REVIEW: KA'APER - When Gods Walked The Earth

 

KA'APER - When Gods Walked The Earth

Satanath Records

Ancient Egypt has long served as a powerful source of inspiration for the global heavy metal scene, functioning as a thematic cornerstone from Iron Maiden's iconic Powerslave to the establishment of fully Egyptology-inspired death metal by Nile. Within this thematic tradition comes a new and particularly noteworthy addition: Ka'aper. Based in Cyprus, the band is a multinational project that brings together musicians from Russia and Ukraine, demonstrating in practice the enduring ability of art to unite people beyond geopolitical and economic conflicts.

Formed in 2024, the group has displayed remarkable productivity, unveiling its first full-length album, When Gods Walked the Earth, after only two years of existence. The title itself contains clear references to alternative prehistory and ancient astronaut theories—evoking associations with the work of Erich von Däniken—and immediately prepares the listener for the album's mysterious and epic atmosphere.

The band's name most likely derives from Kaaper (c. 2500 BC), an ancient Egyptian scribe and priest of the Fourth and Fifth Dynasties, also known as "Sheikh el-Beled" ("Village Chief"). When his tomb at Saqqara was discovered by Auguste Mariette, the strikingly realistic wooden statue depicting him—carved from sycamore wood and featuring eyes made of rock crystal and copper—astonished local excavators because of its uncanny resemblance to their own village headman. Today, this statue is regarded as one of the finest examples of realistic sculpture from Egypt's Old Kingdom and is displayed at the Egyptian Museum in Cairo.

Musically, When Gods Walked the Earth is characterized by an exceptionally balanced structure, with compositions that remain focused and effective without unnecessary excess or overextension. Ka'aper's core sound is rooted in modern melodic death metal, yet it is approached through a distinctly atmospheric and immersive lens.

The album's orchestration is layered and dynamic. The aggression of the rhythmic riffs and death-metal vocals is expertly balanced by the extensive use of keyboards, which function not merely as background texture but as an integral element in shaping the dark and ancient character of the material. Stylistically, Ka'aper draw clear inspiration from the European school of melodic death metal. The atmospheric sensibilities of Hypocrisy are readily apparent, as are the structural melodicism and refined guitar work associated with Dark Tranquillity.

Particular mention must be made of the track "Lament for Osiris." Here, the influence of Dark Tranquillity becomes even more pronounced, while the incorporation of expressive clean female vocals lends the composition a deeply dramatic and ritualistic quality, creating a compelling contrast with the brutal vocal delivery. At the same time, the band is unafraid to broaden its horizons by selectively incorporating elements of progressive metal and symphonic metal. These additions are applied with restraint and precision, serving as subtle embellishments that enrich the production's depth without compromising its death metal foundation.

Drawing direct inspiration from ancient Egyptian culture, Ka'aper avoid simple historical narration, choosing instead to explore its metaphysical dimensions. Through their lyrics, the band employs the Egyptian pantheon and beliefs concerning the afterlife as vehicles for addressing humanity's timeless existential questions. Concepts such as mortality, the cycle of life and death, and the deeper meaning of existence are examined with seriousness and thoughtfulness, providing a lyrical framework that perfectly complements the album's evocative musical atmosphere.

When Gods Walked the Earth stands as an impressively mature debut from a band with only two years of history behind it. Ka'aper have succeeded in delivering a work distinguished by a cohesive identity, careful production, and genuine compositional substance. For fans of atmospheric and melodic death metal, as well as listeners who appreciate releases enriched by deep historical and philosophical themes, this album is unquestionably one that deserves a place on their radar.

Nick Parastatidis

Orgasmic Savage Releases New Single "Sacrificial Betrayal"

 

American deathcore band Orgasmic Savage has dropped their latest single, "Sacrificial Betrayal," ahead of their upcoming album. The track was recorded by guitarist Darrell Young and mixed/mastered by Paul Francis at GetRight Recordings Studio.

