German modern metal band ANGA have released their new
single, “Demons,” offering a powerful snapshot of the band’s increasingly dark
and heavy sound.
The track was recorded across three studios operated
by members of the band: Thomas Höflein’s studio, SFR Recordings, run by
guitarist Marvin Schäfer, and Helios Studio, operated by drummer Gabriel
Illert. Mixing and mastering were handled by guitarist Thomas Höflein.
Hailing from Stuttgart and Aschaffenburg, ANGA combine
crushing riffs, driving breakdowns, electronic elements, soaring vocal
melodies, and the dark intensity of modern metalcore. The band features
vocalist Anne Zeides, guitarists Thomas Höflein and Marvin Schäfer, bassist
Fabian Streich, and drummer Gabriel Illert.
Following their 2021 debut album “Shadows” and the
“Straight to Hell” EP, ANGA have continued to develop a darker and heavier
musical identity. “Demons” captures this current chapter of the band: modern,
aggressive, atmospheric, and confidently genre-defying.
Noisehead Records made a very good and genuinely smart
move with Pressure Zone – Volume I, a compilation that appears to have been
conceived as the first chapter in a wider series. Released in 2009 as a
ten-track cardsleeve CD, the collection presents itself as a compact snapshot
of the European underground rather than a conventional label sampler.
I call it a smart move for several reasons. First of
all, the compilation was offered for free—which, if you happen to find a copy
today, is certainly a good reason to grab it. We all know how appealing it is
to discover a free compilation featuring different bands, because such releases
give listeners the opportunity to explore unfamiliar corners of the metal scene
and come across groups they might otherwise never encounter. If one of those
bands makes a strong impression, the natural next step is to investigate their
catalogue and, eventually, support them by purchasing their releases.
Noisehead Records, however, did something more
interesting than simply promoting its own roster. The label brought together
bands connected with different independent and established labels, creating a
broader picture of the European metal underground. That approach gives Pressure
Zone – Volume I a purpose beyond advertising: it functions as a small but
meaningful document of a scene in motion.
The idea behind the compilation was to make metalheads
more aware of the many interesting underground bands active across Europe. In
that sense, Pressure Zone represents what its subtitle suggests: a European
metal-underground-united movement. At a time when discovering new music was
still heavily dependent on physical CDs, magazines, mail order, and word of
mouth, compilations such as this one were particularly valuable. They served as
musical maps, connecting listeners with bands from different countries and
giving lesser-known acts an opportunity to reach an audience outside their
immediate scene.
Musically, the collection is dominated by extreme
metal. Nine of the ten participating bands explore styles ranging from melodic
death metal to brutal death metal and metalcore. The sole traditional heavy
metal representative is Toxic Virgin, a band I have known since its 2001 debut.
They are a very good and interesting group that deserves support, and they
contribute a catchy, memorable song that provides a welcome contrast to the
more aggressive material surrounding it.
Among the extreme-metal acts, The Spektrum are truly
magnificent. Their melodic death-metal approach combines heaviness with
atmosphere and strong songwriting, making them the standout band for me. Their
contribution is one of those tracks that immediately encourages further
investigation—and that is precisely where a compilation like this succeeds.
I have mentioned these two bands because they provided
my favourite moments, but this certainly does not mean that I disliked the
remaining participants. The other groups all contribute worthwhile songs, and the
compilation maintains a good level of quality throughout. The remaining eight
bands are Demolition, Draconic, Rozenhill, Controlstate, Rien Sans Douleur,
Necropsy, Nuestros Derechos and Preydatory.
Overall, Pressure Zone – Volume I is more than a free promotional
disc. It is an enthusiastic attempt to unite different parts of the European
underground and introduce listeners to bands that deserve attention. Its value
lies not only in the individual songs, but also in the spirit behind the
release: open-minded, supportive, and focused on discovery. For metalheads
interested in exploring the European scene, this compilation is a small but
worthwhile piece of underground history.
