REVIEW: ΙMMORTAL, Pure Holocaust

 

ΙMMORTAL, Pure Holocaust (1993)

Osmose Productions

Η απαρχή του αέναου ψύχους

Μετά το ομότιτλο EP και το πρώτο τους άλμπουμ, οι δύο Νορβηγοί μουσικοί (ασχέτως της φωτογραφίας στο εξώφυλλο), Abbath Doom Occulta και Demonaz Doom Occulta, ξεκινούν την ξέφρενη πορεία τους στο ψύχος και το έρεβος των φανταστικών — ή και μη — πεδίων της μουσικής τους.

Το νορβηγικό Black Metal, το οποίο έχει ήδη εκραγεί εκείνη την περίοδο, έρχεται να δώσει αέρα ανανέωσης στη σκληρή μουσική, η οποία στις αρχές των 90s δεν διαθέτει πλέον πολλά περιθώρια εξέλιξης. Ο δίσκος κινείται σε ταχύτερα τέμπο από τον προκάτοχό του και το μυστικιστικό, αλλά ταυτόχρονα παγωμένο ύφος που οι Immortal θα καλλιεργήσουν ακόμη περισσότερο στη συνέχεια της πορείας τους είναι ήδη έντονο σε συνθέσεις όπως τα The Sun No Longer Rises (ίσως το πλέον χαρακτηριστικό κομμάτι του δίσκου), Unsilent Storms in the North Abyss, A Sign for the Norse Hordes to Ride, Frozen by Icewinds, Storming Through Red Clouds and Holocaustwinds και Pure Holocaust, τα οποία εμπεριέχουν τα βασικά συστατικά της συνολικής τους υπόστασης.

Δεν υπάρχουν εδώ αναφορές στο δίπολο φωτεινού και σκοτεινού δαίμονα, ούτε αξιοποιείται η αντιπαράθεση Θεού και Διαβόλου, στην οποία η πλειονότητα των σύγχρονών τους black metallers είχε αναλωθεί, τοποθετώντας τους δύο πόλους σε μια διαρκή σύγκρουση και υποστηρίζοντας σχεδόν πάντοτε τον δεύτερο. Αντίθετα, η φύση και οι εικόνες της μέσα στο ζωφερό σκοτάδι αποτελούν τη βασική πηγή έμπνευσής τους. Για τον λόγο αυτό, παρακολουθώ πρωτίστως αυτούς, έπειτα τους συμπατριώτες τους Darkthrone και αμέσως μετά τους Emperor.

Πρόκειται για ένα άλμπουμ που, λογικά, βρίσκεται ήδη στις συλλογές της συντριπτικής πλειονότητας των φίλων του ακραίου Metal και το οποίο, στην τελική, δεν χρειάζεται ιδιαίτερη ανάλυση.

Αξίζει, τέλος, να σημειωθεί ότι η παρουσία του αείμνηστου πλέον ντράμερ Grim (επάνω δεξιά στη φωτογραφία) ήταν μάλλον μια απλή guest συμμετοχή. Όλα τα κρουστά, καθώς και το μπάσο, τα πλήκτρα και φυσικά τα φωνητικά, ανήκουν στον Abbath!

English:

The Beginning of the Eternal Frost

Following their self-titled EP and debut album, the two Norwegian musicians (regardless of what the cover photo might suggest), Abbath Doom Occulta and Demonaz Doom Occulta, embark on their relentless journey into the frost and darkness of the imaginary—or perhaps not so imaginary—realms that define their music.

At a time when Norwegian Black Metal had already erupted onto the scene, bringing a breath of renewal to heavy music, which by the early '90s seemed to have little room left for further evolution, this album pushed things forward. The record adopts faster tempos than its predecessor, while the mystical yet freezing atmosphere that Immortal would continue to refine throughout their career is already fully present in songs such as The Sun No Longer Rises (arguably the album's defining track), Unsilent Storms in the North Abyss, A Sign for the Norse Hordes to Ride, Frozen by Icewinds, Storming Through Red Clouds and Holocaustwinds, and Pure Holocaust. Together, these compositions contain all the essential elements of the band's identity.

