REVIEW: THE BLOODSHOT GAMBLERS - Pain and Other Simple Pleasures

 

THE BLOODSHOT GAMBLERS - Pain and Other Simple Pleasures (2009)

Demon Deluxe Records

Arizona-based duo THE BLOODSHOT GAMBLERS, featuring Tim David Kelly and Brian Anderson of KICKING HAROLD, have once again reminded me of the universal truth that one should never say never. I have never been particularly fond of rock music, let alone alternative rock, yet there are always exceptions that make you reconsider your position. THE BLOODSHOT GAMBLERS are one of them. This does not mean that I will suddenly start exploring the genre on a regular basis, but it does mean that Pain and Other Simple Pleasures has won me over, despite being far removed from the kind of music I usually listen to.

The duo's compositions possess a distinctive warmth and appeal, combining seductive melodies with a dark atmosphere coloured by melancholy and bitterness. There is an emotional depth to these songs that makes them immediately engaging without relying on unnecessary embellishments or exaggerated dramatics. Instead, the music draws the listener into its own world through the interplay between its melodic sensibility and its more restrained, sombre elements.

One of the album's strongest points is the balance THE BLOODSHOT GAMBLERS achieve between their rougher, more forceful passages and their smoother, more melodic moments. Neither side dominates at the expense of the other, allowing the material to maintain a natural flow while retaining its dynamics and emotional intensity. The arrangements feel cohesive, yet the songs have enough variation to prevent the album from becoming monotonous. This combination of consistency and contrast gives Pain and Other Simple Pleasures much of its character.

The musicianship is equally convincing, with the duo demonstrating a clear understanding of the atmosphere they want to create and the means required to achieve it. Tim David Kelly's vocals deserve particular mention, as his warm, expressive delivery adds considerable weight to the compositions. His performance brings out their emotional nuances, reinforcing both their melodic appeal and their underlying sense of darkness. The result is a collection of songs that feels genuine, carefully crafted and capable of leaving a lasting impression.

Pain and Other Simple Pleasures may not be the kind of release that would normally attract the average metalhead, but quality music deserves recognition regardless of genre boundaries. THE BLOODSHOT GAMBLERS have delivered an album that succeeds through its atmosphere, songwriting and emotional sincerity, proving that a musical style outside one's usual preferences can still offer plenty to appreciate. If you are open-minded enough to explore beyond your familiar territory and have a taste for well-crafted rock music, this is a release I highly recommend!

Christine  Parastatidou

REVIEW: U. D. O., Animal House

 

U. D. O., Animal House (1987)

RCA

Νέο φως, ίδιος ορίζοντας

Οι Accept έκαναν για πρώτη φορά παύση στα τέλη του 1986, μετά την περιοδεία για την προώθηση του πολύ καλού, μα ταυτόχρονα, για κάποιον λόγο, υποτιμημένου Russian Roulette. Για την ακρίβεια, οι Wolf Hoffmann και Peter Baltes ήθελαν να ακολουθήσουν μια μουσική κατεύθυνση προσανατολισμένη αποκλειστικά στην αμερικανική αγορά, η οποία τελικά θα οδηγούσε στην πρόσληψη νέου τραγουδιστή (David Reece) και στην κυκλοφορία του άλμπουμ Eat the Heat, μιας από τις πιο νερουλές μουσικά, χωρίς ωστόσο να είναι εντελώς κακή, δισκογραφικές τους προσπάθειες. Από την άλλη, ο Udo Dirkschneider ήθελε να επιστρέψει στην προ Balls to the Wall εποχή, παραμένοντας πιστός στις παραδοσιακές φόρμες του Heavy Metal.