Πιο
Αμερικανοποιημένα δεν ήταν σε αυτή τη φάση συγκροτήματα όπως οι Ratt, οι Mötley
Crüe, οι White Lion κι όλοι αυτοί της συνομοταξίας του «hair metal». Οι Άγγλοι,
ως το… βρακί τους, έχουν ήδη λανσάρει στην απέναντι ακτή του Ατλαντικού τη μόδα
με τα μποξεράκια και τα μπλουζάκια με τη σημαία του Ηνωμένου Βασιλείου, καθώς
και με το λογότυπό τους, με αυτό εδώ το τρίτο άλμπουμ της μάλλον κάπως
αδιάφορης, για μένα προσωπικά, καριέρας τους.
Αντικειμενικά,
παίζουν εμπορικό αλλά καλό hard and heavy, με εφαλτήριο περισσότερο τους
Genesis, τους Led Zeppelin, τους Queen και τους Sweet παρά τους Black Sabbath ή
τους Deep Purple και τους Rainbow. Όπως είπαμε, όμως, οι μελωδίες τους είναι
τόσο προορισμένες να αγαπηθούν από τους απέναντι, ώστε εδώ πλέον κι οι ίδιοι
ξεχνούν ότι ανήκουν, χρονολογικά, στο συνάφι του NWOBHM, μαζί με τους Saxon,
τους Tokyo Blade, τους Iron Maiden, τους Praying Mantis κ.ά.
Έχω
δηλώσει ότι ανέχομαι αρκετά τη δισκογραφία τους μέχρι και αυτό, το τρίτο τους
έργο — κάτι που δεν έχει αλλάξει μέχρι σήμερα. Η αλήθεια είναι ότι θα
αποτελέσουν τόσο μεγάλη επιρροή για τα αμερικανικά συγκροτήματα, όπως αυτά που
αναφέρονται στην αρχή — και για άλλα τόσα στη νιοστή δύναμη —, ώστε από το
επόμενο άλμπουμ η μεταμόρφωσή τους σε «false metal», κατά τους Manowar, θα
ολοκληρωθεί.
Εδώ,
όμως, τα πέντε Αγγλόπουλα παίζουν καλά και με πάθος αυτό που παίζουν, οπότε
τους το αναγνωρίζω, έχοντας αυτό το CD — καλά, έχω και μερικά από τα επόμενα,
δεν το αρνούμαι.
Τα
πιο αγαπημένα μου κομμάτια είναι το βαρύ και γρήγορο «Stagefright», το «Too
Late for Love», το «Photograph» — η επιτυχία του ανερχόμενου φαινομένου του
MTV, με το κλασικό βιντεοκλίπ —, τα «Die Hard the Hunter» και «Foolin’», το
επίσης καλό «Rock of Ages», που ξεκινά σαν χλιαρό ποπ κομμάτι αλλά εξελίσσεται
σε έναν μικρό ύμνο, καθώς και τα «Comin’ Under Fire» και «Action! Not Words».
Όλα αυτά είναι χαρακτηριστικά ενός δίσκου που τους έκανε πολύ πλουσιότερους σε
κινητή περιουσία, αφού πούλησε — και εξακολουθεί να πουλά — τόσες δεκαετίες
μετά, τις κάλτσες του.
English:
Barely Granted a New Citizenship
At this stage, few bands were more Americanized than
Ratt, Mötley Crüe, White Lion, and all those other outfits belonging to the
so-called “hair metal” fraternity. The Englishmen had already launched the
fashion of Union Jack boxer shorts and T-shirts, complete with their own logo,
on the opposite shore of the Atlantic—and this third album marks that
transition in what is, at least to me personally, a somewhat unremarkable
career.
Objectively speaking, they play commercial but
genuinely good hard and heavy, drawing more from Genesis, Led Zeppelin, Queen,
and Sweet than from Black Sabbath, Deep Purple, or Rainbow. As I said, however,
their melodies are so clearly designed to be embraced by American audiences
that, by this point, even they seem to forget that, chronologically speaking,
they belong to the NWOBHM camp, alongside Saxon, Tokyo Blade, Iron Maiden,
Praying Mantis, and the rest.
I have said that I can tolerate their discography up
to and including this, their third release—a position that has remained
unchanged to this day. The truth is that they would go on to become such a
major influence on American bands like the ones mentioned at the beginning—and
countless others raised to the nth degree—that, from the next album onward,
their transformation into what Manowar would call “false metal” would be
complete.
