REVIEW: DORO, Warrior Soul

 

DORO, Warrior Soul (2006)

AFM Records

Άλμπουμ της επιστροφής.

Όχι ότι είχε πάει κάπου το συγκρότημα της  Γερμανίδας "Metal Queen" Doro Pesch, μάλλον ο ήχος του είχε πάει προς πιο μοντέρνα επιρεασμένα απ' το Nu πεδία δράσης με αμφίβολα αποτελέσματα στο προηγούμενο CD του 2002  το Fight! Ο κανόνας "δε πάει καλά πάμε σε ήχους που είχαμε νωρίτερα" σε πλήρη εφαρμογή και εδώ. Οπότε η "ψυχή του πολεμιστή" είναι αυτό το κράμα Heavy & Power Metal με Hard Rock υπόγευση που για να πούμε του στραβού το δίκιο, το προτιμάμε περισσότερο! Το εναρκτήριο You're My Family ενσαρκώνει τα πιστεύω της, πάντα αδέσμευτης Doro που όπως επανηλημενα αναφέρει  σε συνεντεύξεις της, έχει παντρευτεί με το κοινό που την ακολουθεί πιστά. Απ'  το υπόλοιπο CD τα Strangers Yesterday, Haunted Heart, Warrior Soul , Thunderspell, Shine On είναι αυτό που ζητάμε και εδώ μας το δίνει απλόχερα ευτυχώς.

English:

Album of Return.

Not that the band of the German "Metal Queen" Doro Pesch had really gone anywhere; rather, their sound had shifted towards more modern influences drawn from the Nu Metal genre, with questionable results on their previous 2002 CD, *Fight!* The rule of "if things are not going well, let's return to our earlier sounds" is in full effect here. Therefore, "The Soul of the Warrior" is a blend of Heavy and Power Metal with a Hard Rock undertone that, to be fair, we actually prefer! The opening track "You're My Family" embodies her beliefs, always free-spirited Doro who, as she repeatedly states in her interviews, has married her loyal fanbase. From the rest of the album, tracks like "Strangers," "Yesterday," "Haunted Heart," "Warrior Soul," "Thunderspell," and "Shine On" deliver exactly what we seek and thankfully provide it generously.

Τάκης "Ε-Μortal One" Γιώτης!

PENTESILEA ROAD Drops 'Pulse' Ahead of Album

 

The Italian heavy prog band "Pentesilea Road" has released their new single titled "Pulse." This track will be featured on their upcoming second full-length album, set to be released in 2025.

IIII released new album

 

Chilean Doom Metal/Post-Hardcore band IIII releases new album "Nueva Desesperanza", a post-doom quartet with hardcore influences, formed by seasoned musicians from Chile's post-metal, punk, and free jazz scenes.

REVIEW: THERION, SiriuS B

 

THERION, SiriuS B (2004)

Nuclear Blast Records

Αυγή ενός νέου λαμπρού αστεριού.

Μετά το αρκούντως πετυχημένο αλλά δύσκολο συνεκτικά Secret of the Runes και το πρώτο ζωντανά ηχογραφημένο άλμπουμ τους Live in Midgard, οι Therion και βεβαίως το μεγάλο μυαλό που κινεί το συγκρότημα ο κύριος Christofer Johnsson βάζουν μπροστά για ένα απ'τα πιο μεγαλεπήβολα επιχειρήματα τους ως τότε τη κυκλοφορία ενός διπλού άλμπουμ με project name: From Sirius B to Lemuria, με κοινή θεματική τις αρχαίες μυθολογικές αναφορές για τον  προκατακλυσμιαίο ανθρώπινο πολιτισμό/ους και σύνδεση με τα γραπτά του Zachariah Sichin για την υποτιθέμενη εξωγήινη προέλευση των πρώτων πολιτισμών στη Σουμερία.  Τελικά η εμπορική λογική της Nuclear Blast Records επέβαλε να κοπεί σε διπλή κυκλοφορία το project με τον ένα δίσκο αυτό να είναι  η μία κυκλοφορία. και την επόμενη μέρα το άλλο μέρος το CD Lemuria να βγαίνει πανευρωπαϊκά. Ακόμη ψάχνω την αμερικανική ή αυστραλιανή κυκλοφορία που περιέχει και τα δύο CD σα διπλό άλμπουμ, μα εις μάτην! Τώρα  ας μην μπούμε στη λογική αυτή που χαρακτηρίζεται σαν αρπαχτή (Ε, ναι είναι προφανώς!), αυτό το άλμπουμ περιέχει υλικό που από εδώ και πέρα θα λογίζεται σαν ισάξιο με τα κλασικά τους πριν με κομμάτια σαν τα The Blood of Kingu , Son Of the Sun, Dark Venus Persephone, Melek Taus, Call Of Dagon, Sirius B και Voyage of Gurdjieff (The Fourth Way) που μαζί με τα επίσης αρκετά καλά του αδερφού του Lemuria εναλλάσσονται στο ζωντανό playlist των Therion ακόμα.

