REVIEW: DISTORTED REFLECTION, Doom Zone

 

DISTORTED REFLECTION, Doom Zone (2026)

Iron Shield Records

Το δις εξαμαρτείν, λένε.

Η δεύτερη δουλειά αυτής της αθηναϊκής Doom Metal μπάντας, με τις πολλές και έντονες επικές αναφορές, κυκλοφόρησε τον Φεβρουάριο της χρονιάς που ολοκληρώνεται σε λιγότερο από δύο μήνες. Οι Κώστας Σαλομίδης (κιθάρα, φωνητικά), Βαγγέλης Γιαλαμάς (μπάσο, πλήκτρα) και Thomas Zen (κρουστά) αποτελούν την ομάδα των μουσικών, ενώ ο φίλος του είδους θα ανακαλύψει στο υλικό τους ένα απόσταγμα των αναμενόμενων επιρροών από τους Candlemass και Solitude Aeturnus, αλλά και αρκετά πιο επικά στοιχεία. Όλα αυτά αποδίδονται μέσα από μια σχετικά άγρια παραγωγή, η οποία, ωστόσο, ταιριάζει γάντι στο τελικό αποτέλεσμα.

Ένα σύνολο συνθέσεων που σε κερδίζει από το πρώτο κιόλας κομμάτι, το μελλοντολογικό ομότιτλο «3000 A.D.», στο οποίο συναντάμε την ασυνήθιστη εδώ σύμπραξη ενός ήδη αγαπημένου κιθαρίστα ως guest, του επικού Jack Starr, από την πρώτη εποχή των Virgin Steele. Το κομμάτι σε συνεπαίρνει με τα μεθοδικά riffs και τα κεραυνοβόλα τύμπανά του. Το «My Second Father» αποπνέει μια ατμόσφαιρα που παραπέμπει στο κλασικό Heavy Metal, μια προφανή και απολύτως λογική επιρροή για το συγκρότημα.

Η συνέχεια έρχεται με το δυναμικό αλλά και πιο ήρεμο «Gates of Paranoia», μια σύνθεση με mid-tempo ρυθμό και έντονη ρυθμική γραμμή. Η μουσική τους προχωρά ορμητικά, συναντώντας μελωδίες με ανατολίτικο ηχόχρωμα στο «Love on Earth». Ακολουθεί το «Asphyxiating», ένα σύντομο, τυπικό κλασικό Doom άσμα, για να φτάσουμε στη συνέχεια στο πιο ιδιαίτερο κομμάτι ολόκληρου του δίσκου, το «Certain Death», το οποίο κινείται πιο κοντά στον βρετανικό Death/Doom ήχο, θυμίζοντάς μου τους Paradise Lost και τους Anathema.

Παρακάτω ακούμε το «Diminished», μια τελεολογική ελεγεία για το τέλος του ανθρώπινου πολιτισμού. Το «Tower of Dreams» ξεκινά με μια τρομερή μελωδία, ενώ τα φωνητικά πραγματικά σε κρατούν καθηλωμένο. Η εισαγωγή «Forecourt to Death» προετοιμάζει το έδαφος για το ογκώδες «The Final Attempt», κλείνοντας σταδιακά το σκοτεινό αλλά ταυτόχρονα περιπετειώδες ταξίδι στο δεύτερο άλμπουμ της μπάντας. Για το τέλος έρχεται το ολοκληρωτικό «Morbid Reality», που αποτελεί τη χαριστική βολή στον ακροατή.

Ένα 7,5/10 είναι απολύτως δικαιολογημένο, όπως δικαιολογημένη είναι και η παραπάνω από καλή γεύση που αφήνει η ακρόαση του άλμπουμ.

English:

Once bitten, twice shy, they say.

The second offering from this Athens-based Doom Metal band, featuring numerous and pronounced epic influences, was released in February of the year that is set to draw to a close in less than two months. The line-up consists of Kostas Salomidis (guitars, vocals), Vangelis Yialamas (bass, keyboards) and Thomas Zen (percussion). Fans of the genre will discover a blend of the expected influences of Candlemass and Solitude Aeturnus, alongside several more distinctly epic elements. All of this is delivered through a relatively raw production which, nevertheless, fits the overall result like a glove.

