REVIEW: EVIL ONE – Militia of Death

 

EVIL ONE – Militia of Death

Pervade Productions / Manitou Music

When thrash metal intersects with traditional heavy metal, the result often recalls bands such as Overkill, Annihilator, Hallow's Eve, Metallica, and Megadeth. In the current scene, Evil One operate within a similar stylistic framework. With their third release, Militia of Death, the French band present what can be considered their most mature and cohesive work to date.

From the outset, the album stands out for its balanced production and clarity. A key strength, noticeable from the first listen, is the band’s ability to transition naturally between aggressive thrash passages and more melodic, traditionally rooted heavy metal sections. These shifts feel fluid rather than forced, contributing to the album’s overall strong sense of flow.

The mixing and mastering, handled by Herman Frank, play an important role in shaping the album’s sound. The production enhances both the heavier and more melodic elements without allowing either to dominate excessively. The result is a clear, powerful sound that supports the band’s songwriting and performances throughout.

Militia of Death unfolds smoothly from the opening track to the closing moments, maintaining consistency in tone and energy. The album suggests that Evil One have the potential to move beyond the confines of the French underground scene and attract broader international attention.

Guest appearances further enrich the record. Jeff Waters (Annihilator) performs a guitar solo on “Militia of Death,” Betov of ADX contributes a solo to “Straight to Hell,” Herman Frank appears again with a solo on “Suicide Fanatics,” and Gerre of Tankard provides lead vocals on “Militia of Beer.” These collaborations add variety while remaining consistent with the album’s overall direction.

Among the standout tracks are “Evil Invasion,” “Baptized by Fire,” “Memories,” and the instrumental piece “Instrumetal,” each highlighting different aspects of the band’s sound—from driving thrash intensity to more melodic and structured compositions.

Overall, Militia of Death is a solid heavy/thrash metal release that balances aggression and melody effectively. Listeners seeking a well-produced, energetic, and musically coherent metal album may find this release worth their attention.

Nick Parastatidis

REVIEW: DIVINER, Avaton

 

DIVINER, Avaton (2023)

ROAR! / Rock of Angels Records

Άβατο για τους εκτός μεταλλικής πραγματικότητας

Το αθηναϊκό συγκρότημα, με τον τρίτο του δίσκο, κάνει αυτό που ξέρει να κάνει καλά — μόνο που αυτή τη φορά το κάνει ακόμη καλύτερα. Η παραγωγή είναι αναβαθμισμένη, οι συνθέσεις και οι ιδέες πιο ώριμες, οι μελωδίες και το πάθος πιο έντονα, δημιουργώντας ένα κράμα θεμάτων που δεν απογοητεύει τους φίλους του ελληνικού Power Metal. Η μουσική τους στο προηγούμενο —και πιο πρόσφατο— άλμπουμ αποτελεί ένα σκαλοπάτι πιο πάνω από ό,τι μας είχαν συνηθίσει.

Οι επιρροές τους γέρνουν περισσότερο προς το U.S. Metal, αν και τα τελευταία δεκαπέντε χρόνια ελάχιστα ελληνικά σχήματα φαίνεται να αντλούν από άλλες σχολές. Η ημι‑συμφωνική «πλέμπα» του «στρουμφοχωριού» που έχει πλημμυρίσει την υπόλοιπη Ευρώπη, μετατρέποντας το Euro Power Metal σε Pop, δεν αγγίζει τη συντριπτική πλειονότητα των εγχώριων συγκροτημάτων.

Οι Diviner, στο δικό τους Άβατο, διατηρούν εκείνη την οικεία αύρα των Metal Church, Crimson Glory, Savatage, Riot, Liege Lord και Iced Earth, αλλά με το δικό τους ελληνικό ύφος και υπογραφή να λάμπει στο προσκήνιο.

Τα Mountains High, Dancing in the Fire, Cyberwar, Nemesis, Dominator, The Battle of Marathon, Hall of the Brave, καθώς και το επιπλέον κομμάτι της αρχικής έκδοσης του CD, το Dead New World, ξεχωρίζουν αμέσως σαν κορυφές μιας συνεχούς οροσειράς.