Here, though, the five English lads play their music
well and with passion, and I give them credit for that. I own this CD—and, all
right, I also have a few of the later ones; I’m not going to deny it.
My favorite tracks are the heavy and fast
“Stagefright,” “Too Late for Love,” “Photograph”—the hit that helped establish
MTV as a rising phenomenon, complete with its classic video—“Die Hard the
Hunter,” “Foolin’,” and the equally good “Rock of Ages,” which begins like a
tepid pop song but develops into a minor anthem. “Comin’ Under Fire” and
“Action! Not Words” are also among the album’s highlights.
Together, these songs are representative of a record
that made the band considerably richer in movable assets, since it sold—and
continues to sell, all these decades later—an absolute ton.
Some records survive because they were successful.
Others survive because collectors refuse to let them disappear. Chosen Few by
The Black Riders belongs firmly to the second category: an obscure British
heavy-metal release with limited documentation, conflicting catalog
information, and the unmistakable appeal of an underground discovery.
Little reliable biographical information about The Black
Riders has surfaced, but the music gives a clearer impression of the band than
the surviving paperwork. Chosen Few presents raw, direct British heavy rock
rooted in the New Wave of British Heavy Metal, yet shaped by the harder, more
street-level sound of the early 1980s.
The album is commonly listed as a 1984 release,
although a later full-album upload identifies it as a GI Records release from
1988. It contains nine tracks: “Can’t Stop Us Now,” “Mindless Violence,” “Can’t
Hold On,” “Twilight Zone,” “Frankenstein,” “Chosen Few,” “Addiction,” “Time To
Run,” and “Money Talks.” The material also reportedly appeared on a 1993 Hot
Metal Records split CD with Preyer’s Terminator, although this may represent a
later archival or bootleg circulation rather than the original release. Until
an original sleeve, label scan, catalog number, or matrix detail is examined,
the exact release history remains uncertain.
Such confusion is hardly unusual for obscure
independent metal records of the period. Unlike the better-known NWOBHM acts,
The Black Riders left behind little verifiable biography, stable lineup
information, or contemporary press coverage. They appear to have been one of
the many small independent bands that emerged from the era's local scenes,
recording and circulating their music without ever reaching the wider audience
enjoyed by bands such as Iron Maiden, Saxon, Diamond Head, or Tygers of Pan
Tang.
Musically, Chosen Few is best described as raw
NWOBHM-influenced hard rock. There is little interest in technical showmanship
or elaborate production. Instead, the songs rely on straightforward guitar
riffs, driving rhythms, gritty vocals, and memorable choruses. The rough
production, typical of an obscure independent recording, gives the album a
direct, almost live-room character.
The material is generally mid-tempo and forceful
rather than relentlessly fast, placing the band closer to traditional heavy
metal and hard rock than to the speed and thrash metal that would soon dominate
the underground. The aggression comes through weight, attitude, and subject
matter rather than extreme tempos or harsh vocals.
“Can’t Stop Us Now” is a natural introduction to the
band's straightforward, chorus-driven approach, while “Mindless Violence”
brings a darker and more confrontational edge. “Can’t Hold On” reveals a more
melodic hard-rock side, showing that the band was not limited to blunt
aggression. “Time To Run” captures their driving character particularly well,
combining a firm rhythm section, prominent guitars, and an urgent vocal
delivery.
The remaining titles—“Twilight Zone,” “Frankenstein,”
“Chosen Few,” “Addiction,” and “Money Talks”—suggest a mixture of dark imagery,
social commentary, and rebellious self-definition, reinforcing the distinctly
early-'80s underground-metal atmosphere.
Chosen Few is not important because The Black Riders
became one of British heavy metal's defining names. They didn't. Its appeal
lies elsewhere: this is the sound of a band operating outside the spotlight,
using the language of heavy metal and hard rock to create something direct,
energetic, and personal.
For collectors, the uncertain release history only
adds to the fascination. Any original copy should be checked against label
details, catalog numbers, sleeve credits, country of manufacture, and matrix
information, particularly when distinguishing it from later archival or bootleg
appearances.
