REVIEW: SIX FEET UNDER, Death Rituals

 

SIX FEET UNDER, Death Rituals (2008)

Metal Blade Records

Οι AC/DC του Death Metal

Ο Chris Barnes είναι η πιο χαρακτηριστική φωνή του death metal υποείδους. Το συγκρότημά του, που υπενθυμίζεται ότι ξεκίνησε ως παράλληλο project με τους Cannibal Corpse, έχει γράψει μέχρι σήμερα μια ματωμένη ιστορία στον ακραίο ήχο. Το Death Rituals είναι ένας ακόμη δίσκος — ο όγδοος κατά σειρά — για τους φανατικούς οπαδούς του είδους.

Περιλαμβάνει όλα τα στοιχεία που περιμένει κανείς από μια τέτοια δουλειά: εναλλαγές ρυθμών και ταχυτήτων, thrash‑driven κιθάρες, groovy ρυθμούς, παραγωγή‑ξυράφι και πολλά αιμοσταγή, θεματολογικά κομμάτια. Είναι ένα από τα αγαπημένα μου άλμπουμ τους· το βάζω σε άμεση σύγκριση με τα δύο πρώτα και τα ανταγωνίζεται με άνεση.

Οι Steve Swanson (κιθάρα), Terry Butler (μπάσο) και Greg Gall (ντραμς) συμπληρώνουν το σχήμα. Το άλμπουμ περιλαμβάνει δεκατρία σκοτεινά, εφιαλτικά κομμάτια, εκ των οποίων τα έντεκα είναι ανόθευτα thrash‑ö‑death έπη: Death by Machete, Involuntary Movement of Dead Flesh, None Will Escape, Eulogy for the Undead, Seed of Filth, Bastard (περίεργο, αλλά πρόκειται για διασκευή σε Mötley Crüe), Into the Crematorium, Shot in the Head, Killed in Your Sleep, Ten Deadly Plagues, Murder Addiction. Δεν ξεχωρίζω κανένα πάνω από τα άλλα· είπαμε, είναι ένα από τα αγαπημένα μου άλμπουμ.

English:

The AC/DC of Death Metal

Chris Barnes remains the most defining voice of the death metal subgenre. His band—originally conceived as a side project while he was still with Cannibal Corpse—has carved a blood‑soaked path through the extreme music landscape. Death Rituals is yet another entry in that legacy, their eighth album to date, tailor‑made for the die‑hard faithful.

It delivers everything you’d expect from a record of this kind: shifting tempos and speed bursts, thrash‑driven guitars, groovy rhythmic undercurrents, razor‑sharp production, and plenty of blood‑drenched, morbid themes. It’s one of my favorite albums of theirs; I place it right next to the first two, and it holds its ground with ease.

Steve Swanson (guitars), Terry Butler (bass), and Greg Gall (drums) complete the lineup. The album features thirteen dark, nightmarish tracks, eleven of which are pure, unfiltered thrash‑ö‑death epics: Death by Machete, Involuntary Movement of Dead Flesh, None Will Escape, Eulogy for the Undead, Seed of Filth, Bastard (oddly enough, a Mötley Crüe cover), Into the Crematorium, Shot in the Head, Killed in Your Sleep, Ten Deadly Plagues, Murder Addiction. I can’t single out any one track above the rest—like I said, this is one of my favorite albums.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: KRAKEN - Abandoned

 

KRAKEN - Abandoned

Arkeyn Steel Records

KRAKEN’s Abandoned returns once more through Arkeyn Steel Records, marking the label’s second effort to preserve and spotlight this long‑lost chapter of Canadian heavy metal history. Originally recorded in 1982—and, if memory serves, released shortly after—the album carries the unmistakable stamp of its era, yet it also feels strikingly ahead of its time. The production, handled by Lips of ANVIL, gives the material a raw but purposeful edge that suits the band’s classic heavy/power metal direction.

