Τετάρτη 6 Μαΐου 2026

REVIEW: SENSE OF FEAR – Infernal Decay

 


SENSE OF FEAR – Infernal Decay


Sleaszy Rider Records


Sense of Fear return after eight years with "Infernal Decay," an album that proves how persistence, maturity, and a clear artistic identity can lead to a result that is robust and absolutely sincere. Hailing from Kozani and with a history dating back to the late '90s—initially as Holy Prophecy and later in their current form—the band has learned to operate methodically, without haste or unnecessary moves. Their discography is small but carefully crafted, and "Infernal Decay" arrives as their most complete moment to date.


From the very first minutes, it becomes clear that the album's sound is firmly rooted in '90s U.S. power metal, featuring strong thrash elements and a modern production that provides both volume and clarity. Influences from Iced Earth, Metal Church, and Vicious Rumors are evident, as are the groovier and more technical nuances reminiscent of Eidolon and Nevermore. Meanwhile, in the more classic heavy metal moments, traces of Iron Maiden and Jugulator-era Judas Priest emerge, yet without any sense of imitation or reproduction. Sense of Fear use these references as a foundation, not a crutch, building upon them a sound that possesses its own personality and cohesion.


The vocals move within a range that combines the drama of Matt Barlow with the heroic power metal timbre of early Italian Drakkar. The performance is solid, with a proper balance between melodic and aggressive elements, contributing decisively to the dark, epic atmosphere of the record. The band demonstrates compositional maturity, avoiding excesses and choosing instead to serve the essence of the music. This is clearly seen in the album’s ten-minute track, which is a true achievement: it evolves naturally, maintains unwavering interest, and builds an epic narrative without becoming tiring or appearing pretentious. It is one of those compositions that require experience, self-awareness, and clear artistic intent.



The release is accompanied by significant details that heighten interest: two singles with video clips (“Empathy to Darkness” and “Cerberus”) preceded the album, while the physical edition includes a hidden bonus track—a cover of Astarte’s “Ring of Sorrow”—and the remastered “Retaliation.” Special mention deserves the participation of Sakis Tolis of Rotting Christ on the track “Labyrinth,” a collaboration that adds depth and prestige to the final result. Sleaszy Rider Records is also announcing upcoming concerts and activities for the band, indicating that "Infernal Decay" is not just a return to discography, but the beginning of a new creative phase.


Overall, "Infernal Decay" is an album that justifies the wait. Sense of Fear do not try to impress with pretension or by replicating their influences. Instead, they present a work that is mature, sturdy, and entirely personal, balancing between classic heavy/power metal and more modern thrash and epic shades. With clean production, strong compositions, and a ten-minute climax that functions as a statement of identity, "Infernal Decay" constitutes one of the noteworthy Greek metal releases of 2026 and proof that the band still has much to say.


Nick Parastatidis


REVIEW: SINISTER – Legacy of Ashes

 


SINISTER – Legacy of Ashes


Massacre Records


For many years now, SINISTER have remained unwavering in one core principle: delivering fast, technically precise brutal death metal infused with violent, razoredged melodies. Legacy of Ashes continues that tradition with confidence and intensity.


The album is built on constant rhythm changes that keep the listener engaged from start to finish. Despite the barrage of speed and aggression, the material never becomes monotonous or exhausting. The band’s trademark hypersonic passages are present in full force — executed with the precision and ferocity long appreciated by their fanbase.



Atmospherically, the record leans into chaos and apocalypse. Its venomous tone fits seamlessly with SINISTER’s established sound and overall artistic direction, reinforcing the sense of hostility and collapse that defines the album’s character.


Legacy of Ashes stands as a focused, relentless entry in the band’s catalogue, offering exactly what longtime followers expect while showcasing the band’s continued command of their craft.


George Kefalas


REVIEW: ASEDIO, Compιlαtorio

 


ASEDIO, Compιlαtorio (2026)


Armagedón Tottal


Η Metal υπάρχει παντού.


