REVIEW: LEATHERHEAD, Leatherhead

 

LEATHERHEAD, Leatherhead (2024)

No Remorse Records

Ινδιάνοι από τη Θεσσαλία;

Οι Λαρισαίοι λοιπόν, με το περσινό ντεμπούτο τους, αποτελούν ακόμη μία προσθήκη στο ρόστερ της ανανεωμένης ελληνικής Metal σκηνής, η οποία τα τελευταία δεκαπέντε χρόνια έχει δώσει πολλά και διαφορετικά ονόματα. Οι πέντε μουσικοί παίζουν χαμένο‑στο‑χρόνο Speed Metal με Thrash πλαίσιο, λες και δεν υπάρχει αύριο. Άλλη μία παραγωγή που διεκδικεί έπαινο για τον ήχο της· έναν ήχο που επιστρέφει στο στυλ της δεκαετίας του ’80 και σε σχήματα όπως οι Hallow’s Eve και Savage Grace, με λίγο από Overkill ως προς την ταχύτητα.

Ειδικά η φωνή του Τόλη Μέκρα μου θύμισε κάτι ανάμεσα σε ακατέργαστο Geoff Tate και μανιασμένο Lizzy Borden. Η επιρροή του παλιού, πρωτόλειου U.S. Metal είναι σαφής και σε αυτά τα παιδιά. Τους είχα δει πέρσι για πρώτη φορά, όταν άνοιγαν μαζί με τους Yoth Iria του Δημήτρη Πατσούρη για τους Destruction, με τον Τόλη να εμφανίζεται σαν μάγο‑γιατρό, όπως στην απεικόνιση του εξωφύλλου του δίσκου.

Θάνος Μετάλιος και Ζαχαρίας Καραμπάσης στις κιθάρες, Γιώργος “Bradley” Χατζηγεωργίου στο μπάσο και Μιχάλης Ζουναράκης στα τύμπανα αποτελούν την υπόλοιπη ομάδα, με εννιά κομμάτια και μία εισαγωγή να συνθέτουν το άλμπουμ. Equinox, Dressed to Kill, Vampire’s Kiss, When Death is Near, Judge Steel, The Awakening, Leatherhead νομίζω μου έμειναν ως τα πιο χαρακτηριστικά.

Για να δούμε τι άλλο μας επιφυλάσσουν…

English:

Indians from Thessaly?

The guys from Larissa, with last year’s debut under their belt, are yet another addition to the roster of the revitalized Greek Metal scene, which has produced plenty of diverse names over the past fifteen years. The five musicians play a lost‑in‑time kind of Speed Metal with a Thrash framework, as if there’s no tomorrow. Another production that deserves praise for its sound—a sound that throws back to the style of the ’80s and to bands like Hallow’s Eve and Savage Grace, with a touch of Overkill in terms of sheer speed.

Tolis Mekras’ vocals in particular reminded me of something between a raw Geoff Tate and a frenzied Lizzy Borden. The influence of old, primal U.S. Metal is unmistakable with these guys as well. I first saw them live last year, when they opened—together with Dimitris Patsouris’ Yoth Iria—for Destruction, with Tolis appearing like a witch‑doctor, just like on the album cover.

Thanos Metalios and Zacharias Karampasis on guitars, Giorgos “Bradley” Chatzigeorgiou on bass, and Michalis Zounarakis on drums complete the lineup, with nine tracks and an intro making up the album. Equinox, Dressed to Kill, Vampire’s Kiss, When Death is Near, Judge Steel, The Awakening, Leatherhead—these are the ones that stuck with me as the most characteristic.

Let’s see what else they have in store…

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: TANTRIC LOVE CHARMERS – Tantric Love Charmers

 

TANTRIC LOVE CHARMERS – Tantric Love Charmers

Independent

Sometimes it’s good to take a short break from the electric storm. So let’s turn off the amps, set aside the distortion pedals, and reach for the acoustic guitars instead. Not us, though — the ones doing exactly that are Tantric Love Charmers, an acoustic duo hailing from Rome, Italy.

