Athens‑based
metal act Aeons In Solitude have unveiled the new video clip for “Dreamer”, the
latest single taken from their forthcoming album Black Lumina, set for release
on May 15, 2026 via Soman Records (FR).
Formed in 2016 by vocalist, composer and multi‑instrumentalist Alex Roussos, the project evolved from
a solo endeavor into a full band by 2018. Their debut album Mourning Cloak
(Rock Company, 2020) introduced a Doom/Gothic Metal foundation with progressive
undertones.
With Black Lumina, the band shifts into darker Gothic
Rock and Darkwave territory, embracing atmospheric synth textures and a more
introspective mood while maintaining their signature sense of melancholy. The
album was recorded, mixed and mastered at Fragile Studio in Athens by Vangelis
Yalamas, who also handled production on their debut.
Italian psych‑ritual stoner/doom duo Astral Goat Dominion have
officially issued their debut full‑length “Only Lucifer and Fuzz” in physical format. The
album is now available through the band’s Bandcamp, Instagram, Facebook, and
via direct mail order.
The release is handled by Screaming Alice Records,
while U.S. listeners can purchase copies through Iron Head Records.
Formed by Oniric (bass, vocals, synth, rituals) and
Khaosfuzz (guitar, vocals), Astral Goat Dominion craft a sound rooted in
crushing doom riffs, occult atmospheres, and trance‑inducing fuzz worship. Following their first single
“Lucifer (Part I)”, the duo now present a dense, hypnotic debut album steeped
in distortion, ritualistic energy, and luciferian psychedelia.
“Only Lucifer and Fuzz” marks the band’s first major
step into the physical underground doom scene, offering a raw and immersive
experience for collectors and devotees of heavy ritualistic sound.
In recent years, fueled by the
digital proliferation of archival material, a debate has resurfaced regarding
the true nature of the Black Metal scene: to what extent was it—and
remains—truly revolutionary? While the genre has undeniably left a profound
aesthetic and ideological mark on modern music history, a central question
persists: was it a revolution, or simply a reaction?
Drawing from years of
engagement with the genre, I have come to believe that Black Metal functions
more as a form of reaction than a genuine revolution. This is not a mere
semantic quibble; it is a fundamental distinction.
The Anatomy of Revolution
A revolution, by
definition, requires more than simple negation. It requires a proposition.
Its purpose is to expose societal rot, awaken the conscience, and ultimately
propel the individual toward a process of self-knowledge and inquiry. It is not
enough to denounce; one must open new paths of thought.
Within this framework, we must
ask: did Black Metal ever truly fulfill such a role?
In my view, the answer is
largely negative, save for a few notable but isolated exceptions. Rather than
serving as a vehicle for consciousness, the scene frequently became trapped in
an ideological and aesthetic hyperbole that prioritized shock value over
substantive reflection.
Conflict Without Consequence
A defining characteristic of
the scene has been its vitriolic anti-Christian sentiment. Critique of
Christianity—or any institutional power—is entirely legitimate, especially
considering the historical grievances associated with it. However, context
matters.
Most Black Metal pioneers
emerged from Scandinavian and Western European societies that already enjoyed
democratic rights and religious freedom. In such environments, blasphemy does
not carry the same weight or risk as it would in a theocratic or authoritarian
regime.
Consider, for contrast, the
Greek author Nikos Kazantzakis, who faced genuine persecution and the
threat of excommunication for his ideas. This comparison highlights that a true
clash with religious authority, when accompanied by personal cost, possesses a
gravity that a provocative stance in a free society simply lacks.
The Logic of Imposition
The transition from rhetoric
to action—most notoriously the Norwegian church burnings of the 1990s—is even
more problematic. Beyond the inherent criminality, one must ask: how does such
an act differ, in its underlying mentality, from Kristallnacht?
Both involve the targeting and
destruction of religious spaces in the name of an ideology. Violence against
symbols of faith, regardless of the direction it comes from, reflects the same
logic of intolerance and the desire to impose one’s will through force.
Subversion
or Stagnation?
