Σάββατο 20 Ιουνίου 2026

REVIEW: AC/DC, Black Ice

 


AC/DC, Black Ice (2008)


Columbia Records


Η πραγματική επιστροφή στο μαύρο


Το συγκρότημα με τη μυθική επιρροή σε ολόκληρο το φάσμα του ηλεκτρικού ήχου, που έχει ανάγει σε επιστήμη το «μία από τα ίδια», αλλά παρ’ όλα αυτά διατηρεί σχεδόν πάντα σε υψηλή ποιότητα την αξία της μουσικής του. Οι Αυστραλοί, με αυτό το άλμπουμ, ξαναπιάνουν τα πολύ υψηλά ποιοτικά στάνταρ που είχαν αφήσει λίγο να υποχωρήσουν μετά το εκπληκτικό εκείνο Ballbreaker των μέσων της προηγούμενης δεκαετίας.


Δεκαπέντε κομμάτια, ακριβώς όπως τα φανταζόμασταν και όπως έπρεπε πράγματι να είναι. Η ιστορία του δίσκου έχει και το δικό της «κουτσομπολιό», αφού το CD κυκλοφόρησε σε τέσσερις διαφορετικές εκδοχές, με μοναδική ουσιαστική διαφορά το χρώμα στο λογότυπό τους! Προσωπικά, πέτυχα την κόκκινη έκδοση σε δισκάδικο που υπήρχε τότε μέσα στις εγκαταστάσεις του αεροδρομίου της Αθήνας.


Η συναυλία τους στο Ολυμπιακό Στάδιο, λίγο καιρό αργότερα, τους έφερε για πρώτη και, προς το παρόν… τελευταία φορά στη χώρα μας. Είμαστε τελικά τυχεροί όσοι βρεθήκαμε εκείνο το ανοιξιάτικο βράδυ μέσα στο στάδιο!


Πέρα από όλα τα αναμενόμενα κλασικά τους κομμάτια, σχεδόν το μισό συγκεκριμένο άλμπουμ τιμήθηκε δεόντως: Rock ’n’ Roll Train, Big Jack, War Machine, Skies on Fire, She Likes Rock ’n’ Roll, Black Ice είναι ένα μικρό δείγμα ενός τελικά μεγάλου δίσκου.


English:



The True Return to Black


The band with the legendary influence across the entire spectrum of electric sound, a group that has turned “more of the same” into an art form, yet still manages to preserve the quality and value of its music at an exceptionally high level almost every time. With this album, the Australians once again reach the very high standards they had allowed to slip slightly after that remarkable Ballbreaker from the middle of the previous decade.


Fifteen tracks, exactly as we imagined them and exactly as they truly should have been. The story behind the record also comes with its own bit of “gossip,” as the CD was released in four different editions, with the only real difference being the colour of their logo! Personally, I came across the red edition in a record store that existed at the time inside the facilities of Athens Airport.


Their concert at the Olympic Stadium, a short while later, brought them to our country for the first and, so far… only time. In the end, those of us who were there inside the stadium on that spring evening were truly lucky!


Beyond all their expected classics, almost half of this particular album received its due honouring in the setlist: Rock ’n’ Roll Train, Big Jack, War Machine, Skies on Fire, She Likes Rock ’n’ Roll, Black Ice — just a small sample of what ultimately proved to be a great record.


Τάκης "Ε-Μortal One" Γιώτης!


REVIEW: HUNTRESS – Off With Her Head

 


HUNTRESS – Off With Her Head


Independent


Here we have a new American band moving in the heavy/speed metal direction. This is their debut EP, containing three songs that introduce the band’s musical identity and give a first taste of what they are capable of.


Behind the microphone we find Jill Janus, a former Playboy model who proves that her involvement with music is not just a publicity move. Her vocal performance is actually quite strong, and this comes from someone who has never been a big fan of female vocals, whether they belong to the old school or the newer generation of metal bands such as NIGHTWISH, LACUNA COIL, or THE GATHERING. Jill’s voice fits the aggressive and powerful character of the music, adding personality and energy to the songs.



The guitar work is also quite impressive, with solid riffs and a good understanding of the heavy/speed metal style. Although this is only a short release, all three tracks maintain a good level of quality and show that the band has potential. Among them, "The Creeper" stands out as probably the strongest song of the EP, combining the best elements of their sound.


This is a promising first step from HUNTRESS, and the band are preparing to release their first full-length album soon. Until then, they are definitely a name worth keeping in mind for fans of modern heavy metal with a strong traditional influence.


