Το
τρίτο άλμπουμ που άκουσα από τους "ουρανοντυμένους" και μετά τα IrationalAnthems και OuiAvantGardeAChance που καί τά δύο βγήκαν 1996, οι
δραστηριοτατοι μουσικοί, έβγαλαν και αυτό. Συνεχίζει την πιο ας επιτραπεί,
φολκλορική πλευρά τους, χωρίς βέβαια να είναι "φόλα". Κατά τη γνώμη
μου από το '96 βρίσκονταν σεμια δεύτερη
ανοδική πορεία μετά τις αρχές των 90's
κάτι που ελάχιστοι κατάφεραν τότε έτσι; Οι κύριοι MartinWalkyier (πρώην Sabbat) φωνή, GraemeEnglish (Satan, Pariah) μπάσο, SteveRamsey (Satan, Pariah κι αυτός) κιθάρα, PaulA.T. Kinson ντραμς κι η κυρία της παρέας GeorginaBiddle σε βιολί και πλήκτρα.Με τα Building A Ruin, Worn Out Sole To Heel, The Thread Of
Evermore,Eirenarch, Troublesometimes,
Isle Of Jura, Catherine At The Wheel που είναι τα πιο καλά του κομμάτια δεν
μπορεί παρά να είναι αξιομνημόνευτο άλμπουμ.
English:
From classic to majestic.
This is the third album I've listened to from the
"dressed in heaven" band, and following "Irational Anthems"
and "Oui Avant Garde A Chance," both released in 1996, these active
musicians have delivered yet another gem. It continues their more, dare I say,
folkloric side, without coming off as "cheesy." In my opinion, since
'96, they have been on a second upward trajectory after the early
'90s—something very few managed to achieve back then. The lineup includes Martin
Walkyier (formerly of Sabbat) on vocals, Graeme English (Satan, Pariah) on
bass, Steve Ramsey (also from Satan, Pariah) on guitar, Paul A.T. Kinson on
drums, and the delightful Georgina Biddle on violin and keyboards. With
standout tracks like "Building A Ruin," "Worn Out Sole To
Heel," "The Thread Of Evermore," "Eirenarch,"
"Troublesometimes," "Isle Of Jura," and "Catherine At
The Wheel," this album is nothing short of memorable.
Οι
Αμερικάνοι Pentagram,
μια ακόμη μπάντα ορόσημο τόσο για το cult στάτους της όσο και για το DoomMetal υποείδος του οποίου είναι
χαρακτηριστικό δείγμα, στο πέμπτο άλμπουμ τους μια εποχή που το ενδιαφέρον του
κοινού μάλλον είχε υποχωρήσει. Ο JoeHasselvander
συνήθως ο ντράμερ τους εδώ παίζει επίσης κιθάρα και μπάσο οπότε ανήκει στο
περίοπτο είδος των ανθρώπων - ορχήστρα! Φωνή απ' το υπερπέραν πάντα ο αειθαλής BobbyLiebling που άντλησε την έμπνευση
από τις οικογενειακές του εμπειρίες ζώντας για χρόνια σε ένα δεύτερο υπόγειο
και έδωσετη μαυρίλα που αποκόμισε σε
δέκα κομμάτια που για doom,
παλατζάρουν επικίνδυνα με το κλασικό HeavyMetal σε αρκετά σημεία του δίσκου. Ξεχωρίζουν τα Bloodlust, Buzzsaw, Drive to the Grave,
Sub-Basement, Go In Circles (Reaching for an End), Mad Dod, Tidal Wave, Target
συν τα bonus της επανέκδοσης Review Your Choicesκαι το Megalania, outakes και τα δύο απ' το
1999.
English:
The store has a bit of everything.
