REVIEW: VOIVOD, War And Pain

 

VOIVOD, War And Pain (1984)

Metal Blade Records

Ηχητικός πόλεμος

Να 'μαστε λοιπόν πίσω στη δεκαετία του '80, σε πρώτο άλμπουμ ενός καναδικού συγκροτήματος που μελλοντικά θα αποτελέσει, το ίδιο όπως και ο δίσκος αυτός, μεγάλη επιρροή στον πιο ακραίο ήχο. Οι Voivod πατώντας γερά στο punk από το ένα πόδι, στον ήχο των Motörhead με το άλλο... και με το τρίτο πόδι (!) ακουμπάνε τους Venom ερωτικά! Αν υπήρχε ο όρος thrash metal από τότε (οριακά δεν υπήρχε ακόμα, οι Metallica και Slayer αποκαλούνταν power metal!), θα ήταν κατά το 60% ορθό να τους πούμε έτσι. Speed metal, punk metal ήταν το όνομα του ήχου τους εδώ. Ένα ακατέργαστο, με αρκετά φασαριόζικη παραγωγή, αλλά ανέλπιστα καλό άλμπουμ, με εξώφυλλο από το ίδιο το συγκρότημα, πιο συγκεκριμένα του ντράμερ τους, Away. Snake στη φωνή, Piggy στην κιθάρα, Blacky στο μπάσο, να συμπληρώνουν το καρέ, και, όντας από το Κεμπέκ, έχουν πραγματικά γαλλικά ονόματα οι τέσσερις σταυροφόροι από μια άλλη διάσταση. Το ομότιτλο Voivod σέρνει τον χορό, και ακολουθεί μια ηχηρή επίθεση από κομμάτια όπως τα Warriors of Ice, Suck Your Bone, War and Pain, Iron Gang, Live for Violence, Black City, Nuclear War, και το επιπλέον κομμάτι Condemned to the Gallows, από τη συμμετοχή τους στη συλλογή Metal Massacre V. Όλα αυτά ολοκληρώνουν το χάος.

English:

Sonic Warfare

So here we are back in the '80s, at the debut album of a Canadian band that would, along with this very record, go on to be a major influence on the most extreme sound. Voivod, firmly rooted in punk on one leg, leaning into the sound of Motörhead with the other... and with a third leg (!) — they lovingly touch upon Venom! If the term thrash metal had existed back then (it barely did; Metallica and Slayer were still called power metal!), it would be about 60% accurate to label them that way. Here, their sound was called speed metal or punk metal. An unrefined, somewhat noisy production, but an unexpectedly good album, with an album cover made by the band themselves—specifically the drummer, Away. Snake on vocals, Piggy on guitar, Blacky on bass, completing the quartet—and, being from Quebec, they all have truly French names, four crusaders from another dimension. The eponymous Voivod leads the way, followed by a thunderous barrage of tracks like Warriors of Ice, Suck Your Bone, War and Pain, Iron Gang, Live for Violence, Black City, Nuclear War, and the extra track Condemned to the Gallows, from their contribution to the Metal Massacre V compilation. All of this completes the chaos.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: BRING YOUR OWN KNIFE – End

 

BRING YOUR OWN KNIFE – End

Sleaszy Rider Records

This Swedish band has chosen a somewhat unconventional title for their debut album—End. However, with the right exposure and support, this group has the potential to reach significant heights. They demonstrate a strong grasp of their craft and possess a commanding presence.

Musically, the band operates primarily within the metalcore genre, though their sound incorporates a variety of influences. Listeners will notice elements of melodic death metal, black metal nuances, hardcore intensity, and occasional progressive shifts. This blend creates a dynamic and compelling sonic palette, characterized by fast-paced, aggressive compositions that are both ferocious and memorable.

The production quality is exemplary, with clear and balanced mixing that allows each instrument to be distinctly heard. The cover artwork complements the band's sound, reflecting their intensity and aesthetic vision.

Overall, End showcases a band with considerable potential and a fresh approach within their genre. BRING YOUR OWN KNIFE stands out as one of the more impressive acts I've encountered in recent times.