Furthermore, the ideology
permeating much of the scene appears more conservative than subversive. The
glorification of raw power, individualism, dominance, and an elitist
"superior artist" complex does not represent progress. Instead, it
reproduces the very hierarchical structures the scene claimed to despise.
Thematic preoccupations often
drifted toward misanthropy, the celebration of cruelty, and a nihilistic
approach to existence. Rather than fostering understanding, it cultivated a
form of alienation that can hardly be described as "creative."
We also cannot ignore the fact
that several prominent figures and bands flirted—directly or indirectly—with
extreme ideologies, including fascist and Nazi elements. While this does not characterize
the entire genre, it reinforces the idea that Black Metal's
"anti-systemic" stance lacked a clear moral or social compass.
Conclusion: Vision vs. Negation
Ultimately, Black Metal may be
best understood as a form of adolescent reaction: intense, loud, and
often captivating, but not necessarily mature or productive. It is a reaction
drawn to power and imposition rather than to values like freedom, democracy, or
collective progress.
This does not negate the
artistic merit of many works within the genre, nor the personal significance
they hold for listeners. However, if we are to evaluate it as a social or
ideological phenomenon, we must be honest:
Revolution requires more than
"No." It requires a vision.
Τα
τελευταία χρόνια, με αφορμή την ευρεία διάδοση οπτικοακουστικού υλικού στο
διαδίκτυο, έχει αναζωπυρωθεί η συζήτηση γύρω από τη φύση της black metal σκηνής
και τον βαθμό στον οποίο αυτή υπήρξε –ή εξακολουθεί να είναι– επαναστατική.
Πρόκειται για ένα είδος που αναμφίβολα άφησε έντονο αποτύπωμα στη σύγχρονη
μουσική ιστορία, τόσο αισθητικά όσο και ιδεολογικά. Ωστόσο, το ερώτημα
παραμένει: ήταν πράγματι επαναστατικό ή απλώς αντιδραστικό;
Έχοντας
μια πολυετή, έστω και ερασιτεχνική, ενασχόληση με το είδος, καταλήγω στο
συμπέρασμα ότι το black metal υπήρξε περισσότερο μια μορφή αντίδρασης παρά μια
γνήσια επανάσταση. Και η διάκριση αυτή δεν είναι απλώς λεκτική, αλλά
ουσιαστική.
Η
επανάσταση, ως έννοια, προϋποθέτει κάτι περισσότερο από την άρνηση. Προϋποθέτει
την πρόταση. Έχει ως στόχο να αναδείξει τα κακώς κείμενα μιας κοινωνίας, να
αφυπνίσει συνειδήσεις και, τελικά, να ωθήσει τον άνθρωπο προς μια διαδικασία
αυτογνωσίας και αναζήτησης. Δεν αρκεί να καταγγέλλεις· χρειάζεται να ανοίγεις
δρόμους σκέψης.
Σε
αυτό το πλαίσιο, είναι εύλογο να αναρωτηθεί κανείς: κατάφερε το black metal να
επιτελέσει έναν τέτοιο ρόλο;
Η
απάντηση, κατά τη γνώμη μου, είναι σε μεγάλο βαθμό αρνητική, με ορισμένες
–αξιοσημείωτες αλλά περιορισμένες– εξαιρέσεις. Αντί να λειτουργήσει ως όχημα συνειδητοποίησης,
συχνά εγκλωβίστηκε σε μια αισθητική και ιδεολογική υπερβολή, που περισσότερο
στόχευε στο σοκ παρά στον ουσιαστικό προβληματισμό.
Ένα
από τα βασικά χαρακτηριστικά της σκηνής υπήρξε το έντονο αντιχριστιανικό μένος.
Αναμφίβολα, η κριτική προς τον Χριστιανισμό –όπως και προς κάθε θεσμική
εξουσία– μπορεί να είναι απολύτως θεμιτή, ιδιαίτερα αν λάβουμε υπόψη ιστορικά
γεγονότα και πρακτικές που έχουν στιγματίσει την πορεία του. Ωστόσο, το πλαίσιο
μέσα στο οποίο αναπτύχθηκε αυτή η κριτική έχει σημασία.
