REVIEW: CRADLE OF FILTH, V Empire Ε.Ρ.

 

CRADLE OF FILTH, V Empire Ε.Ρ. (1996)

Cacophonous Records

Βαμπιρική σκοτεινή όπερα

Με δευτερεύοντα τίτλο Dark Faeytales in Phallustein, αυτό είναι το μίνι άλμπουμ των Βρετανών, οι οποίοι είχαν ήδη κάνει αίσθηση με το ντεμπούτο τους στον χώρο του ακραίου Metal στα μέσα της δεκαετίας του ’90. Αν και ξεπερνά τη μισή ώρα σε συνολική διάρκεια, ο χαρακτηρισμός «μίνι άλμπουμ» ίσως μας μπέρδεψε λίγο ως προς το πώς θα έπρεπε να το αποκαλέσουμε.

Έξι κομμάτια, για τα οποία συχνά θα ακούσουμε ότι αποτελούν τη δεύτερη και τελευταία πραγματικά Black Metal δουλειά τους, αν και αυτό είναι μάλλον μια αρκετά βαρύγδουπη άποψη. Η στροφή προς τα Goth στοιχεία που θα ακολουθήσει στη συνέχεια δεν χαλάει τη συνταγή, τουλάχιστον στα επόμενα τέσσερα άλμπουμ τους, μέχρι τις αρχές του νέου αιώνα· από εκεί και πέρα, οι απόψεις ποικίλλουν.

Πάντως, το riffing κινείται όντως στα χνάρια του σκανδιναβικού ήχου, ενώ η φωνή —ή, μάλλον, οι φωνές— του Dani Filth εναλλάσσονται με τα γυναικεία φωνητικά της Shara Jezebel Deva, δημιουργώντας μια πραγματικά πρωτόγνωρη ατμόσφαιρα και αίσθηση.

Τα The Forest Whispers My Name, Queen of Winter Throned, Nocturnal Supremacy και The Rape and Ruin of Angels (Hosannas in Extremis) αποτελούν την επιτομή του συγκεκριμένου CD.

English:

Vampiric Dark Opera

With the subtitle Dark Faeytales in Phallustein, this is the mini-album by the British band, who had already made an impression with their debut in the extreme Metal scene of the mid-’90s. Although it runs for over half an hour in total, the term “mini-album” may have left us a little confused as to exactly what we should call it.

Six tracks, which are often described as their second and final truly Black Metal release, although that is perhaps a rather sweeping statement. The shift towards Goth elements that would follow does not really spoil the formula, at least throughout their next four albums, up until the beginning of the new millennium. Beyond that point, opinions tend to vary.

Nevertheless, the riffing is indeed rooted in the footsteps of the Scandinavian sound, while Dani Filth’s voice—or, rather, voices—alternate with the female vocals of Shara Jezebel Deva, creating a genuinely unprecedented atmosphere and overall feeling.

The Forest Whispers My Name, Queen of Winter Throned, Nocturnal Supremacy and The Rape and Ruin of Angels (Hosannas in Extremis) are the epitome of what this particular CD has to offer.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: MERCILESS DEATH – Holocaust

 

MERCILESS DEATH – Holocaust (2011)

High Roller Records

Searching for MERCILESS DEATH on the Internet can be slightly confusing, as the name has been used by several bands over the years. The group featured here, however, is the Polish MERCILESS DEATH, formed in 1987 in Szczecin, a band that belongs to the early generation of Poland's underground death/thrash movement. Their second demo, Holocaust, originally appeared on cassette through Carnage Records in September 1992, following their first demo, Eternal Condemnation, from 1987.

Almost two decades after its original appearance, Holocaust received a new life through a series of reissues. Thrashing Madness Productions released it on CD in 2009, while High Roller Records brought the material to vinyl in 2011, giving collectors an opportunity to experience this obscure piece of the Polish extreme-metal underground in a format particularly suited to its old-school character.

The six original tracks were recorded at ARP Studio in Szczecin in April 1992 and run for just over 25 minutes. The lineup consisted of Grzegorz Miszuk on vocals and drums, Mariusz Zdrodowski and Jarosław Figaszewski on guitars, and Marek Żak on bass. Figaszewski's guitar work is particularly noteworthy in retrospect, as he would remain an important part of the band's early history before his death in 2009.

