REVIEW: ANGELO PERLEPES’ MYSTERY – Spelled By Fire

 

ANGELO PERLEPES’ MYSTERY – Spelled By Fire

Sleaszy Rider SRL

The wait was long. Twenty-one years have passed since their last album, "Destiny" from 2004. Twenty-one years that the Greek metal scene awaited the return of one of its pioneers, guitarist Angelo Perlepes. And now, with "Spelled By Fire", Angelo Perlepes' Mystery not only return but do so with an album that serves as the natural continuation and culmination of a long-standing artistic journey.

Angelo Perlepes is not just a musician; he's an emblematic figure widely regarded as the first to introduce and establish the neoclassical heavy/power metal sound in Greece. "Spelled By Fire" honors this legacy, as the guitarist's technical skill is not an end in itself but a tool at the service of the composition. The maturity of the arrangements is evident in every note, with Angelo having harnessed his virtuosity to create compositions that have a clear vision and direction.

The music on the album is a fascinating crossroads of influences. On one hand, its roots are deeply embedded in the classic hard rock of Rainbow and Deep Purple and the virtuosity of Yngwie Malmsteen. On the other hand, the compositions are infused with elements from classical composers like Bach and Paganini, giving them a unique, almost symphonic character.

One of the most successful elements of "Spelled By Fire" is the excellent choice of Billy Vass on vocals. His voice brings a timbre strongly reminiscent of the legacy of the unparalleled Ronnie James Dio, giving the album an epic yet classic character. His performance harmonizes perfectly with the melodic guitar lines, bringing out the emotion of each track.

Special mention goes to the cover of Aphrodite's Child's legendary "Babylon." This choice is both bold and respectful, demonstrating artistic courage. Angelo Perlepes makes the song his own, transforming the original into a neoclassical metal epic and showcasing the artist's ability to breathe new life into classic songs.

For the more dedicated fans, here's an interesting detail: the recording process faced an unexpected technical obstacle when the hard disk drive containing the initial takes failed. This forced them to repeat the process, which ultimately benefited the album, making it even more dynamic and polished.

In summary, "Spelled By Fire" is a comeback album that justifies the long wait. Angelo Perlepes and his band deliver a record full of passion, technical excellence, and, most importantly, artistic maturity. It's an album that not only honors the past but also points the way forward for neoclassical heavy metal in Greece.

Nick Parastatidis

REVIEW: RAGE, Unity (2002)

 

RAGE, Unity (2002)

Steamhammer

Κάτι κινείται στο βάθος.

Ναι, οι αγαπημένοι μας, και ήδη τότε με τεράστια δισκογραφία (φανταστείτε σήμερα!), εδώ βουλώνουν στόματα επικριτών με τη μία. Ειδικά και ιδιαίτερα προσφιλείς στο ελληνικό κοινό οι Rage, με την πάλι τριμελή σύνθεσή τους (Peter "Peavy" Wagner, Victor Smolski, Mike Terrana). Μετά από δύο-τρία χρόνια ενδοσκόπησης, μας δίνουν εδώ το πρώτο δείγμα της μουσικής τους ανάκαμψης. Άμεσο, γρήγορο, σκοτεινό όπου χρειάζεται, σύγχρονο για τις αρχές του 21ου αιώνα Heavy Metal, με έντονες ματιές στο ένδοξο παρελθόν τους.

 

Καλά λέγαμε τότε ότι η επιστροφή του παραδοσιακού Metal ήχου θα συμπαρασύρει τους πάντες! Ευτυχώς που έγινε, ώστε να λέμε και να βλέπουμε δίσκους σαν αυτόν, αλλά και τους επόμενους, ακόμη περισσότερο. Στα έντεκα κομμάτια, θα ξεχωρίσουν για μένα τα «All I Want», «Insanity», «Down», «Set this World on Fire», το «Dies Irae», που ήταν και το βίντεο κλιπ από εδώ, «Shadows», «Seven Deadly Sins», «Unity». 

Και, όπως ειπώθηκε, αυτό ήταν μόνο η (νέα) αρχή!

English:

Something is moving in the background.

