REVIEW: JETHRO TULL, Catfish Rising

 

JETHRO TULL, Catfish Rising (1991)

Chrysalis

Άγνωστο μεταξύ γνωστών.

Οι Άγγλοι, με τον ιδιαίτερο χαρακτήρα του Ian Anderson στο τιμόνι, τη φωνή και το φλάουτο, έχουν κάνει και αυτοί τις "γκέλες" τους δισκογραφικά, δύο φορές στις τόσες δεκαετίες που υπάρχουν. Αυτό το άλμπουμ ΔΕΝ είναι μία απ’ αυτές! Επιστροφή στο ηλεκτρικό και ακουστικό μπλουζ διαμέσου progressive και φολκ, ναι το λες, αλλά με το ηλεκτρικό να αγγίζει το hard rock ξανά. Γενικά, η περίοδός τους μετά το 1987 είναι αχαρτογράφητη σε πολλούς χωρίς αυτό να σημαίνει κάτι. Υπήρχαν, και όσο υπάρχουν ακόμα, τους ακούμε. Ένας δίσκος που έχει να δώσει περισσότερα απ’ όσα αρχικά νομίζεις, με μια ανανεωμένη, για άλλη μία φορά, σύνθεση μουσικών. Έχει λοιπόν κάτι για τον καθένα που είναι ή ήταν οπαδός τους, οπότε μην περιμένετε άλλο Thick as a Brick ή Aqualung. Ο κάθε δίσκος που είναι καλός σίγουρα χάνει αν τον συγκρίνουμε με κάποιον που θεωρείται άφταστος. Αλλιώς, τα συγκροτήματα θα σταματούσαν να βγάζουν πάνω από πέντε δίσκους το καθένα! This is Not Love, Occasional Demons κάνουν καλό μπάσιμο. Μετά, Rocks on the Road, Sparrow on the Schoolyard Wall και Thinking Round Corners παίζουν σε πιο ακουστικό φάσμα. Τα Doctor to my Disease, Like a Tall Thin Girl, Black Jacket and Tie, When Jesus Came to Play συνεχίζουν φλερτάροντας μεταξύ χιούμορ και πραγματικότητας.

English:

Unknown among friends.

The English, with Ian Anderson’s distinctive character at the helm—his voice and flute—have also made their share of "blunders" in their discography, twice over the many decades they’ve been around. THIS album is NOT one of those! It marks a return to electric and acoustic blues through a blend of progressive and folk elements, yes, you can say that, but with the electric edging back toward hard rock. Generally speaking, their period after 1987 remains uncharted territory for many, but that doesn’t mean it’s insignificant. They existed, and as long as they still do, we listen. This is an album that offers more than you initially think, featuring a refreshed lineup of musicians—once again. So, there’s something for every fan or former fan; don't expect another Thick as a Brick or Aqualung. Every good album will inevitably fall short when compared to a legendary one. Otherwise, bands would stop releasing more than five albums each! This is Not Love and Occasional Demons make a strong opening. Afterwards, Rocks on the Road, Sparrow on the Schoolyard Wall, and Thinking Round Corners explore more acoustic sounds. Tracks like Doctor to My Disease, Like a Tall Thin Girl, Black Jacket and Tie, and When Jesus Came to Play continue to flirt between humor and reality.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: R.U.S.T. - Legends

 

R.U.S.T. - Legends

Pure Underground Records

R.U.S.T.'s debut album, “Legends”, released on Pure Underground Records, immediately establishes the Romanian band as firm adherents to the traditional heavy metal sound. It's worth noting this is at least the third band to use a variant of the R.U.S.T. name that plays this style, alongside a Cypriot band and the cult Greek act from the 80s.

The band's primary influences are highly apparent, with the sound anchored in the epic styling of Manowar, while also incorporating elements reminiscent of Grave Digger and Running Wild. On a technical level, the album is well-produced and competently performed. The vocalist delivers a strong performance, and the musicians display clear confidence and proficiency with their instruments.

A specific highlight is the instrumental track, "Prelude to Sign of the King" which features an unexpected but very effective integration of the violin. This composition stands out brightly, possessing a unique character that is unfortunately missing from the rest of the album.