Pentagram, the American band known for both its cult
status and as a quintessential example of the Doom Metal subgenre, released
their fifth album during a time when public interest seemed to be waning. Joe
Hasselvander, typically their drummer, also takes on guitar and bass duties
here, so he belongs to that rare breed of multi-talented musicians! The
ever-energetic Bobby Liebling lends his voice—drawing inspiration from his
family experiences of living for years in a second basement—infusing the music
with the darkness he has gathered into ten tracks that, while firmly rooted in
doom, dangerously flirt with classic Heavy Metal at various points throughout
the album. Standout tracks include "Bloodlust," "Buzzsaw,"
"Drive to the Grave," "Sub-Basement," "Go In Circles
(Reaching for an End)," "Mad Dod," "Tidal Wave," and
"Target," along with the bonus tracks from the reissue: "Review
Your Choices" and "Megalania," both outtakes from 1999.
Με
τον Καναδό James LaBrie πλέον και μέχρι τώρα εκεί στη φωνή, το ονειρικό θέατρο,
στο δεύτερο άλμπουμ γράφει ιστορία στα θολά νερά των αρχών της δεκαετίας του
90. Ένα άλμπουμ που έβαλε σε ράγες τη μηχανή του Progressive Metal για πολλούς,
έστρεψε τη προσοχή της τότε μαγεμένης με το grunge κι alternativeκοινής γνώμης πίσω στον σκληρότερο ήχο. Μια
παραγωγή στα όρια του τέλειου, κομμάτια σταθμοί για τη σκληρή μουσική σαν τα
Pull Me Under, Take the Time, Surrounded , Metropolis Pt.1 "The Miracle
and the Sleeper", Under a Glass Moon, Learning to Live με ποιότητα αλλά
και αλλαγές, μεγάλες διάρκειες (σχεδόνμία ώραδίσκος με μόνο 8
κομμάτια!) αλλά και πολύ καλούς στίχους. Ένα ορόσημο της εποχής από τότε ως και
σήμερα.
English:
Next stop: Progressive Metal.
With Canadian singer James LaBrie now at the helm, the
dreamlike theater of their second album makes history in the murky waters of
the early 90s. This album set many on the right track for the Progressive Metal
movement and redirected the captivated audience, who were then enchanted by
grunge and alternative music, back to a heavier sound. With a production that
borders on perfection, the album features landmark tracks for heavy music such
as "Pull Me Under," "Take the Time,"
"Surrounded," "Metropolis Pt. 1: The Miracle and the
Sleeper," "Under a Glass Moon," and "Learning to Live."
Each piece showcases quality, significant changes, long durations (nearly an
hour long with only 8 tracks!), and very good lyrics. It remains a milestone of
the era from then until today.
The NWOBHM (New Wave of British Heavy Metal) movement
is undeniably a significant chapter in the history of heavy metal music. It
encompasses a vast array of bands and has seen the development of nearly every
subgenre within heavy metal.
ROX, who began their career in 1980 as VENOM, belong
to what I would call indecisive bands. What does that mean? On one hand, they
create compositions of pure classic heavy metal like "Dressed to
Kill," "Daylight Robbery," and "Violation," while on
the other, they produce more commercial tracks with a heavy dose of hard rock,
such as "I Wanna Be a Hero" (which, for some reason, brings to mind
the aesthetic of SAXON), "Love Ya Like a Diamond" (with an
introduction reminiscent of SAVATAGE), and "Wild and Crazy" (which
has strong KISS references and vocals that mildly remind one of CRONOS — could
that be why they started as VENOM?).
Despite the duality of their sound, ROX manages to
create noteworthy compositions and delivers an album characterized by both
cohesion and variety. This work undoubtedly reflects its time, specifically
1983 when it was released, but it is by no means outdated or obsolete. On the
contrary, it sounds exceptionally enjoyable even today, thanks to its beautiful
musical ideas and high production quality.
World-renowned frontman WEDNESDAY 13 is currently
touring North America with his "There's No Such Thing As Monsters"
tour, celebrating 20 years of Transylvania 90210. He has unveiled the second
single from his upcoming album, *Mid Death Crisis*, set to release on April 25,
2025, via Napalm Records. Following the success of the catchy "When The
Devil Commands," the new track "In Misery" is a blend of
goth-punk and sleaze metal, featuring a captivating hook. WEDNESDAY 13 explains
the song's theme, stating, “It’s about the misery of being in a bad
relationship, exploring how some people find comfort in their suffering.”