Ioannis Kaskamanidis


Παρασκευή 19 Ιουνίου 2026

REVIEW: THE NEW BLACK – II: Better in Black

 


THE NEW BLACK – II: Better in Black


AFM Records


THE NEW BLACK is one of the very few bands that made such an immediate and lasting impression on me from the very first moment I had the pleasure of listening to their music. After so many years in the metal scene and countless hours spent discovering new bands and albums, I've reached a point where I'm not easily impressed, excited, or genuinely enthusiastic. In fact, the number of bands that make it onto my long-term playlist is remarkably small. However, Germany's THE NEW BLACK possesses that special quality that instantly caught my attention, so it goes without saying that I was eagerly anticipating their sophomore release.


Fortunately, for the second time, these guys have not disappointed.


If you're a fan of Southern groove metal, it's hard to imagine not enjoying what THE NEW BLACK has to offer. The band has a remarkable ability to combine memorable melodies, infectious grooves, and highly effective sing-along choruses, all delivered through superb musicianship and a powerful, crystal-clear production. Their songwriting strikes an excellent balance between heaviness and accessibility, making their material equally appealing to both dedicated metal fans and listeners who appreciate strong hooks and melody.


II: Better in Black picks up right where the band's self-titled debut left off, while also showcasing a slightly more rock-oriented approach. At times, the album brings to mind the more inspired side of NICKELBACK, blended with the unmistakable influence of Zakk Wylde's signature pinch harmonics and Southern swagger. Rather than simply repeating the formula of the debut, the band expands upon it, delivering a collection of songs that feel both familiar and refreshed.



Special mention must also go to vocalist Markus Hammer, whose warm, expressive voice adds an extra dimension to the material. His performance consistently elevates the songs, giving them both character and emotional depth while providing the perfect complement to the band's groove-laden sound.


Supported by strong songwriting, excellent performances, and first-class production values, II: Better in Black is a highly satisfying follow-up that confirms THE NEW BLACK as one of the most promising acts in the modern Southern groove metal scene.


If Southern groove metal is your thing, then this album deserves a place in your collection. I know it will certainly remain in mine.


Christine  Parastatidou


REVIEW: TROUBLE, Run To The Light

 


TROUBLE, Run To The Light (1987)


Metal Blade Records


Τρίτη έκδοση


Οι Trouble από το Σικάγο του Ιλινόις είναι ένα συγκρότημα που, στο πέρασμα του χρόνου, απέκτησε πολύ μεγαλύτερες διαστάσεις απ’ ό,τι πίστευαν ακόμη και οι ίδιοι. Ταυτισμένοι με τη φωνή του Eric Wagner, ο οποίος έφυγε πρόσφατα από τη ζωή, πριν από τέσσερα χρόνια, η εποχή των τεσσάρων πρώτων δίσκων τους θεωρώ πως είναι και η πλέον αντιπροσωπευτική της πορείας τους.


Στο τρίτο τους άλμπουμ, μετά τα Psalm 9 και The Skull που είχαν προηγηθεί, εξακολουθούν να παίζουν αυτό το χαρακτηριστικό μείγμα αμερικανικού Heavy Metal με έντονες Doom Metal αναφορές. Δεν είναι αποκλειστικά «παιδιά των Black Sabbath», όπως, για παράδειγμα, οι συμπατριώτες τους και ήδη βετεράνοι τότε Pentagram, καθώς διαθέτουν τα δικά τους ιδιαίτερα στοιχεία, τα οποία τους διαφοροποιούν αισθητά.


Το παλιακό ύφος που θα καλλιεργήσουν ακόμη περισσότερο στο μέλλον εδώ περιορίζεται σε ορισμένα riffs που κάτι θυμίζουν, χωρίς όμως να παραπέμπουν ξεκάθαρα κάπου. Το συναίσθημα αυτό είναι τόσο ασαφές, ώστε χάνεται μέσα στο συνολικό μουσικό σύνολο του δίσκου.


Τα τραγούδια του, όπως τα The Misery Shows, Thinking of the Past, On Borrowed Time, Run to the Light, Born in a Prison, Peace of Mind και The Beginning, καθώς και η εξαιρετική διασκευή του Come Together των Beatles, η οποία περιλαμβάνεται στα επιπλέον κομμάτια της έκδοσης CD, συγκαταλέγονται πλέον στα κλασικά δείγματα του ήχου τους. Πρόκειται για ένα άλμπουμ που έγραψε τη δική του ιστορία στη βαριά ηλεκτρική μουσική της δεκαετίας του ’80.


English:



Third Edition


Trouble, hailing from Chicago, Illinois, are a band whose stature has grown far beyond what even they themselves could have imagined over the years. Forever associated with the voice of Eric Wagner, who passed away four years ago, I believe the era represented by their first four albums remains the most defining and representative period of their career.