The core issue with “Legends” is its compositional predictability. While executed well, the album is laden with standard heavy metal tropes. Listeners will find many of the riffs and melodies feel extremely familiar, having been used repeatedly—and often more creatively—in other releases over the decades. This makes “Legends” feel too typical for the genre's standards.

As a result, the album's appeal is limited primarily to the most dedicated, hardcore fanatics of traditional heavy metal. Even for this niche, the sheer volume of high-quality releases available makes it a difficult recommendation. R.U.S.T. clearly has the drive and technical ability, but they must work on developing a more distinctive edge to their songwriting if they hope to gain wider notice. The standout track, "Prelude to Sign of the King" offers a clear blueprint for the more unique path they should consider following. While I would personally pass on this release, traditional metal fans may want to check it out to form their own opinion.

Nick Parastatidis

DEMIDEAD Partners with Two Notes Audio

 

Global metal band Demidead has announced a new partnership with Two Notes Audio, a leader in professional sound technology. This collaboration will enhance their live shows and recordings with precision and power.

“We’re proud to work with Two Notes Audio — their sound will fuel our chaos,” said the band. Fans can expect even more intense performances and groundbreaking music ahead.

SANCTUM PYRE Releases New Single "Break Thy Chains”

 

Sanctum Pyre, a new band formed by musicians from different parts of the world, has released their debut single "Break Thy Chains." The song explores themes of feeling trapped and the struggle to break free from oneself. Featuring vocals by Rob Lundgren and epic, oriental-inspired melodies, the track previews their upcoming debut album. The band’s name means "Holy Fire," symbolizing sacrifice and transformation. Members include Rob Lundgren (vocals), Niko Tzouanni (keyboards, composition), and Mike G (guitar, bass, production).

REVIEW: SLAUTER XSTROYES, WINTER Kill

 

SLAUTER XSTROYES, WINTER Kill (1985)

Cult Metal Classics Records

Πιο κάτω κι απ' το underground.

Το συγκρότημα από το Σικάγο, που για χρόνια ακούγαμε το όνομά του και διαβάζαμε στα underground U.S. Power Metal άρθρα, αλλά που ήταν τρομερά δύσκολο να βρεις το ντεμπούτο άλμπουμ του, χωρίς να χρειαστεί να πουλήσεις κανένα νεφρό στο dark web για να βρεις λεφτά να το αγοράσεις σε βινύλιο, επιτέλους τυπώθηκε σε CD. Ένα απλό εξώφυλλο με το λογότυπο, που μάλλον είναι φτιαγμένο στο χέρι, κρύβει μερικά από τα πιο ιδιαίτερα κομμάτια μουσικής που τα κατατάσσω εξίσου στο progressive όσο και στο power metal. Ένα μείγμα αρχικών Fates Warning εποχής John Arch, με Omen υποβόσκουσα επική αισθητική και κάτι από Queensryche εποχής The Warning.

Σε δυσκολεύει η αρχική ακρόαση· δεν είναι το τυπικό δείγμα της αμερικανικής σκηνής της εποχής, σίγουρα. Ο ιδιαίτερος ήχος του θέλει την προσοχή σου για να σε βάλει στα μυστικά κομμάτια, όπως το ομότιτλο "Winter Kill", τα "The Stage", "Charlotte", "City of Sirtel", "Black Rose and Thorns", "Mother Mother-Fucker" (ό,τι πιο επιθετικό σε τίτλο μετά το "Son of a Bitch" των Accept!). 

Οι κύριοι John Stewart (φωνή), Paul Kratky (κιθάρα και πλήκτρα), Brent Sullivan (μπάσο) και Dave Bonow (ντραμς) είναι η σύνθεση που έγραψε τον δίσκο. Ένα σίγουρα ακατέργαστο διαμάντι της εποχής εκείνης.

English:

Deeper than the underground.

The Chicago-based band we had been hearing about for years and reading about in underground U.S. Power Metal articles, but which was incredibly hard to find their debut album—without having to sell a kidney on the dark web to afford a vinyl copy—finally released it on CD. A simple cover with a logo, probably handmade, hides some of the most distinctive tracks of music that I would categorize equally as progressive and power metal. A blend reminiscent of early Fates Warning from the John Arch era, with an Omen-like epic undertone and something of Queensryche’s The Warning era. 