Chosen Few is an obscure but rewarding document of
British heavy rock. The Black Riders sound like a determined underground band
somewhere between NWOBHM, traditional heavy metal, and gritty hard rock. Their
songs are direct, their production rough, and their musical vocabulary
familiar—but the combination has enough character to make the album more than a
historical curiosity.
This is not a lost masterpiece in the conventional
sense. It is a cult discovery: imperfect, under-documented, and rooted in the
uncompromising spirit of the British metal underground. For listeners
interested in obscure NWOBHM, private-press heavy metal, and rough-edged
early-'80s hard rock, Chosen Few deserves a place on the listening list.
Κάποτε
οι AC/DC μετακόμισαν στην Ελβετία και, στο 17ο άλμπουμ λοιπόν των παλαιμάχων
Hard & Heavy Rockers, ξαναστάζει από το αίμα των ηλεκτρικών Αυστραλών και
πρώτων διδασκόντων, και στα δώδεκα κομμάτια του.
Εντάξει,
η επιρροή είναι παραπάνω από εμφανής. Ποτέ δεν το αρνούνταν, άλλωστε, ήδη από
τα τέλη της δεκαετίας του ’70, όταν μεταλλάχθηκαν από Progressive σε Hard Rock
σχήμα, ότι οι AC/DC ήταν αγαπημένοι τους. Οπότε, αμαρτία εξομολογούμενη…
Κεφάτο
ύφος, ζωντανή αίσθηση και καθαρή, διάφανη παραγωγή ήχου, με πολύ καλές στιγμές
τα Hallelujah Rock ’n’ Roll, Go Baby Go, Rattlesnake Rumble, Dirty Dynamite,
την πολύ διασκευασμένη εκδοχή του Help! των Beatles, Better Than Sex, Dőg Song,
Bailout Blues, Yellow Mary και Hardrocking Man, σε παρασύρουν σε ένα άλμπουμ
που, εντάξει, καλώς ή κακώς, δε θα μας έλειπε, αλλά, απ’ την άλλη πλευρά, δε
μας χαλάει καθόλου η ύπαρξή του.
Είναι
ένα καλό «παρών», για να μας θυμίζει πώς ήταν οι παλιές, καλές τους εποχές.
English:
Surely, You’re the Same Band!
At one point, AC/DC moved to Switzerland, and on the
17th album by these veteran Hard & Heavy rockers, the blood of the electric
Australians and pioneering masters once again runs through all twelve tracks.
Okay, the influence is more than obvious. After all,
they never denied, even as far back as the late ’70s, when they evolved from a
Progressive outfit into a Hard Rock band, that AC/DC were among their
favourites. So, a sin confessed…
A spirited approach, a lively feel, and a clean,
crystal-clear production define the album, with Hallelujah Rock ’n’ Roll, Go
Baby Go, Rattlesnake Rumble, Dirty Dynamite, their much-covered take on the
Beatles’ Help!, Better Than Sex, Dőg Song, Bailout Blues, Yellow Mary, and
Hardrocking Man standing out as particularly strong moments. They sweep you
along through an album that, well, whether for better or worse, is not
something we would necessarily miss, but, on the other hand, we certainly don’t
mind having it around.
It is a good way of saying “we’re still here,”
reminding us of what their good old days were like.
THE
SACRED TRUTH – Reflections of Tragedy II: The Final Confession (2011)
Sleaszy Rider Records
There are moments in this job when the promotional
sheet tries a little too hard. THE SACRED TRUTH’s debut full‑length, Reflections of Tragedy II – The Final
Confession, arrives accompanied by descriptions of “screamo vocals” and other
buzzwords clearly intended to impress. After so many years in the metal scene,
though, the only thing that truly matters is the music itself. So I set the
hype aside and focus on what the Australian band actually delivers.
This album continues the conceptual storyline first
introduced on their 2009 EP Reflections of Tragedy. The band frame this release
as the second and concluding chapter of that narrative—a personal,
psychological descent told through progressive and modern metal elements.
Structurally, the album is built like a theatrical arc: an overture, emotional
peaks, confessions, and a final resolution. The tracklist supports this
ambition, stretching from the brief opener “The Confessional Overture” to the
nine‑minute
closer “God’s Will”, which functions almost like a final monologue.
