Ο
συμπαθής βετεράνος Udo Dirkschneider έχει αφήσει για δεύτερη φορά τους Accept
της δεκαετίας του '90, μετά από τρία άνισα μεταξύ τους άλμπουμ και το αρκετά
καλό δεύτερο ζωντανό άλμπουμ του συγκροτήματος. Έχει γυρίσει στο προσωπικό του
σχήμα, με τρεις δίσκους που ακολούθησαν μια κλιμακωτή ανοδική πορεία. Τα πολύ
καλά «Solid» και «No Limits» λοιπόν άφησαν πολύ καλές εντυπώσεις. Το επόμενο,
που κυκλοφόρησε λίγο πριν το τέλος του 20ού αιώνα, ήταν νομίζω και το
αποκορύφωμά τους. Την εποχή εκείνη, υπενθυμίζεται ότι το κλασικό metal είχε
πάρει την ανιούσα. Λίγο πριν, με τη βοήθεια της μουσικής βιομηχανίας και του
τύπου που προωθούσε ο, τι λογιζόταν σαν, «εξέλιξη» στον χώρο, μουσικοί και
κλασικά γκρουπ είχαν αφεθεί στο περιθώριο.
Το «Holy» περιλαμβάνει heavy metal ύμνους, όπωςτοομώνυμοτουδίσκου, τα «Raiders of Beyond», «Recall the Sin», «Thunder in
the Tower», «State Run Operation», «Danger», «Ride the Storm». Ο
δίσκος αυτός ολοκλήρωσε τη δεύτερη δισκογραφική τριάδα του συγκροτήματος, με
τις καλύτερες προοπτικές για το μέλλον.
English:
The pinnacle of an incredible journey.
The likable veteran Udo Dirkschneider has once again
left Accept, this time in the 1990s, after three uneven albums and the band’s
quite good second live album. He returned to his solo project, releasing three
albums that followed a steady upward trajectory. The very good "Solid"
and "No Limits" left a very positive impression. The next album,
released just before the end of the 20th century, I believe, was their peak.
At that time, it’s worth recalling that classic metal
was on the rise. Just prior to this, aided by the music industry and the press
promoting what was considered an "evolution" in the scene, musicians
and classic bands had been pushed to the fringes.
"Holy" features heavy metal anthems such as
the title track, "Raiders of Beyond," "Recall the Sin,"
"Thunder in the Tower," "State Run Operation,"
"Danger," and "Ride the Storm." This album completed the
band's second discography trilogy, with the best prospects for the future.
Everflow, a Greek metal band originating from
Ptolemaida in Northern Greece, released their debut album "Abandoned"
after a 13-year period since their formation in 1998. The band is recognized as
one of the notable active metal groups from Northern Greece, alongside bands
such as Dark Nightmare.
The lineup features vocalist Markos Valavanis, whose
previous experience includes singing in the band Anxiety, which contributed to
the compilation "Greece Attacks" and produced two demos, one in 1990
and another in 2002. Guitarist Takis Tairidis also participated in Anxiety.
"Abandoned" showcases a power-progressive
metal style, with production handled locally in Ptolemaida. The recording
quality is commendable, highlighting the band's technical proficiency, particularly
in guitar work and vocal performance. The album's composition aligns well with
the genre, with notable tracks including "Cry," "Genius?,"
and "Forgive Me."
Live performances observed from the band suggest a
solid execution of their material. The album demonstrates a mature sound,
supported by Steel Gallery Records' efforts to deliver a high-quality release
package.
In the context of recent releases within the
power/progressive metal subgenre, "Abandoned" by Everflow stands out
as a significant contribution. It is recommended for fans of the genre seeking
new material from established Greek metal bands.
Λοιπόν,
ας ξεκαθαρίσουμε κάτι. Τα παρακάτω τα γράφω έχοντας ακούσει το πιο πρόσφατο
άλμπουμ των κάποτε ζωντανών θεών μου, των Iron Maiden, τουλάχιστον δεκαπέντε
φορές, παρόλο που το απέκτησα σε φυσικό CD μόλις πρόσφατα.
Δεν
έχω καλή γνώμη για τους δίσκους τους από το The Final Frontier (2010) και μετά.