The album’s nine tracks show a band with clear vision and surprising maturity for such an early release. Several songs stand out immediately: “Burn Witch Burn,” “Greed & Deception,” “Vampire,” “Easy Sleazy,” and “Desperate Solutions” all showcase strong songwriting, memorable riffs, and a sense of urgency that elevates them beyond typical early‑’80s underground metal. The remaining tracks hold their own as well, rounding out a consistent and engaging listen.

The vocals fit the material effectively, and the guitar work—arguably the album’s strongest asset—adds both character and momentum. Arkeyn Steel’s reissue treatment is also worth noting: the booklet, presentation, and sound restoration demonstrate real care and respect for the source material, making this edition feel definitive.

For fans of classic heavy and power metal, this release is an essential pickup. For listeners outside the genre, it’s still a compelling snapshot of a band that deserved far more recognition than it received. Abandoned stands as one of the year’s strongest re-releases and a highlight in Arkeyn Steel Records’ catalog.

Ioannis Kaskamanidis

REVIEW: SCHEEPERS - Scheepers

 

SCHEEPERS - Scheepers

Frontiers Records

Ralf Scheepers’ solo album is one of those rare cases where a long‑established frontman steps outside his main band without simply repeating himself—or at least without feeling redundant. I’m usually skeptical of side projects by musicians who already belong to well‑known groups, especially when the musical direction doesn’t stray far from what they’re known for. Scheepers manages to bypass that hesitation. His personal album may not reinvent his formula, but it delivers it with conviction, clarity, and a sense of purpose.

The material stays firmly within the territory he has shaped over the years: heavy metal rooted in the legacy of JUDAS PRIEST, ACCEPT, and GAMMA RAY. That is exactly what the listener gets—well‑crafted, traditionally minded metal with a modern production and a vocalist who still attacks every line with intensity. The album also benefits from a series of notable guest appearances. Tim “Ripper” Owens adds grit and character to “Remission of Sin”, a track that openly nods to ACCEPT. Elsewhere, contributions from Kai Hansen (GAMMA RAY), Victor Smolski (RAGE), Mike Chlasciak (HALFORD), and several others enrich the record without overshadowing Scheepers himself.

There is an ironic twist behind the album’s creation: all these songs were originally written for PRIMAL FEAR, but the band decided they didn’t align with the direction of their recent releases. Their decision becomes Scheepers’ gain. The album contains several strong, straightforward heavy metal tracks that fans of the traditional sound will appreciate.

Highlights include:

“Locked in the Dungeon” — Scheepers pushes his voice to its limits with impressive power.

“Remission of Sin” — a muscular duet with Owens and one of the album’s most memorable riffs.

“Cyberfreak” and “Saints of the Rock” — energetic, hook‑driven tracks that showcase his melodic instincts.

“The Pain of the Accused” — a well‑built ballad that adds emotional weight.

“Play with the Fire” — the standout of the album, combining strong songwriting with a commanding performance.

For listeners who miss the early PRIMAL FEAR sound or simply want a sincere, well‑produced heavy metal record delivered by one of the genre’s most recognizable voices, Scheepers is a rewarding listen. And the collaboration with Tim “Ripper” Owens inevitably sparks a thought: how striking it would be to one day hear these two vocalists join forces with the Metal God himself, Rob Halford.

Nick  Parastatidis

REVIEW: DIVINER, Fallen Empires

 

DIVINER, Fallen Empires (2015)

Ulterium Records

Επιστροφή στο μέλλον μέσα από το παρελθόν.