Yes, our beloved band, already then with a massive discography (imagine today!), is here silencing critics’ mouths immediately. Especially popular with the Greek audience are Rage, with their again three-member lineup (Peter "Peavy" Wagner, Victor Smolski, Mike Terrana). After two or three years of introspection, they give us here the first sign of their musical revival. Direct, fast, dark where needed, a modern Heavy Metal sound for the early 21st century, with strong nods to their glorious past. 

We used to say then that the return of the traditional Metal sound would sweep everyone along! Fortunately, it happened, so we can talk about and see albums like this one, and even more so the subsequent ones. Among the eleven tracks, my favorites are “All I Want,” “Insanity,” “Down,” “Set this World on Fire,” “Dies Irae,” which also had the music video here, as well as “Shadows,” “Seven Deadly Sins,” and “Unity.” 

And as was said, this was only the (new) beginning!

Τάκης "Ε-Μortal One" Γιώτης!

Adversaria Releases New EP "Twilight of the Divine"

 

Costa Rican black metal band Adversaria has released their new EP, Twilight of the Divine, recorded by Erick Muñoz at Noctuary Studios. Formed in 2025 by Muñoz—known for Overshock and Legion of Satanachia—the band explores themes of esoteric fire and vampiric ecstasy. The EP is now available on streaming platforms.

REVIEW: TABERNACLE - The Iron Tabernacle

 

TABERNACLE - The Iron Tabernacle

Stormspell Records

The announcement of the debut album from TABERNACLE, titled "The Iron Tabernacle", and released by Stormspell Records on September 23, 2025, brings to the forefront a band with a very specific musical direction.

Tabernacle formed in 2019, featuring Rayner on guitar and vocals, Jasper on bass, and Shawn on drums. While their initial sound was influenced by bands like Judas Priest and Accept, they quickly evolved into a darker, heavier act. Their music is best described as mid-tempo heavy metal that borders on doom metal, consistently creating an epic atmosphere.

The album's production has the characteristics of "obscure '80s metal," giving the sound an authentic, retro feel. This approach aligns with the band's overall style, which draws inspiration from legends like Manilla Road, Omen, and the "Babylonian era" of Bathory, as well as more atmospheric bands such as Scald and Vendel. Beyond their stated influences, Tabernacle's sound also brings to mind the dark, epic atmospheres of Solstice and the raw sound of Doomsword's debut album.

In 2021, the band released a three-song demo, "Terror in Thrace," which received positive feedback from the underground scene. This demo served as the foundation for "The Iron Tabernacle." For their new material, the band incorporated the complexity of progressive giants like Fates Warning (from the "The Spectre Within" era) and Adramelch (from "Irae Melanox"), adding an extra dimension to their sound.

"The Iron Tabernacle" is a concept album, a journey through "forgotten wars and ancient bloodshed." Its lyrics, which echo "the clash of steel, fallen heroes, and the specter of historical tragedy," add depth to the listening experience. Song titles like "Hannibal's Crossing" and "On the Bloodied Fields of Westphalia" confirm this lyrical focus on history.

The album stands as a complete work, offering a clear representation of the band's musical style and thematic direction.

Nick Parastatidis

REVIEW: GUNFIRE, Age Of Supremacy

 

GUNFIRE, Age Of Supremacy (2014)

Jolly Roger Records

Ιταλοί, αλλά ηχητικά βορειοευρωπαϊκού τύπου.

Ένα συγκρότημα που δεν το ξέρει σχεδόν κανείς, αλλά υπάρχουν από τις αρχές των 80s, παρακαλώ. Εδώ, σε ένα άλμπουμ καλοπαιγμένου Heavy/Power Metal, μοντέρνου για τις εποχές μας και με άρτια παραγωγή στον ήχο. 

Μη σκέφτεστε τα γνωστά ονόματα της γειτονικής χώρας, καμία σχέση με Rhapsody, Domine, Athena ή Labyrinth. Έχουν εντελώς δικό τους ύφος, που προσεγγίζει το κλασικό σουηδικό ή γερμανικό Power Metal, αλλά και πάλι δεν είναι η χορωδία του «Στρουμφοχωριού». 