The project is the brainchild of multi‑instrumentalist and composer Moreno Viglione — a true “Swiss army knife” musician with long-standing experience in the rock scene. Joining him on this acoustic venture is vocalist Stefano Diamanti, whose résumé includes fronting tribute acts dedicated to Black Sabbath, Led Zeppelin, and Neil Young. Together, they bring a blend of seasoned musicianship and stylistic versatility to Tantric Love Charmers.

Given the musicians’ background — and their shared love for bands like Led Zeppelin, Pink Floyd, and Neil Young — their decision to present eight acoustic rock compositions inspired by the 70s era feels both natural and expected. The album is steeped in that warm, unmistakable 70s nostalgia, yet it never slips into mere imitation. Instead, Tantric Love Charmers offer their own interpretation of what 70s acoustic rock can sound like today, blending familiarity with a personal creative touch.

Beyond the influences the band openly cites, listening is always a subjective experience — shaped by one’s own musical background — and in my case, several tracks brought to mind shades of Jethro Tull. There are also moments where the album leans into a distinctly Western atmosphere, even evoking a subtle spaghetti western flair reminiscent of Morricone. And honestly, that works beautifully here; after all, no one does Western aesthetics quite like the Italians.

Lyrically, the duo wear their 70s heritage with pride — and with it comes a gentle touch of hippie idealism. Their songs wander through themes of love, spirituality, and philosophy, existing in that delicate space where poetry brushes against mysticism. It’s the kind of writing that feels as if it could have been scribbled on a sun‑bleached notebook during a long train ride across the Italian countryside, incense burning somewhere in the background.

This is a record that manages to be rock without ever raising its voice, electric without relying on electricity, and rich in variety while wrapped in disarming simplicity. In the end, what more do you really need to create good music? An acoustic guitar, a voice that knows where to land, and a genuine love for the craft. I’m truly glad these two musicians trusted me with presenting their work — a collection that steps outside the usual paths and rewards you for following it. They can rest assured they’ve done an excellent job. And if one track stands out as a clear highlight, “Thru the Cracks of Time” carries all the ingredients of a future favorite.

Enjoy.

Nick Parastatidis

REVIEW: RIOT, Live In Japan

 

RIOT, Live In Japan (1992)

Metal Blade Records

Ένα ακόμα μπαούλο θησαυρού.

Οι Riot της πιο speed metal περιόδου τους – που, νομίζω, είναι και η πιο αγαπημένη για τη μεγαλύτερη μερίδα των φίλων τους – με το πιο δημοφιλές lineup (Reale, Moore, Flyntz, Perez, Jarzombek) και με τα Thundersteel και The Privilege of Power άλμπουμ τότε να καίνε, πήραν τις στράτες στην παγκόσμια περιοδεία του 1990 και, βέβαια, στη χώρα των χρυσανθέμων και του ανατέλλοντος ηλίου, όπου έχαιραν (και χαίρουν) τεράστιας εκτίμησης, ηχογράφησαν αυτό εδώ το δισκάκι.

Βέβαια, το εξώφυλλο που βλέπετε δεν είναι της αρχικής κυκλοφορίας με το ρομποτικό θέμα, αλλά αυτό της επανέκδοσης, με τον Tiar / Johnny, τη φώκια-μασκότ από τα παλιά τους, πάνω στον ερυθρό ήλιο!

Ένα ζωντανό άλμπουμ που, ειλικρινά, δεν θυμόμουν πόσο καλό είναι, παρόλα τα overdubs που… ε, δεν κρύβονται! Υλικό από σχεδόν όλα τα άλμπουμ τους, από το 1977 έως το 1990, που δεν χρειάζεται άλλη ανάλυση. Τέλος, η στούντιο διασκευή στο Smoke on the Water των Deep Purple κλείνει τον δίσκο.

Το βάζουμε στο στερεοφωνικό και πατάμε play.

English:

Another treasure chest.

Riot in their pure speed metal era — which I think is also the most beloved period for the majority of their fans — featuring their most popular lineup (Reale, Moore, Flyntz, Perez, Jarzombek). With Thundersteel and The Privilege of Power burning hot at the time, they hit the road on their 1990 world tour and, of course, stopped in the land of chrysanthemums and the rising sun, where they were (and still are) held in enormous esteem, to record this little disc.