Ένα ακόμη νέο –τότε– σχήμα της ελληνικής metal σκηνής, οι Diviner του Γιάννη Παπανικολάου, γνωστού βετεράνου των μικροφώνων από το πρώτο άλμπουμ των έτερων αστέρων του straight heavy metal, των Inner Wish, παρουσιάζουν ένα ακόμη εκρηκτικό ντεμπούτο. Κλασικό heavy και power metal, δομημένο πάνω στον U.S. ήχο και, κατά συνέπεια, χωρίς τα πολλά ευρωπαϊκά στοιχεία υπερβολικής παραγωγής, το CD ενδείκνυται για όσους είναι εξοικειωμένοι με ήχους από Savatage, Iron Maiden, Crimson Glory έως και Iced Earth της μεταλλικής γκάμας.

Μαζί με τον Γιάννη συμπράττουν οι κύριοι Θύμιος Κρίκος (έτερος Καππαδόκης από Inner Wish) και Γιώργος Μαρουλής στις κιθάρες, ο Herc Booze στο μπάσο και ο Φραγκίσκος Σαμοΐλης στα ντραμς. Δέκα πολύ δυνατά κομμάτια συνθέτουν ένα σχεδόν άριστο ντεμπούτο που σε πιάνει από τον λαιμό με το καλημέρα: Fallen Empires, Kingdom Come, Evilizer, Riders From The East, The Legend Goes On, Come Into My Glory, Seven Gates, The Shadow and the Dark, Sacred War, Out in the Abyss.

English:

Return to the future through the past.

Another then‑new force in the Greek metal scene, Diviner, led by Giannis Papanikolaou—well‑known microphone veteran from the debut album of the other straight heavy metal torchbearers, Inner Wish—deliver yet another explosive debut. Rooted firmly in classic heavy and power metal and built upon the U.S. metal sound, the album avoids the overly polished European production traits and is ideal for listeners attuned to the metallic spectrum of Savatage, Iron Maiden, Crimson Glory, and even Iced Earth.

Joining Giannis are Thymios Krikos (another Cappadocian from Inner Wish) and Giorgos Maroulis on guitars, Herc Booze on bass, and Fragkiskos Samoilis on drums. Ten very powerful tracks form an almost flawless debut that grabs you by the throat from the very first moment: Fallen Empires, Kingdom Come, Evilizer, Riders From the East, The Legend Goes On, Come Into My Glory, Seven Gates, The Shadow and the Dark, Sacred War, Out in the Abyss.

Τάκης "Ε-Μortal One" Γιώτης

LEAVE THE WAVE release “All I’ve Ever Wanted”

 

Cypriot grunge/rock band Leave The Wave present their new single “All I’ve Ever Wanted,” an emotional highlight from their album Disturbance. The song dives into longing, fear, and the struggle to find calm after difficult experiences, using imagery of storms and noise to reflect inner turmoil.

At the center of the track is a constant source of hope: the person the narrator loves. The repeated line “All I've ever wanted, All I've ever needed, All I've ever dreamed was you” captures the depth of that devotion, portraying them as desire, support, and happiness all at once.

Gus Drax Unleashes High Voltage New Single “Sombrero Attack”

Greek guitar virtuoso Gus Drax has released his explosive new single “Sombrero Attack”, the second preview from his upcoming instrumental album Theories of Imperfection, arriving April 3rd, 2026 via Theogonia Records. The track fires on all cylinders—packed with aggressive riffing, rapid fire shredding, and the razor sharp precision that has defined Drax’s reputation as one of modern metal’s most formidable players.

The accompanying performance video, filmed at MBS Studio in Athens, captures the raw physicality behind the song. Directed and produced by Bob Katsionis (Progressive Vision Group) and Alexander Haritakis, the clip keeps the focus on pure musicianship, supported by lighting from Nick Kodizas and photography by Tasos Anestis.

The single features a powerhouse lineup:

•   Guitars: Gus Drax

•   Drums: George Kollias

•   Bass: George Charalampidis

•   Keyboards: Bob Katsionis

Both the track and the full album were mixed and mastered by acclaimed producer Simone Mularoni at Domination Studio, delivering maximum clarity and impact.