Σκοτεινό, σαν μίξη Iced Earth με αρκετό Scanner, space θεματική, αλά Iron Savior, και ακόμη περισσότερο ήχο Heavy Load, θα έλεγα. Αρκετά πλήκτρα/synth, αλλά και ταχύτητα όπου πρέπει, και θα ξεχωρίσουν από τα δέκα κομμάτια του άλμπουμ τα: War Extreme, Man and Machine, The City of Light, The Hammer of God, Voices from a Distant Sun, The Wizard, Fire in the Sky, Exodus — σαν το 85% του CD, με πολύ καλές στιγμές! 

Ο αντίχειρας προς τα πάνω λοιπόν, μια ευχάριστη έκπληξη στα πλέον πάλι λιμνάζοντα νερά του ευρωπαϊκού Power Metal.

English:

Italians, but sonically more like Northern European bands.

A band that hardly anyone knows, but they've been around since the early 80s, please. Here, in a well-played Heavy/Power Metal album, modern for our times and with a polished production quality. 

Don't think of the well-known names from the neighboring country—this has nothing to do with Rhapsody, Domine, Athena, or Labyrinth. They have a completely original style that leans toward classic Swedish or German Power Metal, but it’s not the choir of "Smurf Village." 

Dark, like a mix of Iced Earth with plenty of Scanner, space-themed, reminiscent of Iron Savior, and even more so, a Heavy Load sound, I would say. Plenty of keyboards/synths, but also the right amount of speed, and among the ten tracks on the album, standouts include: War Extreme, Man and Machine, The City of Light, The Hammer of God, Voices from a Distant Sun, The Wizard, Fire in the Sky, Exodus — making up about 85% of the CD, with many great moments! 

Thumbs up, then—a pleasant surprise in the increasingly stagnant waters of European Power Metal.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: SLANDER - Take it to the Grave

 

SLANDER - Take it to the Grave

Stormspell Records

In 1991, the Lancashire-based band Slander made their mark on the underground scene with their debut, "Careless Talk Costs Lives". Sixteen years later, in 2007, they returned with "Resolution Defiance", and now, after another eight years, they deliver their third album, "Take it to the Grave". This new release marks the reunion of their two original guitarists from 1991, setting high expectations for the result.

"Take it to the Grave" is an album deeply rooted in the classic heavy metal sound. The band remains faithful to tradition, with the NWOBHM element emerging with complete authenticity. The initial compositions, in particular, pay tribute to the power of Saxon, creating a direct and powerful introduction.

Despite this, their sound isn't stuck in the past. Slander incorporates influences from other scenes as well. There are clear elements of US power metal, reminiscent of bands like Leatherwolf and Shock Paris, which adds an extra technical dimension. At the same time, the album carries the solid force of Blitzkrieg and the distinctive, melodic approach of Diamond Head.

Rhythmic complexity is also present, with signature galloping riffs that bring to mind Cloven Hoof, and also Iron Maiden, especially in the song "Deguello", which serves as a clear nod to the legends of the genre.

The album's peak comes with the title track, "Take it to the Grave". Here, Slander combines the epic speed of Running Wild with the steely production and relentless power of Judas Priest during the Painkiller era. It's a punchy song that perfectly encapsulates the strength of the band's reunion.

In summary, "Take it to the Grave" is an album that respects the history of heavy metal but remains relevant. Slander delivers a record of genuine heavy metal that honors its roots by incorporating elements from different scenes without becoming anachronistic. It's a worthy return that will satisfy fans of the classic sound and serve as a benchmark for how a band can stay true to its core while simultaneously evolving.

Nick Parastatidis

REVIEW: PARADISE LOST, Believe In Nothing

 

PARADISE LOST, Believe In Nothing (2001)

EMI

Ευτυχώς, αλλά και δυστυχώς.