Αυτή η γνώμη δεν αλλάζει ούτε με την «τακτική μάχης» (σε ελεύθερη μετάφραση από
τα ιαπωνικά) και δυστυχώς υποβιβάζει τον μέσο όρο ενός συγκροτήματος που
αποτελεί πραγματικό ορόσημο στην κλασική Heavy Metal.
Το
νέο άλμπουμ είναι περίπου το ίδιο καλό με το προηγούμενο, το The Book of Souls
(2015), κάτι που όντως το ανεβάζει σε σχέση με το πραγματικά απαράδεκτο άλμπουμ
του 2010. Όμως, όπως και να το κάνουμε, η μαγεία έχει χαθεί. Η μανιέρα των
μεσαίων έως τεράστιων σε διάρκεια κομματιών, αν και δεν είναι κάτι νέο, με έχει
προσωπικά κουράσει αφάνταστα. Είναι κάτι που ξεκίνησε σε ανύποπτο χρόνο με το
Fear of The Dark (1992) και συνεχίζεται έκτοτε, με μόνη διαφοροποίηση το
Virtual XI (1998).
Η
αυταρχική λογική αλλά και η ξεροκεφαλιά του αρχηγού, του μπασίστα και
συμπαραγωγού Steve Harris, είναι το δεύτερο στοιχείο που σε κουράζει όχι μόνο
στο Senjutsu, αλλά και σε όλη τη δισκογραφική τους προσπάθεια από την
επανασύνδεση με τους Bruce Dickinson και Adrian Smith. Το γεγονός ότι βάζει
μπροστά τον Kevin Shirley να δίνει τις εντολές στα knobs της κονσόλας (ή τα πλήκτρα
του ψηφιακού υπολογιστή ηχοληψίας) δεν τον απαλλάσσει από τις δόσεις πλαστικού
ήχου που και εδώ θα βρούμε.
Πάντως,
γυρίζω στο θέμα της διάρκειας του άλμπουμ, που το κάνει δύσκολο να το ακούσεις
μονορούφι! Αυτό το γεγονός είναι περισσότερο αυτό που με ξενερώνει πλέον με
ό,τι κυκλοφορούν από το A Matter of Life and Death και μετά: «Ένα άλμπουμ με
οκτώ, εννιά κομμάτια το πολύ; Πενήντα λεπτά το πολύ, ρε παιδιά; Δεν είστε
Progressive! Αν είναι, βάζουμε ένα CD των Dream Theater καλύτερα.»
Τώρα,
αν με ρωτήσεις ποια κομμάτια είναι πιο κοντά στα γούστα μου, θα σου πω ότι τα
Stratego, The Writing on the Wall, Days of Future Past, Hell on Earth και λίγο
το Death of The Celts έχουν να μου δώσουν στιγμές. Αυτό όμως είναι και το
αρνητικό: απλά στιγμές από ένα σχήμα που κάποτε έδινε ολόκληρα άλμπουμ από την
αρχή ως το τέλος!
English
Text:
Of tactics or tactical opportunism?
Let's get one thing straight. I'm writing the
following after having listened to the latest album from my former living gods,
Iron Maiden, at least fifteen times, even though I only recently acquired the
physical CD.
I don't have a good opinion of their albums from The
Final Frontier (2010) onward. This opinion doesn't change with their
"battle tactics" (a loose translation from the Japanese), and it
unfortunately lowers the average quality of a band that is a true landmark in
classic Heavy Metal.
The new album is about as good as the previous one,
The Book of Souls (2015), which does make it an improvement over their truly
unacceptable 2010 album. But, no matter how you look at it, the magic is gone.
The formula of writing medium to extremely long tracks, while not new, has
personally exhausted me. It's something that started unexpectedly with Fear of
The Dark (1992) and has continued ever since, with the only variation being
Virtual XI (1998).
The authoritarian mindset and stubbornness of band
leader, bassist, and co-producer Steve Harris is the second thing that gets on
my nerves, not just on Senjutsu, but on their entire discography since the
reunion with Bruce Dickinson and Adrian Smith. The fact that he puts Kevin
Shirley in charge of "turning the knobs on the console" (or pressing
the keys on the digital audio workstation) doesn't absolve him from the doses
of plastic sound that we find here as well.