Theories of Imperfection marks Drax’s most ambitious solo work to date—an eight track progressive metal journey blending technical mastery, melody, and intensity. Known for his work with Sunburst, Black Fate, and his decade with Suicidal Angels, Drax continues to push the boundaries of instrumental metal.

“Sombrero Attack” is now available on all major digital platforms.

REVIEW: SOCIAL SCREAM, Initiation To The Myths

 

SOCIAL SCREAM, Initiation To The Myths (2018)

New Dream Records

Μεταλλική κραυγή. 

Ένα άλμπουμ που προστέθηκε πρόσφατα στη συλλογή μου. Οι Social Scream, με καταγωγή από τη Σπάρτη, βρίσκονται εδώ στη δεύτερη πλήρη κυκλοφορία τους και πραγματικά σου δίνουν τα σαγόνια στο χέρι. Αν έπρεπε να περιγράψω το είδος που παίζουν, θα το χαρακτήριζα ως Thrash Metal με πολλές Heavy Metal αφετηρίες. Για έναν παραλληλισμό, οι Iced Earth στα δύο πρώτα τους άλμπουμ βρίσκονται πολύ κοντά σε αυτό που ακούω εδώ. Τουλάχιστον έτσι ξεκινά το άλμπουμ στα πρώτα πέντε κομμάτια, με την αναλογία να αλλάζει στη συνέχεια προς το αντίστροφο, ώστε να καταλήγει σε ένα συνονθύλευμα Speed και Thrash.

Όπως κι αν το δεις (ή καλύτερα, όπως κι αν το ακούσεις), έχουμε εδώ ένα άλμπουμ ενός underground σχήματος, όπως τόσα και τόσα που προέρχονται από τις μεγαλουπόλεις —Αθήνα, Θεσσαλονίκη, Πάτρα— αλλά και από πόλεις και κωμοπόλεις της χώρας που ίσως δεν είχαμε ακούσει ποτέ, χάνοντας χρόνο στα ίδια και τα ίδια, ενώ το σήμερα ήταν δίπλα μας όλο αυτό τον καιρό.

Στο CD η σύνθεσή τους είναι: Βλάσης Διαμαντάκος (φωνή, κιθάρα), Δημήτρης Σακκάς (ντραμς), Κίμωνας Αλέξανδρος (κιθάρα) και Joe Black (μπάσο). Από τα συνολικά δέκα tracks, πολύ θετική εντύπωση μου έκαναν τα Metal Retaliation, Blacksmith, Prison of Freedom, List of Sins, Life Remains, Unblood και το ομότιτλο του άλμπουμ, στο οποίο δεν υπάρχουν στίχοι, παρά μόνο το υπόβαθρο της φωνής του Charlie Chaplin από τον λόγο που εκφωνεί στην ταινία Ο Μεγάλος Δικτάτωρ. Είναι πραγματικά λύτρωση για το μυαλό.

Θα υπάρχει, νομίζω, έντονο ενδιαφέρον για αυτά τα παιδιά στο μέλλον.

English:

Metallic Scream

An album that recently found its way into my collection. Social Scream, hailing from Sparta, deliver their second full‑length release here—and they really knock your jaw to the floor. If I had to describe the style they’re playing, I’d call it Thrash Metal with strong Heavy Metal roots. To draw a parallel, the first two Iced Earth albums come very close to what I’m hearing here. At least that’s how the record begins across the first five tracks, with the balance shifting later on in the opposite direction, eventually forming a blend of Speed and Thrash.

Whichever way you look at it (or better yet, whichever way you listen to it), this is an album from an underground band—one of the many emerging not only from big cities like Athens, Thessaloniki, and Patras, but also from towns and small cities across the country that we may have never heard of, wasting time on the same old things while the present was right beside us all along.