English:

The Dawn of a New Bright Star

After the sufficiently successful yet challenging cohesive work "Secret of the Runes" and their first live album "Live in Midgard," Therion, led by the brilliant mind of Christofer Johnsson, set in motion one of their most ambitious projects up to that point: the release of a double album titled "From Sirius B to Lemuria." This album draws on ancient mythological references concerning pre-cataclysmic human civilizations and connects to the writings of Zecharia Sitchin regarding the supposed extraterrestrial origins of the first civilizations in Sumer. Ultimately, the commercial reasoning of Nuclear Blast Records dictated that the project be split into two separate releases, with one album being released first, followed by the second part, the CD "Lemuria," released across Europe the next day. I am still searching for the American or Australian edition that contains both CDs as a double album, but to no avail! Now, let’s not delve into the reasoning behind this, which can certainly be seen as a cash grab (well, yes, that’s obvious!). This album contains material that will henceforth be considered on par with their classics, featuring tracks such as "The Blood of Kingu," "Son of the Sun," "Dark Venus Persephone," "Melek Taus," "Call of Dagon," "Sirius B," and "Voyage of Gurdjieff (The Fourth Way)." These songs, together with several other strong tracks from its counterpart "Lemuria," continue to be part of Therion's live playlist to this day.

Τάκης "Ε-Μortal One" Γιώτης!

SLOW BURNING CAR Release Single "The Ghetto And The Sea" from Album "Assumption"

 

"The Ghetto And The Sea" is a song from Slow Burning Car's 2013 album "Assumption." The recent official promo video, set for 2024, features new backing vocals from the current lineup, including Troy Spiropoulos, Kim Clayborne, Zak St. John, Aaron Kusterer, and Tommy Marcel. The band, based in Los Angeles, has released six independent albums, with "The Ghetto And The Sea" being a notable single from "Assumption." The video was produced by The Longest Title Productions and edited by Eliot Guerrin.

Heavy Metal Meets Poe: The Masque of the Red Death

 

Heavy metal music has a rich tradition of drawing inspiration from literary themes, presenting a powerful fusion that often reignites interest in classic texts. Personally, I find that listening to certain albums or songs can motivate me to read specific books, or even reconsider the narratives within them. A prime example of this is Edgar Allan Poe's haunting short story, "The Masque of the Red Death," which has been adapted into songs by notable bands like Stormwitch and Manilla Road. In this article, I will delve into the themes of Poe's tale and how these two bands interpreted it within their music.

A Brief Overview of the Novel

"The Masque of the Red Death," first published in 1842, centers around Prince Prospero, who seeks refuge from a deadly plague known as the Red Death by hiding in his grand abbey. He throws a lavish masquerade ball to distract himself and his guests from the grim reality outside, but ultimately the malevolent personification of the Red Death infiltrates the celebration, leading to dire consequences. Poe's narrative serves as a profound exploration of themes such as mortality, the folly of attempting to escape death, and the transient nature of wealth and social standing.

