Croatian doom metal band Vûlom have released a new
music video for “Longing”, a track from their latest album, Love’s Lament, released
on 13 September 2026.
The album follows A Step Closer to the Grave (2023)
and explores deeply personal themes of love, guilt, sorrow and loss, focusing
on the emotional scars left by past experiences and the difficult process of
accepting inevitable endings.
Drawing inspiration from bands such as Saturnus,
October Tide, Dawn of Solace, Hamferð, Paradise Lost and Swallow the Sun, Vûlom
combine melodic passages with crushing heaviness and melancholic atmospheres.
Their lyrics explore mortality, human insignificance and personal struggles,
shaping a sound rooted in the darker, more introspective side of doom metal.
Vûlom’s current lineup consists of Domagoj Zrinski
(vocals), Sandro Radan (guitar, backing vocals), Marko Katavić (guitar), Andrej
Andonov (bass) and Bruno Biloglav (drums).
With Love’s Lament, the band continues to develop its
emotionally driven approach to doom metal, with “Longing” offering another
glimpse into the album’s sombre and reflective world.
Με
τον κύριο Dirkschneider να έχει ήδη δώσει δείγματα γραφής με τους U.D.O., κυκλοφορώντας
το Animal House (με τα περισσότερα κομμάτια του άλμπουμ να φέρουν την υπογραφή
των Accept) και, την ίδια χρονιά, το Mean Machine, η παλιά του ομάδα
στρατολογεί τον David Reece (πρώην Bonfire), ο οποίος έχει αξιοπρεπέστατη
απόδοση στο μικρόφωνο, καθώς και τον Jim Stacey στις δεύτερες κιθάρες, και
παρουσιάζει το Eat the Heat.
Πρόκειται
για μια προσπάθεια να ακουστούν σαν μια μπάντα με βασική επιδίωξη να υιοθετήσει
τον ήχο του Glam/Hair Metal, με απώτερο σκοπό την αμερικανική αγορά! Σε
λιγότερο από έναν χρόνο, διαλύονται ξανά και τα πράγματα αρχίζουν σιγά σιγά να
οδηγούνται προς ένα reunion.
Από
το άλμπουμ, ας πούμε ότι τα «X-T-C», «Generation Clash», «D-Train» και «Chain
Reaction» τρώγονται. Μάλιστα, το δεύτερο επανηχογραφήθηκε αργότερα από την ίδια
την μπάντα, με τον Udo και πάλι στα φωνητικά, ενώ το πρώτο το έχει
«διασκευάσει» ξανά ο Udo με το προσωπικό του σχήμα, τους U.D.O., καθώς
παραμένει κάπως μπερδεμένο το πότε γράφτηκαν τα κομμάτια και από ποια πρώην ή
τότε νυν μέλη των Accept.
Αν
δεν έφερε το λογότυπό τους, θα ήταν ένα πολύ καλό άλμπουμ για μια
πρωτοεμφανιζόμενη μπάντα. Εφόσον, όμως, γράφει Accept πάνω στη γωνία, το
αποτέλεσμα δεν είναι το αναμενόμενο.
English:
Many Tried, Few Survived
With Mr. Dirkschneider having already made his
intentions clear with U.D.O., releasing Animal House (most of whose tracks were
penned by Accept) and, in the same year, Mean Machine, his former band recruits
David Reece (ex-Bonfire), who delivers a respectable performance on vocals, as well
as Jim Stacey on second guitar, and comes up with Eat the Heat.
The idea is to sound like a band whose main ambition
is to embrace the Glam/Hair Metal sound, with the American market as the
ultimate target! Less than a year later, Accept split up again, and the wheels
gradually begin turning towards a reunion.
As for the album itself, let's just say that
"X-T-C," "Generation Clash," "D-Train" and
"Chain Reaction" are reasonably palatable. In fact, the second track
was re-recorded by the band years later, with Udo back on vocals, while the
first has also been "covered" by Udo with his own band, U.D.O. The
whole matter remains somewhat confusing, though, as it is not entirely clear
when the songs were written or which former or then-current members of Accept
were responsible for them.
