

SAVATAGE,
Handful Of Rain (1994)
Atlantic
Records
Το
άλμπουμ της απώλειας
Με
τον τραγικό θάνατο του κιθαρίστα και υπεύθυνου για την ανανέωση του
συγκροτήματος με το άλμπουμ Edge Of Thorns, συνιδρυτή του σχήματος, Criss
Oliva, θα ήταν αναμενόμενο να πέσουν οι τίτλοι τέλους για το κεφάλαιο των
Savatage, μετά από δέκα χρόνια συνεχούς δισκογραφικής παρουσίας. Ο αδερφός του,
Jon Oliva, ο αρχικός τραγουδιστής που είχε αντικατασταθεί επιτυχώς από τον Zak
Stevens, ενώ παράλληλα ήταν υπεύθυνος για τα πλήκτρα και το πιάνο, είχε
αποχωρήσει διακριτικά από το 1992, ακριβώς μετά το Streets - A Rock Opera, και
στο Edge... δεν αναφέρεται καν, πέρα από τη λίστα ευχαριστιών, για τη συμμετοχή
του σε κάποια πλήκτρα που ακούγονται! Τα πράγματα, λοιπόν, δεν είναι καλά, και
το γεγονός ότι έναν χρόνο μετά εμφανίζεται από το πουθενά αυτός ο δίσκος είναι
πραγματικά το πιο αναπάντεχο γεγονός στην ιστορία της μουσικής!
Ο
μόνος που θα μπορούσε να αντικαταστήσει τον Criss ήταν ο κιθαρίστας των ηγετών
του Thrash Metal, Testament, Alex Skolnick. Μαζί με τον Jon Oliva, που
επιστρέφει και αναλαμβάνει πάλι τα πλήκτρα (περίεργο, αλλά στην αρχική έκδοση
του CD δεν αναφέρεται ξανά ως μέλος του συγκροτήματος!), και με τη συνεργασία
στη σύνθεση του παραγωγού Paul O'Neill, δημιουργείται ένας δίσκος σκοτεινός,
όπως είναι φυσιολογικό, που είδε το συγκρότημα να γυρνά σε σημεία στην εποχή
του Gutter Ballet, με το πιάνο να παίζει μεγάλο ρόλο σε κομμάτια όπως το
Chance, που έκτοτε έγινε από τα κλασικά τους. Ο Zak Stevens δίνει ακόμα
καλύτερη ερμηνεία στα Watching You Fall, Taunting Cobras και Handful Of Rain,
και χάνει πανηγυρικά τον τίτλο του πρωτάρη που είχε πριν. Ο Johnny Lee
Middleton παραμένει στο μπάσο, ενώ ο Steve Wacholz αναγράφεται για τελευταία
φορά στα τύμπανα. Τα Nothing's Going On, Castles Burning, Symmetry, Visions και
Stare Into The Sun είναι πραγματικά άλλα μεγάλα κομμάτια ενός τότε μάλλον
υποτιμημένου άλμπουμ.
English:
The Album of Loss
With the tragic death of Criss Oliva — the guitarist
responsible for revitalizing the band on the Edge Of Thorns album, and
co-founder of the group — it would have been reasonable to expect the final
curtain to fall on the Savatage chapter, after ten years of continuous
recording activity. His brother, Jon Oliva, the original vocalist who had been
successfully replaced by Zak Stevens while remaining responsible for keyboards
and piano, had quietly stepped away back in 1992, right after Streets: A Rock
Opera, and on Edge... he isn't even credited beyond the thank-you list, despite
the keyboard parts audibly bearing his touch! Things, then, were not looking
good — and the fact that, a year later, this record materialized seemingly out
of nowhere is truly one of the most unexpected events in the history of music!
The only one who could have replaced Criss was Alex
Skolnick, guitarist for Thrash Metal frontrunners Testament. Together with Jon
Oliva — who returns to take up the keyboards once again (oddly enough, he still
isn't credited as an official band member on the original CD release!) — and
with songwriting collaboration from producer Paul O'Neill, the result is a dark
record, fittingly so, one that finds the band circling back at points to the
atmosphere of Gutter Ballet, with piano playing a central role on tracks like
"Chance," which has since become one of their classics. Zak Stevens
delivers an even stronger performance on "Watching You Fall,"
"Taunting Cobras," and "Handful Of Rain," decisively
shedding the "rookie" label he'd carried until then. Johnny Lee
Middleton remains on bass, while Steve Wacholz is credited on drums for the
last time. "Nothing's Going On," "Castles Burning,"
"Symmetry," "Visions," and "Stare Into The Sun" round
out this set of standout tracks from what was, at the time, a rather underrated
album.