Hailing from Redford, Michigan, the band was formed in April 2024 by Young, and expanded into a full lineup within a year, driven by pure passion. Known for their dark, gritty, horror-infused sound, Orgasmic Savage delivers a brutal sonic experience that lives up to their name. Their raw creative process, often fueled by substance use, continues to shape their intense music, as exemplified in their previous single, "Prelude To Assimilation."

UNDER THE SHADOWS Release New Video for "Persephone Rising"

Heavy metal project Under The Shadows has unveiled a new music video for the track "Persephone Rising", taken from its forthcoming album "Thesmophoria", scheduled for release on July 2 via Lion Music.

After more than three decades exploring the darker realms of heavy metal, gothic music, and neoclassical folk, Under The Shadows returns with a new chapter that reflects years of creative evolution and experimentation. The project combines the raw energy of classic metal, the introspective atmosphere of gothic soundscapes, and the storytelling traditions of folk music.

According to the band, Thesmophoria is not a debut but an artistic return to its core identity, shaped by decades of experience, collaboration, and musical growth. The album explores themes of darkness and resilience, memory, and the search for meaning across genre boundaries, resulting in a sound that is both heavy and reflective.

Review: SOUL KILLING FEMALE – Utopia Mine

 

SOUL KILLING FEMALE – Utopia Mine

Independent

SOUL KILLING FEMALE is undoubtedly one of the most intriguingly named bands I have encountered, and while the moniker itself offers little insight into the band's musical style, it hints at a certain intensity and unconventional approach—an impression reinforced by the album's cover artwork. Hailing from Canada, this solo project delivers atmospheric sludge metal infused with a distinctive and original sound characteristic of the Canadian underground scene.

The Canadian music scene is renowned for its vibrancy and propensity for producing innovative and unconventional bands, and SOUL KILLING FEMALE is no exception. The project skillfully blends various elements to craft compositions that evoke dark, immersive atmospheres without allowing the heaviness of down-tuned guitars to overshadow the nuanced layers within the music.

"Utopia Mine" stands out as one of the most compelling sludge metal albums I have recently encountered. However, it is essential to note that this album caters to a specific audience—listeners with a refined taste for atmospheric and heavy music. Its intricate textures and dark moods may not appeal to everyone, but for those who appreciate daring and well-crafted sludge metal, it is highly recommended.

In summary, SOUL KILLING FEMALE's "Utopia Mine" is a remarkable release that exemplifies Canadian originality and depth within the genre. If you are an enthusiast of atmospheric sludge metal seeking a challenging yet rewarding listening experience, this album is certainly worth exploring.

Christine  Parastatidou

REVIEW: TRUST, Repression

 

TRUST, Repression (1980)

CBS

Μία μίξη που μάλλον δεν πέτυχε, δυστυχώς

Στα τέλη της δεκαετίας του ’70, η Γαλλία είχε να επιδείξει αξιόλογη μουσική κίνηση, όχι μόνο σε επίπεδο συγκροτημάτων αλλά και ως χώρα παραγωγής και ηχογράφησης μερικών γνωστών άλμπουμ. Οι Γάλλοι, ως λαός, έχουν συχνά χαρακτηριστεί σωβινιστές όσον αφορά τη χρήση ξένων γλωσσών. Ίσως όχι και τόσο άδικα, αν σκεφτεί κανείς ότι τα γαλλικά υπήρξαν κάποτε η διεθνής γλώσσα, πριν οι Αγγλοσάξονες επιβάλουν τη δική τους.

