάτορες του επικού, καλπάζοντος Heavy Metal, Omen, διαλύονται το 1989, μετά την παταγώδη εμπορική αποτυχία του τέταρτου άλμπουμ τους, Escape to Nowhere. Εκείνο το άλμπουμ, πέραν της θεματολογικής μετάλλαξης τους, είναι το πρώτο στο οποίο ο εξαιρετικός D. J. Kimball έχει αντικατασταθεί από τον άγνωστο τότε Coburn Pharr (RIP, μελλοντικά στους Annihilator).

Το 1997, από το πουθενά, θα έρθει η επιστροφή τους με τον γιο του κιθαρίστα Kenny Powell, Greg, στη φωνή, για το άλμπουμ Reopening the Gates. Το συγκεκριμένο άλμπουμ πέρασε και δεν ακούμπησε πραγματικά, αφού οι επιρροές από industrial και Groove Metal (έλεος, κάπου η μουσική βιομηχανία!) δεν ήταν χαρακτηριστικές για τους Omen. Δεν έμαθαν ποτέ για το Dissident Alliance των φίλων τους Jag Panzer που προσπάθησαν να κάνουν crossover, με ολέθρια αποτελέσματα.

Οι Omen, που πέραν του ηγέτη Powell έχουν στο σχήμα τον ντράμερ Rick Murray και τον μπασίστα Andy Hass, βρήκαν το 1999 τη φωνή που έψαχναν στο πρόσωπο του Kevin Goocher. Έρχονται μάλιστα και από Ελλάδα, παρέα με τους δικούς μας Crush, σε εκείνο το ηρωικό live στο AN Club το 2002, παίζοντας υλικό από το τρίτο τους άλμπουμ, The Curse.

Ένα χρόνο μετά, έρχεται ο πραγματικός διάδοχος στη δισκογραφία τους του The Curse, ή καλύτερα του δίσκου που απέρριψαν για να γράψουν το Escape to Nowhere. Το συγκεκριμένο στούντιο άλμπουμ, αν και δείχνει την εξέλιξη μουσικά, είναι όντως τίμιος δίσκος που επάξια φέρει το λογότυπό τους στο εξώφυλλο. Περιλαμβάνει οκτώ νέες συνθέσεις, καθώς και το medley The Specter of Battles Past, που αποτελείται από κομμάτια των τριών πρώτων δίσκων τους σε ένα επταλεπτο κομμάτι.

Μέσα επίσης ξεχωρίζω τα κομμάτια: 1000 Year Reign, Eternal Black Dawn, Burning Times, Blood Feud, House on Rue Royal και King of the Seven Seas, τα οποία θεωρώ τις καλύτερες στιγμές του.

English:

Unexpectedly good, though different.

The pioneers of epic, galloping heavy metal, Omen, disbanded in 1989 following the catastrophic commercial failure of their fourth album, Escape to Nowhere. That album, beyond their thematic transformation, was the first in which the exceptional D. J. Kimball was replaced by the then-unknown Coburn Pharr (RIP, later with Annihilator).

In 1997, out of nowhere, they made a comeback with the son of guitarist Kenny Powell, Greg, on vocals, for the album Reopening the Gates. This record, however, largely passed unnoticed, as influences from industrial and groove metal (for goodness’ sake, the music industry!) were not characteristic of Omen. They never learned about the Dissident Alliance of their friends Jag Panzer, who tried to crossover as well, with disastrous results.

Omen, whose lineup besides leader Powell includes drummer Rick Murray and bassist Andy Hass, found the voice they were searching for in 1999 in Kevin Goocher. They even came from Greece, alongside our own Crush, for that heroic live performance at AN Club in 2002, playing material from their third album, The Curse.

A year later, they released the true successor to The Curse, or rather the album they initially rejected to write Escape to Nowhere. This studio album, although musically showing evolution, is indeed an honest record that rightly bears their logo on the cover. It features eight new compositions, along with the medley The Specter of Battles Past, which combines songs from their first three albums into a seven-minute piece.

Among the standout tracks are: 1000 Year Reign, Eternal Black Dawn, Burning Times, Blood Feud, House on Rue Royal, and King of the Seven Seas — I consider these their greatest moments.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: OVER KILL, NECROSHINE

 

OVER KILL, NECROSHINE (1999)

Steamhammer

Από το υπέδαφος κι ακόμη παρακάτω

Δανεικός ο τίτλος από προηγούμενη κυκλοφορία των παλικαριών — τότε αλλά και τώρα — από το New Jersey. Στα τέλη της δεκαετίας, της δεύτερης που το συγκρότημα έκανε κι αυτό την ενδοσκόπησή του, δίχασε, αλλά νομίζω πως βγήκε αλώβητο, έστω κι αν άργησε να συνέλθει από τις δοκιμασίες. Εδώ έχουμε ένα ακόμη άλμπουμ με ιδιαίτερα μοντέρνο άκουσμα.

Η κάποτε πράσινη Thrash Metal οργή, με τα τρία τελευταία άλμπουμ πριν από αυτό, είχε κινηθεί ανησυχητικά προς το Groove Metal. Παράδειγμα, το έντονα επηρεασμένο από Pantera My December, που δεν άφησε αυτή την τάση να ξεχαστεί. Όχι ότι πρόκειται για κακό άλμπουμ — κάθε άλλο. Είναι κι αυτό παιδί των ’90s, και αυτό διαφαίνεται πολύ έντονα.