Τα τραγούδια που είχαν γράψει οι Accept κατά τη διάρκεια της περιοδείας του 1986 αναδιαμορφώθηκαν από τον Udo και τους νέους συνεργάτες του (Mathias Dieth και Peter Szigeti στις κιθάρες, Frank Rittel στο μπάσο και Thomas Franke στα τύμπανα) και εντάχθηκαν στο πρώτο προσωπικό του άλμπουμ ως U.D.O. Μιλάμε για γκάφα ολκής από την πλευρά των υπόλοιπων μελών των Accept! Όχι μόνο του έδωσαν το Lay Down the Law, αλλά έπαιξαν και οι ίδιοι σε αυτό, ένα από τα πιο αντιπροσωπευτικά κομμάτια του δίσκου, το οποίο, αν το κρατούσαν για τους Accept, θα μπορούσε να έχει τεράστια απήχηση.

Μεταλλική καταιγίδα από την αρχή, με το ομότιτλο Animal House, και συνέχεια με τα Go Back to Hell, Warrior, Black Widow, το ιδιαίτερο και πιο εμπορικό τραγούδι του δίσκου, They Want War, το οποίο κάποτε απέφευγα, αλλά πλέον συμπαθώ, καθώς και τα We Want It Loud και Run for Cover.

English:

A New Light, the Same Horizon

Accept went on hiatus for the first time in late 1986, following the tour in support of Russian Roulette, a very good album that, for some reason, remains underrated. To be more precise, Wolf Hoffmann and Peter Baltes wanted to pursue a musical direction aimed exclusively at the American market, a move that would eventually lead to the recruitment of a new singer, David Reece, and the release of Eat the Heat. The latter remains one of the musically more watered-down efforts in their discography, although it is not entirely without merit. Udo Dirkschneider, on the other hand, wanted to return to the pre-Balls to the Wall era, remaining faithful to traditional Heavy Metal.

The songs Accept had written during their 1986 tour were reworked by Udo and his new collaborators (Mathias Dieth and Peter Szigeti on guitars, Frank Rittel on bass, and Thomas Franke on drums) and ended up on his first solo album under the name U.D.O. Talk about a colossal blunder on the part of the remaining Accept members! Not only did they hand him Lay Down the Law, but they also played on it themselves. It is one of the album's most representative tracks, and had they kept it for Accept, it could have made a huge impact.

A veritable Heavy Metal storm right from the start, with the title track Animal House, followed by Go Back to Hell, Warrior, Black Widow, and the album's more distinctive, commercially oriented track, They Want War. I used to skip that one, but these days I find myself enjoying it. We Want It Loud and Run for Cover round out the selection.

Τάκης "Ε-Μortal One" Γιώτης!

Social Scream Release Official Video for “Now Command”

 

Greek Heavy Metal band Social Scream have released the official video for “Now Command,” a track from their new album, Setup To Transformation.

Featured as the album’s seventh track, “Now Command” appears in the second part of the ten-song release, which combines heavy riffs, complex rhythmic structures, and a dark, psychological atmosphere. The new video adds a visual dimension to the band’s latest work, further exploring its musical and thematic identity.

Following the presentation of “The Unified Field,” Social Scream continue to introduce different aspects of Setup To Transformation, bringing the album’s material to a wider audience through their latest audiovisual release.

REVIEW: VENOM, Prime Evil

 

VENOM, Prime Evil (1989)

Under One Flag

Μα ένα outsider μπορεί να είναι καλό;

Ε, ναι, λοιπόν! Όχι απλώς καλό, αλλά καλύτερο απ’ ό,τι αποδείχθηκαν τα At War with Satan (1984) και Possessed (1985), αφήνοντάς τα να «ιδρώνουν» από την προσπάθεια!

Χωρίς υπερβολές, ο κ. Tony Dolan (ο γνωστός μας Demolition Man, πλέον στους Venom Inc.) όχι μόνο αντικαθιστά επάξια τον Cronos σε φωνή και μπάσο, αλλά γράφει κιόλας πιο «βενομικά» απ’ όσο θα περίμενε κανείς.

Και τι δεν έχει μέσα το άλμπουμ αυτού του αναγεννημένου line-up! Κομμάτια που πλέον θεωρούνται αγαπημένα, όπως τα Prime Evil, Parasite, Blackened Are the Priests, Megalomania (διασκευή στους Black Sabbath), Harder Than Ever, School Daze και Live Like an Angel – Die Like a Devil.