English:

Sanctuary for Those Outside the Metal Reality

The Athenian band, with their third album, does what they’ve always done well — only this time they do it even better. The production is sharper, the songwriting and ideas more mature, the melodies and passion more intense, forming a blend that never disappoints fans of Greek Power Metal. Their music on the previous — and most recent — album stands a full step above what they had accustomed us to.

Their influences lean more toward U.S. Metal, though in the past fifteen years only a handful of Greek bands seem to draw from other schools anyway. The semi‑symphonic “Smurf‑village riff‑raff” that has flooded the rest of Europe, turning Euro Power Metal into Pop, thankfully doesn’t touch the vast majority of Greek acts.

Diviner, in their own sanctuary, carry that familiar aura of Metal Church, Crimson Glory, Savatage, Riot, Liege Lord and Iced Earth, yet their own Greek identity and signature shine unmistakably in the foreground.

Mountains High, Dancing in the Fire, Cyberwar, Nemesis, Dominator, The Battle of Marathon, Hall of the Brave, and the bonus track from the original CD edition, Dead New World, stand out immediately — peaks in an unbroken mountain range.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: RIOT V, Mean STREETS

RIOT V, Mean STREETS (2024)

Atomic Fire Records

Αξία και με επιτόκιο.

Έχουν επανακάμψει μουσικά σε τέτοιο βαθμό, που πραγματικά πιστεύω ότι αν υπάρχει άλλη ζωή, ο Mark Reale θα χαμογελάει με αγαλλίαση. Το θρυλικό σχήμα που δε χρειάζεται συστάσεις, στην πέμπτη του μορφή, δείχνει ότι σέβεται τόσο το όνομά του, όσο και τη φήμη του, αλλά κυρίως τον κόσμο του.

Ένα ακόμη άλμπουμ, φρέσκο, που κυκλοφόρησε σχεδόν στα μέσα της χρονιάς που διανύουμε, αποδεικνύει ότι φέτος πάμε κάτι παραπάνω από καλά σε νέες κυκλοφορίες. Κλασικό U.S. Heavy Metal όπως πρέπει να είναι: απλό και λιγόλογο.

Οι ταχύτητες στον δίσκο είναι έναν βαθμό πιο μετριασμένες σε σχέση με τα πρόσφατα έργα τους, αλλά η ποιότητα βρίσκεται ελαφρώς πιο πάνω σε επίπεδο σύνθεσης και ιδεών. Εξάλλου, δεν περιμένουμε το 2024 ένα νέο Fire Down Under, Thundersteel ή Inishmore — ούτε θα το θέλαμε πραγματικά. Το «τώρα» αυτού του ιστορικού σχήματος είναι αυτόνομη δημιουργία, κάτι πολύ περισσότερο από ένα “tribute” σχήμα.

Είναι αυτονόητο ότι κανένα μέλος της σημερινής σύνθεσης δεν ήταν παρόν στο ντεμπούτο του 1977, το Rock City, και μόνο ο μπασίστας Don Van Stavern βρέθηκε στις τάξεις των Riot το 1986.

Τίτλοι με τη χαρακτηριστική, περήφανη αισθητική τους — όπως Hail to the Warriors, Feel the Fire, High Noon, Before This Time, Higher, Mean Streets, Mortal Eyes, Open Road, Lost Dreams — έχουν αυτή τη γνώριμη λογική του ατελείωτου δρόμου, πάνω στον οποίο ξεχύνονται μεταλλικές μηχανές, όπως και στο εξώφυλλο με τον Tiar ή αλλιώς Johnny, τη χαρακτηριστική λευκή φώκια-μασκότ τους, και τη συμμορία του.

Πάντα τέτοια.

English:

Value — with interest.

They’ve made such a musical comeback that I honestly believe, if there’s another life out there, Mark Reale must be smiling with pure joy. This legendary band that needs no introduction, now in its fifth incarnation, shows that it respects its name, its legacy, and above all, its audience.