The album is a collection of compositions that wins you over from the very first track, the futuristic title song, "3000 A.D.". Here, we also encounter the rather unusual presence of an already much-appreciated guest guitarist: the legendary Jack Starr, from the early days of Virgin Steele. The track sweeps you away with its methodical riffs and thunderous drumming. "My Second Father" evokes an atmosphere reminiscent of classic Heavy Metal, an obvious and entirely logical influence on the band.

Next comes the powerful yet more restrained "Gates of Paranoia", a mid-tempo composition built around a strong rhythmic foundation. Their music then moves forward with considerable momentum, meeting melodies with an Eastern flavour in "Love on Earth". "Asphyxiating" follows, a short, straightforward example of classic Doom, before we reach the most distinctive track on the entire album: "Certain Death". This one comes closer to the British Death/Doom sound, bringing Paradise Lost and Anathema to mind, at least to my ears.

Further along, we encounter "Diminished", a teleological elegy on the end of human civilisation. "Tower of Dreams" opens with a tremendous melody, while the vocals really manage to keep you captivated. The introductory piece "Forecourt to Death" sets the stage for the massive "The Final Attempt", gradually bringing the dark yet simultaneously adventurous journey through the band's second album towards its conclusion. Finally, we have the utterly devastating "Morbid Reality", which delivers the final blow to the listener.

A rating of 7.5/10 is thoroughly justified, as is the more than favourable impression the album leaves after listening.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: THURISAZ - The Cimmerian Years

 

THURISAZ - The Cimmerian Years (2011)

Sleaszy Rider Records

As a listener, I have always appreciated musicians who manage to use the familiar forms of Heavy Metal to create something that, despite its recognizable influences, possesses a distinct character of its own. Belgium's THURISAZ is a good example of this approach. The band cannot easily be placed within the boundaries of a typical atmospheric extreme metal act, nor can its musical identity be adequately described by simply comparing it to a handful of established names. There are certainly familiar elements in its music, but the overall result is unmistakably THURISAZ.

On “The Cimmerian Years”, the Belgians develop an atmosphere that combines epic grandeur with a strong sense of melancholy. There are moments that recall the majestic and often pagan character of BATHORY and ANCIENT RITES, alongside folk-inspired passages and Black/Death Metal riffs that bring to mind the approaches of IMMORTAL and AMON AMARTH. At the same time, the compositions reveal clear Doom Metal influences, with certain atmospheric and melodic passages recalling the work of MY DYING BRIDE and SOLSTICE. These comparisons are intended merely as reference points, offering a general idea of the musical territory in which THURISAZ operate, rather than suggesting that their sound is simply a combination of existing influences.

What makes the album particularly interesting is the way these different elements come together without compromising the band's individuality. The transitions between heavier passages, atmospheric sections and more melancholic melodies feel natural, while the epic character of the music is never separated from its darker and more introspective side. THURISAZ demonstrate a clear understanding of how to use their influences as part of a broader artistic expression, rather than allowing them to define their musical identity.

“The Cimmerian Years” is not an album that reveals all its qualities through a casual listen. It demands the listener's attention, allowing its atmosphere, compositional details and different musical layers to gradually unfold. This is music created by musicians who place artistic expression above easy solutions, approaching Heavy Metal as a means of communicating emotions and ideas rather than simply following established formulas.

I have little more to add. THURISAZ deserve our attention and, above all, recognition as one of the most talented and gifted bands operating within the contemporary Metal scene. “The Cimmerian Years” is a release that reflects individuality, musical maturity and a genuine artistic vision. Support them!

Nick Parastatidis

REVIEW: GARAGEDAYS - Dark and Cold

 

GARAGEDAYS - Dark and Cold (2011)

Massacre Records

Few bands have left a mark on heavy metal as deep as METALLICA, and GARAGEDAYS make no attempt to hide how much they owe to them. The Austrian quartet, formed in 2005 by guitarist and vocalist Marco Kern, play a heavy/thrash style that follows closely in the footsteps of that great band, and the result is far from unconvincing. “Dark and Cold,” their debut for Massacre Records, released in 2011, does not bring anything new to the genre, but it is sincere, and its compositions hold the listener’s attention from the first second to the last.