Λοιπόν, αγαπώ όλες τις μεταμορφώσεις των Άγγλων Doom, Death, Gothic Metal συγκροτημάτων, αλλά το Host ήταν πολύ μεγάλο ξέσκισμα ηθικού για να το καταπιώ έτσι απλά. Εντάξει, τα σκοτεινά μαντάτα τα είχαμε δει από το άλμπουμ One Second νωρίτερα, αλλά ρε σεις, άμα θέλαμε να ακούσουμε (άμα λέμε, άμα!) σκατοφλωριές Electro Pop, θα ήμασταν οπαδοί των Depeche Mode ή των άλλων ανάλατων τελεμέδων των Duran Duran. Οι Paradise Lost είσαστε γαμώτη τη πίστη σας! 

Οπότε, ένα άλμπουμ μετά... το One Second (προφανώς, γιατί το Host το έχω αποκηρύξει ουρλιάζοντας άσχημα σεξουαλικής τοποθέτησης επιθέτα τόσο για το ίδιο το συγκρότημα όσο και για τις μαμάδες τους), οι κιθάρες εδώ επιστρέφουν, σχεδόν. ΟΚ, ας το αποδεχτούμε. Το Electro Gothic τουλάχιστον είχαμε κάτι να ελπίζουμε! 

Τώρα, όσο κι αν φανώ ανακόλουθος, το προτιμώ αυτό από το One Second! Ναι, σοβαρά σας το λέω. Όντως, είναι η τομή ανάμεσα στο Goth και το Electro, αλλά είπαμε, έχει μερικές πολύ σοβαρές και... βαριές στιγμές μέσα. Όλα τελικά είναι θέμα οπτικής, αλλά και πεπερασμένου χρόνου. 

I Am Nothing, Mouth, Fader, Look at Me Now, Something Real, Divided, Sell It to the World (αυτό μάλλον κολλάει στο Host πριν!!!), Never Again (κι αυτό κολλάει στο Host σαν ευχή;) και World Pretending είναι οι άνισες μεταξύ τους. Καλύτερες στιγμές σε ένα άλμπουμ, όχι over correction τύπου, αλλά τουλάχιστον ηλεκτρικού σε μεγάλο βαθμό. 

Πάμε για άλλα...

English:

Fortunately, but also unfortunately.

So, I love all the transformations of the British Doom, Death, Gothic Metal bands, but Host was a huge morale blow that I simply couldn't swallow easily. Okay, we had seen the dark messages from the One Second album earlier, but listen, guys, if we wanted to hear (and I mean, really!) electro-pop crap, we’d be fans of Depeche Mode or the other tame Duran Duran imitators. Paradise Lost, you’ve got to be kidding me! 

So, one album after... One Second (obviously, because I’ve disowned Host screaming loudly, using nasty sexual-position adjectives both for the band itself and their mothers), the guitars here are returning, almost. Okay, let’s accept that. At least with Electro Gothic, we had something to hope for! 

Now, as much as I might seem inconsistent, I prefer this over One Second! Yes, I’m serious. Truly, it’s the turning point between Goth and Electro, but as we said, it has some very serious and... heavy moments inside. Everything ultimately depends on perspective, but also on limited time. 

I Am Nothing, Mouth, Fader, Look at Me Now, Something Real, Divided, Sell It to the World (which probably fits better before Host!!!), Never Again (which also seems to fit Host as a wish), and World Pretending are uneven among themselves. Better moments on an album—not over-corrected, but at least largely electric. 

Moving on...

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: ARVEN - Music of Light

 

ARVEN - Music of Light

Massacre Records

Initially, I was hesitant to explore this release upon noticing its classification under the gothic metal genre by the label. While I respect fans of gothic metal and its stylistic nuances, it is a genre I tend to avoid. However, it is important to note that ARVEN does not fit squarely within this category. Although the band incorporates some gothic elements, their overall sound is more complex and multifaceted.

ARVEN, primarily composed of female musicians, delivers an album that, while not groundbreaking within the metal scene, offers engaging and noteworthy content. Their music blends various influences, including folk motifs, baroque, and classical metal references, resulting in a rich and layered listening experience. From start to finish, the album maintains the listener's interest and successfully invites them into the band's musical universe.

For comparison, ARVEN's style could be loosely associated with bands such as NIGHTWISH—particularly due to the female vocals—as well as RHAPSODY and FALCONER, reflecting a melodic power metal sensibility with a touch of symphonic grandeur.