Their latest album — fresh, released around the middle of the year — proves that 2024 has been more than generous when it comes to new music. Classic U.S. Heavy Metal exactly as it should be: straightforward and to the point.

The tempos on this record are a notch more restrained compared to their recent works, yet the quality sits slightly higher in terms of composition and ideas. After all, no one expects — nor truly wants — a new Fire Down Under, Thundersteel, or Inishmore in 2024. The band’s present is an autonomous creative force, far more than a mere “tribute” to its past.

Naturally, none of the current members were around for the 1977 debut Rock City, and only bassist Don Van Stavern was part of Riot back in 1986.

Track titles with their trademark proud aesthetic — Hail to the Warriors, Feel the Fire, High Noon, Before This Time, Higher, Mean Streets, Mortal Eyes, Open Road, Lost Dreams — carry that familiar spirit of the endless highway, the one where metal machines roar forward, just like on the cover featuring Tiar, or Johnny, their iconic white‑seal mascot, and his gang.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: HAZZARD – Hazzard

 

HAZZARD – Hazzard

Mausoleum Records

I imagine everyone from my generation is familiar with the Dukes of Hazzard, but I’m not quite sure how many of you know the band Hazzard led by Herman Frank—yes, that Herman Frank from the heavy metal gods, Accept. This short-lived project existed between 1982 and 1985, leaving behind only one self-titled album released in 1984 under the legendary Mausoleum Records. So, while most of the world was out flying kites yesterday for Clean Monday, I decided to stay grounded and give this record a spin.

If you’re expecting to hear something identical to Accept, you aren’t exactly wrong, but you aren't 100% right either. Naturally, a musician’s core style doesn't just disappear, but here Herman had the freedom to experiment with different sounds. I’d describe it as more melodic hard rock that never quite strays from its heavy metal roots. There are definitely more "Americanized" moments on the record, like "Nothing at All," which shows a clear affection for Van Halen—go ahead and Jump for joy, pun absolutely intended. Yet, the album still finds time for its high-speed moments, retaining that signature Teutonic bite in tracks like "Satisfied."

To bring this vision to life, Herman assembled a solid crew of musicians. He tapped British vocalist Malcolm McNulty, who had a background in the NWOBHM band Weapon and later joined Sweet, alongside Wolfgang Hettmer on bass, Günter Sander on guitars, and Dieter Schmier on drums. The result is a record that is very easy to listen to and well-written, featuring standout compositions such as "Moonlight," "Just a Dream," and "Killer." It is also worth noting the production value of the era; for a 1984 Mausoleum release, it carries that specific raw but punchy European charm that modern digital remasters often lose, perfectly capturing a moment when heavy metal was deciding whether to stay in the garage or move into the arena.

Ultimately, if you go in expecting the top-tier quality of Accept, you might leave a bit disappointed, as it doesn't quite hit those legendary heights. However, it remains a very strong example of melodic, slightly American-influenced hard ’n’ heavy. It is a hidden gem that deserves a spot in the collection of any fan who appreciates the evolution of the 80s metal scene.

Nick Parastatidis

REVIEW: REX MUNDI – Perception In Design

 

REX MUNDI – Perception In Design

Steel Gallery Records

The debut full‑length from the northern Greek outfit REX MUNDI arrives after a long incubation period. Formed in 2002 and familiar to many local gig‑goers from their support slots for acts like NEVERMORE and ATHEIST, the band now presents their first complete statement through Steel Gallery Records, the longest‑running active metal label in Greece. It’s worth noting that the group’s guitarist has also been involved with the U.S. power‑metal project FINAL ANSWER, whose album was likewise released by the same label—an interesting thread that hints at the band’s broader network and influences.

Musically, Perception sits firmly in the realm of modern technical thrash, with clear death‑metal undercurrents. The influence of NEVERMORE is unmistakable—not in a derivative way, but in the sense of adopting that sharp, angular riffing and a generally dark, introspective atmosphere. REX MUNDI handle this territory with confidence; the playing is tight, the structures are well thought‑out, and the band seems to understand exactly what they want to achieve within this stylistic framework.