Anyway, I'm going back to the topic of the album's
duration, which makes it hard to listen to in one sitting! This is more than
anything else what disappoints me with everything they've released since A
Matter of Life and Death: "An album with eight, maybe nine songs at most?
Fifty minutes at the most, come on, guys! You're not a Progressive band! If so,
we're better off putting on a Dream Theater CD."
Now, if you ask me which songs are more to my taste,
I'd say that "Stratego," "The Writing on the Wall,"
"Days of Future Past," "Hell on Earth," and to some extent
"Death of The Celts" have given me some moments. But that is
precisely the negative point: just moments from a band that once gave us entire
albums, from start to finish!
Québec-based symphonic death metal band Archseraph has
launched their new single, "March," recorded in Québec City by David
Lizotte. Known for blending orchestral grandeur with intense metal, the band
was formed by Thierry Paquet, Alex Sanfaçon, and Éli Gagné-Beck. Since their
debut in 2015, they’ve gained recognition for powerful, energetic performances.
Their
latest release continues to showcase their signature sound.
Ένα
ακόμη συγκρότημα με πολλές προσωπικότητες, από δίσκο σε δίσκο. Από το «Karelian
Isthmus», π.χ., έως το προηγούμενο αυτού, το αγαπημένο «Tuonela», υπάρχει ένα
χάος και έρεβος που χωρίζουν τον τρόπο παιξίματός τους. Φανταστείτε τί άλλο μας
επεφύλασσε αυτό το τρομερό σχήμα χαμαιλέοντα.
Οπότε,
εδώ ακουμπάνε το alternative και, όντας πλέον Progressive Heavy Rock ο δίσκος,
έχουμε ακόμα μία μεταμόρφωση των Φινλανδών, με ακόμη και χρήση πνευστών (alto
σαξόφωνο) σε αρκετά σημεία του άλμπουμ! Με το καλημέρα δείχνουν τις καλύτερες
προθέσεις με τα «Alone», «Goddess (Of the Sad Man)» και «The Night Is Over».
Την
εποχή εκείνη δεν ήμουν ακόμη φίλος τους, αλλά παρόλα αυτά θυμάμαι καλά τον σάλο
που προξένησαν, από συζητήσεις συμφοιτητών που είτε γούσταραν αυτή τη στροφή
είτε τους απέρριψαν, επιμένοντας στα τρία πρώτα κλασικά τους άλμπουμ. Πλέον
κατανοώ και τις δύο πλευρές. Καλό το Doom Death Metal, αλλά γιατί όχι και πιο
Groove/Heavy Rock;
Άλλες
αξιοπρόσεκτες στιγμές είναι τα «Crimson Wave», «Drifting Memories», «Veil of
Sin» και το τελικό «Grieve Stricken Heart». Ήθελα επίσης να θυμίσω την εποχή
που όλα τα αντίστοιχα συγκροτήματα (Paradise Lost, Anathema, My Dying Bride
κ.ά.) είχαν ρίξει το βάρος στον πειραματισμό, με διαφορετικά αποτελέσματα το
καθένα.
English:
New millennium, new style.
Another band with multiple personalities, evolving
from album to album. From “Karelian Isthmus”, for example, to their previous
release, the beloved “Tuonela”, there is a chaos and darkness that separate
their ways of playing. Imagine what else this incredible chameleon-shaped band
had in store for us.
So, here they lean towards alternative, and with the
album now rooted in Progressive Heavy Rock, we see yet another transformation
of the Finns, including the use of wind instruments (alto saxophone) in several
parts of the album! Right from the start, they show their best intentions with
tracks like “Alone”, “Goddess (Of the Sad Man)”, and “The Night Is Over”.
At the time, I wasn't yet a fan, but I clearly
remember the buzz they caused—discussions among classmates who either liked
this new direction or rejected it, insisting on their first three classic
albums. Now, I understand both sides. Doom Death Metal is good, but why not
incorporate more Groove or Heavy Rock elements?
