REVIEW: DESTRUCTION, Release From Agony

 

DESTRUCTION, Release From Agony (1987)

Steamhammer

Απαλλαγή από την αγωνία, πραγματικά.

Το πιο ώριμο, όσο ώριμο μπορεί να θεωρείται ένα ακραίο thrash metal άλμπουμ των τεσσάρων από εδώ και πέρα Γερμανών. Οκτώ κομμάτια με κάποιες πιο προοδευτικές πινελιές, αλλά και με τεχνικό παίξιμο, στο οποίο υστερούν μόνο στην παραγωγή. Ο αστικός μύθος ότι ο παραγωγός τους, Kalle Trapp, τη τελευταία στιγμή άλλαξε στη κονσόλα της μίξης τις ρυθμίσεις, οδηγώντας τον ήχο του δίσκου στο ξερό αυτό αποτέλεσμα, δεν τεκμηριώνεται. Παρόλα αυτά, εδώ έχουμε ίσως τον πιο αγαπημένο δίσκο πολλών φίλων τους, μέσα στους οποίους περιλαμβάνομαι και εγώ. Μάλιστα, είχα το T-shirt με το απίστευτα τρομαχτικό αυτό πλάσμα στο εξώφυλλο και το φορούσα περήφανα για αρκετά χρόνια. 

Επί της μουσικής, είναι ο τελευταίος στούντιο δίσκος με τον Schmier σε φωνή και μπάσο, αφού αποχώρησε (τσακωθήκαν άγρια) από το σχήμα, για να επανέλθει περίπου δώδεκα χρόνια αργότερα. Ο Mike Sifringer στην κιθάρα, και επίσης ο Harry Wilkens, στα ντραμς, από τον Oliver Kaiser. Μουσικά, αν και είπαμε ότι ο ήχος τους είναι πρίμα, τα άλμπουμ Release From Agony, Dissatisfied Existence, Sign of Fear, Unconscious Ruins, Our Oppression και Survive To Die αποτελούν τέρμα κλασικά δείγματα του σχήματος.

English:

Release from agony indeed.

The most mature, or at least as mature as an extreme thrash metal album by four Germans can be. Eight tracks featuring some progressive touches, along with technical playing—though they only fall short in the production. The urban legend that their producer, Kalle Trapp, at the last moment changed the mixing settings, resulting in the dry sound of the album, is unsubstantiated. Nonetheless, this is perhaps the most beloved album for many of their fans, including myself. In fact, I had the T-shirt with that incredibly terrifying creature on the cover and wore it proudly for several years. 

Regarding the music, this is the last studio album with Schmier on vocals and bass, as he left (they had a fierce fight) the band, only to return roughly twelve years later. Mike Sifringer on guitar, along with Harry Wilkens on drums, from Oliver Kaiser. Musically, although we’ve said that their sound is quite high-pitched, albums like Release From Agony, Dissatisfied Existence, Sign of Fear, Unconscious Ruins, Our Oppression, and Survive To Die are quintessential examples of their classic style.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: THE ETERNAL SUFFERING – Miasma

 

THE ETERNAL SUFFERING – Miasma

I For An I Records

The cover artwork of Miasma initially suggests a death grind aesthetic; however, the music within reveals a different approach. Hailing from Athens, Greece, the band delivers a black metal experience that draws influence from iconic acts such as Dissection and Dimmu Borgir. The album features icy riffs, technically proficient fast passages, and atmospheric interludes that add depth to the overall sound.

The vocals are quintessential black metal—harsh, visceral, and conveying a sense of havoc, hatred, and devastation through their execution. The guitar work stands out for its creativity and complexity, providing melodies that are both imaginative and engaging, avoiding monotony throughout the album.

Production quality is notably high, with clarity and balance that enhance the intricate instrumentation and atmospheric elements. Considering its craftsmanship, Miasma is arguably one of the most compelling true black metal releases of the year.

Overall, this album offers a well-crafted and intense listening experience, making it a noteworthy addition for fans of the genre.

