REVIEW: METAL CHURCH, The Human Factor

 

METAL CHURCH, The Human Factor (1991)

Epic Sony

Αναζήτηση σταθεράς στην αρχή της νέας δεκαετίας.

Στο τέταρτο αυτό άλμπουμ τους και εδραιώνοντας τη θέση τους μετά το γιγάντιο πόνημα που λέγεται Blessing In Disguise, οι Metal Church μπαίνουν στα αχαρτογράφητα και σκοτεινά 90s. Ένας δίσκος άξιος να φέρει το λογότυπό τους στην ομολογουμένως κάπως όχι τόσο πετυχημένη φωτογραφία του συγκροτήματος, ξαπλωμένου ανάμεσα στα αναμμένα κεριά (Queen και Sheer Heart Attack θυμίζει), αλλά σαν συνέχεια ενός άφταστου άλλου δίσκου. Είναι λίγο πιο κάτω σε δημοτικότητα (τελείως υποκειμενικά αυτό), μα κυρίως συνολικής ταχύτητας συνθέσεων, αλλά προσωπικά όχι απλώς δε με χαλάει, αλλά θα έλεγα ότι συμπληρώνει το Blessing... και από πάνω. 

Στα δέκα κομμάτια του βρίσκεις αυτή την επιπλέον ωριμότητα μουσικά. Το ομώνυμο του δίσκου, που αρχίζει στην πρώτη θέση, είναι κλασικό πλέον. Date With Poverty, The Final Word, In Mourning ακολουθούν σε ένα αψεγάδιαστο 5-0. Agent Green, Flee From Reality, Betrayed, The Fight Song ακολουθούν κατά πόδας.

English:

Seeking stability at the beginning of a new decade.

On their fourth album and solidifying their position after the gigantic effort called Blessing In Disguise, Metal Church venture into the uncharted and dark 90s. This record is worthy of bearing their logo, even if it’s on an admittedly somewhat less successful band photo—lying among lit candles (reminding one of Queen and Sheer Heart Attack), but also as a continuation of another great album. It’s a little less popular (though that’s entirely subjective), but mainly in terms of overall song speed; personally, not only does it not bother me, but I’d say it complements Blessing... and even surpasses it. 

Within its ten tracks, you can hear this added musical maturity. The title track, which opens at number one, has become a classic by now. Date With Poverty, The Final Word, In Mourning follow in seamless succession. Agent Green, Flee From Reality, Betrayed, and The Fight Song are right behind, keeping pace.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: RAIN - XXX

 

RAIN - XXX

Aural Music Records

RAIN is a longstanding heavy metal band from Italy, with a career spanning over 30 years since their formation in 1980. Over the decades, they have released several albums, including Ten Years After (1990), Red Revolution (1995), Bigditch 4070 (2000), Headshaker (2003), and Dad Is Dead (2008). The band has also supported well-known acts such as WASP, Michael Schenker, UDO, and RAGE, establishing a solid presence within the metal scene.

The album XXX functions as a compilation of re-recorded tracks from their previous works, performed with their current line-up. It features a selection of notable songs, such as “Only Your Dreams” and the acoustic ballad “Rain Are Us,” showcasing the band’s songwriting versatility. The production and arrangements reflect the band’s experience and dedication to their craft, offering a polished yet energetic listening experience.

Musically, XXX displays a variety of influences. There are passages reminiscent of IRON MAIDEN, particularly in the vocal lines of “Blood Sport,” while the vocal screams in “Born to Kill” evoke JUDAS PRIEST. Some sections of the album also suggest a BLACK SABBATH-like atmosphere, especially in the darker, heavier moments of “In the Night.” Additionally, tracks like “Energy” and “Whiskey on the Route 666” incorporate hard rock elements, adding further diversity to the album’s sound.

Overall, XXX serves as a strong introduction to RAIN’s music, blending traditional heavy metal with subtle variations in style. It offers both familiar and fresh elements for listeners interested in classic metal. Whether new to the band or a longtime fan, this album provides a solid overview of RAIN’s musical evolution and craftsmanship.

