REVIEW: HELLOWEEN, Helloween

 

HELLOWEEN, Helloween (2021)

Nuclear Blast Records

Οι επιστήμονες σηκώνουν τα χέρια ψηλά με τις κολοκύθες. 

Πόσες φορές μια επανένωση δεν έχει φέρει ευδαιμονία στους μουσικόφιλους; Ένα συγκρότημα, συνυφασμένο με το ευρωπαϊκό Power Metal, που κάηκε γρήγορα, άλλαξε μέλη και επανέκαμψε, πραγματοποιώντας μια δισκογραφική βόλτα, με τον μακροβιότερο ερμηνευτή, τον συμπαθέστατο Andi Deris, να έχει γίνει πλέον ένα με το όνομα του σχήματος. 

Το 2017-18, μια συναστρία έφερε στη σκηνή μαζί τους τον κιθαρίστα, αρχικό τραγουδιστή και συνδημιουργό του συγκροτήματος, Kai Hansen, από το 1989 στους δικούς του Gamma Ray, καθώς και τον πλέον με ξυρισμένο κεφάλι μυθικό δεύτερο τραγουδιστή, τον κύριο Michael Kiske, για ζωντανές guest εμφανίσεις. 

Τότε ήταν που ο κόσμος ήθελε να βιώσει τη χρυσή εποχή που λίγοι θυμούνται πια από τους δύο δίσκους "Keeper of the Seven Keys". Δεν έγινε ποτέ πλήρης επανένωση, αλλά προστέθηκαν οι δύο αρχικοί μουσικοί στο ήδη ενεργό συγκρότημα, δημιουργώντας το τέρας που περιγράφει το κλασικό τραγούδι τους, το "Dr. Stein"! 

Το επταμελές συγκρότημα, με τρεις τραγουδιστές, τρεις κιθαρίστες, τον μπασίστα Markus Grosskopf και τον ντράμερ Dani Löble, μπήκε στο στούντιο και αυτό εδώ το κόσμημα είναι το άλμπουμ που ηχογραφήθηκε! Με τον τίτλο του να είναι ομώνυμος του συγκροτήματος, με προβλημάτισε τότε, αφού, όπως είναι γνωστό, το πρώτο τους E.P. το 1984 ήταν το σκέτο "Helloween", γνωστό ως "The Mini LP" και έκτοτε στους φίλους τους! 

Όπως κι αν έχουν τα πράγματα, με τόσο καλούς συνεργάτες είναι απόλυτα λογικό να βαθμολογούνται με δέκα στα δέκα, μετά από τόσες δεκαετίες. Κι είναι ένα σχήμα που από το 1994, κατά τη γνώμη μου, δεν έχει δισκογραφική βαθμολογία κάτω του 7/10 σε ό,τι έχει κυκλοφορήσει, οπότε καταλαβαίνετε ότι εδώ άγγιξαν τα "Keepers", που προφανώς ήταν δεκάρια το 1987 και το 1988.

 

Ένα CD με ζωντανή, σύγχρονη παραγωγή και ύμνους όπως τα "Out for the Glory", "Fear of the Fallen", "Best Time Angels", "Mass Pollution", "Robot King", "Cycnide", "Down in the Dumps", "Obit" και φυσικά το single που κυκλοφόρησε ως Ε.P., σχεδόν ένα χρόνο πριν από τον δίσκο, το "Skyfall", κλείνει ένα όνειρο όλων μας. Έχουμε πλέον ζήσει και αυτό στην ιστορία της Metal μουσικής!

English:

Scientists are throwing up their hands in despair over pumpkins. 

How many times has a reunion failed to bring joy to music fans? A band, closely associated with European Power Metal, which burned out quickly, changed members, and made a comeback—embarking on a musical journey—with the longest-standing vocalist, the very likable Andi Deris, now fully integrated with the band's name. 

In 2017-18, a reunion brought onto the stage the guitarist, original singer, and co-creator of the band, Kai Hansen, who has been with Gamma Ray since 1989, as well as the legendary second vocalist with a shaved head, Mr. Michael Kiske, for live guest appearances.

