REVIEW: VOIVOD, War And Pain

 

VOIVOD, War And Pain (1984)

Metal Blade Records

Ηχητικός πόλεμος

Να 'μαστε λοιπόν πίσω στη δεκαετία του '80, σε πρώτο άλμπουμ ενός καναδικού συγκροτήματος που μελλοντικά θα αποτελέσει, το ίδιο όπως και ο δίσκος αυτός, μεγάλη επιρροή στον πιο ακραίο ήχο. Οι Voivod πατώντας γερά στο punk από το ένα πόδι, στον ήχο των Motörhead με το άλλο... και με το τρίτο πόδι (!) ακουμπάνε τους Venom ερωτικά! Αν υπήρχε ο όρος thrash metal από τότε (οριακά δεν υπήρχε ακόμα, οι Metallica και Slayer αποκαλούνταν power metal!), θα ήταν κατά το 60% ορθό να τους πούμε έτσι. Speed metal, punk metal ήταν το όνομα του ήχου τους εδώ. Ένα ακατέργαστο, με αρκετά φασαριόζικη παραγωγή, αλλά ανέλπιστα καλό άλμπουμ, με εξώφυλλο από το ίδιο το συγκρότημα, πιο συγκεκριμένα του ντράμερ τους, Away. Snake στη φωνή, Piggy στην κιθάρα, Blacky στο μπάσο, να συμπληρώνουν το καρέ, και, όντας από το Κεμπέκ, έχουν πραγματικά γαλλικά ονόματα οι τέσσερις σταυροφόροι από μια άλλη διάσταση. Το ομότιτλο Voivod σέρνει τον χορό, και ακολουθεί μια ηχηρή επίθεση από κομμάτια όπως τα Warriors of Ice, Suck Your Bone, War and Pain, Iron Gang, Live for Violence, Black City, Nuclear War, και το επιπλέον κομμάτι Condemned to the Gallows, από τη συμμετοχή τους στη συλλογή Metal Massacre V. Όλα αυτά ολοκληρώνουν το χάος.

English:

Sonic Warfare

So here we are back in the '80s, at the debut album of a Canadian band that would, along with this very record, go on to be a major influence on the most extreme sound. Voivod, firmly rooted in punk on one leg, leaning into the sound of Motörhead with the other... and with a third leg (!) — they lovingly touch upon Venom! If the term thrash metal had existed back then (it barely did; Metallica and Slayer were still called power metal!), it would be about 60% accurate to label them that way. Here, their sound was called speed metal or punk metal. An unrefined, somewhat noisy production, but an unexpectedly good album, with an album cover made by the band themselves—specifically the drummer, Away. Snake on vocals, Piggy on guitar, Blacky on bass, completing the quartet—and, being from Quebec, they all have truly French names, four crusaders from another dimension. The eponymous Voivod leads the way, followed by a thunderous barrage of tracks like Warriors of Ice, Suck Your Bone, War and Pain, Iron Gang, Live for Violence, Black City, Nuclear War, and the extra track Condemned to the Gallows, from their contribution to the Metal Massacre V compilation. All of this completes the chaos.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: BRING YOUR OWN KNIFE – End

 

BRING YOUR OWN KNIFE – End

Sleaszy Rider Records

This Swedish band has chosen a somewhat unconventional title for their debut album—End. However, with the right exposure and support, this group has the potential to reach significant heights. They demonstrate a strong grasp of their craft and possess a commanding presence.

Musically, the band operates primarily within the metalcore genre, though their sound incorporates a variety of influences. Listeners will notice elements of melodic death metal, black metal nuances, hardcore intensity, and occasional progressive shifts. This blend creates a dynamic and compelling sonic palette, characterized by fast-paced, aggressive compositions that are both ferocious and memorable.

The production quality is exemplary, with clear and balanced mixing that allows each instrument to be distinctly heard. The cover artwork complements the band's sound, reflecting their intensity and aesthetic vision.

Overall, End showcases a band with considerable potential and a fresh approach within their genre. BRING YOUR OWN KNIFE stands out as one of the more impressive acts I've encountered in recent times.