George  Kefalas

REVIEW: NILE, Black Seeds Of Vengeance

 

NILE, Black Seeds Of Vengeance (2000)

Relapse Records

Ξερνάει κακία απ' τα ηχεία.

Η αρχαία Αίγυπτος, μυστηριακά σκοτεινή, με τους ζωόμορφους θεούς της, είναι πάντα το βασικό θέμα έμπνευσης στιχουργικά για τους Αμερικανούς death metallers Nile. Ο Dallas Toler Wade, σε φωνή και ρυθμική κιθάρα, συμμετέχει σε αυτόν το δίσκο, τον δεύτερο τους, και είναι υπεύθυνος για την άνοδό τους στο κύκλωμα του ακραίου ήχου. Από τα πιο ωμά δείγματα, δεδομένης της εποχής που γράφτηκε και κυκλοφόρησε, παρουσιάζει αυτό τον ιδιόρρυθμο τρόπο τόσο γραφής στίχων όσο και σύνθεσης. Λίγο η παραγωγή με ενοχλεί, αλλά μπορεί να είμαι εγώ ο παράξενος που έχει συνηθίσει σε κρυστάλλινο ήχο από αντίστοιχα σχήματα όπως οι Death, Morbid Angel και Obituary. 

Ο έτερος κιθαρίστας, τραγουδιστής και βασικός νους του συγκροτήματος, ο Karl Sanders, δεν εκτιμά τόσο αυτό το άλμπουμ, όπως έχει δηλώσει. Βέβαια, όλα είναι σχετικά. Το παίξιμό τους βρίσκεται στα όρια μεταξύ τεχνικού και πιο "χύμα", περιέχοντας αρκετά προοδευτικά στοιχεία αλλά και πολλά αποκλειστικά extreme metal χαρακτηριστικά, όπως το σχεδόν συνεχές blastbeat του ντράμερ Derek Roddy. Μπάσο παίζει ο Chief Spires.

Δεν είναι σίγουρα κακό άλμπουμ· μάλιστα, θεωρείται από μεγάλη μερίδα οπαδών ως ένα από τα καλύτερα δείγματα της αρχικής εποχής των Nile, με τα Black Seeds of Vengeance, Defiling the Gates of Ishtar, The Black Flame, Masturbating the War God (κι όμως, έχει τέτοιο τίτλο!), Nas Akhu Khan She En Asbiu, και το εννέα λεπτά μεγάλο To Dream of Ur, να αποτελούν το απόλυτο σύνολο των κομματιών του.

English:

Spitting venom through the speakers.

Ancient Egypt, mystically dark, with its animal-headed gods, has always been the main source of lyrical inspiration for the American death metallers Nile. Dallas Toler Wade, on vocals and rhythm guitar, participates in this album, their second, and is responsible for their rise in the extreme metal scene. Among the rawest examples, given the time it was written and released, it showcases a distinctive approach both in lyric writing and composition.

The production slightly bothers me, but I might be the odd one out, used to a crystal-clear sound typical of bands like Death, Morbid Angel, and Obituary. 

The other guitarist, vocalist, and the main mind behind the band, Karl Sanders, doesn’t hold this album in as high regard, as he has stated. Of course, everything is relative. Their playing is on the borderline between technical and more “rough,” incorporating many progressive elements but also numerous pure extreme metal traits, such as the almost continuous blast beats from drummer Derek Roddy. Bass is played by Chief Spires.

It’s certainly not a bad album — in fact, it’s considered by a large segment of fans as one of the best examples of Nile’s early era, with albums like Black Seeds of Vengeance, Defiling the Gates of Ishtar, The Black Flame, Masturbating the War God (yes, it has such a title!), Nas Akhu Khan She En Asbiu, and the nine-minute-long To Dream of Ur, forming the core of the record.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: CALADMOR - Midwinter

 

CALADMOR - Midwinter

Twilight Records

This release exceeded my expectations, offering more than I initially anticipated. The label characterizes CALADMOR as folk/gothic metal. While there are indeed folk elements present in their music, I would not fully agree with the gothic designation solely based on the presence of a female vocalist.