Austrian hard rock powerhouse VULVARINE is set to
release their explosive new single "Equal, Not the Same" from their
upcoming album, *Fast Lane*, dropping Friday, March 28, 2025, via Napalm
Records. The track showcases sharp riffs and high-energy intensity, capturing
the frustrations of being unheard while advocating for gender equality.
Accompanied by a pulse-pounding music video, the single serves as a bold anthem
celebrating individuality and resilience. VULVARINE recently rocked Europe on
Thundermother's Dirty & Divine tour, and with this new release, they aim to
leave fans around the world awestruck.
Και
μετά το Die Healing το 1995, αυτό είναι το επόμενο άλμπουμ των doom metal
πρωτομάστορων. Επιστροφή για τον Wino στη μικρόφωνο και ο τίτλος που θυμίζει
κάτι από μαχητικό αεροπλάνο και παραξένεψε πολύ κόσμο, δεν είναι τίποτα άλλο
από ένα ηρεμιστικό που "βοηθούσε" προσφέροντας κατατονία, στη σύνθεση
κομματιών! Μη το δοκιμάσετε στο σπίτι, περιέχει βαρβιτουρικά! Μουσική πάντα
όπως τη θέλουμε όσοι γουστάρουμε το doom: Καταθλιπτική, Sabbath-ικη και
Pentagram-ικη όσο δε πάει. 33 λεπτά κι εφτά μόνο κομμάτια που αγαπάμε σε ένα
άλμπουμ που μας θύμισε ότι ναι, υπάρχουν και μπορούν να μας στείλουν στο
σκοτάδι τους ακόμα. Let Them Fall, The Bleeding Ground, Vertigo, Blessed Night
(οι Pentagram δεν τους έκαναν αγωγή ευτυχώς, ολόιδιο στυλ), The Waste of Time
Dependence, Withdrawal είναι το υλικό εδώ και εμένα μου φάνηκε 10ρικο εξ αρχής,
και τώρα πάλι δέκα του βάζω.
English:
Seventeen years of absence.
Following "Die Healing" in 1995, this is the
next album from the doom metal pioneers. It's a return for Wino on vocals, and
the title, reminiscent of a fighter jet and perplexing to many, is nothing more
than a tranquilizer that "helped" in bringing about catatonia in the
songwriting process! Don't try this at home; it contains barbiturates!
The music is exactly how we love it for those of us
who are into doom: depressing, Sabbath-esque, and as Pentagram-influenced as it
gets. With just 33 minutes and seven tracks that we adore, this album reminds
us that yes, they still exist and can still take us into their darkness.
"Let Them Fall," "The Bleeding Ground,"
"Vertigo," "Blessed Night" (thankfully, the Pentagram
didn’t sue them; it’s the same style), "The Waste of Time,"
"Dependence," and "Withdrawal" make up the material here,
and it struck me as a perfect ten from the very beginning. I rate it a ten
again now.
1.Can
you tell us a bit about the history of Black Reuss? How did the band start, and
what led to the project?
Black Reuss began as a very
personal journey. It’s a solo project that was born out of a deep need for
expression—both musically and emotionally. The name itself comes from the Reuss
river in Switzerland, which resonated with me symbolically as a representation
of life’s flow—dark, sometimes turbulent, but always moving forward. I put
Black bevor Reuss to symbolize my melancholic side, reflected of course in the
music as well. I had played in other bands before, but Black Reuss was the
first time I truly felt free to create something entirely on my own terms,
without compromise.
2. How
would you describe Black Reuss's sound to someone who has never heard your
music before?