 

It was then that fans yearned to experience the golden era, remembered by few, from the two "Keeper of the Seven Keys" albums. A full reunion never happened, but the two founding musicians joined the already active band, creating the monster described in their classic song, "Dr. Stein." 

The seven-member band, featuring three vocalists, three guitarists, bassist Markus Grosskopf, and drummer Dani Löble, entered the studio, and this jewel is the album recorded there. Titled after the band itself, I was initially puzzled by it, since, as is well known, their first EP in 1984 was simply called "Helloween," also known as "The Mini LP," and has since become a favorite among fans. 

Regardless of the circumstances, with such talented collaborators, it’s completely logical that they score a perfect 10 out of 10 after so many decades. In my opinion, since 1994, this band has never released material below a 7/10, so you can imagine they reached the heights of the "Keepers," which were undoubtedly perfect scores in 1987 and 1988. 

This CD, with its modern live production and anthems like "Out for the Glory," "Fear of the Fallen," "Best Time Angels," "Mass Pollution," "Robot King," "Cycnide," "Down in the Dumps," "Obit," and of course the single released as an EP almost a year before the album, "Skyfall," closes a dream for all of us. We have now experienced this chapter in the history of Metal music! 

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: WINTERUS - In Carbon Mysticism

 

WINTERUS - In Carbon Mysticism

Lifeforce Records

WINTERUS, a U.S.-based band, makes their debut with “In Carbon Mysticism” on Lifeforce Records, offering a traditional black metal sound reminiscent of Dissection. The album features cold, incisive riffs that are designed to evoke a chilling atmosphere, contributing to a sense of bleakness and intensity. The melodies consistently maintain engagement through their distinct and authentic character, providing a compelling foundation for the tracks. Keyboards are utilized atmospherically, supporting the melodic structures without overshadowing them, while the vocals are consistently raw and pure black metal, devoid of any female contributions.

A notable area for improvement lies in the album's production. There are instances where the drum levels occasionally overpower other instruments, particularly the guitars, which can similarly dominate the mix at other points. This inconsistent mixing occasionally detracts from the overall clarity and balance of the instrumentation. Addressing the mix in future releases would likely enhance the sonic impact of their otherwise promising musical foundation.

Despite the production nuances, enthusiasts of traditional black metal are encouraged to explore “In Carbon Mysticism”.

George  Kefalas

REVIEW: ÖBLIVÏON, Resilience

 

ÖBLIVÏON, Resilience (2018)

ROAR! / Rock of Angels Records

Αξιόλογη προσπάθεια. 

Οι Γάλλοι Power Metalers στον ένα και μοναδικό δίσκο τους, πριν αλλάξουν το όνομά τους σε KingCrown. Ψάχνοντας για το όνομα, θα δούμε δεκάδες μπάντες με αυτό, απ' όλο τον κόσμο και από όλα τα είδη. Εντούτοις, αυτό το CD (και το ζωντανό DVD στην πρώτη έκδοση) αποτελεί μια τίμια μεταλλική προσπάθεια των πέντε μελών του σχήματος, που μας δείχνουν με το καλό τη δουλειά τους. 

Εντάξει, Power Metal σίγουρα ευρωπαϊκής κοπής, αλλά μη πάει το μυαλό σας σε Stratovarius, Dream Evil, Brainstorm, Mob Rules κ.ά., καθώς βρίσκεται πολύ μακριά από αυτό το ρετρό πλέον και τετριμμένο υποείδος. Ενδιαφέρουσες ιδέες, στα όρια μεταξύ κλασικού Heavy, λίγης νεοκλασικής επιρροής και Power Metal, και ένα αρκετά καλό άλμπουμ που εκπλήσσει ευχάριστα. 

Στα δέκα κομμάτια και την αρχική εισαγωγή, ξεχωρίζουν τα: «Honor and Glory», «In the Arms of A Queen», «Shine in My Galaxy», «Evil Spell», «Facing the Enemy», «The Race is On», «Dreamers Believers» — λίγο πολύ σαν ωδές στην κλασική Metal νοοτροπία και τεχνική.

English:

A commendable effort.

