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

REVIEW: NUCLEAR ASSAULT, Third World Genocide

 

NUCLEAR ASSAULT, Third World Genocide (2005)

Screaming Ferret Wreckords

Ένωση ξανά για να αποδείξουν πολλά 

Οι thrash metalers με το σκεπτόμενο στιχουργικό περιεχόμενο — σε μια Sacred Reich λογική — με αυτό το άλμπουμ ανέβασαν ακόμη περισσότερο τη συνείδηση του κοινού. Δεν ξεχνάω ποτέ το picture‑disc βινύλιο του Survive, με το οποίο τους γνώρισα, καθώς και το κλασικό Handle With Care, που πρέπει κάποια στιγμή να ξανακούσω, αφού παραμένει το αγαπημένο μου άλμπουμ τους.

Με όρεξη να προσπαθήσουν για το καλύτερο, η ομάδα των Erik Burke, Dan Lilker, Glenn Evans και John Connelly μας δείχνει εδώ τι είναι ακόμη ικανή να προσφέρει, μετά από σχεδόν δεκατέσσερα χρόνια δισκογραφικής απουσίας.

Ένα άλμπουμ σύγχρονο και απόλυτα μέσα στην εποχή του, με μερικά πλέον επίσης κλασικά κομμάτια — όπως τα Third World Genocide, Price of Freedom, Human Wreckage, Living Hell, Exoskeletal, Fractured Minds — να προστίθενται στα παλιότερα.

English:

Reunited to prove they still have plenty to offer 

The thrash metalers with the thoughtful, socially aware lyrical approach — very much in a Sacred Reich vein — managed with this album to elevate their audience’s consciousness even further. I’ll never forget the picture‑disc vinyl of Survive, the record through which I first discovered them, nor the classic Handle With Care, which I really should revisit at some point, since it remains my favorite album of theirs.

Driven by a genuine desire to push for something better, the lineup of Erik Burke, Dan Lilker, Glenn Evans and John Connelly shows here exactly what it is still capable of delivering after nearly fourteen years of silence on the discographic front.

A modern album, perfectly in tune with its time, featuring several tracks that have already earned their place among the band’s classics — Third World Genocide, Price of Freedom, Human Wreckage, Living Hell, Exoskeletal, Fractured Minds — now standing proudly alongside the older material.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: DIO, Lock Up The Wolves

 

DIO, Lock Up The Wolves (1990)

Vertigo

Του 'δωσα κι άλλη ευκαιρία, αλλά μάταια.

Τελικά, το «λάθος» άλμπουμ, τη λάθος εποχή, από το λάθος συγκρότημα, δεν είναι σίγουρα τόσο κλασικό όσο τα πρώτα τέσσερα δικά του (τρία θα πουν κάποιοι, αφού για λόγους που δεν συμμερίζομαι, αγνοούν επιδεικτικά το Dream Evil του 1987). Έχει έντονη τη χροιά ενός σόλο άλμπουμ του Ronnie James Dio, καθώς κανείς από τους μουσικούς που παίζουν εδώ δεν συμμετείχε στα προηγούμενα ή στα επόμενα άλμπουμ — με εξαίρεση τον ντράμερ Simon Wright, ο οποίος επέστρεψε από το 2000 και μετά· με τους υπόλοιπους δεν συνεργάστηκε ποτέ ξανά.

Εδώ, στο σωτήριο έτος 1990, έχουμε το πέμπτο στούντιο άλμπουμ του DIO. Και λέω «του» και όχι «των», γιατί, όπως είπαμε, εδώ έφτασε πιο κοντά από ποτέ στο να είναι σόλο καλλιτέχνης και όχι συγκρότημα! Δεν καταλαβαίνω —και το επαναλαμβάνω— πώς και γιατί αρκετοί το θεωρούν καλύτερο από το προηγούμενο, το Dream Evil (1987).

Μαζί με τον τιτάνα στη φωνή αλλά νάνο στο μπόι τραγουδιστή, βρίσκουμε τους κυρίους Simon Wright (AC/DC) στα ντραμς, Jens Johansson (Malmsteen, Stratovarius) στα πλήκτρα, Teddy Cook στο μπάσο και το παιδί-θαύμα, τον 18χρονο τότε Rowan Robertson, στις κιθάρες.

Τα Wild One, Born On The Sun και Lock Up The Wolves τα θυμάσαι, αλλά μέχρι εκεί. Το άλμπουμ χαρακτηρίζεται από υπερβολική εμπορική διάθεση και μια rock λογική για πιο εύπεπτα κομμάτια. Δεν το ακούω συχνά, και μάλλον αυτό δεν πρόκειται να αλλάξει σύντομα.

English:

I gave it another chance, but in vain.

Ultimately, the "wrong" album, at the wrong time, by the wrong band, is certainly not as classic as his first four (three, some would say, since for reasons I do not share, they pointedly ignore 1987’s Dream Evil). It carries the distinct vibe of a Ronnie James Dio solo record, as none of the musicians playing here participated in either the preceding or the subsequent albums—with the sole exception of drummer Simon Wright, who returned from 2000 onward; Dio would never collaborate with any of the others again.

