Doom metal giants KATLA delve into heartache and
resilience with their new single, "Dead Lover," the second track from
their debut album, *Scandinavian Pain*, scheduled for release on March 21,
2025, via Napalm Records.
With years of refining their colossal sound, KATLA
delivers an unyielding mix of raw emotion and gritty riffs, marking their
evolution from performing at Copenhell Festival to becoming a standout in
Denmark’s heavy music scene.
"Dead Lover" pulsates with energy and
powerful imagery, encouraging listeners to confront their struggles. Reflecting
on the track's creation, the band states: “It came together in a day, perfectly
aligning with our no-nonsense approach. The lyrics emerged as Rasmus processed
dark thoughts, aiming to offer an uplifting message about overcoming
challenges.”
In anticipation of their forthcoming studio album,
"Ritual Supremacy," the legendary heavy metal band SACRED STEEL has
unveiled a compelling lyric video for their latest single, "The Watcher
Infernal." Vocalist Gerrit P. Mutz shares insights on the new release,
stating: “The striking lyric video speaks for itself. The lyrics are presented
from the viewpoint of Lucifer, often depicted as the scapegoat for all the evil
in the world. He’s tired of being the sole target of blame and instead directs
that finger at humanity. Frankly, I think he makes a valid point! Musically,
this track differs from the title track we've already introduced. It's more in
line with a Black Sabbath vibe—less aggressive but perhaps a bit more
frustrated, haha.”
Sweden-based metal collective Curse of Cain has
garnered attention this year with their latest single, "Feel The
Pain." This track serves as the first glimpse into their highly
anticipated sophomore studio album, which will follow their critically
acclaimed debut released in 2023. The band has now unveiled a new song titled
"Candy Cain Murder," offering another preview of their yet untitled
upcoming project, scheduled for release in autumn 2025 via ROAR.
According to the band, "This song was our first
glimpse into the world we were creating." They expressed that playing it
live before recording added an element of raw energy and spontaneity, making
the experience feel "wild and untamed—like we were channeling something
bigger than ourselves." With their unique sound and dynamic performances,
Curse of Cain continues to expand the boundaries of the metal genre, keeping
fans eager for their next release.
Cyprus-based Melodic Death Metal band Ka'aper has
released their new single, "The Darkest of Times," from their
upcoming debut album. Formed in April 2024, Ka'aper blends crushing riffs and
atmospheric arrangements with influences from ancient Egyptian mythology. The
band features Evgeny Pcheliakov (vocals), Timur Glushan (guitar), Igor Kurzin
(bass), and Alexey Boychuk (drums), creating deep, evocative soundscapes. Their
debut album is set for release in 2025, inviting fans to scream, feel, and
confront their fears through their powerful music.
Born in the streets of São Paulo, Brazil, BreaKdowN
later moved to Ireland and is now based in Germany. Formed in 1998, they
quickly became a fixture in the diverse local music scene, spanning punk to
tech death.
Their journey began with a demo titled
"Disgrace" and a live cassette called "Live After Thrash,"
which caught the attention of Unsilent Records, leading to their first
full-length album, "Time To Kill," in 2007. This eight-track album
garnered global underground acclaim, establishing BreaKdowN as a prominent name
in the scene.
Their latest EP, "Divide and Konquer,"
showcases uncompromising extreme metal infused with melody, drawing influences
from DEATH, SEPULTURA, KREATOR, and the New Wave of British Heavy Metal. After
years of silence, they collaborated with Andy Classen at Stage One Studio to
deliver four high-energy tracks that cater to fans of Death, Thrash, and Heavy
Metal.
Rock Hard magazine praised them, stating, “Equally
impressive as the cover and title is the trio's sound… with the power of
old-school metal, incredible melodic passages, and well-crafted solos.”
BreaKdowN continues to push boundaries, reaffirming their place in the metal
world.
Η
ιστορία τους για μένα σταματάει το 2003. Το ομώνυμο άλμπουμ τους μετά
πραγματικά με απογοήτευσε όπως και εκατομμύρια φίλων τους. Στη συνέχεια ο
κιθαρίστας και βασικός συνθέτης απ' το 1985 Timo Tolki και παλιότερο μέλος τους
(αλλά όχι ιδρυτικό) χαμένος σε ένα ποτάμι ουσιών, ποτού και άσχημων
περιστατικών (πλακώθηκαν στις μάπες για να μη τα ωραιοποιούμε) απολύεται/φεύγει
και μετά το απαραίτητο δικαστικό χάος, χάνει και τα δικαιώματα στο συγκρότημα.
