REVIEW: Q5 - Steel The Light

 

Q5 - Steel The Light (1984)

Albatross Productions

Αποκάλυψη στο Σηάτλ

Από τα πιο «καλτ», με την πλήρη έννοια του όρου, συγκροτήματα της δεκαετίας του ’80, που με το ντεμπούτο τους αυτό πάντρεψαν οριστικά το ευρωπαϊκό με το αμερικανικό power metal και πρόσθεσαν ακόμη και glam πινελιές, δημιουργώντας ένα ηχητικό κράμα αθάνατου μέταλ στον χρόνο. Το άλμπουμ αυτό, για κάποιο λόγο, θεοποιήθηκε στην Ευρώπη και ειδικά εδώ στη γωνιά μας, όπου ακόμη και σήμερα, όταν έρχονται για εμφάνιση, γίνεται πραγματικό προσκύνημα.

Ο κιθαρίστας Floyd Rose, εφευρέτης του τρέμολο της ηλεκτρικής κιθάρας που φέρει το όνομά του και βασικός συντελεστής εδώ, μαζί με τους Evan Shelley, Jonathan K., Rick Pierce και Gary Thompson, υπογράφουν εννιά ύμνους μελωδικού metal, με αρκετά φουτουριστικά synthesizers —το νέο τότε φρούτο στον χώρο της ηλεκτρικής μουσικής— και με ήχο φτιαγμένο για ταξίδια στον χωροχρόνο.

Τι να πρωτοσχολιάσει κανείς; Τα Missing in Action, Lonely Lady, Steel the Light, Pull the Trigger, Ain’t a Way to Treat a Lady, ο ύμνος σε κάθε χαμένη αγάπη Come and Gone, τα Rock On και Teenage Runaway συνυπάρχουν σε έναν δίσκο που ακούγεται σαν πραγματικό best of.

English:

Revelation in Seattle

One of the most genuinely cult bands of the ’80s, in every sense of the word—whose debut permanently fused European and American power metal while even adding touches of glam, creating a sonic alloy of metal that feels timeless. For some reason, this album was deified in Europe, and especially here in our corner of the world, where even today their live appearances draw a near‑pilgrimage level of devotion.

Guitarist Floyd Rose—inventor of the tremolo system that bears his name and a key creative force here—together with Evan Shelley, Jonathan K., Rick Pierce and Gary Thompson, deliver nine anthems of melodic metal, enriched with futuristic synthesizers, the new craze in electronic music at the time, and a sound crafted for travelling through space‑time.

Where does one even begin? Missing in Action, Lonely Lady, Steel the Light, Pull the Trigger, Ain’t a Way to Treat a Lady, the hymn to every lost love Come and Gone, along with Rock On and Teenage Runaway, all coexist on a record that plays like a true best‑of.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: SAMANDRIEL – Awakening

 

SAMANDRIEL – Awakening

Independent

Originally reviewed: 2010

When I noticed their country of origin, I had a feeling this would be a worthwhile listen. Canada’s metal scene has a consistent track record—more often than not, it produces bands that deserve attention—and SAMANDRIEL fit comfortably within that pattern. With their six‑track EP Awakening, the band operate broadly within the symphonic metal realm, yet they avoid many of the genre’s familiar pitfalls.

Yes, the expected elements are present: operatic female vocals paired with harsh male growls, both executed effectively. But beyond that, SAMANDRIEL make a clear effort to carve out a sound that feels personal rather than derivative. Their music draws from traditional heavy metal, progressive rock/metal, and power metal, blending these influences into something that aims for character rather than theatrics.

What stands out most is their restraint. Instead of relying on pompous arrangements or unnecessary bombast—common traps in this style—the band focus on crafting songs that balance dynamism with atmosphere. The result is an EP that feels fresh within a genre that often repeats itself.

Awakening suggests a band moving in the right direction, one that seems intent on developing its identity without chasing trends or cheap impressions. Fans of symphonic heavy/power metal should give this release a listen and decide for themselves where SAMANDRIEL might be headed.