Τέλος πάντων, εδώ έχουμε τους Trust στο δεύτερο άλμπουμ τους, ένα σχήμα που συγκαταλέγεται στα πρωτοπόρα συγκροτήματα τα οποία επιχείρησαν ένα μουσικό κράμα ανάμεσα σε Hard Rock, Punk Rock και Heavy Metal, με στίχους μάλιστα στη μητρική τους γλώσσα, όπως αρμόζει σε γνήσιους Γάλλους. Από τις τάξεις τους είχε περάσει και ο Nicko McBrain, χρόνια πριν ενταχθεί στους Iron Maiden, ενώ αξίζει να θυμίσω για ακόμη μία φορά ότι το Antisocial από αυτό το άλμπουμ γνώρισε μεγάλη επιτυχία όταν οι Anthrax το διασκεύασαν οκτώ χρόνια αργότερα στο άλμπουμ State of Euphoria, μεταφράζοντας τους στίχους στα αγγλικά.

Τσαμπουκάς, μεταλλοπάνκικη τσαντίλα και οι γαλλικοί στίχοι από πάνω να προσθέτουν ακόμη μεγαλύτερο βάρος στο τελικό αποτέλεσμα. Στίχοι με έντονο κοινωνικό και πολιτικό περιεχόμενο, σε αντίθεση με τα περισσότερα συγκροτήματα του κινήματος NWOBHM από το νησί βόρεια της Μάγχης.

Πάρτε AC/DC, Judas Priest, Saxon, Ramones, The Dictators και Brats σε ίσες δόσεις και περάστε τους από τη μηχανή του κιμά. Το ματωμένο αυτό μείγμα που θα προκύψει προσεγγίζει αρκετά το ύφος των Trust στο Répression.

Πρόκειται για ένα διαφορετικό και ενδιαφέρον μουσικό ύφος, το οποίο αναγνωρίστηκε στη Γαλλία. Εκτός συνόρων, όμως, οι περισσότεροι έμαθαν τους Trust κυρίως χάρη στους Anthrax.

Τα Instinct de Mort, Monsieur Comédie, Au Nom de la Race, Saumur, Fatalité και Sects αποτελούν το απόσταγμα του δίσκου και τα κομμάτια που μένουν περισσότερο στη μνήμη μετά το τέλος της ακρόασης.

English:

A Blend That Probably Didn’t Work, Unfortunately

By the late 1970s, France had a noteworthy music scene to show for itself, not only in terms of bands but also as a country where several well-known albums were produced and recorded. The French, as a people, have often been labeled chauvinistic when it comes to the use of foreign languages. Perhaps not entirely unfairly, considering that French was once the international language before the Anglo-Saxons imposed their own.

In any case, here we have Trust with their second album, a band that ranks among the pioneers who attempted a musical fusion of Hard Rock, Punk Rock, and Heavy Metal, complete with lyrics in their native tongue—as befits true Frenchmen. Nicko McBrain passed through their ranks years before joining Iron Maiden, and it's worth reminding once again that Antisocial from this album became a major hit when Anthrax covered it eight years later on State of Euphoria, translating the lyrics into English.

Attitude, metal-punk aggression, and French-language lyrics that add even more weight to the overall impact. The lyrics are heavily charged with social and political themes, in contrast to most of the NWOBHM bands from the island north of the English Channel.

Take AC/DC, Judas Priest, Saxon, Ramones, The Dictators, and Brats in equal proportions and run them through a meat grinder. The bloody concoction that comes out the other end comes fairly close to describing Trust's style on Répression.

It's a distinctive and interesting musical approach, one that earned the band recognition in France. Outside their homeland, however, most people came to know Trust mainly through Anthrax.

Instinct de Mort, Monsieur Comédie, Au Nom de la Race, Saumur, Fatalité, and Sects are the album's standout cuts and the tracks that linger most strongly in the memory after the listening experience is over.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: AC/DC, Black Ice

 

AC/DC, Black Ice (2008)

Columbia Records

Η πραγματική επιστροφή στο μαύρο

Το συγκρότημα με τη μυθική επιρροή σε ολόκληρο το φάσμα του ηλεκτρικού ήχου, που έχει ανάγει σε επιστήμη το «μία από τα ίδια», αλλά παρ’ όλα αυτά διατηρεί σχεδόν πάντα σε υψηλή ποιότητα την αξία της μουσικής του. Οι Αυστραλοί, με αυτό το άλμπουμ, ξαναπιάνουν τα πολύ υψηλά ποιοτικά στάνταρ που είχαν αφήσει λίγο να υποχωρήσουν μετά το εκπληκτικό εκείνο Ballbreaker των μέσων της προηγούμενης δεκαετίας.

