REVIEW: FIREWIND, Between Heaven And Hell

 

FIREWIND, Between Heaven And Hell (2002)

Massacre Records

Ωμή δύναμη σαν πρώτη δόση.

Ένα άλμπουμ ενός... side project, καθαρά. Τότε, ένας νεαρός Σαλονικιός κιθαρίστας των Σουηδών ήδη φτασμένων Power Metal συγκροτημάτων Dream Evil, ο Κώστας Καραμητρούδης, γνωστός στον χώρο μας ως Gus G, προτρέπεται από τον τεράστιο, θρυλικό και εγώ δε ξέρω τί άλλο κιθαρίστα, αλλά και παραγωγό, David Chastain, να δοκιμάσει τον τραγουδιστή Stephen Frederick, όταν του ζητά τη βοήθειά του για να στήσει αυτό το άλμπουμ.

Έχοντας το demo του ως βάση, ο Gus G θέλει να μεταλαμπαδεύσει την προσπάθειά του σε έναν δικό του δίσκο. Μαζί τους οι Brian Harris στα ντραμς και ο Κωνσταντίνος στο μπάσο. Ένα άλμπουμ που πραγματικά δεν ξεπεράστηκε ποτέ από μεγάλο αριθμό φίλων του κλασικού Heavy και Power Metal, και νομίζω δίκαια! Οι επιρροές όλων, και ειδικότερα του Gus G, ξεκινούν από Helloween, Rainbow, Malmsteen, Stratovarius και φτάνουν σε Crimson Glory, Gargoyle, Queensryche και Warlord από την άλλη πλευρά του Ατλαντικού.

Ένα άλμπουμ που, αν σας χτυπά άσχημα ο Euro Power ήχος, θα το πρότεινα ανεπιφύλακτα (όπως και το επόμενο Burning Earth, που έχει ακόμη πιο U.S. Speed Metal ηχητικά) για σίγουρα αποτελέσματα!

Στα δώδεκα κομμάτια της αρχικής έκδοσης θα βρείτε μερικά πολύ κλασικά πλέον δείγματα, όπως το ομώνυμο του άλμπουμ, τα Warrior, World of Conflict, τον ύμνο τους, Destination Forever, και επιπλέον τα Tomorrow Can Wait, την απίστευτη διασκευή στο Pictured Life της άψογης πρώτης εποχής των Scorpions, Firewind Raging, Who Am I και το τρίτο single του δίσκου και στη συνείδησή μας, το Fire.

English:

Raw power as a first dose.

A pure side project album. Back then, a young Thessalonian guitarist from the already established Swedish Power Metal bands Dream Evil, Kostas Karamitroudis—known in our scene as Gus G—was encouraged by the legendary, iconic, and I might add, otherworldly guitarist and producer David Chastain to try out vocalist Stephen Frederick when he asked for his help in putting together this album.

Using his demo as a foundation, Gus G aimed to channel his effort into his own record. Joining him were Brian Harris on drums and Konstantinos on bass. An album that truly has never been surpassed by a large number of fans of classic Heavy and Power Metal—and I believe rightfully so! The influences for all of them, especially Gus G, range from Helloween, Rainbow, Malmsteen, Stratovarius, to Crimson Glory, Gargoyle, Queensryche, and Warlord on the other side of the Atlantic.

If you're heavily into Euro Power metal, I would wholeheartedly recommend this album (as well as the next, Burning Earth, which leans even more toward U.S. Speed Metal in sound) for guaranteed results!

Among the twelve tracks of the original release, you'll find some now-classic examples, such as the title track, Warrior, World of Conflict, their anthem Destination Forever, as well as Tomorrow Can Wait, the incredible cover of Pictured Life from the early, flawless era of the Scorpions, Firewind Raging, Who Am I, and the third single on the album—and in our consciousness—the song Fire.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: NOCTURNA PERAMBULANT IN TENEBRIS - Death Dawn

 

NOCTURNA PERAMBULANT IN TENEBRIS - Death Dawn

Casket Music

Italy is not a country that has accustomed us to a large number of death metal releases. There is certainly an extreme scene, but personally I am not very familiar with it. NOCTURNA PERAMBULANT IN TENEBRIS, with their debut “Death Dawn,” introduce a sound rooted in mid‑tempo death metal as it was primarily shaped by U.S. bands. Upon this foundation, they incorporate elements from black and traditional metal, creating a hybrid approach that broadens their stylistic palette.

