REVIEW: EVERGREY, The Dark Discovery

 

EVERGREY, The Dark Discovery (1998)

InsideOut Music America

Πολλά υποσχόμενο.

Οι Σουηδοί Evergrey αποτελούν μια ιδιαίτερη περίπτωση στο progressive/power metal. Το Dark Discovery είναι η πρώτη τους προσπάθεια και, σε σχέση με το ιδίωμα στο οποίο ανήκουν, λειτουργεί σχεδόν ως το αντίθετο των Kamelot. Δηλαδή, ενώ οι Evergrey παίζουν ένα prog που παραπέμπει σε αμερικανικό ήχο — όπως και οι Kamelot, που όμως, αν και Αμερικανοί, παίζουν metal ευρωπαϊκής λογικής — το αποτέλεσμα είναι εντελώς διαφορετικό.

Τα φωνητικά του Tom S. Englund έχουν ήδη από το ντεμπούτο αυτό το χαρακτηριστικό ύφος που τον κάνει μοναδικό. Σε πολλά σημεία μοιάζει να “ραπάρει” τις φράσεις, κολλώντας τις αράδες των στίχων σαν να αποτελούν ένα ενιαίο σώμα.

Μουσικά, το άλμπουμ βρίσκεται κοντά στους Fates Warning, ενώ ειδικά εδώ θυμίζει και Iced Earth, κρατώντας το heavy metal ύφος αλλά με μπλεγμένα riffs που απαιτούν πολλές ακροάσεις για να μπεις στη λογική τους.

Στο κιθαριστικό κομμάτι υπεύθυνος είναι ο Dan Bronell, στα πλήκτρα ο Will Chandra, στο μπάσο ο Daniel Nojd και στα ντραμς ο Patrick Carlson.

Με κομμάτια όπως τα December 26th, Dark Discovery, Blackened Dawn, Trust and Betrayal, When the River Calls, For Every Tear That Falls, το άλμπουμ παραμένει ένα από τα πιο αγαπημένα του κοινού τους — ενός κοινού που παραμένει πιστό στο συγκρότημα μέχρι και σήμερα.

English:

Very promising.

Sweden’s Evergrey are a special case within the progressive/power metal spectrum. Dark Discovery is their first effort and, compared to the stylistic space they occupy, it functions almost as the opposite of Kamelot. In other words, Evergrey play a kind of prog that evokes an American‑leaning sound — while Kamelot, despite being American, perform metal with a distinctly European sensibility — yet the end result is completely different.

Tom S. Englund’s vocals already display, from this debut onward, that unmistakable style that makes him unique. At many points he almost “raps” the phrasing, stitching the lines together as if the lyrics form one continuous flow.

Musically, the album sits close to Fates Warning, and in this particular case even recalls Iced Earth, maintaining a heavy metal backbone but with interwoven riffs that demand multiple listens before their logic fully reveals itself.

The guitar work is handled by Dan Bronell, with Will Chandra on keyboards, Daniel Nojd on bass, and Patrick Carlson on drums.

With tracks like December 26th, Dark Discovery, Blackened Dawn, Trust and Betrayal, When the River Calls, and For Every Tear That Falls, the album remains one of the band’s most beloved releases — cherished by a fanbase that has stayed loyal to Evergrey to this day.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: STEELWING – Lord of the Wasteland

 

STEELWING – Lord of the Wasteland

NoiseArt Records

Lord of the Wasteland marks the full‑length debut of this young Swedish heavy metal outfit, and it’s a confident statement of intent. STEELWING lean unapologetically into classic heavy metal, drawing heavily from the IRON MAIDEN school of galloping riffs, melodic twin guitars, and soaring vocals. The result feels familiar in the best possible way: energetic, tightly executed, and rooted in the genre’s traditions without sounding derivative.