Christine  Parastatidou

REVIEW: WINO – Adrift

 

WINO – Adrift

Exile On Mainstream Records

Heavy metal traditionally traces its origins to BLACK SABBATH, conceived as an experimental deviation into blues that ultimately did not succeed in its initial aim. There is little debate that this early "failure" was a pivotal moment in music history. WINO, a well-known artist within the doom and stoner metal genres, is a dedicated admirer of SABBATH, yet his musical interests also extend beyond the heavy distortion and riff-driven sound.

“Adrift” represents a departure from WINO’s usual style, embracing an acoustic blues/rock approach. It is, in essence, a nostalgic project for the artist—a personal exploration aimed at expanding his musical horizons into the realms of classic blues and rock. This release is notably distinct from his usual heavy metal output, offering instead a collection of melodies rooted in simplicity and emotional depth.

For listeners who appreciate music that emphasizes atmosphere and storytelling over volume and aggression, “Adrift” provides a rewarding experience. The album evokes the spirit of Bob Dylan’s work, capturing an introspective mood that resonates throughout. Its straightforward arrangements underscore the complex themes of everyday life, making each track accessible yet meaningful.

Throughout the listening experience, I found myself recalling the works of the American novelist John Steinbeck—perhaps because the album’s reflective tone seems suitable as a soundtrack to stories of ordinary struggles and resilience. “Adrift” stands out as a rare oasis in today’s increasingly fragmented and genre-specific music scene.

Additionally, the album features two acoustic covers: MOTORHEAD’s “Iron Horse/Born to Lose” and SAVOY BROWN’s “Shot in the Head.” These reinterpretations add further depth and context to the project, bridging the gap between different eras of blues and rock.

In conclusion, “Adrift” is a thoughtfully crafted album that offers a different perspective within WINO’s discography. Its simplicity and emotional honesty make it a noteworthy listen for those open to exploring beyond conventional genre boundaries.

Nick Parastatidis

REVIEW: PRIMORDIAL, Storm Before The Calm

 

PRIMORDIAL, Storm Before The Calm

Metal Blade Records

Το καλύτερο των δύο κόσμων που ανήκει

Μας μπέρδεψε η Metal Blade. Το εξώφυλλο αυτής της επανέκδοσης θυμίζει τα μεταγενέστερα artwork των δίσκων των Ιρλανδών, αλλά δεν έχει τίποτα κοινό με τον προπολεμικό και μαύρου χρώματος πίνακα με τον οποίο θυμάμαι αυτή τη κυκλοφορία. Εσωτερικά, στο inlay, υπάρχει το ίδιο «μάτι» που κοσμούσε την πρώτη έκδοση, και εκεί τελειώνει η γκρίνια για το εικαστικό μέρος της τέταρτης τους δουλειάς.

Η μουσική που περικλείεται στα επτά κομμάτια είναι μάλλον υπεράνω κριτικής. Το αποτύπωμα του ήχου τους από συνθετικής άποψης είναι καθαρό mid-paced Black Metal. Ωστόσο, από πλευράς φωνητικών διαφοροποιούνται, καθώς τα απελπισμένα και χαρακτηριστικά απόκοσμης βραχνάδας στοιχεία του A.A. Nemtheanga εναλλάσσονται με growl ξεσπάσματα, και έτσι κάνουν τη διαφορά!

Είναι Doom ή Black Metal; Το ερώτημα αυτό έχει σημασία; Η απάντηση είναι ναι! Τα κομμάτια τους, όπως τα The Heretics Age, Fallen to Ruin, Cast to the Pure, Sons of the Morrigan και Hosting of the Sidhe, θα τα λατρέψετε, νομίζω.

English:

The Best of Both Worlds That Belongs

We were confused by Metal Blade. The cover of this reissue resembles the later artwork of Irish bands’ albums, but it bears no relation to the pre-war, black-colored painting I associate with this release. Inside, on the inlay, there is the same "eye" that adorned the original version, and that’s where my critique of their fourth work’s artwork ends.

The music contained within the seven tracks is arguably beyond critique. From a compositional perspective, their sound is a clear mid-paced Black Metal. However, vocally, they differ, as the despairing and otherworldly raspy elements of A.A. Nemtheanga alternate with growl outbursts, and that’s what makes them stand out!

Is it Doom or Black Metal? Does that question even matter? The answer is yes! I believe you will love their songs, such as The Heretics Age, Fallen to Ruin, Cast to the Pure, Sons of the Morrigan, and Hosting of the Sidhe.