There are no references here to the duality of a benevolent and malevolent demon, nor to the God-versus-Devil conflict that so many of their contemporaries in the Black Metal scene had become preoccupied with, portraying the two forces in perpetual opposition while almost invariably siding with the latter. Instead, nature itself—and its imagery shrouded in bleak darkness—serves as their primary source of inspiration. For that reason, Immortal have always been the band I followed first, followed by their compatriots Darkthrone and then Emperor.

This is an album that, in all likelihood, already occupies a place in the collections of the vast majority of extreme Metal fans and, ultimately, one that hardly requires extensive analysis.

Finally, it is worth noting that the presence of the late drummer Grim (pictured in the upper-right corner of the photograph) was most likely nothing more than a guest appearance. All drum performances, as well as the bass, keyboards, and of course the vocals, were handled by Abbath himself.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: PALLAS – XXV

 

PALLAS – XXV

Mascot Records

PALLAS is a UK-based progressive rock band that emerged as one of the pioneering acts within the neo-progressive movement during the early 1980s, a period marked by the resurgence of progressive rock’s second wave. Alongside contemporaries such as Marillion, IQ, and Pendragon, PALLAS contributed to a revitalization of the genre at a time when progressive rock was largely considered unfashionable, overshadowed by the prevailing influence of pop and new wave music—not to be confused with the New Wave of British Heavy Metal (N.W.O.B.H.M.).

Originally founded under the name RAINBOW, the band changed its moniker following Richie Blackmore’s departure from Deep Purple and his formation of a new band called RAINBOW. PALLAS began performing regularly in the club circuit, riding the grassroots wave of progressive rock’s revival, which sought to reconnect with the genre’s more elaborate and melodic roots.

Their seventh studio album, XXV, continues to demonstrate the band’s proficiency in crafting compelling melodies within the progressive rock framework. The album’s compositions are characterized by strong melodic lines and atmospheric textures, showcasing the band’s experience and songwriting skills. Notable tracks such as “Falling Down,” “Crash and Burn,” and “Sacrifice” stand out for their memorable hooks and emotional depth.

It is worth noting that XXV presents a somewhat introspective and contemplative tone, which may require listeners to engage with the album multiple times to fully appreciate its nuances. Its reflective nature adds to its depth but might challenge casual listeners expecting more immediate impact.

In conclusion, XXV is a solid addition to PALLAS’s discography and a commendable release within the progressive rock genre. While it may not quite reach the artistic heights of landmark albums like Beat the Drum, it nevertheless exemplifies the band’s continued craftsmanship and dedication to their musical identity. For fans of the genre and the band, it offers a rewarding listening experience that rewards attentive and repeated listens.

Ioannis Kaskamanidis

REVIEW: HEMOPTYSIS – Misanthropic Slaughter

 

HEMOPTYSIS – Misanthropic Slaughter

Metal Matters PR

A truly exceptional metal album acts as an energy amplifier—an adrenaline rush that leaves you feeling invincible and empowered. This metric of impact is how I often gauge the effectiveness of a record, and Hemoptisis’ Misanthropic Slaughter has achieved this to an extraordinary degree.

From my perspective, this band warrants global touring, positioning themselves among the elite of the metal scene. Their raw power and commanding presence on stage are undeniable, and I am confident they will soon receive the recognition they deserve—indeed, the moment is approaching.

Misanthropic Slaughter epitomizes modern thrash metal at its finest; it is a record that promises to become a classic in my collection. Its depth and complexity only reveal themselves more with each listen, as new elements and nuances emerge, solidifying its status as a timeless piece.

Where to begin? Perhaps with the compositions themselves—crafted with precision and ferocity. The riffs are irresistibly catchy, complemented by sharp, aggressive guitar work, intricate solos, and a concrete rhythmic foundation. The vocals are top-tier, elevating the album's brutality and extremity without compromise.

This release encapsulates the essence of thrash metal: relentless, visceral, and uncompromising. Yet, it also seamlessly weaves in classic heavy metal sensibilities and touches of melodic death metal, adding layers of depth and diversity to the sound. It’s remarkable how such a highly talented band remains unsigned—an oversight that seems destined to be rectified soon.

Ultimately, Misanthropic Slaughter is a death/thrash metal onslaught—technical, ferocious, and impeccably produced. I am left utterly stunned and in awe of its intensity and craftsmanship. This album is a brutal, relentless force, and I believe it will leave a lasting mark on the metal landscape.