The initial listen can be challenging; it’s definitely not a typical example of the American scene of that time. Its unique sound demands your attention to uncover its secret layers, such as the title track "Winter Kill," as well as "The Stage," "Charlotte," "City of Sirtel," "Black Rose and Thorns," and "Mother Mother-Fucker"—arguably the most aggressive title after Accept’s "Son of a Bitch." 

The band members—John Stewart (vocals), Paul Kratky (guitar and keyboards), Brent Sullivan (bass), and Dave Bonow (drums)—are the lineup that created this record. A certainly raw and unpolished gem from that era.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: BRAINSTORM - On the Spur of the Moment

 

BRAINSTORM - On the Spur of the Moment

AFM Records

Brainstorm's 2011 release, “On the Spur of the Moment”, stands as a compelling testament to the German heavy/power metal band's consistent stylistic vision over two decades. As their ninth studio album, it reaffirmed the group's allegiance to a signature sound while carefully integrating dynamic contrasts that elevate the tracklist above mere repetition.

The album notably distinguishes itself from the often-heard hyper-melodic, "sing-song" approach of traditional European power metal. Instead, Brainstorm draws heavily on the tradition of U.S. heavy metal, particularly echoing the riff-centric aggression and dramatic structures found in the catalogs of early acts like Queensrÿche and Sanctuary. This influence results in a sound that is both commanding and structurally ambitious.

A key factor in the album's success is its inherent duality. The tracks effectively balance more atmospheric, brooding pieces with straight-ahead, aggressive metal anthems, creating a dynamic flow that maintains listener engagement. The album’s energy peaks in its more up-tempo songs, which are often cited as the record's strongest points. Tracks such as "Dark Life," "Where Your Actions Lead You to Live," and the fast-paced "A Life on Hold" showcase the band's visceral power and tightly wound rhythmic precision, delivering the instant gratification and forceful impact long associated with their core metal identity.

Vocalist Andy B. Franck's consistently powerful and melodic delivery remains an anchoring element, expertly navigating the differing stylistic demands, from the dark tension of atmospheric tracks to the soaring choruses of the anthems. The result is a musically mature and cohesive record. “On the Spur of the Moment” succeeds as a solid, high-quality heavy metal offering that demonstrates the band's ability to balance raw force with nuanced melodic depth, making it a strong and satisfying entry in their extensive discography.

Nick Parastatidis

SLEEK Releases Debut Album "Still Hurts"

 

Greek melodic hard rock band SLEEK has released their debut album, “Still Hurts”, via Denmark’s Good Time Music. The album is available on digital platforms and as a physical CD with a 12-page booklet.

Featuring raw energy, powerful riffs, and melodies inspired by legends like Van Halen and Guns N’ Roses, SLEEK blends classic and modern rock sounds with their own style. They also released a lyric video for the title track, giving fans a first taste of the album.

Formed in 2021 in Attica, Greece, SLEEK consists of five members known for their energetic live performances. With plans for more shows abroad, they aim to make their mark on the international hard rock scene.

“Still Hurts” is now available worldwide.

REVIEW: PHANTOM LORD, Circle Of The Wasted

 

PHANTOM LORD, Circle Of The Wasted (2002)

Sleaszy Rider Records

Η αλλαγή τους πάει, αλλά όχι πολύ.

Αυτό είναι το τρίτο άλμπουμ ενός συγκροτήματος από την Αθήνα, που ήδη μετράει πίσω δύο πολύ καλές προσπάθειες με τα In Twilight World (1999) και Evil's Domain (2001).

Οι κύριοι Βασίλης Αξιώτης (φωνή), Γιάννης Φιορεντής (κιθάρα), Μιχάλης Λιγιάρης (πλήκτρα), Λεωνίδας Πετρόπουλος (μπάσο και δεύτερη φωνή) και ο Ηλίας Καραχάλιος, ο οποίος αν και δεν ήταν επίσημο μέλος παίζει ντραμς στον δίσκο, κάνουν μια μεταστροφή στο πιο "πληκτράτο" Euro Power Metal, που εμένα προσωπικά δεν με τρελαίνει ποτέ.