Had it not carried the Accept logo, this would have
been a very good album for a band making its debut. However, when the Accept
name is stamped on the cover, the result falls short of expectations.
Metal never stops creating new genres, and IN LEGEND
is another example of musicians trying to explore a different approach to the
familiar sounds of the genre. Following VAN CANTO, the a cappella power metal
band whose music is both fun and genuinely enjoyable to listen to, we now have
IN LEGEND, a band that could be described as playing piano metal. This is
certainly an interesting idea, as it proves that there are still musicians out
there willing to experiment and use their imagination, even if the commercial
potential of such an unusual approach cannot be entirely ignored.
On their debut album, Ballads ‘n’ Bullets, IN LEGEND
retain the drums and bass but replace the traditional metal guitars with the
piano, which becomes the main instrument responsible for carrying the melodies
and providing the musical power. The result is an album with a predominantly
melancholic atmosphere, built around melodic compositions and a more sensitive
approach to heavy music. The piano is not simply an occasional addition to the
arrangements; it takes the central role normally occupied by the guitars,
giving the songs their own distinctive character.
Naturally, this is not the kind of release you should
choose if you are looking for aggressive riffs, relentless speed or music that
will make you bang your head from beginning to end. IN LEGEND follow a
different path, focusing on atmosphere, melody and emotional expression rather
than the more straightforward elements of heavy metal. If you can imagine the
more sensitive moments of SAVATAGE without the guitars, you will have a fairly
good idea of what to expect. The comparison is not exact, of course, but it provides
a useful reference point for understanding the musical direction of the album.
Personally, I found the whole work very pleasant to
listen to (this is the third time I have written this), and its melodic
approach makes it an interesting alternative to more conventional metal
releases. However, pleasant listening does not necessarily translate into a
lasting emotional connection. Although I appreciated the musicians' effort and
the unusual concept behind the music, the album did not create the kind of
intense emotions that would make me want to return to it anytime soon. There is
enough here to justify giving IN LEGEND a chance, but whether their piano-based
approach will appeal to you is another matter.
So, if you are curious about this rather unusual
combination of piano and metal, give Ballads ‘n’ Bullets a listen before
deciding what to do with your money. After all, originality deserves attention,
but personal taste remains the final judge.
Swiss death metallers REQUIEM make a strong comeback
with Within Darkened Disorder, arriving approximately two years after the
release of their fifth studio album, Infiltrate... Obliterate... Dominate. The
band once again delivers clear, pure and in-your-face death metal, without
unnecessary frills, experimental detours or embellishments that might distract
from its primary objective: sheer brutality.
Within Darkened Disorder is the real deal for fans of
brutal death metal. Although its sound draws influences from the European
scene, REQUIEM are arguably closer to the American school of death metal, with
deep, guttural vocals, extremely heavy and fast rhythms, and a relentless
combination of intricate riffs and solos. The music balances sheer aggression
with enough technical detail to keep things interesting, avoiding the
impression that speed and heaviness are its only defining characteristics.
The production deserves special mention, as it allows
all the instruments to stand out while preserving the weight and intensity of
the band's sound. The guitars retain their crushing impact, the rhythm section
provides a solid foundation for the relentless assault, and the vocals
complement the music's uncompromising character. Everything serves the same
purpose, resulting in an album that delivers its brutality with clarity and
precision rather than sacrificing definition for sheer sonic force.
REQUIEM are not here to reinvent death metal or offer
something particularly original. They are here because they love the genre, and
Within Darkened Disorder reflects that straightforward approach without
compromises or unnecessary alterations. The band knows exactly what it wants to
achieve and stays firmly focused on that goal from beginning to end.
So, if you appreciate traditional death metal with a
brutal edge, deep guttural vocals and an uncompromising approach to
songwriting, REQUIEM's Within Darkened Disorder is certainly an experience
worth having. No frills, no unnecessary distractions, just death metal
delivered straight to the point!
VILLAGERS
OF IOANNINA CITY – Age Of Aquarius (2019)
Napalm Records
Magic exists, and it exists in a form that is far from
spectacular, far removed from the kind of spectacle that dazzles you for a
moment only to be forgotten the next. It exists in a much more profound way, in
a manner that is almost alchemical.
