REVIEW: DIEHARD – When Illusions Gone

 

DIEHARD – When Illusions Gone (2011)

Independent Release

DIEHARD’s debut When Illusions Gone constitutes a noteworthy case study in emergent extreme‑metal practices, particularly in relation to genre hybridization and the negotiation of aesthetic identity within early‑stage projects. Despite the band’s brief existence, the German duo articulate a surprisingly mature structural logic, suggesting an awareness of both black‑metal lineage and contemporary electronic methodologies.

Central to the album’s construction is a deliberate bifurcation of sonic materials. DIEHARD juxtapose the traditional signifiers of black metal — distorted guitars, abrasive textures, and an overarching sense of urgency — with industrial and electronic frameworks that introduce digital precision, programmed rhythms, and synthetic atmospheres. This duality is not merely stylistic ornamentation; it functions as the album’s organizing principle. The tension between organic and digital elements becomes a site of productive friction, generating a sound world that is neither strictly orthodox nor indiscriminately experimental.

From a compositional standpoint, the band’s emphasis on concise, riff‑centric structures is significant. Even as electronic components expand the textural palette, the underlying architecture remains grounded in recognizable extreme‑metal forms. This balance enables the record to maintain coherence while engaging with contemporary production aesthetics. The equilibrium between guitars and keyboards is particularly notable, offering a model for how hybridized metal can retain structural clarity without sacrificing innovation.

The production reinforces this dual framework with a clean yet weighty presentation, while the cover artwork situates the release firmly within a black‑metal visual tradition. Vocally, the distorted harsh lines integrate effectively into the album’s sonic matrix, contributing to its intensity and aligning with its thematic direction. The clean female vocals, by contrast, introduce moments of instability; their intonation issues disrupt the otherwise controlled interplay of elements and raise questions about the role of contrast within the band’s vocal strategy.

A relevant detail is the project’s two‑member configuration. The density of the arrangements and the breadth of stylistic influences underscore the duo’s technical and organizational discipline, highlighting the increasing viability of small‑unit production models within the independent metal sphere.

From a critical perspective, When Illusions Gone can be read as an exploration of how emerging acts negotiate identity within a genre that is simultaneously tradition‑bound and technologically adaptive. DIEHARD’s debut does not merely combine black‑metal and industrial elements; it interrogates the boundaries between them, proposing a hybrid form that is both structurally disciplined and aesthetically forward‑leaning.

In this sense, the album contributes meaningfully to ongoing discussions about the evolution of extreme metal in the digital era. For listeners and scholars interested in boundary‑testing practices, DIEHARD offer a compelling example of how new projects can position themselves within — and against — established genre frameworks..

Christine  Parastatidou

REVIEW: MARAUDER, Life?

 

MARAUDER, Life? (2004)

Eat Metal Records

Οι τρεις γνωστές μας λέξεις: Ελληνικό Power Metal

Μετά το επικών διαστάσεων εγχείρημά τους, το θεματικό άλμπουμ για την Ελληνική Επανάσταση, το φοβερό και τρομερό, αλλά μέχρι πριν από λίγο καιρό δυσεύρετο CD «1821», οι αγαπημένοι, κλασικής Metal παιδείας, φίλοι μας από τη μεταλλομάνα Αθήνα (άμα δεν παινέψεις το σπίτι σου…) καταπιάνονται με το επόμενο και, θα έλεγα, ακόμη καλύτερό τους εγχείρημα.

Καλύτερο από πλευράς παραγωγής, πολύ επιθετικό και μελωδικά βαρύ, με μαγικά κιθαριστικά riffs και κοφτερές, γρήγορες δισολίες που σε στέλνουν. Ένας δίσκος που τιμά απόλυτα αυτό το συγκρότημα των βετεράνων της ελληνικής σκηνής.

Μιχάλης Σμέρος στα φωνητικά, Γιώργος Σοφρώνας και Ανδρέας Τσαούσης στις κιθάρες, Κώστας Βαγιώτης στο μπάσο και Μάνος Μάτσος στα τύμπανα — αυτή είναι η σύνθεση του θρυλικού αυτού σχήματος εδώ.