 

Καλοί οι Stratovarius, Brainstorm, Rhapsody, Mob Rules και όλοι οι άλλοι μικρότεροι ήρωες του Στρουμφοχωριού, αλλά γιατί, ρε πατριωτάκια, χάσατε το μαγευτικό, παραμυθένιο στυλ για χάριν του ευρύτερου europower; Μα είναι δισκάρα, θα πείτε. Ναι, αλλά αυτό δεν ισχύει. 

Προτιμώ τα πρώτα άλμπουμ, σαν ήχο, πολύ περισσότερο. Με υλικό όπως τα No Strains, Circle of the Wasted, Liquid Stave, Inferno, Crystal of the Heart, Cyber Heartbeat, Listen for Your Touch, Private Universe, να παλινδρομεί μεταξύ νεοκλασικής και πιο μελωδικής Power Metal, αλλά σίγουρα θα βρεις κάτι που να σε τραβήξει ηχητικά σε αυτό. 

Όλα, βέβαια, είναι θέμα καθαρά προσωπικού γούστου. Το 7,5 στα 10 δεν το λες ούτε πολύ ούτε λίγο. Δυστυχώς, συνέχεια δεν θυμάμαι αν υπήρχε μετά για αυτή τη μπάντα.

English:

Their change suits them, but not too much.

This is the third album from a band based in Athens, which already has two very solid efforts behind it: In Twilight World (1999) and Evil's Domain (2001).

The members—Vasileios Axiotis (vocals), Giannis Fiorentis (guitar), Michalis Ligiaris (keyboards), Leonidas Petropoulos (bass and backing vocals), and Ilias Karahaliotis, who, although not an official member, plays drums on the record—are shifting towards a more "punchy" Euro Power Metal style, which, personally, has never really excited me. 

Good bands like Stratovarius, Brainstorm, Rhapsody, Mob Rules, and all the smaller heroes of the "Smurf Village" are fine, but why, my patriotic friends, did you lose that enchanting, fairy-tale style in favor of broader euro-power? Sure, you might say, “It’s a great record.” Well, that’s not entirely true. 

I prefer their earlier albums in terms of sound, much more. Material like No Strains, Circle of the Wasted, Liquid Stave, Inferno, Crystal of the Heart, Cyber Heartbeat, Listen for Your Touch, Private Universe—that oscillates between neoclassical and more melodic Power Metal—but you’ll definitely find something that appeals to you sonically here. 

Of course, everything comes down to personal taste. A 7.5 out of 10 isn’t too high, nor too low. Unfortunately, I can’t remember if there was anything else afterward from this band.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: COLD COLOURS - The Great Depression

 

COLD COLOURS - The Great Depression

Sleaszy Rider Records

The cover artwork, noted for its lack of overt computer-aided design, provides an aesthetic link to earlier eras of metal, drawing comparisons to releases such as KING DIAMOND's Voodoo and SAVATAGE's Poets and Madmen. This visual choice may serve to position the album within a specific lineage of classic metal.

Musically, COLD COLOURS operates within the domain of what can be classified as dark power/thrash metal. The band's third official release demonstrates a commitment to blending aggressive thrash rhythms with power metal's melodic complexity.

A key structural feature of the album is the integration of both harsh and clean vocals. This vocal dynamic is a distinctive choice that allows the music to shift between states of aggression and melodic clarity. While the mixture of vocal styles may be an acquired taste for some listeners, it contributes significantly to the band's sonic identity.

The compositions on The Great Depression reflect a broad range of influences from the metal landscape:

 

US Power/Thrash: There is a clear stylistic debt to the heavy riffing and epic scope often associated with bands like early ICED EARTH.

Melodic Death Metal: The faster, more aggressive sections, particularly those utilizing harsh vocals, exhibit the intensity and despair characteristic of the melodic death metal genre, specifically evoking bands like DARK TRANQUILLITY.

Progressive/Death Elements: Elements of the late-era DEATH sound—particularly in the arrangements and technicality of certain guitar passages—are discernible.