Christine  Parastatidou

REVIEW: MX,MX

 

MX,MX (2016)

Eat Metal Records

Βαθιά ανάσα και βύθιση στο βάθος του υπεδάφους.

Λοιπόν, αυτό το δισκάκι το έχω από τον γνωστό, σε μεγάλο βαθμό, από την εταιρεία παραγωγής/δισκογραφική/δισκάδικο Γρήγορη. Δεν θα κάνω διαφήμιση, δε χρειάζεται άλλωστε! Μια μέρα μου λέει: «Πάρε αυτό, τους ξέρεις;» Απαντώ μηχανικά: «Ναι, οι MX είναι από το Σάο Πάολο, οι Thrashers...» Μεγάλη κουβέντα, μη τη λες ποτέ με σιγουριά! Λάθος, και όμως, αυτό το άλμπουμ - συλλογή είναι κάποιων άλλων MX από την Ατλάντα των Η.Π.Α., που πότε δεν τους ήξερα. Πλέον τους έμαθα και έτσι μοιραζόμαστε εδώ μια γνώμη.

Ας το πούμε κανονική κυκλοφορία, αν κι όπως ανέφερα, είναι μια συλλογή από κομμάτια τους από διάφορες εποχές. Κλασικό U.S. Heavy, Power, Speed Metal, ακόμη και κάποια πιο επικά σε δομή κομμάτια, και όλα αυτά είναι μερικά από τα ευαίσθητα σημεία μου. Το CD χτύπησε φλέβα!

Υπάρχει κι underground, και υπήρχε παντού και πάντα. Ε, ρε τί πάθαμε!

Τα τραγούδια είναι: Electrocuted Madness, Deceiver (όχι διασκευή σε Judas Priest), Straight Line, Riding on the Edge (μου βγάζει πολύ Cirith Ungol αυτό), Epilogue, Hellbound (εδώ, μουσικά, έχουν επιρροή μόνο οι Omen), Fly With Me Tonight, Purgatory (ούτε αυτό έχει καμία σχέση με Iron Maiden), Infested και Out Of Control.

English:

Deep breath and a plunge into the depths of the underground.

So, I have this little record from the well-known, to a large extent, Gregory company—production, record label, record shop. I won’t bother with advertising; it’s not needed anyway! One day, they tell me: "Take this, do you know them?" I reply mechanically: "Yes, MX are from São Paulo, the Thrashers..." Big talk, never say it with certainty! Wrong, and yet, this album—this compilation—is by some other MX from Atlanta, USA, whom I never knew before. Now I’ve learned about them, and here we share an opinion.

Let’s call it a proper release, although, as I mentioned, it’s a collection of tracks from various eras. Classic U.S. Heavy, Power, Speed Metal, even some more epic-structured songs—all of which are some of my sensitive points. The CD hit a nerve!

There’s also underground, which has always been everywhere and always will be. Oh, what have we been through!

The songs are: Electrocuted Madness, Deceiver (not a cover of Judas Priest), Straight Line, Riding on the Edge (it gives me strong Cirith Ungol vibes), Epilogue, Hellbound (musically, they’re influenced only by Omen here), Fly With Me Tonight, Purgatory (which has nothing to do with Iron Maiden), Infested, and Out Of Control.

Τάκης "Ε-Μortal One" Γιώτης

GUARDIANS OF PURGATORY Release New Single “Guardians of Hell”

 

Canadian heavy/thrash newcomers Guardians of Purgatory have dropped their fierce new single “Guardians of Hell”, marking the latest step in their rapid rise through the modern metal ranks. The track was recorded at Wychwood Sounds, mixed by Christopher Martins, and mastered by Caleb Hyde alongside Martins, giving the release a sharp, high‑impact sonic edge.

Formed in Mississauga, Ontario in December 2025 by Rylan Jones (vocals/guitar) and Magnus Chien (bass), the band blends classic speed‑thrash roots with progressive, technical precision. Originally conceived as a solo project, Guardians of Purgatory quickly evolved into a full collaborative force.

Their January 2026 debut single “The Man in The Padded Cell” surpassed 8,000 streams, while their gritty March 2026 live debut and cinematic street‑style photoshoot helped cement their visual identity. With “Guardians of Hell,” the band sharpen their sound even further, signaling a confident step toward their upcoming releases.