Christine  Parastatidou

REVIEW: WINO – Adrift

 

WINO – Adrift

Exile On Mainstream Records

Heavy metal traditionally traces its origins to BLACK SABBATH, conceived as an experimental deviation into blues that ultimately did not succeed in its initial aim. There is little debate that this early "failure" was a pivotal moment in music history. WINO, a well-known artist within the doom and stoner metal genres, is a dedicated admirer of SABBATH, yet his musical interests also extend beyond the heavy distortion and riff-driven sound.

“Adrift” represents a departure from WINO’s usual style, embracing an acoustic blues/rock approach. It is, in essence, a nostalgic project for the artist—a personal exploration aimed at expanding his musical horizons into the realms of classic blues and rock. This release is notably distinct from his usual heavy metal output, offering instead a collection of melodies rooted in simplicity and emotional depth.

For listeners who appreciate music that emphasizes atmosphere and storytelling over volume and aggression, “Adrift” provides a rewarding experience. The album evokes the spirit of Bob Dylan’s work, capturing an introspective mood that resonates throughout. Its straightforward arrangements underscore the complex themes of everyday life, making each track accessible yet meaningful.

Throughout the listening experience, I found myself recalling the works of the American novelist John Steinbeck—perhaps because the album’s reflective tone seems suitable as a soundtrack to stories of ordinary struggles and resilience. “Adrift” stands out as a rare oasis in today’s increasingly fragmented and genre-specific music scene.

Additionally, the album features two acoustic covers: MOTORHEAD’s “Iron Horse/Born to Lose” and SAVOY BROWN’s “Shot in the Head.” These reinterpretations add further depth and context to the project, bridging the gap between different eras of blues and rock.

In conclusion, “Adrift” is a thoughtfully crafted album that offers a different perspective within WINO’s discography. Its simplicity and emotional honesty make it a noteworthy listen for those open to exploring beyond conventional genre boundaries.

Nick Parastatidis

REVIEW: PRIMORDIAL, Storm Before The Calm

 

PRIMORDIAL, Storm Before The Calm

Metal Blade Records

Το καλύτερο των δύο κόσμων που ανήκει

Μας μπέρδεψε η Metal Blade. Το εξώφυλλο αυτής της επανέκδοσης θυμίζει τα μεταγενέστερα artwork των δίσκων των Ιρλανδών, αλλά δεν έχει τίποτα κοινό με τον προπολεμικό και μαύρου χρώματος πίνακα με τον οποίο θυμάμαι αυτή τη κυκλοφορία. Εσωτερικά, στο inlay, υπάρχει το ίδιο «μάτι» που κοσμούσε την πρώτη έκδοση, και εκεί τελειώνει η γκρίνια για το εικαστικό μέρος της τέταρτης τους δουλειάς.

Η μουσική που περικλείεται στα επτά κομμάτια είναι μάλλον υπεράνω κριτικής. Το αποτύπωμα του ήχου τους από συνθετικής άποψης είναι καθαρό mid-paced Black Metal. Ωστόσο, από πλευράς φωνητικών διαφοροποιούνται, καθώς τα απελπισμένα και χαρακτηριστικά απόκοσμης βραχνάδας στοιχεία του A.A. Nemtheanga εναλλάσσονται με growl ξεσπάσματα, και έτσι κάνουν τη διαφορά!

Είναι Doom ή Black Metal; Το ερώτημα αυτό έχει σημασία; Η απάντηση είναι ναι! Τα κομμάτια τους, όπως τα The Heretics Age, Fallen to Ruin, Cast to the Pure, Sons of the Morrigan και Hosting of the Sidhe, θα τα λατρέψετε, νομίζω.

English:

The Best of Both Worlds That Belongs

We were confused by Metal Blade. The cover of this reissue resembles the later artwork of Irish bands’ albums, but it bears no relation to the pre-war, black-colored painting I associate with this release. Inside, on the inlay, there is the same "eye" that adorned the original version, and that’s where my critique of their fourth work’s artwork ends.

The music contained within the seven tracks is arguably beyond critique. From a compositional perspective, their sound is a clear mid-paced Black Metal. However, vocally, they differ, as the despairing and otherworldly raspy elements of A.A. Nemtheanga alternate with growl outbursts, and that’s what makes them stand out!