In my view, one of the story's most compelling messages lies in its critique of materialism and social hierarchy. Poe illustrates that, in the face of inevitable death, all distinctions of class and wealth become meaningless. Prospero’s grandiose efforts to evade his fate through isolation serve as a stark reminder that death, in its certainty, eradicates any illusion of security afforded by riches.

Historical Context

Several historical elements likely influenced Poe as he crafted "The Masque of the Red Death." The Bubonic Plague, which devastated Europe in the 14th century, shares characteristics with the Red Death, such as its rapid symptoms and high mortality rate. Additionally, Poe's personal experiences with tuberculosis, which claimed the lives of loved ones, may have inspired the story's chilling portrayal of a deadly affliction. Furthermore, the elaborate masquerade balls of the era provided a fitting backdrop for Poe’s exploration of escapism and the illusion of safety that wealth can create.

Musical Adaptations

Both STORMWITCH and MANILLA ROAD adeptly adapted Poe's themes into their songs, each capturing different facets of the narrative while maintaining the original's haunting spirit.

 STORMWITCH: "Masque of the Red Death"

German heavy/power metal band Stormwitch featured their rendition of "Masque of the Red Death" on their 1985 album "Tales of Terror". Their version encapsulates Poe's essence through dramatic lyrics that emphasize Prince Prospero's futile attempts to shield himself and his guests from the plague. Lines reflecting the opulence of the masquerade, such as "there's just beauty, there is wine," highlight the revelers’ denial of the suffering outside.

Stormwitch vividly conveys the intrusion of the Red Death with lines describing a mysterious figure adorned with a masque that symbolizes pestilence. The use of the "seven chambers" alludes directly to Poe's original structure, representing different stages of life as they ultimately lead to the room of death. The striking of the clock at midnight acts as a harbinger of doom, marking the moment when the revelers confront their grim reality. The closing lines reinforce death's dominion, echoing the story's core message that no one can evade their fate.

MANILLA ROAD: "Masque of the Red Death"

Manilla Road's interpretation, found on their 1987 album "Mystification", also offers a powerful take on Poe's narrative. Their lyrics begin by illustrating the omnipresence of the plague creeping outside the walls, emphasizing the futility of Prospero’s seclusion. The chorus reinforces the idea that despite the apparent safety of the palace, death inevitably infiltrates the masquerade.

The imagery in Manilla Road’s lyrics, particularly the climactic moment where Prospero confronts the figure of death, underscores the story's themes: the inevitability of mortality and the downfall of those who attempt to escape their fate. Descriptions of the figure moving silently through the palace resonate with Poe's symbolic use of space, culminating in the unmasking that reveals death itself.

Comparative Analysis

Both songs share several common elements while exhibiting distinct interpretations. They echo the inescapability of the Red Death and highlight the futile isolation efforts by Prince Prospero. The decadent masquerade serves as a central motif, with both bands articulating the revelers' indulgence in pleasure amidst an external crisis.

Differences arise in their lyrical focus and descriptive styles. Stormwitch’s rendition leans into the collective experience of the partygoers, while Manilla Road emphasizes Prospero's individual struggle against death. Additionally, the descriptive imagery differs: Stormwitch captures the feverish atmosphere of the masquerade, while Manilla Road focuses on dramatic confrontations and moments of revelation.

Conclusion

In conclusion, both Stormwitch and Manilla Road's songs, titled "Masque of the Red Death," successfully translate the haunting atmosphere of Edgar Allan Poe's original tale into the realm of heavy metal. They preserve the core themes of the inevitability of death, the false sense of security offered by material wealth, and the ultimate futility of escape. Through their unique narratives and lyrical styles, these bands not only pay homage to Poe but also contribute to the enduring legacy of literary influence within heavy metal music. Listening to these adaptations encourages a deeper appreciation of both the source material and the powerful artistic expressions that it inspires.