The lineup on the CD consists of Vlasis Diamantakos (vocals, guitar), Dimitris Sakkas (drums), Kimonas Alexandros (guitar), and Joe Black (bass). Out of the ten tracks in total, the ones that left a particularly strong impression on me were Metal Retaliation, Blacksmith, Prison of Freedom, List of Sins, Life Remains, Unblood, and the self‑titled track. The latter contains no lyrics—only the backdrop of Charlie Chaplin’s voice from his speech in The Great Dictator. It’s genuinely a cleansing experience for the mind.

I believe there will be strong interest in these guys in the future.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: EIGHT OF SPADES - Driven by Hate

 

EIGHT OF SPADES - Driven by Hate

Pervade Productions / Manitou Music

With a name like EIGHT OF SPADES, one might expect a certain influence—indeed, their sound reflects a mix rooted in classic heavy metal. Over recent years, France has produced a variety of compelling metal bands, and EIGHT OF SPADES broadens this landscape by incorporating elements from other genres of extreme sound.

Centered around a MOTORHEAD-inspired foundation, EIGHT OF SPADES blends thrash metal with punk and hardcore influences. These elements are particularly evident in the vocalist's delivery, which leans toward a raw, aggressive style characteristic of punk/hardcore vocals. Driven by Hate delivers a high-speed, rock ‘n’ roll attitude, aiming to energize listeners and evoke a sense of rebellious partying.

The album does not seek to reinvent the wheel or introduce groundbreaking innovations. Instead, it offers straightforward, passionate music designed to make you headbang and release some steam. While the sound may not align perfectly with my personal preferences, I found the album to be an enjoyable listen. For fans who appreciate metal infused with a gritty, rock ‘n’ roll spirit, this release is likely to resonate and provide a good time.

Nick  Parastatidis

Eight of Spades · Driven By Hate

REVIEW: OVERDRIVE – Angelmaker

 

OVERDRIVE – Angelmaker

Lion Music

Traditional heavy metal is often dismissed as “simple,” yet Angelmaker is a reminder that writing memorable, enduring songs is anything but easy. Technical proficiency can take a musician far, but crafting hooks, dynamics, and character is a different skill altogether—and this is where OVERDRIVE show their strength.

The Swedish band approaches classic metal with confidence and a clear understanding of the genre’s foundations. Their musicianship is solid, but what stands out is their ability to shape straightforward ideas into engaging, well‑constructed songs. Angelmaker leans heavily into an ’80s aesthetic, enriched with hard rock elements—most evident in tracks like “In Gut We Trust”—and supported by a modern production that gives the album clarity and punch.

The overall atmosphere recalls the spirit of RIOT, particularly the Thundersteel era, without feeling derivative. Alongside that influence, the album nods to JUDAS PRIEST, IRON MAIDEN, ACCEPT, RAINBOW, and even STRYPER—the latter especially noticeable in “See the Light.” These references help position Angelmaker within a familiar lineage, but the band’s personality remains intact.

This is a record that speaks directly to fans of ’80s metal, while also offering younger listeners a clear example of what makes traditional heavy metal compelling. It’s an album that grows with repeated listens; its strengths become more apparent over time.

Standout tracks include “Angelmaker,” “Under the Influence,” “On with the Action,” “To Grow,” “Cold Blood,” and “The Wavebreaker”—the last of which opens with a riff that strongly echoes a classic JUDAS PRIEST moment, though I’ll leave the discovery to the listener.

Nick Parastatidis

REVIEW: VENOM, Storm The Gates

 

VENOM, Storm The Gates (2018)

Spinefarm Records

Μαύρο τραίνο

Θα αρχίσω με μια διχαστική προβοκάτσια: Είναι οι Venom ένα black metal σχήμα; Αν όχι πλέον, ήταν παλιά; Σοβαρά τώρα, η βασική τους επιρροή στην ακραία μεταλλική σκηνή είναι αδιαμφισβήτητη. Η σημερινή ομάδα των «σκέτων» Venom, του Conrad Lant —γνωστού με το τρισχαριτωμένο παρατσούκλι Cronos— αποτελεί το ένα κομμάτι των ιστορικών Venom, αφού οι άσπονδοι αρχικοί συνεργάτες του, Mantas και Abaddon, έχουν τους Venom Inc.

