REVIEW: GAMMA RAY, Land Of The Free

 

GAMMA RAY, Land Of The Free (1995)

Noise Records

Πολλά γνώριμα πράγματα θα βρούμε εδώ.

Οι Gamma Ray, πνευματική δημιουργία του κιθαρίστα και τραγουδιστή Kai Hansen από το 1989, όταν κι αποχώρησε/διώχθηκε από το στρατόπεδο των Helloween των οποίων ήταν συνδημιουργός, έχουν, πριν από αυτόν, να δείξουν τρεις δίσκους με τον τρομερό Ralph Scheepers στο μικρόφωνο. Εκ των οποίων το «Insanity and Genius» του 1994 αποτελεί μουσικό κόσμημα στον χώρο του ευρωπαϊκού Power Metal.

Η συνέχεια είναι γνωστή: ο Ralph φεύγει για να διεκδικήσει τη θέση του τραγουδιστή στους Judas Priest, αφού ο Halford έχει εγκαταλείψει το σχήμα από το 1993, αποτυγχάνει και ύστερα σχηματίζει τους δικούς του Primal Fear με συνεργάτη τον Matt Sinner. Ο Kai στους Gamma Ray δουλεύει πυρετωδώς για να βελτιώσει τις φωνητικές του ικανότητες, που, ως γνωστόν, από τις ημέρες του mini L.P. των Helloween και του επόμενου, θρυλικού κατά τα άλλα, δίσκου τους «Walls of Jericho», δεν ήταν κι οι καλύτερες δυνατές! Παράλληλα, η σύνθεση γίνεται αυτόματα τετραμελής, αφού παίζει και τις ρυθμικές κιθάρες εκτός των φωνητικών.

Το άλμπουμ αυτό που ηχογραφείται τότε είναι από τους ογκόλιθους της δεκαετίας του '90. Η άτυπη κόντρα με τους πρώην συνεργάτες του έχει κλιμακωθεί άσχημα και ειρωνικά μέσω σχολίων στα "thanks" των πρόσφατων δίσκων και των δύο πλευρών. Εδώ κλιμακώνεται σε άλλες μορφές. Καταρχάς, το σύμβολο Γινγκ Γιανγκ των Gamma Ray στο εξώφυλλο, που κρατούν τα δύο χέρια (του «Keeper of the Seven Keys»), μοιάζει σχεδιαστικά με... κολοκύθα, σήμα των Helloween που υπάρχει στο λογότυπό τους αντί του γράμματος 'Ο', ως γνωστόν. Το όλο σχέδιο περικλείει ο μανδύας του μονόφθαλμου χαρακτήρα Fangface, που στο εξώφυλλο του «Walls of Jericho» καταστρέφει τα τείχη!!! Μιλάμε για φουλ επίθεση στο πρώην συγκρότημά του, που έχει βγάλει τον χειρότερο δίσκο του το 1993, αλλά μεταμορφώνεται το 1994 σε αυτό που ήταν παλιά.

Το «Rebellion in Dreamland», που ανοίγει το άλμπουμ, είναι από τα πιο κλασικά χιτ τους. Τα «Man on a Mission», «All of the Damned», «Gods of Deliverance», «Salvation's Calling», «Abyss of the Void», «Land of the Free» και το τελικό του αρχικού δίσκου «Afterlife», που είναι μία σκοτεινή μπαλάντα για την αυτοκτονία του Ingo Schwichtenberg (RIP), ντράμερ των Helloween και φίλου του Kai, είναι κλασικά μέχρι το κόκαλο. Ειδική μνεία στο «Time to Break Free», όπου ο τραγουδιστής των Helloween έως το '93, Michael Kiske, συμπράττει σε ένα θεότρελο ντουέτο με τον Kai! Η επανέκδοση αυτή περιλαμβάνει τρία μπόνους, με τη θρυλική διασκευή στο «Heavy Metal Mania» των Holocaust να είναι απαραίτητη.

English:

Many familiar things can be found here.

Gamma Ray, the spiritual creation of guitarist and vocalist Kai Hansen from 1989, when he left/dismissed from the Helloween camp—of which he was a co-creator—had, before him, released three albums featuring the formidable Ralph Scheepers on vocals. Among them, the 1994 album «Insanity and Genius» stands out as a musical gem in the European Power Metal scene.