The album’s concise runtime works in its favor, keeping the momentum high and avoiding the fatigue that often comes with longer debuts. While the tracklist is consistently solid, a few songs stand out for their immediacy and strong hooks—particularly “Headhunter,” “The Nightcrawler,” “Point of Singularity,” and “Clash of the Two Tribes.” These tracks showcase the band’s ability to balance melody and speed while maintaining a clear sense of identity.

For fans of classic heavy metal, this is an album worth seeking out. It sits comfortably among the notable releases of 2010, alongside records from SCORPIONS, ATLANTEAN KODEX, ARRYAN PATH, ENFORCER, and SKULL FIST. STEELWING are currently touring with SABATON, though unfortunately Greek audiences haven’t had the chance to catch them live yet.

Their debut shows real promise, and it will be interesting to see how they evolve from here.

Ioannis Kaskamanidis

REVIEW: EXCITER – Death Machine

 

EXCITER – Death Machine

Massacre Records

Anyone with even a passing familiarity with EXCITER knows exactly what they’re stepping into: uncompromising speed metal, raw to the bone, delivered with the kind of vocal ferocity that feels like the singer is spitting fire with every line. Death Machine, the latest release from the legendary Canadian trio (4 members here), embraces that identity without hesitation. The band sounds particularly intense this time around, and that heightened aggression radiates through every track.

If I had to place this album somewhere within their long history, it most often brought Long Live the Loud to mind. That’s not to claim Death Machine reaches the iconic status of that classic—only time can make that judgment. What’s clear, though, is that EXCITER have crafted a record that respects their roots while still delivering the kind of high‑velocity metal their fans expect.

A standout element here is the performance of new vocalist Kenny “Metal Mouth” Winter. His delivery—imagine Udo on an adrenaline surge—fits EXCITER’s sound with surprising precision, adding grit without sacrificing clarity. He feels like a natural extension of the band’s long‑established sonic identity.

Overall, Death Machine is a solid, confident release from a veteran band that still knows exactly how to ignite a speed‑metal assault. Listeners can draw their own conclusions, but fans of the genre—and especially long‑time EXCITER followers—will likely find plenty to enjoy.

Highlights: “Death Machine,” “Dungeon Descendants,” “Razor in Your Back,” “HellFire,” and “Skull Breaker” (featuring a killer hidden solo).

Nick Parastatidis

REVIEW: RIOT, Immortal Soul

 

RIOT, Immortal Soul (2011)

Steamhammer

Αναπτέρωση του έμψυχου σε έναν γκρίζο κόσμο

Η σύνθεση του άλμπουμ–ορόσημο για την ιστορία του αμερικανικού power metal, του θρυλικού Thundersteel, ξεπέρασε κάθε διαφορά και, μετά το 2009, οι Tony Moore (φωνή), Don Van Stavern (μπάσο), Bobby Jarzombek (ντραμς), Mike Flyntz (κιθάρα) και φυσικά ο ιδρυτής του σχήματος, ο αθάνατος Mark Reale στις κιθάρες, κυκλοφορούν αυτό το εκρηκτικό μείγμα Riot όλων των εποχών. Ένα είδος best of για το συγκρότημα που ξεκίνησε το 1975 και συνεχίζει ακόμη και σήμερα, μετά τον άδοξο θάνατο του Mark, πλέον ως Riot V.

Το σοκ ήταν μεγάλο. Μετά από απουσία πέντε και πλέον χρόνων, το συγκρότημα που διαμόρφωσε αυτόν τον ήχο επέστρεψε με μια ονειρική σύμπραξη τόσο μουσικών όσο και συνθέσεων. Το ομότιτλο Riot ανοίγει τον δίσκο, και τα Wings Are for Angels, Still Your Man, Immortal Soul, Insanity, Whiskey Man, Believe, Echoes είναι τίτλοι που θα μπορούσαν να βρίσκονται σε οποιοδήποτε άλμπουμ της χρυσής εποχής τους, από τη δεκαετία του ’80 έως και τα τελευταία χρόνια του ’90.