Traditional Power Metal: Moments of layered vocal harmony and grand, soaring melodies, such as those present in the track " Days Of Ire" suggest an influence from groups like DEMONS & WIZARDS.

The band successfully synthesizes these varied influences, applying them under a consistent stylistic framework. The material suggests an intent to create music that is both informed by metal history and executed with a recognizable voice, avoiding mere duplication of past sounds.

COLD COLOURS' The Great Depression is a notable entry in the contemporary U.S. power/thrash scene, offering a sound characterized by dynamic shifts between vocal styles and a sophisticated integration of genre influences. The album warrants attention from listeners interested in metal that bridges classic power aesthetics with a darker, more aggressive edge.

Nick Parastatidis

REVIEW: SORTILÈGE, Larmes De Hèros

 

SORTILÈGE, Larmes De Hèros (1986)

High Roller Records

Γαλλικό μέταλλο όσο και ο Πύργος του Άιφελ.

Ένα σχήμα στο underground και με τον ιδιότυπο τίτλο του cult όσο οι Γάλλοι κλασικοί Heavy Metalers αυτοί, δεν θα μπορούσαν παρά να ανήκουν σε εκείνη την ειδική κατηγορία του «αγαπάς ή μισείς». 

Το συγκεκριμένο τρίτο άλμπουμ τους (προηγούμενα ήταν το ομότιτλο Sortilege 1983 και Mètamorphose 1984) και με το πιο χαρακτηριστικά «ελληνικό ενδιαφέρον» σαν εξώφυλλο, το θεωρώ προσωπικά το αγαπημένο μου. Έχει βγει και με αγγλικούς τους στίχους και τίτλο Heroes’ Tears, αλλά τελικά η αρχική γαλλόφωνη εκδοχή του, θα έλεγα ότι είναι πιο «τσαμπουκαλεμένη», με τον ερμηνευτή τους Christian Augustin να είναι πιο σίγουρος με τη μητρική του γλώσσα! 

Με δυνατά κομμάτια όπως τα «La Hargne Des Tordus», «Chasse Le Dragon», «Le Dernier Des Travaux D'Hercules», «Mourir Pour Une Princesse», και «Messenger», έχουμε ένα σπάνιο γλωσσικά αλλά εξαίσιο ηχητικά δείγμα της μάλλον περιορισμένης γαλλικής σκηνής, τουλάχιστον για τα δεδομένα της δεκαετίας του ’80.

English:

French metal as iconic as the Eiffel Tower.

A band rooted in the underground scene and with a distinctive cult status, just as the classic French heavy metallers, they could only belong to that special "love or hate" category. 

This third album of theirs (previously, they released the self-titled Sortilege in 1983 and Mètamorphose in 1984) is, in my personal opinion, my favorite, especially with its notably "Greek-inspired" cover art. It has also been released with English lyrics and the title Heroes’ Tears, but I would say that the original French version feels more "bold," with singer Christian Augustin sounding more confident in his native language. 

Featuring powerful tracks such as “La Hargne Des Tordus,” “Chasse Le Dragon,” “Le Dernier Des Travaux D'Hercules,” “Mourir Pour Une Princesse,” and “Messenger,” it’s a rare linguistic but sonically excellent example of what was probably a limited French scene, at least by the standards of the 1980s.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: EXXPLORER – Vengeance Rides an Angry Horse

 

EXXPLORER – Vengeance Rides an Angry Horse

Pure Steel Records

EXXPLORER, a U.S. metal band with a notable history dating back to the 1980s, has returned with their latest album, “Vengeance Rides an Angry Horse”. The band initially gained recognition with their 1984 release “Symphonies of Steel” under Black Dragon Records, which has been reissued in various formats over the years. After a 15-year hiatus from studio recordings, EXXPLORER has released this new work, marking a significant moment for longtime fans and metal enthusiasts alike.

The current lineup retains most of the original members from their debut, with the exception of one guitarist. The album presents a predominantly mid-tempo heavy metal style characterized by strong guitar work, notably delivered by Kevin Kennedy. Vocalist Lennie Rizzo's singing approach has shifted from his earlier higher-pitched style to a more moderate vocal range. While this change may alter the listener's expectations, Rizzo’s performance remains competent and fitting within the album’s overall sound.