Δεκατρία κομμάτια στο CD, με τα «Power From The Sky», «Nightmare», «Magic Art», το ονειρικό «Life», «Bastards», «Evil’s Curse», «Runner», τον επικό metal ύμνο «Defenders», «Falling Star» και «Death From Glory and Gold», «Nuclear Terror» να ξεχωρίζουν ως τουλάχιστον τα καλύτερα σε ένα, κατά τα άλλα, αψεγάδιαστο σύνολο, νομίζω.

English:

The Three Words We All Know: Greek Power Metal

Following their epic undertaking, the concept album dedicated to the Greek War of Independence, the formidable and mighty, yet until recently hard-to-find CD “1821,” our beloved friends from Athens, steeped in the traditions of classic Metal (well, you have to praise your own hometown sometimes…), have now embarked on their next project — and, I would say, an even better one.

Better in terms of production, highly aggressive yet melodically heavy, with magical guitar riffs and sharp, fast twin-guitar harmonies that send you soaring. An album that does full justice to this veteran band of the Greek Metal scene.

Michalis Smeros on vocals, Giorgos Sofronas and Andreas Tsousis on guitars, Kostas Vagiotis on bass, and Manos Matsos on drums — this is the line-up of this legendary outfit here.

Thirteen tracks make up the CD, with “Power From The Sky,” “Nightmare,” “Magic Art,” the dreamy “Life,” “Bastards,” “Evil’s Curse,” “Runner,” the epic Metal anthem “Defenders,” “Falling Star,” “Death From Glory and Gold,” and “Nuclear Terror” standing out as, at the very least, the highlights of what I consider an otherwise flawless whole.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: ANTIPEEWEE - Human Grill Party

 

ANTIPEEWEE - Human Grill Party  

Good Damn Records/ G.U.C.

Human Grill Party is the debut full‑length album by German thrashers Antipeewee, first released on 29 November 2013 through Good Damn Records. Recorded at Slash Zero Studio and produced by Robert “Hubi” Hofmann, the album captures a young band exploding with speed, humor, and chaotic energy. A year later, on 1 August 2014, the album received a vinyl reissue through G.U.C., pressed in a limited run of 666 copies. This LP edition expanded the visual identity of the record with neon colors, grotesque cartoon figures, and a surreal Cthulhu‑themed barbecue scene, giving the album a more elaborate and humorous aesthetic without altering its musical core.

Musically, Human Grill Party is driven by speed thrash metal, with rapid riffing, sharp rhythmic bursts, and vocals that shift between thrash bark and punk‑infused shouting. The band frequently breaks into punk outbursts, injecting spontaneity and raw immediacy into the songs. There is also a noticeable Motörhead feeling in several moments, especially in the rhythmic swagger and dirty rock‑n‑roll attitude that creeps into the mid‑tempo sections. It’s not imitation — it’s attitude. Antipeewee channel that gasoline‑soaked looseness Lemmy embodied, translating it into a more violent,crossover‑thrash environment.

Although Antipeewee are German, their sound carries a surprisingly U.S. thrash metal flavor. The speed and aggression recall early Exodus, while the humorous extremity and crossover punch bring to mind D.R.I., Municipal Waste, or Ghoul. Yet, despite this American leaning, they also echo their compatriots: the unpredictable speed‑thrash of RISK, and the beer‑soaked humor of TANKARD. This dual identity — American‑leaning thrash with unmistakable German attitude — gives the album a distinctive place within the European underground.

The band’s name itself reinforces this playful identity. “Peewee” is an English slang term meaning small, tiny, childish, or harmless. By calling themselves Antipeewee, the band humorously declares the opposite: they are not small, not weak, and certainly not harmless. It’s a tongue‑in‑cheek statement that fits perfectly with their exaggerated, cartoonish aesthetic. This playful contradiction may even explain one of the most charming details in the LP artwork: a band member proudly holding a tiny Chihuahua with a thrash‑metal attitude. The image becomes a visual joke — the smallest, most harmless creature presented as part of a loud, aggressive thrash ensemble. It’s a perfect embodiment of the band’s name and their humorous approach to extreme music.

Lyrically and visually, Human Grill Party embraces exaggerated violence, cartoonish gore, and Lovecraftian parody. Tracks like “Cool Guy Cthulhu” turn cosmic horror into comedic thrash storytelling, while songs such as “Surf Mosh and Die” celebrate the crossover tradition of mixing humor with high‑speed aggression. The artwork, especially in the 2014 LP edition, reinforces this identity with grotesque figures, neon colors, and chaotic backyard barbecue imagery. It is deliberately over‑the‑top, matching the album’s musical excess and giving the record a strong visual personality.