The story is well known: Ralph leaves to pursue the lead singer position at Judas Priest after Halford left the band in 1993, but fails to secure it. He then forms his own band, Primal Fear, with collaborator Matt Sinner. Meanwhile, Kai works feverishly in Gamma Ray to improve his vocal abilities, which, as is known, weren’t the best since the days of Helloween’s mini LP and their subsequent legendary album «Walls of Jericho». At the same time, the band’s lineup naturally expands to a four-piece, as Kai also handles the rhythm guitars besides vocals.

The album recorded during this period is one of the cornerstones of the 1990s. The unofficial rivalry with his former bandmates has escalated badly, even sarcastically expressed through thanks comments on recent albums from both sides. This tension escalates further here in different forms. Notably, the Yin-Yang symbol of Gamma Ray on the cover, held by two hands (from the «Keeper of the Seven Keys»), resembles… a pumpkin—an emblem of Helloween, which appears in their logo instead of the letter ‘O’, as is well known. The entire design features the cloak of Fangface, the one-eyed character who, on the «Walls of Jericho» cover, destroys walls! It’s a full-blown attack on his former band, which released its worst album in 1993, but in 1994, transforms back into its former greatness.

The «Rebellion in Dreamland», which opens the album, is one of their most classic hits. Tracks like “Man on a Mission,” “All of the Damned,” “Gods of Deliverance,” “Salvation’s Calling,” “Abyss of the Void,” “Land of the Free,” and the closing song of the original album, “Afterlife”—a dark ballad about the suicide of Ingo Schwichtenberg (RIP), Helloween’s drummer and Kai’s friend—are absolute classics. Special mention goes to “Time to Break Free,” where Helloween’s vocalist up to 1993, Michael Kiske, joins in a wild duet with Kai! This reissue includes three bonus tracks, with the legendary cover of Holocaust’s “Heavy Metal Mania” being a must-have.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: Mitch 'Ioannidis' Essence – “Earth Stone And Night Sky - The Inner Landscape Of The Human Being”

 

Mitch 'Ioannidis' Essence – “Earth Stone And Night Sky - The Inner Landscape Of The Human Being”

Independent

Mitch 'Ioannidis' Essence, a guitarist, has independently released his debut work, “Earth Stone And Night Sky - The Inner Landscape Of The Human Being”, via YouTube. This initial offering, while primarily guitar-focused and not presented as a complete work, aims to showcase the musician's talent and conceptual approach to music.

The project is characterized as an Experimental Electric Guitar Orchestration that blends elements of Metal and Classical Music. Its foundation lies in a symphonic string form, infused with distinct personal elements. The compositions are built with themes comprising two to seven voices (strings), striving for a balance between progressive, metal, and symphonic components. The intention is to retain influences from these genres while developing themes that lead to emotional escalation or form a free-form expression, ultimately yielding a unique musical narrative.

In terms of melodic and expressive influences, without suggesting a comparative level of mastery, Essence draws from classical composers such as Ludwig van Beethoven, Johann Sebastian Bach, Igor Stravinsky, and Sergei Prokofiev, as well as the modern classical school. From the metal genre, influences include bands like Trivium, In Flames, Children Of Bodom, and Iron Maiden, along with elements from the Tech-Death and Gothic Metal scenes. These diverse influences are filtered through Essence's personal style, aiming to create a distinctive sound that resonates with contemporary musical sensibilities. For some listeners, the sound might evoke late Rotting Christ and even Tourniquet ("Microscopic View of a Telescopic Realm" era).

Notably, only three tracks on the album incorporate drums, with the title track, "The Inner Landscape Of The Human Being," reportedly aligning more closely with conventional Metal structures.

Essence's creative impetus for this project stems from an internal exploration, seeking to transcend conventional musical structures and forms for the electric guitar within Rock and Metal. This approach is intended to mirror the composer's broader philosophical perspective on life's themes. Through this artistic endeavor, the work seeks to introduce new perspectives on how music can contribute to spiritual growth and serve as a tool for exploring uncharted musical territories, ultimately fostering general progress and evolution for the engaged listener.

For those interested in experimental guitar work that bridges diverse genres, this release is certainly worth checking out.