Και οι Asedio από τη Χιλή (υπάρχουν και Ισπανοί με το ίδιο όνομα) είναι άλλη μία απόδειξη ότι η Heavy Metal μουσική είναι διεθνές φαινόμενο που ανθίζει αρκεί να υπάρχει πάθος και επιμονή. 


Η συλλογή με τα δύο demo των Χιλιανών (epic σε κάποια σημεία) Speed Metalers περιλαμβάνει το Demo του 2016, το Prisión del Tremor του 2018 και αρκετά ζωντανά κομμάτια από τις εμφανίσεις τους στις απαρχές της μπάντας. 


Πριν λίγες μέρες σάρωσαν το Κύτταρο Club στην Αθήνα, μαζί με τους Ιταλούς βετεράνους Strana Officina και τους δικούς μας Leatherhead και Passage. 


Έχοντας την τύχη να τους μιλήσω λίγο στα καμαρίνια, είδα μια δεμένη ομάδα μουσικών που, αν και βρίσκονταν στην "άλλη μεριά του πλανήτη", ήταν πολύ ανοιχτοί και απόλυτα φιλικοί.

 

Μουσικά, τα κομμάτια εδώ έχουν αυτό το επικό στοιχείο τόσο στη μουσική όσο και στους στίχους, όσο μπορώ να καταλάβω, αφού είναι στα ισπανικά! 


Μουσικά, έχουμε τον κλασικό καλπασμό αλά Iron Maiden / Omen, αλλά με το γκάζι της μηχανής πατημένο τέρμα, με αρκετά καλή παραγωγή (είπαμε, demo, άρα δεν είναι τελείως κρυστάλλινο!) και αυτό το παλιακό, πορωτικό συναίσθημα να κατακλύζει τις μελωδίες τους. 


Τίτλοι όπως «Castillo Infernal», «Espíritu Inmortal», «Libertad», «Bestia Asesina», «Pueblo sin Voz», «Prisión del Temor», «No te Dejes Gobernar», «Ven y Verás», που είναι τα στούντιο κομμάτια, πρέπει να ακουστούν για να καταλάβει κανείς το νόημά τους.


English:



Metal is everywhere.


And Asedio from Chile (there are also Spaniards with the same name) is yet another proof that heavy metal music is a global phenomenon thriving as long as passion and perseverance are present. 


Their collection of two demos by the Chilean speed metal band (which in some parts is quite epic) includes the 2016 demo, Prisión del Tremor from 2018, and several live tracks from their early performances. 


Just a few days ago, they tore up the stage at Kyttaro Club in Athens, alongside Italian veterans Strana Officina and our own Leatherhead and Passage. 


Having had the luck to speak with them briefly in the dressing rooms, I saw a tight-knit group of musicians who, despite being on "the other side of the planet," were very open and incredibly friendly. 


Musically, their tracks carry that epic element both in the music and lyrics—at least as much as I can understand, since they’re in Spanish! 


Sonically, they remind me of classic Iron Maiden / Omen-style gallops, but with the engine’s throttle pushed all the way to the metal, paired with quite good production (it’s a demo, after all, so it’s not crystal clear!), and that old-school, intoxicating feeling that floods their melodies.


Titles like "Castillo Infernal," "Espíritu Inmortal," "Libertad," "Bestia Asesina," "Pueblo sin Voz," "Prisión del Temor," "No te Dejes Gobernar," and "Ven y Verás"—which are studio tracks—are a must-listen to really grasp their meaning.


Τάκης "Ε-Μortal One" Γιώτης


Sunlight – The Silent Rage – Still Dusk: Μια Βραδιά Ελληνικού Metal

 


Sunlight, The Silent Rage & Still Dusk στο An Club – 6 Ιουνίου 2026 


An Club, Σολωμού 13 – Αθήνα 


Είσοδος: 10€ προπώληση / 15€ ταμείο


Ώρα: 20:30 (Πόρτες 20:00)


Facebook Event: https://fb.me/e/7soAapXXf


Τρεις μπάντες της ελληνικής metal σκηνής συναντιούνται στη σκηνή του An Club για μια δυναμική τριπλή co-headline εμφάνιση. Οι Sunlight φέρνουν το μελωδικό heavy/power metal τους, με πορεία από το 2009 και πρόσφατη δισκογραφική δραστηριότητα που τους κρατά ενεργούς και εξελισσόμενους.