 

The French Power Metal band’s only album, before they changed their name to KingCrown. While searching for the band’s name, you’ll find dozens of bands with the same, from all over the world and across all genres. Nevertheless, this CD (along with the live DVD in the first edition) is a sincere metal endeavor by the five band members, showcasing their work in a genuine way. 

Sure, it’s European-style Power Metal, but don’t think of Stratovarius, Dream Evil, Brainstorm, Mob Rules, or similar, as it’s far removed from that now-retro and somewhat cliché subgenre. It features interesting ideas, straddling the lines between classic Heavy Metal, some neo-classical influences, and Power Metal, resulting in a quite good album that pleasantly surprises. 

Among the ten tracks and the opening intro, standout songs include: “Honor and Glory,” “In the Arms of A Queen,” “Shine in My Galaxy,” “Evil Spell,” “Facing the Enemy,” “The Race is On,” and “Dreamers Believers” — all somewhat like hymns to the classic Metal mentality and technique.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: BLACK PHANTOM - Horror Paradise

 

BLACK PHANTOM - Horror Paradise

Punishment 18 Records

The intersection of horror and heavy metal music has a long and storied history, with iconic bands like Alice Cooper, King Diamond, Iron Maiden, and Judas Priest successfully blending these two elements. Italian band Black Phantom continues this tradition with their third album, aptly titled "Horror Paradise." The title itself is a nod to Italy's rich legacy in horror cinema, a genre that has influenced countless artists, including the legendary Black Sabbath, who drew inspiration from Mario Bava's classic film "Black Sabbath."

A significant portion of "Horror Paradise" delves into horror narratives, with the band actively encouraging listeners to identify the horror films that inspired each track. For instance, "Sammy the Elf" appears to reference the film "He Knows" and was notably featured on its 2022 soundtrack. "The Armour of God" may allude to "The Exorcist," and "Listen to the Voice" to "Hillsborough Road." Another track, "Beast on the Loose," is also part of the soundtrack for the film "NIGHT OF THE AXE." Black Phantom's direct involvement in composing music for other horror films further underscores their deep connection to the genre.

Beyond horror, the album also explores historical themes, as heard in tracks like "War of Tanks," "The Headsman," and "J for Jenny." This thematic inclusion prompts reflection on whether the brutal realities of history might, in fact, be more terrifying than any fictional horror.

Musically, Black Phantom delivers quality heavy metal with discernible power metal undertones, reminiscent of the American scene. This stylistic choice may stem from a shared influence, particularly Iron Maiden. The band exhibits strong cohesion in their performance. Andrea Tito's bass work is pervasive, not only providing rhythm but also adding distinct character to the songs. Manuel Malini's vocals are a standout, evoking a powerful blend of Bruce Dickinson and Tobias Sammet.

Overall, "Horror Paradise" by Black Phantom is a solid offering for aficionados of classic heavy metal. It successfully integrates themes of horror and history, supported by competent musical execution and dynamic vocals, making it an album worth experiencing.

Nick Parastatidis

REVIEW: SATAN, Trial By Fire - Live In North America

 

SATAN, Trial By Fire - Live In North America (2014)

Listenable Records

Ζωντανά από την κόλαση.

Οι Άγγλοι, εδώ στην αντίπερα όχθη του Ατλαντικού, στην περιοδεία για το άλμπουμ «Life Sentence», που τους επανέφερε στα πράγματα μετά από δεκαετίες. Όλη η ενέργεια, ο χαρακτηριστικός ήχος και η όρεξη να δώσουν στο κοινό από κάτω στο μέγιστο βαθμό συμπυκνώνονται σε δεκαπέντε κομμάτια. Η αλήθεια είναι ότι δεν υπάρχει η τέλεια παραγωγή, αλλά ο σκοπός αγιάζει τα μέσα. Η έναρξη με τον κλασικό ύμνο τους, «Trial By Fire», από το μυθικών διαστάσεων πρώτο δίσκο τους, «Court In The Act», είναι πάντα ο μπούσουλας στις εμφανίσεις τους, όπως τις ζήσαμε και πρόσφατα. Ουσιαστικά, παίζουν πάνω από το μισό πρώτο άλμπουμ, με το υπόλοιπο σετ να αποτελείται από κομμάτια του «Life Sentence». Οι κακοπροαίρετοι θα πουν: «Μα καλά, απ' το Ε.Ρ. «Into the Future» και ειδικά απ' το «Suspended Sentence», τίποτα;» Όντως, εδώ τουλάχιστον, δεν παίζουν υλικό από αυτά, δυστυχώς.