A notable aspect of the album is its dynamic range. The track "World of Hatred" exemplifies the band's ability to incorporate more aggressive elements, adding a layer of intensity that I would like to see more of in future releases.

Overall, Music of Light stands out as a compelling debut that melodic power metal enthusiasts should consider exploring. It offers a blend of familiar elements with subtle surprises, making it a noteworthy addition to the genre.

Nick  Parastatidis

PINK CREAM 69, One Size Fits All

 

PINK CREAM 69, One Size Fits All (1991)

Epic Sony

Υπερμεγέθες και πλέον διαχρονική αξία.

Τους έσερναν ότι είναι φλώροι, αμερικανανάκια, ποζεράδες, ευρώ-Hair και άλλα πολλά επίθετα. Εντάξει, macho παιχταράδες μου, εμπορικό Hard & Heavy παίζουν με μια πιο Glam Rock αισθητική, ίσως, κατουρήστε και λίγο! 

Αυτό το CD έχει στο εξώφυλλό του τις φάτσες των τεσσάρων μελών του συγκροτήματος: Alfred Koffler (κιθάρα), Denis Ward (μπάσο), ο δικός μας Κώστας Ζαφειρίου (ντράμς) και ο τραγουδιστής τους, ένας τύπος με καστανόξανθο μαλλί, ο Andi Deris. Ο τελευταίος, βέβαια, τρία χρόνια αργότερα θα βρεθεί στους Helloween (με τους οποίους θα περιοδεύσουν το 1990-91, τραβώντας την προσοχή του μοναδικού πλέον ηγέτη τους, Mike Weikath, δίνοντας "ιδέες"), τους οποίους κι θα "ξεφλωρέψει" ύστερα από το ατόπημα "Chameleon" και θα φορέσει έκτοτε τα παπούτσια του Kiske ως τραγουδιστής, μέχρι και σήμερα (πλέον μαζί με τον Kiske!). 

Όλα αυτά πολύ μετά τον δίσκο αυτόν εδώ! Βέβαια, το θεϊκό "Signs of Danger" είναι το τραγούδι-κράχτης εδώ μέσα. Μαζί με τα "Talk to the Moon", "Hell's Gone Crazy", την περίεργη μπαλάντα "Ballerina", το πιο Glam Rock ίσως, αλλά και ωραίο "Stray Kid", "Piggy Back Bitch", "We Taught the Children" και το "Where the Eagle Learns to Fly" αξίζουν τα λεφτά τους!

English:

Sizeable and now a timeless classic.

They were called all sorts of names—pansies, little Americans, poseurs, euro-Hair, and many more. Okay, my macho rockers, they play commercial Hard & Heavy, perhaps with a touch of Glam Rock aesthetic—maybe even pee a little! 

This CD's cover features the faces of the four band members: Alfred Koffler (guitar), Denis Ward (bass), our own Kostas Zafeiriou (drums), and their vocalist, a guy with light brown hair, Andi Deris. Of course, three years later, the latter would find himself in Helloween (with whom they would tour in 1990-91, catching the attention of their now sole leader, Mike Weikath, giving "ideas"), whom he would "freak out" after the "Chameleon" blunder and then take over as singer, replacing Kiske, a role he still holds today (now alongside Kiske!). 

All of this happened long after this very album! Of course, the divine "Signs of Danger" is the standout track here. Along with "Talk to the Moon," "Hell's Gone Crazy," the strange ballad "Ballerina," perhaps the most Glam Rock of all, but also a great song, "Stray Kid," "Piggy Back Bitch," "We Taught the Children," and "Where the Eagle Learns to Fly" all definitely worth the price!

Τάκης "Ε-Μortal One" Γιώτης!

FUNERAL VOMIT Announces "Upheaval of Necromancy"

 

Colombian death metal band FUNERAL VOMIT will release their second album, "Upheaval of Necromancy," on December 19th via Xtreem Music. The album continues their dark, raw style and will be available on CD, LP, cassette, and digital. Formed in 2020, the band gained recognition with demos and split releases before debuting with their album "Monumental Putrescence" in 2023. Recorded in 2025, the new album promises to intensify their signature rotten sound.