Nick Parastatidis

REVIEW: CATHEDRAL, The Carnival Bizarre

 

CATHEDRAL, The Carnival Bizarre (1995)

Earache Records

Άξιοι συνεχιστές.

Οι Βρετανοί αυτοί, μεγαλωμένοι με Black Sabbath κι όλα όσα ήρθαν μετά, ήταν πολύ πιθανό ότι άντλησαν έμπνευση...κι όχι μόνο από τους πατέρες του σκληρού ήχου. Αυτό είναι ίσως το πιο σημαντικό αλλά και γνωστό άλμπουμ τους. Ο Lee Dorrian, ο αρχικός τραγουδιστής των grindcore πρωτεργατών  Napalm Death μοντάρισε αυτό το σχήμα στις αρχές της δεκαετίας του 90 για να κάνει το γούστο του και τη λατρεία του για το Doom ιδίωμα αλλά και όλη τη σκηνή του 70s Rock. Μαζί εδώ οι Leo Smee, Gaz Jennings, Brian Dixon και μέσα, στον ύμνο τους Utopian Blaster καλεσμένος ο ίδιος ο δημιουργός, ο κύριος Tony Iommi στη κιθάρα! Ο έτερος ύμνος που εμένα προσωπικά μου τους έμαθε μέσω του σχετικού βίντεο κλιπ, Hopkins (The Witchfinder General) κλέβει τη παράσταση. Με τα Night of the Seagulls, Carnival Bizare, Fangalistic Supergoria, Blue Light, Palace of Fallen Majesty να συμπληρώνουν τα καλύτερα του ίσως καλύτερου δίσκου των Groovy Doom Metalers αυτών.

English:

Worthy successors.

These Brits, raised on Black Sabbath and everything that came after, were very likely to have drawn inspiration... and not just from the fathers of heavy sound. This is perhaps their most important and well-known album. Lee Dorrian, the original vocalist of grindcore pioneers Napalm Death, formed this band in the early 90s to pursue his own taste and passion for the Doom genre, as well as the entire 70s Rock scene. Joining him here are Leo Smee, Gaz Jennings, and Brian Dixon, and featured on their hymn "Utopian Blaster" is none other than the legendary Tony Iommi himself on guitar! Another hymn that personally introduced me to the band through its music video, "Hopkins (The Witchfinder General)", steals the show. With "Night of the Seagulls", "Carnival Bizarre", "Fangalistic Supergoria", "Blue Light", and "Palace of Fallen Majesty" rounding out the best of perhaps their best disc, these Groovy Doom Metalers deliver a standout performance."

Τάκης "Ε-Μortal One" Γιώτης!

ALL CONSUMING FIRE released new album

 

All Consuming Fire, the American Blackened Sludge/Doom Metal project by Andrew Kobal from Sequim, Washington, has released their new album, “Vol. 3:…The Depths.” Recorded, mixed, and mastered at Serpentine Palace Studios, this latest installment showcases Andrew’s blend of black, sludge, doom, and death metal, infused with a touch of humor. With three albums under his belt and a fourth on the way, All Consuming Fire embodies raw energy and creative chaos, reflecting Andrew's unique vision and passion for music. "The music is an extension of energy," he quips, capturing the mischievous spirit of his sound.

VOIDMONGER released debut album

 

Czech Industrial Metal band Voidmonger has released their debut album, "Lies of Aquarius," recorded and mixed by Otus Hobst and mastered by Jan Zborovjan. Based in Prague, this audiovisual project combines music, movement, fire shows, and storytelling, with a striking steel tower stage called Juggernaut. The concept album explores the Voidmonger universe and offers a cosmic critique of humanity. It is available on all digital platforms and as a limited vinyl edition.

REVIEW: LIZZY BORDEN, Appointment With Death

 

LIZZY BORDEN, Appointment With Death (2007)

Metal Blade Records

Μεταλλικό ηλεκτροσόκ.