Αν και στο άλμπουμ συμμετέχουν δύο κιθαρίστες, στα credits η μπάντα αναφέρεται ως τρίο, με τους Mantas και Abaddon της αρχικής σύνθεσης. Πρόκειται, δηλαδή, για τη σύνθεση που συναντάμε σήμερα στους Venom Inc., μαζί με τον Demolition Man.

Ένα άλμπουμ που έμεινε για χρόνια στη σκιά, αλλά τελικά κέρδισε τη θέση που του αξίζει!

English:

But Can an Outsider Be Any Good?

Well, yes! Not just good, but better than At War with Satan (1984) and Possessed (1985), leaving both albums struggling to keep up!

Without exaggeration, Tony Dolan (our well-known Demolition Man, now with Venom Inc.) not only proves himself a worthy replacement for Cronos on vocals and bass, but also delivers songwriting that sounds more authentically Venom than one might expect.

And what doesn't this revitalised line-up have to offer? The album features several tracks that have since become firm favourites, including “Prime Evil,” “Parasite,” “Blackened Are the Priests,” “Megalomania” (a cover of Black Sabbath), “Harder Than Ever,” “School Daze” and “Live Like an Angel – Die Like a Devil.”

Although two guitarists feature on the album, the band is credited as a trio, comprising original members Mantas and Abaddon alongside Dolan. In other words, this is the line-up that would later form the core of today's Venom Inc., with Demolition Man completing the picture.

An album that spent years in the shadows but ultimately earned the recognition it deserved!

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: LEGIO MORTIS - The Human Creation and the Devil's Contribution

 

LEGIO MORTIS - The Human Creation and the Devil's Contribution (2011)

MDD Records

A couple of years after the release of their third album, German sextet LEGIO MORTIS strikes back with a new work bearing the rather clever title The Human Creation and the Devil's Contribution. Lyrically, the band deals with Satan, ancient times and darkness in general, but the ideas presented also offer some food for thought beyond simply serving the songs and contributing to their extreme and sinister atmosphere. There is more to the lyrical approach than the usual dark imagery, which helps give the album an additional dimension.

Musically, LEGIO MORTIS dwell somewhere between death and black metal, incorporating plenty of dark and gothic metal elements into their sound. Although this combination may initially seem familiar and rather common, the truth is that these guys have managed to deliver a quite original and characteristic result, different from what we're mainly used to hearing within these genres. This does not mean that their music avoids the established clichés and familiar ingredients associated with death, black and gothic metal. Rather, the band approaches them from its own perspective, combining recognizable elements with a slightly modern twist, most notably through the use of keyboards, which contribute to the overall atmosphere without completely overshadowing the heavier aspects of the music.

The musicianship is very good throughout the album, while most of the songs are catchy and interesting enough to maintain the listener's attention. The compositions balance aggression with darker, more atmospheric passages, allowing the band to explore different shades of its sound without losing its overall identity. The production is also very good, giving the material the clarity and weight it needs while supporting the album's dark character. Another interesting detail is the guest vocal appearance by Liv Kristine (LEAVES' EYES) on "Life Denied", which adds a further dimension to the album.

All in all, The Human Creation and the Devil's Contribution is an interesting release from a band that manages to combine familiar genre characteristics with its own ideas and a modern approach. If you like contemporary interpretations of dark, gothic death/black metal, then LEGIO MORTIS might be a good start for you!

Christine  Parastatidou

Antichrist Magazine Announces A Tribute To Kreator

 

Antichrist magazine will release A Tribute To Kreator on November 6, 2026, featuring 21 bands from 11 countries paying tribute to the influential German thrash metal band.

The compilation spans several eras of Kreator’s career, bringing together early classics such as “Pleasure to Kill,” “Flag of Hate,” “Betrayer” and “Tormentor” with later tracks including “Violent Revolution,” “Phobia,” “Impossible Brutality” and “Demon Prince.” The selection also includes less frequently revisited material such as “Endorama,” “Black Sunrise,” “Golden Age” and “Stream of Consciousness.”