Here, in the saving year of 1990, we have DIO's fifth studio album. And I say "his" and not "their" because, as mentioned, this is the closest he ever came to being a solo artist rather than a band! I don’t understand—and I repeat, I really don't—how and why some people consider this superior to its predecessor, Dream Evil (1987).

Alongside the vocal titan (who was, admittedly, a dwarf in stature), we find Mr. Simon Wright (AC/DC) on drums, Jens Johansson (Malmsteen, Stratovarius) on keyboards, Teddy Cook on bass, and the 18-year-old prodigy of the time, Rowan Robertson, on guitars.

You might remember "Wild One," "Born On The Sun," and "Lock Up The Wolves," but that's about it. The album is characterized by an excessive commercial push and a radio-friendly rock logic aiming for more easily digestible tracks. I don’t listen to it often, and that is unlikely to change anytime soon.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: TROLL BENDS FIR - Hoplnir EP

 

TROLL BENDS FIR - Hoplnir EP

Independent

Here is a release that will definitely put a smile on your face. TROLL BENDS FIR’s approach to folk metal may not be considered revolutionary — something extremely difficult to achieve in a genre with such a strong and established identity — but what they bring to the table is something equally valuable: freshness, strong melodies, and a genuine sense of joy that immediately connects with the listener.

“Hoplnir” feels like a journey back in time, transporting the listener to a medieval celebration in a small Russian village, where the beer flows freely, traditional melodies fill the air, and people gather together to sing, dance, and forget their troubles for a while. It captures the spirit of an era when, despite difficult circumstances, people still knew how to celebrate life and find happiness in simple moments.

The strength of this EP lies in its atmosphere. TROLL BENDS FIR successfully combine heavy metal energy with Russian folk influences, creating music that feels both familiar and full of personality. Fans of bands such as MAGO DE OZ, KORPIKLAANI, and even the folk-inspired side of JETHRO TULL should find plenty to enjoy here. However, TROLL BENDS FIR have their own charm, and in my opinion, they manage to bring a level of freshness and spontaneity that some more established bands in the genre have been lacking in recent years.

Personally, I found “Hoplnir” to be a very enjoyable listen. The enthusiasm and positive energy behind the songs are impossible to ignore, and the band clearly has a strong understanding of how to create memorable folk metal without losing the fun and celebratory spirit that defines the style.

Hopefully, with the support of a label and more exposure from the metal press, TROLL BENDS FIR will reach a wider audience, because they have the qualities that many listeners are currently searching for: authenticity, catchy compositions, and a refreshing approach to a genre that can sometimes become predictable.

Folk metal fans should definitely give this EP a chance. “Hoplnir” is a release that brings back the simple pleasure of listening to music that makes you want to raise your glass, sing along, and enjoy the moment.

Thanks for the great time, guys — I truly enjoyed the journey.

Nick Parastatidis

REVIEW: UNTIL RAIN – Pandemic EP

 

UNTIL RAIN – Pandemic EP

Steel Gallery Records

The Pandemic EP marks the second official release from Greek progressive metal outfit Until Rain, issued through Steel Gallery Records. Although labeled as a mini‑CD, its running time reaches an impressive 42 minutes, offering material substantial enough to stand alongside a full‑length album.

The EP consists of two tracks drawn from the band’s debut and four new compositions, one of which appears in two different versions, adding depth and variation to the listening experience. Structurally, the release functions both as a bridge between their first album and their future direction, and as a showcase of the band’s evolving identity within the progressive metal spectrum.

Until Rain demonstrate solid musicianship throughout. Their performance is confident, technically capable, and stylistically coherent with the genre’s demands. Even for listeners who may not be deeply invested in progressive metal, the EP maintains accessibility through clear arrangements and well‑balanced dynamics. The production is clean and effective, allowing each instrument to breathe while supporting the band’s more intricate passages.

Overall, Pandemic is a noteworthy release for progressive metal fans, offering a substantial amount of material and a clear indication of the band’s potential. It positions Until Rain as a promising Greek act within the genre, and it certainly raises anticipation for their next full‑length step.

Ioannis Kaskamanidis

REVIEW: DIO, Strange Highways

 

DIO, Strange Highways (1993)

Vertigo

Πού είναι η μαγεία;

Με τον άσχημο τρόπο που οι Black Sabbath, για δεύτερη φορά, κόπηκαν στη μέση — ακριβώς όπως είχε γίνει το 1982 — ο Ronnie James Dio και ο ντράμερ Vinnie Appice αφήνουν τους Iommi και Butler να περιμένουν τον Ozzy (να τον αφήσει η αδηφάγα μάνατζερ-σύζυγός του) να αξιωθεί και να επανέλθει, ώστε το συγκρότημα να επιστρέψει στην αρχική του μορφή, όπως τελικά έγινε τρία χρόνια αργότερα. Έτσι, κλείνουν τον Jeff Pilson στο μπάσο, από το συγκρότημα Dokken, και στην κιθάρα έρχεται ο σχετικά άσημος Tracy G. Οπότε, λίγο πριν τελειώσει η χρονιά, το συγκεκριμένο άλμπουμ βγαίνει στα καταστήματα παγκοσμίως ως το νέο άλμπουμ των Dio!