One aspect worth highlighting is the band’s lyrical direction. They avoid the usual zombie, gore, and serial‑killer themes often associated with the genre. Instead, their lyrics lean toward war‑driven and epic narratives reminiscent of BOLT THROWER. Musically, if comparisons must be drawn, their sound sits somewhere between SIX FEET UNDER, DEBAUCHERY, and the darker, mid‑tempo side of ROTTING CHRIST.

“Death Dawn” contains several good ideas, yet as a complete release it tends to feel somewhat monotonous. The lack of variety becomes noticeable—an understandable challenge when working within the constraints of mid‑tempo death metal. There are positive elements throughout, but the band would benefit from developing more dynamic shifts and broader compositional contrasts in future work.

For now, I believe the album will primarily appeal to diehard fans of this specific sound. Tracks like “Immortal End” and the more epic “Lachedaimonios” stand out, but after a certain point the repetition makes the material blend together. Still, it’s worth giving the album a listen and drawing your own conclusions.

Nick Parastatidis

Sons of Kali Unleash New Single “Bloodshed”

 

Puerto Rican blackened death metal force Sons of Kali have dropped their latest single, “Bloodshed,” offering another fierce preview of their upcoming debut album. The track was recorded at Island Recording Studios with engineer Jorge Vega, and later mixed and mastered by Christian Rodriguez at Lady Starship Studios, sharpening its brutal, high‑velocity sound.

Formed in 2024 by guitarist Fabian Milian and bassist Diego Garcia, Sons of Kali quickly solidified their lineup with vocalist Sebastian Sousa and drummer Elier Bonilla, channeling a vision of faster, heavier, and more aggressive extreme metal. Blending diverse influences into a distinct sonic identity, the band has already released three singles, with “Bloodshed” marking their most intense offering yet.

Their debut album is now one of the most anticipated releases emerging from Puerto Rico’s extreme metal scene.

DarkFlow: Forging Shock Metal Through Apocalypse and Theatrical Power

 

Emerging in 2020, DarkFlow has quickly established itself as one of the most distinctive new voices in the modern metal landscape. Refusing to be confined by genre boundaries, the band fuses Heavy Metal, Thrash, Symphonic, and Progressive elements into a hybrid they boldly define as Shock Metal. This self‑coined label reflects not only their sound but their artistic philosophy: music that confronts, provokes, and immerses the listener in a world of intensity and narrative depth.

A defining aspect of DarkFlow’s identity is their commitment to theatrical performance. Their shows are crafted as full sensory experiences, blending dramatic staging, visual storytelling, and a heightened sense of spectacle. For DarkFlow, the stage is not merely a platform but a world in which their stories unfold.

One of the most striking examples of their conceptual ambition is the track “The Last Symphony.” The song explores a bleak eschatological vision: humanity has lost its way, turning against itself instead of seeking unity or compassion. In this narrative, divine intervention arrives not as salvation but as judgment. Drawing from the tradition of apocalyptic Christian literature—particularly the Book of Revelation—God descends in wrath, fulfilling the prophecy that every soul is condemned. There is no redemption, no final mercy; the prophecy becomes reality, and humanity faces an irreversible end.

The production of the track further elevates its impact. Andy LaRocque of King Diamond not only produced the song but also performs its guitar solo, infusing the piece with his signature precision and dark melodic flair. His involvement bridges DarkFlow’s modern Shock Metal vision with the legacy of theatrical and narrative-driven metal.

The thematic core of “The Last Symphony” resonates with the complex history of apocalyptic texts. The Book of Revelation, attributed to John, was not immediately embraced by the early Church. Its portrayal of Jesus as a warrior-king—far removed from the figure of love and compassion emphasized in the four Gospels—made its inclusion in the New Testament a matter of debate. DarkFlow taps into this tension, channeling the raw, violent, and symbolic imagery of Revelation to craft a song that challenges contemporary perceptions of faith, morality, and divine justice.

With their genre-blending sound, theatrical ambition, and willingness to explore provocative themes, DarkFlow stands as a band unafraid to push boundaries. “The Last Symphony” is not just a song—it is a statement, a confrontation, and a glimpse into the apocalyptic imagination that fuels their Shock Metal identity.