Πρόκειται για ένα πάρα, πάρα πολύ βαρύ σε σημεία και αλλού πολύ γρήγορο dark thrash metal τρίο. Ένα τρίο που, τουλάχιστον από τις αρχές του νέου αιώνα, παραμένει στην ίδια μουσική γραμμή: Motörhead και punk συνυπάρχουν όπως πάντα μέσα τους, ενώ επιμένουν να χρησιμοποιούν κάποια αποκρυφιστικά στοιχεία — όχι πάντα στη μουσική τους (εδώ που τα λέμε, και οι Inc. το ίδιο κάνουν!).

Το συγκεκριμένο δισκάκι είναι από τα πιο πρόσφατα έργα της περιόδου τους. Με τον προαναφερθέντα κύριο σε μπάσο και γκάρισμα, και τους Rage (κιθάρα) και Dante (ντραμς) —αγνώστων λοιπών στοιχείων ταυτότητας!— έβγαλαν τα δεκατρία κομμάτια του άλμπουμ. Καλό; Ναι, όσο «καλό ή κακό» είναι ένα από τα πρόσφατα άλμπουμ τους. Κάποιες κιθάρες τείνουν προς το κλασικό heavy metal, οι στίχοι κινούνται στο σκοτάδι, τα tempo άλλοτε βασανιστικά αργά κι άλλοτε γρήγορα. Τι άλλο να ζητά κανείς από αυτούς; Περνάς καλά ακούγοντάς το — κι αυτό είναι το νόημα.

Με στιγμές όπως τα Bring Out Your Dead, Destroyer, Immortal, Notorious, I Dark Lord, 100 Miles to Hell, Suffering Dictates, Storm the Gates να θυμίζουν τους Venom που πάντα ξέραμε, χωρίς όμως τα υπόλοιπα τραγούδια του δίσκου να υστερούν ιδιαίτερα σε σχέση με αυτά.

English:

Black Train

Let me start with a divisive provocation: Are Venom a black metal band? If not anymore, were they ever? Jokes aside, their foundational influence on the extreme metal scene is undeniable. Today’s version of the “plain” Venom, led by Conrad Lant — better known by the wonderfully mischievous nickname Cronos — represents one half of the band’s legacy, since his not‑so‑friendly original partners, Mantas and Abaddon, now run Venom Inc.

What we have here is a very, very heavy at times and elsewhere blisteringly fast dark thrash metal trio. A trio that, at least since the early 2000s, has stuck to the same musical path: Motörhead and punk still run in their veins, and they continue to sprinkle in some occult elements — not always in the music itself (to be fair, the Inc. camp does the same!).

This little record is one of their more recent offerings. With the aforementioned gentleman on bass and snarls, and Rage on guitar and Dante on drums — further identity details unknown! — they deliver the album’s thirteen tracks. Is it good? Yes, as “good or bad” as any of their recent albums. Some guitar parts lean toward classic heavy metal, the lyrics dwell in darkness, and the tempos swing from torturously slow to outright frantic. What more could anyone expect from them? You have fun listening to it — and that’s the whole point.

With moments like Bring Out Your Dead, Destroyer, Immortal, Notorious, I Dark Lord, 100 Miles to Hell, Suffering Dictates, and Storm the Gates evoking the Venom we’ve always known, the rest of the album’s tracks don’t fall far behind.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: URIAH HEEP, Sonic Origami

 

URIAH HEEP, Sonic Origami (1998)

Spitfire Records

Πόση μαγευτική μελωδία σηκώνεις;

Εποχές κι εκείνες… Τους είδα λίγο μετά το 1999 στο Ρόδον, χωρίς να έχω ακόμη αυτό το άλμπουμ, και απογοητεύτηκα γιατί το έπαιξαν σχεδόν ολόκληρο. Μόνο οι νέοι — δηλαδή Only the Young, όπως λέει και το “χιτ” του CD. Τότε ήμασταν νέοι μεν, αλλά θέλαμε να ακούσουμε τα μυθικά κομμάτια της δεκαετίας του ’70, όπως είναι λογικό.