Ένα CD που, χωρίς τότε να το φανταζόμασταν, θα αποτελούσε και το τελευταίο της κλασικής εποχής. Η συνέχεια, πάντως, θέλω να πιστεύω πως θα δικαιώσει μετά θάνατον τον Mark Reale.

English:

Reviving the Living Spirit in a Grey World

The creation of Thundersteel, the landmark album in the history of American power metal, managed to overcome every internal difference. After 2009, Tony Moore (vocals), Don Van Stavern (bass), Bobby Jarzombek (drums), Mike Flyntz (guitar), and of course the band’s founder — the immortal Mark Reale — returned to release this explosive blend of Riot across all eras. It stands almost like a best‑of for a band that began in 1975 and continues even today, after Mark’s untimely passing, now under the name Riot V.

The shock was immense. After an absence of more than five years, the band that shaped this very sound came back with a dreamlike union of musicianship and songwriting. The self‑titled track Riot opens the album, and Wings Are for Angels, Still Your Man, Immortal Soul, Insanity, Whiskey Man, Believe, and Echoes are songs that could easily belong on any record from their golden era — from the 1980s through the late 1990s.

It was a CD that, without us realizing it at the time, would become the last of the classic era. Still, I want to believe that everything that followed has continued to vindicate Mark Reale, even after his passing.

Τάκης "Ε-Μortal One" Γιώτης!

SORROWFUL ANGELS Return With New Single and Video “Hope Untold”

 

Sorrowful Angels, one of Greece’s most seasoned Dark/Gothic metal acts, make a powerful comeback with the release of their brand‑new single and official video clip, “Hope Untold.” The track marks the beginning of a fresh creative chapter for the band, offering a first glimpse into the material currently in the works.

“Hope Untold” showcases the group’s evolving sound while staying rooted in the dark atmospheres and melodic depth that have defined their identity. The band describes this new era as Melodic Dark Metal, signaling a refined direction as they prepare to unveil more steps in their upcoming cycle.

The video was filmed at MBS Studio in Athens, capturing the energy and mood of the composition. Direction and production were handled by Dion Christodoulatos (Unity Music / CFN Records), with cinematography by The Howler (Phobetor AV) and lighting by Nick Kodizas. Recording, mixing, and mastering were completed at CFN Recordings Studio, also by Christodoulatos.

With “Hope Untold,” Sorrowful Angels invite the metal community and press to witness the dawn of their new era—one that promises atmosphere, intensity, and renewed artistic vision.

BUTT SPLITTERS Unleash Lyric Video for “Flowers of the Wind”

 

Italy’s thrash/death metal force Butt Splitters have released the official lyric video for their new single “Flowers of the Wind,” taken from their 2024 album Nibelvirch. The video is now streaming on YouTube, delivering an intense visual experience that pairs the band’s signature aggression with atmospheric, story‑driven lyric imagery.

“Flowers of the Wind” captures the raw energy and emotional weight that define the Butt Splitters’ sound. With relentless riffs, pounding drums and deep growling vocals, the track dives into themes of impermanence, freedom and the fragile nature of life — all amplified by the immersive visuals of the lyric video.

The video transforms the song’s charged lyrics into a vivid audiovisual journey, allowing listeners to connect with every word while being swept away by the track’s ferocious momentum. It’s an invitation to experience Butt Splitters at their most unfiltered and dynamic.

GUILTERA Drop Powerful New Single “They”

 

Guiltera return with “They”, an explosive new single that tackles criticism, social pressure, and the fight to stay true to yourself in a world demanding conformity. Fueled by raw intensity and an unapologetic edge, the track dives into the emotional weight of being told who you should be and how far you’re “allowed” to go.

With cinematic lyricism and a commanding sonic presence, “They” transforms frustration into empowerment. It moves from vulnerability to defiance, delivering a clear message: imitation and undermining can never replace authenticity.