Δεκαπέντε κομμάτια, ακριβώς όπως τα φανταζόμασταν και όπως έπρεπε πράγματι να είναι. Η ιστορία του δίσκου έχει και το δικό της «κουτσομπολιό», αφού το CD κυκλοφόρησε σε τέσσερις διαφορετικές εκδοχές, με μοναδική ουσιαστική διαφορά το χρώμα στο λογότυπό τους! Προσωπικά, πέτυχα την κόκκινη έκδοση σε δισκάδικο που υπήρχε τότε μέσα στις εγκαταστάσεις του αεροδρομίου της Αθήνας.

Η συναυλία τους στο Ολυμπιακό Στάδιο, λίγο καιρό αργότερα, τους έφερε για πρώτη και, προς το παρόν… τελευταία φορά στη χώρα μας. Είμαστε τελικά τυχεροί όσοι βρεθήκαμε εκείνο το ανοιξιάτικο βράδυ μέσα στο στάδιο!

Πέρα από όλα τα αναμενόμενα κλασικά τους κομμάτια, σχεδόν το μισό συγκεκριμένο άλμπουμ τιμήθηκε δεόντως: Rock ’n’ Roll Train, Big Jack, War Machine, Skies on Fire, She Likes Rock ’n’ Roll, Black Ice είναι ένα μικρό δείγμα ενός τελικά μεγάλου δίσκου.

English:

The True Return to Black

The band with the legendary influence across the entire spectrum of electric sound, a group that has turned “more of the same” into an art form, yet still manages to preserve the quality and value of its music at an exceptionally high level almost every time. With this album, the Australians once again reach the very high standards they had allowed to slip slightly after that remarkable Ballbreaker from the middle of the previous decade.

Fifteen tracks, exactly as we imagined them and exactly as they truly should have been. The story behind the record also comes with its own bit of “gossip,” as the CD was released in four different editions, with the only real difference being the colour of their logo! Personally, I came across the red edition in a record store that existed at the time inside the facilities of Athens Airport.

Their concert at the Olympic Stadium, a short while later, brought them to our country for the first and, so far… only time. In the end, those of us who were there inside the stadium on that spring evening were truly lucky!

Beyond all their expected classics, almost half of this particular album received its due honouring in the setlist: Rock ’n’ Roll Train, Big Jack, War Machine, Skies on Fire, She Likes Rock ’n’ Roll, Black Ice — just a small sample of what ultimately proved to be a great record.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: HUNTRESS – Off With Her Head

 

HUNTRESS – Off With Her Head

Independent

Here we have a new American band moving in the heavy/speed metal direction. This is their debut EP, containing three songs that introduce the band’s musical identity and give a first taste of what they are capable of.

Behind the microphone we find Jill Janus, a former Playboy model who proves that her involvement with music is not just a publicity move. Her vocal performance is actually quite strong, and this comes from someone who has never been a big fan of female vocals, whether they belong to the old school or the newer generation of metal bands such as NIGHTWISH, LACUNA COIL, or THE GATHERING. Jill’s voice fits the aggressive and powerful character of the music, adding personality and energy to the songs.

The guitar work is also quite impressive, with solid riffs and a good understanding of the heavy/speed metal style. Although this is only a short release, all three tracks maintain a good level of quality and show that the band has potential. Among them, "The Creeper" stands out as probably the strongest song of the EP, combining the best elements of their sound.

This is a promising first step from HUNTRESS, and the band are preparing to release their first full-length album soon. Until then, they are definitely a name worth keeping in mind for fans of modern heavy metal with a strong traditional influence.

Ioannis Kaskamanidis