Overall, Human Grill Party succeeds because it knows exactly what it wants to be: a fast, fun, violent, humorous thrash record with no pretensions. Antipeewee combine speed thrash intensity with punk spontaneity and a rock‑n‑roll swagger reminiscent of Motörhead, all wrapped in a visual and lyrical package that celebrates the absurd. Their sound may be rooted in U.S. thrash tradition, but the spirit of German speed metal — from RISK to TANKARD — is unmistakably present. The result is an album that feels both familiar and fresh, a chaotic party where thrash, punk, humor, and self‑aware absurdity collide.

Nick Parastatidis

SMERDEAD Release New Album “Night of All Saints”

 

Russian Death Metal/Zombie Metal band Smerdead has unleashed their new album, Night of All Saints (Ночь всех святых), delivering another dose of their horror-soaked brand of extreme metal.

Recorded at Watta Studios and Nord Sound, the album was mixed and mastered by Alexey Kolenchenko, with cover artwork created by Yuri Shumbasov.

Formed in Siberia in 2018, Smerdead features Kozlodyor (vocals), Smerd (guitars), Khrych (bass), and Dorf (drums). The band describes their music as “Zombie Metal,” combining the aggressive force of Death Metal with theatrical, horror-driven storytelling.

With razor-sharp riffs, crushing rhythms, and a macabre atmosphere populated by undead creatures, sirens, and wandering monsters, Night of All Saints invites listeners into Smerdead’s cinematic nightmare—and further expands the band’s gruesome empire in the underground extreme metal scene.

J‑L – “Ailleurs”: A Cold Descent Into the Invisible

 

Ailleurs is a threshold between presence and disappearance. In his new official music video, J‑L constructs a world where the body remains anchored in reality while the mind drifts into an undefined elsewhere. The track unfolds like a controlled detachment, a slow slide beyond the visible, where clarity dissolves into shadow and introspection.

Recorded at Heavy Music Records in Colomiers, France, Ailleurs reflects the core identity of J‑L’s post‑punk project: minimal tension, cold tonality, and a direct, unembellished emotional weight. The production favors sharp edges and restrained movement, allowing the atmosphere to breathe with a sense of quiet pressure. Nothing is overstated; everything is deliberate.

The vocals play a crucial role in shaping this landscape. A softened growl, textured and subdued, adds gravity without overwhelming the mix. It is a voice that presses inward rather than outward, creating an intimate tension that mirrors the song’s thematic drift. This approach gives Ailleurs its unsettling calm, a feeling of walking through familiar terrain that has suddenly become distant and dimly lit.

The video, produced by Dark Video Prod J‑L, extends this psychological journey into visual form. Stark imagery, controlled pacing, and a monochrome emotional palette create a space where reality feels porous. The camera observes rather than guides, allowing the viewer to fall into the same mental detachment the music evokes. It is a visual echo of the song’s central idea: escape not as fantasy, but as dissociation.

Ailleurs draws from the lineage of Post‑Punk, Cold Wave, and Gothic Rock, embracing their shared fascination with minimalism, repetition, and emotional austerity. Listeners familiar with dark alternative music will recognize a distant kinship with Killing Joke — not as imitation, but as resonance. The same cold pulse, the same ritualistic weight, the same ability to make simplicity feel monumental.

In the end, Ailleurs is less a song than a state of mind. It does not demand attention; it absorbs it. It does not explain; it invites. It does not take the listener somewhere else; it reveals the elsewhere already present within them. J‑L delivers a work that feels both intimate and distant, a paradox at the heart of post‑punk’s most compelling expressions.

REVIEW: WAR DEVICE , Whisper Of Souls

 

WAR DEVICE , Whisper Of Souls (2013)

ROAR! / Rock of Angels Records

Στους ώμους των γιγάντων.

Αυτοί εδώ οι πέντε τυπάδες από τις Σέρρες, στο πρώτο τους πλήρες άλμπουμ, είναι κάτι παραπάνω από σίγουρο ότι έχουν ως επιρροές τους Βραζιλιάνους Sepultura της εποχής των Beneath The Remains και Arise, με μια μυρωδιά από Sodom της περιόδου Persecution Mania και Better Off Dead και, γενικότερα, από αυτό που αποκαλούμε παλιό, «ορθόδοξο» Thrash Metal. Ο τραγουδιστής τους, Μάκης Αραμπατζής, βγάζει μέσα από τα φωνητικά του το δαιμόνιο του Max Cavalera εναντίον ενός Tom Angelripper.