Τάκης "Ε-Μortal One" Γιώτης

Teeth of Lamb Unleash New Album Deathward

 

German death/thrash trio Teeth of Lamb have dropped their new album Deathward via Kernkraftritter Records, marking the band’s most aggressive chapter yet. The record was tracked at TOL Headquarter Studios and refined by Torsten Sauerbrey at Metalsound Studios, whose mix pushes the band’s razor‑edged sound into even harsher territory.

Formed in 2016 by former Striker (GER) guitarist Wolf J., who later assumed vocal duties, Teeth of Lamb solidified their current lineup with bassist Piepsi Panic and drummer Chris Herdegen—a stable three‑piece since 2025. The band built momentum through early releases Termination World (2017) and their self‑titled EP (2018), followed by international touring and the 2020 debut Soul Gutter.

With Deathward, the German outfit continues its upward trajectory, sharpening its hybrid of thrash precision and death‑metal ferocity while expanding its reach across Europe.

REVIEW: SOCIAL SCREAM, Epiclesis

 

SOCIAL SCREAM, Epiclesis (2014)

Independent

Επίκληση στα σύγχρονα μεταλλικά δεδομένα

Αυτό το CD είναι το πρώτο ολοκληρωμένο δισκογραφικό άλμπουμ του συγκεκριμένου συγκροτήματος από τη Σπάρτη. Περιέχει επτά κομμάτια με τον κλασικό, περισσότερο U.S. Power Metal ήχο, αλλά με πολλά σύγχρονα μουσικά στοιχεία και σχεδόν άψογη παραγωγή. Οι Social Scream αποτελούνται πάντα από τον Βλάση Διαμαντάκο στην ρυθμική κιθάρα και το φωνητικό, τον Κίμωνα Αλέξανδρο στην κιθάρα, τον Joe Black στο μπάσο και τον Δημήτρη Σακκά στα τύμπανα. Το ορχηστρικό κομμάτι Spartan Blood εισάγει στο πνεύμα των μουσικών. Οι τίτλοι των κομματιών του δίσκου είναι: Faith, Smell the Demon, Social Scream, New Era, DNA Eternal και Where the Storm Goes. Όπως αποδείχθηκε σύντομα, αποτέλεσαν μια μεγάλη παρακαταθήκη για το μέλλον τους.

English:

Invocation to Modern Metal Elements

This CD is the debut full-length album by the band from Sparta. It features seven tracks with a classic, primarily U.S. Power Metal sound, but infused with many modern musical elements and nearly perfect production. The Social Scream lineup always includes Vlasis Diamantakos on rhythm guitar and vocals, Kimonas Alexandros on guitar, Joe Black on bass, and Dimitris Sakkas on drums. The instrumental piece Spartan Blood introduces the listeners to the band’s spirit. The track titles are: Faith, Smell the Demon, Social Scream, New Era, DNA Eternal, and Where the Storm Goes. As it quickly proved, these songs became a significant legacy for their future.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: VERITATE - The Chosen One

 

VERITATE - The Chosen One Single

Killer Metal Records

Hailing from Sweden, VERITATE presents their single "The Chosen One" in both English and Swedish. The band adopts a traditional heavy metal style, incorporating keyboards into their sound, which brings to mind bands like SEVENTH SIN from Canada.

The track itself demonstrates clear passion and competence; it is well-executed and engaging. However, from a compositional standpoint, the song feels somewhat typical of the genre and does not particularly stand out as innovative or exceptional. As a single, "The Chosen One" provides a solid example of the band's dedication to heavy metal, but it does not yet showcase a distinctive identity that sets them apart.

Given that this is a solitary release, it is difficult to form a comprehensive judgment. I look forward to hearing their upcoming full-length album to gain a clearer perspective on VERITATE's potential and artistic direction.

Notably, the Swedish version of the song resonates more effectively with me than the English one, which may be due to the vocal delivery or linguistic nuances.

In conclusion, while "The Chosen One" demonstrates passion and technical competence, it leaves me curious about what VERITATE will develop in future releases. For now, I can only assign a tentative rating pending further material.

Nick Parastatidis

NEW MUSIC VIDEO FROM MORBID DEATH – “World of Lies”

 

There is a clear “before and after” in the heavy metal scene of the Azores, and Morbid Death are the band that drew that line. Their arrival in 1990 marked a turning point defined by boldness, determination, and a shared dream: to build a band unlike anything the islands had ever heard. With amps cranked to the maximum, they set out to make history—and they did.