Nick Parastatidis

REVIEW: ROTTING CHRIST, Khronos

 

ROTTING CHRIST,  Khronos (2000)

Century Media Records

Νέα εποχή, παλιές αναλογίες. 

Μετά τα εμπορικά (καλώς ή κακώς) «A Dead Poem» και ειδικά το σχεδόν Goth Metal άλμπουμ «Sleep of the Angels», το συγκρότημα είδε τις αντιδράσεις των οπαδών, και ένα χρόνο μετά, ακριβώς στο αντιφατικό έτος 2000, ήρθε η απάντηση. Ο τίτλος του CD, “Χρόνος” ή “Κρόνος”, στα ελληνικά, ήταν διφορούμενος, και τότε το είχα σε Picture Disk L.P. Αυτός ο δίσκος επέστρεψε στις παλιότερες και Black Metal αναμνήσεις. Λιγότερο Goth, πιο κοντά στο A “Dead Poem”, αλλά και με όλα εκείνα τα στοιχεία (εκτός από το λογότυπο, το οποίο για τρίτη φορά παρέμεινε σε αυτή τη γραμματοσειρά!) που μας έλειπαν από το τρίτο τους άλμπουμ, «το Triarchy of the Lost Lovers». 

Η ομάδα των Σάκη Τόλη, με ρυθμική κιθάρα και φωνή, του Θέμη Τόλη στα τύμπανα, του Κώστα Βασιλακοπούλου στη κιθάρα, του Ανδρέα Λάγιου στο μπάσο και του Γιώργου Τόλια στα πλήκτρα, αποδίδει ένα blackened metal ύφος και συναισθήματα, αλλά και σε κλασικά metal πεδία από συνθετικής άποψης. Με αντιπροσωπευτικά κομμάτια όπως τα “Thou Art Blind”, “My Sacred Path”, “Deter natus”, “Art of Sin”, τη διασκευή στο “Lucifer Over London” των Current 93, “Law of the Serpent”, “Khronos”, “Time Stands Still” και “Glory of Sadness”, μας μπερδεύουν λίγο, αλλά ταυτόχρονα δίνουν ελπίδα για το μέλλον της δισκογραφίας τους.

English:

New era, old echoes. 

After the commercial (for better or worse) “A Dead Poem” and especially the nearly Goth Metal album “Sleep of the Angels”, the band saw the reactions of their fans, and exactly one year later, in the contradictory year 2000, they responded. The title of the CD, “Time” or “Kronos” (Greek for Time), was ambiguous, and at the time, I had it as a Picture Disk LP. This record took them back to their earlier Black Metal memories. Less Goth, closer to “A Dead Poem”, yet still containing all those elements (except for the logo, which remained in the same font for the third time!) that we missed from their third album, “Triarchy of the Lost Lovers”. 

The lineup of Sakis Tolis with rhythmic guitar and vocals, Thimis Tolis on drums, Kostas Vasilakopoulos on guitar, Andreas Lagios on bass, and Giorgos Tolis on keyboards delivers a blackened metal style and emotional depth, while still exploring traditional metal realms from a compositional perspective. With representative tracks like “Thou Art Blind,” “My Sacred Path,” “Deter Natus,” “Art of Sin,” the cover of “Lucifer Over London” by Current 93, as well as “Law of the Serpent,” “Khronos,” “Time Stands Still,” and “Glory of Sadness,” they create some confusion but also offer hope for their musical future.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: NEVERDIE - The Source of Black Water

 

NEVERDIE - The Source of Black Water

Darknagar Records

Released in 2011, "The Source of Black Water" is the sophomore album from the Russian quintet NEVERDIE, following their debut "Forgotten World." The band's sound on this release is rooted in a gothic doom/death metal framework, drawing from various influences.

The album aims to integrate both melodic and aggressive elements. The melodic aspect is largely conveyed through gothic musical themes, the inclusion of acoustic guitar sections, solos, and the use of ethereal female clean vocals. This is balanced by a more aggressive doom/death metal approach, characterized by heavy riffs, dynamic rhythms that vary in pace, and death metal growls, which are also performed by the band's frontwoman. Additionally, the incorporation of progressive rhythms, changes, and tunes contributes to the overall sonic palette.