The album is generally cohesive and flows well, which contributes positively to the listening experience. Standout tracks include "Gypsy," which manages to be expansive without becoming tiresome, as well as "Glory Hunter" and "Valley of Doom." These selections exemplify the album’s balance of melody and metal energy.

Overall, “Vengeance Rides an Angry Horse” presents a solid addition to the band’s discography and is recommended for fans of classic heavy metal. Its production quality is notably high, and the album cover is visually appealing, complementing the music. While it may not revolutionize the genre, it offers a satisfying listening experience and stands as a noteworthy release from 2011.

Ioannis Kaskamanidis

INTERVIEW: SLANDER

 

Genre: Heavy metal

Country: United Kingdom

Questions by: Nick Parastatidis

Answers by: Andy Saxon-Lamb (Guitars) – ASL & Andy Gregson - AG (Guitars)

Site: Homepage

1. There's an eight-year gap between Resolution Defiance (2017) and your upcoming album, Take It to the Grave (2025). Can you talk about what led to this significant period between releases? Was it a conscious decision, or did life and other commitments get in the way? What does this new album represent for the band after such a long time?

ASL - At the time of the album release, several members of the band left to pursue other musical interests. This put the band into a hiatus for a couple of years. I went to play with Chemikill for 18 months and then the Pandemic struck, During, that period Greg (AG) and I were back in touch, and we agreed to start Slander again.  We played KIT in 2023 as what was going to be a one-off gig. After that we decided, we would like to continue, and we started writing for the new album. The album represents a new beginning and opportunity for both Greg and I to write together again, hence the invigorated sound. Also, the band has now got the best line up it has ever had with a new set of very focused musicians.

 

AG - Lost Realm Records rereleased Carless Talk Costs Lives again in 2020 and as Greg was a co songwriter we started talking again and it was decided that we would reform.  Our sole focus was to play the KIT festival in 2021; however, this was delayed until 2023 and, in the meantime, we were rehearsing and playing live with the new line up we put together in the meantime.  It was only after KIT when we continued to tour and play live that we felt it was time for some new material, hence TITTG album being created.

 

2. How does it feel to be back in the studio and performing after such a long time away from the album cycle? What has been the most challenging, and most rewarding, part of returning to the scene?

ASL -We found it much more enjoyable as we took our time to record this album, whereas the other albums were very time limited in the studio due to financial constraints.  We didn’t really feel that we were in a recording cycle because the band had been on hiatus for some time before it.  We are aware that we are now in that cycle and will no doubt be looking to follow it up within the next 2 years.  As for live performances all of us had been playing with other acts and playing live with Slander again was an easy transition back into it again. 

3. Given the eight-year gap between Resolution Defiance and Take It to the Grave, can you tell us about the age of the material on the new album? Are these songs that have been sitting in the vault for a few years, or were they all composed more recently, specifically for this release?

AG – The main opening riffs for ‘Take it to the Grave’ and ‘Rust in my Bones’ were riffs that were older and had been hanging around for a few years.  The final songs were fully written in 2024 and recorded as a single to promote some touring and generate interest in the band again. The rest of the tracks were written and recorded in late 2024 &2025. Some elements of Grave & Rust were re-recorded in 2025 with the new tracks for the album to make them consistent with the rest of the album’s overall sound and production. 

4. “Take It to the Grave” is a momentous release not only because it's your first in eight years, but also because it marks the reunion of you two original guitarists, Andy Saxon-Lamb and Andy Gregson. After all this time, what was the catalyst that brought you back together?

ASL – Reuniting with Greg (AG) has been a great inspiration. After Greg (AG) left in 1991 during the recording of ‘Careless Talk Costs Lives’ the band continued on as a 4 piece and lost the power of two guitarists.  There was no other reason for Greg (AG) to leave the band other than personal commitments so there was never any animosity at all. As mentioned earlier, I was 15 years old when I met Greg and he taught me a lot about playing metal guitar when I was a kid.  After playing guitar together for many years and jamming together at home we have a subliminal connection. I know what he is going to play, and he does me. It just makes for a real synchronicity and having us back together I feel has completed the band again.  We did have other guitarists and they were really good musicians, but we never captured the raw excitement Greg (AG) and I have together.