REVIEW: ΙN FLAMES, Soundtrack To Your Escape

 

ΙN FLAMES, Soundtrack To Your Escape (2004)

Nuclear Blast Records

Όχι κι άλλο κάρβουνο.

Έχει χάσει αυτό το συγκρότημα την Death Metal αισθητική του εντελώς μετά το 2000. Με την προηγούμενη προσπάθεια έχασε και πλήθος φίλων του. Με αυτή την προσπάθεια, κέρδισε πλήθη νέων φίλων ψαρεύοντας στα θολά νερά μεταξύ Nu Metal και Deathcore.

Ενδιαφέρουσες ιδέες, βυθισμένες σε έναν ωκεανό από πλαστική μεταμοντέρνα μουσική άποψη. Ο νέος αιώνας δείχνει ότι δεν πήγε καλά για αυτούς, με δική τους ευθύνη βέβαια. Οι εποχές που αποτελούσαν τα πρώτα τέσσερα, άντε πέντε άλμπουμ τους, την ανανέωση στη μεγάλη σχολή του σουηδικού ακραίου ήχου, τους άφησαν να αναλώνονται σε φουτουριστικά samples και συνθεσάιζερ εδώ. Υποθέτω ότι στην αμερικάνικη αγορά θα έσκισε σε πωλήσεις αυτό το δισκάκι. Στην Ευρώπη, δε θυμάμαι τί έκανε, πάντως μη ξεκινήσει κανείς να ακούει το σχήμα από αυτό, γιατί θα σχηματίσει εντελώς λάθος εντύπωση!

Σε δώδεκα κομμάτια, δεν βρίσκω σχεδόν κανένα να είναι πλήρως ικανοποιητικό. Μόνο αποσπασματικά, από τραγούδι σε τραγούδι, βρίσκω κάποια σημεία. Για την ακρίβεια, στα τελευταία πέντε κομμάτια, κάπως παλεύεται η φάση. Κρίμα, αλλά όχι άδικο. Δεν θα ξανασχοληθώ έκτοτε με αυτό το συγκρότημα.

Εικοσιένα χρόνια μετά, μόνο το In Search for I μου αρέσει από αυτό, γιατί έχει τον παλιό αέρα, ένα στα δώδεκα.

English:

Not another coal.

This band has completely lost its Death Metal aesthetic after 2000. With their previous effort, they also lost a lot of fans. With this new attempt, they gained many new followers by fishing in the murky waters between Nu Metal and Deathcore.

Interesting ideas, submerged in an ocean of plastic, postmodern musical perspective. The new century shows that things didn’t go well for them, of course, partly due to their own fault. The era that marked their first four, maybe five albums — the renewal of the great Swedish extreme sound school — left them to waste time on futuristic samples and synthesizers here. I’d assume that this little record probably sold well in the American market. In Europe, I don’t remember what they did, but honestly, anyone who starts listening to this band from this record will form a completely wrong impression!

Out of twelve tracks, I find almost none to be fully satisfying. Only sporadically, from song to song, are there some points of interest. Specifically, in the last five tracks, the situation is somewhat salvageable. A shame, but not unfair. I won’t be bothering with this band again after this.

Twenty-one years later, only In Search for I appeals to me, because it has that old vibe — one in twelve.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: PAVLOV'S DOG - Echoes and Boos

 

PAVLOV'S DOG - Echoes and Boos

RockVille Music

PAVLOV'S DOG, the renowned band responsible for two quintessential albums of the 1970s—Pampered Menial and At the Sound of the Bell—returns with their fifth studio release, Echoes and Boos. This new album demonstrates a commendable adherence to their distinctive musical style, reminiscent of their classic works, while also showcasing their evolution as artists.

The album features a collection of well-crafted tunes that capture the essence of their signature sound. Standout tracks such as "Angeline," "We All Die Alone," and "Jubilation" particularly resonated with me, compelling repeated listenings due to their melodic strength and lyrical depth. The vocal performance by David Surkamp remains impressive; although his voice is not as high-pitched as in their earlier recordings, it retains a compelling quality and emotional expressiveness that suits the material well.

Overall, Echoes and Boos is a solid addition to the band's discography. Fans of PAVLOV'S DOG and classic rock enthusiasts should consider acquiring this album without hesitation. For those new to the band or unfamiliar with their style, I recommend giving it a listen first to appreciate its nuances and musical craftsmanship fully.

Ioannis Kaskamanidis