"The Source of Black Water" features heavy guitar riffs, atmospheric keyboards, and a female vocalist who performs both operatic cleans and death growls. While the album delivers on these promised elements, some observations suggest that the individual components, though present, do not always seamlessly coalesce into a fully unified whole.

Specifically, the vocal performance showcases a wide range, from operatic cleans to death growls. The growls are noted for their power, while the clean vocals, despite their impressive range, may not consistently evoke a strong emotional connection for all listeners. The guitar work predominantly features heavy riffs, though some quieter sections are highlighted for their effectiveness. While generally competent, some heavier parts are described as lacking a distinct, memorable quality. Keyboards contribute to the album's atmosphere, yet they are sometimes reported as being somewhat subdued in the mix, potentially making them less prominent than other instruments and occasionally feeling somewhat detached from the overall instrumental landscape. The drumming, though not always at the forefront of the promotional description, is noted for its competent and potentially standout performance within the album's structure.

Ultimately, "The Source of Black Water" presents a blend of gothic, doom, and death metal elements. While it fulfills the expectation of delivering these diverse components, the degree to which they integrate into a cohesive and consistently engaging musical experience is a point of varied reception.

Christine  Parastatidou

BLAX Releases New Lyric Video "Doctor Love" from “Certesia”

 

Italian artist BLAX has launched the lyric video for "Doctor Love," from their latest album “Certesia”, now out via Wormholedeath.

The song takes listeners on a dark, emotional journey of desire, chaos, and gothic grandeur. With haunting lyrics and intense melodies, BLAX creates a cinematic world where love and destruction collide.

INSINERATEHYMN Releases New Album

 

Los Angeles death metal band Insineratehymn has released their third album, “Irreverence of the Divine”. Recorded at Birdcage Studios and mixed at Bright Lights Basement, the album features their raw, brutal sound influenced by legends like Suffocation and Deicide. Formed in 2016, the band—Demitree Rivera, Frank Montero, Miguel Martinez, and Abraham Garcia—continues to build their underground reputation with this fierce new release.

REVIEW: KREATOR, Gods Of Violence

 

KREATOR, Gods Of Violence (2017)

Nuclear Blast Records

Συνέχεια στην ίδια ατραπό. 

Πέντε ολόκληρα χρόνια μετά το «Phantom Antichrist», που προηγήθηκε, και το ζωντανό boxset άλμπουμ «Dying Alive», ακολουθεί αυτό εδώ το CD. Η ίδια συνταγή, κάποιοι λένε ξαναζεσταμένο φαγητό με πέρσι. Εντούτοις, το «Satan is Real» σαν κομμάτι με είχε κερδίσει με το βίντεο κλιπ του τότε. Θυμάμαι να το βλέπω στο YouTube, γυρνώντας το βράδυ από τη δουλειά, μέσα στο λεωφορείο, πολύ συχνά. 

Το δεύτερο κομμάτι που με τράβηξε εδώ, μαζί με το βίντεο του, είναι το «Fallen Brother», μια αφιέρωση σε όλους τους μουσικούς και τις επιρροές τους, λίγο ή πολύ, που είχαν πεθάνει αφήνοντας τη μουσική φτωχότερη. 

Τα «Totalitarian Terror» (τρεις χρόνια μετά το βιώσαμε στο πετσί μας σε παγκόσμιο επίπεδο με την απάτη/πανδημία Covid!), το ομότιτλο «Gods of Violence», το «World War Now» (ανατριχιαστική πρόβλεψη), το «Army of Storms», το «Hail to the Hordes» ακολουθούν ως οι κυριότερες στιγμές του. 

Ο Christian Giesler στο μπάσο για τελευταία φορά — ήταν μαζί τους από το «Cause for Conflict» του 1995, που τους επανέφερε στα νέα thrash/post-industrial metal μονοπάτια. Mille Petroza φωνή και ρυθμική κιθάρα, Sammi-Yli Sirnio κιθάρα και Jürgen "Ventor" Reil τύμπανα. 

Ο δίσκος αυτός καθαυτός είναι ένα τίμιο οκτώ στα δέκα, άρα καλός γενικά. Δεν είναι σίγουρα ο πιο αγαπημένος μου, χωρίς αυτό να σημαίνει κάτι άλλο. Απλά, το "μία από τα ίδια", όσο καλό κι αν είναι, παραμένει μία από τα ίδια, σαν ευθεία γραμμή.