English:

Live from Hell.

The English, here on the other side of the Atlantic, on their tour for the album “Life Sentence”, which brought them back into the spotlight after decades. All the energy, the distinctive sound, and the desire to give the audience below their maximum effort are condensed into fifteen tracks. The truth is, there’s no perfect production, but the end justifies the means. The show always starts with their classic anthem, “Trial By Fire”, from their legendary debut album, “Court In The Act”, which serves as a guideline for their performances, as we experienced recently. Essentially, they play over half of the first album, with the rest of the set consisting of tracks from “Life Sentence”. The detractors might say, “Well, from the E.P. “Into the Future” and especially from “Suspended Sentence”, nothing?” Indeed, unfortunately, they are not playing material from those at least in this show.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: CRIMINAL – Akelarre

 

CRIMINAL – Akelarre

Massacre Records

"Akelarre," released via Massacre Records, is the seventh studio album from CRIMINAL, a band with a long and established history in the metal scene. Formed in 1991, they are undoubtedly one of the oldest metal acts in Chile, a testament to their enduring presence. The band's consistent output over decades speaks to their dedication and evolution within the genre.

A significant point in CRIMINAL's trajectory was the relocation of key members to the UK in 2001. Notably, this move appears to have had no discernible impact on their distinctive sound or artistic direction. They continue to deliver a potent mixture of thrash metal and melodic death metal, a formula they have refined over the years. This core sound is enriched with modern touches that contribute to a tighter and heavier overall production, demonstrating their ability to adapt without compromising their identity.

The compositions on "Akelarre" highlight a band comprised of not only skilled musicians but also adept songwriters. CRIMINAL expertly marries the raw extremity and ferocity inherent in death/thrash metal with their technical proficiency and a keen sense of melody. The album features a stable and powerful rhythm section, with particularly stunning drum work. Furthermore, the inclusion of intricate and well-crafted guitar solos adds significant depth and excitement to the tracks. The vocals are delivered with an edgy intensity, primarily exhibiting a thrash character, yet effectively incorporating death metal growls to round out their sonic assault.

In conclusion, "Akelarre" stands as a fine example of technical and catchy death/thrash metal. It showcases CRIMINAL's continued ability to produce brutal yet addictive songs, affirming their position as a significant force within the metal landscape. The album effectively demonstrates their capacity to blend aggression with musical complexity, offering a compelling listening experience for fans of the genre.

Christine  Parastatidou

Mike Litoris Complot Releases New Album «Backwood Bonanza»

 

The notorious grindcore band Mike Litoris Complot has dropped their latest album, «Backwood Bonanza». Mixed and mastered by Marc Froehling at Kraken Studios, the album continues the band’s tradition of chaotic, boundary-pushing music.

Formed in 2009 by drummer BumBum Knuppes and Beerserker, Mike Litoris Complot is known for their wild live shows and outrageous themes. Their new release features a blend of goregrind, slam, and grindcore, with lyrics inspired by GG Allin, German splatter films, and unfiltered filth.

The band has built a reputation for pushing the limits of genre and taste, even starring in the cult film “Hillbilly Holocaust” to deliver their signature raw, party-metal experience. «Backwood Bonanza» is set to satisfy fans craving their signature chaos and irreverence.

Unpacking Black Sabbath's "Satanic" Metaphors

 

Black Sabbath. The very name conjures images of darkness, foreboding riffs, and lyrics steeped in the occult. For decades, the Birmingham quartet has been synonymous with heavy metal's darker side, frequently inspiring headlines and moral panic with songs seemingly inspired by the devil himself. Yet, to dismiss these tracks as mere glorifications of evil would be to miss the profound, often critical, metaphors woven into their grim tapestry.