“Midwinter” can be best described as a folk/pagan metal album that draws influences from bands such as FALCONER, ENSIFERUM, BATHORY (particularly during their epic metal phase), SKYCLAD, and BLIND GUARDIAN. The primary vocal role is performed by Barbara "Babs" Brawand, whose crystal-clear voice imparts a fairy-tale quality to the compositions. The album features moments where she performs duets with male vocals that deliver a harsher vocal style, creating a balanced dynamic between melody and intensity.

One aspect I particularly appreciated is the prominence of the guitars, which play a leading role in the arrangements rather than merely supporting folk melodies. This approach adds depth and strength to the overall sound.

Considering that “Midwinter” is the band's debut, it is a very beautiful and nearly complete release. It would benefit from greater variety, but overall, it stands out as a strong start.

In conclusion, this is a noteworthy and well-crafted album that merits attention. It’s certainly worth checking out, especially for those interested in emerging bands within the folk/pagan metal genre.

Nick  Parastatidis

REVIEW: AMORPHIS, Tales From The Thousand Lakes

 

AMORPHIS, Tales From The Thousand Lakes (1994)

Relapse Records

Ογκόλιθος σε μέγεθος.

Οι αγαπημένοι Φιλανδοί Melodic Death Metal πρωτοπόροι, σε αυτό το δεύτερο δίσκο τους, πραγματικά σπάνε όλα τα φράγματα ποιότητας, συνθετικής ικανότητας και στιχουργικής. Το άλμπουμ, που πρόσφατα έκλεισε τυπικά τα τριακοστά του γενέθλια ως κυκλοφορία, είναι δομημένο πάνω στο επικό φινλανδικό saga γραμμένο τον 19ο αιώνα, το Kalevala.

Οι χίλιες λίμνες της Καρελίας, περιοχής στα σύνορα Φινλανδίας και Ρωσίας (στην οποία τυπικά ανήκε η διοίκηση της Φινλανδίας την εποχή που γράφτηκε το Kalevala), δεμένες με επικούς ήρωες και μάχες επιβολής των χαρακτήρων και των ιστοριών, αποτελούν την έμπνευση τόσο για τον τίτλο όσο και για το εκπληκτικό έργο που κοσμεί το εξώφυλλο. 

Μουσικά, η πεντακάθαρη παραγωγή δένει το Doom, το κλασικό Heavy, αλλά και τα χαμηλά κουρδίσματα του Death Metal, με τα πλήκτρα να δίνουν "ταυτότητα" και βάθος στον ήχο. Τα φωνητικά είναι συνήθως στο στυλ του Death Growl, αλλά εναλλάσσονται και με καθαρά, ιδρύοντας σχολή για το είδος, που ως τα μέσα της δεκαετίας εκτοξεύθηκε και εξελίχθηκε από συγκροτήματα όπως οι συγκεκριμένοι και οι συμπατριώτες τους Sentenced. 

Η ορχηστρική εισαγωγή "Thousand Lakes" και τα κομμάτια "Into Hiding", "The Castaway", "Black Winter Day", "Drowned Maid", "In the Beginning", "Forgotten Sunrise", "Magic and Mayhem" είναι πραγματικά ό,τι καλύτερο κρύβει ένα άλμπουμ χωρίς αδυναμίες· απλώς, είναι τα πιο αγαπημένα κατά τη δική μου άποψη.

English:

A colossal size.

The beloved Finnish Melodic Death Metal pioneers, with this second album, truly break all barriers of quality, songwriting skill, and lyrical depth. The album, which recently officially celebrated its thirtieth anniversary as a release, is built around the epic Finnish saga written in the 19th century, Kalevala.