English:

Continuing along the same path. 

Five whole years after “Phantom Antichrist”, which preceded it, and the live boxset album “Dying Alive”, comes this CD. The same formula—some say reheated food from last year. However, “Satan is Real” as a track had already won me over with its music video back then. I remember watching it on YouTube, late at night after work, often while riding the bus. 

The second track that caught my attention here, along with its video, is “Fallen Brother”, a tribute to all the musicians and their influences—little or much—who have passed away, leaving the music poorer for it. 

“Totalitarian Terror” (three years later, we experienced it firsthand on a global scale with the Covid scam/pandemic!), the self-titled “Gods of Violence”, “World War Now” (a chilling prediction), “Army of Storms”, and “Hail to the Hordes” follow as the key moments of this album. 

Christian Giesler on bass for the last time—he had been with the band since “Cause for Conflict” in 1995, which reintroduced them to the new thrash/post-industrial metal paths. Mille Petroza on vocals and rhythm guitar, Sammi-Yli Sirnio on guitar, and Jürgen "Ventor" Reil on drums. 

This album itself is a solid eight out of ten—generally good. It’s definitely not my favorite, but that doesn’t mean anything in particular. Just, the "same old, same old," no matter how good, remains just that—a straight line.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: INNER MISSING - The Age of Silence

 

INNER MISSING - The Age of Silence

Darknagar Records

INNER MISSING, a Russian five-piece, emerged in 2008 as the studio project ODIUM. Following a positively received demo, the project evolved into a full band, changing their name to INNER MISSING to mark this development. Their debut full-length album, “The Age of Silence”, was released in 2010. The band has since released a sophomore album, “Escapism”.

Musically, INNER MISSING operates within the doom/death metal genre, often incorporating elements that approach funeral doom. The album predominantly features slow to mid-paced tempos, characteristic of doom metal. However, the rhythm section occasionally introduces faster drumming, contrasting with the more deliberate pace of the guitars.

Vocal delivery on “The Age of Silence” primarily consists of deep death metal growls. These are periodically complemented by recitations, which contribute to the album's somber atmosphere. The guitar work is characterized by heavy, downtuned tones. Despite the overall heaviness, the album also incorporates dark melodies, solos, and notable riffs.

“The Age of Silence” showcases a band with varied musical approaches, offering a notable entry for listeners interested in the heavier spectrum of doom/death metal.

Christine  Parastatidou

REVIEW: OVER KILL, From The Underground And Below

 

OVER KILL, From The Underground And Below (1997)

Steamhammer

Πώς και δεν έχει καθόλου πράσινο αυτό το εξώφυλλο! 

Η ομάδα που έγραψε το «The Killing Kind» πριν βρίσκεται σε δημιουργικό οίστρο μάλλον, κι έτσι μάνι-μάνι, στον χρόνο απάνω, ξαναχτυπάει με το δεύτερο άλμπουμ της σε μικρή εταιρεία (ως το W.F.O ήταν στην πολυεθνική Atlantic, πιο πριν σε Noise / Megaforce) και με εξώφυλλο που μάλλον θα ταίριαζε περισσότερο σε κάποιο Doom συγκρότημα. 

Εντάξει, ποιότητα υπάρχει και εδώ μέσα μουσικά, όπως και το γνωστό ξερό (ίσως και λόγω του πάντοτε τέρμα πρίμα ήχου του μπάσου του D.D. Verni) και νευρικό κράμα Thrash και U.S. Speed Metal, με την τσιριχτή φωνή - σήμα κατατεθέν και αυτή του Bobby Elsworth. Βρισκόμαστε στα τέλη των 90's, όμως, με ό,τι αυτό σημαίνει. Σίγουρα, δε θα βρείτε τη συνέχεια του «Under The Influence» δέκα χρόνια πριν, ούτε καν του πιο εμπορικά γραμμένου «Horrorscope» των αρχών της δεκαετίας. Οι Overkill, από τρία άλμπουμ νωρίτερα, έχουν εκμοντερνίσει πολύ το στυλ τους από τότε, και φυσικά, τα νέα τότε υποπροϊόντα του Groove και Post Punk έχουν, ευτυχώς ή δυστυχώς, επιρροή και στα παλιά, καλά σχήματα όπως αυτοί.

