SERMON Release New Single “Sharing These Words I Fear No Pain”

 

Turkish doom/death metal veterans Sermon have returned with a brand‑new standalone single titled “Sharing These Words I Fear No Pain”, offering a first glimpse into the darker and more atmospheric direction the band is currently exploring for future material.

Formed in 1997 in Izmir and rooted in the earlier project Moon (1993), Sermon built their early underground reputation with the demos Cosmic Prisoner (1997) and Sea of Meanings (1999) before going on hiatus in 2004. In 2021, original guitarist Cem revived the band with lead guitarist Durmuş, leading to a creative resurgence.

Their 2022 three‑track promo release through Earache Records Digital Distribution received strong international praise, paving the way for the full‑length “Till Birth Do Us Part”. Released in 2023 via Bitume Prods (Digipack) and digitally through Earache, the album earned widespread positive reviews, global media coverage, and rapidly expanded the band’s fanbase.

With “Sharing These Words I Fear No Pain”, Sermon continue to refine their blend of crushing doom, death‑metal heaviness, and brooding atmosphere—signaling that the band’s renewed momentum is far from over.

REVIEW: FRIGHT NIGHT – The Play of Pain

 

FRIGHT NIGHT – The Play of Pain

Independent

Gothic metal has never been my preferred territory, so I won’t pretend to map out every influence behind this Russian band. What I can do is describe exactly what this album communicates through its sound.

What struck me first is that FRIGHT NIGHT avoid the modern clichés dominating the genre. This is not another EVANESCENCE‑ or NIGHTWISH‑styled clone. Instead, the band builds its music around piano themes and medieval‑tinged melodies, using rock and metal instrumentation to intensify specific moments rather than to define the entire sound.

The familiar interplay between male and female vocals is present, but here it actually works. Rather than falling into predictable theatrics, the vocal dialogues contribute to a genuinely dramatic, almost stage‑like atmosphere — something many bands attempt but few achieve convincingly.

The Play of Pain feels like a release crafted with care, standing apart from the bulk of gothic rock/metal albums appearing in recent years. Its strongest element, at least for me, is its theatrical character: dark, expressive, and unmistakably gothic without relying on formula.

Fans of this style should give FRIGHT NIGHT a listen and decide for themselves. There’s enough personality here to justify the attention.

Nick Parastatidis

REVIEW: CELTIC FROST, Parched With Thirst Am I And Dying 1984-1992

 

CELTIC FROST, Parched With Thirst Am I And Dying 1984-1992 (1993)

Noise Records

Συλλογή, αλλά με αιτία

Λοιπόν, κανονικά εταιρικές συλλογές τύπου The Best of, Very Best of, The Very Best και άλλα πολλά συνθετικά, δε τις ακούω πια, αν και υπάρχουν κάμποσες και στη δική μου δισκοθήκη. Σε αρκετές από αυτές τις συλλογές θα βρείτε, πέρα από τα δέκα καλύτερα κομμάτια μιας δισκογραφικής εποχής, και δύο-τρία ειδικά, σπάνια ή B-side κομμάτια.

Εδώ, σε 18 κομμάτια στο CD των Ελβετών προπατόρων του ακραίου ήχου, περιλαμβάνονται λίγα από τα πέντε στούντιο άλμπουμ τους και τα τέσσερα ΕΡ τους, μέχρι τότε, που διέλυσαν πρώτη φορά. Επιπλέον, υπάρχουν πολλά ακυκλοφόρητα, στούντιο jams ή σπάνια κομμάτια, όπως τα Idols of Chagrin, Descent to Babylon (Babylon Asleep), τα επανηχογραφημένα Juices like Wine, Downtown Hanoi, The Usurper, καθώς και χαμένα κομμάτια, όπως τα Under Apollyon's Sun και Journey Into Fear.

Αυτά περνούν την έννοια της συλλογής σε δεύτερη μοίρα, καθώς δίνουν μια εικόνα με σπάνιες ηχογραφήσεις, περισσότερο να περικλείουν το άλμπουμ αυτό. Συμπαθητικό, αν και όχι αναγκαία απαραίτητο.

English:

Collection, but with a Purpose

So, normally, corporate compilations like The Best of, Very Best of, The Very Best, and many other similar titles, I no longer listen to, even though there are quite a few in my own record collection. In many of these compilations, you'll find, besides the top ten tracks of a particular recording era, two or three special, rare, or B-side tracks.