Musically, Holocaust stands firmly on the primitive side of death/thrash metal. The production is raw and unpolished, while the guitars retain the sharp, abrasive character that was typical of underground extreme metal recordings of the period. At the same time, the material is not simply a collection of speed-driven riffs. There is a noticeable emphasis on mid-tempo passages and darker, more ominous arrangements, giving songs such as “The Last Hour (Nuclear Holocaust),” “Confounded,” “Bloodthirstiness” and “The Curse of Pharaohs” a distinctly sinister atmosphere. Contemporary and retrospective descriptions of the demo have also pointed to its more pronounced death-metal character compared with the band's earlier material.

The lyrical imagery belongs to the traditional vocabulary of early extreme metal, revolving around darkness, evil, damnation and Satanic themes. There is nothing particularly polished or sophisticated about the presentation—and that is precisely where much of the recording's character lies. Holocaust captures a period when extreme metal was still developing its own vocabulary, and when limitations in production often became part of the music's identity rather than something to be corrected.

The 2009 CD reissue also included archival material from Thrash Camp in Rogoźnik, recorded in July 1988, providing an additional glimpse into the band's early years. While these live recordings are historically interesting, the six-track Holocaust demo itself remains the central attraction.

What makes Holocaust worth revisiting today is not technical perfection or studio refinement, but its ability to preserve the atmosphere of a particular chapter in the history of Polish underground metal. The recording sounds unmistakably rooted in the late-'80s/early-'90s transition from thrash towards death metal, when bands were pushing increasingly aggressive ideas without the benefit of modern production techniques.

For listeners interested in the roots of Polish death/thrash metal and collectors searching beyond the better-known names of the country's extreme-metal history, Holocaust offers an authentic document of that underground era. Nearly two decades separated the original demo from High Roller Records' vinyl edition, yet the material retains the abrasive quality that originally gave it its identity. In this case, the passage of time does not eliminate the recording's rough edges—it is precisely those edges that preserve its character.

Christine  Parastatidou

REVIEW: PROCESSION - The Cult of Disease

 

PROCESSION - The Cult of Disease (2011)

High Roller Records

A disease worth catching

I think PROCESSION from Chile are one of the most distinctive and promising names to emerge from the modern Doom Metal scene. Less than a year ago, I reviewed their debut full-length, Destroyers of the Faith, and the impression that album left was strong enough to make me return to the band's earlier material. This time, however, we are going back to the beginning.

The Cult of Disease is PROCESSION's debut EP, originally released in 2009 after the band had already attracted attention with their 2008 Burn demo. The story behind the release is interesting in itself: formed in Valparaíso in 2006 by guitarist/vocalist Felipe Plaza and bassist Daniel Pérez, PROCESSION initially recorded the three songs that became Burn in a very DIY fashion. The demo's limited circulation eventually brought the band to the attention of German label Iron Kodex, which offered them the opportunity to record and release The Cult of Disease on vinyl.

That early history is important because The Cult of Disease already reveals many of the qualities that would later characterize PROCESSION. The EP is deeply rooted in traditional and epic Doom Metal, drawing unmistakably from the genre's greats without simply reproducing their formulas. CANDLEMASS and SOLITUDE AETURNUS are obvious reference points, particularly in the weight of the riffs, the dramatic sense of melody and the epic atmosphere. There is also something of DOOMSWORD in the overall approach, especially in the way Felipe Plaza delivers his clean, passionate vocals.

And this is perhaps one of PROCESSION's greatest strengths. Their music may clearly belong to a tradition, but it never feels like a sterile exercise in nostalgia. The riffs have substance, the songs are built around memorable melodic ideas, and the performances retain a certain rawness that gives the material character. The production is less massive than on Destroyers of the Faith, but that actually works in the EP's favor, allowing the compositions themselves to remain at the center of attention. Contemporary reviews likewise noted the band's combination of crushing Doom riffs, melody and Plaza's distinctive clean vocal delivery.