Ο αγαπημένος Bobby “Blitz” Ellsworth στο μικρόφωνο θυμίζει, όπως πάντα, έναν Bon Scott υπό… στεροειδή, δίνοντας πνοή. Ο D.D. Verni, με το ιδιαίτερα χαμηλό και οριακά ξεκούρδιστο μπάσο, κρατά τον παλμό. Και φυσικά, ο γνωστός μας από τους υπέρτατους Liege Lord — όπου εκεί ήταν τραγουδιστής — Joe Comeau στην κιθάρα, λιγότερο από δύο χρόνια πριν πάρει μεταγραφή στους Annihilator, πάλι ως τραγουδιστής. Ο Tim Malare στα ντραμς συμπληρώνει την τετράδα.

Το ομώνυμο Necroshine ανοίγει τον δίσκο, και μαζί με τα Let Us Prey, Revelation, Stone Cold Jesus, Forked Tongue Kiss, I Am Fear, Black Line, δεν θα μας χαλάσουν καθόλου. Αν και θα χρειαστεί να περάσει ακόμη καιρός μέχρι την κρίσιμη μεταστροφή πίσω σε αυτό από το οποίο ξεκίνησαν κάποτε.

English:

From the Underground and Below

Borrowed title from an earlier release by the boys — then as well as now — from New Jersey. By the end of the decade, the second one in which the band went through its own phase of introspection, they caused division, yet I believe they emerged unscathed, even if it took them a while to recover from the trials. Here, we’re presented with another album whose sound leans distinctly modern.

Their once green‑blooded Thrash Metal fury had, over the previous three albums, drifted worryingly toward Groove Metal. A telling example is the heavily Pantera‑influenced My December, which made sure that this tendency didn’t fade from memory. Not that this is a bad album — far from it. It’s a child of the ’90s, and that shows very clearly.

The beloved Bobby “Blitz” Ellsworth on vocals evokes, as always, a Bon Scott on… steroids, injecting life into the material. D.D. Verni, with his notably low‑tuned and borderline out‑of‑pitch bass, keeps the pulse steady. And of course, Joe Comeau, known to us from the mighty Liege Lord — where he served as vocalist — handles guitar duties here, less than two years before transferring to Annihilator, again as a singer. Tim Malare on drums completes the quartet.

The self‑titled Necroshine opens the record, and together with Let Us Prey, Revelation, Stone Cold Jesus, Forked Tongue Kiss, I Am Fear, and Black Line, they certainly won’t disappoint. Though it would still take some time before the band made the crucial turn back toward what they once started from.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: WIZARD – ...Of Wariwulfs and Bluotvarwes

 

WIZARD – ...Of Wariwulfs and Bluotvarwes

Massacre Records

I believe that the new album from WIZARD is a concept release based on a novel by a well-known German fantasy writer. This marks an interesting change of direction after the Viking mythology that dominated the band's previous album, offering a fresh lyrical setting while remaining firmly rooted in the band's established identity.

Musically, however, very little has changed. WIZARD continue to deliver their trademark Teutonic heavy metal, strongly influenced by MANOWAR, with powerful riffs, driving rhythms, and an epic atmosphere. Fans of the band's traditional sound will immediately recognize the familiar formula.

Unfortunately, where the album falls short is in its songwriting. Compared to its predecessor, Thor, this release does not sound nearly as inspired. The band relies too heavily on familiar patterns, and although the songs are consistently fast and heavy, they lack the memorable melodies and distinctive hooks that made earlier WIZARD albums so enjoyable. The performances are solid enough, but technical ability has never been the band's greatest strength. Instead, WIZARD built their reputation on writing energetic, catchy, and memorable heavy metal anthems—something that is largely missing here.

As someone who genuinely enjoys WIZARD's music, I have to admit that this album left me rather indifferent. It feels too predictable, not only by the band's own standards but also within the traditional heavy metal genre as a whole. There are no truly weak moments, but there are very few highlights either, making the album feel surprisingly routine from a band that has shown much greater creativity in the past.

In the end, ...Of Wariwulfs and Bluotvarwes is an album that will probably satisfy only the band's most dedicated followers. Everyone else would be better served exploring WIZARD's stronger releases, where the band displayed far more inspiration and songwriting quality.

Nick Parastatidis

REVIEW: SYMBOLIC – Scarvest

 

SYMBOLIC – Scarvest

Twilight Records

Among the many bands carrying the name Symbolic, this release concerns the German quartet and their sophomore album, Scarvest. Given the confusion surrounding their name—there are more than a dozen acts listed under it—this clarification is essential before diving into the music itself.

On Scarvest, Symbolic present a remarkably cohesive fusion of their melodic death metal foundation with elements drawn from brutal death metal and melodic black metal. While the melodic death metal tag is the most convenient descriptor, it doesn’t fully capture the breadth of their approach. The band weave aggression and technicality into their melodic framework with impressive precision, creating a sound that feels both expansive and meticulously engineered.

The musicianship is consistently striking. Riffs are intricate without sacrificing impact, the rhythm section is tight and articulate, and the lead work stands out through its fluidity and emotional phrasing. This interplay results in a form of technical death metal that remains accessible thanks to its strong melodic backbone. Fans who appreciate death metal enriched with elaborate solos and well‑crafted harmonies will find Scarvest particularly rewarding.

Production-wise, the album benefits from a clear, forceful mix that highlights the band’s precision without flattening their dynamic range. The cover artwork adds another layer of interest—intense, symbolic, and thought‑provoking, it complements the album’s thematic weight and sonic ambition.

Scarvest is a release worth seeking out. Symbolic have succeeded in merging contrasting stylistic elements into a unified, compelling whole, delivering a record that stands out in a crowded field. It’s an album I fully intend to add to my collection, and one I strongly recommend exploring.

Christine  Parastatidou