Tracklist for "Upheaval of Necromancy":

01. Intro (The Disentombment)

02. Upheaval of Necromancy

03. Sulphuric Regurgitation

04. Hematophagia

05. Interlude (Mortuary Ecstasy)

06. Winds of Exhumation

07. Altars of Doom

08. Cryptic Miasma Stench

09. Rancid Insorcism

10. Outro (Effluvia of the Mass Grave)

ÜLTRA RAPTÖR new video “Hard 'N Fast”

 

Canadian Speed/Heavy Metal band ÜLTRA RAPTÖR have just launched a visualizer-video, of the song "Hard 'N Fast", as a 3rd advance single from their 2nd album entitled "Fossilized".

CROSSON Releases Emotional Ballad "Heaven’s Bell"

 

Greek-Australian band CROSSON has released a new ballad titled "Heaven’s Bell." The song is an emotional tribute to loved ones who have passed away, blending heartfelt lyrics with theatrical rock sound. Known for their melodic style, CROSSON’s latest track combines sadness and hope, creating a powerful and memorable listening experience.

REVIEW: CRYSTAL TEARS - Athanato

 

CRYSTAL TEARS - Athanato

Sliptrick Records

Seven years of silence. That's a long time for any band, especially one that wants to maintain its presence on the scene. The Greek band Crystal Tears, however, didn't remain idle. They've returned with their sixth album, Athanato, and the long wait was not only worthwhile but perfectly justified their strategy. In collaboration with Sliptrick Records and under the guidance of Grammy-winning producer Matt Hyde, the band delivers a work that exceeds expectations, creating an anthology of ideas and influences that never gets boring. Hyde's production is one of the album's biggest strengths. He manages to give the Crystal Tears sound a dark, atmospheric, and aggressive dimension while preserving the melody that defines them. The final result is a modern heavy/power metal blend that sounds both solid and dynamic.

The album opens with the title track, Athanato, a dark and majestic composition. Antony's vocals have a thrash metal edge reminiscent of Sentenced's Amok and Dawn era, while the rhythmic changes and atmosphere even nod to Opeth, creating a multilayered introduction. Bloodstorm follows with a more direct heavy metal composition, featuring clear references to Dream Evil and a strong aura of Mercyful Fate and King Diamond. The participation of guitarist Mike Wead on the solo and Sarissa's George Simeonidis on guest vocals adds both international and Greek prestige, highlighting the album's quality. Next, Naked comes as a big surprise. It's the first metal composition by Helena Josefsson, known from Roxette. The song has a melodic pop/rock sensitivity, making it perhaps the most commercial moment on the album, reminiscent of Evanescence, all while maintaining its metal identity. All Sins Remembered serves as a tribute to Mystic Prophecy and the band's long-time producer R.D. Liapakis. Antony's vocals take on a thrash metal tone that alludes to the final period of Death and Chuck Schuldiner's Control Denied, adding technical proficiency and power.

The variety continues with Crawl Into Your Grave, a track with a catchy, sing-along chorus that perfectly blends melody with rhythmic sections. Ghostdance stands out as a modern melodic power metal song whose melodic line brings to mind the classic Running Wild, without, however, adopting their signature galloping riffs. Ov Flesh And Pain is the album's moment that brings the U.S. Metal style to the forefront, similar to bands like Vicious Rumors and Metal Church. Its ending, however, with its complex rhythmic pattern, alludes to Morgana Lefay. Chaos Thy Name is the ultimate thrash metal moment on the album, both in its title and composition, bringing to mind the recent Kreator. The album closes with two special choices: a cover of the song from the Philippines, Nosi Balasi, as a tribute to the band's tours there, and the first instrumental of their career, Eros & Psyche. Inspired by the ancient myth, this instrumental track provides an ideal, narrative epilogue that harmoniously ties into the album's philosophy. Finally, the cover of You Could Be Mine by Guns N' Roses, featuring Jay Walsh of Xentrix, offers an optimistic and powerful conclusion.

In summary, Athanato is a work that proves the artistic maturity of Crystal Tears. They not only managed to make a dynamic return after a long absence but also delivered an album that successfully blends the classic with the modern.

Nick Parastatidis