Interestingly, The Cult of Disease is hardly a conventional EP in terms of length. The material eventually runs for well over half an hour, while the later CD edition contains approximately 37 minutes of music. The original vinyl edition also became an important early document of the band, while subsequent editions helped make the release more accessible to listeners who had missed its initial appearance. High Roller Records' later reissue added the Burn demo as a bonus, making it an even more useful snapshot of PROCESSION's formative period.

The songs themselves demonstrate why the band attracted attention so quickly. Raven of Disease, Like a Plague upon the Earth and the epic The Funeral of an Age show a group already comfortable with long-form Doom compositions, combining slow, crushing passages with moments of increased movement rather than allowing the music to become monotonous. The latter, in particular, points toward the more ambitious songwriting PROCESSION would develop on Destroyers of the Faith.

There is also an interesting chapter in the band's early career that followed this release. The positive response to The Cult of Disease helped PROCESSION move beyond Chile, leading to their first European appearances and performances at events including Doom Shall Rise and Keep It True. In other words, this was not merely an underground debut that disappeared into obscurity; it was the release that helped introduce PROCESSION to a much wider Doom and traditional Heavy Metal audience.

If Destroyers of the Faith showed what PROCESSION could accomplish on a full-length scale, The Cult of Disease demonstrates where that identity came from. The foundations were already there: the epic Doom atmosphere, the powerful guitar work, the passionate vocals and, most importantly, an obvious understanding of what makes traditional Doom Metal so compelling.

If you are looking for Doom Metal that remains loyal to the genre's roots while possessing its own personality, PROCESSION are a name that deserves attention. The Cult of Disease may belong to the band's early history, but it has lost none of its relevance. For anyone who appreciates CANDLEMASS, SOLITUDE AETURNUS, DOOMSWORD and the heavier side of traditional Heavy Metal, this is a particularly worthwhile piece of the PROCESSION story—and a reminder that sometimes going back to the beginning is the best way to understand how a great band found its voice.

Christine  Parastatidou

REVIEW: DIMMU BORGIR, Spiritual Black Dimensions

 

DIMMU BORGIR, Spiritual Black Dimensions (1999)

Nuclear Blast Records

Η εμπορική πλευρά στο Black Metal

Αν και ο ήχος του σε μεταφέρει στα Καρπάθια, το νορβηγικό συγκρότημα του επόμενου κύματος θα ενστερνιστεί το Symphonic Black Metal υποείδος. Το 4ο πλήρες άλμπουμ τους κονταροχτυπιέται με το Enthrone Darkness Triumphant για το ποιο είναι το πιο αγαπημένο των φίλων τους.

Το συγκεκριμένο CD είναι το πρώτο που άκουσα από αυτούς τους δημοφιλείς τότε τύπους. Πολύ οπερετική και μεγαλειώδης ατμόσφαιρα, «δρακούλιαρικα» πλήκτρα, παγωμένα, νεκρά φωνητικά και, όταν το πήρα το 2000, ήταν για μένα το πρώτο αμιγώς Black Metal άλμπουμ.

Ο Euronymous των Mayhem, νεκρός ήδη από το 1993, θα είχε εντελώς αντίθετη άποψη. Έξι χρόνια μετά, όμως, το κίνημα είχε γίνει δημοφιλέστατο.

Πίσω στο άλμπουμ, με τα Behind the Curtains of Night – Phantasmagoria, Dreamside Dominions, United in Unhallowed Grace, The Promised Future Aeons, The Blazing Monoliths of Defiance και Arcade Lifeforce Mysteria να αποτελούν την πλειονότητα των αγαπημένων κομματιών του, έχουμε ένα σχεδόν δεκάρι για τη δισκογραφία τους.

English:

The Commercial Side of Black Metal

Although its sound transports you to the Carpathians, this Norwegian band from the next wave would embrace the Symphonic Black Metal subgenre. Their fourth full-length album goes head-to-head with Enthrone Darkness Triumphant for the title of their fans’ favorite.

This particular CD was the first release I heard from these very popular guys at the time. An intensely operatic and grandiose atmosphere, “Dracula-esque” keyboards, cold, lifeless vocals—and when I bought it in 2000, it was, for me, the first truly pure Black Metal album I had ever heard.

Euronymous of Mayhem, already dead since 1993, would have had a completely different opinion. Six years later, however, the movement had become hugely popular.