Just as the alchemists claimed that any metal could be
transmuted into gold, so too do Villagers of Ioannina City, on Age of Aquarius,
transform seemingly disparate musical genres into something unified, cohesive,
and narratively compelling.
On Age of Aquarius, the progressive rock sensibilities
of PINK FLOYD and TOOL converge with the sounds of stoner rock and doom metal,
enriched by elements of heavy metal and, at times, epic passages that perhaps
evoke the mid-tempo grandeur of bands such as MANOWAR and BATHORY. These
elements become even more pronounced on their latest album, Venceremos. Nor are
blues-rock experiments absent, as the track “Millennium Blues” demonstrates.
All these sounds are woven together by the sometimes commanding, sometimes
understated presence of the clarinet and the bagpipe, instruments rooted in the
musical traditions of Epirus and beyond. Personally, having roots in Florina, I
also discerned echoes of the traditional music of Western Macedonia in “Dance
of Night.”
Villagers of Ioannina City offer a sonic ritual, an
album that transports you without severing your connection to reality. An album
that celebrates life, while also reminding us of the need to struggle, to stand
together, and to strive to make that life better. It is the kind of musical
experience one encounters only in the work of truly great progressive rock
bands, The Wall by PINK FLOYD being one such example.
After all, according to astrological and esoteric
traditions, the Age of Aquarius is the new era that succeeds the Age of Pisces.
It is associated with technology and innovation, with an emphasis on science,
the internet, and artificial intelligence. It is also associated with
collectivism: a shift from “I” to “we,” in which communities and networks take
the place of traditional hierarchies. Finally, it represents spirituality and
freedom, a movement away from rigid dogmas and towards the pursuit of
individual spiritual expression. No one can say with certainty exactly when
this new age begins. In other words, it is an era of transformation and human
betterment, and this album seems, in its own way, to serve that very ideal.
An album whose lengthy compositions never become
tiresome. Instead, like a seed that finds fertile soil, it grows and takes root
within you, deepening its hold with every successive listen.
THE
BLOODSHOT GAMBLERS - Pain and Other Simple Pleasures (2009)
Demon Deluxe Records
Arizona-based duo THE BLOODSHOT GAMBLERS, featuring
Tim David Kelly and Brian Anderson of KICKING HAROLD, have once again reminded
me of the universal truth that one should never say never. I have never been
particularly fond of rock music, let alone alternative rock, yet there are
always exceptions that make you reconsider your position. THE BLOODSHOT
GAMBLERS are one of them. This does not mean that I will suddenly start
exploring the genre on a regular basis, but it does mean that Pain and Other
Simple Pleasures has won me over, despite being far removed from the kind of
music I usually listen to.
The duo's compositions possess a distinctive warmth
and appeal, combining seductive melodies with a dark atmosphere coloured by
melancholy and bitterness. There is an emotional depth to these songs that
makes them immediately engaging without relying on unnecessary embellishments
or exaggerated dramatics. Instead, the music draws the listener into its own
world through the interplay between its melodic sensibility and its more
restrained, sombre elements.
One of the album's strongest points is the balance THE
BLOODSHOT GAMBLERS achieve between their rougher, more forceful passages and
their smoother, more melodic moments. Neither side dominates at the expense of
the other, allowing the material to maintain a natural flow while retaining its
dynamics and emotional intensity. The arrangements feel cohesive, yet the songs
have enough variation to prevent the album from becoming monotonous. This
combination of consistency and contrast gives Pain and Other Simple Pleasures
much of its character.
The musicianship is equally convincing, with the duo
demonstrating a clear understanding of the atmosphere they want to create and
the means required to achieve it. Tim David Kelly's vocals deserve particular
mention, as his warm, expressive delivery adds considerable weight to the
compositions. His performance brings out their emotional nuances, reinforcing
both their melodic appeal and their underlying sense of darkness. The result is
a collection of songs that feels genuine, carefully crafted and capable of
leaving a lasting impression.