Chris  Kappas

Devilz By Definition Releases New Single «Devilz Knight»

 

Canadian thrash/groove metal band Devilz By Definition has dropped their new single, «Devilz Knight». Recorded and produced by Erik “The Wizard” Gurney, the track features their signature crushing riffs and anti-tyranny themes.

Formed in 2010, the band includes Bruce “Popz” Munro, Jamie “CrAzY CoUv” Couvillon, Teddy Robért, Anthony Giacalone, and Kulstof. Fans of Pantera and Lamb of God will enjoy their raw power and groove.

Guiltera Releases New Single “Far Away”

 

Cyprus-based modern metal band Guiltera has released their new single “Far Away,” from their upcoming album “They,” set for 2026. Formed in 2024, Guiltera blends heaviness, melody, and emotion, gaining early success with their debut “Ecstasy,” which hit #2 on Spotify’s New Metal Tracks.

Their debut album “Us” mixed melodic rock with modern metal. The new album “They” will feature a heavier, darker sound with intense vocals and sharper riffs. Fans can look forward to “Far Away” as part of this exciting new chapter.

The Silent Rage Release New Single and Lyric Video "Wings Of Tragedy MMXXV"

 

Athens-based power metallers The Silent Rage have unveiled their latest single, "Wings Of Tragedy MMXXV." The track is a reimagined version rooted in the band's demo days, showcasing their signature powerful sound. Alongside the release, the band also shared a lyric video, giving fans a visual experience of the song.

Fans can check out the lyric video below and enjoy the new take on a classic-inspired tune from The Silent Rage.

REVIEW: STEEL PROPHET, Dark Hallucinations

 

STEEL PROPHET, Dark Hallucinations (1999)

Nuclear Blast Records

Χρυσάφι στα αζήτητα

Για πολλοστή φορά θα γυρίσω σε αυτό το ιστορικό άλμπουμ των U.S. Power Metal ηγετών Steel Prophet. Ένα σχήμα πλέον τόσο άγνωστο στην Ευρώπη, που σε κάνει να απορείς με τα γούστα του κοινού μερικές φορές. Και όμως, μια εποχή στα μέσα και μετά της δεκαετίας του ’90, όντας ήδη βετεράνοι, κυκλοφόρησαν μερικά από τα καλύτερα δείγματα της δουλειάς τους, ένα εκ των οποίων είναι αυτό το CD που υπάρχει πίσω από το κίτρινο εξώφυλλο. Αρκετά ψήγματα prog, όπως πλείστα τόσα σχήματα της αντίπερα όχθης μας έχουν παρουσιάσει, αλλά παρόλα αυτά, αμοιγώς ρυθμικό και μελωδικό power metal, με παραγωγή όπως πάντα για βραβείο. Το "Montag", που ξεκινά τον χορό, είναι εμπνευσμένο από τον σκοτεινό αντί-ήρωα του Ray Bradbury στο μελλοντολογικό μυθιστόρημα Fahrenheit 451 (διαβάστε το, περιγράφει ουσιαστικά αυτά που ζούμε τα τελευταία είκοσι χρόνια, αν και είναι γραμμένο στα μέσα του 20ού αιώνα). Από εκεί και πέρα, μια συστοιχία τραγουδιών που δε δείχνουν έλεος, όπως τα New Life, Strange Encounter, The Secret, We Are Not Alone, Scared for Life, Spectres, The Apparition (όχι, δεν είναι διασκευή σε Iron Maiden). Τέλος, το μπόνους της αρχικής έκδοσης είναι το Ride the Sky, η τέλεια διασκευή στον ύμνο των θεών Helloween. Ένας δίσκος που τότε είχε κάψει τα εγκεφαλικά μου κύτταρα σε βαθμό ολικής καταστροφής!

English:

Gold in Obscurity

 

For the umpteenth time, I will revisit this historic album by the U.S. Power Metal pioneers Steel Prophet. A band now so obscure in Europe that it sometimes makes you wonder about the tastes of the audience. Yet, during the mid and post-1990s—already veterans—they released some of their best work, one of which is this CD, hidden behind the yellow cover. It contains quite a few prog elements, as many bands on the opposite side of the spectrum have showcased, but nonetheless, it’s pure rhythmically driven and melodic power metal, with production that always deserves an award. The track "Montag," opening the album, is inspired by the dark anti-hero of Ray Bradbury in the dystopian novel Fahrenheit 451 (read it—it essentially describes what we've been living through the last twenty years, even though it was written in the mid-20th century).