Of course, the cover you see here is not from the original release with the robotic theme, but from the reissue, featuring Tiar / Johnny, their old seal mascot, standing against the red sun!

A live album that, honestly, I had forgotten just how good it is, despite the overdubs that… well, aren’t exactly hidden! Material drawn from almost all of their albums, from 1977 to 1990, needs no further analysis. Finally, the studio cover of Deep Purple’s Smoke on the Water closes the record.

We put it in the stereo and hit play.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: HEATHENDOM – Symbolist

 

HEATHENDOM – Symbolist

Metal On Metal Records

Written in 2010

Symbolist is the second full-length album by the Greek metal band HEATHENDOM and their first proper studio release following their earlier demo recordings. Released by Metal On Metal Records in 2010, the album places the band firmly within the traditional metal spectrum, drawing mainly from mid-tempo power metal while incorporating clear doom metal influences that give the music a darker and heavier atmosphere.

The production favors clarity and balance, allowing the riffs and vocal lines to remain prominent without excessive polish. Stylistically, HEATHENDOM rely on steady tempos, epic-leaning melodies, and a restrained use of dynamics rather than speed or technical excess. This approach reinforces the album’s somber tone, though it also exposes certain limitations in the songwriting.

While the album contains several interesting moments and well-constructed passages, the material does not always manage to sustain the listener’s interest throughout its full duration. In this respect, the band’s earlier demo—also re-released by Metal On Metal Records a few months prior—felt more focused and left a stronger overall impression.

That said, Symbolist is a solid and respectable effort that reflects HEATHENDOM’s commitment to traditional metal values. Fans of mid-tempo power metal with doom metal characteristics, particularly those interested in the Greek underground scene, will likely find the album worthwhile. However, listeners who are not already inclined toward this style may find it less engaging.

Ioannis  Kaskamanidis

REVIEW: WILDFIRE, Rise

 

WILDFIRE, Rise (2025)

Independent

Από τα χαμηλά πατώματα στο ρετιρέ. 

Μία από τις πιο καλά κρυμμένες κυκλοφορίες της περασμένης χρονιάς είναι το ντεμπούτο πλήρες άλμπουμ της αθηναϊκής heavy/power metal εξάδας, η οποία, έχοντας ήδη πίσω της το ομότιτλο ΕΡ, έχει αλώσει τις σκηνές της Αθήνας τα τελευταία χρόνια.

Καταρχάς, το όνομα: ψάχνοντας να βρω το ΕΡ τους πριν από καμιά διετία, έπεσα πάνω στους Wildfire του μακαρίτη Paul Mario Day, του αρχικού ερμηνευτή των Iron Maiden, που βέβαια δεν υφίστανται πλέον εδώ και δεκαετίες. Οπότε, αν και δεν βρήκα τελικά το μίνι άλμπουμ, η μπάντα μας έδωσε το Rise — και πλέον δεν υπάρχει γυρισμός.

Η σύνθεση στον δίσκο:

Αποστόλης (γνωστός και μη εξαιρετέος Tolis G Pol) και Δημήτρης Βαρσαμής στις κιθάρες,

Μάριος Θεοφυλάτος στα πλήκτρα,

Δημήτρης Μεγαλιός στο μπάσο,

Ανδρόνικος Μαλτέζος στα ντραμς,

και στη φωνή ο Bill Chrepas (Βασίλης Χρέπας), ο οποίος πλέον ανήκει στη δύναμη των Darklon, έχοντας αποχωρήσει μέσα στη χρονιά.

Το άλμπουμ που ίσως δεν έχετε ακούσει — και πρέπει να το πράξετε άμεσα — είναι αυτό εδώ. Ειδική μνεία στον ύμνο “Navigators”, όπου προς το τέλος θα ακούσετε ένα όργανο εντελώς εκτός της δεδομένης rock όρχησης: το κλαρίνο, που προσθέτει μια όμορφη ηχητική γεύση σε ένα από τα πιο αγαπημένα κομμάτια του δίσκου.

Από εκεί και πέρα, τα Rise, Inside the Box, Breaking Point, Far and Beyond (In Hell), μαζί με τη bonus νέα (είναι όντως νέα;) εκτέλεση του κλασικού Night With the Witch από το ΕΡ, έχουν πολλά να δώσουν — και πράγματι το πράττουν.