Two tracks stood out most to me: “Perception” and “Images from a Mirror.” Both pieces showcase the band’s strengths—precise riff work, dynamic shifts, and a sense of controlled aggression. The vocal approach didn’t resonate with me personally, but that’s a matter of taste rather than execution. Fans who gravitate toward this particular blend of thrash and death metal will likely find plenty to appreciate.

Perception may not fall squarely within my usual listening habits, yet it’s a solid and sincere debut that should speak directly to listeners already invested in this corner of the metal spectrum.

Ioannis Kaskamanidis

REVIEW: SABBAT, Dreamweaver-Reflections Of Our Yesterdays

 

SABBAT, Dreamweaver-Reflections Of Our Yesterdays (1989)

Noise Records

Γνώριμη είναι η φωνή που ακούς.

Ωραίο εξώφυλλο· ας δω τι παίζει από πίσω. Γνωστές φάτσες — μα αυτός δεν είναι ο Martin Walkyier; εδώ νέος και χωρίς το ξανθό μουστάκι του, με το οποίο έγινε πολύ γνωστότερος, αφού τραγουδάει στους κλασικούς δίσκους των Skyclad από το 1990. Ένας από τους δύο κιθαρίστες μοιάζει πολύ στον διάσημο παραγωγό Andy Sneap — και είναι όντως αυτός, τότε φυσικά νέος και με μακρύ μαλλί.

Οι Άγγλοι Sabbat είναι ένα παραγνωρισμένο συγκρότημα που, μέσα σε έξι χρόνια και τρεις δίσκους, έχει καταφέρει να θεωρούνται οι δύο από αυτούς κλασικοί: αυτό το CD και το προηγούμενο άλμπουμ, το ντεμπούτο τους History of a Time to Come.

Είναι γνωστό ότι στο παρακλάδι του Thrash Metal το νησί της ομίχλης, των αρουραίων, του εμετικού αποικιοκρατικού παρελθόντος, του ποδοσφαίρου και γενέτειρα του NWOBHM, δεν έχει πολλά να δώσει. Ενδεικτικά, οι τεράστιοι Onslaught και φυσικά οι Sabbat αποτελούν δύο από τις ελάχιστες εξαιρέσεις.

Αυτό το άλμπουμ περιέχει υλικό που είναι κρίμα να μην ακούσει ο μέσος metal οπαδός. Βασικά, έγκλημα είναι — όχι κρίμα. Αν σας είναι οικεία η πιο αιχμηρή και τραχιά μουσική των δύο πρώτων δίσκων των Skyclad, κάνατε την τύχη σας. Επενδύστε άφοβα και το Dreamweaver δεν θα σας απογοητεύσει.

Ο φλεγματικός Martin «φτύνει» κι εδώ τους στίχους στο γνώριμο στυλ του, αλλά ακόμη πιο γρήγορα σε ρυθμό. Τα πλέον κλασικά άσματα — The Clerical Conspiracy, Advent of Insanity, Do Dark Horses Dream of Nightmares? (ερωτήματα είναι, όχι αστεία!), The Best of Enemies, How Have the Mighty Fallen? (όλο ερωτηματικά), Wildfire, Mythistory — έχουν την έδρα τους εδώ και για πάντα.

English:

The voice you’re hearing is a familiar one.

Nice cover art — let’s see what’s going on behind it. Familiar faces everywhere, but… isn’t that Martin Walkyier? Here he is, young and without the blond moustache he later became known for, after fronting the classic Skyclad albums from 1990 onward. One of the two guitarists looks a lot like famed producer Andy Sneap — and it is him, of course, back when he was young and long‑haired.

The English band Sabbat is one of those criminally overlooked groups who, within six years and three albums, managed to produce two records widely regarded as classics: this CD, and the previous one, their debut History of a Time to Come.

It’s well known that when it comes to the Thrash Metal branch of things, the island of fog, rats, nauseating colonial history, football, and birthplace of the NWOBHM hasn’t exactly offered much. The mighty Onslaught and, naturally, Sabbat are two of the rare exceptions.

