REVIEW: RITCHIE BLACKMORE'S RAINBOW, Stranger Ιn Us All

 

RITCHIE BLACKMORE'S RAINBOW, Stranger Ιn Us All (1995)

RCA

Θα σέβεστε.

Όταν τα σπάει με τους Deep Purple, σκαρώνει τους δικούς του Rainbow. Ο άνδρας με τα μαύρα, δύστροπος και με ιδιαίτερη αίσθηση του χιούμορ — αλλά μάλλον, αν του κάνεις εσύ πλάκα, θα σε αγριοκοιτάξει. Ο Ritchie δεν χρειάζεται άλλη σύσταση.

Οριστικά τσακώθηκαν το 1994 με τον Gillan, τον Lord και τους λοιπούς «Μωβ». Λίγο μετά στρατολογεί τον Doogie White, κάτοχο μιας ιδιαίτερα AOR φωνής αλλά και με μια ξεχωριστή, βαριά χροιά (κάτι μεταξύ των παλιών Turner και Dio!), τον Paul Morris στα πλήκτρα, τον Greg Smith στο μπάσο και τον John O'Reilly στα ντραμς. Μαζί γράφουν το όγδοο άλμπουμ των Rainbow, το πρώτο μετά το Bent Out of Shape, έντεκα χρόνια αργότερα.

Ένα άλμπουμ για όλα τα γούστα και για τους οπαδούς κάθε περιόδου της ήδη γνωστής ιστορίας τους. Στα «Ariel», όπου συμμετέχει και η τότε αρραβωνιαστικιά του, Candice Night, και στο «Black Masquerade», θυμίζει την επική εποχή με τον Dio. Από την άλλη, κομμάτια όπως τα «Cold Hearted Woman», «Hunting Humans» και «Too Late for Tears» κινούνται σε πιο AOR ύφος.

Ροκιές όπως τα «Wolf to the Moon» και «Hall of the Mountain King» συμπληρώνουν το παζλ, ενώ στο τέλος υπάρχει η επανηχογραφημένη διασκευή του «Still I'm Sad», που υπήρχε ως ορχηστρικό στο πρώτο άλμπουμ των Rainbow, το 1975.

Ένα δισκάκι που αξίζει την προσοχή μας και εξακολουθεί να τη διατηρεί έκτοτε.

English:

Show Some Respect.

When he breaks away from Deep Purple, he goes and creates his own Rainbow. The man in black — difficult, with a very particular sense of humor — but if you try to make fun of him, chances are he’ll just give you that infamous icy stare. Ritchie needs no further introduction.

The final fallout with Gillan, Lord, and the rest of the “Purples” came in 1994. Shortly after, he recruits Doogie White, a singer with a distinctive AOR voice but also a unique, heavy edge to his delivery (somewhere between the classic Turner and Dio eras!), along with Paul Morris on keyboards, Greg Smith on bass, and John O’Reilly on drums. Together, they create Rainbow’s eighth album, the first one after Bent Out of Shape, released eleven years earlier.

An album that has something for every taste and for fans of every era of Rainbow’s already legendary history. Tracks like “Ariel,” featuring his then-fiancée Candice Night, and “Black Masquerade” recall the epic Dio years. On the other hand, songs such as “Cold Hearted Woman,” “Hunting Humans,” and “Too Late for Tears” move into a more AOR-oriented direction.

Rockers like “Wolf to the Moon” and “Hall of the Mountain King” complete the picture, while the album closes with a re-recorded version of “Still I’m Sad,” the instrumental cover that originally appeared on Rainbow’s debut album back in 1975.

 

A little record that deserves our attention — and has continued to hold it ever since.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: GRANICUS – Thieves, Liars & Traitors

 

GRANICUS – Thieves, Liars & Traitors

Independent Release

A concise, historically significant hard‑rock document that expands the legacy of Granicus with archival material from their 1973–74 creative peak. It may sit a notch below their legendary debut, yet it remains one of the strongest modern‑day windows into authentic ’70s hard rock.

Granicus are one of those rare cases where a band’s discography is defined as much by absence as by presence. Their self‑titled debut from 1973—now considered a cult cornerstone of underground American hard rock—was reintroduced to the world in 2009 through a CD reissue. After that, silence. No follow‑up, no archival releases, nothing to suggest a second chapter.