Nick Parastatidis

REVIEW: COLD EMPIRE – From the Ashes of the Empire

 

COLD EMPIRE – From the Ashes of the Empire

Naturmacht Productions

The older I get, the more I find myself drawn toward black metal’s stark landscapes. For many listeners the trajectory goes the opposite way, yet when releases like COLD EMPIRE’s From the Ashes of the Empire cross your path, the shift feels less like a change in taste and more like a natural evolution.

COLD EMPIRE, a two‑piece black metal act from Italy, craft a sound that defies geographical expectations. Had I not looked them up beforehand, I would have placed them somewhere in Scandinavia. Their approach is cold, epic, and unrelentingly dark—rooted firmly in the classic black metal tradition. The band avoids keyboards and unnecessary embellishments, relying instead on sharp riffing, raw atmosphere, and a sense of frozen grandeur.

From the Ashes of the Empire stands out as a compelling and memorable work. The songs move with purpose, carrying a blackened aura that is both immersive and immediate. It’s a release that captures the essence of traditional black metal without feeling derivative, channeling a chilling atmosphere that pulls the listener into its bleak domain.

In COLD EMPIRE’s world, black metal reigns supreme—and this album makes a strong case for why.

Christine  Parastatidou

REVIEW: MANOWAR, Warriors Of The World

 

MANOWAR, Warriors Of The World (2002)

Nuclear Blast Records

Τι να πεις και τι να περιγράψεις.

Οι ατσάλινοι μαχητές του μέταλ με το πιο παχύ «σολ» (μέτσολ), οι ανοξείδωτοι πολεμιστές πάνω στις Harley Davidson, η μπάντα που παρουσιάζει την πιο αξιοπρόσεκτη πορεία από τη Βαλχάλα μέχρι τη σκηνή του Μπρόντγουεϊ (ή του τσίρκου — οι γνώμες διίστανται), αποφάσισε να τονίσει ότι διαθέτει ακόμη επικά χαρακτηριστικά στις παρυφές του νέου αιώνα.

Μετά από δύο παγκόσμιες περιοδείες για τον δίσκο Louder Than Hell, δύο ζωντανά ηχογραφημένα άλμπουμ (το ένα τόσο «ζωντανό» που η δουλειά στο στούντιο ακούγεται πιο ζωντανή!) και με σημαίες αλά Kings of Metal εποχής στο εξώφυλλο, κυκλοφορούν αυτό εδώ. Τώρα, τόση ώρα, για τη μουσική τους αυτή καθαυτή δεν γράψαμε σχεδόν τίποτα.

Η τετράδα Eric Adams, Joey DeMaio, Karl Logan και ο —μακαρίτης πλέον— Scott Columbus κάνει ένα ιστορικό πισωγύρισμα. Μια ανάμιξη της εποχής Kings of Metal / Fighting the World με τα προγενέστερα άλμπουμ έως το 1984, και το αποτέλεσμα είναι… περίεργα συμπαθητικό. Καλύτερος δίσκος από οτιδήποτε είχαν παρουσιάσει την τελευταία δεκαετία, αλλά και πάλι κάτι χτυπάει λάθος.

Ίσως φταίνε οι δύο διασκευές: το Nessun Dorma από την όπερα του Giuseppe Verdi και το country κομμάτι An American Trilogy, που έχει ερμηνεύσει και ο Elvis Presley. Ίσως πάλι οι πιο σοβαρές —ναι, μπορείς να τις χαρακτηρίσεις έτσι— προσπάθειες με τα Call to Arms, Valhalla, Swords in the Wind, Warriors of the World United, Hand of Doom, Fight Until We Die, που όντως αξίζουν τον τίτλο Manowar.

Έχουμε λοιπόν ένα άλμπουμ που, όπως είπαμε, είναι το καλύτερο εδώ και πολλά χρόνια, αλλά και πάλι κάτι μου φταίει. Το οχτώ το παίρνουν —και είναι το πρώτο από το 1988— κι αυτό από μόνο του αποτελεί γεγονός. Οι εποχές που όλα τα παλιά θηρία έδιναν δίσκους όπου το εννιά ήταν ντροπή να το βάλεις έχουν περάσει ανεπιστρεπτί, όπως και η έμπνευση των συγκεκριμένων συγκροτημάτων.

Πρέπει κάποτε να το αποδεχτούμε αυτό.

English:

What can one really say, and what can one possibly describe.

The steel-clad warriors of metal with the thickest “sol” (or “met-sol”), the stainless riders atop their Harley Davidsons, the band whose trajectory stretches from Valhalla all the way to a Broadway stage (or a circus tent — opinions vary), decided to remind us that they still possess epic qualities on the threshold of the new century.

