Πέμπτη 24 Ιουλίου 2025

REVIEW: WOLFCRY, Power Within

 


WOLFCRY, Power Within (2001)


Black Lotus Records


Όχι ακριβώς εκεί, αλλά πολύ κοντά.

 

Η μπάντα από την Αθήνα που είχε το όνομα Vanguard αρχικά τη δεκαετία του '90, και μετά το Demo και το Promo του 1999, γράφει το πρώτο της άλμπουμ, αυτό εδώ που βλέπουμε και ακούμε. Μια πολύ καλή προσπάθεια στο Heavy/Power Metal, με το δικό τους προσωπικό ήχο. Για μένα, έχοντας ακούσει πρώτο το δεύτερο τους CD, το Nightbreed, βρίσκω το Power Within ένα σκαλοπάτι πιο πίσω, όχι μόνο χρονολογικά αλλά και υποκειμενικά, μιλώντας πάντα. Πιστεύω ότι το Nightbreed είναι ουσιαστικά η απογείωσή τους, χωρίς αυτό να σημαίνει πως το ντεμπούτο τους δεν αξίζει! Μακράν, αυτό το συμπέρασμα. 


Το συγκρότημα απαρτίζουν εδώ οι: Κώστας Χατζηγεωργίου (φωνή), Σίμος Καγγελάρης (κιθάρα και πλήκτρα), Ανδρέας Κουρτίδης (ντραμς) και ο Σπύρος Τριανταφύλλου (μπάσο). Εννέα κομμάτια, με τα "The Journey", "Lonewolf’s Destiny", "The Fate of a Lonely Bard", "Reflection", "Part of a Play" και "Nightriders" να είναι κατά τη γνώμη μου τα πιο χαρακτηριστικά του δίσκου. Με μέλλον ακόμη μπροστά τους, τότε, και τα καλύτερα να έρχονται στο μέλλον.


English:



Not exactly there, but very close. 


The band from Athens, originally named Vanguard in the early '90s, and after their Demo and Promo in 1999, is now recording their first full-length album — this one we see and hear. A very good effort in Heavy/Power Metal, with their own distinctive sound. 


For me, having first listened to their second CD, Nightbreed, I see Power Within as a step back — not only chronologically but also, always subjectively speaking. I truly believe that Nightbreed is essentially their breakthrough, though that doesn't mean their debut isn’t worth it! Far from it — that’s my conclusion. 


The band members here are: Kostas Hatzigeorgiou (vocals), Simos Kaggelaris (guitar and keyboards), Andreas Kourtidis (drums), and Spyros Triantafyllou (bass). Nine tracks, with "The Journey," "Lonewolf’s Destiny," "The Fate of a Lonely Bard," "Reflection," "Part of a Play," and "Nightriders" being, in my opinion, the most characteristic of the album. They still have a bright future ahead, and the best is yet to come.


Τάκης "Ε-Μortal One" Γιώτης!


REVIEW: DIMMU BORGIR – Abrahadabra

 


DIMMU BORGIR – Abrahadabra


Nuclear Blast Records


“Abrahadabra”, released by Nuclear Blast Records in 2010, presents Dimmu Borgir's continued exploration of symphonic black metal. This album incorporates a significant presence of synthesized elements and effects, which contribute to its overall sonic landscape.


A notable characteristic of “Abrahadabra” is the prominent role of synthesizers and effects throughout the compositions. These layers are a dominant feature in the album's sound, and their integration creates a distinct atmospheric quality. The balance between these synthesized elements and other instrumentation, such as guitars and vocals, is a key aspect of the album's production. Some listeners may find the emphasis on orchestral and electronic textures to be a defining trait, while others might perceive it as overshadowing the more traditional black metal components.


Galder's guitar contributions are present throughout the album. The guitar work, particularly the riffs and lead passages, serves to complement the symphonic arrangements. The visibility of the guitar within the mix, given the layered instrumentation, is a consistent element across the tracks.