From there, a series of relentless songs follows, such as New Life, Strange Encounter, The Secret, We Are Not Alone, Scared for Life, Spectres, and The Apparition (no, it’s not a cover of Iron Maiden). Finally, the bonus on the original release is Ride the Sky, a perfect cover of Helloween’s legendary anthem. An album that, back then, completely fried my brain to the point of utter destruction!

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: DENIAL FIEND – Horror Holocaust

 

DENIAL FIEND – Horror Holocaust

Ibex Moon / Hammerheart Records

Approximately four years after their debut album They Rise, Floridian death/thrash metal band DENIAL FIEND has returned with their latest release, Horror Holocaust. The album’s title aptly encapsulates the band’s thematic focus and musical approach, as their lyrics predominantly narrate horror stories, complemented by a sound rooted in death/thrash metal.

Musically, Horror Holocaust features high-tempo tracks characterized by heavy rhythm guitars, complemented by melodic lead sections that add occasional riffs and interest. The rhythm section maintains a solid foundation throughout, reinforcing the album’s aggressive and energetic vibe. While the album does not introduce groundbreaking elements or a fresh perspective to the genre, it maintains an honest and straightforward execution that may appeal to fans of traditional, old-school death/thrash metal.

However, in assessing the album critically, one notable aspect is the vocal approach. The vocals, which carry a punk rock influence, are a point of contention. They may seem out of place within the context of the death/thrash sound, and at times, they come across as somewhat "funny" or "childish." For listeners who favor a more conventional or serious vocal style within the genre, this aspect might detract from the overall experience.

In conclusion, Horror Holocaust offers a collection of energetic and thematically consistent tracks that will likely resonate with enthusiasts of old-school death/thrash metal. Nonetheless, the vocal delivery may not appeal to all listeners, potentially limiting its overall impact.

Christine  Parastatidou

REVIEW: APHRODITE 'S CHILD , 666

 

APHRODITE 'S CHILD , 666 (1972)

Vertigo

Απεταξάμην.

Τι θα συμβεί αν, την ώρα που οι θεατές σε μια παράσταση με θέμα την Αποκάλυψη κατά Ιωάννη, δεν αντιληφθούν ότι έξω η Αποκάλυψη ξεκινά στον πραγματικό κόσμο; Όπως λέμε και στην ιστορία της τέχνης και της θεατρολογίας, ένα σχήμα εγκιβωτισμού. Οι τέσσερις μουσικοί Βαγγέλης Παπαθανασίου, Ντέμης Ρούσσος, Λουκάς Σιδεράς και Αργύρης Κουλούρης γράφουν το 1970 το περιεχόμενο του δίσκου στο Trident Studio του Λονδίνου, αλλά η εταιρεία τους τον κυκλοφορεί αργότερα λόγω του ιδιαίτερου θέματος του. Ένα Post-Hippie, Progressive Rock σύνολο που πραγματικά θεοποιήθηκε εκτός Ελλάδας (Χούντα, εδώ τανκς παντού, μόνο κακώς εννοούμενο κλαρίνο, μουσική βλαχιά και κυρά Γιώργαινα ο Γιώργος σου που πάει, έβγαινε) από το ίδιο κοινό που ανέδειξε όλους τους αντίστοιχους μουσικούς τότε κι αργότερα. Το τρίτο και τελευταίο άλμπουμ τους ποτέ δεν κυκλοφόρησε στην Ελλάδα, παρά μόνο χρόνια αργότερα, όταν χρειάστηκε ιδιαίτερη μεταχείριση από τον μουσικόφιλο. Δεν θα πω υπερβολικές δηλώσεις ότι είναι ορόσημο, ογκόλιθος κ.τ.λ., θα πω μόνο ότι σίγουρα είναι ένα έργο της εποχής του που αγνοήθηκε τόσο από το "κουλτουρέ" κοινό όσο και από τον rock θιασώτη εντός, ακόμα και χρόνια μετά. Ωστόσο, απέκτησε σιγά σιγά τη θέση του στον υπόλοιπο μουσικό κόσμο. Στίχοι από τον γνωστό σκηνοθέτη Κώστα Φέρρη, μια "οργασμική" ερμηνεία στο κομμάτι γνωστό σαν "Infinity" από τη μεγάλη ηθοποιό Ειρήνη Παππά (που θα ήταν αρκετή για να τους κλείσουν φυλακή επί χούντας εδώ!) και τραγούδια όπως τα "Babylon", "The Four Horsemen", "The Lamb", το εικοσάλεπτο έπος "All The Seats Were Occupied", "The Wedding of the Lamb", "Aegean Sea" από ένα σύνολο 24 κομματιών που, βέβαια, δεν είναι όλα τραγούδια, αλλά σου μένουν για τα καλά.