Black Reuss blends Melodic
Gothic Metal, Darkrock, and Melodic Doom Metal into a sound that’s as
atmospheric as it is emotional. It’s dark and introspective, with heavy, slow-moving
riffs, layered melodies, and a strong sense of mood. There’s a gothic elegance
to it, a rock foundation, and a doom-laden weight—all balanced with melodic
elements that make the songs resonate on a deeper emotional level. It’s not
just music—it’s a journey through light and shadow.
3. Your
sound blends Melodic Gothic Metal, Darkrock, and Melodic Doom Metal. How do you
balance these different elements in your music?
It’s really about intuition.
I never sit down and say, “Now I need a gothic part” or “This needs more doom.”
Instead, I focus on the emotional essence of a song and let the genres serve
that feeling. Each element brings something unique: the gothic vibe gives it a
dark elegance, the doom elements bring weight and gravity, and the melodic
touches are there to connect on a deeper emotional level. It's all about
serving the song.
4. Liechtenstein
isn't a country typically associated with the metal scene. How does your
location influence your music, if at all?
Liechtenstein is a small
country, that’s true—but there are a lot of metal fans here. While we don’t
have a huge scene in terms of bands or venues, the passion for metal definitely
exists. That said, the size and atmosphere of the country naturally lend
themselves to introspection and solitude, which influences my music. The quiet,
the landscapes, and the sense of being somewhat outside the mainstream all feed
into the emotional and atmospheric side of Black Reuss. It’s a perfect
environment for creating something personal and unique.
5. Type
O Negative and Black Sabbath are major influences. In what ways do these bands
specifically impact Black Reuss's songwriting and overall aesthetic? Are there
any other bands that influence you, or are the influences of a more
unconventional nature?
My sources of inspiration go
far beyond just those two bands. It’s often other people trying to put Black
Reuss into a certain box by naming Type O Negative and Black Sabbath. Of
course, both bands are great, and I do listen to them a lot. Type O Negative taught
me the power of atmosphere and emotional honesty, even with a touch of irony or
theatricality. Their slow grooves and layered textures really resonate with me.
Black Sabbath, of course, laid the groundwork for everything heavy. Their sense
of riff and tension is unmatched.
But aside from those, I draw
inspiration from a wide range of sources—not just music. Classical
compositions, film scores, literature... anything that evokes a strong
emotional response can become fuel for the creative fire. It’s that emotional
depth, no matter the medium, that I’m always chasing in my own music.
6. Do
you find it difficult to be the sole musician?
It has its challenges, for
sure. There are moments where you miss the immediate feedback or the
collaborative energy of a band. But at the same time, it’s incredibly
liberating. Every decision is mine, every sound is exactly as I envision it.
It’s a very intimate process, and I wouldn’t trade that for anything. I
collaborate when it makes sense, but the core of Black Reuss will always be a
personal expression.
7. What
themes and ideas inspire your lyrics?
The core themes are
transformation, solitude, emotion, and the human condition. Black Reussfirst
four album are essentially a metaphor for life’s journey, so the lyrics explore
moments of change, inner struggle, and ultimately, growth. It’s about facing
the darkness and finding a way through it—not necessarily with answers, but
with awareness.
8. How
would you describe the creative process for the "Arrival" album?
Arrival was very much about
grounding myself in a new chapter. The creative process was immersive and
introspective—I wrote, recorded, and produced everything myself. It was about
capturing the essence of transition, of coming to terms with a new emotional
reality. There were many late nights, a lot of experimentation, and a lot of
soul-searching. Every note on that
album means something to me.
9. The
album is said to be part of a "tetralogy", when will be the next
album released?
Yes, Arrival is actually the
third part of a four-part concept. It started with Metamorphosis, followed by
Journey, then Arrival, and the final chapter, Death, is planned for release in
2025. Right now, we’re deep in the preparation phase, so I can’t say exactly
when it will drop, but it’s coming. Death will close the circle and bring the
story to its final emotional and conceptual destination.
10. How
would you describe the creative process for the "Arrival" album?