Personal highlights: “Holy Load,” “Demise of the Icewitch,” and “Harmonious Madness.”

Nick  Parastatidis

REVIEW: PRETTY MAIDS, Carpe Diem

 

PRETTY MAIDS, Carpe Diem  (2000)

Massacre Records

Κάθε τέλος, μία αρχή.

Από πριν είχαν δώσει σημάδια ανάκαμψης, αλλά το συγκεκριμένο άλμπουμ των Δανών heavy rockers μάς άλλαξε ακόμη πιο θετικά την άποψη. Η αλήθεια είναι ότι στον μελωδικό Hard ’n’ Heavy ήχο αποτελούν ένα από τα πιο χαρακτηριστικά σχήματα. Ένα σύνολο από πολύ καλά κομμάτια στις αρχές (τότε) του νέου αιώνα, με τη σύνθεση των Ronnie Atkins (φωνή), Ken Hammer (κιθάρα), Kenny Jackson (μπάσο) και Michael Fast (ντραμς), και με ήχο που ισορροπεί ανάμεσα σε πιο έντονο ευρωπαϊκό και αμερικανικό «μπαλλαντοειδές» στυλ, ανεβάζουν τουλάχιστον με σταθερή ταχύτητα το ενδιαφέρον του κοινού, το οποίο κατά γενική ομολογία είχαν χάσει μετά το 1990.

Ξεχωρίζουν τα Violent Tribe, Carpe Diem, το σε power metal δομή γραμμένο Tortured Spirit, καθώς και τα Poisoned Pleasures, Until It Dies, The Unwritten Pages, Time Awaits No One, Invisible Chains. Και ακόμη, η ανοδική τους πορεία είχε τότε να δώσει αρκετό δισκογραφικό υλικό στο κοντινό μέλλον.

English:

Every ending, a beginning. 

They had already shown signs of recovery, but this particular album from the Danish heavy rockers shifted our opinion even more positively. The truth is that within the melodic Hard ’n’ Heavy sound, they remain one of the genre’s most defining acts. A collection of very strong tracks at the dawn of the new millennium, featuring the lineup of Ronnie Atkins (vocals), Ken Hammer (guitar), Kenny Jackson (bass) and Michael Fast (drums), and a sound balancing between a more intense European approach and an American, ballad‑leaning style, steadily rekindled the interest of a fanbase they had largely lost after 1990.

Standout moments include Violent Tribe, Carpe Diem, the power‑metal‑structured Tortured Spirit, as well as Poisoned Pleasures, Until It Dies, The Unwritten Pages, Time Awaits No One and Invisible Chains. And even then, their upward trajectory promised plenty more studio material in the near future.

Τάκης "Ε-Μortal One" Γιώτης!

SYMPHRESS Release New Single “Cerc Imperfect”

 

Romanian progressive/symphonic metal band Symphress have unveiled their new single, “Cerc Imperfect.” The track was recorded at The Music Lab in Cluj-Napoca, Romania, and mixed and mastered by Cornel Olar.

Founded in 2015, Symphress evolved from an acoustic project into a full-fledged progressive and symphonic rock/metal act, gaining national recognition through festivals and tours. Their debut album, Father Time – Part I (2023), introduced listeners to their distinctive prog-rock opera sound, followed by Pseudo in 2024.

The band’s lineup includes Sergiu Botezatu and Andrada Hofmeister (vocals), Mihai-Dan Brici and Paul Trif (guitars), Alina Rus (keyboards, studio only), Alex Cosma (bass), and Alex Titieni (drums and percussion).