Πολύ καλό το ντεμπούτο των Σερραίων και, ομολογώ, με εξέπληξε πολύ ευχάριστα. Με τυπικές, αλλά όχι κοινότυπες, Thrash στιγμές, όπως τα Whisper Of Souls, Rain, Shattering My Thoughts, M.I.P. (Mind In Panic), Kingdom Of Ice, Rehab Beyond Perfection και Embrace The Pain, σίγουρο είναι ότι θα σε πάρουν μαζί τους στο βίαιο και πολύ γρήγορο ταξίδι τους μέσα σε αυτόν τον δίσκο.

Έχουν κυκλοφορήσει άλλο ένα πλήρες άλμπουμ από τότε. Βρείτε τους, αν αρέσκεστε στον κλασικό, καλό Thrash ήχο, και σίγουρα δεν θα χάσετε.

English:

On the Shoulders of Giants

These five guys from Serres, on their first full-length album, are quite clearly influenced by Brazilian Sepultura from the Beneath The Remains and Arise era, with a whiff of Sodom from the Persecution Mania and Better Off Dead period and, more generally, what we call old-school, “orthodox” Thrash Metal. Their vocalist, Makis Arabatzis, channels the demon of Max Cavalera through his vocals, pitted against a Tom Angelripper-like force.

A very good debut from the Serres-based band, and I have to admit it pleasantly surprised me. With familiar, yet far from clichéd, Thrash moments such as “Whisper Of Souls,” “Rain,” “Shattering My Thoughts,” “M.I.P. (Mind In Panic),” “Kingdom Of Ice,” “Rehab Beyond Perfection,” and “Embrace The Pain,” there is no doubt they will take you along on their violent and lightning-fast journey through this album.

They have released another full-length album since then. Check them out if you are into classic, good-quality Thrash, and you certainly won’t be disappointed.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: NIHIL OBSTAT – Disintegration

 

NIHIL OBSTAT – Disintegration (2010)

Gormageddon Productions

NIHIL OBSTAT’s Disintegration is a savage, abyss‑ridden offering of Colombian brutal death/grind, executed with a level of intensity that immediately commands attention. The band unleashes ultra‑fast tempos, relentless blastbeats, and a barrage of technical and rhythmic mutations that shape the album into a violent, ever‑shifting landscape. The atmosphere they cultivate is genuinely abyssal: pestilential, dark, and apocalyptic, with a production that supports this vision to the fullest. Recorded and mastered at La Sala Estudios in Cali between May and October 2009, the sound achieves a rare balance of clarity and ferocity, allowing every chaotic detail to cut through without sacrificing weight.

Your original observation about the vocals remains central to the listening experience. The constant high‑pitched, “Donald Duck‑style” gutturals can be tiring, especially for listeners who prefer more varied vocal textures. Yet this particular delivery is deeply rooted in the extremity of the genre, a stylistic hallmark rather than an accidental quirk. It ultimately comes down to taste: some will find it monotonous, others will embrace it as part of the genre’s uncompromising identity.

Musically, the band performs with absolute discipline. Juan Camilo Delgado’s drumming is a continuous assault, shifting patterns with surgical precision. David Santos’ guitar work injects jagged technicality into the chaos, while Germán Ramirez’s bass reinforces the density of the mix with subterranean force. Andrés Felipe Bonilla’s vocal performance, divisive as it may be, is executed with unwavering commitment to the extremity NIHIL OBSTAT aim to embody. The album’s structure, divided into three conceptual “Intervals,” adds a subtle thematic cohesion to the brutality, guiding the listener through its 31‑minute descent.

Disintegration stands as a highly recommended release for fans of extreme grind and brutal death metal — a must‑have for collectors who appreciate speed, technicality, and apocalyptic atmosphere delivered without compromise. It is not an easy listen, nor does it attempt to be. Instead, it offers a pure, unfiltered expression of the genre’s most savage qualities, crafted by a band that has been shaping their identity since their formation in Palmira in 1999 and previously showcased on their 2004 album Inherited Primitive Behaviors. For the initiated, Disintegration is a ferocious and essential addition to the brutal death/grind canon.

George Kefalas