Τα
περισσότερα συγκροτήματα της black metal σκηνής προέρχονταν από χώρες της
Σκανδιναβίας και της Δυτικής Ευρώπης, κοινωνίες που ήδη απολάμβαναν δημοκρατικά
δικαιώματα και ανεξιθρησκία. Σε τέτοια περιβάλλοντα, η ελεύθερη έκφραση –ακόμη
και η βλάσφημη– δεν συνεπάγεται τις ίδιες συνέπειες που θα είχε σε θεοκρατικά ή
αυταρχικά καθεστώτα.
Χαρακτηριστική
είναι η περίπτωση του Νίκου Καζαντζάκη, ενός συγγραφέα που βρέθηκε αντιμέτωπος
με έντονη κατακραυγή και ουσιαστικό αφορισμό από την Εκκλησία για το έργο και
τις ιδέες του. Η σύγκριση αυτή αναδεικνύει ότι η πραγματική σύγκρουση με τη
θρησκευτική εξουσία, όταν συνοδεύεται από προσωπικό κόστος, αποκτά διαφορετικό
βάρος από μια προκλητική στάση που εκδηλώνεται σε περιβάλλοντα πλήρους
ελευθερίας.
Ακόμη
πιο προβληματική υπήρξε η μετάβαση από τη ρητορική στη δράση, όπως στην
περίπτωση των εμπρησμών εκκλησιών στη Νορβηγία τη δεκαετία του ’90. Πέρα από το
ότι πρόκειται για ξεκάθαρα εγκληματικές ενέργειες, γεννάται το ερώτημα: σε τι
διαφέρει μια τέτοια πράξη, σε επίπεδο νοοτροπίας, από τη Νύχτα των Κρυστάλλων,
όπου στοχοποιήθηκαν και καταστράφηκαν θρησκευτικοί χώροι στο όνομα μιας
ιδεολογίας; Η βία απέναντι σε σύμβολα πίστης, ανεξαρτήτως κατεύθυνσης, δεν
παύει να εκφράζει την ίδια λογική επιβολής και μισαλλοδοξίας.
Πέρα
από αυτό, η ίδια η ιδεολογία που προέκυψε μέσα από μεγάλο μέρος της σκηνής
μοιάζει περισσότερο συντηρητική παρά ανατρεπτική. Η εξύμνηση της δύναμης, του
ατομισμού, της κυριαρχίας και μιας ελιτίστικης αντίληψης περί «ανώτερου»
καλλιτέχνη δεν συνιστά πρόοδο, αλλά αναπαραγωγή δομών που η ίδια η σκηνή
υποτίθεται ότι πολεμούσε.
Σε
αρκετές περιπτώσεις, η θεματολογία κινήθηκε γύρω από έννοιες όπως η περιφρόνηση
προς την ανθρωπότητα, η αποθέωση της σκληρότητας και μια σχεδόν μηδενιστική
προσέγγιση της ύπαρξης. Αντί να ενθαρρύνει την κατανόηση και την αναζήτηση,
καλλιέργησε μια μορφή αποξένωσης που δύσκολα μπορεί να χαρακτηριστεί
δημιουργική.
Αξίζει
επίσης να σημειωθεί ότι δεν ήταν λίγα τα συγκροτήματα ή τα πρόσωπα της σκηνής
που φλέρταραν –άμεσα ή έμμεσα– με ακραίες ιδεολογίες, συμπεριλαμβανομένων
φασιστικών ή ναζιστικών στοιχείων. Αν και αυτό δεν αφορά το σύνολο του χώρου,
αποτελεί ένα φαινόμενο που δεν μπορεί να αγνοηθεί, καθώς ενισχύει την άποψη ότι
η «αντισυστημικότητα» του black metal δεν είχε πάντοτε σαφή ηθικό ή κοινωνικό
προσανατολισμό.
Τελικά,
ίσως το black metal να εκφράζει περισσότερο μια εφηβική μορφή αντίδρασης:
έντονη, θορυβώδης, συχνά γοητευτική, αλλά όχι απαραίτητα ώριμη ή παραγωγική.