Is it Doom or Black Metal? Does that question even matter? The answer is yes! I believe you will love their songs, such as The Heretics Age, Fallen to Ruin, Cast to the Pure, Sons of the Morrigan, and Hosting of the Sidhe.

Τάκης "Ε-Μortal One" Γιώτης

Teeth of Lamb Unleash New Album Deathward

 

German death/thrash trio Teeth of Lamb have dropped their new album Deathward via Kernkraftritter Records, marking the band’s most aggressive chapter yet. The record was tracked at TOL Headquarter Studios and refined by Torsten Sauerbrey at Metalsound Studios, whose mix pushes the band’s razor‑edged sound into even harsher territory.

Formed in 2016 by former Striker (GER) guitarist Wolf J., who later assumed vocal duties, Teeth of Lamb solidified their current lineup with bassist Piepsi Panic and drummer Chris Herdegen—a stable three‑piece since 2025. The band built momentum through early releases Termination World (2017) and their self‑titled EP (2018), followed by international touring and the 2020 debut Soul Gutter.

With Deathward, the German outfit continues its upward trajectory, sharpening its hybrid of thrash precision and death‑metal ferocity while expanding its reach across Europe.

REVIEW: SOCIAL SCREAM, Epiclesis

 

SOCIAL SCREAM, Epiclesis (2014)

Independent

Επίκληση στα σύγχρονα μεταλλικά δεδομένα

Αυτό το CD είναι το πρώτο ολοκληρωμένο δισκογραφικό άλμπουμ του συγκεκριμένου συγκροτήματος από τη Σπάρτη. Περιέχει επτά κομμάτια με τον κλασικό, περισσότερο U.S. Power Metal ήχο, αλλά με πολλά σύγχρονα μουσικά στοιχεία και σχεδόν άψογη παραγωγή. Οι Social Scream αποτελούνται πάντα από τον Βλάση Διαμαντάκο στην ρυθμική κιθάρα και το φωνητικό, τον Κίμωνα Αλέξανδρο στην κιθάρα, τον Joe Black στο μπάσο και τον Δημήτρη Σακκά στα τύμπανα. Το ορχηστρικό κομμάτι Spartan Blood εισάγει στο πνεύμα των μουσικών. Οι τίτλοι των κομματιών του δίσκου είναι: Faith, Smell the Demon, Social Scream, New Era, DNA Eternal και Where the Storm Goes. Όπως αποδείχθηκε σύντομα, αποτέλεσαν μια μεγάλη παρακαταθήκη για το μέλλον τους.

English:

Invocation to Modern Metal Elements

This CD is the debut full-length album by the band from Sparta. It features seven tracks with a classic, primarily U.S. Power Metal sound, but infused with many modern musical elements and nearly perfect production. The Social Scream lineup always includes Vlasis Diamantakos on rhythm guitar and vocals, Kimonas Alexandros on guitar, Joe Black on bass, and Dimitris Sakkas on drums. The instrumental piece Spartan Blood introduces the listeners to the band’s spirit. The track titles are: Faith, Smell the Demon, Social Scream, New Era, DNA Eternal, and Where the Storm Goes. As it quickly proved, these songs became a significant legacy for their future.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: VERITATE - The Chosen One

 

VERITATE - The Chosen One Single

Killer Metal Records

Hailing from Sweden, VERITATE presents their single "The Chosen One" in both English and Swedish. The band adopts a traditional heavy metal style, incorporating keyboards into their sound, which brings to mind bands like SEVENTH SIN from Canada.

The track itself demonstrates clear passion and competence; it is well-executed and engaging. However, from a compositional standpoint, the song feels somewhat typical of the genre and does not particularly stand out as innovative or exceptional. As a single, "The Chosen One" provides a solid example of the band's dedication to heavy metal, but it does not yet showcase a distinctive identity that sets them apart.

Given that this is a solitary release, it is difficult to form a comprehensive judgment. I look forward to hearing their upcoming full-length album to gain a clearer perspective on VERITATE's potential and artistic direction.

Notably, the Swedish version of the song resonates more effectively with me than the English one, which may be due to the vocal delivery or linguistic nuances.

In conclusion, while "The Chosen One" demonstrates passion and technical competence, it leaves me curious about what VERITATE will develop in future releases. For now, I can only assign a tentative rating pending further material.

Nick Parastatidis