The vocal performances by Shagrath also contribute to the album's overall sound. The vocal delivery, encompassing both clean and harsher styles, is integrated within the album's rich sonic tapestry. The interaction between the vocals and the instrumental foundation is a significant aspect of “Abrahadabra's” musical approach.


From a production standpoint, the album features a mix that prioritizes the expansive symphonic elements. This mixing approach influences the prominence of various instruments, with synthesizers often at the forefront.


For those interested in exploring Dimmu Borgir's discography, “Abrahadabra” offers a specific stylistic direction within their body of work. Listeners familiar with previous albums like “Enthrone Darkness Triumphant” or “In Sorte Diaboli” may find “Abrahadabra” to represent a distinct evolution in the band's sound, particularly in its extensive use of orchestral and electronic textures.


Ryan  "Death 8699"  Fanucchi


Τετάρτη 23 Ιουλίου 2025

THE DARK SIDE OF THE MOON Unveils “Can’t Catch Me Now”

 


After their debut album “Metamorphosis”, THE DARK SIDE OF THE MOON releases their new single “Can’t Catch Me Now,” inspired by Olivia Rodrigo’s track from The Hunger Games. Blending cinematic orchestration, haunting melodies, and heavy riffs, the song offers a dark, hypnotic journey. Fronted by Melissa Bonny and featuring Hans Platz’s guitar work, it marks a bold new chapter for the band. They say, “‘Can’t Catch Me Now’ – our first release since “Metamorphosis”! A new chapter begins.”


SIMPLE EXISTENZ Returns with New Album “Trümmer”

 


German black metal project Simple Existenz, led by Nagelfar co-founder ZORN, has released “Trümmer”, an intense album exploring themes of isolation and decay. Entirely recorded in a home studio, the raw and intimate sound reflects a stark, desolate atmosphere. Praised for emotional depth and authenticity, “Trümmer” marks a powerful new chapter for the project, continuing its tradition of honest, visceral black metal.


AIRBORN new lyric-video online!!

 


Veteran Italian Heavy Metal band AIRBORN have just launched a lyric-video, of the song "Futuremaker", as a 2nd advance single for their 7th album entitled "Lizard Secrets: Part Three - Utopia" which closes the trilogy, and which will see the light on September 16th, 2025 on CD & Digital formats.


Τρίτη 22 Ιουλίου 2025

REVIEW: TESTAMENT, The Gathering

 


TESTAMENT, The Gathering (1999)


Nuclear Blast Records


Όταν έχεις πειραματιστεί με Heavy Metal, Groove Metal, Death Metal, και ίσως και Industrial στοιχεία που και που στους τελευταίους τρεις δίσκους, ήρθε η ώρα να στρωθείς στη δουλειά και να ωριμάσουν οι συνθήκες ώστε να γυρίσεις στο Thrash Metal, που είναι και η ειδικότητά σου εξαρχής. Βέβαια, το πρόβλημα δεν είναι δίσκοι όπως το «The Ritual», το «Low» ή το «Demonic», που αντιστοιχούν στις κατηγορίες που προαναφέρθηκαν. Ήταν για την εποχή του ο καθένας μια χαρά. Το θέμα είναι το προσωπικό που έχεις στο συγκρότημα, όταν απομένουν μόνο ο Chuck Billy και ο Eric Peterson ως πυρήνας της κάποτε μεγάλης πεντάδας των πρώτων χρόνων! 


Ήδη από το 1994, έχει συνεργαστεί σχεδόν μόνιμα ο James Murphy (Death, Obituary) στις υπόλοιπες κιθάρες. Εσχάτως, το 1998, ανακοινώνεται πως ο ντράμερ Dave Lombardo (Slayer, Grip Inc.) και ο μπασίστας και είδωλο Steve Di Giorgio (Sadus, Death, Iced Earth και μετά) είναι ήδη από το προηγούμενο άλμπουμ «Demonic» πάλι κοντά σου. Δεν γίνεται λοιπόν να μην αναγράψεις στο ρόστερ σου ότι αυτός ο δίσκος με αυτό το προσωπικό θα είναι τουλάχιστον μεγαλειώδης. 