Μια αντίδραση που έλκεται από τη δύναμη και την επιβολή, παρά από αξίες όπως η
ελευθερία, η δημοκρατία και η συλλογική πρόοδος.
Αυτό,
βέβαια, δεν αναιρεί την καλλιτεχνική αξία πολλών έργων του είδους, ούτε την
προσωπική σημασία που μπορεί να έχει για τους ακροατές του. Όμως, αν
επιχειρήσουμε να το αξιολογήσουμε ως κοινωνικό ή ιδεολογικό φαινόμενο,
οφείλουμε να είμαστε ειλικρινείς: η επανάσταση απαιτεί κάτι περισσότερο από την
άρνηση. Απαιτεί όραμα.
1. How do you
precisely blend Power Metal's energy with Gothic Metal's atmosphere? What is
the critical balancing point you strive for in every song?
For us it happens
naturally, we create a power metal draft with notes that aren't too epic or
happy and then the magic happens when Alex inserts darker and more gothic
melodies with the keyboard.
2. Considering your
influences (Nightwish, Kamelot, etc.), what is the single, definitive signature
element that makes the Risen Crow sound immediately recognizable as yours?
Let's say that our
peculiarity is the two voices, how they dialogue with each other in the songs
without creating rivalry and neither prevails over the other.
3. Does the history
and atmosphere of Rome actively influence your lyrical themes or melodic
structure, and if so, how?
There are some
historic alleys in Rome that at night create a darker and noir atmosphere,
which contributes in some way, but the most obvious inspirations come from our
more melancholic and dark side and why not also a pinch of Tim Burton that we
love
4, Out of obsession,
damned love, and sacrifice, which theme was the most challenging to translate
into compelling metal lyrics for “Requiem For A Damned Love”?
Our idea was to
create a love story but with dark nuances and a dramatic ending that makes the
listener understand that love goes beyond death.
5. Why was the track
"Risen Crow" chosen to be the single? How does it specifically
prepare the listener for the full emotional arc of the album?
We thought the
best way to attract the listener was to offer a powerful song, with an intro
that could enter the head and heart and I think Risen Crow is the most
appropriate one.
6. How did forming
the band in 2020—during a period of global isolation—uniquely shape the
intensity or dark nature of the music you created?
2020 was a
terrible time. Seeing so many people dying and being isolated at home triggered
an explosive mix within us, made of sadness but at the same time hope, and the
addition of a pinch of madness greatly helped our creativity.
7. Which specific
instrumentation or production technique is non-negotiable for achieving the
"haunting melodies and atmospheric soundscapes" you describe?
There isn't really
a single instrument or technique, but keyboards have certainly played a
fundamental role in our songs, creating those atmospheric soundscapes that
characterize our sound.
We don't use
particularly sophisticated or rare hardware: we work primarily "in the
box," leveraging software and plugins, trying to focus more on the idea
and emotion than on the instrumentation itself.
Rather, what really
makes the difference is the way we treat the sounds: the use of wide reverbs,
delays, and layering allows us to add depth and movement, transforming even
simple timbres into something more evocative.
In the end, it's a
balance between writing and producing: we start with essential elements and
then gradually enrich them, always trying to leave space and breathing room, so
that each sound contributes to creating a coherent atmosphere.
8. In the context of
the new album, is the theme of 'sacrifice' portrayed as a necessary good, a
pure tragedy, or something else entirely?
The theme of
sacrifice is central and is particularly evident in the final track,
"Black Rose," where he forgives her and lets her know how much he
loves her. She, in turn, understands the importance of being by his side and
ultimately takes her own life to join him. True love transcends death.
9. What is the most
essential non-musical element (stage design, props, or lighting) needed to
translate the album's dark, romantic narrative to a live audience?
We don't use any
special effects live; we like to be a little theatrical when we sing, using
darker, less colorful lightin6g. The intro to "Funeral Jack" is
absolutely essential; it shows the listener just how twisted Rose's mind is.
10.