The Thousand Lakes of Karelia, a region on the border between Finland and Russia (which officially belonged to Finland’s administration at the time Kalevala was written), linked with heroic epics and battles of character and story assertion, serve as the inspiration both for the title and for the stunning artwork that adorns the cover.

Musically, the crystal-clear production blends Doom, classic Heavy, and the low tunings of Death Metal, with keyboards adding identity and depth to the sound. The vocals are usually in the style of Death Growl but alternate with clean singing, establishing a school for the genre that, by the mid-1990s, skyrocketed and evolved through bands like these and their compatriots Sentenced.

The instrumental intro "Thousand Lakes" and the tracks "Into Hiding," "The Castaway," "Black Winter Day," "Drowned Maid," "In the Beginning," "Forgotten Sunrise," and "Magic and Mayhem" are truly the best a band can offer—faultless in my opinion—and simply my favorites.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: DEF LEPPARD – First Strikes 1978-1979

 

DEF LEPPARD – First Strikes 1978-1979

On The Air

I have to admit that releases like this always raise my expectations, especially when we are talking about a band like DEF LEPPARD in their very early days. An unofficial compilation that focuses on the 1978–1979 period promises a lot, mainly because this is the era when the band was still deeply rooted in traditional heavy metal and the NWOBHM movement, far away from the more commercial path they would later follow. Thankfully, “First Strikes 1978–1979” manages to justify this interest.

This release brings together almost everything the band recorded during that early period. Here you will find the 1979 Def Leppard EP, early studio demos from 1979, live recordings from the Paris Theatre in London (August 1979), as well as the “Wasted” and “Hello America” 7” single versions and the B-side “Good Morning Freedom.” In other words, this compilation works as a complete snapshot of DEF LEPPARD before “On Through the Night”, documenting the band’s development both in the studio and on stage.

For a bootleg, the sound quality is surprisingly good, and this is something that immediately works in its favor. The live recordings from the Paris Theatre are especially enjoyable and clear, capturing the raw energy and hunger of a young band that still had something to prove. These tracks alone make the release worth checking out.

Musically, DEF LEPPARD here are a completely different beast compared to what most people associate them with today. This is pure, melodic heavy metal with strong NWOBHM roots and an obvious THIN LIZZY influence, particularly on tracks like “The Overture”. Songs such as “Ride Into The Sun,” “Getcha Rocks Off,” “Wasted,” and “Hello America” show a band focused on riffs, drive, and attitude rather than polished hooks and radio-friendly choruses.

Of course, this kind of release is mainly aimed at fans and collectors, and casual listeners might not find much reason to dive into it. Still, for anyone who appreciates melodic heavy metal and the NWOBHM scene, this compilation is a small treasure. I really enjoyed listening to this early version of DEF LEPPARD, a band that was still traditional, inspired, and full of youthful fire. For me, “First Strikes 1978–1979” is a very solid document of their beginnings and a release that shows just how strong and promising they were at the start.

Nick Parastatidis

AS THE SUN FALLS Releases Melancholic New Single

 

“A Shimmer On The Tides” by AS THE SUN FALLS draws on Finnish mythology and winter’s quiet beauty. The atmospheric death metal track features a minimalist video that highlights its moody, emotional tone.

Straight to Pain Releases New Single «Submerged»

 

Italian metal band Straight to Pain has released their new single «Submerged». Recorded at Blackwave Studios by Fabio Palombi, the band continues to evolve from their hardcore roots towards a heavier blend of melodic, djent, and death metal. Known for energetic live shows across Italy, they are teasing new material ahead of their next album.

