Greek band BROKEN MORNING have released the official
music video for “Victory Through Loss,” available on YouTube. The track is the
second single from the band’s third album, which shares its title.
Combining heavy riffs, forceful drumming, atmospheric
elements and an intense guitar climax, the song explores themes of oppression,
resistance and personal resilience. Its lyrical message focuses on overcoming
fear and transforming loss into a source of strength.
Described as one of the album’s heaviest and most
dynamic moments, “Victory Through Loss” presents a dark, uncompromising
approach to heavy music, built around the idea that defeat can become a
starting point for renewed determination.
Swedish melodic death/black metal project Anthyr has
released its debut album, Tidens Famn. The album was recorded, mixed, and
mastered by Markus Kristiansen Seterlund at Nordblod Studios.
Operating as a solo project, Anthyr combines
atmospheric black metal and melodic death metal, emphasizing striking melodies,
immersive soundscapes, and narrative-driven compositions. Drawing inspiration
from Scandinavia’s pre-Christian heritage, ancient Norse mythology, and
northern spiritual traditions, Tidens Famn explores themes of ancestral forces,
forgotten lore, aggression, and introspective darkness.
I often ask bands from the ’80s how they think the
metal scene of that decade differs from the contemporary one. I believe it is
time for me to offer my own answer to this question. What I love about the ’80s
is that bands and musicians seemed to be more carefree. They had their dreams,
their passion for playing metal, and the ambition to become known like the
bands they had admired while growing up. Most of them were not great musicians
in terms of music theory or technical ability, but they had enthusiasm,
determination, and a certain naïveté that often worked in their favour. These
qualities helped them create songs that, in some cases, have stood the test of
time and continue to be remembered today.
Nowadays, we have highly skilled musicians and technology
that offers almost unlimited possibilities for composing, recording, and
producing music. However, I sometimes feel that many musicians no longer allow
their emotions to guide them in the creative process. After all, metal is music
that should come from the heart. Instead, technical knowledge and the desire to
demonstrate one's abilities can become the main priorities, turning music into
a rather pointless competition. Of course, there are exceptions, but technical
proficiency alone does not guarantee memorable songwriting or a distinctive
musical identity.
BOREALIS hail from Canada, a country with a metal
scene I have always appreciated, and play modern power metal, combining the
traditional characteristics of the genre with melodic death metal elements
reminiscent of IN FLAMES. Their sound also brings EVERGREY to mind,
particularly in terms of atmosphere, although that band's approach has never
been particularly appealing to me. BOREALIS have clearly put considerable
effort into their music, and Fall from Grace is a well-constructed album,
featuring competent performances, a polished production, and a consistent
musical direction.
The problem, at least for me, is that the album lacks
one essential ingredient: a sufficiently distinctive personal touch. The songs
are enjoyable, and there is nothing fundamentally wrong with the way the band
combines power metal melodies, heavier guitar work, and darker atmospheric
elements. Nevertheless, the overall result sounds too familiar, recalling the
work of numerous contemporary bands operating in a similar musical territory.
Everything is in place, but I find myself missing that individual spark that
could make BOREALIS stand out from the crowd.
Ultimately, Fall from Grace is a professionally
executed release that should appeal to listeners who enjoy modern, melodic
power metal with a heavier edge. Personally, however, I prefer a more
individual approach to songwriting, even when it comes at the expense of
technical perfection. Within this particular musical field, I find ORDEN OGAN
more convincing, while ASPERITY, despite having released only one album, have
also offered something that appeals to me much more. BOREALIS have the
musicianship and the necessary ingredients, but for my taste, they still need
to develop a stronger musical identity to make a lasting impression.