Haunting, forceful, and deeply resonant, “They” showcases Guiltera’s evolving artistic identity and their ability to turn personal struggle into universal storytelling. A defining new chapter for the band, the single is both a statement of resilience and a call to empowerment.

SILENT CRY Unleash New Maxi Single “Bludný Kruh”

 

Czech Groove/Alternative Metal outfit Silent Cry have dropped their brand‑new maxi‑single “Bludný Kruh”, marking a bold new chapter for the recently formed band. The track was recorded, mixed and mastered at ZIKI Records Studios, continuing the group’s fast-paced creative momentum.

Silent Cry emerged in autumn 2024 in Prostějov, Czech Republic, reuniting musicians who last played together 25 years ago in the band Exces. Their comeback began with the single and video “Insomnia”, also produced at ZIKI Records with drummer Vojta Markovský.

Following lineup changes and renewed studio sessions, the band solidified its identity and moved forward independently. Today’s lineup features:

• Roman Dombi – music, guitar, bass
• Petr Koutek – guitar
• Adil Abuzyarov – guitar
• Arpi Klašternik – vocals
• Vojta Markovský – drums

With “Bludný Kruh,” Silent Cry continue carving out their place in the Czech metal scene, blending groove-driven riffs with atmospheric alternative elements. The release hints at a band eager to push forward after decades apart.

 

REVIEW: LEATHERHEAD, Leatherhead

 

LEATHERHEAD, Leatherhead (2024)

No Remorse Records

Ινδιάνοι από τη Θεσσαλία;

Οι Λαρισαίοι λοιπόν, με το περσινό ντεμπούτο τους, αποτελούν ακόμη μία προσθήκη στο ρόστερ της ανανεωμένης ελληνικής Metal σκηνής, η οποία τα τελευταία δεκαπέντε χρόνια έχει δώσει πολλά και διαφορετικά ονόματα. Οι πέντε μουσικοί παίζουν χαμένο‑στο‑χρόνο Speed Metal με Thrash πλαίσιο, λες και δεν υπάρχει αύριο. Άλλη μία παραγωγή που διεκδικεί έπαινο για τον ήχο της· έναν ήχο που επιστρέφει στο στυλ της δεκαετίας του ’80 και σε σχήματα όπως οι Hallow’s Eve και Savage Grace, με λίγο από Overkill ως προς την ταχύτητα.

Ειδικά η φωνή του Τόλη Μέκρα μου θύμισε κάτι ανάμεσα σε ακατέργαστο Geoff Tate και μανιασμένο Lizzy Borden. Η επιρροή του παλιού, πρωτόλειου U.S. Metal είναι σαφής και σε αυτά τα παιδιά. Τους είχα δει πέρσι για πρώτη φορά, όταν άνοιγαν μαζί με τους Yoth Iria του Δημήτρη Πατσούρη για τους Destruction, με τον Τόλη να εμφανίζεται σαν μάγο‑γιατρό, όπως στην απεικόνιση του εξωφύλλου του δίσκου.

Θάνος Μετάλιος και Ζαχαρίας Καραμπάσης στις κιθάρες, Γιώργος “Bradley” Χατζηγεωργίου στο μπάσο και Μιχάλης Ζουναράκης στα τύμπανα αποτελούν την υπόλοιπη ομάδα, με εννιά κομμάτια και μία εισαγωγή να συνθέτουν το άλμπουμ. Equinox, Dressed to Kill, Vampire’s Kiss, When Death is Near, Judge Steel, The Awakening, Leatherhead νομίζω μου έμειναν ως τα πιο χαρακτηριστικά.

Για να δούμε τι άλλο μας επιφυλάσσουν…

English:

Indians from Thessaly?

The guys from Larissa, with last year’s debut under their belt, are yet another addition to the roster of the revitalized Greek Metal scene, which has produced plenty of diverse names over the past fifteen years. The five musicians play a lost‑in‑time kind of Speed Metal with a Thrash framework, as if there’s no tomorrow. Another production that deserves praise for its sound—a sound that throws back to the style of the ’80s and to bands like Hallow’s Eve and Savage Grace, with a touch of Overkill in terms of sheer speed.