English:

I cast it aside.

What would happen if, during a performance based on the Apocalypse according to John, the audience didn't realize that outside, the Apocalypse is beginning in the real world? As we say in art history and theater studies, it's a form of framing or mise en abyme. The four musicians—Vangelis Papathanassiou, Demis Roussos, Loukas Sideras, and Argyrios Koulouris—composed the album in 1970 at Trident Studio in London, but their record label released it later, due to its very special theme. A post-Hippie, progressive rock ensemble that truly gained deification outside Greece (during the dictatorship, with tanks everywhere here, only with the ill-conceived use of clarinet, rustic music, and your Georgia-like lady, Giorgos, who used to go out) by the same audience that had previously promoted all the comparable musicians of that time and later. Their third and final album was never released in Greece—only years later, when it required special handling by the music enthusiasts. I won't claim it's a milestone or a colossus, but I will say that it is undoubtedly a work of its time, one that was ignored both by the "cultured" audience and by rock aficionados at home, even years later. Nevertheless, it gradually earned its place in the wider musical world. Lyrics by the well-known director Kostas Ferris, an "orgasmic" performance in the track known as "Infinity" by the great actress Irene Papas (which alone would have been enough to get them imprisoned during the dictatorship here!), and songs like "Babylon," "The Four Horsemen," "The Lamb," the twenty-minute epic "All The Seats Were Occupied," "The Wedding of the Lamb," and "Aegean Sea," from a set of 24 tracks—which, of course, are not all songs—leave a lasting impression.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: ROYAL HUNT – Show Me How to Live

 

ROYAL HUNT – Show Me How to Live

Frontiers Records

ROYAL HUNT has long been recognized as a prominent name within the melodic rock and progressive metal scenes. Their discography, particularly during the 1990s, is often regarded with high esteem, especially among fans of well-crafted melodies and sophisticated arrangements. Their early albums, notably Land of Broken Hearts, showcased a distinctive blend of melodic hooks and a compelling band personality, which contributed to their rising popularity.

The arrival of American vocalist DC Cooper marked a significant phase in the band’s evolution. Albums such as Moving Target and Paradox are frequently cited as highlights in their catalog, celebrated for their memorable melodies and strong vocal performances. However, changes in lineup, particularly Cooper’s departure and subsequent replacements—including John West and Mark Boals—led to a shift in the band’s musical direction. While these iterations brought their own strengths, some fans felt that the essence of ROYAL HUNT was somewhat diluted during this period.

The return of DC Cooper was met with anticipation and skepticism. Expectations were high that the band might revisit their classic sound, but there was concern about whether they could recapture the magic of their earlier work. Interestingly, Show Me How to Live suggests that the band has indeed returned to its roots, delivering a release that feels both fresh and familiar.

From the opening track, “One More Day,” it’s evident that ROYAL HUNT is revitalized. The album demonstrates a balanced integration of melodic AOR influences and metal elements, highlighted by standout tracks such as “Half Past Loneliness,” which exemplifies the band’s ability to craft melodic, emotionally resonant music. “Hard Rain’s Coming” stands out as one of the most compelling compositions in their catalog, showcasing both songwriting strength and dynamic performance.