REVIEW: SAVAGE, Loose 'N Lethal

 

SAVAGE, Loose 'N Lethal (1983)

Ebony Records

Άγρια ομορφιά

Μία από τις μεγαλύτερες επιρροές για σχήματα όπως οι Metallica και από την κρέμα του NWOBHM είναι και οι Αγγλοι Savage. Αυτό είναι το πρώτο τους άλμπουμ, που θεωρείται και όντως αποτελεί ένα από τα κλασικά του είδους, το οποίο στιγμάτισε τη δεκαετία του '80, περίπου λίγο μετά τα μέσα της. Οι Chris Bradley στη φωνή και το μπάσο, Wayne Renshaw και Andy Dawson στις κιθάρες, και ο Mark Brown στα τύμπανα αποτελούν τη σύνθεση αυτού του άλμπουμ, με τα τραγούδια Let it Loose, Cry Wolf, Berlin, Dirty Money, On The Rocks, The China Run και White Hot να αποτελούν επίσης διαμάντια της εποχής και να βρίσκονται στον δίσκο, θυμίζοντάς μας από πού ξεκίνησε αυτό το ξέφρενο πανηγύρι που λέμε Heavy Metal.

English:

Wild Beauty

One of the biggest influences on bands like Metallica and from the cream of NWOBHM is also the English band Savage. This is their debut album, which is considered—and indeed is—a classic of the genre that marked the 1980s, roughly just after the mid-'80s. The lineup consists of Chris Bradley on vocals and bass, Wayne Renshaw and Andy Dawson on guitars, and Mark Brown on drums. The album features tracks like "Let it Loose," "Cry Wolf," "Berlin," "Dirty Money," "On The Rocks," "The China Run," and "White Hot." These songs are also gems of the era and are included on the record to remind us where this wild, relentless party called Heavy Metal started.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: RUMAHOY - Time II: Party

 

RUMAHOY - Time II: Party

Napalm Records

Look, if an artist manages to ignite a total firestorm of polarized opinions, they’ve clearly tapped into something that refuses to be ignored. Rumahoy’s second voyage, Time II: Party, isn't just an album; it’s a chaotic line in the sand. On one side, you’ve got the purists ready to scuttle the ship and bury the band in a shallow grave, and on the other, a rowdy mob of converts hailing them as the new gods of the scene. I’m not here to play diplomat or suggest that the truth lies in some lukewarm middle ground. After subjecting my eardrums to this madness on a loop, I’m raising a glass with the lunatics. I love this record. It is a glorious, middle-finger-waving explosion of absurdity that takes the concept of "Pirate Metal" and pushes it off the plank into uncharted, psychedelic waters.

The foundation of their sound is a relentless, high-octane mix of Power Metal and hyperactive Folk melodies, but what makes it "gonzo" is their total lack of restraint. They treat musical boundaries like suggestion boxes at a dive bar—completely ignored. You’ll be galloping along to a double-kick drum beat only to be blindsided by a sudden rap break or a synth-heavy dance passage that feels like it was ripped from a 90s Eurodance club. The production is thick and boisterous, layering accordion-heavy sea shanty hooks over chugging, down-tuned riffs that hit like a cannonball to the chest. It’s all designed to glorify the metal pirate lifestyle through a lens of pure, unadulterated self-parody. They aren't just playing the genre; they are wearing it like a stolen neon coat, mocking the self-seriousness of the scene while outplaying half the bands in it.

The elephant in the room—or rather, the Alestorm in the room—is obvious, but Rumahoy isn't just a carbon copy. There is a surprising depth of technicality hidden beneath the rum-soaked lyrics. The guitar solos are genuinely impressive, slicing through the seafaring chaos with a precision that suggests these guys spend as much time practicing scales as they do raiding imaginary ports. On "1000 Years of Dust," they even pivot into a grand, mid-tempo stomp that captures that specific, anthemic Sabaton grit, proving they can handle "epic" just as well as "ridiculous." And before you can point a finger and cry plagiarism, they look you dead in the eye and sing about how they’d rather steal a hit than write a boring original one. It’s a brilliant, self-aware defense mechanism that makes them practically bulletproof.

When I put this album on, I don't just listen to it once; I end up spinning it twice back-to-back just to process the sheer audacity of it all. From the galloping madness of "Cowboys of the Sea" to the bizarrely touching tribute of "Harambe, the Pirate Gorilla," the energy never dips. Tracks like "The Legend of Captain Yarrface" and "The Beer from My Town Is Better than Yours" are destined to be drunken anthems, while "Stolen Treasure" serves as the perfect victory lap for a band that clearly doesn't care about your rules. Time II: Party is a loud, proud, and beautifully stupid masterpiece of modern metal, and I wouldn't have it any other way.