5. What has it been like to play together again after so many years apart? Has the chemistry been immediate, or have you noticed a new dynamic emerging in your collaborative process?

ASL - Greg and I have rehearsed together on occasion online during the Pandemic.  We have played guitars together for an exceptionally long time, in fact we started jamming in 1984. So, we had no problem picking up again where we left off. The only difference now is we have a bit more maturity and we believe this has improved the dynamics and energy of our sound.

6. Your new album, Take It to the Grave, has been described as more than just a new release—it is a celebration of your influences and the British heavy metal scene. Would you agree with that assessment? And was it a goal for the band to create a record that pays homage to the legacy of NWOBHM while simultaneously contributing something new?

AG - We didn’t set out to play NWOBHM originally in 1990, but we were labelled in this genre due to being heavily influenced by it when growing up. This came through in the early incarnation of the band and the songs on ‘Carless Talk Cost Loves’ coupled with the analogue recording of it at the time made it sound very early 1980’s. We have written this album as just a reflection of the music we love and grew up with but have added a few nods to the other genres we also love such as thrash etc.….

ASL - Greg and I listen to varied genres of metal and when writing the influences get absorbed into the mix really. We like to think that this album reflects many of the genres that makes metal great to listen to and we one that it really gets people tapping their feet and banging their heads to it.

7. Deguello" for me has a clear nod to Iron Maiden and "Take It to the Grave," as the album's peak, with influences from Running Wild and Judas Priest's Painkiller era. Could you walk us through the creation of these specific songs? What was the inspiration behind them, and what makes them a perfect representation of the new album's sound?

ASL – It is hard to describe how these two songs came about really.  When we start a new sound, it begins with a single riff and after agreeing that it works we then jam and look for another to tag on and so on and so on until a full song is created.  I think that because we love many types of metal the feel and sound produced always comes back to our roots. What we tried to do with this album was increase the pace a little.  Whilst we have been playing with younger bands, you can see the new generation of metal fans getting more out of the heavier and pacier sounds of modern metal.  I was always more influenced by the mid 80’s thrash sound and I also like the down tuned riffs of the Nu Metal era as well.  Greg (AG) has always been more into the 80’s Traditional sound, so I think the writing for this album took all these elements.  We have not recreated the wheel as such and I think whatever we do will always be compared to earlier influential bands such as Maiden, Priest, Saxon & others as you have stated. But that is nota bad thing as they are all just awesome!!

8. Regarding specific tracks, the influence of Iron Maiden is clear on 'Deguello,' and the title track feels like the album's peak, with a nod to Running Wild and Judas Priest's Painkiller era. What was the inspiration behind these songs, and how do they represent the overall sound of the album?

AG – As described by ASL above there is no doubt influence from Priest & Maiden in there.  It is the era of Metal that we listen to and what we love.  We did not set out to particularly pay homage but to create an album that stayed faithful to those roots. With ASL’s trash and like of heavier genre’s the songs just took a new move towards a more modern sounding tradition metal sound that was a little pacier and heavier than our other albums.  It is a new direction for us, and we realized the risks to alienation our more purist fans expecting the earlier sound, but we are hoping they appreciate and enjoy the evolution. We think we have produced an album that gives them the old Slander and some new.

9. Given the long time since your last album, what can you tell us about the lyrical themes on Take It to the Grave? Did the eight-year gap allow you to explore any new topics or perspectives, or do the lyrics stay true to the classic heavy metal themes you’ve addressed in the past?

AG – The lyrics are darker than our previous records. ‘Carless Talk Costs Lives’ was mainly leaning towards relationships and where we lived when we were younger. ‘Resolution Defiance’ had a more political element with elements around life in modern times, the control of the state and a revolutionary angle about standing up for yourself as an individual.  ‘Take It to The Grave’ is more around the tribulations of life.  None of our albums are in anyway concept albums, but when the theme gets locked in most of the songs follow it.  We tend to look at world events and the lyrics come from there, but we try to also remain positive!!  ‘In The Twilight’ and ‘Take It To the Grave’ are a nod backwards as they talk about Love, Death & Secrets and the synergies between them all. We felt the heavier riffs warranted darker lyrics as they sit better than with the music.  We never set out to write a song with a subject matter in mind. The lyrics usually follow the music and it what feels right once the musical structure is completed.