Ένα άλμπουμ που μπορεί να μην το πήρατε είδηση εγκαίρως, αλλά κάντε μια χάρη στα αφτιά σας και ακούστε το. Εγγύηση.

English:

From the basement straight to the penthouse

One of last year’s most criminally overlooked releases is the debut full‑length album by this Athenian heavy/power metal six‑piece, a band that had already made its mark on the city’s stages over the past few years with their self‑titled EP.

First, the name: a couple of years ago, while trying to track down their EP, I stumbled upon Wildfire — the band of the late Paul Mario Day, the original vocalist of Iron Maiden — who, of course, haven’t existed for decades. So, although I never did find that mini‑album, the band gave us Rise, and from that point on there was no turning back.

The album’s lineup:

Apostolis (the one and only Tolis G Pol) and Dimitris Varsamis on guitars,

Marios Theofylatos on keyboards,

Dimitris Megalios on bass,

Andronikos Maltezos on drums,

and on vocals Bill Chrepas (Vassilis Chrepas), who has since joined the ranks of Darklon after departing earlier this year.

This is the album you probably haven’t heard — and absolutely should, immediately. Special mention goes to the anthem “Navigators”, where, toward the end, you’ll hear an instrument completely outside the usual rock instrumentation: a clarinet, adding a beautiful sonic flavor to one of the record’s standout tracks.

Beyond that, Rise, Inside the Box, Breaking Point, Far and Beyond (In Hell), along with the bonus new (is it really new?) version of the classic Night With the Witch from the EP, all have plenty to offer — and they deliver.

It’s an album you may have missed when it dropped, but do your ears a favor and give it a spin. Guaranteed.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: NEUROSIS – Live at Roadburn 2007

 

NEUROSIS – Live at Roadburn 2007

Neurot Recordings

Written in 2010

Live at Roadburn 2007 marks NEUROSIS’s first release since 2007’s Given to the Rising, and—as the title plainly states—it documents their headlining performance at Holland’s annual Roadburn Festival. According to the band’s camp, they played before a devoted audience, which makes this recording a notable entry in their extensive live history.

Music is, of course, a matter of taste. I won’t pretend to evaluate NEUROSIS’s studio work from a fan’s perspective; their blend of progressive sludge, post-hardcore, tribal rhythms, and ambient textures has never resonated with me. To my ears, the result feels monotonous—slow, grunting waves of sound with little dynamic variation. But this is a live album, and that’s where my focus stays.

Live recordings are typically created for the band’s dedicated followers, who already know what they’re getting into and won’t be swayed by my personal preferences. What matters here is whether Live at Roadburn 2007 succeeds as a live document. And this is where the album falters.

The performance is executed with clinical precision: no audible mistakes, no spontaneous shifts, no rough edges, no technical imperfections. The crowd is almost entirely absent from the mix—silent during the songs, audible only in brief bursts between them. There’s no interaction from the stage, no introductions, no sense of presence or atmosphere. The result feels less like a captured moment in front of an audience and more like a meticulously polished studio session packaged as a live release.

Whether this was actually recorded under pristine conditions or simply mixed to sound that way, the outcome is the same: a live album with virtually no live energy. For a band whose reputation rests heavily on the immersive power of their performances, that absence is striking.

Fans may still appreciate the flawless execution, but for anyone seeking the raw, unpredictable electricity that defines a memorable live recording, Live at Roadburn 2007 offers little of that experience.

Christine  Parastatidou

REVIEW: THE SILENT RAGE, The Deadliest Scourge

 

THE SILENT RAGE, The Deadliest Scourge (2016)

Alone Records

Από άλλη κατηγορία.