Το
ατσάλι του Solingen είναι γνωστό ανά τον κόσμο. Πόσα σετ βαλίτσας με
μαχαιροπίρουνα, Made in West Germany, Solingen, δεν έχουμε δει από παιδιά! Ένα
άλλο ατσάλι, όμως, πήγαζε από την πόλη αυτή: η πεντάδα των Udo Dirkschneider,
Wolf Hoffmann, Peter Baltes, Jörg Fischer και Stefan Kaufmann, στο δεύτερο
άλμπουμ της πολυτάραχης ιστορίας της.
Το
ομώνυμο ντεμπούτο τους, το Accept, σίγουρα δεν έκανε μεγάλη εντύπωση. Εδώ,
όμως, κάτι πάει να γίνει. Όχι κάτι, αλλά πολλά, αφού το συγκεκριμένο άλμπουμ
αποτελεί στην πραγματικότητα το πρώτο τους αμιγώς metal μουσικό έργο. Βέβαια,
παρακάτω θα αναιρέσω λίγο τον εαυτό μου, αλλά το γράφω πάντα σε σύγκριση με το
ντεμπούτο τους…
Το
ομώνυμο κομμάτι που ανοίγει τον δίσκο είναι, στην πραγματικότητα, ένα τραγούδι
που είχαν απορρίψει οι AC/DC, οι Αυστραλοί πατέρες του ηλεκτρισμού, και τα
δικαιώματα του οποίου εξαγόρασε ο Hoffmann. Υπάρχει στο YouTube σχετικό βίντεο
με το demo, στο οποίο ακούγεται η φωνή του Bon Scott. Ψάξτε το!
Η
λαίλαπα της disco υπάρχει κι αυτή στο Save Us, με το έντονα χορευτικό bass
drive του Baltes. Η μπαλάντα No Time to Lose, με τη φωνή είτε του Baltes είτε
του Hoffmann —δεν θυμάμαι και βαριέμαι να ανοίγω το booklet του CD—, αποτελεί
μια μελωδική προσθήκη. Στα Thunder and Lightning, China Lady και I Wanna Be No
Hero νομίζω ότι, για άλλη μια φορά, ακούμε μουσικές που παραπέμπουν στους Bee
Gees!
Στη
συνέχεια, έχουμε τη δεύτερη μπαλάντα, το πανέμορφο The King, στο οποίο και πάλι
δεν τραγουδά ο Udo, ενώ το άλμπουμ κλείνει με το Do It. Όλα αυτά είναι δείγματα
όσων πρόκειται να ακολουθήσουν σύντομα.
Έναν
χρόνο αργότερα, με το τρίτο και φαρμακερό άλμπουμ τους, το Breaker, οι Accept
θα έκαναν το επόμενο αποφασιστικό βήμα.
English:
A Declaration of Allegiance
Solingen steel is known around the world. How many
cutlery sets in cases stamped “Made in West Germany, Solingen” have we seen
since childhood? But another kind of steel was forged in this city: the
five-man lineup of Udo Dirkschneider, Wolf Hoffmann, Peter Baltes, Jörg Fischer
and Stefan Kaufmann, on the second album in the turbulent history of Accept.
Their self-titled debut, Accept, certainly failed to
make much of an impression. Here, however, things start to happen. And not just
a few things, but quite a lot, because this album is, in reality, their first
truly all-out metal effort. Of course, I will partially contradict myself
further down the line, but I am making this assessment in comparison with their
debut…
The title track that opens the album is actually a
song rejected by AC/DC, the Australian godfathers of electricity, whose rights
Hoffmann subsequently acquired. There is a video on YouTube featuring the demo
with Bon Scott on vocals. Go look it up!
The disco onslaught also makes its presence felt on
“Save Us,” driven by Baltes’ distinctly danceable bass groove. The ballad “No
Time to Lose,” featuring either Baltes or Hoffmann on vocals —I can’t remember,
and I can’t be bothered to open the CD booklet— adds a melodic touch. On
“Thunder and Lightning,” “China Lady” and “I Wanna Be No Hero,” I think we once
again hear musical passages that bring the Bee Gees to mind!