Musically, THE SACRED TRUTH operate within the broader
field of progressive metal and modern melodic metal, but not in the DREAM
THEATER school of technical exhibitionism. Their approach is more atmospheric
and emotionally driven, reminiscent of bands who prioritize mood over
virtuosity—names like Evergrey, Queensrÿche, Pain of Salvation, and even early
Nevermore come to mind. The band clearly aim for introspective heaviness rather
than aggressive impact.
To their credit, the musicianship is tight. The
production—handled with a clean, modern aesthetic—allows the melodies to
breathe and highlights the band’s strengths: emotive guitar lines, atmospheric
layering, and a vocalist who leans heavily into the narrative weight of the
concept. Tracks like “Cries of the Soul”, “Mourning Sun”, and “Scars” showcase
their ability to craft memorable melodic themes, while “Retribution” and
“Damage” flirt with a slightly darker edge.
However, the album’s greatest strength is also its
limitation. Nearly all songs move along the same melodic, atmospheric path,
with very few deviations into more aggressive territory. For a metal band, this
imbalance becomes noticeable. The emotional tone is consistent—almost too
consistent—resulting in a listening experience that risks monotony. Metal
thrives on dynamic contrast, and THE SACRED TRUTH often seem reluctant to
unleash the heavier side of their identity.
The conceptual ambition is admirable, but the
execution leans toward the catatonic. The album is pleasant, well‑crafted, and certainly not without talent, yet it
stops short of offering a fully rounded metal experience. The band’s melodic
instincts are strong, but they need to embrace their aggressive potential to
achieve the dramatic tension their concept demands.
The cover of Reflections of Tragedy II reinforces the
album’s introspective nature: a confessional booth bathed in dim, sepia‑toned light, symbolizing guilt, memory, and emotional
burden. It visually aligns with the album’s narrative arc—an internal struggle
rendered as a spiritual confrontation. The imagery is effective, though it also
hints at the same atmospheric heaviness that dominates the music.
Reflections of Tragedy II – The Final Confession is a
thoughtful, melodic, and emotionally charged debut. THE SACRED TRUTH show clear
talent and a strong sense of atmosphere, but their reluctance to balance melody
with aggression keeps the album from reaching its full potential. A solid
listen—especially for fans of introspective prog metal—but too subdued for
those seeking a more complete metal experience.
Maltese modern metal/metalcore outfit Align the Tide
have unveiled their new single and lyric video, “JINN,” marking a new chapter
in the band’s evolution. The track captures a band that has rebuilt and refined
its identity while embracing a heavier and more mature sound.
Formed in Malta in September 2015, Align the Tide
spent their early years developing a distinctive approach shaped by a broad
spectrum of heavy music. Their efforts culminated in the release of their debut
album, Dead Religion, followed by extensive live activity both at home and
abroad.
In May 2018, the band joined legendary industrial
metal act Mushroomhead on their U.S. tour, performing in cities including San
Diego, Seattle, Denver, Minneapolis and Cleveland. After further shows in Malta,
Align the Tide expanded their reach into Europe with tours across Germany and
the Czech Republic.
In April 2019, the band signed with Cleopatra Records,
which subsequently issued Dead Religion worldwide on CD digipak and vinyl.
During the pandemic, the band remained active in the studio, writing and
recording their second album, Hollow, released through Cleopatra Records in
August 2022.
Another major milestone followed in 2024, when Align
the Tide supported deathcore heavyweights Suicide Silence at their London show,
further establishing the band as one of Malta’s most prominent modern heavy
acts.
Now, with a renewed lineup, a heavier and more mature
sound, and new music on the horizon, “JINN” represents a statement of
resilience and artistic rebirth. As the band explains, the song is “the sound
of a band rediscovering its identity,” born from setbacks, lessons learned and
countless hours in the studio.
With its message of perseverance, passion and
unwavering belief in their vision, “JINN” sees Align the Tide moving forward
without compromising their identity.
Watch the lyric video for “JINN” and experience the
latest chapter in Align the Tide’s journey.