“Thieves, Liars & Traitors” breaks that silence. Built from recordings captured between 1973 and 1974, it restores the voice of Woody Leffel, who had left the band immediately after the debut. His return gives these tracks the continuity and identity that fans of the first album will instantly recognize.

The album runs roughly half an hour, but its core is dominated by a 27‑minute live medley combining:

- When You Are Moving 

- Back Seat of My Car 

- Bad Talk 

This extended piece is not filler; it’s a raw, unfiltered snapshot of the band’s stage presence during their most fertile period. The sound is unpolished, but the energy is unmistakable—an authentic document rather than a modern reconstruction.

Among the studio tracks, several compositions stand out as the album’s backbone:

- Thieves, Liars & Traitors — the homonymous track, carrying the band’s signature blend of grit and melodic phrasing.

 

- Space in Time — atmospheric, slightly psychedelic, and one of the most fully realized ideas here. 

- Wizard of Was — a punchy, riff‑driven piece that channels the band’s heavier instincts. 

- Taste of Love — warm, direct, and rooted in classic hard‑rock songwriting.

These tracks reaffirm what made Granicus special: a balance between muscular guitar work, expressive vocals, and a distinctly American hard‑rock sensibility untouched by later trends.

Is “Thieves, Liars & Traitors” on the same level as the 1973 debut? Not quite. The debut remains the band’s defining statement—more cohesive, more explosive, more iconic. This second album, however, is not a mere curiosity or archival footnote. It is a genuine addition to the band’s legacy, offering material that stands proudly within the ’70s hard‑rock canon.

For genre devotees, this is essential listening: a rare chance to experience unreleased material from a band whose output is painfully limited. For casual listeners, sampling the album first is wise, but the quality is strong enough to win over anyone with an ear for vintage hard‑rock authenticity.

“Thieves, Liars & Traitors” may arrive decades late, but it feels like a rightful continuation of Granicus’ story. Slightly inferior to the debut, yes—but still one of the most compelling ’70s hard‑rock releases available today, and a must‑have for fans of the era.

Ioannis Kaskamanidis

ZVINDIYAR unveil new lyric video for “Shadhavar”

 

ZVINDIYAR, the atmospheric death metal project based in Bahrain, have released the lyric video for their new track “Shadhavar”, taken from the upcoming six‑song debut Six Rites. Rooted in Persian and Arab mythology, cinematic ambience, and ritualistic visual identity, the project blends death‑metal aggression with progressive structures, ambient textures, and mythological storytelling—constructed as a conceptual entity rather than a personality‑driven band.

Their debut single “Anqa” was premiered by Metal Hammer and voted Best New Metal Song of the Week by readers. Following “Anqa” and “Fell”, “Shadhavar” arrives as the final chapter before the full release of Six Rites, out worldwide on September 3, 2026, with early access on Bandcamp starting August 20.

Six Rites explores themes of transformation, collapse, destruction, mortality, and transcendence through a cinematic fusion of atmospheric death metal and mythological narrative.

REVIEW: NIGHTMARE – One Night of Insurrection (Live)

 

NIGHTMARE – One Night of Insurrection (Live)

AFM Records

One Night of Insurrection is a live DVD released by AFM Records to celebrate the 30th anniversary of NIGHTMARE, a French heavy metal band that originally emerged in the 1980s. The band released two albums during that decade and later returned to recording activity in the 2000s, producing several more releases.

This package also includes a bonus live CD featuring 13 songs performed by the band. The track list focuses exclusively on material from NIGHTMARE's albums of the previous decade: the title track from Cosmovision (2001), three songs from The Dominion Gate (2005), three songs from Genetic Disorder, and five songs from Insurrection.

I have to admit that before listening to this release, I was not familiar with the albums NIGHTMARE recorded during the 2000s. Based on this live performance, their style reminded me to some extent of the solo works of Rob Halford. However, I would say that Halford's albums are heavier, more dynamic, and overall more inspired in terms of songwriting and atmosphere.

One of the main issues with this release is the production. The sound is extremely clear and powerful, but it also feels heavily processed. In many moments, the songs give the impression of being studio recordings rather than a genuine live performance. The audience can only be heard briefly at the end of some tracks, which reduces the feeling of being present at an actual concert. The overall sound has been polished to such an extent that the live character of the performance is almost lost.