Other noteworthy moments include “Crimson Wave”, “Drifting
Memories”, “Veil of Sin”, and the final “Grieve Stricken Heart”. I also want to
recall the era when all similar bands (Paradise Lost, Anathema, My Dying Bride,
etc.) had shifted toward experimentation, each with different results.
House of Lords, a veteran band renowned within the
melodic rock and hard rock scenes, continues to demonstrate their enduring
craft with their eighth studio album, “Big Money”. Having established a
significant reputation with classic releases such as “House of Lords” (1988)
and “Sahara” (1990), the band has maintained a consistent output over the past
decade, reaffirming their place within the genre.
The album opens with the track “Big Money,” a
high-energy rocker characterized by a prominent riff and driven by vocalist
James Christian’s confident delivery. The song sets an assertive tone, blending
a hard-edged attitude with melodic sensibilities. Following this, “First to
Cry” emerges as a standout track, showcasing strong songwriting with memorable
hooks and melodic richness that could be considered among the band’s finest
work in recent years.
“Big Money” offers a diverse array of compositions
that reflect the band’s versatility. For instance, “Living in a Dream World”
features a harder, nearly metal-leaning sound, complemented by an
oriental-inspired riff that adds an exotic flavor. The blues-infused
“Searchin’” demonstrates the band’s ability to incorporate different influences
while maintaining their melodic core. The album also revisits classic House of
Lords themes with tracks like “One Man Down,” “Seven,” and “Once Twice,” which
lean towards arena rock, emphasizing strong choruses and anthemic qualities.
Overall, “Big Money” is a solid addition to the band’s
discography. It showcases a band that, while rooted in their traditional
melodic rock style, is capable of exploring different sonic territories without
losing their identity. The songwriting is consistent, and James Christian’s
vocal performance remains a key strength. While it may not radically reinvent
their sound, it offers a satisfying listening experience for fans and newcomers
alike who appreciate well-crafted melodic rock with a touch of hard-edged
intensity.
Belgian metal band DIVNI SAN has unveiled a lyric
video for "Dreamlike Tales," from their upcoming album set for
release on May 30, 2025. Formed in 2021 by ex-MIDRANGE members, they blend hard
rock, thrash, and progressive metal.
The album features a mix of energetic tracks like
"Dreamlike Tales" and "Ready to Fight," as well as
atmospheric songs such as "In Utero." It includes reworked versions
of their 2023 EP songs and the new epic "Keep The Dream Alive."
Signed with Wormholedeath Records, DIVNI SAN is
gaining international attention. The album will be available on streaming
platforms in May 2025, with physical release details coming soon.
Greek metal band KRYN has launched their latest album,
"Risset," a powerful blend of heavy riffs, haunting melodies, and
emotional vocals. Known for their intense and complex style, KRYN creates a
raw, honest sound that explores human emotions and struggles.
"Risset" is now available on all digital
platforms, offering a visceral musical journey for metal fans and those
interested in dark, introspective themes.
German band Chasing Fear has released their new single
"Empires Falling," recorded at their home studio by guitarist Robert
Haug. Formed in 2021 in Ebersbach an der Fils, the band combines Thrash, Death,
Groove, and Metalcore. After their debut live show in 2023, they quickly gained
attention for their energetic, genre-blending sound. "Empires
Falling" marks their continued rise in the modern metal scene.
Italian heavy metal veterans AIRBORN have released a
visualizer for their new single, "Midnight Riders," the third preview
from their upcoming seventh album, “Lizard Secrets: Part Three – Utopia”. The
track offers a taste of the dark, atmospheric themes fans can expect from the
full release.
Portuguese symphonic metal band GODIVA has released a
live video of "Superbeast" from Laurus Nobilis 2024, showcasing their
powerful stage presence.
They are also announcing their first Greek tour,
“Damnation Over Greece,” in November, with shows in Larisa, Ioannina, Athens,
and Patra.
Before heading to Greece, GODIVA will perform two
final Portuguese shows in August and October, wrapping up their 2024 tour
before working on their next album.