Υποθέτω ότι το σοκ ήταν σεισμικό, με τον δρόμο που χάραξε αυτό το νέο — κατά το ήμισυ — σχήμα. Βέβαια, ο σεισμός, πάλι υποθέτω, είχε ως κύριο θύμα τους φανατικούς φίλους του ήχου τους, που είχαν ξεμείνει στο τελευταίο κλασικό άλμπουμ του 1987, το Dream Evil· άντε, έστω, το Lock Up the Wolves του 1990, αν και εκεί είχε ήδη χαλάσει άσχημα η συνταγή και η χημεία.

Βαρύ και αργόσυρτο, μοντέρνο ρυθμικό (groove) metal, με θεματολογία ανάλογη του Dehumanizer των Sabbath του 1992 — δηλαδή ο σύγχρονος τεχνολογικός κόσμος και τα θύματά του, οι άνθρωποι. Ναι, εντάξει, καλή σαν σκέψη, αλλά πρώτα απ’ όλα είναι πολύ μακριά από τη φανταστική θεματολογία και τα επιβλητικά μεσαία και γρήγορα τέμπο που είχαν επιδείξει έως το ’87. Ύστερα, δεν κολλάει με κανένα από τα άλμπουμ των Dio.

Εν κατακλείδι, δεν τολμώ να πω «μάπα το καρπούζι», αλλά σίγουρα δεν είναι το αγαπημένο μου — και μάλλον ούτε και εκατομμυρίων άλλων από τότε. Συμπαθώ το ομότιτλο Strange Highways, τα Firehead, Give Her the Gun, Blood From a Stone, αλλά ως εκεί.

Δυστυχώς, είπαμε: η δεκαετία του ’90 δεν ξεκίνησε καλά για τη συντριπτική πλειονότητα των παλιών· τις περισσότερες φορές, όμως, με δική τους ευθύνη.

English:

Where is the magic?

In the same unfortunate way that Black Sabbath were split in two for a second time — exactly as it had happened back in 1982 — Ronnie James Dio and drummer Vinnie Appice left Iommi and Butler waiting for Ozzy (for his voracious manager‑wife to finally let him loose) to feel worthy enough to return, so the band could reunite in its original form, as it eventually did three years later. So they brought in Jeff Pilson on bass, from Dokken, and on guitar the relatively unknown Tracy G. And just before the year came to an end, this particular album hit record stores worldwide as the new Dio release!

I assume the shock must have been seismic, given the direction this new — half‑reformed — lineup took. And of course, that seismic wave, I again assume, hit hardest among the die‑hard fans of their classic sound, those who had been left hanging since the last truly classic album in 1987, Dream Evil — or at best Lock Up the Wolves in 1990, though even there the recipe and the chemistry had already gone awry.

Heavy and slow‑dragging, modern rhythmic (groove) metal, with themes similar to Sabbath’s Dehumanizer from 1992 — meaning the contemporary technological world and its victims: human beings. Yes, fine, an interesting concept, but first of all it strays far from the fantastical themes and the imposing mid‑tempo and fast tracks they had showcased up until ’87. And beyond that, it simply doesn’t fit with any of the Dio albums.

In conclusion, I won’t go as far as saying “a total dud,” but it’s certainly not my favorite — and probably not the favorite of millions of others since then. I do like the title track Strange Highways, as well as Firehead, Give Her the Gun, and Blood From a Stone, but that’s about it.

Unfortunately, as we’ve said before: the ’90s did not start well for the overwhelming majority of the old guard — most of the time, though, through their own fault.

Τάκης "Ε-Μortal One" Γιώτης!

NocturN unleash “Stones and Bones”

 

Romanian black metal force NocturN return with a new single, “Stones and Bones,” a slow‑burn descent into suffocation, vengeance, and inevitable doom. The track pushes the band’s atmospheric black metal into even bleaker territory, channeling crushing riffs, ominous melodies, and a suffocating sense of dread that fits seamlessly into the album’s unfolding narrative.

At this point in The Conjuring, Malphas’ hatred reaches its peak. Consumed by vengeance, he condemns the Architect to a merciless fate—buried alive beneath cold stone and unforgiving earth. “Stones and Bones” mirrors that grim punishment with dense, oppressive instrumentation and a cinematic approach to storytelling that heightens every moment of despair.

Musically, the single stands among the album’s most emotionally charged offerings. NocturN balance raw aggression with atmospheric depth, weaving darkness, melody, and ritualistic tension into a track that feels both punishing and immersive. It’s a chapter that doesn’t just advance the story—it embodies it.

With The Conjuring, NocturN continue expanding their bleak universe, and “Stones and Bones” emerges as one of its most unforgettable moments—a chilling portrayal of hatred, entrapment, and the slow fade into oblivion.