Τι μένει λοιπόν για την εποχή αυτή, που όπως ξέρουμε θεωρείται η A.O.R. περίοδος αυτού του τεράστιου — ιστορικά και ακόμη περισσότερο δισκογραφικά — Hard Rock θηρίου; Μα πλέον οι δύο και κάτι δεκαετίες που μας χωρίζουν από αυτόν τον δίσκο μάλλον δούλεψαν υπέρ του!

Ο Bernie Shaw ήταν ήδη τότε ο μακροβιότερος τραγουδιστής τους (πόσο μάλλον τώρα που παραμένει στη θέση του). Ο Mick Box, το μόνο αρχικό και ιδρυτικό μέλος, στην ηλεκτρική και ακουστική κιθάρα… παραμένει κι αυτός. Ο πληκτράς Phil Lanzon ήταν τότε στη σύνθεση, αλλά οι — δυστυχώς — μακαρίτες Trevor Bolder στο μπάσο και ο ντράμερ που αγαπήσαμε και στον πρώτο δίσκο του Ozzy Osbourne, ο παιχταράς Lee Kerslake, μας λείπουν αφόρητα.

Εντάξει, αν είσαι ακόλουθος της αχανούς πορείας τους, θα σου έλεγα ότι πλέον ναι, ανήκει στα ύστερα κλασικά τους. Από την άλλη, αν δεν τους ξέρεις (πραγματικά απίθανο, αλλά αν…), μην ξεκινήσεις από αυτό, αλλά από τα Demons and Wizards ή The Magician’s Birthday του 1972.

Τα Between Two Worlds, I Hear Voices, Heartless Land, ο ύμνος — όπως προείπαμε — Only the Young, το μαγικό A.O.R. κομμάτι Question, καθώς και τα Change, Feels Like, η γρήγορη ροκιά Everything in Life και το τελικό The Golden Palace, έχουν να δώσουν πολλά για να ονειρευτείς.

English:

How Much Enchanting Melody Can You Take?

Those were the days… I first saw them a little after 1999 at Rodon, without even owning this album yet, and I left disappointed because they played almost the whole thing. Only the young — Only the Young, as the CD’s “hit” says. Sure, we were young back then, but naturally we wanted to hear their mythical ’70s material.

So what remains for this era, the one we all know as the A.O.R. period of this massive Hard Rock beast — historically huge, and even more so discographically? Well, the two‑plus decades that now separate us from this record seem to have worked in its favor.

Bernie Shaw was already their longest‑serving vocalist at the time (let alone the fact that he’s still in the role). Mick Box, the sole original founding member, still holding down electric and acoustic guitars… remains to this day. Keyboardist Phil Lanzon was part of that lineup too, but the late Trevor Bolder on bass and the drummer we adored from Ozzy Osbourne’s debut — the phenomenal Lee Kerslake — are missed unbearably.

If you’ve followed their vast journey, I’d tell you that yes, by now this album definitely belongs to their late‑era classics. On the other hand, if you don’t know them (highly unlikely, but still…), don’t start here — go to Demons and Wizards or The Magician’s Birthday from 1972.

Between Two Worlds, I Hear Voices, Heartless Land, the anthem — as mentioned — Only the Young, the magical A.O.R. gem Question, along with Change, Feels Like, the fast rocker Everything in Life, and the closing The Golden Palace all have plenty to offer if you’re ready to dream.

Τάκης "Ε-Μortal One" Γιώτης