Although the musicianship is solid and the band delivers a professional performance, the artificial production prevents this release from capturing the energy and atmosphere that a good live album should provide. For listeners interested in discovering NIGHTMARE, I would recommend starting with the band's first two albums from the 1980s, which represent a more authentic period of their career.

In my opinion, One Night of Insurrection is not an essential release and would not be my first recommendation for fans looking to explore the band.

Ioannis Kaskamanidis

REVIEW: KING DIAMOND, Voodoo

 

KING DIAMOND, Voodoo

Massacre Records

Η μεγάλη επιστροφή

Το άλμπουμ που μου γνώρισε τον βασιλιά του τρόμου το βρήκα σε Picture Disc βινύλιο κανά δυο μέρες μετά την επίσημη κυκλοφορία του, τότε, και το σκοτάδι ξεχύθηκε από τα ηχεία του παλιού μας στερεοφωνικού και έμεινε εκεί για πάντα.

Ιστορικά, η δεκαετία του ’90 ήταν αρκετά υποτονική σε σχέση με την προηγούμενη, κατά την οποία όλα τα μεγάλα άλμπουμ του King Diamond κυκλοφορούσαν σχεδόν κάθε χρόνο. Η επαναδραστηριοποίηση των Mercyful Fate ίσως να έπαιξε ρόλο σε αυτή την κατάσταση. Πάντως, μετά το The Spider’s Lullaby, που ήταν το αμέσως πιο αξιόλογο άλμπουμ του, το The Graveyard, που κυκλοφόρησε ακριβώς δύο χρόνια πριν από αυτό εδώ, δεν με βρήκε ιδιαίτερα ζεστό. Αυτό προφανώς συνέβη γιατί το άκουσα μετά το Voodoo, οπότε έχασε στη σύγκριση.

Η ιστορία μας μεταφέρει στη Λουιζιάνα των αρχών του 20ού αιώνα, όπου από το δάσος έξω από την έπαυλη (ναι, άλλη μία έπαυλη γεμάτη σκοτεινά μυστήρια) των Lafayette ακούγονται κάθε βράδυ τα τύμπανα των Κρεολών Αφροαμερικανών, οι οποίοι ασκούν την πρακτική/παραθρησκευτική τελετουργία Voodoo στο μυστικό νεκροταφείο τους που βρίσκεται εκεί, εν αγνοία των κατοίκων του σπιτιού. Έτσι δημιουργούνται πολύ περίεργες και υπερφυσικές καταστάσεις.

Τα υπόλοιπα ακούστε τα μέσα από τα Loa House, Life After Death, Voodoo (στο σόλο του οποίου συμμετέχει φιλικά ο αείμνηστος πλέον Dimebag Darrell των Pantera), Salem, One Down Two to Go, The Exorcist, Sending of Dead, Sarah’s Night και Cross of Baron Samedi. Σύντομα θα μπείτε στο πετσί του ρόλου των ηρώων ενός από τα καλύτερα θεματικά άλμπουμ του βασιλιά, μαζί με τον μόνιμο συνεργάτη του κιθαρίστα Andy LaRoque, τον έτερο κιθαρίστα Herb Simonsen, τον Chris Estes στο μπάσο και τον ντράμερ John Luke Hebert, για τη δεκαετία εκείνη.

English:

The Great Comeback

The album that introduced me to the King of Horror, I found on Picture Disc vinyl a couple of days after its official release back then, and darkness poured out of the speakers of our old stereo and stayed there forever.

Historically speaking, the ’90s were a rather subdued decade compared to the previous one, when all of King Diamond’s major albums were coming out almost every year. The reactivation of Mercyful Fate may have played a role in this situation. In any case, after The Spider’s Lullaby, which was his next truly noteworthy album, The Graveyard, released exactly two years before this one, didn’t really warm me up. This was obviously because I heard it after Voodoo, so it lost in comparison.

The story takes us to early 20th-century Louisiana, where, from the woods outside the Lafayette mansion (yes, another mansion filled with dark mysteries), the drums of the Creole African Americans can be heard every night as they perform the Voodoo practices and rituals in their secret cemetery located there, completely unknown to the inhabitants of the house. This leads to some very strange and supernatural events.