Οι The Silent Rage, με δύο άλμπουμ και σημαντικές εμφανίσεις δίπλα σε διεθνή ονόματα, επιστρέφουν ζωντανά παρουσιάζοντας για πρώτη φορά το νέο τους line-up.


Οι Still Dusk, εκπρόσωποι του alternative metal, συνεχίζουν την ανοδική τους πορεία μετά το άλμπουμ “Chronicles of Dystopia”, συνδυάζοντας σύγχρονο ήχο και κοινωνικά φορτισμένη θεματολογία.


Μια βραδιά που ενώνει τρεις διαφορετικές όψεις του ελληνικού metal σε ένα ενιαίο, εκρηκτικό live.

Τρίτη 5 Μαΐου 2026

REVIEW: METAL CHURCH, Dead To Rights

 


METAL CHURCH, Dead To Rights (2026)


Reaper Entertainment


Μια ακόμη μεταμόρφωσή τους.Με προσθήκες τους David Ellefson, τον ιστορικό, οριστικά όπως έδειξε η ιστορία πρώην μπασίστα των Megadeth, βεβαίως τον επίσης γνωστό ντράμερ Ken Mary (Impelliteri, Fifth Angel, House of Lords, Alice Cooper, Flotsam and Jetsam – παρακαλώ!), και στο μικρόφωνο τον Brian Allen, πλέον αντί του Marc Lopes. 


Η ιστορική μεταλλική εκκλησία εδώ, στο καινούργιο, δεκατοτέταρτο συνολικά στούντιο άλμπουμ της πολυτάραχης ιστορίας της. Μια κάποια ανανέωση την έχει πέραν της σύνθεσης και ηχητικά. Αλλά το κλασικό Heavy/Speed Metal το τιμούν δεόντως και πάλι, και φυσικά καλά κάνουν! 


Παραγωγή τσιμέντο και μαγκιά βαρέων βαρών στο υλικό του νέου δίσκου τους. Μπορεί να μην έχει την αίγλη των ιστορικών τους άλμπουμ του παρελθόντος, αλλά είναι 2026 πλέον. Δεν θα βγεί νέο The Dark, Blessing in Disguise, Hanging in the Balance ή Masterpeace ξανά... Ας δώσουμε μια ευκαιρία σε ακόμη ένα άλμπουμ της φετινής χρονιάς, που μέχρι στιγμής έχει μας δώσει πολλά και καλά δείγματα στον σκληρό ήχο που λατρεύουμε. 


Στους έντεκα τίτλους θα ακούσουμε τον κλασικό ήχο τους αναγεννημένο στα: Brainwash Game, F.A.F.O., Dead to Rights, Deep Cover Shakedown, Feet to the Fire, The Show, Heaven Knows (Slip Away), No Memory, Wasted Time, My Wrath και το ενδέκατο bonus τραγούδι Blood And Water. Όχι στο CD, αλλά με τον ειδικό κωδικό που περιέχεται στην κυκλοφορία, μπορούμε να το κατεβάσουμε και αυτό μαζί με τα άλλα δέκα ως mp3! 


Καλή κίνηση... 8/10, με την άνεση των παλιών γνώριμων που έχουν.


English:



Another transformation for them.


With additions from David Ellefson, the legendary, definitively as history has shown, former bassist of Megadeth; the well-known drummer Ken Mary (Impelliteri, Fifth Angel, House of Lords, Alice Cooper, Flotsam and Jetsam – please!); and on vocals, Brian Allen, now replacing Marc Lopes.