Ήδη εκτόςνυμφώνος ήταν κι ο κλασικός
μπασίστας τους ως τότε Jari Kainulainen. Οι εναπομείναντες Timo Kotipelto φωνή,
Jens Johansson πλήκτρα, Jorg Michael ντραμς βρίσκουν τους νέους μουσικούς
Matias Kupiainen, κιθάρα και τον μπασίστα Lauri Porra και το 2009 βγάζουν το
Polaris ένα συμπαθητικό άλμπουμ στο ήδηγνωστό στυλ τους του νεοκλασικού Εuro-Power Metal. Η συνέχεια δόθηκε με
αυτό εδώ απ' την ίδια σύνθεση. Ενώ θα έπρεπε να αναφέρουμε ότι ο αέρας
ανανέωσης είναι κάτι παρηγορο εντούτοις, κάτι έχει κι αυτό (και το Polaris) που
δε με κάνουν προσωπικά να στρέφομαι σε αυτή τη πιο πρόσφατη εποχή των Strato.
Ίσως να παραμένω ένας κολλημένος στις δύο πρώτες εποχές τους όταν και τους
έμαθα από το Dreamscape ως το Destiny.
English:
In the eternal struggle for something constant.
Their story for me stops in 2003. Their self-titled
album after that truly disappointed me, as well as millions of their fans.
Following that, the guitarist and main songwriter since 1985, Timo Tolkki, who
was an earlier member (but not a founding one), became lost in a river of
substances, alcohol, and unfortunate incidents (to put it mildly, they got into
fights), was dismissed/left, and after the necessary legal chaos, also lost his
rights to the band. By then, their long-time bassist, Jari Kainulainen, was
already out of the picture. The remaining members—Timo Kotipelto (vocals), Jens
Johansson (keyboards), and Jorg Michael (drums)—found new musicians, Matias
Kupiainen (guitar) and bassist Lauri Porra, and in 2009 released “Polaris”, a
pleasant album within their already established style of neoclassical
Euro-Power Metal. This album continues the trend set by the same lineup. While
it should be noted that there's a refreshing air of renewal, I still find
something in this newer era (as well as in “Polaris”) that doesn't personally
pull me into it. Perhaps I remain stuck in their first two eras, when I
discovered them, from “Dreamscape” to “Destiny”.
Founded in 1979, Vicious Rumors released two demos in
1982 and 1983, aptly titled "Demo I" and "Demo II." On May
25, 1985, they launched their debut album, "Soldiers of the Night."
This record is essential for your collection and should be among your top
choices if you love U.S. heavy/power metal or the genre in general, regardless
of its country of origin.
Before I proceed with a brief overview of this
release, it's important to note that it features Gary St. Pierre on vocals—the
only studio album with his participation. St. Pierre was also the singer for
Marty Friedman’s HAWAII on their debut "One Nation Underground,"
where he played bass as well. Additionally, the album showcases the unique
presence of the talented guitarist and virtuoso Vinnie Moore, who leaves a
hallmark of high technical skill on this record.
The music of Vicious Rumors on "Soldiers of the
Night" is an excellent blend of speed, power, and progressive metal. With
impressive vocal performances from Gary St. Pierre and enchanting guitar
melodies from Geoff Thorpe and Vinnie Moore, the album highlights exceptional
technical proficiency and energy. The atmosphere ranges from dark, emotionally
charged moments to commanding riffs, all without fillers, maintaining a
consistent quality. The production stands out for its time, offering a raw yet
clear and dynamic listening experience that enhances the melodic elements of
the compositions. "Soldiers of the Night" is a masterpiece that will
excite heavy metal lovers and confirms the band's unique place in the metal
music scene.
Finally, I would like to inform you that I have the
2019 reissue of this album from Eclipse Records, but upon further research, I
discovered it is not an official release. The advantage of this release is that
it includes bonus tracks like "Ultimate Death," which was featured in
the 1983 compilation "US Metal III," and "One Way Ticket,"
included in the 1984 compilation "US Metal IV."