Αυτό
λοιπόν το τρίτο ζωντανά ηχογραφημένο άλμπουμ των Prog Metal μικρών θεών
αιχμαλωτίζει μέσα του όλη τη μαγεία μιας πλήρους συναυλίας τους, "εντός
έδρας" προφανώς. Σε τρία CD, εκ των οποίων τα δύο πρώτα περιέχουν ολόκληρη
την εμφάνισή τους εκείνο το βράδυ, ενώ στο τρίτο δισκάκι βρίσκεται μια συλλογή
από βίντεο που δεν μπήκαν στο ομότιτλο DVD που κυκλοφόρησε τότε. Δεν έχουμε
πολλά να πούμε ή να γραφτούν· η μουσική των τεσσάρων μαέστρων και του
"λαμπρού" τραγουδιστή τους James LaBrie, στο αποκορύφωμα της
περιοδείας για το άλμπουμ Metropolis 2: Scenes from a Memory, μιλάει από μόνη
της. Ειδική μνεία αξίζει το εξώφυλλο του άλμπουμ, το οποίο, κατά τρομακτική
σύμπτωση, κυκλοφόρησε στις 11 Σεπτεμβρίου 2001, την ημέρα που η μεγαλύτερη
αιματηρή συνωμοσία (ως το 2020 και τον COVID) εκτελέστηκε με ολέθρια
αποτελέσματα για τους ανθρώπους που έχασαν τις ζωές τους, αλλά και για όλο τον
πλανήτη.
Η
αρχική μακέτα είχε, αντί του σήματος του συγκροτήματος, μπροστά στο ίδιο
γκρι-σεπια φόντο, τη Νέα Υόρκη με το Empire State Building και τους δίδυμους
πύργους σε μια φλόγα, πάνω από μια στεφανωμένη με αγκάθια καρδιά, η οποία
υπήρχε στο κλασικό τους δεύτερο άλμπουμ, Images and Words. Αποσύρθηκε την ίδια
εβδομάδα και όταν κυκλοφόρησε αργότερα, είχε αυτή τη μορφή.
Αν
κάποιος έχει το CD με την αρχική απεικόνιση, συγχαρητήρια· διαθέτει ένα
υπερσπάνιο άλμπουμ στη δισκοθήκη του.
English:
A Satisfyingly Live Experience
This third live recorded album by the small gods of
Prog Metal captures all the magic of a full concert of theirs—most likely a
home-town show. It spans three CDs, with the first two containing the complete
performance from that night, while the third disc features a collection of
videos not included in the original DVD release of the same name. There's not
much more to say or write— the music of the four maestros and their "brilliant"
singer James LaBrie, at the peak of their tour for the Metropolis 2: Scenes
from a Memory album, speaks for itself.
A special mention is deserved for the album cover,
which, in a terrifying coincidence, was released on September 11, 2001—the day
when the greatest violent conspiracy (until 2020 and COVID) was carried out
with devastating consequences for those who lost their lives, as well as for
the entire planet.
The original design featured, instead of the band's
logo, a depiction of New York City with the Empire State Building and the Twin
Towers engulfed in flames, above a thorn-crowned heart—a symbol from their
classic second album, Images and Words. This cover was withdrawn the same week,
and when it was later re-released, it took on the form seen today.
If someone owns the CD with the original artwork,
congratulations— they have a very rare album in their collection.
Released in 2011, “Kicking & Screaming” marks the
return of ex-Skid Row vocalist Sebastian Bach. The album features 21-year-old
guitarist Nick Sterling and renowned drummer Bobby Jarzombek.
Vocally, Bach demonstrates notable energy and
maintains his distinctive style throughout the record, with his signature
screams prominently present. However, the overall musical direction leans
toward a modern rock sound, characterized by subdued guitar tones, contemporary
American riffs, and compositions that may not align with traditional hard rock
expectations.
The album includes collaborations such as
"TunnelVision," featuring guitarist John 5, known for his work with
Rob Zombie and Marilyn Manson, and "Lost in the Light." While these
tracks showcase notable musicianship, they diverge from classic rock
sensibilities.
Among the tracks, the power ballad "Dream
Forever," along with "Wishin’" and "Dance on Your
Grave," stand out as stronger compositions within the album. Nonetheless,
the overall reception suggests that the material may not fully meet the
expectations set by Bach’s previous work, and some listeners might find the
modern approach less compelling.
For a sample of the album’s style, the music video for
"Kicking & Screaming" provides a visual overview of the record’s
sound and aesthetic.