Back to the album: with Behind the Curtains of Night – Phantasmagoria, Dreamside Dominions, United in Unhallowed Grace, The Promised Future Aeons, The Blazing Monoliths of Defiance and Arcade Lifeforce Mysteria making up the majority of its standout tracks for me, this is a near-perfect ten for their discography.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: VENDETTA, THE 5th

 

VENDETTA, THE 5th (2017)

Massacre Records

Μπετόβεν και Thrash Metal!

Το πέμπτο άλμπουμ των Γερμανών Thrash/Speed metallers είναι το πρώτο μετά την επανένωσή τους, καθώς και ένα από τα πιο πρόσφατα δείγματα της ανάκαμψης του παραδοσιακού 90s ήχου.

Η μπάντα υπάρχει από το 1986-87 και, παρότι ανήκει στη «Β' Εθνική» της σκηνής, εκεί είναι που παίζεται η «καλή μπάλα», όπως έχουμε ξαναπεί. Το άλμπουμ περιλαμβάνει εννέα κομμάτια που, ως λάτρη της γερμανικής Thrash, με καλύπτουν πλήρως.

Οι τύποι ανήκουν στη σχολή των πρώιμων Angel Dust, Onslaught, πρώιμων Rage και πρώιμων Artillery. Ωστόσο, ρέπουν σαφώς περισσότερο προς το Thrash παρά προς το Speed Metal σε σχέση με τις προαναφερθείσες μπάντες — εξαιρουμένων των Άγγλων Onslaught, οι οποίοι αποτελούν συγκρότημα-σταθμό και βασική επιρροή για το είδος. Ειδικά ο τραγουδιστής τους, αν δεν είναι ο Mille Petrozza (Kreator) ή ο Gerre (Tankard), τότε σίγουρα είναι κάποιος στενός συγγενής τους!

Παρόλα αυτά, ακούγονται φρέσκοι, σε σημείο που βοήθησε καθοριστικά η πεντακάθαρη παραγωγή. Ξεχωρίζουν τα κομμάτια:Fragile, Let 'er Rip,Religion Is A Killer, The Prophecy, Nevermind, Agency Of Liberty

Πιστεύω πως θα τα λατρέψετε!

English:

Beethoven and Thrash Metal!

This fifth album from the German Thrash/Speed metallers marks their first release since reuniting, as well as one of the most recent examples of the revival of the traditional '90s sound.

The band has been around since 1986–87, and although they belong to the scene's "second tier," that’s precisely where the real magic happens, as we’ve mentioned before. The record features nine tracks that fully deliver for anyone who, like me, is a fan of German Thrash.

These guys belong to the school of early Angel Dust, Onslaught, early Rage, and early Artillery. However, they lean far more toward Thrash than Speed Metal compared to the aforementioned bands—with the exception of the UK's Onslaught, who are a foundational act and a primary influence on the genre. As for their vocalist, if he isn't secretly Mille Petrozza (Kreator) or Gerre (Tankard), he must definitely be a close relative!

Despite those heavy influences, they still sound fresh, a feat largely aided by the crystal-clear production. Standout tracks include: Fragile, Let 'er Rip, Religion Is A Killer, The Prophecy, Nevermind, Agency Of Liberty

I'm confident you're going to love them!

Τάκης "Ε-Μortal One" Γιώτης

Decibel Dogs Take on Humanity’s Darkest Habit in "Day Zero"

CLEARWATER, Fla. — Florida-based rock group Decibel Dogs has officially released their latest single, "Day Zero," a track that merges heavy instrumentation with a thematic critique of human history.

Drawing from a blend of classic rock, heavy metal, and punk influences, the band utilizes heavy guitar riffs, driving basslines, and aggressive percussion to deliver a sound that mirrors the song's brooding subject matter.

"Day Zero" focuses on the cyclical nature of human conflict and societal collapse. Rather than detailing a specific historical event or hypothetical disaster, the lyricism examines broader patterns of greed, power, and oversight that have repeatedly led societies to ruin.