Οι
Άγγλοι Heavy Rockers καλώς ή κακώς είναι γνωστοί για τη μεσαία εποχή '72-'78
όπου βέβαια είχαν τον Michael Schenker στη κιθάρα. Τα 80s ήρθαν ο Μιχαλάκης
έφυγε, και το σχήμα φτάνει στο ενδέκατο άλμπουμ του, με ελλειπή σύνθεση χωρίς
μπασίστα (ο κιθαρίστας Paul Chapman έγραψε τα μέρη του μπάσου στην ηχογράφηση)
οι Phil Mogg φωνή,Andy Parker πλήκτρα,
Neil Carter ντραμς συνεχίζουν και εδώ προφανώς όπως και οι υπόλοιποι απ' τα 70s
, (δείτε τη πορεία των Judas Priest, Thin Lizzy, Motörhead) προχωρούν σε πιο
Heavy Metal μουσικές φόρμες ήδη απ' το 1981, ακούγοντας το πρόσταγμα των
καιρών. Κατάτα άλλα το εξώφυλλο πάντα
μου θυμίζει τους Rush με τα παρόμοιας τεχνοτροπίας εξώφυλλα στους δίσκους της
ίδιας περιόδου και αν δε κάνω λάθος είναι της γνωστής εταιρείας γραφικών
Hypgnosis. Τα κομμάτια Blinded By A Lie, Diesel in the Dust, When it's Τime to
Rock, Call My Name, All Over You, No Getaway είναι αξιοπρεπείς προσπάθειες σε
ένα αξιοπρεπές άλμπουμ ενός αξιοπρεπούς συγκροτήματος. Στη περιοδεία τότε είχαν
έρθει για πρώτη φορά Ελλάδα σε μια συναυλία επεισοδιακή που....δεν ολοκληρώθηκε
ποτέ.
English:
Amidst decay, immortality prevailed.
The English heavy rockers are, for better or worse,
best known for their middle period from '72 to '78 when Michael Schenker was on
guitar. The '80s arrived, Schenker left, and the band reached their eleventh
album, now without a bassist (guitarist Paul Chapman recorded the bass parts).
Phil Mogg on vocals, Andy Parker on keyboards, and Neil Carter on drums
continue here, aligning themselves with many others from the '70s (just look at
the trajectory of Judas Priest, Thin Lizzy, Motörhead) as they shift toward a
heavier metal sound, responding to the demands of the times starting back in
1981.
Additionally, the album cover always reminds me of
Rush, with similar artistic styles on other albums from that era, and if I’m
not mistaken, it was designed by the well-known design company Hypgnosis. The
tracks "Blinded By A Lie," "Diesel in the Dust," "When
It's Time to Rock," "Call My Name," "All Over You,"
and "No Getaway" are respectable efforts in what can be described as
a decent album from an accomplished band. During their tour, they came to
Greece for the first time in what turned out to be a tumultuous concert that…
never actually completed.
Italian Power/Symphonic Metal band Detached has made a
striking debut with their self-titled album, released via Power Blast Records.
The album showcases the band’s artistic vision and was expertly recorded and
mixed by Dario Casillo, who also handled the mastering at Cambusa Wave Studios.
Formed in 2021 in Modena, Detached brings together the
talents of bassist Federico Tioli and vocalist Riccardo Tioli, alongside
guitarist Tiziano Campagnoli and keyboardist Valerio Notari. Together, they
create a captivating blend of theatrical and orchestral metal, rich in deep
storytelling and emotional depth. Their music marries classical elements with
progressive rock influences, resulting in an epic and immersive soundscape.
With powerful arrangements and dark, expressive vocals, Detached is set to carve
their niche in the world of symphonic metal.
Among all the thematic bands in the heavy/power metal
scene, such as SABATON and POWERWOLF, the one that resonates with me the most
is WARKINGS, both for their music and their subject matter. I have a deep love
for ancient and medieval European history, and these guys delve into exactly
those themes. I believe what they do is incredibly positive, as they can
inspire some of their listeners to engage with the most important science of
humanity: history.
The band consists of experienced musicians within the
heavy/power metal genre, with each member portraying a historical warrior
persona. On vocals, we have Georg Neuhauser, who embodies a Roman Tribune and
is known from bands like FALLEN SANCTUARY and SERENITY. On guitar is Markus
Pohl, who plays a crusader and is recognized from MYSTIC PROPHECY. On drums, we
have Steffen Theurer, portraying a Spartan, known for his work with SOULDRINKER
and WATCH ME BLEED. Finally, on bass is Chris Rodens, who plays a Viking and is
also known from SOULDRINKER and WATCH ME BLEED. In short, we are talking about
a quartet of seasoned musicians.