The influences do not end with METALLICA. Throughout the album the band calls to mind other names from the genre’s history, such as OVERKILL (the song “Blown Away” is a good example), METAL CHURCH, ICED EARTH and even the good old MORGANA LEFAY. This mix of thrash, heavy and power metal is no accident, and the band themselves describe their sound as a blend of 80s influences with a modern production. That production was handled by Andy La Rocque of KING DIAMOND, who mixed and mastered the record at Sonic Train Studios in Sweden. The musicians clearly know their craft, and they play with confidence and technical ability.

Anyone looking for originality will not find it here. Those who simply want a well-played, honest record of heavy/thrash metal will have a pleasant time with it. In an era when so many bands sound alike, it was a welcome change to hear a group that does not pretend to be anything other than what it is.

This is a good start for GARAGEDAYS. The next step will be to find a more personal voice, and the talent is evidently there. Until then, “Dark and Cold” is a release worth checking out, especially for fans of the heavy/thrash metal scene.

Nick Parastatidis

REVIEW: QUIET RIOT, Quiet Riot

 

QUIET RIOT, Quiet Riot (1978)

No Remorse Records

Μεγάλοι... στην Ιαπωνία!

Και η παραπάνω ατάκα ταιριάζει μια χαρά στο ντεμπούτο των τεσσάρων παιδιών από το Λος Άντζελες: Kevin DuBrow στη φωνή, Kelly Garni στο μπάσο, Drew Forsyth στα ντραμς και, τελευταίος, ο κιθαρίστας Rhandy Rhoads, του οποίου το αστέρι ήδη λάμπει εδώ.

Η αρχική σύνθεσή τους στο ντεμπούτο άλμπουμ κυκλοφόρησε ειδικά για την ιαπωνική αγορά, λόγω έλλειψης ενδιαφέροντος (!!!!) στην Αμερική. Για δεκαετίες, αυτό το άλμπουμ, όπως και το επόμενο, II, δεν βρίσκονταν με τίποτα, εκτός αν κατάφερνες να εντοπίσεις κάποια ιαπωνική κόπια, για την αγορά της οποίας, ακόμη και σε CD, θα χρειαζόταν να πουλήσεις κανένα νεφρό...

Ευτυχώς, η επανέκδοση από τη δική μας No Remorse Records μάς έσωσε το νεφρό ή οποιοδήποτε άλλο μέλος, διατηρώντας μας αρτιμελείς και ευτυχείς, αφού πλέον έχουμε στη διάθεσή μας τα δύο πρώτα άλμπουμ αυτού του ιστορικού συγκροτήματος, το οποίο επανήλθε στο προσκήνιο το 1983, αυτή τη φορά με πιο έντονα Hair Metal χαρακτηριστικά.

Αμερικανικό Hard 'N Heavy, με επιρροές από Kiss, Led Zeppelin, Boston, Blue Öyster Cult, Deep Purple, αλλά ίσως και με κάποια καλά κρυμμένα Punk στοιχεία, αλά Ramones και The Dictators, μέσα στα ηλεκτρικά riffs του Rhandy.

Η επανέκδοση περιέχει συνολικά δεκαπέντε κομμάτια. Το αρχικό άλμπουμ περιλαμβάνει δώδεκα, με τα τρία τελευταία bonus tracks να εμπλουτίζουν ακόμη περισσότερο το σύνολο.

Τι να ξεχωρίσει κανείς εδώ; Σχεδόν τα πάντα! Και όχι, δεν είναι δεκάρι το άλμπουμ. Δεν χρειάζεται πάντα να βάζουμε βαθμό. Η απαραίτητη διασκευή στο «Glad All Over» των Dave Clark Five προσθέτει το δικό της ξεχωριστό vibe, ενώ τα «Back to the Coast», «It's Not Funny», «Mama's Little Angels», «Tin Soldier», «Get Your Kicks», «Look in Any Window», «Just How You Want It», «Riot Reunion» και «Demolition Derby» συμπληρώνουν ένα σύνολο που πραγματικά αξίζει να ανακαλύψουμε.