Και ναι, λοιπόν, η "μάζωξη" που λέγαμε τότε, κάπως σκωπτικά, ήταν το καλύτερο δυνατό άλμπουμ που αυτό το σχήμα, το Φρανκενστάιν (με την καλή έννοια), θα μπορούσε να κάνει. Δυστυχώς, το 2000, στο Ρόδον Live! ο κόσμος δεν τίμησε τη μπάντα και το δίσκο όσο έπρεπε και οφείλονταν. Δε πειράζει—όσοι ήμασταν τότε εκεί, είδαμε ένα σχήμα να πουλά την ψυχή του μπροστά μας για τη Thrash Metal.

 

Στη reissue που έχω εδώ, και που περιέχει τα κλασικά κομμάτια όπως και στο αρχικό CD με εκείνο το παράξενο εξώφυλλο (το οποίο εδώ είναι πολύ βελτιωμένο), τα ακόλουθα ξεχωρίζουν: «D.N.R. (Do Not Resuscitate)», «Down For Life», «True Believer», «3 Days in Darkness», «Beginnings of the End», «Legions of the Dead», «Careful What You Wish For», «Riding the Snake», «Fall of Sipledome». Αυτά είναι τα πιο αγαπημένα, ενώ επιπλέον περιλαμβάνεται και το ορχηστρικό κομμάτι «Hammer of the Gods».


English:



Having experimented with Heavy Metal, Groove Metal, Death Metal, and perhaps some Industrial elements from time to time on the last three albums, it's now time to get down to work and create the conditions for returning to Thrash Metal, which has been your specialty from the beginning. Of course, the problem isn't albums like “The Ritual”, “Low”, or “Demonic”, which fit into the categories mentioned above—they were perfectly fine for their time. The real issue lies with the personnel in the band, especially now that only Chuck Billy and Eric Peterson remain as the core of what was once the great Big Five of the early days.


Since 1994, James Murphy (Death, Obituary) has been almost permanently involved on the other guitars. More recently, in 1998, it was announced that drummer Dave Lombardo (Slayer, Grip Inc.) and bassist and icon Steve Di Giorgio (Sadus, Death, Iced Earth, and beyond) have been close to the band since the previous album, “Demonic”. It’s safe to say that you couldn’t help but include in your roster that an album with this lineup would at least be monumental.


And yes, the "gathering," as we somewhat jokingly called it back then, was the best possible album this Frankenstein of a band (in the best sense) could produce. Unfortunately, in 2000, at the Rodon Live!, the audience didn’t honor the band and the album as they should have. But that’s okay—those of us who were there saw a band sell its soul right in front of us for Thrash Metal.


In the reissue I have here, which contains the classic tracks just like the original CD with that strange cover (much improved here), the following stand out: “D.N.R. (Do Not Resuscitate)”, “Down For Life”, “True Believer”, “3 Days in Darkness”, “Beginnings of the End”, “Legions of the Dead”, “Careful What You Wish For”, “Riding the Snake”, “Fall of Sipledome”. These are the favorites, and additionally, it includes the instrumental track “Hammer of the Gods”.


Τάκης "Ε-Μortal One" Γιώτης!


REVIEW: ATTICK DEMONS - Atlantis

 


ATTICK DEMONS - Atlantis


Pure Steel Records


ATTICK DEMONS' "Atlantis," released in 2011 by Pure Steel Records, stands as a compelling example of high-quality heavy metal emerging from a country not traditionally recognized as a genre stronghold. Hailing from Portugal, the band exhibits a sound deeply rooted in the classic British heavy metal tradition.


A prominent characteristic of "Atlantis" is the striking vocal performance of Artur Almeida, whose delivery bears a notable resemblance to that of Bruce Dickinson, particularly in his tone and melodic phrasing. While the influence of Iron Maiden is undeniably pervasive throughout the album, ATTICK DEMONS successfully transcends mere imitation. With eleven years of experience prior to this release, "Atlantis" demonstrates a mature songwriting approach. The band skillfully integrates their influences into their own musical identity, offering a nuanced interpretation rather than a direct replication. This allows the album to stand on its own merits, often inviting comparisons to the quality of more established acts within the genre.