While their sound – pioneered by Tony Iommi’s groundbreaking riffs, Geezer Butler’s thunderous bass, Bill Ward’s jazz-infused drums, and Ozzy Osbourne’s eerie wail – undeniably set a new standard for heavy music, it was Butler’s lyrical explorations of the macabre that truly cemented their controversial reputation. Often misinterpreted, these ten songs, in particular, offer a fascinating glimpse into Black Sabbath’s use of "devilish" imagery as a powerful tool for social commentary and psychological exploration.

1. "Black Sabbath" (from “Black Sabbath”, 1970): The genesis of it all. The iconic tritone riff, famously dubbed the "devil's interval," immediately sets a chilling tone. Lyrically, it paints a picture of a shadowy figure and a descent into hell.

The Metaphor: More than just a horror story, this song taps into primal fears of the unknown and the consequences of moral transgression. It's a stark warning, a sonic invocation of dread rather than an invitation to evil.

2. "N.I.B." (from “Black Sabbath”, 1970): Often mistakenly believed to stand for "Nativity in Black," the title was actually a nickname for Bill Ward’s beard. However, the lyrics are strikingly from Lucifer's perspective, expressing newfound love.

The Metaphor: Here, the devil isn't just pure evil, but a figure capable of complex emotions. It can be seen as a commentary on the seductive nature of power, or even the idea that anyone, regardless of their perceived nature, can experience change or unexpected feelings. It humanizes the ultimate evil, making it more unsettling.

3. "Lord of This World" (from “Master of Reality”, 1971):  A cynical view of humanity's darker impulses, suggesting that a malevolent force dictates our greed and suffering.

The Metaphor: This song is a direct indictment of humanity's failings. The "Lord of This World" isn't necessarily a literal devil, but rather the embodiment of corruption, materialism, and the destructive choices made by mankind. It questions who truly pulls the strings in a world plagued by conflict and injustice.

4. "Sabbath Bloody Sabbath" (from “Sabbath Bloody Sabbath”, 1973): While broader in its themes, it evokes a struggle against an oppressive, almost demonic force.

The Metaphor: The "devil on your back" here represents the overwhelming pressures and exhaustion of life, particularly the music industry's demands on the band. It's a raw portrayal of feeling trapped and battling against unseen forces that threaten to consume you.

5. "Lady Evil" (from “Heaven and Hell”, 1980): With Ronnie James Dio on vocals, this track personifies evil as a seductive, dangerous woman.

The Metaphor: "Lady Evil" isn't just a literal succubus. She embodies temptation, the allure of destructive choices, and the power of manipulation. She represents the darker aspects of human desire and the consequences of succumbing to them.

6. "Voodoo" (from “Mob Rules”, 1981): The title itself hints at dark magic, with lyrics exploring supernatural manipulation and curses.

The Metaphor: "Voodoo" delves into the psychological grip of fear and superstition. It can represent the power of belief (both positive and negative) and how our own minds, or the influence of others, can create a sense of being cursed or controlled. It explores the darker side of human interaction and the desire for control over others.

7. "The Sign of the Southern Cross" (from “Mob Rules”, 1981):  An epic track dealing with darkness and struggle, often with a sense of impending doom linked to malevolent forces.

The Metaphor: This song touches on themes of faith, disillusionment, and the search for meaning in a chaotic world. The "darkness" and "malevolent forces" can be interpreted as societal decay, the despair of war, or the individual's internal battles against overwhelming odds. The Southern Cross, a symbol of guidance, becomes twisted, suggesting a loss of direction in a morally ambiguous world.

8. "Disturbing the Priest" (from “Born Again”, 1983): Directly addresses religious transgression and the possibility of inviting demonic attention.

The Metaphor: Beyond a literal act of sacrilege, this song can symbolize challenging established norms and authorities, even religious ones. It explores the fear of repercussions when one deviates from the expected path, and the societal discomfort with questioning deeply held beliefs. The "demon" might be the societal backlash or the internal guilt arising from such defiance.

9. "Headless Cross" (from “Headless Cross”, 1989): A deep dive into occult themes, featuring dark prophecies and ancient evil.