Αργεί αλλά βγάζει καλό υλικό ο "shock metaler" που στη δεκαετία του 89 ήταν ο νέος Alice Cooper, αυτό τουλάχιστον σαν στυλ γιατί τότε το είχε πάει σε πιο horror μονοπάτια. Μετά το ανεβαστικό Deal With The Devil που τον έβαλε ξανά στα πράγματα, σε πολύ πιο εκσυγχρονισμένο όμως μουσικό πλαίσιο, αυτό εδώ αποτελείωσε το φάση. U.S. Power Metal αρκετά σκοτεινό και πάλι με λίγο industrial αισθητική και με πολύ καλή παραγωγή. Παρέα με τον Lizzy Borden που πάντα στέκεται στο μικρόφωνο οι Ira Black κιθάρα, Marten Anderson μπάσο, Joey Scott ντραμς και το νέο image που έχει το συγκρότημα πλησιάζει πολύ στους Misfits στις φωτογραφίες του CD! Στα έντεκα κομμάτια του βρίσκεις και γνώριμα στοιχεία που είχαν στα τρία πρώτα άλμπουμ τους. Ξεχωρίζουν τα Appointment With Death, Live Forever, Bloody Tears, The Death of Love, Tomorrow Never Comes, Under Your Skin, Something's Crawling, (We Are) The Only One's.

English:

Metal Electric Shock. 

It may take time, but the "shock metaler," who in the 1980s was the new Alice Cooper—at least in terms of style as he leaned more towards horror themes back then—has produced some good material. Following the uplifting "Deal With The Devil," which brought him back into the spotlight in a much more modern musical context, this album wraps up that phase. It's U.S. Power Metal that's quite dark, featuring a bit of industrial aesthetic and boasting a very good production quality. Alongside Lizzy Borden, who always takes to the microphone, are Ira Black on guitar, Marten Anderson on bass, and Joey Scott on drums. The band's new image bears a striking resemblance to the Misfits in the CD photos! In the eleven tracks, you can find familiar elements reminiscent of their first three albums. Standout tracks include "Appointment With Death," "Live Forever," "Bloody Tears," "The Death of Love," "Tomorrow Never Comes," "Under Your Skin," and "(We Are) The Only Ones."

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: WIZARD – Bound By Metal

 

WIZARD – Bound By Metal

B.O. Records/ Limb Music

This is the third studio album by WIZARD, which established them in my mind as a notable presence in the realm of epic power metal. Since its release in 1999, I have followed every creative step of the band.

What these gentlemen do particularly well here is deliver 11 dynamic metal compositions inspired by Norse mythology, the metal lifestyle, and of course, heroic fantasy. The passion and inspiration are evident in all the songs on the album, where there is nothing pretentious or excessive beyond the genuine love for what they do.

And what exactly do they do? They blend the German heavy and power metal sound that we’ve come to know from bands like ACCEPT, GRAVE DIGGER, etc., and merge it with epic MANOWAR influences.

In my personal opinion, the band has found its own style here, one that it continues to faithfully follow to this day. The essence, however, is that although 26 years have passed since its release in 1999, I still listen to it with the same enthusiasm I had the first time.

As I reflect on this album, I am reminded of the significant impact that Wizard had on the power metal scene with "Bound by Metal." One of the pioneering bands to incorporate Manowar's epic, galloping style, Wizard made a lasting impression with their consistency and quality, surpassing even Manowar's later efforts. While Manowar was releasing underwhelming albums like "The Triumph of Steel" and "Louder Than Hell," Wizard demonstrated their mastery, achieving a level of quality that Manowar could only aspire to.

"Bound by Metal" is a true masterpiece, where everything falls perfectly into place. The song lengths are just right, avoiding the pitfalls of being overly long and bloated. The album expertly utilizes a few simple riffs, riding them until just before they wear out their welcome—a skill that Manowar could rarely manage. The riffs are heavy and atmospheric, delivering both crushing savagery and a sense of grandeur. The production is crisp, featuring a crunchy guitar tone and well-balanced vocals.