Pain and Other Simple Pleasures may not be the kind of
release that would normally attract the average metalhead, but quality music
deserves recognition regardless of genre boundaries. THE BLOODSHOT GAMBLERS
have delivered an album that succeeds through its atmosphere, songwriting and
emotional sincerity, proving that a musical style outside one's usual
preferences can still offer plenty to appreciate. If you are open-minded enough
to explore beyond your familiar territory and have a taste for well-crafted
rock music, this is a release I highly recommend!
Οι
Accept έκαναν για πρώτη φορά παύση στα τέλη του 1986, μετά την περιοδεία για
την προώθηση του πολύ καλού, μα ταυτόχρονα, για κάποιον λόγο, υποτιμημένου
Russian Roulette. Για την ακρίβεια, οι Wolf Hoffmann και Peter Baltes ήθελαν να
ακολουθήσουν μια μουσική κατεύθυνση προσανατολισμένη αποκλειστικά στην
αμερικανική αγορά, η οποία τελικά θα οδηγούσε στην πρόσληψη νέου τραγουδιστή
(David Reece) και στην κυκλοφορία του άλμπουμ Eat the Heat, μιας από τις πιο
νερουλές μουσικά, χωρίς ωστόσο να είναι εντελώς κακή, δισκογραφικές τους
προσπάθειες. Από την άλλη, ο Udo Dirkschneider ήθελε να επιστρέψει στην προ
Balls to the Wall εποχή, παραμένοντας πιστός στις παραδοσιακές φόρμες του Heavy
Metal.
Τα
τραγούδια που είχαν γράψει οι Accept κατά τη διάρκεια της περιοδείας του 1986
αναδιαμορφώθηκαν από τον Udo και τους νέους συνεργάτες του (Mathias Dieth και
Peter Szigeti στις κιθάρες, Frank Rittel στο μπάσο και Thomas Franke στα
τύμπανα) και εντάχθηκαν στο πρώτο προσωπικό του άλμπουμ ως U.D.O. Μιλάμε για
γκάφα ολκής από την πλευρά των υπόλοιπων μελών των Accept! Όχι μόνο του έδωσαν
το Lay Down the Law, αλλά έπαιξαν και οι ίδιοι σε αυτό, ένα από τα πιο
αντιπροσωπευτικά κομμάτια του δίσκου, το οποίο, αν το κρατούσαν για τους
Accept, θα μπορούσε να έχει τεράστια απήχηση.
Μεταλλική
καταιγίδα από την αρχή, με το ομότιτλο Animal House, και συνέχεια με τα Go Back
to Hell, Warrior, Black Widow, το ιδιαίτερο και πιο εμπορικό τραγούδι του
δίσκου, They Want War, το οποίο κάποτε απέφευγα, αλλά πλέον συμπαθώ, καθώς και
τα We Want It Loud και Run for Cover.
English:
A New Light, the Same Horizon
Accept went on hiatus for the first time in late 1986,
following the tour in support of Russian Roulette, a very good album that, for
some reason, remains underrated. To be more precise, Wolf Hoffmann and Peter
Baltes wanted to pursue a musical direction aimed exclusively at the American
market, a move that would eventually lead to the recruitment of a new singer,
David Reece, and the release of Eat the Heat. The latter remains one of the
musically more watered-down efforts in their discography, although it is not
entirely without merit. Udo Dirkschneider, on the other hand, wanted to return
to the pre-Balls to the Wall era, remaining faithful to traditional Heavy
Metal.
The songs Accept had written during their 1986 tour
were reworked by Udo and his new collaborators (Mathias Dieth and Peter Szigeti
on guitars, Frank Rittel on bass, and Thomas Franke on drums) and ended up on
his first solo album under the name U.D.O. Talk about a colossal blunder on the
part of the remaining Accept members! Not only did they hand him Lay Down the
Law, but they also played on it themselves. It is one of the album's most
representative tracks, and had they kept it for Accept, it could have made a
huge impact.
A veritable Heavy Metal storm right from the start,
with the title track Animal House, followed by Go Back to Hell, Warrior, Black
Widow, and the album's more distinctive, commercially oriented track, They Want
War. I used to skip that one, but these days I find myself enjoying it. We Want
It Loud and Run for Cover round out the selection.