The Metaphor: This track evokes a sense of apocalyptic dread and the cyclical nature of evil throughout history. The "headless cross" represents a world where spiritual guidance is lost or corrupted, leading to a descent into chaos and the triumph of destructive forces. It’s a powerful metaphor for societal collapse when moral compasses are abandoned.

10. "The Devil Cried" (from “The Dio Years”, 2007): A later Dio-era track that explicitly names and explores the concept of the devil and his influence.

The Metaphor: This song offers a more direct contemplation of the devil's role in human suffering and choice. It can be seen as a reflection on the universal struggle between good and evil, and the idea that even the most malevolent forces can experience a form of "pain" or consequence for their actions, or lament the state of the world they have influenced.

Fun Fact: Geezer Butler, Black Sabbath’s primary lyricist, was raised Catholic. His fascination with dark imagery was often a reflection of his own struggles with faith, the prevalence of evil in the world, and a desire to warn listeners about its insidious nature, rather than to promote it. He frequently stated that his lyrics were cautionary tales, not endorsements.

Black Sabbath’s legacy extends far beyond their groundbreaking sound. By utilizing the potent, often terrifying, imagery of the devil and demonic forces, they crafted a lyrical landscape that explored humanity’s deepest fears, societal ills, and the eternal struggle between light and darkness. Their "devil-inspired" songs, far from being simplistic invocations, stand as complex metaphors, challenging listeners to confront the shadows within themselves and the world around them.

Nick Parastatidis

REVIEW: HALFORD, Live Insurrection

 

HALFORD, Live Insurrection (2001)

Metal-Is Records

Μία ζωή μέσα στους δρόμους και τις συναυλίες.

 

Ο Rob Halford είχε ανακάμψει σε αυτό που λέμε κλασικό, ορθόδοξο Heavy Metal ήδη από τη κυκλοφορία του προσωπικού δίσκου του Resurrection, λίγο χρόνο πριν. Μάλιστα, στη περιοδεία αυτή πέρασε και από το Ρόδον για εκείνα τα δύο αποκαλυπτικά βράδια που ζήσαμε εκεί. Τι καλύτερο λοιπόν από το να συγκεντρώσει τις καλύτερες στιγμές του από το άλμπουμ, από τα αγαπημένα του της εποχής Judas Priest βεβαίως, αλλά και από το πρώτο άλμπουμ Fight, War of Words, να καλέσει τον Bruce Dickinson για το ντουέτο The One You Love to Hate, και στο τέλος να συμπεριλάβει και τρία στούντιο κομμάτια! Σε ένα διπλό CD με τον Metal God, έχουμε τους Mike Chlasiak και Patrick Lachman στις κιθάρες, τον Ray Riendeau στο μπάσο και τη μηχανή ονόματι Bobby Jarzombek των Riot στα τύμπανα, να ισοπεδώνουν το στερεοφωνικό μας ζωντανά.

English:

A lifetime on the roads and at concerts.

 

Rob Halford had already made a comeback to what we call classic, orthodox Heavy Metal with the release of his solo album “Resurrection”, a little while before. In fact, during this tour, he even played at the Ródon for those two legendary nights we experienced there. So, what better than to compile his best moments from the album—of course, including his favorite Judas Priest tracks from that era—and from his first Fight album, “War of Words”, to invite Bruce Dickinson for the duet “The One You Love to Hate”, and finally to include three studio tracks! On a double CD with the “Metal God”, we have Mike Chlasiak and Patrick Lachman on guitars, Ray Riendeau on bass, and the machine named Bobby Jarzombek of Riot on drums, tearing through our stereo live.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: BLOOD STAIN CHILD – Epsilon

 

BLOOD STAIN CHILD – Epsilon

Coroner Records

Released through Coroner Records, “Epsilon” is the fifth studio album by the Japanese band Blood Stain Child. The album showcases the group's signature blend of melodic death metal with elements of trance and electronic music. This fusion is a core component of the band's sound, creating a distinct style that combines heavy guitar riffs with synthesized beats and atmospheric textures.

The album's instrumentation is characterized by the interplay between traditional metal elements and electronic components. The guitar work features melodic lines and heavy riffing, while the drums, both live and programmed, often incorporate fast-paced beats common in black metal and electronic genres. The electronic elements, including synthesized melodies and trance-like rhythms, are integrated throughout the album, serving to enhance the overall energy rather than simply as a background layer.