As a new face, what specific mark or change do Risen Crow intend to make on the
international perception of the contemporary Italian metal scene?
We really like
Italian metal like Vision Divine and Labyrinth, but we're trying to lean more
towards a Teutonic style. It's not easy to create new music, but at least we're
trying.
11. When songwriting,
do you prioritize emotional impact over instrumental complexity, or must both
technical precision and depth always be achieved?
We look for depth
and precision first and foremost, and we believe it's not important to include
virtuosity. We spend more time on orchestral parts and vocals rather than
necessarily finding virtuosity.
12. Now, almost a
year after the release of Requiem For A Damned Love, what has been the most
surprising or rewarding audience reaction to the album, and based on that
response, what is the immediate creative direction or priority Risen Crow will
pursue heading into 2026?
The public
asked us not to fear the shadows, and in 2026, that's exactly where Risen Crow
has chosen to dwell.
In short: the
immediate priority is to consolidate the 'Theatrical Gothic-Power' brand,
transforming what was an intuition from the first album into the cornerstone of
our musical future.
CATHEDRAL,
The Garden Of Unearthly Delights (2005)
Nuclear
Blast Records
Επιστροφή
στο παρελθόν και στο πουθενά.
Μετά
τα δύο πιο βαριά και ασήκωτα δημιουργήματά τους, εδώ στην όγδοη δουλειά
τους—δύο δίσκοι και μερικά χρόνια πριν πέσει η αυλαία γι’ αυτό το
συγκρότημα—βγαίνει το Doom Metal άλμπουμ της επιστροφής τους, σε όλη τη μεγάλη
του μεγαλοπρέπεια, και μάλιστα ξεκινά από το περιτύλιγμά του. Το εξώφυλλο του
δίσκου παραπέμπει στα κλασικά τους της προηγούμενης δεκαετίας, ενώ το
περιεχόμενο διαθέτει ακόμα λιγότερα βαριά σημεία από το «The VIIth Coming»,
προβάλλοντας το groove στοιχείο—προς χαρά των παλιών φίλων τους.
Καρποί
μέσα στον ηχητικό «κήπο των αντί-επίγειων απολαύσεων» είναι τα «Death A.D.»,
«Tree of Life and Death», «Upon Azrael's Wings», «Corpsecycle», «Fields of
Zagara», «Oro the Manslayer», «Beneath a Funeral Sun» και το περίπου τριάντα
λεπτά έπος «The Garden», προσφέροντας πάντα την ανάμνηση ενός από τα πιο
αντιπροσωπευτικά δείγματα γραφής ενός σχήματος που έχει αγγίξει το επίθετο
«θρυλικό» ουκ ολίγες φορές!
English:
Return to the past and to nowhere.
Following their two heaviest and most burdensome
creations—two albums and several years before the curtain fell on this
band—comes their comeback Doom Metal album, in all its grand splendor, and it
even begins with its packaging. The album cover references their classic
designs from the previous decade, while its content features even fewer heavy
moments than "The VIIth Coming," highlighting the groove element—much
to the delight of their longtime fans.
Within this sonic "garden of anti-earthly
pleasures" are tracks like "Death A.D.," "Tree of Life and
Death," "Upon Azrael's Wings," "Corpsecycle,"
"Fields of Zagara," "Oro the Manslayer," "Beneath a
Funeral Sun," and the nearly thirty-minute epic "The Garden,"
always offering a reminder of one of the most representative examples of a band
that has often touched upon the adjective "legendary."
Ο
έβδομος δίσκος των Άγγλων doom metal θρύλων, που διαδέχτηκε το απίστευτα βαρύ
Endtyme — έναν μάλλον αφύσικα «σοβαρό» δίσκο. Εδώ επιστρέφουν μερικώς στην
πεπατημένη τους: doom metal μεν, αλλά με πιο groovy ρυθμούς, κρατώντας ωστόσο
σημεία απύθμενου βάρους για τα προσχήματα. Ο Lee Dorrian ερμηνεύει τους στίχους
με το γνώριμο, παλιό, σχεδόν παράτονο στυλ του.