 

Αυτό όμως δε σημαίνει ότι δεν αξίζει την προσοχή μας ο δίσκος αυτός. Τουναντίον. Αν προστρέξουμε στα χαρακτηριστικά κομμάτια του CD, όπως τα «It Lives», «Long Time Dyin'», «Genocya», «Half Past Dead», «F.U.C.T.», «The Rip n' Tear» και «Little Bit 'O Murder», θα δούμε ότι το έχουν μια χαρά ακόμα!

English:

How is it that this cover has absolutely no green on it? 

The band that wrote “The Killing Kind” before is probably in a creative surge, and so, in no time, they strike again with their second album on a small label (as W.F.O was under the multinational Atlantic, previously in Noise / Megaforce), and with a cover that would likely suit a Doom band more. 

Alright, musically, there's quality here as well, along with the familiar sharp (perhaps due to the always very trebly sound of D.D. Verni's bass) and nervous blend of Thrash and U.S. Speed Metal, with Bobby Elsworth's screeching vocals—also his trademark. We’re in the late '90s, though, with all that that implies. Certainly, you won't find a continuation of “Under The Influence” from ten years earlier, nor even the more commercially styled “Horrorscope” from the early '90s. Overkill, from three albums earlier, had modernized their style considerably by then, and, unfortunately or not, the new subgenres of Groove and Post-Punk had an influence on these old, good bands as well. 

However, that doesn’t mean this album isn’t worth our attention. On the contrary. If we focus on the characteristic tracks like “It Lives”, “Long Time Dyin'”, “Genocya”, “Half Past Dead”, “F.U.C.T.”, “The Rip n' Tear”, and “Little Bit 'O Murder”, we can see that they still do a great job!

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: KILLER - Young Blood

 

KILLER - Young Blood

Scratch Records

The 1986 album "Young Blood" by the Swiss heavy metal band KILLER stands as a pivotal release in their discography, marking a significant evolution in their sound. Often overshadowed by the more widely known Belgian band of the same name, the Swiss KILLER forged their own path, and "Young Blood" is a testament to their adaptability and musicianship within the burgeoning 1980s metal scene.

Prior to "Young Blood," KILLER's sound, as heard on albums like "Ladykiller" (1981) and "Thriller" (1982), leaned heavily into a hard rock aesthetic, drawing frequent comparisons to blues-infused acts like AC/DC and their Swiss compatriots KROKUS. These earlier efforts were characterized by a more straightforward, groovier rock 'n' roll approach with anthemic, singalong choruses.

However, "Young Blood" ushered in a distinct shift towards a more polished and aggressive heavy metal sound. The album's sonic landscape reveals clear influences from established titans of the genre such as ACCEPT, SINNER and JUDAS PRIEST. This transformation is evident in several key areas. The riffing on "Young Blood" became sharper, more precise, and dynamically richer, often incorporating a driving, palm-muted aggression reminiscent of Accept's Teutonic power. While maintaining a hard edge, the band infused more intricate melodic lines, particularly in the vocals and lead guitar work, echoing the approach of bands like Sinner. Furthermore, the album strongly embraces the New Wave of British Heavy Metal (NWOBHM) ethos, particularly the powerful twin-guitar attack and anthem-building prowess often associated with Judas Priest; the overall "metal anthem" feel is far more pronounced than in their earlier material.

A significant factor in this sonic evolution was the album's lineup, featuring Mark B. Lay on vocals, Jan van Crow on guitars, Martin Morelli on bass and Ronny Woolf on drums. Jan van Crow's guitar work, in particular, is a standout feature. His solos aren't merely displays of speed but are carefully constructed with a strong sense of melody and phrasing, adding considerable depth and excitement to the tracks. His riff craftsmanship provides a solid, powerful foundation throughout the album.

Key tracks that exemplify this refined heavy metal sound include the title track "Young Blood", the driving "I Want It" and the powerful "Heaven and Hell." Beyond these, "Wild Boys" demonstrates the band's capability for energetic, pure heavy metal anthems, completely distinct from the Duran Duran song of the same name released around the same period. "She's a Crazy Driver" further showcases KILLER's ability to combine relentless rhythms with compelling melodic hooks.