After two world tours supporting Louder Than Hell, two live albums (one so “live” that the studio work sounds livelier!), and with Kings of Metal-style flags waving proudly on the cover, they release this one. And here we are, several lines in, having barely written anything about the music itself.

 

The quartet of Eric Adams, Joey DeMaio, Karl Logan, and the now-late Scott Columbus takes a historical step backward. A blend of the Kings of Metal / Fighting the World era with their pre‑1984 albums, and the result is… strangely likeable. A better record than anything they’ve put out in the last decade, yet something still feels off.

Maybe it’s the two covers: Nessun Dorma from Verdi’s opera, and the country piece An American Trilogy, also performed by Elvis Presley. Or maybe it’s the more serious —yes, you could call them that— efforts like Call to Arms, Valhalla, Swords in the Wind, Warriors of the World United, Hand of Doom, Fight Until We Die, which genuinely earn the Manowar title.

So what we have here is an album that, as mentioned, is their best in many years — and yet something still bothers me. They get an eight —their first since 1988— and that alone is noteworthy. The days when the old beasts delivered albums where giving them anything less than a nine felt shameful are long gone, just like the inspiration of these once-mighty bands.

At some point, we simply have to accept that.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: BLAZE, Silicon Messiah

 

BLAZE, Silicon Messiah (2000)

Steamhammer

Πτώση από τον ουρανό στη Γη.

«Έχω περάσει πολλές άσχημες στιγμές μετά την ιστορία με τους Iron Maiden. Έχω παίξει με το πρώτο μου σχήμα, τους Blaze, σε συναυλίες μπροστά σε είκοσι-τριάντα άτομα», ανέφερε πρόσφατα από σκηνής στο αθηναϊκό κοινό ο κύριος Blaze Bayley. Η εποχή που περιγράφει ήταν αυτή μετά την κυκλοφορία του πρώτου του δίσκου, ύστερα από την σχεδόν εξαετή πορεία του με τους Iron Maiden. Κάποια από τα κομμάτια είχαν ήδη πάρει σχήμα από την εποχή μετά το Virtual XI, και προορίζονταν για το επόμενο άλμπουμ του μαζί τους, κάτι που βέβαια δεν συνέβη. Ένα CD, γραμμένο υπό το πρίσμα των αρχών του νέου αιώνα, θα έλεγα σκοτεινό, κλειστοφοβικό και πολύ μοντέρνο Heavy Metal, πιο μηχανιστικό απ' ό,τι μας έδωσε αργότερα. Ίσως το γεγονός ότι έχει να κάνει με την ανερχόμενη ακόμη τότε επιστήμη της πληροφορικής, που εκείνη την εποχή άρχισε να εισέρχεται στη ζωή του κάθε ανθρώπου, να ήταν η επιρροή στη θεματική (χαλαρά το λες) του συνολικού άλμπουμ. Ό,τι και αν του προσάπτουν οι πάντως είδους «δικαστές κι εισαγγελείς», κατόπιν εορτής, ο πρώτος αυτός δίσκος έχει να δώσει κομμάτια με μεγαλύτερη ιστορική αξία, όπως τα «Ghost in the Machine», «Evolution», «Silicon Messiah», «The Hunger», «Born As A Stranger», «Reach for the Horizon», «Stare At the Sun».

English:

Falling from the Sky to the Earth

"I have gone through many tough moments after the story with Iron Maiden. I’ve played with my first band, Blaze, at concerts in front of twenty to thirty people," recently stated Blaze Bayley from the stage to the Athens audience. The period he describes was after the release of his first album, following nearly six years of touring with Iron Maiden. Some of the tracks had already taken shape during the time after Virtual XI, and were intended for his next album with them—though, of course, that never happened.

This CD, I would say, written in the spirit of the early 2000s, is dark, claustrophobic, and very modern heavy metal—more mechanistic than what he later delivered. Perhaps the fact that it relates to the emerging science of computing, which was just beginning to enter everyone's life at that time, influenced the thematic (loosely speaking) of the entire album. Whatever accusations are made against it by the so-called "judges and prosecutors," in hindsight, this first album offers tracks of greater historical value, such as "Ghost in the Machine," "Evolution," "Silicon Messiah," "The Hunger," "Born As A Stranger," "Reach for the Horizon," and "Stare At the Sun."

Τάκης "Ε-Μortal One" Γιώτης