Tolis Mekras’ vocals in particular reminded me of something between a raw Geoff Tate and a frenzied Lizzy Borden. The influence of old, primal U.S. Metal is unmistakable with these guys as well. I first saw them live last year, when they opened—together with Dimitris Patsouris’ Yoth Iria—for Destruction, with Tolis appearing like a witch‑doctor, just like on the album cover.

Thanos Metalios and Zacharias Karampasis on guitars, Giorgos “Bradley” Chatzigeorgiou on bass, and Michalis Zounarakis on drums complete the lineup, with nine tracks and an intro making up the album. Equinox, Dressed to Kill, Vampire’s Kiss, When Death is Near, Judge Steel, The Awakening, Leatherhead—these are the ones that stuck with me as the most characteristic.

Let’s see what else they have in store…

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: TANTRIC LOVE CHARMERS – Tantric Love Charmers

 

TANTRIC LOVE CHARMERS – Tantric Love Charmers

Independent

Sometimes it’s good to take a short break from the electric storm. So let’s turn off the amps, set aside the distortion pedals, and reach for the acoustic guitars instead. Not us, though — the ones doing exactly that are Tantric Love Charmers, an acoustic duo hailing from Rome, Italy.

The project is the brainchild of multi‑instrumentalist and composer Moreno Viglione — a true “Swiss army knife” musician with long-standing experience in the rock scene. Joining him on this acoustic venture is vocalist Stefano Diamanti, whose résumé includes fronting tribute acts dedicated to Black Sabbath, Led Zeppelin, and Neil Young. Together, they bring a blend of seasoned musicianship and stylistic versatility to Tantric Love Charmers.

Given the musicians’ background — and their shared love for bands like Led Zeppelin, Pink Floyd, and Neil Young — their decision to present eight acoustic rock compositions inspired by the 70s era feels both natural and expected. The album is steeped in that warm, unmistakable 70s nostalgia, yet it never slips into mere imitation. Instead, Tantric Love Charmers offer their own interpretation of what 70s acoustic rock can sound like today, blending familiarity with a personal creative touch.

Beyond the influences the band openly cites, listening is always a subjective experience — shaped by one’s own musical background — and in my case, several tracks brought to mind shades of Jethro Tull. There are also moments where the album leans into a distinctly Western atmosphere, even evoking a subtle spaghetti western flair reminiscent of Morricone. And honestly, that works beautifully here; after all, no one does Western aesthetics quite like the Italians.

Lyrically, the duo wear their 70s heritage with pride — and with it comes a gentle touch of hippie idealism. Their songs wander through themes of love, spirituality, and philosophy, existing in that delicate space where poetry brushes against mysticism. It’s the kind of writing that feels as if it could have been scribbled on a sun‑bleached notebook during a long train ride across the Italian countryside, incense burning somewhere in the background.

This is a record that manages to be rock without ever raising its voice, electric without relying on electricity, and rich in variety while wrapped in disarming simplicity. In the end, what more do you really need to create good music? An acoustic guitar, a voice that knows where to land, and a genuine love for the craft. I’m truly glad these two musicians trusted me with presenting their work — a collection that steps outside the usual paths and rewards you for following it. They can rest assured they’ve done an excellent job. And if one track stands out as a clear highlight, “Thru the Cracks of Time” carries all the ingredients of a future favorite.

Enjoy.

Nick Parastatidis

REVIEW: RIOT, Live In Japan

 

RIOT, Live In Japan (1992)

Metal Blade Records

Ένα ακόμα μπαούλο θησαυρού.