Visually, "Young Blood" also makes a strong statement. The album cover, featuring a flaming iron arrow piercing an exposed, mechanical heart, immediately draws parallels to Accept's iconic "Metal Heart" album cover released just a year prior. Both artworks share a central "metal heart" motif, an industrial aesthetic, and themes of power and resilience that were prevalent in 1980s heavy metal imagery. Whether a direct influence or a reflection of the era's shared artistic sensibilities, this visual connection effectively complements the album's powerful metallic content.

In conclusion, "Young Blood" represents a crucial turning point for the Swiss band KILLER, moving them firmly into the realm of traditional heavy metal. Its strong songwriting, powerful performances, and notable guitar work make it a compelling listen for fans of 80s European metal, solidifying its place as an important, albeit sometimes overlooked, chapter in their legacy.

Nick Parastatidis

 

Shatterheart Releases Debut EP

 

Gothenburg, Sweden — Shatterheart has released their debut EP, “Ground Turns to Dust”, recorded at Fredman Studios. Formed in 2024, the band features Johan Bergman (guitar), Alicke Kostopoulou (vocals), Olle Bengtsson (drums), Jonathan Strand (bass), and Daniel Lyngsaa Larsson (keyboards). Led by Johan and Alicke, the EP combines soaring melodies with heavy riffs, marking an exciting start for the new symphonic metal act.

PRONG Joins Napalm Records, Announces "Cleansing" Anniversary Tour

 

Veteran metal act PRONG has officially signed a worldwide record deal with Napalm Records. This partnership follows the success of their latest album, "State of Emergency," which garnered critical acclaim.

"I am honored, thrilled and excited that Prong is now with Napalm Records. It’s simply a fantastic label to be on," said frontman Tommy Victor.

The signing comes just as PRONG gears up for a European headline tour celebrating the 31st anniversary of their iconic 1994 album, "Cleansing." The tour kicks off on July 30th in Hamburg, Germany, and will include appearances at major festivals like Brutal Assault and Alcatraz Metal Festival.

Before their European dates, PRONG will play a one-off show in Amityville, NY on July 19th. Post-tour, they'll perform in Los Angeles in October, followed by an appearance at Aftershock Festival in Sacramento, CA, on October 2nd.

VENUS brand new single as lyric-video

 

Greek Technical Thrash Metal band VENUS, has just released a new song titled "Uploaded Brains", which serves as an appetizer while the band finishes recording their second album. This new song will be released exclusively for free digitally, with a second bonus track, which is a new version of the song "City of Nektron", from their debut album "Obscured Until Observed", but re-recorded live in studio with the current complete lineup.

REVIEW: LOST CONCEPTION - Paroxysm of Despair

 

LOST CONCEPTION - Paroxysm of Despair

Darknagar Records

Released in 2011, LOST CONCEPTION's debut album, "Paroxysm of Despair," offers a straightforward and effective blend of progressive and death metal. This Russian band manages to combine elements from both genres without making the music sound jarring or forced, which can be a common pitfall when mixing different metal styles. For a debut, it's a well-executed effort that shows the band's clear musical direction.

"Paroxysm of Despair" largely focuses on technical playing and structured songwriting. The album's strength lies in its ability to integrate the melodic and often shifting patterns of progressive metal with the aggressive, heavier sound of death metal. This means you'll hear moments of intricate guitar work and varying song tempos alongside powerful, driving riffs. It's a balance that helps keep the music engaging throughout.

From a technical standpoint, the album delivers. The guitar solos are well-crafted and show a good level of technical skill, adding a layer of complexity to the tracks. The vocals are primarily guttural, fitting the death metal side of their sound, and they’re delivered consistently. The rhythm section (bass and drums) provides a solid backbone, keeping the often-complex arrangements tight and cohesive. They handle the shifts between different parts of the songs effectively.

If you're into metal that prioritizes technical musicianship, features elements of progressive song structures, and still delivers with heavy, aggressive riffs, then "Paroxysm of Despair" is worth checking out. It's a solid first outing from LOST CONCEPTION, demonstrating their ability to put together a competent and enjoyable album that should appeal to fans of both progressive and death metal.

Christine  Parastatidou