On their third album, following Psalm 9 and The Skull, Trouble continue to deliver their trademark blend of American Heavy Metal enriched with strong Doom Metal overtones. They are not simply "children of Black Sabbath" in the way that, for example, their fellow countrymen and already well-established veterans Pentagram were. Trouble possess a distinctive identity of their own, and the songwriting on this album clearly highlights the elements that set them apart.


The vintage feel that they would further develop in the years to come is present here only in certain riffs that sound vaguely familiar without directly recalling any particular source. The impression is subtle enough to become absorbed into the album's overall musical character rather than standing out on its own.


Songs such as The Misery Shows, Thinking of the Past, On Borrowed Time, Run to the Light, Born in a Prison, Peace of Mind, and The Beginning, along with the outstanding cover of the Beatles' Come Together—included among the bonus tracks on the CD edition—have long since earned their place among the classic examples of the band's signature sound. This is an album that carved out its own place in the history of heavy music during the 1980s.


Τάκης "Ε-Μortal One" Γιώτης!


Πέμπτη 18 Ιουνίου 2026

REVIEW: VARATHRON, Gloryfication Under The Latin Moon - LIVE

 


VARATHRON, Gloryfication Under The Latin Moon - LIVE (2019)


Agonia Records


Θα ακουστεί η ελληνική σκηνή στην άλλη άκρη της Γης


Οι, πλέον Ηπειρώτες, Varathron κατέγραψαν κατά τη διάρκεια της περιοδείας τους στη Λατινική Αμερική το 2019 αυτό το ζωντανό best of άλμπουμ. Από το Μεξικό έως τη Χιλή και από το Περού έως τη Βραζιλία, αυτή η ανίερη πεντάδα του μεσογειακού Black Metal δίδαξε τι εστί ελληνικός ήχος στους πιστούς οπαδούς της στην αντίπερα όχθη του Ατλαντικού.


Δεκατρία από τα πιο κλασικά κομμάτια της δισκογραφίας τους, από το πρώτο τους άλμπουμ His Majesty at the Swamp έως το τότε πιο πρόσφατο Patriarchs of Evil, παρουσιάζονται εδώ με δαιμονική εκτελεστική αρτιότητα και ακατέργαστη συναυλιακή ενέργεια.


English:



The Greek Scene Heard at the Other End of the Earth


Now based in Epirus, Varathron captured this live best-of album during their 2019 Latin American tour. From Mexico to Chile and from Peru to Brazil, this unholy quintet of Mediterranean Black Metal showed its devoted followers on the far side of the Atlantic what the Greek sound is truly all about.


Thirteen of the most classic tracks from their discography, spanning from their debut album His Majesty at the Swamp to what was then their most recent release, Patriarchs of Evil, are presented here with demonic precision and the raw energy of a live performance.


Τάκης "Ε-Μortal One" Γιώτης!


REVIEW: THE TARDS – Guillotine

 


THE TARDS – Guillotine


Independent Release


The name THE TARDS may not ring a bell for most metal fans, but the band has been active since 2005, and Guillotine marks their second release. On this album, THE TARDS deliver a distinctive blend of thrash and traditional heavy metal. While the production is modern and powerful, the riffs, songwriting approach, and overall attitude are firmly rooted in the spirit of the 1980s.


What makes THE TARDS particularly interesting is their ability to develop a recognizable identity so early in their career. Rather than relying heavily on obvious influences, they have managed to craft a sound that feels personal and distinctive. If there is one comparison that comes to mind, it is MEGADETH, mainly due to certain aspects of the song structures and arrangements rather than any direct stylistic imitation.



As a whole, Guillotine is a very interesting and rewarding release. The band's musicianship, creativity, and commitment to the metal genre are evident throughout the album. My only reservation concerns the length of some compositions. A few tracks tend to overextend themselves, becoming somewhat repetitive as they progress. More concise songwriting would help highlight the band's strongest ideas and make the material even more impactful.


That said, THE TARDS possess both the talent and dedication required to make a lasting impression. Their ability to combine traditional metal values with a fresh and personal approach sets them apart from many contemporary bands. If they continue refining their songwriting and focus on making some of their compositions more direct, they have the potential to deliver even stronger releases in the future.


Guillotine is well worth seeking out, especially for listeners who appreciate heavy/thrash metal with character and individuality. In an era where genuinely distinctive bands are increasingly rare, THE TARDS offer something that deserves attention.


Nick Parastatidis


Τρίτη 16 Ιουνίου 2026

MAMMOTHFEST 2026: A Triumphant Final Day (13/06/26)

 


The fourth and final day of Mammothfest 2026 arrived with high expectations, a diverse billing of heavy subgenres, and an eager crowd ready to see out the festival in style. Covering everything from local doom and modern djent to Swedish alternative rock and progressive metal royalty, June 13th proved to be an unforgettable marathon of live music.