The rest of the story unfolds through Loa House, Life After Death, Voodoo (which features a guest solo appearance by the now late Dimebag Darrell of Pantera), Salem, One Down Two to Go, The Exorcist, Sending of Dead, Sarah’s Night, and Cross of Baron Samedi. Before long, you will find yourself stepping into the shoes of the protagonists of one of the King’s finest concept albums, alongside his longtime guitar partner Andy LaRoque, fellow guitarist Herb Simonsen, Chris Estes on bass, and drummer John Luke Hebert, who completed the lineup for that era.

Τάκης "Ε-Μortal One" Γιώτης!

Freitanás Releases Debut Album “Ergo Sum”

 

Portuguese progressive metal project Freitanás has released its debut album, Ergo Sum. The album was recorded, mixed, and mastered by João Pedro Freitas in his home studio.

Based in Castanheira de Pera, Portugal, Freitanás is the solo rock and metal project of Aoidos vocalist and guitarist João Pedro Freitas. The project’s name originated during a legendary gathering at Taberna 58 and has now reached a major milestone with the release of its first full-length record.

Ergo Sum combines previously unreleased compositions with brand-new material, blending the guitar-driven intensity of Zakk Wylde and Nevermore with the atmospheric and experimental influences of Ornatos Violeta and Devin Townsend.

Conceptually, the album explores the challenges of adulthood, independence, and isolation, transforming personal struggles into a powerful and cathartic progressive metal experience.

REVIEW: VENOM, Resurrection

 

VENOM, Resurrection (2000)

Steamhammer

Μετά την πολυθρύλητη επανένωση, η νέα διάσπαση.

Με τον Abaddon να τα έχει σπάσει με τους Cronos και Mantas, στα κρουστά εδώ παίζει ο Antton. Σε λίγο καιρό θα μαζέψει κι ο Mantas κιθάρα και ενισχυτές και θα φύγει κι αυτός. Η άσπονδη τριάδα θα ξαναδιασπαστεί πριν το επόμενο Metal Black (εντάξει, αυτή η έλλειψη ιδεών που τους αναγκάζει να αντιστρέψουν τον τίτλο του δεύτερου δίσκου τους είναι πολύ ενοχλητική), το οποίο θα αργήσει έξι χρόνια, παρακαλώ.

Εδώ πάντως έχουμε 15 κομμάτια, μάλλον πολλά για άλμπουμ των Venom!

Ο Conrad Lant (κατά κόσμον Cronos), πλέον το μόνο αυθεντικό μέλος του γκρουπ (οι άλλοι δύο και ο Demolition Man έχουν ονομαστεί Venom Inc. πιο μετά — και εκεί ξεκινάει το μπλέξιμο), έχει πει ότι αυτό το άλμπουμ είναι τόσο μπερδεμένο που του τη σπάει πια.

Η αλήθεια είναι ότι έχει απ’ όλα μέσα. Όταν είχε βγει πάντως, δε με χάλασε πολύ. Εντάξει, δεν είναι τόσο καλό όσο το Cast In Stone που προηγήθηκε, αλλά ένα 7/10 το παίρνει άνετα! Παλιακό thrash metal με εκείνη τη διεστραμμένη αποκρυφιστική αίσθηση, και ομολογώ ότι μου αρέσει ακόμα!

Resurrection, Vengeance, Pandemonium, Black Flame (Of Satan), Man Myth And Magic, Leviathan τα έχω ακόμα ψηλά.

English:

After the much‑talked‑about reunion came the next split.

With Abaddon having already fallen out with Cronos and Mantas, Antton handles the drums here. Not long after, Mantas would pack up his guitar and amps and leave as well. The uneasy trio would break apart again before the next Metal Black (and honestly, this lack of ideas that led them to simply reverse the title of their second album is really irritating), which would take six whole years to arrive.

Still, here we get 15 tracks, which is rather a lot for a Venom album!

Conrad Lant (better known as Cronos), now the only original member of the band (the other two plus Demolition Man would later operate as Venom Inc. — and that’s where the confusion begins), has said that this album is so muddled that it annoys him nowadays.

The truth is, it really has a bit of everything in it. When it first came out, though, it didn’t bother me much. Sure, it’s not as good as Cast In Stone before it, but it easily earns a 7/10 from me! Old‑school thrash metal with that twisted, occult vibe — and I admit, I still like it!

Resurrection, Vengeance, Pandemonium, Black Flame (Of Satan), Man Myth And Magic, Leviathan remain high on my list.

Τάκης "Ε-Μortal One" Γιώτης!