Μια ελληνική μπάντα ακόμη... Καμία πρωτοτυπία, κανένα άλλο σχόλιο! Μια μπάντα που βγήκε κι αυτή από την έκρηξη αναμνήσεων και νοσταλγίας για το κλασικό Metal, Power Metal στην περίπτωση τους, από τις αρχές μέχρι τα μέσα της πρώτης δεκαετίας του τρέχοντος αιώνα. Πνευματικό παιδί του κιθαρίστα Νίκου Σιγκλίδη, το συγκρότημα έχει υπάρξει χώρος συνύπαρξης πολλών γνωστών μουσικών καθ’ όλη τη διάρκεια αυτών των είκοσι χρόνων, με πρώτη παρουσία το 2006, έχοντας προηγουμένως δύο Ε.Ρ., αρκετά singles και φυσικά ζωντανές εμφανίσεις. Το ότι χρειάστηκαν δέκα χρόνια για να βγει κανονικό, πλήρες άλμπουμ (μεγάλος δίσκος που λέγανε και οι θείοι μας παλιά!) μάλλον ήταν το μόνο περίεργο στην περίπτωσή τους! 

Με τη φωνή του Σταύρου Γιαννακόπουλου (a.k.a. Steve Venardo), την παρουσία του Κώστα Κρίκου στην άλλη κιθάρα, τον Σταμάτη Κατσαφάδο στα ντραμς και το μπάσο από τον Σταύρο Τσιλιβαράκο, σε αυτό το άλμπουμ, παίζουν ένα συμπαγές Power Metal που ισορροπεί ανομοιογενώς από κομμάτι σε κομμάτι, ανάμεσα σε αμερικανικό και ευρωπαϊκό στυλ, με ενδείξεις της ευρωπαϊκής πλευράς να υπερτερούν αρκετά σε κάμποσα σημεία, αλλά που έχει τη σφραγίδα του ελληνικού ήχου. 

Αν μπορούσα να ονομάσω το ελληνικό Power Metal, θα το χαρακτήριζα ένα νέο μέλος της όλο και διευρυνόμενης οικογένειας αυτού του δημοφιλούς στη χώρα μας υποείδους. Μελωδικό αλλά οργισμένο, πολύ δυναμικό και ταχύ, με στακάτο ρυθμό και πολύ μοντέρνα παραγωγή, όπως οφείλει το πραγματικό Power Metal να είναι δομημένο. Το άλμπουμ περιέχει δεκατρία κομμάτια, με το τελευταίο, "Inner Scars", να αποτελεί το bonus της digipack έκδοσης, και σίγουρα αποτελεί μια πολύ μεγάλη, καλή και χορταστική πρόταση. 

Τα "Signal of War", "My Race Won't Last", "Stormwarrior", "The Deadliest Scourge", "Sin of a Pilgrim", "Proselytize the Masses", "A Piece of Eden" και "The Right to Dream" ξεχωρίζουν άνετα μέσα σε ένα πολύ όμορφο, κατά τα άλλα, σύνολο.

English:

A Different Category.

Another Greek band... No originality, no further comments! This is a band born out of a burst of nostalgia and memories for classic Metal, specifically Power Metal, from the early to mid-first decade of the 21st century. The band is the spiritual child of guitarist Nikos Siglidis, and over the past twenty years, it has been a space where many well-known musicians have collaborated. Their first appearance was in 2006, after releasing two EPs, several singles, and of course, live performances. The fact that it took ten years to release a proper, full-length album (a big record, as our elders used to say!) is probably the only oddity about them. 

With the vocals of Stavros Giannakopoulos (a.k.a. Steve Venardo), the presence of Kostas Krikos on the other guitar, Stamatis Katsafados on drums, and Stavros Tsilibarakos on bass, this album features a solid Power Metal sound that oscillates unevenly from track to track, blending American and European styles. In many places, European influences are more prominent, yet the album bears the unmistakable mark of the Greek sound. 

If I were to name Greek Power Metal, I would consider it a new member of the ever-expanding family of this subgenre, which is increasingly popular in Greece. Melodic yet angry, very powerful and fast, with a tight rhythm and very modern production—just as true Power Metal should be structured. The album contains thirteen tracks, with the last one, "Inner Scars," serving as a bonus on the digipack edition. It is certainly a substantial, good, and satisfying release. 

Tracks like "Signal of War," "My Race Won't Last," "Stormwarrior," "The Deadliest Scourge," "Sin of a Pilgrim," "Proselytize the Masses," "A Piece of Eden," and "The Right to Dream" stand out effortlessly within a very beautiful, otherwise cohesive collection.

Τάκης "Ε-Μortal One" Γιώτης!