10. Is the lyrical content a collaborative effort within the band, or does one person take the lead in writing the words?

ASL – In the main I write the lyrics and Steve ‘Whitty’ Whittington our singer tweaks them depending on the pronunciation or inflection when he sings them to the music. These tweaks are usually done at the point of recording as this when we usually find the odd word or length of a line does not fit the beat or doesn’t sound right in the context of the song. 

11. Many bands have a long and planned-out formation, but a little-known detail about Slander is that you originally came together with only 24 hours' notice to play a local Rock Battle. Can you take us back to that frantic time? What was it like to form a band and rehearse a full set under such extreme pressure, and how do you feel that raw, immediate energy has carried through your career?

ASL – Well that takes me back!!  There was a cancellation in a local Rock Battle organized by the local paper in our hometown.  The organizer asked our original sing Steve Slater if we would do it and Steve said yes!! The only problem was we did not have a drummer or a bassist.  We had a couple of original songs from a band Greg (AG) and I had played in during the mid eighties and the resto of the performance was made up of covers, such as the version of ‘Diamonds & Rust’ by Judas Priest as an example.  We only did 6 songs in total.  We knew a lot of local musicians in other bands at the time and a bassist and drummer kindly agreed to play with us. We rehearsed all night the day before until the early morning to perfect the songs and performed them the following evening and went down well, but of course never progressed any further in the competition lol!!  That experience set the ethos for the band really.  We have always been pretty tenacious and have faced a lot of adversity and disappointments during our tenure as a band.  The main reason there has been such long gaps between albums is the fact that members of the band have come and go without much notice over the years.  We just get a stable line up and a new batch of songs and then someone or a few people leave the band for various reasons.  It has always been 3 steps forward and two steps backwards for Slander as a band.  I understand that life changes and driving round in a van to play venues for little money takes special and committed people to want to do that. Slander has never had any financial support (apart from my parents 30 years ago) and has always had to scrape the money together to play and record. The difference now is that the members in this line up all understand the trials and tribulations of playing in a band as they are all experienced veterans of the metal scene.

12. Given the authentic NWOBHM sound of Slander, it is natural for fans to wonder about your musical past. Were any of you involved in other bands within the NWOBHM scene before forming Slander? How did that prior experience, or lack thereof, influence the way you approached writing and performing with Slander?

AG – ASL and I played in a local band called ‘Meanstreak’ and I played in a band called ‘Nazgul’ back in the 80’s.  Meanstreak was an originals band, and ‘Cry of the Wolf’ was one of the songs written and played in that era by the former members of that band.  Both bands were very immersed in that classic late 70’s & 80’s sound, so I would say that is where the NWOBHM sound of the first album came from as the songs were really an extension of the music, we played with Meanstreak.

13. After such a significant gap between albums, the release of Take It to the Grave signals a major new chapter for the band. What are the plans for live performances to support it? Will you be touring?

ASL – We very much hope to be touring in 2026 to promote the album.  We are currently doing a handful of gigs and playing the full album to get the tracks gig ready and also playing a couple of old favorites such as ‘Fighting Talk’ & ‘Lonely Nights’ too.  We have a couple of festivals booked and are awaiting confirmation of other dates, so all being well we will be smashing out the new tracks and some of the older ones throughout next year. We are looking at dates in both the UK and Europe.

14. Before we finish, I'd like to give you a moment to talk about anything we haven't covered today. The floor is yours.

ASL & AG - We would like to thank everyone who has supported us over the many years we have been together. Words cannot express our gratitude to everyone who has come to see us live and bought our music. It is an absolute honor. We would also like to thank you Nick for interviewing us and the recent review of the new album. We really appreciate it. And lastly that everyone keeps supporting metal as it is the greatest music on earth and has the best fans ever. Keep rocking our friends!!