Here, on a CD with 18 tracks by the Swiss pioneers of extreme sound, there are a few from their five studio albums and the four EPs they released until their first breakup. Additionally, there are many unreleased tracks, studio jams, or rare songs, such as Idols of Chagrin, Descent to Babylon (Babylon Asleep), the re-recorded Juices like Wine, Downtown Hanoi, The Usurper, as well as lost tracks like Under Apollyon's Sun and Journey Into Fear.

These elements push the concept of a compilation into a secondary role, as they offer an image of rare recordings that mainly serve to encompass this album. It’s decent, though not necessarily essential.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: DARKTHRONE, Arctic Thunder

 

DARKTHRONE, Arctic Thunder (2016)

Peaceville Records

Στο εξώφυλλο, μόνο το δάσος θα ήταν αρκετό

Επιστροφή για ακόμη μία φορά στους Celtic Frost και Bathory, καθώς και σε riff βγαλμένα από την evil αισθητική των Slayer, με κλασικό χαρακτήρα και μια ανανεωμένη, σχετικά μαυρομεταλλική διάθεση. Όλα αυτά δοσμένα με σύγχρονο τρόπο, οπότε μη περιμένετε σκότος τύπου Transilvanian Hunger ή Panzerfaust — αυτά δεν ξαναγίνονται. Τουλάχιστον μέχρι στιγμής δεν ξαναγίνονται· για το μέλλον ας κρατήσουμε μικρό καλάθι, γιατί τα παιδιά (Nocturno Culto και Fenriz) έχουν κάνει τρελά ταξίδια σε όλα τα μήκη και πλάτη της metal μουσικής. Ποτέ μη λες ποτέ.

Εδώ έχουμε έναν δίσκο διαφορετικό από τους προηγούμενους, αφού τα επικά και NWOBHM στοιχεία τύπου The Underground Resistance ή το crust/metal/punk ύφος των F.O.A.D. και Circle of Wagons δεν τα συναντάμε ιδιαίτερα. Έχουν κατασταλάξει στο σκοτεινό, mid‑tempo, «γρυλιστό» στυλ που γνωρίζουμε, επιστρέφοντας στις απαρχές τους… όσον αφορά τις επιρροές τους, φυσικά.

Το όνομα του δίσκου το δανείστηκαν από μια παλιά metal μπάντα της Νορβηγίας στα τέλη της δεκαετίας του ’80, ενώ το ομότιτλο κομμάτι (track 5 του CD) είναι, κατά τη γνώμη μου, καρακλασικό.

Burial Bliss, Tundra Leech, Boreal Fiends, Throw Me Through the Marshes, Deep Lake Trespass και το τελείως άκυρο ως τίτλος The Wyoming Distance όχι μόνο δεν με χαλάνε, αλλά αντιθέτως τα προτιμώ ως σύνολο από πολλά άλμπουμ της περιόδου μετά το 2005 — ακριβώς επειδή εδώ, σε αυτό το άλμπουμ, έχουν κάτι παραπάνω να πουν.

English:

On the cover, the forest alone would have been enough

A return once again to Celtic Frost and Bathory, along with riffs drawn straight from Slayer’s evil aesthetic—classic in character, yet delivered with a refreshed, somewhat black‑metal mood. All of this comes through in a modern way, so don’t expect darkness in the vein of Transilvanian Hunger or Panzerfaust — those things don’t happen again. At least not so far; as for the future, let’s not be too sure, because these guys (Nocturno Culto and Fenriz) have taken wild trips across every corner of metal music. Never say never.

Here we have a record that differs from the previous ones, since the epic and NWOBHM elements of The Underground Resistance, or the crust/metal/punk approach of F.O.A.D. and Circle of Wagons, aren’t really present. They’ve settled into that dark, mid‑tempo, growling style we know, returning to their origins… in terms of influences, of course.

The album title itself was borrowed from an old Norwegian metal band from the late ’80s, while the title track (track 5 on the CD) is, in my opinion, absolutely classic.

Burial Bliss, Tundra Leech, Boreal Fiends, Throw Me Through the Marshes, Deep Lake Trespass, and the completely out‑of‑place title The Wyoming Distance not only don’t bother me—they’re actually a set of songs I prefer over many albums released after 2005. Precisely because here, on this album, they genuinely have something more to say.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: HAVOK – Time Is Up

 

HAVOK – Time Is Up

Candlelight Records

The last few years have brought a powerful resurgence of traditional thrash metal. Alongside the return of veteran bands, a new generation has emerged — hungry, determined, and aiming to match the quality of their predecessors. Over time, it will become clear which of these younger acts can truly lead the genre forward. For me, HAVOK already stand firmly in that category.