Next comes the second ballad, the beautiful “The
King,” on which Udo once again does not handle the vocals, while the album
closes with “Do It.” All these tracks offer glimpses of what is soon to come.
One year later, with their third album, the aptly
titled Breaker, Accept would take the next decisive step forward.
IMPELLITTERI,
Eye Of The Hurricane / Victim Of The System E.P. (1997 / 1993)
Dream
Catcher
Τον
ξέρει τελικά κανένας άλλος;
Μιλάμε
για τον Chris Impellitteri, έναν κιθαρίστα με χαρακτηριστικά αλάνθαστο τρόπο
παιξίματος και σύνθεσης, ο οποίος, μαζί με τους συνεργάτες του, τον Rob Rock
στα φωνητικά και τον Ken Mary στα ντραμς, έχει γράψει μερικά από τα πιο
«άγνωστα» στο ευρύ κοινό άλμπουμ του Heavy Metal. Αν σκεφτούμε ότι στο
ντεμπούτο άλμπουμ Stand in Line τα φωνητικά είχε αναλάβει ο Graham Bonnet
(Rainbow, M.S.G., Alcatrazz), καταλαβαίνουμε την αξία του ως μουσικής
οντότητας.
Εδώ,
στο διπλό CD που περιλαμβάνει το άλμπουμ του 1997, αλλά και το μίνι άλμπουμ του
1993, το οποίο προστέθηκε στην επανέκδοση, ακούμε κλασικό U.S. Heavy Metal με
όλα τα χαρακτηριστικά του ιδιώματος και, πάνω απ’ όλα, τα πληθωρικά κιθαριστικά
σόλο του Chris, που ντύνουν τις συνθέσεις. Το υπόλοιπο σχήμα συμπληρώνουν ο
μπασίστας James Amelio Pulli και ο πληκτράς Edward Harris Roth.
Οι
νεοκλασικού τύπου συνθέσεις, που συνυπάρχουν με τις σκληρές Rock μελωδίες του
δίσκου, φέρνουν στο μυαλό τον έτερο βιρτουόζο Yngwie J. Malmsteen, αλλά ευτυχώς
η σύγκριση παραμένει αρκετά αμυδρή και περιορίζεται κυρίως στην τεχνική
προσέγγιση της κιθάρας.
Κομμάτια
όπως το ομώνυμο του δίσκου, που ανοίγει το σύνολο, τα «Shed Your Blood», «Bleed
in Silence», «Master of Disguise», «Everything Is You», «Kingdom Fighter» και
«Paradise» από το άλμπουμ, καθώς και τα «Warrior», «Fly Away» και το ομώνυμο
κομμάτι από το Victim of the System, αποτελούν πραγματικά έναν χαμένο θησαυρό
τραγουδιών μέσα στην πληθώρα των κυκλοφοριών από γνωστά και ακόμη γνωστότερα
συγκροτήματα.
English:
Does Anyone Else Know This Guy?
We are talking about Chris Impellitteri, a guitarist
whose playing and songwriting are remarkably precise and distinctive. Together
with his collaborators, Rob Rock on vocals and Ken Mary on drums, he has
delivered some of the most underrated Heavy Metal albums, at least as far as
the wider audience is concerned. Considering that Graham Bonnet (Rainbow,
M.S.G., Alcatrazz) handled the vocals on Impellitteri’s debut album, Stand in
Line, we can appreciate the stature of this musician.
This double-CD release features the 1997 album
alongside the 1993 mini-album, which was added to the reissue. What we get is
classic U.S. Heavy Metal, complete with all the genre’s characteristic elements
and, above all, Chris’s abundant guitar solos, which provide the compositions
with their distinctive character. The lineup is rounded out by bassist James
Amelio Pulli and keyboardist Edward Harris Roth.
The album’s neoclassical compositions, interwoven with
its hard rock melodies, bring the other guitar virtuoso, Yngwie J. Malmsteen,
to mind. Fortunately, however, the comparison remains rather limited, applying
mainly to their technical approach to guitar playing.