REVIEW: EXARSIS, The Brutal State

 

EXARSIS, The Brutal State (2013)

MDD Records

Αντεπίθεση στην απάθεια – Μέρος δεύτερο

Οι Exarsis αποτελούν ένα μικρό, αλλά ιδιαίτερα σημαντικό κεφάλαιο στο νέο κύμα Thrash Metal που προέκυψε ως απότοκο της επιστροφής του κλασικού Metal ήχου από τις αρχές της πρώτης δεκαετίας του 21ου αιώνα. Το συγκρότημα, με καταγωγή από την Κόρινθο και βάση την Αθήνα, βρίσκεται εδώ στο δεύτερο βήμα της πλήρους δισκογραφικής του πορείας, παρουσιάζοντας ένα ακόμη χορταστικό άλμπουμ, συνοδευόμενο από ένα εξώφυλλο του Λευκορώσου Andrei Buzikov, το οποίο παραπέμπει άμεσα σε κλασικό έργο του Ed Repka — με ό,τι αυτό συνεπάγεται για την εικαστική ενός Thrash Metal δίσκου. Τίποτα περισσότερο και τίποτα λιγότερο από ό,τι είδαμε και στο ντεμπούτο τους, Under Destruction του 2011.

Η βελτίωση —και μάλιστα σημαντική— στον τομέα της παραγωγής από τον Γιώργο Μπόκο κάνει τον ήχο τους πλέον αυτόν που πρέπει, κατά τη γνώμη μου. Μουσικά, το άλμπουμ διαθέτει όλα τα στοιχεία των κλασικών δίσκων από τα μεγαθήρια του είδους. Στιχουργικά, συνδυάζονται ο υγιής αντικομφορμισμός, η ανησυχία για το περιβάλλον και η πολιτική, με τα δεινά που γεννά μια κοινωνία σε σήψη. Μια συνταγή για ένα Thrash Metal άλμπουμ «από τα παλιά».

Οι πέντε μουσικοί μας χαρίζουν μερικά από τα κλασικά πλέον κομμάτια των ζωντανών εμφανίσεών τους, όπως τα Mind Poisoning, Vote For Crisis, Toxic Terror, Dying Earth, Surveillance Society, Apathy Ignorance Oblivion, καθώς και την παράδοση που συνεχίζουν: να δίνουν στο τελευταίο κομμάτι το όνομα του προηγούμενου δίσκου τους — εδώ με το Under Destruction.

English:

Counterattack Against Apathy – Part Two

Exarsis represent a small yet particularly important chapter in the new wave of Thrash Metal that emerged as a by-product of the revival of the classic Metal sound in the early 2000s. The band, originating from Corinth and based in Athens, now take the second step in their full discographic journey, presenting another hefty album accompanied by a cover created by Belarusian artist Andrei Buzikov — a piece that immediately evokes the classic work of Ed Repka, with everything that implies for the visual identity of a Thrash Metal record. Nothing more and nothing less than what we saw on their 2011 debut, Under Destruction.

The improvement — and a significant one — in the production by George Bokos gives their sound the character it truly needed, in my opinion. Musically, the album contains all the elements found in the classic records of the genre’s giants. Lyrically, it blends healthy anti-conformism, environmental concern, and political commentary with the hardships born from a society in decay. A recipe straight out of the old-school Thrash Metal playbook.

The five musicians offer us several tracks that have already become staples of their live shows, such as Mind Poisoning, Vote For Crisis, Toxic Terror, Dying Earth, Surveillance Society, Apathy Ignorance Oblivion, along with the tradition they continue: giving the final track the title of their previous album — in this case, Under Destruction.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: ETRUS GRAVE – Tophet

 

ETRUS GRAVE – Tophet

My Graveyard Productions

Originally reviewed in 2010

The second full‑length release from Etrus Grave arrives with a strong pedigree, given that the band was founded by Fulberto Serena, a key figure in the legendary Dark Quarterer. Musically, Tophet moves within mid‑tempo power metal, enriched by occasional epic overtones that clearly reflect Serena’s roots.

Despite the solid musicianship and the band’s unmistakable identity, the songwriting doesn’t consistently rise to the level one might expect from such lineage. For me, “Hastings” emerges as the album’s most compelling moment, offering a clearer sense of direction and emotional weight. In contrast, the re‑recorded version of Dark Quarterer’s “Colossus of Argil” feels noticeably weaker than the original, lacking the depth and intensity that made the first rendition memorable.

Tophet is not a bad album—far from it. It simply doesn’t deliver enough standout material to justify prioritizing it over stronger releases in the genre. Listeners curious about Serena’s post–Dark Quarterer work may still find value here, but those seeking a truly essential addition to their collection will likely discover more rewarding options elsewhere.