Sven D'Anna's vocals are a standout, almost rivaling Eric Adams in quality. His proud, soaring tenor can shift into vicious growls or ascendant shrieks, reminiscent of vocalists from the Greek and Italian epic metal scenes, yet more charismatic and talented. The art of repetitive riffing is masterfully executed here; the riffs are so compelling that they never feel overplayed. The sparse but excellent soloing reaches Blind Guardian levels of brilliance.

The overall quality of the album is undeniable. The standout tracks include "Dark Wings," "Mighty Wizard," "A Nice Day to Die," and "Believe in Metal."

In this context, Wizard's third album takes its rightful place alongside "Bound by Metal" as a testament to the band's skill and dedication to the heavy/power metal genre. If you're a fan of Manowar or power metal in general, this album is a must-listen. It does not disappoint, and "Bound by Metal" remains a classic metal album that deserves a spot in your collection. It would be nice to see it released on vinyl at some point, so the timeless tracks like "Hammer, Bow, Axe And Sword," "Dark Wings," "Mighty Wizard," "Unicorn" (which has a QUEEN aesthetic in its opening for me), etc., can be savored once again.

Nick Parastatidis

REVIEW: SATAN, Life Sentence

 

SATAN, Life Sentence (2013)

Listenable Records

Καταδικασμένοι να επανέλθουν.

Οι Άγγλοι λοιπόν αυτοί που όπως είναι γνωστό ήταν παρόντες την εποχή που το NWOBHM ήταν ακόμα μαζί μας κι είχαν κυκλοφορήσει το Court in the Act θρυλικό ντεμπούτο τους, είχαν εξαφανιστεί αργότερα αφού πρώτα είχαν μεταλλαχθεί σαν όνομα σε Pariah και κάπου στις αρχές της δεύτερης δεκαετίας του 21ου αιώνα ξαφνικά, να το άλμπουμ της επιστροφής τους. Και τί επιστροφή αλλά και τί άλμπουμ! Σκοτεινό, νευρικό και πάντα μελωδικό Heavy Metal, με όλα εκείνα τα στοιχεία που ξέρουμε απ' το παρελθόν τους συν τη μεγάλη όρεξη για κάτι καλύτερο και η πεντάδα των Brian Ross (επίσης και των ετέρων NWOBHM θεών Blitzkrieg) φωνή, οι γνωστοί Steve Ramsey & Russ Tippins από Skyclad και Tanith σε κιθάρες, Graeme English μπάσο (Skyclad κι αυτός) κι ο σκοτεινός ντράμερ τους Sean Taylor δίνουν πάντα τα μέγιστα στα κομμάτια του δίσκου κι αξίζουν πάντα του σεβασμού αλλά κυρίως της αγάπης μας.  Και με ένα ακόμη άλμπουμ σαν "συλλογή με τα καλύτερα" όπως είναι σχεδόν και τα επόμενα τρία άλμπουμ τους έκτοτε, να περιέχει πλέον κλασικό υλικό σαν τα Time To Die, Twenty Twenty Five, Cenotaph, Siege Mentality, Tears of Blood, τον ύμνο Testimony, τα Life Sentence, Another Universe και Personal Demons να σκορπίζουν τη χαρά και το ανελέητο κοπάνημα των κεφαλιών μας στα live τους.

English:

Condemned to Return.

These Englishmen, who were present during the time when NWOBHM was still thriving and had released their legendary debut "Court in the Act", later vanished after transforming their name to Pariah. Then, suddenly, in the early second decade of the 21st century, they made their comeback with a new album. And what a comeback it was, and what an album! Dark, edgy, and always melodic Heavy Metal, filled with all those elements we know from their past along with a strong desire for something better. The quintet features Brian Ross (also of the other NWOBHM gods Blitzkrieg) on vocals, the well-known Steve Ramsey & Russ Tippins on guitars from Skyclad and Tanith, Graeme English on bass (also from Skyclad), and their dark drummer Sean Taylor, who all give their utmost in the tracks of the album and deserve our respect and, above all, our love.