Among all their releases so far, I want to highlight
their album titled “Revolution,” which was released in August 2021, because I
believe it represents the evolution of the band’s music in the best possible
way and gives the clearest picture of what they aim to achieve musically. They
essentially play European power metal, predominantly influenced by the German
sound, while also infusing it with good doses of Viking metal akin to the style
of AMON AMARTH. There’s also an American touch in their sound, primarily
stemming from Georg Neuhauser’s fantastic voice, which personally reminds me of
KAMELOT during the Roy Khan era, alongside some musical references to MANOWAR.
Beyond that, what makes their music even more
appealing is the incorporation of various Mediterranean, Greek, and Oriental
melodies, as well as the folk elements of Western Europe. In the song “Sparta,
Pt. II,” they impressively manage to blend bouzouki with heavy metal sounds.
Furthermore, in addition to this outstanding composition, the album offers many
memorable moments to the listener, such as in the tracks "Fight" (the
melody in the vocal lines of the chorus reminds me of "Bella Ciao"),
"Spartacus," "Ave Roma," "Ragnar," and "By
the Blade."
Moreover, each song lyrically refers to a specific
historical period, adding an educational dimension to their work, which I
consider a positive aspect of this entire endeavor.
Overall, if you love European power metal with strong
doses of Mediterranean melodies, WARKINGS are sure to satisfy you. Personally,
I enjoy this album a lot, and I find it difficult to understand the many
negative reviews it has received on various websites and publications focused
on metal music.
Έχοντας
μπει στο δρόμο του NWOBHM που ακόμα ο αντίκτυπος του στην ηπειρωτική Ευρώπη
συνεχίζεται αμείωτος, οι Ελβετοί εδώ έπιασαν το νόημα και στο συγκεκριμένο
άλμπουμ του δίνουν και καταλαβαίνει. Οι πιο Rock στιγμές που πάντα θα
βρίσκονται στη μουσική τους έχουν να μοιραστούν το χρόνο στον δίσκο με τις πιο
Metal, σε κομμάτια σαν τα Easy Rocker, Smelly Nelly, Mr. 69, Burning Bones,
Rock City και Mad Racket που πλέον έχουν ακουμπήσει τη φλέβα των 80s κι έπεται
και συνέχεια. Ο πειραματισμός για αυτό το σχήμα που καλώς ονομάστηκε κλώνος των
AC/DC σε μίξη με τους Scorpions, φαίνεται εδώ απ' προσπάθεια να είναι μέσα στα
πράγματα, κάτι που μερικές φορές θα τους αποβεί σε κακό, όπως φάνηκε πέντε
χρόνια μετά, αλλά ακόμη έχουν καιρό να βγάλουν ακόμη τρία άλμπουμ αξία να
βρίσκονται στον κατάλογο τους. Το Hardware ουσιαστικά είναι η συνέχεια του
Metal Randez-Vous άλμπουμ που προηγήθηκε. Μια τίμια συνέχεια!
English:
The situation is getting heavier.
Having ventured down the path of NWOBHM, whose impact
continues to resonate across mainland Europe, the Swiss band has truly captured
the essence of this movement in their latest album. They deliver a powerful
experience by blending their rock-infused moments with heavier metal elements
in tracks such as "Easy Rocker," "Smelly Nelly," "Mr.
69," "Burning Bones," "Rock City," and "Mad
Racket," all of which beautifully channel the vibe of the '80s—and there's
more to come.
Their experimentation, often leading to comparisons as
an AC/DC clone mixed with the Scorpions, showcases their desire to stay
relevant. While this ambition sometimes backfires—as evidenced five years
later—they still have enough time left to produce three more albums worthy of a
place in their discography. "Hardware" essentially serves as a sequel
to the previous album, "Metal Randez-Vous," and stands as a
commendable follow-up!
The Italian metal band SECRET RULE, who released their
latest album "Uninverse" in 2023, is entering a new chapter. Drummer
Sebastiano Dolzani and bassist Nicola Pedron have officially parted ways with
the band. However, founding members Angela Di Vincenzo (vocals) and Andy
Menario (guitar) are excited to introduce their new lineup.