It usually starts with a
guitar riff or a melody—sometimes both—and from there, one idea naturally leads
to another until the song takes shape. I don’t force it; I let the music guide
me. With Arrival, like with all my work, I really tried to squeeze out every
emotion hiding within me. The music is deeply personal—I identify 100% with
what I’m doing. There’s no filter, no mask. It’s raw, honest, and entirely from
within me. Every note, every lyric reflects who I am and what I feel in that
moment.
11. How
did the collaboration with the other artists happen?
Collaboration is always
something I approach carefully. When I bring someone in, it’s because their
contribution adds something unique that I can’t provide alone. Whether it’s
guest vocals, additional instrumentation, or mixing/mastering, it’s about
enhancing the vision without diluting it. Most collaborations come through
mutual respect—either people I’ve met over the years or artists whose work
speaks to me. It’s a very intentional process.
12. I
truly appreciate you sharing your perspective with me. Do you feel that we've
covered everything you wanted to discuss, or is there anything you'd like to
reiterate or clarify before we finish?
Thank you—it’s been a
pleasure to dive deep into the world of Black Reuss. I’d just like to say that
this project is not just music—it’s a narrative, a journey. I hope listeners
can find pieces of their own story in it. And if they do, that means everything
to me. I’m grateful for every ear that listens and every heart that resonates.
Finnish Death Metal band DEATHGOAT has announced the
release of their second full-length album, titled "Dragged Into Realms
Below," set to launch on June 10th through Xtreem Music in CD, 12"
LP, cassette, and digital formats. Formed in 2015 in Hyvinkää, Finland,
DEATHGOAT released their first demo, "Rotten Salvation," in October
2018, followed by their debut album, "Regurgitated Into Existence,"
in January 2021. Originally a duo, the band expanded to a five-piece in 2020
and has since performed extensively throughout Finland. DEATHGOAT's musical style
is influenced by both 90s Swedish and Finnish bands as well as modern elements,
moving beyond the typical old school Death Metal revival.
Tracklist for "Dragged Into Realms Below" is
as follows:
Animalistic rhythms and ferocious shrieks collide as
German Teutonic thrashers WARFIELD unleash their third single, "Appetitive
Aggression." Set to storm the scene with their Napalm debut *With The Old
Breed* on April 4, 2025, this exhilarating track plunges into the primal,
self-destructive essence of humanity, driven by lightning-fast riffs and an
unyielding energy. Ruthless and insatiable, the song explores a relentless
craving for power and destruction, embodying a raw, instinctual force.
WARFIELD describes “Appetitive Aggression” as a
harrowing exploration of the human psyche amidst the chaos of battle. From the
viewpoint of the protagonist, listeners are drawn into a world where societal
norms and moral concerns dissolve, leaving only instinct in its wake. The music
mirrors this escalating brutality, pulling us into an exhilarating frenzy,
ultimately leading to a profound realization: in the heat of conflict, there's
nothing more genuine than the visceral experience of pure aggression. This
track serves as a dark journey into the depths of the human soul, unveiling the
twisted transgressions that lie within.
German Black Metal band Ungoliath has released their
new EP titled «The Fourfold Descent», which was recorded, mixed, and mastered
by Steffen Kraatz in his home studio. Formed in 2002 in Berlin by Bane, the
band is known for their haunting black metal that draws from the dark lore of
Tendalied. Their raw debut demo garnered underground acclaim, and a rare live
performance in 2011 left a lasting impact. With atmospheric soundscapes and
evocative lyrics, Ungoliath immerses listeners in mystery and darkness, guiding
them through shadowy realms. The band remains committed to artistic evolution
as they continue to carve their path into the abyss.