Founded by Ricardo Santos, Dinis Costa, Miguel Verissimo and Pedro Rodrigues, Morbid Death quickly became a cornerstone of Azorean metal. Through demo tapes, albums, music videos, concerts, tours, and several line‑up changes, the band—always led by Ricardo Santos—proved its ability to reinvent itself and adapt, even under the toughest circumstances. After all, they were born in the Azores.

Their latest chapter is “Veil of Ashes”, released on March 13th, 2026 via Firecum Records and the Museu do Heavy Metal Açoriano. The new video for “World of Lies” brings this era to life, showcasing a band that continues to evolve while honoring a legacy recognized across the world.

REVIEW: UNDERDARK – In the Name of Chaos

 

UNDERDARK – In the Name of Chaos

Sleaszy Rider Records

Are you prepared to discover a band capable of invigorating the current death metal landscape? If so, UNDERDARK from Poland offers a compelling proposition. Their debut album, In the Name of Chaos, stands as a notable example of aggressive death metal that merits attention.

Underdark’s sound defies simple categorization. While it incorporates elements from both brutal and melodic death metal, it does not fit neatly into either. Instead, their style blends influences, with a predominant emphasis on intensity and aggression. Despite the brutality, the band maintains a strong melodic presence, largely thanks to their guitars, which craft intricate and expressive lines that provide a striking contrast to the guttural vocals and the powerful, steady rhythm section.

The album showcases technical proficiency and complexity, with elaborate guitar work and intricate solos that introduce progressive nuances into their sound. The rhythm section is particularly strong, employing blast beats and double bass drumming that amplify the album’s brutality and volume. The production quality is professional, ensuring all instruments are clearly defined within the mix, and the artwork complements the music’s aesthetic effectively.

For fans of technical death metal and bands such as Morbid Angel, Vader, and Malevolent Creation, In the Name of Chaos offers a worthy exploration. It demonstrates that UNDERDARK is a band worth watching, capable of making a meaningful impact in the genre.

Christine  Parastatidou

REVIEW: CATHEDRAL, The Ethereal Mirror

 

CATHEDRAL, The Ethereal Mirror (1993)

Earache Records

Επόμενο βήμα ενός εκκολαπτόμενου συγκροτήματος.

Οι τέσσερις νεαροί τότε Άγγλοι, στο υπ’ αριθμόν 2 άλμπουμ τους, πλησιάζουν την εικόνα που έχουν σχηματίσει στο μυαλό τους. Doom Metal με πολλές δόσεις των μεγάλων Black Sabbath, αλλά με τον δικό τους τρόπο. Ο Lee Dorrian, έχοντας παρελθόν στους grindcore πρωτοπόρους Napalm Death, τους άφησε για να δημιουργήσει αυτό το σχήμα. Μαζί του βρίσκονται οι Garry Jennings σε μπάσο και σε μερικά κιθαριστικά μέρη, Adam Lehan στην κιθάρα, και Mark Ramsey Wharton στα ντραμς. Αυτό το άλμπουμ είναι ίσως το πρώτο τους αμιγώς Groove/Doom. Χαρακτηριστικά riffs, με αυτήν την παράξενη χαρούμενη αίσθηση, όπως στον ύμνο Midnight Mountain (εδώ), το πιο γνωστό κομμάτι του δίσκου, εναλλάσσονται με καθαρά αργά και μακρόσυρτα κομμάτια, και πολλές φορές, μέσα στο ίδιο τραγούδι! Επίσης, περιέχει κι άλλα πρώιμα κλασικά κομμάτια με χαρακτηριστικά ονόματα, όπως Ride, Enter the Worms, Fountain of Innocence, Grim Luxuria, Jaded Eternity, Ashes You Leave, Phantasmagoria. Ίσως δεν είναι το πιο κλασικό τους άλμπουμ, αλλά σύντομα θα βρεθούν εκεί.

English:

The next step for a budding band.