In their official announcement, the band stated:
"...Today, we are thrilled to welcome back Andrea
Miazzetto (Lunarsea) as our new drummer! Andrea was part of Secret Rule's
journey in the past, and we couldn't be happier to have him back behind the
kit! Rulers, it's time to welcome Sophia Basili as the new bassist of Secret
Rule! Sophia brings strength, energy, and killer grooves to the band, and we
can't wait for you to hear her in action! Get ready for an explosive new
chapter!..."
As Secret Rule prepares for their tenth anniversary,
they are already working hard on their tenth studio album. Fans can also catch
the new lineup live at major festivals this summer, including Masters of Rock,
Rock Imperium Festival, and Laurus Nobilis, with more dates to be announced
soon!
Napalm Records has signed Japanese guitar virtuoso
RYOJI SHINOMOTO, known for his work with Samurai Metal band RYUJIN. His debut
solo album, “Children of Bushido”, featuring a collection of Children of Bodom
covers, will be released digitally on April 8, 2025, coinciding with what would
have been the 46th birthday of late metal legend Alexi Laiho. Hailing from
Hokkaido, Shinomoto integrates western metal with traditional Japanese
instruments, paying homage to Laiho's legacy.
His first single, a reimagined version of “Lake
Bodom,” showcases his unique Samurai Metal twist, combining shamisen and taiko
drums with a symphonic sound. RYOJI expresses his deep admiration for Laiho,
noting how the guitarist influenced his musical journey. The album, a blend of
aggression and melodic beauty, transforms classic tracks into a breathtaking
homage, celebrating both Laiho's impact and traditional Japanese culture.
“Children of Bushido” tracklist includes:
1. Lake Bodom
2. Living Dead Beat
3. Mask of Sanity
4. Hate Me!
5. Silent Night Bodom Night
6. Follow The Reaper
7. Bodom After Midnight
8. Needled 24/7
9. Downfall
RYOJI SHINOMOTO features on guitar, vocals, shamisen,
erhu, dragon flute, koto, taiko drums, and orchestration.
Το
τρίτο των Άγγλων Cronos, Mantas, Abandon ήτοι των Venom, άρχισε να βάζει νερό
στο κρασί καί τή μπύρα τους. Τα Welcome to Hell και Black Metal πριν είναι πιο
εύληπτα άλμπουμ. Το ομώνυμο κομμάτι εδώ πιάνει όλη τη πρώτη πλευρά του βινυλίου
(για μας που το προλάβαμε καισε L.P)
αλλιώς τα πρώτα 20 λεπτά του cd. Η πιο επική ας επιτραπεί ο όρος πλευρά τους
εκδηλώνεται σε αυτό το ογκολιθικου χρόνου τραγούδι. Τo Rip Ride που ακολουθεί
είναι αγαπημένο αντί-sos κομμάτι. Τα Genocide και Cry Wolf τα λες επίσης καλά.
Οπότε αν και δεν έχει την ποικιλία των δύο πρώτων, μπορεί να αποτελέσει μαζί
τους μια κλασική τριάδα δίσκων. Τα b-sides που περιέχει η επανέκδοση κεντρίζουν
το ενδιαφέρον ειδικά το αδικημένο Manitou,που νομίζω έπρεπε να έχει μπει στο κυρίως άλμπουμ ανεβάζοντας το
συνολικό αριθμό στα οχτώ αντί εφτά κομματιών. Για αρκετούς θεωρείται ίσως το
καλύτερο της αρχικής εποχής τους, κάτι που δε συμμερίζομαι αλλά όλα είναι θέμα
ακουστικής και γούστου. Η ανίερη τριάδα των Venom θα δώσει ακόμα ένα στούντιο
άλμπουμ λίγο μετά το Possessed, αλλά εκεί νομίζω θα χαθεί το όποιο ενδιαφέρον,
ανοίγοντας νέους δρόμους για τα μέλη.
English:
Crack in the Black Crystal?
The third album by the English band Cronos, Mantas,
and Abaddon, also known as Venom, started to dilute their wine and beer. Before
this, "Welcome to Hell" and "Black Metal" are more
accessible albums. The title track here occupies the entirety of the first side
of the vinyl (for those of us who experienced it in L.P. format), or the first
20 minutes of the CD. Their most epic side, if I may use the term, is
manifested in this monumental-length song. Following that, "Rip Ride"
is a beloved anti-hero track. Songs like "Genocide" and "Cry
Wolf" can also be considered solid. So, while it may not have the variety
of the first two albums, it can stand alongside them to form a classic trio of
records.