Vocal duties are shared between a harsh, black metal-inspired vocal style and clean female vocals. The harsh vocals provide a sense of aggression and intensity, a common feature in the band's genre. The clean female vocals, in contrast, are delivered without an operatic or classical influence, instead providing a melodic and accessible counterpoint to the harsher sounds.

The production quality of “Epsilon” is polished and professional, with a clear mix that allows each instrument and electronic element to be heard distinctly. This clarity is crucial for an album that features such a wide array of sonic layers. The album's tracklist includes several songs that emphasize rhythm and beat, making them potentially suitable for a club or dance setting.

“Epsilon” represents a continuation of Blood Stain Child's exploration of the intersection between metal and electronic music. The album's structure and sound are consistent with the band's previous work, offering a coherent example of their unique musical approach.

George Kefalas

REVIEW: KING DIAMOND, Conspiracy

 

KING DIAMOND, Conspiracy (1989)

Roadrunner Records

Δεύτερο μέρος μιας ακόμη ιστορίας τρόμου.

Γιατί να ονομαστεί «Them Part II»; Δεν θα υπήρχε λόγος, οπότε ο κύριος Kim Bendix Petersen από την Κοπεγχάγη, με το καλλιτεχνικό παρατσούκλι King Diamond και το συγκρότημα του και με τον κιθαρίστα Andy LaRoque πάντα μαζί του (με τον ντράμερ Mickey Dee όμως να λογίζεται πλέον σαν συνεργάτη αφού η συνεργασία του για το προσωπικό άλμπουμ του Don Dokken το κράτησε οριστικά μετά απ' αυτό το άλμπουμ, εκτός από τον Snowy Shaw που φαίνεται ήδη σαν ο νέος ντράμερ) συνεχίζει μετά από το progressive metal όργιο τρόμου της προηγούμενης χρονιάς με ένα σίκουελ που θυμίζει όντως κινηματογραφική ταινία τρόμου. Πιο άμεσο, λιγότερο prog και για κάποιους περίεργους πιο "εμπορικό", το άλμπουμ με τον μονολεκτικό τίτλο της συνομωσίας συνεχίζει με το στόρυ του μικρού King και της οικογένειας του στο παλιό αρχοντικό σπίτι Amon μετά τον θάνατο της αδερφής του Missy και κυρίως, μετά το εξιτήριο του ήρωα από την ψυχιατρική κλινική που τον οδήγησε η γιαγιά του με τη βοήθεια των αοράτων φίλων της και βεβαίως τον αόρατο γιατρό φίλο της μητέρας του. Τα υπόλοιπα επί του δίσκου! Αθάνατα metal μνημεία σαν τα "At the Graves", "Sleepless Nights", "Lies", "A Visit From the Dead", "The Wedding Dream", "Amon Belongs to Them", "Vitimized" θα στοιχειώνουν για πάντα το συλλογικό ασυνείδητο της metal κοινότητας.

English:

Second part of another horror story.

Why call it "Them Part II"? There would be no reason, so Mr. Kim Bendix Petersen from Copenhagen, known by his stage name King Diamond, along with his band—featuring guitarist Andy LaRocque always by his side (with drummer Mickey Dee now considered more of a collaborator, since his work on Don Dokken’s solo album solidified his status outside of the band, except for Snowy Shaw, who already appears as the new drummer)—continues after the metal horror frenzy of the previous year with a sequel that truly resembles a horror movie. More direct, less progressive, and for some, oddly more "commercial," the album with the single-word title of conspiracy continues the story of young King and his family in the old Amon estate after the death of his sister Missy—and mainly, after the hero’s discharge from the psychiatric clinic his grandmother led him to, aided by her invisible friends and, of course, the invisible doctor friend of his mother.

More to come on the album! Immortal metal monuments like "At the Graves," "Sleepless Nights," "Lies," "A Visit From the Dead," "The Wedding Dream," "Amon Belongs to Them," and "Victimized" will haunt the collective unconscious of the metal community forever.

Τάκης "Ε-Μortal One" Γιώτης!