Further enhancing the album's appeal are guest appearances by notable figures in heavy metal. The title track, "Atlantis," features a guitar solo by Ross "The Boss" Friedman (ex-Manowar) and additional vocals by Paul Di'Anno (ex-Iron Maiden), adding further prestige and depth to the record.


Musically, "Atlantis" is a robust heavy metal album, occasionally incorporating power metal elements. The album consistently delivers strong tracks with replay value. Among the album's highlights, "Meeting the Queen" is particularly noteworthy. This track effectively blends Artur Almeida's vocals with female counterparts, creating a distinctly lyrical and atmospheric soundscape that sets it apart.


Overall, "Atlantis" is a well-crafted and engaging heavy metal album that successfully pays homage to its influences while showcasing ATTICK DEMONS' own distinctive musicianship and songwriting prowess. It represents a significant contribution to the heavy metal landscape, particularly from the Portuguese scene.


Nick Parastatidis


Δευτέρα 21 Ιουλίου 2025

WEDNESDAY 13 Launches Fun, Campy "Rotting Away" Video

 


UK horror rocker WEDNESDAY 13 has released a playful new music video for "Rotting Away" from his Mid Death Crisis album, amid his Summer Blood Storm UK/European tour. The video features the Duke of Spook on a spooky picnic with a petrified date, inspired by “Night of the Living Dead”, Tom Petty, and “Weekend at Bernie’s”.


“I wanted to put the fun back in funeral,” says WEDNESDAY 13. “It’s campy, different, and a good time.” Fans can watch the hauntingly humorous clip now.


REVIEW: SAXON, Solid Ball Οf Rock

 


SAXON, Solid Ball Οf Rock (1990)


Virgin Records


Επαναφορά εργοστασιακών ρυθμίσεων. 


Μετά τα τέσσερα πιο εμπορικά άλμπουμ τους, οι Βρετανοί, με πληγωμένη την υπερηφάνεια τους και εξαιτίας και της δικής τους απόδοσης και στάσης από το 1985 και μετά, ξυπνούν από το κακό όνειρο που τους κατέταξε σε εκείνη τη μεγάλη μαύρη τάφρο με την ένδειξη "ξεπούλημα" στη συνείδηση των οπαδών (δεν είναι απολύτως ακριβές αυτό, αλλά μιλάμε με τα στάνταρ της εποχής εκείνης), με αυτό το συμπαγές και πλέον τόσο κλασικό άλμπουμ. 


Η δεκαετία του '90, που ανέτειλε, φέρθηκε καλά σε ελάχιστα σχήματα της προηγούμενης δεκαετίας. Οι Saxon ήταν ένα απ' αυτά, και πλέον ένα σερί δισκογραφικών χτυπημάτων θα τους επαναφέρει σε αυτό που ήταν κάποτε. 


Η "συμπαγής μπάλα από πέτρα" είναι ένα μεταλλικό ζενίθ που περιέχει τόσο μα, τόσο κλασικά κομμάτια, που πραγματικά σε κάνει να απορείς γιατί δεν συνέβη νωρίτερα. Το ομώνυμο κομμάτι, δυναμίτης που αρχίζει τον δίσκο, ακολουθεί μια πλημμύρα με τα κομμάτια: «Altar of the Gods», «Requiem (We Will Remember)», «Lights in the Sky», «I Just Can't Get Enough», «Baptism of Fire», «Ain't Gonna Take It», «I'm On Fire», ανάμεσα σε άλλα.


English:



Factory reset. 


After their four most commercial albums, the British band, with their pride wounded and partly due to their own performance and attitude since 1985, wake up from the bad dream that relegated them to that great black pit labeled "sellout" in the fans' conscience (this isn't entirely accurate, but it reflects the standards of that era), with this solid and now so classic album. 


The 1990s, which followed, treated only a few bands from the previous decade well. Saxon was one of them, and now a series of record-breaking releases will bring them back to what they once were.