The afternoon kicked off promptly at 17:30 with Katharsis, a fierce three-piece outfit hailing from Thessaloniki. Though early festival logistics meant missing their live visual delivery, reports from the barrier confirmed a devastatingly heavy start to the day. The trio tore through a calculated four-song assault alongside two brand-new, unreleased tracks that hint at a massive future release.


Katharsis Setlist:


1. The Last Battle

2. Rotting Kingdom

3. Eternal Voyage

4. Beneath the Swamp

(Plus 2 unreleased tracks)



Up next at 18:15 were Athens-based progressive groove metal/djent technicians Herta. They wasted no time injecting a massive dose of adrenaline into the growing crowd. Delivering precise, polyrhythmic syncopation and bone-shattering riffs, their performance of tracks like Monolith and The Snake Devours the Wolf proved exactly why they are a force to be reckoned with in the Greek modern metal scene. By the time they closed with Control, the crowd was thoroughly warmed up.



Herta Setlist:


1. Monolith

2. The Snake Devours the Wolf

3. Labyrinth

4. Beyond the Dead

5. The Path

6. Incarnation

7. Control



As the clock struck 19:00, the festival's namesake vibes truly took over with the arrival of Acid Mammoth. The Athenian doom/stoner icons laid down a wall of fuzzy, monolithic riffs that shook the venue to its core. Moving through the thunderous Supersonic Megafauna Collision and the suffocatingly heavy grooves of Jack the Riffer, their set was a masterclass in slow-burning, psychedelic heaviness.



Acid Mammoth Setlist:


1. Supersonic Megafauna Collision

2. Tree of Woe

3. Berserker

4. Untitled

5. Them!

6. Jack the Riffer



Crossing the North Sea to join the billing, London’s Seven Sisters took the stage at 20:00, shifting gears into the realms of progressive heavy/power metal. Armed with twin-guitar harmonies reminiscent of classic NWOBHM mixed with modern complexity, their set was melodic, soaring, and technically flawless. Highlights included an epic rendition of The Cauldron and the Cross and the brilliant melodic hooks of Andromeda Descending.



Seven Sisters Setlist:


1. The Cauldron and the Cross

2. The Artifice

3. Andromeda Descending



At 21:00, Sweden’s Ambush brought pure, unadulterated 1980s traditional heavy metal nostalgia to the stage. Exuding high energy, leather, and piercing vocals, they triggered the first massive sing-alongs of the evening with tracks like Firestorm and Desecrator. A surprise, blistering cover of Judas Priest’s Metal Gods sent the crowd into a frenzy, setting the perfect stage for the final track, Don't Shoot (Let 'em Burn).

 


Ambush Setlist:


1. Evil in All Dimensions

2. Maskirovka

3. Possessed by Evil

4. Heading East

5. Firestorm

6. Desecrator

7. Natural Born Killers

8. Metal Gods (Judas Priest cover)

9. Don't Shoot (Let 'em Burn)



As night fell at 22:15, Magna Carta Cartel offered a mesmerizing change of pace. The Swedish alternative rock band draped the venue in a cinematic, dreamlike atmosphere. Their synth-kissed guitars and melancholic melodies felt like a breath of fresh air. Tracks like Silence, Metropolis Flow, and the hauntingly beautiful "Valiant Visions Dawn" captivated the audience, showcasing the depth of the festival's curation.


Magna Carta Cartel Setlist:


1. This Time

2. Turn

3. Sleepy Eye June

4. Silence

5. Metropolis Flow

6. Darling

7. Sway

8. Arrows

9. Savantgarde

10. Valiant Visions Dawn



Finally, at 23:30, progressive metal titans Soen stepped into the headlining spotlight to close out Mammothfest 2026. The Swedish quintet delivered a flawless, emotionally charged performance that balanced intricate technicality with massive, anthemic hooks. From the opening punch of Mercenary and Antagonist, Joel Ekelöf’s vocals were pristine, while Martin Lopez’s drumming anchored the night with unparalleled groove. The emotional weight of Lotus and Illusion brought chills to the audience, before the band brought the entire four-day festival to a triumphant, heavy end with a roaring performance of Unbreakable.



Soen Setlist:


1. Mercenary

2. Antagonist

3. Fraccions

4. Memorial

5. Lascivious

6. Discordia

7. Martyrs

8. Lotus

9. Primal

10. Violence

11. Illusion

12. Unbreakable


TEXT: Nick Parastatidis


PHOTOS/VIDEOS: Theofilos Bachtsevanidis