Το
να αφήσεις τη παλιά σου μπάντα για να φτιάξεις μια άλλη ουκ ολίγες φορές έχει
γίνει στη μουσική που αγαπάμε. Ο τραγουδιστής Martin Walkier εγκατέλειψε τους
thrashers Sabbat όπως κι οι Graeme English & Steve Ramsey τους Satan (ή
τους Pariah δε θυμάμαι αν είχαν ξαναονομαστείSatan!) και εδώ στις αρχές των 90s, τσουπ! Να το πρώτο άλμπουμ απ' τους
ουρανοντυμένους. Λίγο η folk μουσική της αγροτικής βρετανικής υπαίθρου και των
μύθωντης, αλλά πολύ ηχόχρωμα από
Thrash/Speed Metal κι αρκετό κλασικό Heavy η μαγική συνταγή του πειράματος που
είναι αυτό το ντεμπούτο. Όχι, η εποχή του ιδιώματος Folk Metal απέχει.... έναν
ή δύο δίσκους αλλά πάλι οι Skyclad εδώ παραδίδουν μαθήματα σαν τα The Sky
Beneath my Feet, Trance Dance ( A Dremtime Walkabout), A Minute's Piece, The
Widdershing Jig, Our Dying Island, Skyclad, The Cradle Will Fall και μας δίνουν
τα μυαλά στο χέρι για να έχουμε από εδώ κι πέρα να περιμένουμε!
English:
High-Risk Venture
Leaving behind your old band to form a new one has
happened many times in the music we love. Singer Martin Walkier left the thrash
band Sabbat, just as Graeme English and Steve Ramsey departed from Satan (or
Pariah—I'm not sure if they had changed their name back to Satan!). And then,
in the early '90s, voilà! Here comes the first album from the Skyclad. With a
touch of the folk music of rural Britain and its myths, but with a strong
influence from Thrash/Speed Metal and a good amount of classic Heavy Metal,
this debut is a magical blend of experimentation.
No, the era of the Folk Metal genre is still one or
two albums away, but the Skyclad deliver lessons with tracks like "The Sky
Beneath My Feet," "Trance Dance (A Dreamtime Walkabout),"
"A Minute's Piece," "The Widdershins Jig," "Our Dying
Island," "Skyclad," and "The Cradle Will Fall,"
leaving us eagerly anticipating what comes next!
Οι
Ιταλοί από το Μιλάνο βρίσκονται εδώ στο έκτο τους άλμπουμ και, ενώ ανήκουν
χρονικά στην κατηγορία των σχημάτων που έχουν ως αφετηρία το κλασικό Thrash
Metal, όπως οι Σουηδοί The Haunted ή οι Αμερικανοί Vektor, ο ήχος τους
παραπέμπει στο ακόμη πιο μεταγενέστερο αμερικανικό Thrash και Groove Metal,
όπως αυτό διαμορφώθηκε από σχήματα όπως οι Mastodon, με πολλά εμβόλιμα στοιχεία
από τα ύστερα άλμπουμ των Nevermore.
Σίγουρα,
το κλασικό Thrash που έχουμε ως σημείο αναφοράς ξεκινά λίγο-πολύ με τους Slayer
και καταλήγει στους Kreator. Αυτό, όμως, δεν μπορεί να ειπωθεί για το
συγκεκριμένο CD των Methedras. Στοιχεία από Nevermore, Mastodon, In Flames της
περιόδου μετά το 2001, με λίγο από το πρώτο άλμπουμ των Machine Head (κι
ευτυχώς), συνδυάζονται σε ένα μείγμα από Post Thrash, Progressive σημεία, με
Groove επτάχορδες κιθάρες που κινούνται πάνω σε έναν συμπαγή ρυθμό. Τα χαμηλά
κουρδίσματα που χρησιμοποιούνται έχουν ως σημείο αναφοράς τους Pantera και τους
Slayer της περιόδου 1998-2001.