Nick Parastatidis

REVIEW: INSTANZIA – Ghosts

 

INSTANZIA – Ghosts

Metalodic Records

On Christmas Eve, I was in the mood for something more melodic than my usual listening choices, and INSTANZIA’s album Ghosts from Canada proved to be a fitting selection. After multiple listens, I can affirm that the album is a worthwhile addition to the power metal genre.

From the outset, it is evident that the band demonstrates a strong sense of melody and the ability to craft memorable songs. Their sound aligns with European power metal, incorporating elements of progressive metal in their song structures. For fans of bands such as Orden Ogan or classic Edguy, Ghosts offers a fresh perspective within the genre, with compositions that go beyond the conventional.

The album consistently showcases the band’s songwriting skills, making it accessible yet engaging. Notable tracks include “Power of the Mind,” “A Genius Who Believes,” and the eleven-minute epic “The Desert Fox,” which bears some resemblance to Sabaton’s style. These songs exemplify the band’s capacity for creating compelling and diverse musical narratives.

Overall, Ghosts presents a balanced blend of melody, technicality, and thematic depth, making it a recommended listen for European power metal enthusiasts. Personally, I found the album to be an enjoyable experience, one that I anticipate revisiting multiple times to appreciate its nuances and craftsmanship.

Nick  Parastatidis

REVIEW:U.D.O., Dominator

 

U.D.O., Dominator (2009)

AFM Records

Ακάθεκτος, ασταμάτητος, ακατάβλητος.

Ένα ακόμη άλμπουμ του μεγάλου αγαπημένου, με φωνή πριονοκορδέλα σε υψηλές στροφές, Γερμανού Udo Dirkschneider, και του σχήματός του, που επάξια πατάει από τη μία στη δεκαετία του ’80 και τους Accept και σε πολύ μεγαλύτερο βαθμό στη προσωπική και συγχρόνως ανανεωτική ματιά του ίδιου για τη σύγχρονη Heavy Metal μουσική. 

Ο "Επικυρίαρχος", λοιπόν, είναι πέρα από αυτοπεριγραφικός/σαρκαστικός ο τίτλος του δέκατου δεύτερου δίσκου των U.D.O., που διαδέχθηκε το Musterkiller του 2007, και αποτελεί την επιστροφή στα συμπαγή συνθετικά άλμπουμ που μας είχε συνηθίσει μέχρι το τέλος της προηγούμενης δεκαετίας. Έτσι, εδώ, όπου ο ήχος του γκρουπ είχε «εισέλθει» σε "τέλμα", πλέον ξεπερνιέται πανηγυρικά! 

Με τον Stefan Kauffman, τον θρυλικό ντράμερ των Accept της χρυσής εποχής, ως κιθαρίστα και παραγωγό του άλμπουμ, και τους Igor Gianola, Fitty Weinhold και Francesco Jovino στα κρουστά, ο ήχος είναι μεν το αγαπημένο "μία απ’ τα ίδια", αλλά αν ήταν να είναι έτσι κάθε δίσκος τους, δε θα λέγαμε όχι!

 

Μεταξύ των πιο αντιπροσωπευτικών κομματιών του άλμπουμ είναι τα: The Bogeyman, Dominator, Black and White, Heavy Metal Heaven, Stillness of Time και Speed Demon.

English:

Unstoppable, relentless, indomitable.

Another album from the great beloved artist, featuring a sawblade-like voice at high speeds, German Udo Dirkschneider, and his band, which rightfully bridges the 1980s and the era of Accept, while also reflecting his much more personal and simultaneously refreshing perspective on modern Heavy Metal music. 