Τάκης "Ε-Μortal One" Γιώτης
THE
POODLES – Performocracy (2011)
Frontiers Records
We are finally counting album No. 4 for Swedish
melodic rockers THE POODLES, and I have to say this band works overtime. Formed
in the fall of 2005 — with an early boost from a stint in the Swedish
Eurovision qualifiers that helped kick their career into gear — they've
released four studio albums, one live CD and one DVD in the years since. Not
bad at all.
"Performocracy" was produced once again by
Mats Valentin, the man behind all four records, though this time mixing duties
went to Tobias Lindell (Europe, Mustasch). The title itself is a fusion of
"performance" and "democracy" — "the power of
performance," as the band puts it — and according to singer Jakob Samuel,
the twelve tracks (thirteen with the bonus cut) push further into the darker,
more epic territory the band only hinted at on its predecessor.
And that predecessor is exactly where the story
starts, because the new CD continues the legacy of "Clash of the
Elements." I can't say I was totally excited by it. Besides, the band set
the bar extremely high with their first album, "Metal Will Stand
Tall," back in 2006 — the record that, riding on the strength of the
platinum single "Night of Passion," shot straight to the top of the
Swedish charts and announced them as a serious force.
On the new album we have some great songs:
"Father to a Son," the lead single "Cuts Like a Knife" —
released ahead of the album with a video from Steve Ravic, the man who also
shot the band's "In the Flesh" DVD — along with "Your Time Is
Now," "Bring Back the Night" and "Vampire's Call."
Apart from these, the rest of the album is on good standards, with a very nice
ballad in "As Time Is Passing" and a couple of fillers, "I
Believe in You" among them.
The production and the band's technique are superb,
and I can't say I was disappointed by "Performocracy" — but I still
can't say it reaches the heights of that first album. What I will say is that
it holds its own against "Clash of the Elements," and it's certainly
a step up from "Sweet Trade" — no small feat, given that "Sweet
Trade" carried the double-platinum "Streets of Fire." The fans
will love it. For everyone else, it's simply a good album.
Chris Kappas
LABŸRINTH
– Timeless Crime (1999)
Metal Blade Records
Labÿrinth’s Timeless Crime is a compact, high-impact
EP that distills the Italian outfit’s prog-power ambition into a tight,
22-minute statement. Released in 1999 via Metal Blade Records as the follow-up
to the well-received Return to Heaven Denied, the record functions both as a
bridge between albums and as a self-contained showcase of the band’s melodic
instincts, technical flair, and narrative leanings.
Visually, the release leans hard into a Venetian
gothic aesthetic that primes the listener for a story-driven experience. The
front cover centers a masked, red-glowing figure crowned with a
labyrinth-patterned headdress and gripping an ornate dagger, with a faint skull
visible in the chest area. Behind this ominous presence, canals and period
architecture reminiscent of St. Mark’s Basilica unfold, while a woman leans over
a balcony railing to the right, adding a layer of intrigue and period drama.
The back cover mirrors this mood with the intricate façade and domes of the
Basilica under a dark red, fiery sky, a skeletal figure lurking in the corner,
and a clean tracklist in white script. Inside, the band photo reinforces the
theatrical tone: six members posed against a blue gradient sky, dressed in dark
gothic coats, Victorian frilled shirts, and dark trousers—an image that feels
like a cast photo for a metal opera set in a haunted Venice.
Musically, Timeless Crime sits at the intersection of
European power metal, progressive structures, and neo-classical fusion. The
band’s sound here recalls the intricate arrangements of Fates Warning and
Shadow Gallery, the early complexity of Dream Theater, and the melodic
directness of Iced Earth, all filtered through a distinctly European
sensibility. There is also a strong German metal current running through the
riffs and pacing, with a Helloween-like drive that keeps the songs immediate
and hook-laden even when the structures stretch beyond standard verse-chorus
forms. Neo-classical elements are obvious in the guitar work and keyboard
interplay, lending a late-’80s/early-’90s fusion sheen without overwhelming the
songs’ melodic core. Vocally, the singer’s bright, AOR-tinged tone—often
compared to Joe Lynn Turner in his Yngwie Malmsteen era—sits comfortably atop
the busy arrangements, giving the choruses an anthemic lift.
The EP’s five tracks are concise but carefully
developed. “Save Me” opens with a confident, cinematic charge, establishing the
record’s blend of technical riffing and soaring melody. “Out of Memory” and “In
the Shade” continue this trajectory, balancing progressive turns with
accessible hooks and dynamic shifts that prevent the material from feeling
routine. The centerpiece, however, is the closing suite “Falling Rain / Die for
My Sins,” where Labÿrinth fully commits to drama and atmosphere. Multiple
reviewers have singled out “Falling Rain” as the EP’s crown jewel—some even
claiming it is worth the price alone and among the band’s best work—and it is
easy to hear why: the song builds with purpose, layers its motifs effectively,
and delivers an emotional payoff that lingers after the final chord.