The title track, “Show Me How to Live,” is a substantial 10-minute piece that flows seamlessly, maintaining listener engagement throughout. Other notable tracks, like “Empty Shell” and “Another Man Down,” feature intricate arrangements and storytelling that underscore the band’s progressive tendencies. Cooper’s vocals are notably strong, delivering both power and nuance, while Andre Andersen’s keyboard work continues to provide a rich sonic landscape. The use of female backing vocals, reminiscent of their earlier albums, adds a layer of depth and nostalgia.

Overall, Show Me How to Live appears to be a well-crafted album that bridges the band’s classic sound with contemporary production. It has been well-received by fans and critics alike, often ranking among the standout releases of 2011. For those interested in melodic rock with progressive flair, this album offers a compelling listening experience and exemplifies ROYAL HUNT’s enduring musical craftsmanship.

Chris  Kappas

REVIEW: W.A.S.P., Still Not Black Enough

 

W.A.S.P., Still Not Black Enough (1995)

Raw Power

Σοβαρά μαύρο.

Η πιο σοβαρή εποχή για τον Blackie Lawless και το σχήμα του, που αποτελεί τον κινητήριο τροχό, ξεκινά με το άλμπουμ Headless Children του 1989. Μέσω του concept The Crimson Idol το 1992, φτάνουμε στο 1995 και σε αυτό το σκοτεινό δημιούργημα του συγκροτήματος. Παραγνωρισμένο στη δισκογραφία τους από το κοινό που επί δεκαετίες βρίσκεται κοντά στους W.A.S.P., είναι κατάφορα αδικημένο — ίσως και από τον ίδιο τον Blackie, ο οποίος, αν και έχει κυκλοφορήσει ακόμα μια πλειάδα δίσκων από τότε, δεν το θυμάται αρκετά ώστε να συμπεριλαμβάνει κομμάτια του στα κατά καιρούς ζωντανά playlist τους. 

Ένα κλειστοφοβικό, σχεδόν αποπνικτικό σε ατμόσφαιρα σύνολο τραγουδιών, που σκοπό έχει να αναδείξει την παρακμή των μέσων της τελευταίας δεκαετίας του 20ού αιώνα, που κυκλοφόρησε. Και που ακόμα συνεχίζεται! Αν και δεν έχουμε παράπονο από το συγκρότημα, αφού η πολιτική και κοινωνική κατάσταση ποτέ δεν λείπει από τη στιχουργική τους — με εξαίρεση το Helldorado, πέντε χρόνια μετά, που, όπως γνωρίζουμε, ήταν μια επιστροφή στα ξέφρενα 80s. 

Το ομότιτλο κομμάτι που ανοίγει το άλμπουμ ακολουθεί η διασκευή στο Somebody to Love των Jefferson Airplane. Μετά ακολουθούν τα Black Forever, Scared to Death, ο απόλυτος εφιάλτης για το τι είχε γίνει και συνεχίζει να συμβαίνει στη χώρα με το τρομερό Goodbye America, συνεχίζοντας το μαύρο ταξίδι στις μελωδίες του. 

Το Rock and Roll to Death είναι η μόνη νότα από τα παλιά. Τα Breathe και No Way Out of Here αποτελούν τα υπόλοιπα πολύ αγαπημένα κομμάτια αυτού του άλμπουμ, το οποίο θα έλεγα ότι σημάδεψε τις ζωές όσων το αγαπούν.

English:

Seriously dark.

The most pivotal era for Blackie Lawless and his band, which serves as the driving force, begins with the 1989 album Headless Children. Through the concept album The Crimson Idol in 1992, we arrive at 1995 and this dark creation of the band. Overlooked in their discography by the audience that has been close to W.A.S.P. for decades, it is painfully underrated — perhaps even by Blackie himself, who, despite having released many more records since then, doesn’t remember it well enough to include tracks from it in their live playlists from time to time. 

It’s a claustrophobic, almost suffocating collection of songs that aims to highlight the decline of the late 20th century’s media — the album’s theme. And that decline continues to this day! Although we have no complaints about the band, since politics and social issues are never absent from their lyrics — with the exception of Helldorado, five years later, which, as we know, was a return to the wild 80s. 