The "Dominator," therefore, is more than just a self-descriptive/sarcastic title; it is the twelfth album by U.D.O., following the Musterkiller of 2007, marking a return to the solid, cohesive albums that had characterized them until the end of the previous decade. 

Here, where the band's sound had fallen into a "rut," that phase is now triumphantly overcome! 

With Stefan Kauffman, the legendary drummer from Accept’s golden era, serving as guitarist and producer of the album, along with Igor Gianola, Fitty Weinhold, and Francesco Jovino on drums, the sound may be the familiar "same old," but if every album were like this, we wouldn't complain! 

Among the most representative tracks of the album are: The Bogeyman, Dominator, Black and White, Heavy Metal Heaven, Stillness of Time, and Speed Demon.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: THERION, Symphony Masses Ho Drakon Ho Megas

 

THERION, Symphony Masses Ho Drakon Ho Megas (1993)

Megarock Records

Κάτι φαίνεται ότι αλλάζει.

Τρίτη επίσημη κυκλοφορία των νέων τότε Σουηδών death metalers, "Ο Δράκων ο Μέγας", είναι ένα μείγμα πρωτόγονων, βάναυσων Therion και πιο μελωδικών στοιχείων. Ένα μείγμα που θα γίνει πιο καθαρό μελλοντικά, στο κλασικό Lepaca Kliffoth, έναν χρόνο αργότερα. Το πιο όμορφο από τα τρία αρχικά τους άλμπουμ, με επιρροές τόσο από την κλασική 80s metal όσο και διανθισμένο με ανατολίτικες μελωδίες, ατμοσφαιρικά πλήκτρα, σκοτεινή διάθεση και, βέβαια, με το ήμισυ του τίτλου να είναι "δικός μας" και εννοώ στην ελληνική γλώσσα, στα χνάρια των μεγάλων δασκάλων του αρχηγού κιθαρίστα και ερμηνευτή Christopher Johnson, δηλαδή των Celtic Frost, που είναι πέρα από μουσική επιρροή και στυλιστική για τους Σουηδούς. 

Ο αέρας ανανέωσης που φέρνει ο δίσκος τον κάνει σήμερα να μοιάζει με κάτι σαν ιστορικό σημείο για την μετέπειτα καριέρα τους. Ωστόσο, τα κομμάτια έχουν πλέον την αξία διαμαντιών, καθώς κακώς δεν εκπροσωπείται αυτός ο δίσκος στο σύγχρονο ζωντανό playlist των σημερινών Therion.

Baal Religion, A Black Rose, Dark Princess Naamah, Symphoni Drakonis Inferni, Dawn of Perishness, The Ritual Dance of the Yezidis, Procreation of Eternity και τα δύο τελικά μέρη της σουίτας Ho Drakon Ho Megas είναι πραγματικά αξέχαστα εδώ.

English:

Something seems to be changing.

The third official release from the then Swedish death metallers, "O Drakón o Megas" ("The Great Dragon"), is a mix of primitive, brutal Therion and more melodic elements. A blend that would become clearer over time, culminating in the classic Lepaca Kliffoth, released a year later. It is the most beautiful of their first three albums, with influences ranging from classic 80s metal to oriental melodies, atmospheric keyboards, a dark mood, and, of course, half of the title being "ours"—meaning in Greek—following in the footsteps of the great masters of their lead guitarist and vocalist Christopher Johnson, namely Celtic Frost, which is beyond musical influence and stylistic inspiration for the Swedes. 

The sense of renewal brought by this album makes it today seem like a historic milestone in their subsequent career. However, the tracks are now true gems, yet it's unfortunate that this album is not represented in the modern live playlists of today’s Therion.

"Baal Religion," "A Black Rose," "Dark Princess Naamah," "Symphoni Drakonis Inferni," "Dawn of Perishness," "The Ritual Dance of the Yezidis," "Procreation of Eternity," and the two final parts of the suite "Ho Drakon Ho Megas" are truly unforgettable here.

Τάκης "Ε-Μortal One" Γιώτης!