This legendary metal church, here, on their fourteenth studio album overall—part of their turbulent history—has undergone some renewal, not only in the lineup but also sonically. Yet, they still honor the classic Heavy/Speed Metal style, and rightly so!


Production-wise, it’s solid and heavy—robust and confident in the material of their new record. It may not have the glory of their classic past albums, but it’s 2026 now. There will be no new The Dark, Blessing in Disguise, Hanging in the Balance, or Masterpeace again... Let’s give a chance to another album from this year, which so far has offered us many good and strong examples of the hard sound we love.


Among the eleven tracks, you'll hear their classic sound reborn in: Brainwash Game, F.A.F.O., Dead to Rights, Deep Cover Shakedown, Feet to the Fire, The Show, Heaven Knows (Slip Away), No Memory, Wasted Time, My Wrath, and the eleventh bonus song, Blood And Water. Not on the CD, but with the special code included in the release, we can also download it along with the other ten as MP3s!


A good move... 8/10, with the comfort of the familiar old-school sound they have.


Τάκης "Ε-Μortal One" Γιώτης


REVIEW: NECROPHOBIC – Darkside

 


NECROPHOBIC – Darkside


HammerHeart Records


Darkside is the second fulllength album from the colossal Swedish force NECROPHOBIC. Originally released in 1997 through Black Mark Production, it later resurfaced via HammerHeart Records in 2003 and again in 2011 — a welcome opportunity for listeners like me who missed the band’s early output to finally experience these landmark releases.


Everything I noted about The Nocturnal Silence applies here as well, but Darkside marks a clear shift toward the band’s blackmetal roots. True to its title, the album is darker, more blackened in atmosphere, and showcases a band that has grown significantly in skill and technical precision. The intricate solos and intense riffing reveal musicians who have sharpened their craft without sacrificing aggression.



At the same time, NECROPHOBIC expand their melodic sensibilities. The album contains some breathtaking dark melodies that elevate the material beyond straightforward extremity, giving Darkside a sense of depth and emotional weight that complements its ferocity.


I loved The Nocturnal Silence, but Darkside feels even stronger — a more complete and confident expression of the band’s identity. Fans who appreciate both black and death metal will find this album an essential listen, and it’s absolutely worth investing in without hesitation.


Christine  Parastatidou


REVIEW: ACCEPT – Kaizoku-ban

 


ACCEPT – Kaizoku-ban


RCA Records


The history of Accept traces back to 1968 in Solingen, West Germany, where they originally formed as Band X before officially adopting their iconic name in 1976. This rebranding was a calculated move inspired by the album Accept by the British band Chicken Shack. The group specifically chose a name that was internationally recognizable and easy to pronounce, aiming to transcend the boundaries of the German music scene and establish a global presence.


One of the most definitive moments in the band's career is the release of the live EP Kaizoku-ban. Although there is often confusion regarding its place in their chronology, the record was released following the landmark 1985 album Metal Heart. It serves as a high-octane souvenir of their legendary Japanese tour in September of that year, capturing the band at the peak of their powers.



The title Kaizoku-ban translates to "Pirate Version" in Japanese, a name the band selected to give the official release a raw, bootleg aesthetic as a tribute to their dedicated Japanese fanbase. The cover art features the kanji character (kyaku), which carries a meaningful double-entendre: it refers to the band as "guests" in a foreign land while simultaneously honoring the "spectators" or "customers" who filled the Nagoya stadium to witness their performance.


Musically, the EP serves as a concise anthology of Accept’s golden era, featuring six live tracks performed by the classic lineup. The setlist draws heavily from Metal Heart, featuring the title track alongside "Screaming for a Love-Bite," "Up to the Limit," and "Living for Tonite," while also including "Head Over Heels" and "Love Child" from the 1983 masterpiece Balls to the Wall. More than just a supplementary live release, Kaizoku-ban remains a vital document of an era where Accept defined heavy metal precision and cemented their legacy as the architects of the European metal sound.


Nick Parastatidis