Norm Rejection, a band originating from Malta, has
been active since 1993 and is considered a veteran within the metal scene.
After a lengthy hiatus of nearly eight years, during which they released the EP
"Malta not for Sale," the band re-emerged approximately three years
ago with new material. Their latest release, the EP titled
"Belligerent," continues to showcase their musical direction.
The "Belligerent" EP features three new
tracks—"Kemm Hawn Dwejjaq fil-Pajjiz," "Encounter," and
"Belligerent"—which exemplify the band's crossover style, blending
industrial, nu-metal, and modern thrash metal elements. In addition to these
new compositions, the EP includes a reissue of their 1994 debut demo,
"Subtly Mesmerized?," marking its first appearance on CD.
Musically, the EP presents a modern sound
characterized by clear and impactful production. The vocals are both clean and
aggressive, with tempos ranging from mid-paced to fast. The guitar work,
including both rhythm and solos, demonstrates technical proficiency and adds to
the dynamic nature of the release.
Overall, "Belligerent" offers a cohesive
listening experience for those interested in contemporary metal with a potent
sound and diverse stylistic influences. Fans of modern metal production and
energetic performances may find this release noteworthy.
Ένα
ακόμη άλμπουμ της ξανθιάς Γερμανίδας που τότε γιόρταζε τα 25 χρόνια παρουσίας
στη σκηνή, αρχικά με τους Warlock και βέβαια από τις αρχές της δεκαετίας του
'90 με το σόλο συγκρότημά της. Φόρος τιμής που ξεκινά από το εξώφυλλο, όπου στο
βάθος υπάρχει η απειλητική μορφή του γέρο-μάγου, όπως αυτή εμφανιζόταν σε
άλμπουμ όπως το Triumph and Agony των Warlock. Ένα άλμπουμ, λοιπόν, που
διατηρεί καλά την επαφή της Doro Pesch με το heavy παρελθόν της (διότι κι αυτή
είχε υποπέσει σε κάποιες δισκογραφικές ατασθαλίες στις αρχές του 21ου αιώνα),
με τρόπο σύγχρονο, αλλά που ευτυχώς φέρει στο πίσω μέρος του ήχου το κλασικό
χρώμα που μας είχε συνηθίσει και κακομάθει στις παλιές, περασμένες εποχές.
Ξεκινώντας με το "The Night of the Warlock", χωρίς να χρειάζεται άλλη
σύσταση, περνάμε σε κομμάτια όπως τα "Running From the Devil",
"Celebrate", το πολύ σκληρό "Caught on a Battle", τη
γερμανόφωνη μπαλάντα "Hertzblut" (αίμα της καρδιάς), το γρήγορο
"On The Run", και συνεχίζουμε με μια ακόμα αργή σύνθεση, το ντουέτο
με την Tarja Turunen (πρώην Nightwish), "Walking With The Angels".
Ακόμη, τα "It Kills Me", "Long Lost for Love" και το ένα
από τα δύο bonus της αρχικής έκδοσης, το "Wildfire", αξίζουν και με
το παραπάνω την ακρόαση μας.
English:
Our Metal Mother
Another album by the blonde German artist, who at the
time was celebrating 25 years on stage, initially with Warlock and, of course,
from the early 1990s with her solo band. A tribute that begins with the album
cover, where in the background there is the threatening figure of the old
wizard, as seen in albums like Triumph and Agony by Warlock.
So, this is an album that maintains a strong
connection between Doro Pesch and her heavy metal past (after some musical
missteps in the early 2000s), presented in a modern way, but thankfully still
carrying the classic sound that had accustomed and spoiled us in the old,
bygone days.
Starting with "The Night of the
Warlock"—which needs no introduction—we move on to tracks like "Running
From the Devil," "Celebrate," the very hard "Caught on a
Battle," the German-language ballad "Hertzblut" (Blood of the
Heart), the fast-paced "On The Run," and then continue with another
slow piece, the duet with Tarja Turunen (former Nightwish), "Walking With
The Angels."
Additionally, "It Kills Me," "Long Lost
for Love," and one of the two bonus tracks from the original edition,
"Wildfire," are more than worth listening to.