 

The "solid ball of rock" is a metallic zenith containing so many, so very classic tracks that it truly makes you wonder why it didn't happen sooner. The title track, a dynamite opener for the album, is followed by a flood of songs: “Altar of the Gods”, “Requiem (We Will Remember)”, “Lights in the Sky”, “I Just Can't Get Enough”, “Baptism of Fire”, “Ain't Gonna Take It”, “I'm On Fire”, among others.


Τάκης "Ε-Μortal One" Γιώτης!


REVIEW: UNHERZ – Herzschlag

 


UNHERZ – Herzschlag


Massacre Records


Released in 2011, “Herzschlag” is the second album from German hard rock/heavy metal band UNHERZ, notable for its exclusive use of German-language lyrics.


From a musical standpoint, “Herzschlag” demonstrates a high level of performance and production quality. The band exhibits tight musicianship, and the album is sonically well-engineered. However, the instrumental compositions largely adhere to established hard rock and heavy metal conventions. While competently executed, the album's musical ideas may be perceived as lacking distinctiveness, potentially blending into the broader landscape of the genre.



For listeners unfamiliar with the German language, the lyrical content remains inaccessible, which could diminish engagement. Without the added dimension of lyrical understanding, the album relies solely on its musicality to captivate. In this regard, “Herzschlag” may function more as background music rather than a primary focus, as it generally does not feature melodies or innovative arrangements that consistently command full attention.


Despite its conventional core, UNHERZ does make efforts to introduce variability into their sound. Elements of punk rock and blues are integrated into several tracks, suggesting an attempt to broaden their sonic palette beyond traditional heavy metal structures.


Ultimately, prospective listeners are encouraged to sample “Herzschlag” to form their own assessment, particularly if they have an appreciation for German-language rock or a specific interest in the blend of genres UNHERZ explores.


Nick Parastatidis


Κυριακή 20 Ιουλίου 2025

REVIEW: HYPOCRISY, Catch 22

 


HYPOCRISY, Catch 22 (2002)


Nuclear Blast Records


Όρεξη για θανατηφόρες μουσικές.

 

Οι τρεις Σουηδοί συνεχίζουν αυτό που ξέραμε ότι ξέρουν να κάνουν καλύτερα: ευρωπαϊκό Death Metal με πολλές Thrash αναφορές, αρκετά πλήκτρα (ήδη αυτό το στοιχείο ήταν έντονο) και απόκοσμα στιχουργικά θέματα από το υπερπέραν, αλλά πλέον όχι μόνο, καθώς η πλάστιγγα γέρνει (και καλώς) και προς άλλα θέματα, ακόμη και κοινωνικοπολιτικά. Βέβαια, ακούστηκαν και κάποια παράπονα απ’ τους ελιτιστές, αλλά και τους Death-only purists, για το άλμπουμ, πράγμα που οδήγησε έξι χρόνια μετά σε remix από τον Peter. Πάντως, αν οι κινηματογραφικές ταινίες του sequel «Alien» ήταν splatter τρόμου, θα έπρεπε να είχαν μουσική του Peter Tagtgren, του Mikael Hedlund και του Lars Szoke. Ίσως να είναι μια πινελιά πιο μελωδικό από τα προηγούμενα άλμπουμ τους, κι ο ήχος της τελικής παραγωγής να το αδικεί, αλλά εδώ μπαίνουν οριστικά στον νέο αιώνα με πολύ καλές ή ίσως πολύ κακές προθέσεις. Τα «Don’t Judge Me», «Destroyed», «On the Edge of Madness», «Public Puppet», «Hatred», «Seeds of the Chosen One», «All Turns Black» θα τα υπογραμμίσουμε ως στιγμές που θα μας κρατήσουν το ενδιαφέρον.


English:



A craving for deadly music. 


The three Swedes continue doing what we know they do best: European Death Metal with numerous Thrash influences, plenty of keyboards (already a prominent element), and haunting lyrical themes from the beyond. But now, not only that—they are shifting (and rightly so) toward other topics, even social and political issues. Of course, some complaints were heard from elitists and pure death metal purists about the album, which led to a remix by Peter six years later. 