Ioannis    Kaskamanidis

REVIEW: MEGADETH – Megadeth

 

MEGADETH – Megadeth (2026)

BLKIIBLK Records

Η τελευταία εμφάνιση του Vic Rattlehead

Ένα συγκρότημα/μουσικός με αχανή ιστορία, επιρροή και πορεία σταματά τη διαδρομή του φέτος. Η ανακοίνωση από τον ίδιο τον Dave Mustaine ότι το ομώνυμο άλμπουμ του σχήματός του θα είναι το κύκνειο άσμα του έσκασε το καλοκαίρι του 2025. Ο δίσκος δεν έχει ούτε μία εβδομάδα που κυκλοφόρησε· τον ακούσαμε ήδη ψηφιακά από τις πλατφόρμες, είχαμε και το single του πολύ γρήγορου, αλά παλαιά, Tipping Point ως πρώτο δείγμα, και τώρα ήρθε η ώρα το CD να περάσει κάτω από το lid pick‑up του στερεοφωνικού.

Τίμια ηχητική εικόνα των κλασικών ’Deth στιγμών· αν θέλετε, ένα πιο τσαμπουκαλεμένο Youthanasia με γεύσεις από τις κυκλοφορίες τους της τελευταίας δεκαετίας (όπου το Dystopia τους έλαμψε πραγματικά!), μαζεμένες σε δώδεκα κομμάτια και σαρανταεπτά λεπτά. Δεν περίμενε κανείς δεύτερο Rust in Peace, πλέον ούτε και Cryptic Writings (κι ευτυχώς μάλλον), παρόλες τις σούπερ στιγμές που ακολούθησαν (The System Has Failed, United Abominations, Endgame, Dystopia), αλλά ευτυχώς ούτε και τα στραβοπατήματά τους στις διάφορες εποχές (So... Far, So... Good... So What!, Risk, Super Collider) της δισκογραφίας του συγκροτήματος.

Ένα κλασικό, στα τωρινά μέτρα και σταθμά της μπάντας, σύνολο, με κερασάκι τη διασκευή/επανεκτέλεση του Ride the Lightning των Metallica, το οποίο ως γνωστόν έχει συνυπογράψει ο Dave μαζί τους πριν πάρει πόδι από το συγκρότημα το 1983.

Μου άρεσαν ήδη τα I Don’t Care, Let There Be Shred, Puppet Parade, Made to Kill, I Am War, αλλά ακόμη το λιώνω και τώρα που γράφω αυτά που βλέπετε, οπότε θα το αφήσω να ωριμάσει κι άλλο στ’ αφτιά μου. Του δίνω ένα 7/10: περήφανα καλό, όχι τέλειο, όχι προφανώς πατάτα, μα σίγουρα ένα όμορφο τέλος σε μια μεγάλη γραμμή 42 ετών.

English:

The Last Appearance of Vic Rattlehead

A band/musician with a vast history, influence, and legacy is bringing their journey to an end this year. Dave Mustaine himself announced in the summer of 2025 that his band’s self‑titled album would be their swan song. The record has been out for less than a week; we’ve already streamed it digitally, we had the first taste with the very fast, old‑school‑styled single Tipping Point, and now it’s time for the CD to spin under the stereo’s lid pick‑up.

A solid sonic snapshot of classic ’Deth moments—think a more hard‑edged Youthanasia with touches from their releases of the past decade (where Dystopia truly shined!), all packed into twelve tracks and forty‑seven minutes. Nobody expected a second Rust in Peace, nor even another Cryptic Writings (thankfully, perhaps), despite the great moments that followed (The System Has Failed, United Abominations, Endgame, Dystopia). But thankfully, it also avoids the missteps scattered across various eras (So... Far, So... Good... So What!, Risk, Super Collider).

It’s a classic, by‑today’s‑standards Megadeth record, topped off with a cover/re‑recording of Metallica’s Ride the Lightning—a song Dave co‑wrote with them before being kicked out of the band in 1983.