Time Is Up, the band’s second full‑length, is one of the strongest thrash metal releases of the year. Their sound is deeply rooted in the legacy of ANNIHILATOR, SLAYER, EXODUS, and METALLICA, yet HAVOK avoid simple imitation. Instead, they inject their own perspective on how modern traditional thrash should feel: sharp, relentless, and refreshingly personal.

What makes the album particularly engaging is the way they blend speed/thrash riffing with a noticeable dose of classic heavy metal. This twist adds character, variety, and a highly addictive edge to the songs. Time Is Up is one of those records that lingers — you finish it, and before you know it, you’re pressing play again.

As for standout tracks… forget it. It’s the whole album.

Buy it or you’ll miss out.

Nick Parastatidis

REVIEW: RANCOR – Release the Rancor

 

RANCOR – Release the Rancor

Independent

RANCOR reaffirm my long‑standing view of what thrash metal should sound like with this debut full‑length. Hailing from Spain and releasing the album independently, the band draws heavily from the classic 80s thrash tradition, with a particularly strong Bay Area imprint. In their music you can clearly trace elements reminiscent of TESTAMENT, SLAYER, METALLICA, and EXODUS — not as imitation, but as a foundation they build upon with confidence.

The band plays with notable tightness, and their songwriting carries enough ideas and energy to make the album an enjoyable listen from start to finish. Fans of the genre — myself included — will easily find tracks that speak to their thrash instincts.

It is also worth highlighting that, despite being a self‑financed release, Release the Rancor operates on impressively professional standards. The production and presentation allow the band to showcase their full potential without compromise.

Overall, Release the Rancor is a strong debut that deserves the attention of thrash metal listeners. RANCOR demonstrate clear talent and commitment, and it will be interesting to see how they evolve in future releases. Definitely a band worth checking out.

Nick Parastatidis

REVIEW: PARADISE LOST, Medusa

 

PARADISE LOST, Medusa (2017)

Nuclear Blast Records

Πίσω στις απαρχές τους.

Η μετάλλαξη - ολική επαναφορά σε αυτό από το οποίο ξεκίνησαν - φαίνεται σε όλα τα άλμπουμ της "teen" δεκαετίας. Οι Άγγλοι έχουν όχι απλά θυμηθεί από πού ξεκίνησαν μουσικά, στα μακρινά late 80's, αλλά μπορούμε να πούμε ότι ξεπέρασαν τον εαυτό τους. Εκεί, δύο χρόνια μετά το The Plague Within του 2015, ξαναχτύπησαν με τη "Μέδουσα" τους. Doom, Death, Gothic Metal - απ' όλα παίζουν εδώ μέσα. Πιο Doom, σίγουρα, από ποτέ, και με τα γρυλιστά φωνητικά σε αρκετά σημεία να θυμίζουν τα πρώτα δύο άλμπουμ τους, Lost Paradise και Gothic.

Συνάμα, και η αισθητική του τρίτου τους άλμπουμ, Shades of God, βρίσκεται κι αυτή παρούσα στα κομμάτια του digi book CD αυτού. Παραγωγή κρυστάλλινη, χαμηλά κουρδίσματα σε κιθάρες και μπάσο, με τα κατάλληλα ξεσπάσματα όπου πρέπει. Με υλικό όπως τα Fearless Sky, Gods of Ancient, From the Gallows, Medusa, No Passage for the Dead, Blood & Chaos, Until the Grave και το Symbolic Virtue (από τα επιπλέον κομμάτια της digi book έκδοσης), είναι να απορεί πλέον ο πιστός τους κόσμος: προς τί η αλλαγή ύφους από το 1998 έως το 2004; Αφού σε αυτό το αρχικό τους στυλ διαπρέπουν!

English:

Back to their origins.

The transformation — a complete return to where they started — is evident across all the albums of their "teen" decade. The Brits haven't just remembered where they began musically, in the distant late 80s, but we can say they've surpassed themselves. Two years after The Plague Within (2015), they struck again with their Medusa. Doom, Death, Gothic Metal — all styles are present here. More Doom than ever, certainly, with growling vocals that in several spots recall their first two albums, Lost Paradise and Gothic.

At the same time, the aesthetic of their third album, Shades of God, is also reflected in the tracks of this digi book CD. Crystal-clear production, low-tuned guitars and bass, with the appropriate outbursts where needed. With material such as Fearless Sky, Gods of Ancient, From the Gallows, Medusa, No Passage for the Dead, Blood & Chaos, Until the Grave, and Symbolic Virtue (from the bonus tracks of the digi book edition), their loyal fans are left wondering: why the change in style from 1998 to 2004? When they excelled in their original sound!

Τάκης "Ε-Μortal One" Γιώτης