With another album that serves as a "greatest hits" collection, like their next three albums since then, it now includes classic material such as "Time To Die," "Twenty Twenty-Five," "Cenotaph," "Siege Mentality," "Tears of Blood," the anthem "Testimony," as well as "Life Sentence," "Another Universe," and "Personal Demons" that fill us with joy and the relentless pounding of our heads at their live shows.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: ANVIL, HARD 'N' HEAVY

 

ANVIL, HARD 'N' HEAVY (1981)

Attic Records

Αυτό που λέει ο τίτλος και μόνο.

Εδώ είμαστε, ο όμορφος και αραιοκατοικημένος Καναδάς, πατρίδα των γνωστών prog θεόυληδων Rush δεν είχε ως τότε πολλά άλλα από την σκληρή, ηλεκτρική μουσική να δείξει. Οι τέσσερις νέοι εκείνη την εποχή Steve "Lips" Kudlow, Ian Dickson, Dave Allison, Robb Reiner είναι η πρώτη μορφή του συγκροτήματος με σήμα το ατσάλινο αμώνι και με αποσκευές το πολύ Hard Rock αλλά και το New Wave Of British Heavy Metal που ήδη "απέναντι ανατολικά" έχει φτάσει στην ακμή του, γράφουν το πρώτο τους άλμπουμ. Ο θεσμός του τίτλου των άλμπουμ τους που θα αποτελούνται πάντα από τρεις λέξεις με πρώτη και τρίτη να ξεκινάνε απ'το ίδιο γράμμα έχει εδώ την ιστορική αφετηρία του. Για μένα είναι οι Καναδοί Raven (ή οι Raven είναι οι Άγγλοι Anvil;;;) αφού οι ομοιότητες μουσικά ανάμεσα τους είναι πάρα πολλές. Εδώ πάντως πρώιμο Heavy Metal με έντονες Rock καταβολές και τραγούδια με τίτλους School Love, τον φόρο τιμής στους Αυστραλούς AC/DC που το όνομα  τους γίνεται τίτλος στο track 2 του CD, I Want You Both (With Me), Bedroom Game, Oooh Bay, τη διασκευή στο Paint it Black των Rolling Stones, Oh Jane, Hot Child και Bondage θα μας προϊδεάσουν για τα καλύτερα που έρχονται.

English Text:

Just what the title says.

 

Here we are, the beautiful and sparsely populated Canada, home to the famous prog legends Rush, had little else to showcase at that time beyond the hard, electric music. The four young musicians back then—Steve "Lips" Kudlow, Ian Dickson, Dave Allison, and Robb Reiner—formed the first lineup of the band, which was characterized by a steel anvil logo and heavy baggage of Hard Rock, as well as the New Wave Of British Heavy Metal, which had already reached its peak "across the eastern sea." They wrote their first album. The tradition of naming their albums with three words, the first and third starting with the same letter, finds its historical origin here. For me, these are the Canadian Raven (or are the Ravens the English Anvil???) since the musical similarities between them are numerous. Here, we have early Heavy Metal with strong Rock roots, featuring songs like "School Love," a tribute to the Australian AC/DC, whose name becomes the title of track 2 on the CD; "I Want You Both (With Me)," "Bedroom Game," "Oooh Bay," a cover of "Paint It Black" by the Rolling Stones, "Oh Jane," "Hot Child," and "Bondage," which will hint at the better things to come.

Τάκης "Ε-Μortal One" Γιώτης!

NEW music video "Black Hearts" by IRREVERENCE

 

The band IRREVERENCE was founded in 1995 by Riccardo Paioro, who found the right partner in Davide Firinu to kickstart the project. The group took advantage of the challenging period brought on by the pandemic and the subsequent lack of live performances to compose new music. This effort culminated in the band’s eleventh official release: "FORSAKEN."

Recorded at ADSR Studios, the new full-length album features nine tracks and can be described as a further creative exploration for the Italian quartet. The album was released on April 1, 2024, across all digital platforms and streaming services, as well as in digipack format. It will be supported by a European tour in the second half of April 2024.