Το
The Garden of Unearthly Delights, που θα ακολουθήσει το 2005, θα αποτελέσει το
επιστέγασμα της επιστροφής στις ρίζες τους. Το συγκεκριμένο άλμπουμ, πάντως,
είναι το σημείο καμπής της δεύτερης περιόδου τους· μιας εποχής που, όπως και να
το δούμε, θα ήταν και η τελευταία αυτού του σχήματος που κράτησε το ενδιαφέρον
μας αμείωτο την προηγούμενη δεκαετία.
Garry
Jennings στην κιθάρα, Leo Smee στο μπάσο και Brian Dixon στα ντραμς, με
κομμάτια όπως τα Phoenix Rising, Resisting the Ghost, Skullflower, Aphrodite's
Winter, Nocturnal Fist, Iconoclast, Black Robed Avenger και Congregation of
Sorcerers, μας θυμίζουν τις καλύτερες περασμένες εποχές τους.
English:
The Seventh Son.
The seventh album by the English doom metal legends,
following the unbelievably heavy Endtyme — a record that was, in many ways,
unnaturally “serious.” Here, they partially return to their familiar path:
still doom metal, but with groovier rhythms, while retaining pockets of
bottomless heaviness for good measure. Lee Dorrian delivers the lyrics in his
trademark, old-school, almost off‑kilter
vocal style.
The Garden of Unearthly Delights, which would arrive
in 2005, would become the culmination of their return to their roots. This
particular album, however, marks the turning point of their second era — a
period which, whichever way we look at it, would also be the last phase of the
band that kept our interest unwavering throughout the previous decade.
Garry Jennings on guitar, Leo Smee on bass, and Brian
Dixon on drums, with tracks like Phoenix Rising, Resisting the Ghost,
Skullflower, Aphrodite's Winter, Nocturnal Fist, Iconoclast, Black Robed
Avenger, and Congregation of Sorcerers, remind us of their finest past moments.
A brief look into their background reveals that COMA
rank among Poland’s most commercially successful rock/metal acts, repeatedly
topping national charts and collecting multiple Fryderyk awards—the country’s
equivalent of the Grammys. Yet it took their fourth full-length album, Excess,
for me to finally explore their work, and I must admit that the experience left
me more perplexed than impressed.
The album’s most immediate issue is its lack of a
coherent musical direction. Reviewers often criticize predictability in modern
releases, but Excess swings to the opposite extreme. Each track seems to
operate under a different stylistic premise, offering hints of a direction that
the band never actually commits to. By the time the album ends, it’s difficult
to articulate what you’ve just listened to—or what the band intended you to
hear.
Stylistically, the record sits somewhere within heavy
rock/metal, but it is heavily interspersed with alternative, grunge,
progressive, and nu‑metal
elements. To complicate matters further, the album includes several extremely
mellow ballads that clash with the heavier material. One moment you’re
confronted with a modern, groove‑oriented
track; the next, you’re dropped into a soft, sentimental ballad. Then comes
“F.T.P.” with its punk‑infused
attitude, adding yet another layer to an already disjointed palette. The end
result feels scattered, excessive, and padded with filler.
Excess may resonate with dedicated fans of ALICE IN
CHAINS or TOOL—listeners who appreciate eclecticism, mood shifts, and genre‑blending experimentation. For most others, however,
the album’s lack of cohesion and its abrupt stylistic turns may prove more
frustrating than intriguing.
After four demos and a career stretching back to 2001,
Portuguese outfit KARNAK SETI finally take the next step with their debut full‑length, Scars of Your Decay. The title fits the
material well: this is straight‑to‑the‑point
melodic death metal delivered with conviction.
Before diving into the music, it’s important to
clarify something upfront: KARNAK SETI are not aiming for originality or
innovation. Their sound is firmly rooted in the classic melodic death metal
tradition. Yet the passion, energy, and sheer quality of their riffs and ideas
push the lack of novelty into the background. In fact, it’s hard not to view
them as one of the strongest melodic death metal representatives to emerge from
Portugal—and arguably beyond.