Ένα πραγματικά χαμένο κόσμημα!

English:

Big... in Japan!

The above phrase fits the debut album by these four youngsters from Los Angeles perfectly: Kevin DuBrow on vocals, Kelly Garni on bass, Drew Forsyth on drums and, last but certainly not least, guitarist Rhandy Rhoads, whose star is already shining brightly here.

The original lineup's debut album was released exclusively for the Japanese market due to a lack of interest (!!!!) in America. For decades, this album, along with its follow-up, II, was virtually impossible to find unless you managed to track down a Japanese pressing, for which, even on CD, you would practically have to sell a kidney to afford...

Thankfully, the reissue by our very own No Remorse Records has saved our kidneys, or any other body parts for that matter, keeping us fully intact and happy, now that the first two albums by this historic band are finally available to us. The band would return to the spotlight in 1983, this time embracing a stronger Hair Metal identity.

American Hard 'N Heavy, drawing influences from Kiss, Led Zeppelin, Boston, Blue Öyster Cult and Deep Purple, perhaps with some well-hidden Punk elements in the vein of Ramones and The Dictators lurking beneath Rhandy's electrifying riffs.

The reissue contains fifteen tracks in total. The original album features twelve, with the three bonus tracks rounding out and further enriching the package.

What is there to single out here? Almost everything! And no, this isn't a perfect ten. We don't always need to give an album a numerical rating. The obligatory cover of Dave Clark Five's «Glad All Over» adds its own distinctive vibe, while «Back to the Coast», «It's Not Funny», «Mama's Little Angels», «Tin Soldier», «Get Your Kicks», «Look in Any Window», «Just How You Want It», «Riot Reunion» and «Demolition Derby» complete a collection that truly deserves to be rediscovered.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: ALICE COOPER, Easy Action

 

ALICE COOPER, Easy Action (1970)

Warner Bros. Records

Νέο φως μιας νέας δεκαετίας.

Οι πέντε νεαροί τότε μουσικοί των Alice Cooper, του συγκροτήματος που έναν χρόνο νωρίτερα είχε μπει... χλιαρά στη μουσική πραγματικότητα, επιστρέφουν με νέο look, υιοθετώντας ένα ιδιαίτερο Glam/Glitter στυλ, στα μονοπάτια των New York Dolls. Αυτό, σε συνδυασμό με το γυναικείο ονοματεπώνυμό τους, οδηγεί σε περίεργα και, κατά περίπτωση, λανθασμένα συμπεράσματα.

Βρισκόμαστε στο μεταίχμιο δύο περιόδων για τη Rock μουσική. Ένα άλμπουμ που βρίσκεται κάπως πιο κοντά σε αυτό που έχουμε στο μυαλό μας ως τον χαρακτηριστικό ήχο του συγκροτήματος, αλλά και πάλι χρειάζεται χρόνος μέχρι να αρχίσει να αποκαλύπτει τις αρετές του. Από το τρίτο κιόλας τραγούδι, το οποίο δεν είναι το ομότιτλο, αλλά εκείνο που περιλαμβάνει στον τίτλο του τις λέξεις Easy Action (Still No Air), αρχίζει να ξυπνά κάτι.

Τα Below Your Means και Return of the Spiders (οι αράχνες αποτελούν ένα μοτίβο που θα μας απασχολήσει στο μέλλον) κινούνται σε ψυχεδελικά και αρκετά Art Rock μονοπάτια, τα οποία στην Ευρώπη θα αποκαλούσαμε Progressive. Τα Lay Down and Die Goodbye και Refrigerator Heaven (το χιούμορ δεν λείπει από το συγκρότημα ήδη από τα πρώτα του βήματα) έχουν κι αυτά κάτι να προσφέρουν.

Το ύφος είναι σαφώς πιο σκληρό σε σχέση με εκείνο του ντεμπούτου τους, έναν χρόνο νωρίτερα, αλλά χρειάζεται ακόμη δουλειά. Δουλειά που σύντομα θα αρχίσει να αποδίδει καρπούς...

English:

A New Light for a New Decade.