If the sequel Alien movies were splatter horror, they should have music by Peter Tagtgren, Mikael Hedlund, and Lars Szoke. Perhaps this album is a touch more melodic than their previous ones, and the final production sound may undermine it, but they are definitely stepping into the new century with very good—or perhaps very questionable—intentions. 


Tracks like "Don’t Judge Me," "Destroyed," "On the Edge of Madness," "Public Puppet," "Hatred," "Seeds of the Chosen One," and "All Turns Black" stand out as moments that will keep our interest alive.


Τάκης "Ε-Μortal One" Γιώτης!


REVIEW: MAJESTY - Own the Crown

 


MAJESTY - Own the Crown


 Massacre Records


Released in September 2011, Majesty's "Own the Crown" compilation marked a significant moment for the German heavy metal band. This double-CD set, priced comparably to a single album, offered over two hours of material, aiming to provide substantial value to listeners.


Majesty, a band that initially gained recognition with their self-released debut "Keep It True," cultivated a reputation for delivering traditional heavy metal. Their sound was characterized by a straightforward approach, often described by fans as embodying the core tenets of the genre. In 2008, the band underwent a transformation, rebranding as Metalforce. While the name changed, the musical direction of Metalforce largely maintained stylistic similarities to Majesty's earlier work. After a three-year period operating as Metalforce, the group reverted to the Majesty moniker, with "Own the Crown" serving as a celebratory release for this return.



The compilation's tracklist encompasses a breadth of the band's material. It features a selection of previously released songs, alongside a notable inclusion of unreleased tracks and re-recorded versions of older material. A particularly significant component of "Own the Crown" is the inclusion of the band's 1998 demo tape, which had previously been available only in limited, early formats. This addition provides historical context to the band's origins for those interested in their complete discography.


"Own the Crown" primarily targets an audience familiar with or interested in traditional heavy metal. Its extensive content and the inclusion of rare material position it as a comprehensive overview of Majesty's output up to that point.


Nick Parastatidis


Σάββατο 19 Ιουλίου 2025

REVIEW: KREATOR, Renewal

 


KREATOR, Renewal (1992)


Noise Records


Όχι κι άλλο πείραμα στη νέα δεκαετία...


Αυτά μας φάγανε, μη μπας και ακούγεται στο ίδιο στυλ ο έκτος δίσκος μας (λες και άλλοι πέντε μοιάζανε!) και μας πούνε κολλημένους. Μετά, λοιπόν, το μοναδικό και σχεδόν Bay Area τύπου Thrash Metal δίσκο (δίσκαρο) ονόματι «Coma of Souls» το 1990, οι τέσσερις Γερμανοί το ρίχνουν αλλού το βάρος. Industrial ήχοι, αλά Rob Zombie, διαφορετική προσέγγιση συνθετικά, παραγωγή τραγανή αλλά όχι απαραίτητα καλή, φωνή σαν να τραγουδάει ο Mille Petroza μέσα από τηλεβόα σε διαδήλωση. Ας μην αναφέρουμε το εξώφυλλο, όπου το αλογάκι της Παναγίας—δηλαδή το Praying Mantis—ακουμπά ένα ανδρείκελο που δεν είναι ο συνηθισμένος χαρακτήρας που ξέρουμε σαν μασκότ στους Kreator. Ποιο το βαθύτερο νόημα, παρακαλώ; Το κυρίως πιάτο, αν και δε με εξέπληξε ευχάριστα όταν το πρωτοάκουσα, εντούτοις έχει κάποια κομμάτια που τολμώ να πω πως είναι κλασικά. Το ομότιτλο «Renewal» και το «Europe After the Rain» περιέργως τα προσκυνώ ακόμη και σήμερα! Μη ξεχνάμε ότι, σαν γνήσιο δημιούργημα της δεκαετίας του '90, όφειλε κάπου να μην έχει την αίγλη των παλιότερων, 80s εποχών. Εντάξει, ανέχονται τα «Winter Martyrium», «Karmic Wheel» και «Depression Arrest», οπότε το μισό άλμπουμ σώζεται.