The opening track, which shares the album’s title, is followed by a cover of Jefferson Airplane’s Somebody to Love. After that come Black Forever, Scared to Death, the absolute nightmare of what had happened and still continues to happen in the country, with the powerful Goodbye America, carrying on the dark journey through their melodies. 

Rock and Roll to Death is the only nod to their old sound. Breathe and No Way Out of Here are other deeply beloved tracks on this album, which I would say has marked the lives of those who love it.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: INTERROGATE - Silence the Fallen

 

INTERROGATE - Silence the Fallen

Independent Release

If you're seeking a musical outlet for raw emotion—whether it’s anger, adrenaline, or the need for a high-energy soundtrack—INTERROGATE's latest EP, Silence the Fallen, may be worth exploring. Hailing from Northern Ireland, this emerging band delivers a collection of intense, impactful compositions crafted through self-production, aiming to resonate with listeners who crave powerful and dynamic soundscapes.

Musically, INTERROGATE presents a style that defies easy categorization. The band’s approach can be broadly classified as modern metal, infused with elements from various genres, including thrash, heavy metal, and hardcore. Their sound is characterized by a modern production quality that emphasizes clarity and power, allowing the intricate musicianship and vocal performances to stand out prominently.

The vocals are notably versatile, capable of conveying a range of emotions to complement the musical intensity. At times, they adopt a harsh, aggressive tone that aligns with the thrash metal influence, while at other moments, they shift to cleaner, more melodic lines—sometimes slightly hoarse—adding a layer of classic heavy metal sensibility.

Overall, Silence the Fallen offers a collection of energetic and compelling tracks that can appeal to fans of contemporary metal with a penchant for traditional influences. To fully appreciate the band's potential and the EP’s impact, acquiring a copy is recommended. From there, listeners can form their own impressions of INTERROGATE’s evolving sound.

Christine  Parastatidou

VOMITILE released new EP

 

Cyprus Death Metal band Vomitile has released their new EP «Faces of Terror». The release was recorded and engineered by George Yildizian and Alexis Yiangoullis at "Vomit Studios", mixed by Alexis Yiangoullis and mastered by George Solonos.

Ben Sollberger Returns with New Metal Anthem “Here for Your Pleasure”

 

Following the success of his acclaimed albums I Hate to Say (2021) and Down Here on Earth (2022), Swiss musician Ben Sollberger is back with a new single that’s already capturing attention. Titled “Here for Your Pleasure,” the track is a fiercely energetic and melodic metal anthem infused with a modern edge.

The song narrates the perspective of a band fighting for the audience’s favor amidst a culture of whining, black-and-white thinking, and unoriginal parroting. In a bold move, Sollberger appeals directly to listeners’ hedonism, declaring, “We are Here for Your Pleasure!”

Musically, Sollberger channels his metal roots, drawing heavy influence from bands like Killswitch Engage. The track features powerful, virtuoso guitars paired with Sollberger’s soulful, emotionally charged vocals, creating an immersive listening experience.

Enough talk—dive into “Here for Your Pleasure” and experience the energy for yourself.

REVIEW: RAINBOW, Difficult To Cure

 

RAINBOW, Difficult To Cure (1981)

Polydor

Θυσία στο ραδιόφωνο, αλλά με καλό αντιστάθμισμα.

Κανονικά, θα επρόκειτο να το βρίζω: ένα εμπορικό άλμπουμ με επιτυχίες, γραμμένες από τον μαέστρο των επιτυχιών Russ Ballard, με pop σχεδόν αισθητική, και έναν Ritchie Blackmore, που είχε συνεργαστεί τόσο στους Deep Purple όσο και στους Rainbow, με αστέρες όπως ο Ian Gillan, ο David Coverdale, ο Ronnie James Dio, ο Graham Bonnet, ο Jimmy Bain και ο Cozy Powell, να αναλώνεται σε εύκολα riffs!