The B-sides featured in the reissue are intriguing,
especially the overlooked "Manitou," which I believe should have been
included in the main album, bringing the total to eight tracks instead of
seven. For many, it’s perhaps considered the best of their early period, a
claim I don’t necessarily share, but it all comes down to personal taste and
preference. The unholy trio of Venom would release another studio album shortly
after "Possessed," but I think that’s where any potential interest
would wane, as they begin to forge new paths for themselves.
Some people love Canada's music scene so much that
they want to make it the 51st state of their country. I won’t go that far. And
since it’s Sunday morning, I think I’ll take a more relaxed musical approach.
Although “relaxed” is a matter of taste... Of course, the eighth album from the
Canadian hard rockers is probably not what they themselves would consider
relaxed, given its very telling title, “Harder... Faster.” The opening track,
“I Like to Rock,” is one of the songs that made them internationally known and
has appeared on heavy metal compilations from that era, such as “Metal Mania”
(that’s where I discovered them).
APRIL WINE is one of those bands that achieved great
success within their own country, but not so much on the international stage.
As I mentioned earlier, “I Like to Rock” is one of the compositions that gave
them a degree of international recognition. It’s truly a shame because APRIL
WINE possesses quality and beautiful ideas.
Musically, I would compare their sound to more
well-known bands of the era, like SCORPIONS, MSG, UFO, and even KISS,
particularly when they get a bit more “wild” in their music and lyrics. Having
recently listened to the album, I can say it has successfully withstood the
test of time. It features tracks like:
- “I Like to Rock” (in my opinion, the opening melody
shares quite a bit with the song “Reign Of Fire” by ARMORED SAINT),
- “Say Hello” (which also gave them international
prestige),
- “Ladies Man” (those KISS influences I mentioned
earlier),
- “Before the Dawn” (the SCORPIONS and MSG references
I noted),
- “Babes In Arms,” and
- “Better Do It Well” with its rock and roll vibe.
The album concludes with a cover of the KING CRIMSON
song “21st Century Schizoid Man.”
So, if you're looking for something not so well-known
yet of high quality in classic hard rock music, this release is a solid
recommendation.
Αυτό
είναι το έβδομο άλμπουμ για αυτόν τον Doom και Heavy Metal δεινόσαυρο με
ιστορία να χάνεται στα μέσα της δεκαετίας του '70 και που έχει δώσει κάποια
άλμπουμ που να τα θεωρεί κλασικά μεγάλη μερίδα φίλων της σκληρής ηλεκτρικής
μουσικής. Οι τέσσερις μουσικοί με προεξάρχοντα τον τραγουδιστή και φύσει ηγέτη
του σχήματος Bobby Liebling, την επιστροφή του κιθαρίστα Victor Griffin σε αυτό
τον δίσκο και τους Greg Turley μπάσο και Tim Tomaselli ντραμς, στον για εμένα
πολυαγαπημένο τους δίσκο και σε κομμάτια που πελαγοδρομούν απ' στους Sabbath
εποχής Master of Reality και απ' την άλλη στο NWOBHM ως και Hard Rockτης δεκαετίας του '70 σε doomy στιγμές σαν τα
Treat Me Right, Call the Man, Into the Ground, 8, Everything's Turning to
Night,Walk in the Blue Light, Horseman,
Death in 1st Person και τoriff απ'
κλασικό τους All Your Sins να κλείνει σαν outro το άλμπουμ.
English:
Powerful Continuation.
This is the seventh album from this Doom and Heavy
Metal dinosaur, whose roots trace back to the mid-'70s, and which has released
several albums considered classics by a significant number of heavy music
enthusiasts. The four musicians, led by the band's frontman and natural leader
Bobby Liebling, welcome back guitarist Victor Griffin on this record,
accompanied by Greg Turley on bass and Tim Tomaselli on drums. In what I
consider to be their beloved album, the tracks navigate the sounds of Black
Sabbath from the "Master of Reality" era, while also drawing
influences from the NWOBHM and 1970s Hard Rock, featuring doomy moments in
songs like "Treat Me Right," "Call the Man," "Into the
Ground," "8," "Everything's Turning to Night,"
"Walk in the Blue Light," "Horseman," and "Death in
1st Person." The album closes with a classic riff from their song
"All Your Sins," serving as a fitting outro.
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