I already enjoyed I Don’t Care, Let There Be Shred, Puppet Parade, Made to Kill, I Am War, but I’m still spinning it even as I write these lines, so I’ll let it settle in my ears a bit more. For now, it’s a proud 7 out of 10: good, not perfect, definitely not a dud, and certainly a fitting end to a 42‑year legacy.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: ANKHAGRAM – Neverending Sorrow

 

ANKHAGRAM – Neverending Sorrow

Stygian Crypt Productions

Originally reviewed in 2010

ANKHAGRAM is a one‑man project from Russia, active since 2005 and impressively productive for a solo endeavor. By the time Neverending Sorrow appeared, the project had already delivered several full‑length albums, singles, and split releases—clear proof of a musician who works steadily and with purpose.

Neverending Sorrow, the project’s second studio album, has recently been re‑released with fully remastered tracks and new artwork. The production is undeniably solid: clear, heavy, and balanced, allowing every layer of the six compositions to be heard without the usual murkiness that often plagues atmospheric doom/death releases.

Musically, ANKHAGRAM stays firmly within the boundaries of atmospheric doom/death metal, enriched with occasional gothic and ambient elements. The approach is straightforward and familiar—competent, but not particularly adventurous. This doesn’t make the album a poor effort; it simply means that listeners seeking innovation or a fresh take on the genre may not find much to surprise them here. On the other hand, dedicated doom/death enthusiasts who appreciate the genre’s traditional forms will likely connect with its mood and consistency.

The standout moment is “…End of Everything…,” a compelling reinterpretation of Frédéric Chopin’s “Marche Funèbre,” handled with respect and a genuine sense of atmosphere

.

In the end, Neverending Sorrow is a well‑crafted release aimed squarely at genre purists. Those deeply invested in doom/death metal will find value in its sincerity and mood, while more casual listeners may feel they’ve walked this path many times before.

Christine  Parastatidou

Peter Graigs new single available for streaming

 

American Heavy Metal and Hard Rock artist Peter Graigs, known from the band "Sinisters Army," has dropped his highly anticipated solo single, «Rock Hard Live Loud». Recorded at G13 Music Production Studios and mixed/mastered by Peter himself, the track embodies the spirit of rock and roll, encouraging listeners to live boldly and unapologetically. With its energetic vibe and powerful lyrics, "Rock Hard Live Loud" is set to become this season’s anthem. Fans can stream the single now on all major platforms.

KINGS OF DARK DESIRES Release New Video

 

German dark metal duo Kings of Dark Desires have unveiled a video for "Trembling Knees Of The Weak," from their upcoming album Curse of the Throne. Blending Black and Dark Metal influences, the band creates a dense, atmospheric sound rooted in 1990s underground scenes.

Formed in 2022 in Oldenburg, they draw inspiration from bands like Darkthrone, Immortal, and Moonspell. The album drops digitally on February 13, 2025, with a vinyl release in March/April. It promises a dark, immersive journey into themes of decay, power, and mysticism.

Their debut, Battles Below (2024), set the stage for this new chapter. Live shows aren’t planned yet, but they released a dark horror-inspired music video for "Mistress of the Dark."

Curse of the Throne will be available on all streaming platforms and Bandcamp.

REVIEW: FOLKODIA – Battlecry

 

FOLKODIA – Battlecry

Stygian Crypt Productions

Originally reviewed in 2010

FOLKODIA is a multinational project band born from the ranks of FOLKEARTH, another collective built on the same premise: musicians from across the globe joining forces to craft folk/Viking metal that channels the myths and legends of their homelands. The concept is undeniably intriguing—rich in cultural potential and epic in scope.

Yet, despite the promise, Battlecry, their third release, doesn’t quite break free from the genre’s well-worn patterns. While the album is far from poor, it rarely ventures beyond the expected. A handful of tracks do manage to rise above the fold: “Blood – Red Axes,” “The Celestial Giants,” “Invoking the Sidhe,” and “The Oath of Runes” (the latter featuring Rhode Rachel’s vocals that flirt with a BATHORY-esque aura). These moments succeed in evoking a sense of grandeur and nostalgia—an echo of a distant, heroic past.