The concept of "Day Zero" refers to the metaphorical point of reset following a total collapse—a clean slate where civilization attempts to rebuild. However, the track presents a critical look at this renewal, raising the question of whether humanity is inherently bound to repeat past mistakes if core behaviors remain unaddressed.

By pairing hard-hitting musical arrangements with existential themes, Decibel Dogs uses "Day Zero" to offer a broad commentary on history's recurring pitfalls and the ongoing challenge of long-term self-preservation.

The single is now available on major digital streaming platforms.

REVIEW: THE WOUNDED KINGS – Embrace of the Narrow House

 

THE WOUNDED KINGS – Embrace of the Narrow House (2008)

Eichenwald Industries / High Roller Records

What exactly should one expect when entering the narrow house?

Formed in Dartmoor, Devon, in 2004, THE WOUNDED KINGS built their early identity around a particularly dark and atmospheric interpretation of Doom Metal. Embrace of the Narrow House, their debut full-length, was originally released by Eichenwald Industries in July 2008. At the time, the band consisted essentially of the duo of Steve Mills and George Birch, with Mills handling guitars, bass, drums and keyboards, while Birch contributed guitars, bass and vocals. The album was subsequently reissued on vinyl by High Roller Records, bringing this early chapter of the band's career to a wider audience.

The music immediately establishes a world far removed from conventional Doom Metal formulas. The riffs are slow, heavy and deliberately repetitive, but the weight of the guitars is only one part of the overall picture. Organ and keyboard passages, restrained percussion, sparse arrangements and ambient elements create an atmosphere that is as important as the riffs themselves. Rather than simply attempting to sound heavy, THE WOUNDED KINGS construct a sense of space in which the heaviness can linger.

The seven-track album lasts just over 41 minutes, with the compositions often allowed considerable room to develop. The title track opens the record at nearly nine minutes, while instrumental pieces such as “The Eighth House” and “Shroud of Divine Will” further emphasize the band's interest in atmosphere and gradual progression.

There is something particularly effective in the contrast between the primitive heaviness of the guitars and the eerie, almost ritualistic presence of the keyboards. The result does not depend on technical complexity or elaborate arrangements. On the contrary, THE WOUNDED KINGS seem to understand that a limited musical vocabulary can become remarkably expressive when it is used with patience. The songs crawl rather than move forward, allowing repetition, distortion and silence to become part of the experience.

George Birch's vocals are equally important to this aesthetic. They are not presented as a conventional focal point, nor are they intended to dominate the compositions. Instead, they appear almost buried inside the surrounding sound, contributing another layer to the album's unsettling character. Contemporary descriptions of the record similarly highlighted its raw production, organ textures and deliberately murky vocal presentation.

The band's influences can be traced back to the British Doom tradition and the heavier side of early Heavy Metal, while the album's combination of extremely slow riffing, organ and occult atmosphere also places it comfortably alongside the darker strains of the genre that were gaining renewed attention during the late 2000s. Yet Embrace of the Narrow House is not simply an exercise in retro worship. Its most distinctive characteristic is the way the duo combines familiar Doom elements with ambient, down-tempo and almost psychedelic passages, giving the music a feeling of isolation rather than merely crushing heaviness. Contemporary and retrospective accounts of the album have particularly noted this atmospheric approach and its unusual position within the British Doom tradition.

The album's title and overall imagery reinforce that impression. THE WOUNDED KINGS have consistently dealt with dark, occult and horror-related themes, while the band's name itself was later explained by Birch as originating from Arthurian legend and relating to the healing of psychic wounds.

For me, this is where Embrace of the Narrow House succeeds most effectively. It does not merely offer Doom Metal riffs; it creates an environment. The music feels enclosed, distant and almost claustrophobic, as though the listener has entered a place where time has slowed down and the outside world has ceased to exist.

That atmosphere will inevitably determine whether this album works for you. If you are looking for deep, dark feelings of isolation, solitude, decay and unease, there is plenty here to explore. If, on the other hand, you need variety, immediacy or conventional song structures from your Doom Metal, Embrace of the Narrow House may prove a rather difficult place to inhabit.

But perhaps that is precisely the point.

THE WOUNDED KINGS do not invite you into the narrow house to make you comfortable. They invite you inside and leave you alone with the darkness.

Christine  Parastatidou