The five young musicians of Alice Cooper, the band that had made a rather lukewarm entrance onto the music scene a year earlier, return with a new look, adopting a distinctive Glam/Glitter style reminiscent of the New York Dolls. This, combined with their feminine-sounding name, leads to some curious and, in certain cases, mistaken assumptions.

We are standing at the crossroads of two different eras in Rock music. This album comes somewhat closer to what we have in mind as the band's characteristic sound, although it still takes time for its qualities to fully emerge. By the third track, which is not the title track but the one that features the words Easy Action in its title (Still No Air), something begins to awaken.

Below Your Means and Return of the Spiders (spiders are a recurring motif that will concern us again in the future) venture into psychedelic and decidedly Art Rock territory, which we Europeans would call Progressive. Lay Down and Die Goodbye and Refrigerator Heaven (the band's sense of humour was already evident from its earliest days) also have something to offer.

The overall style is clearly heavier than that of their debut album from a year earlier, but there is still work to be done. Work that will soon begin to pay off...

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: V8 WANKERS - Iron Crossroads

 

V8 WANKERS - Iron Crossroads (2011)

SPV Records

Some bands write original music and ask for your full attention so you can grasp what they are trying to express. Others play the kind of music that makes you reach for a cold beer, push the volume as high as it goes and start banging your head. V8 WANKERS clearly belong to the second group, and they have given their soul to the god of rock ’n’ roll. The approach here is simple, but highly addictive. Picture a mix of MOTÖRHEAD and AC/DC with a strong rock ’n’ roll swing, and you have a fair idea of what the band sounds like.

The musicianship is more than solid. The riffs are tight, the rhythm section drives the songs forward without fuss, and the vocals have the raw, gravelly edge the style demands. The production is dirty, but in the right way: it suits this music and keeps the energy of a loud club gig instead of polishing it away. Nothing sounds over-engineered, and that is exactly the point.

“Iron Crossroads” is the kind of album that works best at a party with friends, where headbanging and air guitar are expected and nobody takes themselves too seriously. It is pure fun from start to finish.

The one real criticism is the lack of originality and variety. Listeners looking for surprises or stylistic detours will not find them here, and some songs may blur together over the full running time. But I doubt the band had innovation in mind when they made this record. They set out to deliver loud, sweaty, no-nonsense rock ’n’ roll, and they do it convincingly. In my view, this is a sincere and good release for its genre, and fans of the bands mentioned above should have no trouble enjoying it.

Nick Parastatidis

REVIEW: TERRITORY - Killer Instinct

 

TERRITORY - Killer Instinct (2011)

Sleaszy Rider Records

I have a soft spot for the Uruguayan national team. It was the side I backed in the latest World Cup, and Diego Forlán remains one of my favourite players. So when I found out that TERRITORY come from Uruguay and play thrash metal, I was curious. South American metal has been delivering solid releases for a while now, and I expected to be in good hands.

On paper, the ingredients are promising. Killer Instinct draws mostly from the Bay Area school of thrash and occasionally leans toward the power metal side of ICED EARTH and AGENT STEEL. It’s a combination that usually makes for an enjoyable listen. Here, unfortunately, it doesn’t.

The main problem is the songwriting. The riffs follow the standard thrash template so closely that they blur together, and very few of them stay with you once the record stops. Nothing pulls you back for a second spin, and a thrash album without that kind of staying power has a hard time justifying itself in a crowded scene.

The vocals add to the problem. Jason screams from the first track to the last, with little variation in delivery. He clearly has the lungs for it, but the lack of dynamics wears thin quickly. Aggression works best when it has contrast, and a voice that stays at full volume for the whole album ends up sounding flat instead of fierce. By the second half I was tired of it.

The modern production is clean and powerful, but it can’t hide the weaknesses underneath. Likewise, the aggressiveness feels more like a pose than something the songs earn. A heavy sound is one thing, but without memorable material it doesn’t leave much of an impression.

TERRITORY have the energy and the technical basics, but they need to put much more work into their composition. Stronger structures, more distinctive riffs and a more varied vocal approach would be a good place to start. This is a debut, so there is room to grow, and I’ll be waiting for the follow-up in the hope that it shows real progress.

Nick Parastatidis