This album contains material the average metal fan really shouldn’t miss. Actually, scratch that — it’s not a shame, it’s a crime to skip it. If you’re fond of the sharper, rougher sound of the first two Skyclad records, you’ve hit the jackpot. Dive in without hesitation; Dreamweaver won’t let you down.

The ever‑phlegmatic Martin spits out the lyrics here in his trademark style, only even faster this time. The truly classic tracks — The Clerical Conspiracy, Advent of Insanity, Do Dark Horses Dream of Nightmares? (yes, those are questions, not jokes), The Best of Enemies, How Have the Mighty Fallen? (more questions), Wildfire, Mythistory — all have their home here, now and forever.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: DIVINER, Realms Of Time

 

DIVINER, Realms Of Time (2019)

Ulterium Records

Η ελληνική σκηνή πάντα στην αντεπίθεση. 

Οι πέντε Αθηναίοι, εδώ στο δεύτερο άλμπουμ τους, παρουσιάζουν Power Metal με αρκετές επιρροές μάλλον πιο αμερικάνικης σχολής, σύγχρονη παραγωγή, επικές πινελιές αλλά και πιο euro‑power κιθαριστικά σόλο — όλα σε ισορροπημένες δόσεις. Οι Diviner ακούγονται εδώ σε δημιουργική άνοδο μετά το πολύ καλό ντεμπούτο τους Fallen Empires (2015), και γιατί όχι; Κανείς δεν μπορεί να αρνηθεί πως πρόκειται για ένα συγκρότημα που παλεύει και πονάει το ζήτημα Metal στις παρυφές της δεύτερης δεκαετίας του αιώνα, σε μια χώρα που συχνά βρίσκεται σε εχθρική σχέση με την ποιότητα.

Οι πέντε μουσικοί — ξεκινώντας από τον βετεράνο των Inner Wish, Rock 'N Roll Children και, γιατί όχι, των «Ελεύθερων» (ο ίδιος δεν κρύβει ότι οι «Παπαροκάδες» υπήρξαν μέρος της πορείας του!) — τον τραγουδιστή Γιάννη Παπανικολάου, τους κιθαρίστες Κώστα Φύτο και Γιώργο Μαρουλή, τον Φραγκίσκο Σαμοίλη στα ντραμς και τον Herc Booze στο μπάσο, μας προσφέρουν εδώ μερικά κομμάτια με τη στόφα του κλασικού ήχου που αγαπάμε να λατρεύουμε.

Κομμάτια όπως τα Against the Grain, Heaven Falls, Set Me Free, Cast Down in Fire, Beyond the Border, King of the Masquerade και Stargate αποτελούν, κατά τη γνώμη μου, τις καλύτερες στιγμές ενός δίσκου πολλά υποσχόμενου για το μέλλον τους.

English:

The Greek scene is always on the counterattack.

Here, on their second album, the five Athenians deliver Power Metal with strong, distinctly American‑school influences, a modern production, epic touches, and flashes of Euro‑power guitar soloing — all in balanced proportions. Diviner sound creatively ascendant here, following their excellent debut Fallen Empires (2015). And why shouldn’t they? No one can deny they’re a band that fights for — and bleeds for — Metal as we move through the second decade of the century, in a country often at odds with quality.

The five musicians — starting with veteran vocalist Yiannis Papadopoulos of Inner Wish, Rock ’N Roll Children, and yes, even the “Eleftheroi” (he openly acknowledges the “Paparakades” chapter of his career!) — together with guitarists Kostas Fytilis and Giorgos Maroulis, drummer Fragiskos Samoilis, and bassist Herc Booze, offer several tracks here with the makings of the classic sound we love to worship.

Songs like Against the Grain, Heaven Falls, Set Me Free, Cast Down in Fire, Beyond the Border, King of the Masquerade, and Stargate stand, in my view, as the album’s finest moments — highlights of a record that promises even greater things for their future.

Τάκης "Ε-Μortal One" Γιώτης!