Tracks such as the album’s opening title track, “Shed
Your Blood,” “Bleed in Silence,” “Master of Disguise,” “Everything Is You,”
“Kingdom Fighter,” and “Paradise” from the main album, along with “Warrior,”
“Fly Away,” and the title track from Victim of the System, are genuine hidden
treasures. They deserve far more recognition than they have received, having
been overlooked amid the sheer volume of releases by better-known and more
widely celebrated bands.
2011 has been a particularly strong year for hard rock
so far, with excellent releases from WHITESNAKE, KING KOBRA and BLACK ‘N’ BLUE,
to name just a few. Fortunately, WARRANT have also managed to deliver an album
that stands proudly alongside these releases. Rockaholic is a welcome return to
form, combining the band's familiar hard rock sound with a fresh injection of
energy. I believe that the addition of Robert Mason (vocals, LYNCH MOB) has
given WARRANT exactly the push they needed to produce such a strong record. His
performance is simply breathtaking, bringing power, confidence and character to
the songs, while the rest of the band proves equally capable of delivering the
goods.
I knew WARRANT were back on track as soon as I read
the title of the opening track, “Sex Ain’t Love”. This is the kind of
straightforward, no-nonsense hard rock that fans have been waiting for. Rather
than go through the album track by track, I will simply say that Rockaholic
maintains its momentum from start to finish, offering plenty of memorable
melodies, energetic performances and the kind of hard-rocking attitude that
made the band stand out in the first place. The songwriting is focused, the
performances are convincing, and the overall result feels remarkably
consistent. There is no need for unnecessary experimentation when the band
knows exactly how to deliver a solid collection of hard rock songs.
In my opinion, Rockaholic is WARRANT's best album
since 1992's Dog Eat Dog. The material has the necessary punch, but it also
retains the melodic sensibility that has always been an important part of the
band's identity. Just listen to “Show Must Go On”. Will you find a better
hard-rocking tune in 2011? I seriously doubt it! It is precisely this
combination of infectious hooks, driving guitars and an irresistible chorus
that makes the album such an enjoyable listen.
Rockaholic is an excellent comeback from a band that
still has plenty to offer. With Robert Mason delivering an outstanding vocal
performance and the songwriting maintaining a consistently high standard,
WARRANT have produced one of the year's most satisfying hard rock releases.
Fans of classic American hard rock should not hesitate to pick this one up as
soon as possible.
The Reaper Returns is the third full-length release
from Diabolos Dust. It came out in 2018 on the German label Massacre Records,
and the band is currently on hold, which makes it something of a late-career
statement. I bought it mainly because the price was very low, and I went in
with modest expectations.
My only previous contact with the band was their
debut, Ruins of Mankind. It was released independently in 2010 and picked up by
Massacre Records the following year. That album left little impression on me,
as it was a rather typical heavy metal record with some thrash elements. With
that in mind, I approached the new album cautiously, and I was glad to be
proven wrong.
The core formula remains the same: traditional heavy
metal with thrash influences. Stylistically, the band sits somewhere between
Iced Earth and Germany’s Headhunter. What differs this time is the added
variety. Some songs bring in blackish growls, and a few include melodic black
and melodic death metal passages. These touches add colour and contrast without
changing the band’s identity. Heavy metal with a thrash edge is still what
drives the album.
Diabolos Dust are not doing anything new or innovative
here, and they don’t pretend to be. In my experience, originality matters less
than whether the music lands with the listener. On this album, it does. Songs
like “Roll Your Dice,” “Sanity,” “Fall of the Gods,” and “Hold On the Flame”
show a band that has found its voice and writes with conviction.
Verdict: Not a genre-redefining record, but a
confident, well-executed and enjoyable one. It is a clear step up from the
debut and an easy recommendation for fans of traditional heavy metal with a
thrash bite. That the band is now inactive makes this a worthwhile album to
revisit.