At a time when many Swedish bands (the very country
where this style was born and shaped) seem determined to sound “modern,”
“original,” or commercially accessible—often by adding hardcore, metalcore, or
other contemporary elements—KARNAK SETI take the opposite route. They remind
listeners what melodic death metal actually means and how it can still hit hard
without compromise.
Scars of Your Decay is a tight, well‑produced, and confidently executed album. The band
incorporates a few progressive touches, plenty of catchy riffs, strong solos,
and tasteful keyboard accents. Crucially, they avoid the clean‑vocal formulas, nu‑metal leanings, and core‑infused aesthetics that dominate much of today’s
melodic death metal landscape. Instead, they stay true to their foundations.
Musically, the album aligns closely with the spirit of
DARK TRANQUILLITY, AT THE GATES, and early IN FLAMES and SOILWORK—melodic,
aggressive, and focused.
If you’re looking for a modern reminder of how this
genre can still sound when played with heart and without unnecessary
embellishments, KARNAK SETI are worth your time. Check them out and let the
music speak for itself.
Δοκίμασαν
ακόμη και επανένωση της Alice in Hell εποχής, αλλά ούτε αυτό κράτησε πολύ. Ο
ταλαντούχος κιθαρίστας, συνθέτης και στιχουργός Jeff Waters έχει αυτό το
«κουσούρι»: δεν του φτουράνε οι τραγουδιστές και οι μουσικοί στο συγκρότημά
του.
Επόμενο
βήμα, ο Joe Comeau, γνωστός τόσο από τις φωνητικές του ικανότητες στο ορόσημο
άλμπουμ Master Control των Liege Lord, όσο και ως κιθαρίστας στους Overkill στα
μέσα της προηγούμενης δεκαετίας. Ο Dave Scott Davis στην άλλη κιθάρα, ο Russell
Bergquist στο μπάσο και ο Ray Hartmann στα ντραμς συνθέτουν ένα σχήμα που, σε
αυτόν τον δίσκο, προσπαθεί —και τελικά καταφέρνει— να επαναφέρει τους κάποτε
speed και thrash υπερήρωες ξανά στο προσκήνιο.
Με
κομμάτια κομμένα και ραμμένα για το αυτί του κλασικού φίλου του συγκροτήματος,
όπως τα Denied, The Perfect Virus, Battered, Carnival Diablos, το «wanna be
AC/DC» Shallow Grave, καθώς και τα Time Bomb, Epic of War, Hunter Killer,
έχουμε ένα τιμιότατο άλμπουμ από ένα σχήμα που αγαπήθηκε ιδιαίτερα στη χώρα
μας. Μαζί του αναπολούμε και την τότε co-headline εμφάνιση επί ελληνικού
εδάφους, στο Ρόδον, με τους Nevermore.
Άρα,
πάντα θα θυμόμαστε αυτό το CD με τις καλύτερες αναμνήσεις. Και θα υπήρχε και
συνέχεια — περιέργως πώς.
English:
The transformations just keep coming.
They even tried a reunion of the Alice in Hell era,
but that didn’t last long either. The talented guitarist, composer, and
lyricist Jeff Waters has that familiar “quirk”: singers and musicians never
seem to stick around in his band for long.
The next step was Joe Comeau — known both for his
vocal work on Liege Lord’s landmark Master Control album and for his stint as a
guitarist with Overkill in the mid‑’90s. Alongside him, Dave Scott Davis on the second
guitar, Russell Bergquist on bass, and Ray Hartmann on drums form a lineup
that, on this record, tries — and ultimately succeeds — in bringing these
former speed and thrash metal superheroes back into the spotlight.
With tracks tailor‑made for the classic Annihilator fan — Denied, The
Perfect Virus, Battered, Carnival Diablos, the “wanna‑be AC/DC” Shallow Grave, plus Time Bomb, Epic of War,
Hunter Killer — what we get is an honest, rock‑solid album from a band that was especially beloved in
Greece. It also brings back memories of their co‑headline show on Greek soil at the Rodon with
Nevermore.
So yes, this is a CD we’ll always remember fondly. And
strangely enough, there would be more to come.