The participating bands represent Germany, Serbia, Poland, the UK, Turkey, Sweden, Brazil, the Netherlands, Australia, Norway and the USA, offering their own interpretations of songs from Kreator’s extensive catalogue.

A Tribute To Kreator will be available on Bandcamp and YouTube from November 6, 2026, via Antichrist magazine.

Tracklist:

Hateful Agony (Germany) – Flag of Hate

Oskrnavitelj (Serbia) – Pleasure to Kill

Vephar (Poland) – Extreme Aggression

Witchkrieg (Germany) – Betrayer

Theocracide (UK) – Violent Revolution

Dragonborn (Turkey) – Phobia

Helldrifter (Germany) – Murder Fantasies

Chainsaw Holiday (Sweden) – Terror Zone

Infernal Course (Brazil) – People of the Lie

Anomic (Netherlands/Germany) – Impossible Brutality

Day 40 (UK) – Fatal Energy

Chemophage (Australia) – Behind the Mirror

Myrholt (Norway) – Some Pain Will Last

Arakara (USA) – Stream of Consciousness

Fiber Tormentum (USA) – Demon Prince

Midgard (Brazil) – Black Sunrise

Hellgrimm (USA) – Chosen Few

Kublai Kapsalis (Turkey) – Golden Age

TvKills (Brazil) – Limits of Liberty

Brunno Mariante (Brazil) – Endorama

Tyranno (Brazil) – Tormentor

REVIEW: WARDRUM – Spadework

 

WARDRUM – Spadework (2011)

Steel Gallery Records

Spadework is the debut album from WARDRUM, a Greek metal band from Thessaloniki, the country's second-largest city and the hometown of both Behind The Veil and Steel Gallery Records. The band's connection with the local metal scene is particularly strong, as most of its members come from HORIZON'S END, an excellent progressive metal band with a reputation for its musicianship.

The driving force behind WARDRUM is drummer Stergios Kourou, while guitarist Kosta Vretos, also a member of HORIZON'S END, brings his considerable skills to the album. Vretos has also released some really good solo material, further demonstrating his abilities as a guitarist. Bassist Kostas Scandalis, another HORIZON'S END member, takes care of the production and mastering, and he has done a wonderful job. The sound is clear, powerful and well balanced, allowing the individual instruments to stand out without sacrificing the overall cohesion of the music.

On vocals, we find Pierro Leropale, a singer I had the chance to see live a couple of months ago alongside Uli Jon Roth, the former SCORPIONS guitarist. My impression of him was very positive, and Spadework confirms that he is equally convincing in the studio. His performance suits the band's melodic approach, delivering the material with the power and expression required by this style of metal.

The cover artwork was created by Michal Karcz, a member of the Rainer Kalwitz Crew, whose work has been associated with bands and labels such as SHADOW GALLERY, Century Media Records and Massacre Records. The artwork provides an appropriate visual presentation for the album, complementing the band's musical identity.

Musically, WARDRUM play lyrical power metal, combining strong melodies and memorable vocal lines with a considerable degree of technical ability. The guitar work is particularly impressive, with Kosta Vretos demonstrating both precision and a good sense of melody. The technical elements never become an end in themselves; instead, they serve the songs and help give the album its character. This balance between musicianship and accessibility is one of the record's main strengths.

Among the songs, I particularly enjoyed "The Meaning of Forever", "Crest of the Wave", "Yesterday" and "Soultrip". Each of them offers something worth returning to, while collectively they demonstrate the band's ability to combine melodic appeal with the energy expected from a power metal release.

In conclusion, Spadework is one of the most impressive Greek metal releases I have come across in recent years, and I would not hesitate to recommend it to fans of melodic and power metal. The musicianship, the vocal performance and the excellent production make this debut a release that deserves attention beyond the band's home country.

Of course, some might think that I am being particularly generous because WARDRUM come from my own city. Fair enough! My suggestion, however, is simple: listen to a few samples before making up your mind. I believe that once you have heard what the band has to offer, you will understand why I hold this album in such high regard.

Ioannis Kaskamanidis