The “Die for My Sins” segment is particularly
interesting as a reimagining of Sanctuary’s classic. Labÿrinth stay close to
the original’s spirit but use keyboards to color the arrangement, imprinting
their own identity on the cover. This choice transforms a familiar piece into
something that feels integrated into the EP’s world rather than tacked on as a
bonus track, and it highlights the band’s skill at arranging and texturing
without losing the song’s core impact.
Though brief, Timeless Crime is often read as
concept-linked, with lyrics that connect across songs. One detailed
interpretation outlines a narrative set around Louis XIV, Versailles, and a
portrait of a Venetian ruler’s daughter named Kathryn, framing the EP as a
compact historical-fiction drama rather than a random collection of tracks.
This reading dovetails neatly with the cover art’s Venetian architecture,
masked figure, and gothic styling, inviting the listener into a mini-opera of
love, power, and intrigue.
In the end, Timeless Crime succeeds because it marries
ambition with focus. It is short enough to demand repeat listens, yet dense
enough to reward them, offering a clear snapshot of Labÿrinth’s strengths:
melodic power metal with progressive bones, neo-classical flash, and a theatrical
sensibility that feels cohesive from artwork to arrangement. For anyone
exploring the band’s discography, this EP is not just a stopgap between albums
but a concentrated dose of what makes Labÿrinth compelling in the first place.
Nick Parastatidis
British Heavy Metal band Electric Banshee have
released their debut EP, Spiritual Overdrive, marking the first official release
from the London-based group.
Recorded at Electryfier Studios, the EP was mixed and
mastered by Piero Rigo. Formed in London in 2025 by José Rivera, Electric
Banshee draw inspiration from themes including witchcraft, nightmares and
cosmic horror, while incorporating influences from various strands of the Heavy
Metal genre.
The band’s sound combines high-energy performances
with riffs that balance heaviness and melody, complemented by atmospheric
passages, memorable guitar solos and epic endings.
Following the release of Spiritual Overdrive, Electric Banshee are already working on new material, which is expected to be released in the near future.
U.D.O. , Solid (1997)
GUN
Συμπαγής
κι ανοξείδωτος
Ο
άνθρωπος είναι μορφή. Όχι και το πρώτο ανάστημα, με μορφή κωνική (ανεστραμμένο
καρότο), ξανθό, κοντοκουρεμένο στρατιωτικό μαλλί και φωνή σαν βενζινοκίνητο
πριόνι, ο Udo Dirkschneider δεν χρειάζεται άλλη σύσταση· τον ξέρουμε σχεδόν από
πάντα. Αν, όμως, ρωτήσουν για το άτομό του τους συνοδοιπόρους του στους Accept
και ειδικά τον Wolf Hoffmann, μάλλον, στην καλύτερη περίπτωση, δεν θα σας
απαντήσει!
Έτσι
έγινε, λοιπόν, κι ύστερα από το χειρότερο άλμπουμ στην ιστορία των επανενωμένων
Accept, το Predator του 1996, η μπάντα πάλι μπήκε στον πάγο κι ο Udo,
αρνούμενος να εγκαταλείψει, φτιάχνει για δεύτερη φορά το προσωπικό του σχήμα
μαζί με τον Stefan Kaufmann, τον αρχικό ντράμερ των Accept, αλλά πλέον σε ρόλο
κιθαρίστα, διότι η (μεταλλική) καρδιά του δεν του επέτρεψε άλλο να λυσσομανάει
ως ντράμερ, και τους Jürgen Graf, πάλι στην κιθάρα, Fitty Wienhold στο μπάσο
και τον ντράμερ από τα παλιά, αλλά και τους Running Wild, Stefan Schwarzmann.
Κι αυτό είναι το πρώτο άλμπουμ των U.D.O. της νέας εποχής.
Ένα
άλμπουμ οριακά κάτω από το να θεωρηθεί ένα από τα καλύτερα (αυτή τη θέση έχουν
τα πρώτα τέσσερα τους, από το Animal House ως το Timebomb) αυτού του
σχήματος-διαδόχου των ιστορικών Accept. Με τον περί ου ο λόγος να βγαίνει
σχεδόν αλώβητος μέσα από μία σιδερένια παρθένα (Iron Maiden, αυτό ακριβώς
είναι), γεμάτη ατσάλινα καρφιά, στο εξώφυλλο του κλασικού δημιουργού δεκάδων
πινάκων για εξώφυλλα, Marschall, ο δίσκος ξεκινά με το τέρμα κλασικό
Independence Day κι ακολουθεί μία σωρεία ύμνων: Two Faced Woman, Desperate
Balls, The Punisher, Preachers of the Night, Hate Stinger, Branded Hero, Pray
for the Hunted, ανάμεσα σε άλλα.