Οι Riot της πιο speed metal περιόδου τους – που, νομίζω, είναι και η πιο αγαπημένη για τη μεγαλύτερη μερίδα των φίλων τους – με το πιο δημοφιλές lineup (Reale, Moore, Flyntz, Perez, Jarzombek) και με τα Thundersteel και The Privilege of Power άλμπουμ τότε να καίνε, πήραν τις στράτες στην παγκόσμια περιοδεία του 1990 και, βέβαια, στη χώρα των χρυσανθέμων και του ανατέλλοντος ηλίου, όπου έχαιραν (και χαίρουν) τεράστιας εκτίμησης, ηχογράφησαν αυτό εδώ το δισκάκι.

Βέβαια, το εξώφυλλο που βλέπετε δεν είναι της αρχικής κυκλοφορίας με το ρομποτικό θέμα, αλλά αυτό της επανέκδοσης, με τον Tiar / Johnny, τη φώκια-μασκότ από τα παλιά τους, πάνω στον ερυθρό ήλιο!

Ένα ζωντανό άλμπουμ που, ειλικρινά, δεν θυμόμουν πόσο καλό είναι, παρόλα τα overdubs που… ε, δεν κρύβονται! Υλικό από σχεδόν όλα τα άλμπουμ τους, από το 1977 έως το 1990, που δεν χρειάζεται άλλη ανάλυση. Τέλος, η στούντιο διασκευή στο Smoke on the Water των Deep Purple κλείνει τον δίσκο.

Το βάζουμε στο στερεοφωνικό και πατάμε play.

English:

Another treasure chest.

Riot in their pure speed metal era — which I think is also the most beloved period for the majority of their fans — featuring their most popular lineup (Reale, Moore, Flyntz, Perez, Jarzombek). With Thundersteel and The Privilege of Power burning hot at the time, they hit the road on their 1990 world tour and, of course, stopped in the land of chrysanthemums and the rising sun, where they were (and still are) held in enormous esteem, to record this little disc.

Of course, the cover you see here is not from the original release with the robotic theme, but from the reissue, featuring Tiar / Johnny, their old seal mascot, standing against the red sun!

A live album that, honestly, I had forgotten just how good it is, despite the overdubs that… well, aren’t exactly hidden! Material drawn from almost all of their albums, from 1977 to 1990, needs no further analysis. Finally, the studio cover of Deep Purple’s Smoke on the Water closes the record.

We put it in the stereo and hit play.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: HEATHENDOM – Symbolist

 

HEATHENDOM – Symbolist

Metal On Metal Records

Written in 2010

Symbolist is the second full-length album by the Greek metal band HEATHENDOM and their first proper studio release following their earlier demo recordings. Released by Metal On Metal Records in 2010, the album places the band firmly within the traditional metal spectrum, drawing mainly from mid-tempo power metal while incorporating clear doom metal influences that give the music a darker and heavier atmosphere.

The production favors clarity and balance, allowing the riffs and vocal lines to remain prominent without excessive polish. Stylistically, HEATHENDOM rely on steady tempos, epic-leaning melodies, and a restrained use of dynamics rather than speed or technical excess. This approach reinforces the album’s somber tone, though it also exposes certain limitations in the songwriting.

While the album contains several interesting moments and well-constructed passages, the material does not always manage to sustain the listener’s interest throughout its full duration. In this respect, the band’s earlier demo—also re-released by Metal On Metal Records a few months prior—felt more focused and left a stronger overall impression.

That said, Symbolist is a solid and respectable effort that reflects HEATHENDOM’s commitment to traditional metal values. Fans of mid-tempo power metal with doom metal characteristics, particularly those interested in the Greek underground scene, will likely find the album worthwhile. However, listeners who are not already inclined toward this style may find it less engaging.

Ioannis  Kaskamanidis

REVIEW: WILDFIRE, Rise

 

WILDFIRE, Rise (2025)

Independent

Από τα χαμηλά πατώματα στο ρετιρέ. 