Αν
αυτό το άλμπουμ είχε κυκλοφορήσει το 2003, θα θεωρούνταν πολύ μοντέρνο· σήμερα,
όμως, αποτελεί μάλλον ένα ρετρό ηχητικό αποτύπωμα ενός κύματος που ήρθε και δεν
είχε μεγάλη απήχηση στην Ευρώπη. Προφανώς, η τεχνική τους αρτιότητα είναι
αδιαμφισβήτητη. Για έναν φίλο του Post Thrash Groovy ήχου, που αρέσκεται σε
άνετες τζιν βερμούδες και t-shirt με κομμένα μανίκια που γράφει Pantera ή
Machine Head, αυτός ο δίσκος θα είναι ακριβώς αυτό που θα ήθελε να ακούσει το
2023 (όταν και κυκλοφόρησε) και μετέπειτα. Από την άλλη, εγώ, όσο κι αν συμπαθώ
τους Nevermore, ακόμη και στα τελευταία τους, δεν συμπαθώ ιδιαίτερα το Groove,
οπότε θα αρκεστώ στο μπλουζάκι μου με το "Reign in Blood" των Slayer
και σε μαύρες κολλητές φόρμες και τζιν, βρίσκοντας το φορτωμένο με τόσα πολλά
στοιχεία στυλ τους λίγο υπερφίαλο.
Στα
δέκα κομμάτια του άλμπουμ—"Know It All", "Envy Society",
"Injected Thoughts", "Another Fall", "Enraged",
"A New Deal", "Chernobyl", "Psychotic", "The
Abyss", "Layers of Grief"—βρήκα σημεία που πάντα κάτι μου
θυμίζουν, διαφορετικό από κομμάτι σε κομμάτι. Είναι όλες οι παραπάνω επιρροές
κι άλλες τόσες που ίσως δεν κατάφερε το αφτί μου να αποκρυπτογραφήσει. Σίγουρα,
πρόκειται για μια καλή προσπάθεια, αλλά αν ακόμα ακούτε τα παλιά Testament,
Sodom, Slayer, Anthrax ή Overkill και ανατριχιάζετε, μάλλον δε θα σας κάνουν
εντύπωση...
English:
The Italians from Milan are here with their sixth
album, and while they chronologically fall into the category of bands rooted in
classic Thrash Metal, like the Swedes The Haunted or the Americans Vektor,
their sound points to an even later American Thrash and Groove Metal,
reminiscent of bands like Mastodon, with plenty of elements borrowed from the
latter albums of Nevermore.
Certainly, the classic Thrash we reference essentially
starts with Slayer and ends with Kreator. However, this cannot be said about
this particular CD by Methedras. Elements from Nevermore, Mastodon, and
post-2001 In Flames blend with a touch of the first album from Machine Head
(thankfully), creating a mixture of Post Thrash and Progressive moments,
featuring Groove-laden seven-string guitars operating on a solid rhythm. The
low tunings used are reminiscent of Pantera and Slayer from the 1998-2001
period.
If this album had been released in 2003, it would have
been considered quite modern; however, today it represents more of a retro
sonic imprint of a wave that came and didn't have a significant impact in
Europe. Undoubtedly, their technical proficiency is unquestionable. For a fan
of the Post Thrash Groovy sound, someone who is fond of comfortable denim
shorts and sleeveless t-shirts emblazoned with "Pantera" or
"Machine Head," this album will be exactly what they’d want to listen
to in 2023 (when it was released) and beyond. On the other hand, while I have a
soft spot for Nevermore, even in their later works, I’m not particularly fond
of Groove. So, I’ll stick to my "Reign in Blood" Slayer t-shirt and
black skinny jeans, finding their sound—loaded with so many stylistic
elements—a bit pretentious.
Across the ten tracks of the album—"Know It
All," "Envy Society," "Injected Thoughts,"
"Another Fall," "Enraged," "A New Deal,"
"Chernobyl," "Psychotic," "The Abyss," and
"Layers of Grief"—I found moments that always remind me of something,
though each track feels different from the others. There are all the
aforementioned influences, along with many others that my ears might not have
been able to decipher. It’s certainly a solid effort, but if you’re still
listening to the old Testament, Sodom, Slayer, Anthrax, or Overkill and getting
chills, you probably won’t be particularly impressed.
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