English:



No more experiments in the new decade...


They’ve eaten us up, so that our sixth album doesn’t sound like the same style (as if the previous five sounded alike!), and we get labeled as stuck in the past. After, therefore, the unique and almost Bay Area-style Thrash Metal album (a real gem) called “Coma of Souls” in 1990, the four Germans shifted their focus elsewhere. Industrial sounds, à la Rob Zombie, a different compositional approach, punchy but not necessarily good production, vocals that sound like Mille Petroza singing through a megaphone at a protest. Let’s not even mention the album cover, where the Virgin Mary’s little horse—i.e., the Praying Mantis—touches a puppet that’s not the usual mascot character we know from Kreator. What’s the deeper meaning, please? The main course, though it didn’t pleasantly surprise me when I first heard it, still contains some tracks I dare say are classics. The self-titled “Renewal” and “Europe After the Rain” strangely I still worship today! Let’s not forget that, as a genuine product of the ‘90s, it was bound not to have the same grandeur as the earlier ‘80s eras. Okay, tracks like “Winter Martyrium”, “Karmic Wheel”, and “Depression Arrest” are tolerable, so half of the album is saved.


Τάκης "Ε-Μortal One" Γιώτης!


REVIEW: MESSENGER - See You in Hell

 


MESSENGER - See You in Hell


Massacre Records


For a band that first unleashed its sonic assault back in 1990, MESSENGER's "See You in Hell," released through Massacre Records in 2011, might have been their debut with the label, but it marked their formidable fourth full-length offering. Having personally delved into their preceding album, "Under the Sign," I can attest that MESSENGER are far from your run-of-the-mill traditional or "true" metal outfit. While they confidently stride into lyrical realms populated by dragons, barbarians, and even extraterrestrial invaders, their sound defies easy categorization, possessing a distinctive quality that sets them apart from the throngs of genre revivalists.


Indeed, the discerning ear can trace the lineage of their inspiration, clearly identifying the metallic DNA of titans like MANOWAR, RUNNING WILD, JUDAS PRIEST, WARLORD, VIRGIN STEELE, IRON MAIDEN, and even the neoclassical precision of YNGWIE MALMSTEEN. However, where many bands falter in simply mimicking their heroes, MESSENGER have masterfully absorbed and transmuted these influences. They've forged a unique identity, a signature sound that is unmistakably their own, demonstrating a maturity and artistry that speaks volumes about their two decades in the scene.



"See You in Hell" picks up the gauntlet precisely where their previous work left off, further solidifying their musical legacy. This is an album that doesn't immediately reveal all its secrets; instead, it's a slow burn, an experience that deepens and expands with each subsequent listen. Initially, some tracks might not fully resonate, and admittedly, a few could be considered "fillers" – "Alien Autopsy" being a prime example where the concept might outshine the execution. However, the vast majority of the album's offerings are nothing short of compelling, capable of satisfying even the most stringent and demanding metal aficionados.


One of the album's most commendable strengths lies in its pacing. MESSENGER largely eschew breakneck speeds, instead opting for a predominant mid-tempo assault. This deliberate choice allows them to construct an incredibly potent epic atmosphere, letting each riff, each vocal line, and each drum beat breathe and build to a powerful crescendo. There’s a gravitas and a sense of unfolding grandeur that pervades the album, reminiscent of classic storytelling through sound. The production, typical of Massacre Records at the time, is clean and powerful, allowing each instrument to punch through without sounding overly polished or sterile.


For those of us who remain utterly spellbound by the untamed spirit and raw power of 80s heavy metal, "See You in Hell" is more than just a good release; it's a vital one. It's a testament to a band that, despite a long journey, continues to evolve and deliver music with conviction and passion. Do yourself a favor and explore the distinctive world of MESSENGER – you'll likely discover a band that truly stands on its own metallic feet.


Nick Parastatidis