Μία από τις πιο καλά κρυμμένες κυκλοφορίες της περασμένης χρονιάς είναι το ντεμπούτο πλήρες άλμπουμ της αθηναϊκής heavy/power metal εξάδας, η οποία, έχοντας ήδη πίσω της το ομότιτλο ΕΡ, έχει αλώσει τις σκηνές της Αθήνας τα τελευταία χρόνια.

Καταρχάς, το όνομα: ψάχνοντας να βρω το ΕΡ τους πριν από καμιά διετία, έπεσα πάνω στους Wildfire του μακαρίτη Paul Mario Day, του αρχικού ερμηνευτή των Iron Maiden, που βέβαια δεν υφίστανται πλέον εδώ και δεκαετίες. Οπότε, αν και δεν βρήκα τελικά το μίνι άλμπουμ, η μπάντα μας έδωσε το Rise — και πλέον δεν υπάρχει γυρισμός.

Η σύνθεση στον δίσκο:

Αποστόλης (γνωστός και μη εξαιρετέος Tolis G Pol) και Δημήτρης Βαρσαμής στις κιθάρες,

Μάριος Θεοφυλάτος στα πλήκτρα,

Δημήτρης Μεγαλιός στο μπάσο,

Ανδρόνικος Μαλτέζος στα ντραμς,

και στη φωνή ο Bill Chrepas (Βασίλης Χρέπας), ο οποίος πλέον ανήκει στη δύναμη των Darklon, έχοντας αποχωρήσει μέσα στη χρονιά.

Το άλμπουμ που ίσως δεν έχετε ακούσει — και πρέπει να το πράξετε άμεσα — είναι αυτό εδώ. Ειδική μνεία στον ύμνο “Navigators”, όπου προς το τέλος θα ακούσετε ένα όργανο εντελώς εκτός της δεδομένης rock όρχησης: το κλαρίνο, που προσθέτει μια όμορφη ηχητική γεύση σε ένα από τα πιο αγαπημένα κομμάτια του δίσκου.

Από εκεί και πέρα, τα Rise, Inside the Box, Breaking Point, Far and Beyond (In Hell), μαζί με τη bonus νέα (είναι όντως νέα;) εκτέλεση του κλασικού Night With the Witch από το ΕΡ, έχουν πολλά να δώσουν — και πράγματι το πράττουν.

Ένα άλμπουμ που μπορεί να μην το πήρατε είδηση εγκαίρως, αλλά κάντε μια χάρη στα αφτιά σας και ακούστε το. Εγγύηση.

English:

From the basement straight to the penthouse

One of last year’s most criminally overlooked releases is the debut full‑length album by this Athenian heavy/power metal six‑piece, a band that had already made its mark on the city’s stages over the past few years with their self‑titled EP.

First, the name: a couple of years ago, while trying to track down their EP, I stumbled upon Wildfire — the band of the late Paul Mario Day, the original vocalist of Iron Maiden — who, of course, haven’t existed for decades. So, although I never did find that mini‑album, the band gave us Rise, and from that point on there was no turning back.

The album’s lineup:

Apostolis (the one and only Tolis G Pol) and Dimitris Varsamis on guitars,

Marios Theofylatos on keyboards,

Dimitris Megalios on bass,

Andronikos Maltezos on drums,

and on vocals Bill Chrepas (Vassilis Chrepas), who has since joined the ranks of Darklon after departing earlier this year.

This is the album you probably haven’t heard — and absolutely should, immediately. Special mention goes to the anthem “Navigators”, where, toward the end, you’ll hear an instrument completely outside the usual rock instrumentation: a clarinet, adding a beautiful sonic flavor to one of the record’s standout tracks.

Beyond that, Rise, Inside the Box, Breaking Point, Far and Beyond (In Hell), along with the bonus new (is it really new?) version of the classic Night With the Witch from the EP, all have plenty to offer — and they deliver.

It’s an album you may have missed when it dropped, but do your ears a favor and give it a spin. Guaranteed.

Τάκης "Ε-Μortal One" Γιώτης!