The rest of the album, however, leans heavily on folk instrumentation, with the metal elements often reduced to mere rhythmic scaffolding. This imbalance is a recurring issue in the genre, and one that limits its expressive range. Personally, I’ve always found more value in a true musical conversation between the folk and metal elements—something bands like SKYCLAD and JETHRO TULL once mastered. That kind of interplay is sorely missed here.

To be fair, Battlecry will certainly appeal to die-hard fans of folk/Viking metal, especially those who revel in its thematic consistency and atmospheric depth. But for listeners seeking innovation or a fresh take, this album may feel too safe, too familiar.

In short, Battlecry is a decent release, but one that remains firmly within the genre’s comfort zone. It’s a record for the devoted, not the curious.

Nick  Parastatidis

REVIEW: EXODUS, Another Lesson In Violence

 

EXODUS, Another Lesson In Violence (1997)

Century Media Records

Ελπίδες φρούδες, όμως. 

Τότε δεν είχαμε καταλάβει καλά (οι νεότεροι εννοώ) τη σημασία αυτής της κυκλοφορίας. Οι Exodus βρίσκονταν στον πάγο μετά το κάτω του μετρίου Force of Habit (1992), αλλά η είδηση της επανένωσης με τον αρχικό ερμηνευτή τους, τον πλέον μακαρίτη Paul Baloff (μακρινής ρωσικής καταγωγής), έσκασε στα περιοδικά της εποχής, κάνοντας τους παλιούς να χαίρονται και να ανοίγουν αμέτρητες συζητήσεις για την επιστροφή.

Ο Paul είχε δώσει φωνή στο ντεμπούτο των Καλιφορνέζων, Bonded by Blood (1985), ένα από τα καλύτερα thrash metal ντεμπούτα άλμπουμ, αλλά είχε αντικατασταθεί σχεδόν αμέσως από τον Steve Souza. Αυτό το ζωντανό άλμπουμ έμελλε, με τη σειρά του, να έχει την ίδια τύχη με το πρώτο τους. Δεν υπήρξε δυστυχώς (ή ευτυχώς;;;) συνέχεια.

Το γκρουπ ανασυστάθηκε αργότερα, στις αρχές του νέου αιώνα, πάλι με τον Steve. Υλικό από το ντεμπούτο τους και από το δεύτερο άλμπουμ, Pleasures of the Flesh, που είχε αρχίσει να γράφεται όταν αποχώρησε ο Baloff το ’86, φέρνει στιγμές που πραγματικά δε θα ξανακούσετε. Piranha, Exodus, Bonded by Blood, Pleasures of the Flesh, Impaler, A Lesson in Violence, Strike of the Beast είναι σε ζωντανή εκτέλεση πολύ πιο πάνω από οτιδήποτε έχουν καταγράψει σε στούντιο.

English:

Vain hopes, though. 

Back then, we (the younger ones, I mean) didn’t really grasp the significance of this release. Exodus had been on ice after the below‑average Force of Habit (1992), but the news of their reunion with their original vocalist, the now‑late Paul Baloff (of distant Russian descent), exploded across the magazines of the time, making the old‑school fans rejoice and spark endless discussions about the band’s return.

Paul had given voice to the Californians’ debut, Bonded by Blood (1985), one of the greatest thrash metal debut albums, but he was replaced almost immediately by Steve Souza. This live album was destined, in turn, to share the same fate as their first one. Unfortunately (or fortunately…?), there was no follow‑up.

The band reformed later, in the early years of the new century, once again with Steve. Material from their debut and from the second album, Pleasures of the Flesh—which had begun taking shape when Baloff left in ’86—brings moments you truly won’t hear again. Piranha, Exodus, Bonded by Blood, Pleasures of the Flesh, Impaler, A Lesson in Violence, Strike of the Beast—in live performance they tower above anything they ever captured in the studio.

Τάκης "Ε-Μortal One" Γιώτης!