English:
Solid and Stainless
The man is an icon. Not exactly a towering figure, but
with his distinctive conical build (an inverted carrot), short-cropped blond
military haircut and a voice like a petrol-powered chainsaw, Udo Dirkschneider
needs no further introduction; we have known him for what seems like forever.
If, however, you ask his former comrades in Accept—and especially Wolf
Hoffmann—about the man himself, chances are that, at best, you won’t get much
of an answer!
And so it came to pass that, following the worst album
in the history of the reunited Accept, 1996’s Predator, the band once again
went into hibernation. Udo, however, refusing to give up, formed his solo
outfit for the second time, alongside Stefan Kaufmann, Accept’s original
drummer, now taking up the guitar because his (metal) heart would no longer
allow him to thrash away behind the drum kit; Jürgen Graf, again on guitar;
Fitty Wienhold on bass; and the old-school drummer who had also played with
Running Wild, Stefan Schwarzmann. And this is the first U.D.O. album of the new
era.
An album that falls just short of being considered one
of the best—the first four, from Animal House through Timebomb, occupy that
particular territory—by this band that became the successor to the legendary
Accept. With our man emerging almost unscathed from an iron maiden (Iron
Maiden, quite literally), bristling with steel spikes, on the cover by the
classic artist Marschall, creator of dozens of album-cover paintings, the
record kicks off with the utterly classic Independence Day and is followed by a
whole succession of anthems: Two Faced Woman, Desperate Balls, The Punisher,
Preachers of the Night, Hate Stinger, Branded Hero, Pray for the Hunted, among
others.
Τάκης "Ε-Μortal One" Γιώτης
KING
KOBRA — King Kobra
(2011)
Frontiers Records
It’s been a long wait, but King Kobra are back with a
self-titled comeback that doesn’t just recapture the band’s ’80s spirit—it
sharpens it. Reuniting the core of the classic lineup around drummer Carmine
Appice and adding Paul Shortino on vocals, the album delivers exactly what hard
rock fans hope for: high-energy anthems, melodic depth, and a party-ready vibe
from start to finish.
After years away from the studio, Appice brought
together original members David Michael-Philips (guitars), Johnny Rod (bass),
and Mick Sweda (guitars) to rebuild the King Kobra sound. For vocals, they
recruited Paul Shortino (ex–Rough Cutt, Quiet Riot), a choice that makes
immediate sense: Shortino’s husky, blues-tinged delivery suits the band’s
hard-rock direction perfectly.
Interesting context: this 2011 self-titled record is
King Kobra’s fourth studio album and their first since 1986 to feature Johnny Rod,
Mick Sweda, and David Henzerling (a.k.a. David Michael-Philips) together again.
It arrived via Frontiers Records, with release dates staggered across
regions—April 4 in Japan (13 tracks), April 15 in Europe, and May 5 in North
America (12 tracks).
Another notable detail: the band recorded much of the
album remotely, with Shortino’s Las Vegas studio serving as the digital hub.
His engineering skills and Pro Tools setup were crucial in pulling the project
together while members were scattered across different cities.
The album opens with “Rock This House,” a fast,
furious, party-starting track that sets the tone immediately. “Turn Up the Good
Times” keeps the momentum going—big choruses, bigger riffs, and an
unapologetically celebratory feel.
Things shift with “Live Forever,” a fantastic
mid-tempo melodic rocker that shows the band can balance energy with hooks.
“Tear Down the Walls” leans hard into ’80s aesthetics—think big guitars,
anthemic choruses, and a sense of nostalgia that never feels tired.
“This Is How We Roll” returns to high-octane hard
rock, while “Midnight Woman” stands out as one of the album’s highlights,
blending swagger with memorable melody. “We Got a Fever” brings a bluesy edge
to the hard-rock framework, and “Top of the World” brings the party mood right
back.
“You Make It Easy” is a melodic hard-rock
masterpiece—rich harmonies, layered guitars, and a chorus that sticks. “Crying
Turns to Rain” offers another strong mid-tempo moment, and “Screamin’ for More”
lives up to its title: straightforward, energetic, and satisfying. The album
closes with “Fade Away,” a beautiful ballad that gives the record a well-earned
emotional cooldown.
The songs are consistently strong, the performances are
tight, and Shortino’s presence gives the band a fresh vocal identity without
losing the King Kobra essence. The production is clean and powerful, letting
the guitars bite and the rhythms drive—exactly what this style demands.
For anyone who grew up with ’80s hard rock or simply
enjoys well-crafted, high-energy rock records, this album is a must-hear. It’s
a confident return that proves King Kobra still know how to write anthems,
deliver hooks, and make you want to turn it up loud
Kostas Rigas