 

Αλλά το γεγονός που σώζει αυτό το άλμπουμ δεν είναι μόνο ο Roger Glover στο μπάσο ή οι υπόλοιποι μουσικοί, αλλά η ήρεμη δύναμη του Αμερικανού τραγουδιστή Joe Lynn Turner. Σοβαρά τώρα, κομμάτια όπως το "I Surrender", που το ξέρουν και εκτός της Hard Rock οικογένειας, είναι το εύκολο χρήμα που βγαίνει απ’ αυτό το ηχητικό σύνολο.

 

Απ’ την άλλη, το "Spotlight Kid" δεν γράφτηκε ποτέ ξανά! Επίσης, υπάρχουν όμορφα κομμάτια όπως τα "Can't Happen Here", "Freedom Fighter", "Magic", αλλά και το ομώνυμο του άλμπουμ, το οποίο δεν είναι παρά η διασκευή της 9ης συμφωνίας του Beethoven από τον δαίμονα Blackmore, συνδυάζοντας το τερπνό με το ωφέλιμο. 

Κι η συνέχεια, τολμώ να πω, πως θα ήταν πολύ καλύτερη.

English:

Sacrifice on the radio, but with a good counterbalance.

Honestly, I was about to criticize it: a commercial album with hits, written by the maestro of hits, Russ Ballard, with an almost pop aesthetic, and a Ritchie Blackmore—who had collaborated with both Deep Purple and Rainbow, alongside stars like Ian Gillan, David Coverdale, Ronnie James Dio, Graham Bonnet, Jimmy Bain, and Cozy Powell—wasting time on simple riffs! 

But what saves this album is not only Roger Glover on bass or the other musicians, but the steady strength of the American singer Joe Lynn Turner. Seriously now, tracks like "I Surrender," which are known even outside the hard rock family, are just easy money coming from this musical ensemble. 

On the other hand, "Spotlight Kid" was never written again! There are also beautiful songs like "Can't Happen Here," "Freedom Fighter," "Magic," and the eponymous track of the album—which is simply a cover of Beethoven’s 9th Symphony, reimagined by the devilish Blackmore, blending the pleasant with the useful. 

And I dare say, the continuation would have been much better.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: YES – In the Present (Live in Lyon)

 

YES – In the Present (Live in Lyon)

Frontiers Records

In the Present is a double live CD accompanied by a DVD release, capturing a performance by the legendary progressive rock band YES. Formed in 1968 in England, YES has established itself as a significant influence within the progressive rock genre, boasting a discography of 20 studio albums. Their latest studio effort, Fly from Here, was released in 2011 through Frontiers Records.

The band is renowned for their complex compositions, often characterized by lengthy tracks that showcase their technical proficiency and melodic sophistication. Notable albums include The Yes Album, Close to the Edge, Tales from Topographic Oceans, and 90125, the latter featuring the commercially successful hit “Owner of a Lonely Heart”. While some listeners might find their sound somewhat less innovative compared to other progressive rock giants, YES remains a band with distinctive trademarks—melodic richness, Rick Wakeman’s characteristic keyboard sound, virtuosic musicianship, and notable album covers.

Recorded in Lyon in December 2009, In the Present offers a live representation of the band’s enduring repertoire. The DVD includes approximately 55 minutes of interviews and behind-the-scenes footage, providing additional context for fans and newcomers alike. The live audio quality is generally good, although audience participation is relatively subdued during the performance.

The setlist on the first CD features tracks such as “Siberian Khatru,” “I’ve Seen All Good People,” “Tempus Fugit,” “Onward,” “Astral Traveller,” “Yours Is No Disgrace,” “And You and I,” and an acoustic solo titled “Corkscrew.” The second CD includes notable highlights like “Owner of a Lonely Heart,” “South Side of the Sky,” “Machine Messiah,” “Heart of the Sunrise,” “Roundabout,” and “Starship Trooper.”

Overall, In the Present serves as a solid live documentation of YES’s enduring musical legacy. It is particularly recommended for dedicated fans of progressive rock and YES enthusiasts, who may appreciate the band’s performance and setlist choices. For new listeners, it offers a representative sample of the band’s live sound and repertoire, though it may not fully capture the studio complexity and innovation that originally defined their groundbreaking albums.

Ioannis  "Knight of Light"  Kaskamanidis