The four young Englishmen, on their second album, are moving closer to the vision they have in mind. Doom Metal with strong influences from the great Black Sabbath, but with their own unique twist. Lee Dorrian, having a background with the grindcore pioneers Napalm Death, stepped away from that path to form this band. Alongside him are Garry Jennings on bass and some guitar parts, Adam Lehan on guitar, and Mark Ramsey Wharton on drums. This album is perhaps their first truly groove/doom record. Characteristic riffs, with that strange, almost joyful feeling—similar to the hymn Midnight Mountain (here), which is the most well-known track on the album—alternate with slow, elongated pieces, and often within the same song! It also features other early classics with distinctive titles, such as Ride, Enter the Worms, Fountain of Innocence, Grim Luxuria, Jaded Eternity, Ashes You Leave, and Phantasmagoria. It might not be their most classical album yet, but they will soon find their place there.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: TROUBLE, Simple Mind Condition

 

TROUBLE, Simple Mind Condition (2007)

Escapi Music

Τι ακούμε σε αυτό το άλμπουμ;

Ακούμε Doom; Όχι, τουλάχιστον όχι όπως ήταν κάποτε αυτό το παρακλάδι. Το λες Stoner; Το λες, αν και πάλι δεν είναι ακριβές αυτό. Δεν παίζουν σαν τους Spiritual Beggars, ας πούμε. Είναι πιο Heavy Metal το ύφος του δίσκου. 

Είτε έτσι είτε αλλιώς, τα πιο πρόσφατα δισκογραφικά δημιουργήματα των Αμερικανών, πάλαι ποτέ θεμελιωτών του Doom Metal, έχουν ειδικό ενδιαφέρον. Το συγκεκριμένο άλμπουμ είναι το τελευταίο χρονολογικά που απέκτησα, μετά τα πιο κλασικά αδέλφια του. Παρόλα αυτά, δεν με χαλάει καθόλου! 

Έχοντας μπολιάσει τον ήχο τους με στοιχεία και από νεότερα σχήματα (Monster Magnet μου θυμίζουν κάποια riffs), τολμούν να μην πέφτουν στα ίδια και τα ίδια. Είναι πάντως άλμπουμ Trouble, δεν χωράει αμφιβολία. Με έντεκα κομμάτια, εκ των οποίων τα οκτώ είναι χαρακτηριστικής λογικής του συγκροτήματος, έχουμε ένα πολύ ενδιαφέρον συνονθύλευμα.

 

Τα "Goin' Home", "Mindbender", "Pictures of Life", "Trouble Maker", "Arthur Brown's Whiskey Bar", "Simple Mind Condition", "Ride the Sky" (τίτλος που έχει υπάρξει σε τραγούδι και από άλλα συγκροτήματα, τουλάχιστον άλλες δύο φορές, χωρίς να είναι διασκευή), και "The Beginning of Sorrows" είναι τα σημεία που ξεχωρίζουν.

English:

What do we listen to on this album?

Are we hearing Doom? Not exactly, at least not as that genre once was. Do you call it Stoner? Maybe, but even that isn't quite accurate. They don't play like Spiritual Beggars, for example. Their sound is more Heavy Metal. 

Either way, the latest recordings from the Americans—once the foundational pioneers of Doom Metal—are particularly interesting. This specific album is the most recent one I acquired, after their more classic works. That said, I have no problem with it at all! 

They've infused their sound with elements from newer bands (Monster Magnet reminds me of some riffs), and they dare not fall into the same patterns. It's definitely a Trouble album—no doubt about it. With eleven tracks, eight of which reflect the band's characteristic style, it’s a very intriguing mix. 

Standout tracks include "Goin' Home," "Mindbender," "Pictures of Life," "Trouble Maker," "Arthur Brown's Whiskey Bar," "Simple Mind Condition," "Ride the Sky" (a title that has appeared in songs by other bands at least twice, without being a cover), and "The Beginning of Sorrows.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: INTER ARBORES - Ya.Otreshennost.Granitsi.Svyatoye

 

INTER ARBORES  - Ya.Otreshennost.Granitsi.Svyatoye

Wroth Emitter / Backfire Productions

Music as an art form allows for a wide range of experimentation and interpretation. INTER ARBORES from Russia embraces this freedom, aiming to create an atmosphere characterized by darkness, industrial undertones, and emotional depth. The album features a single track exceeding 38 minutes in length, which deviates from conventional song structures and challenges the listener’s expectations.

Throughout the composition, the band employs a variety of sounds and incorporates monologues, all aimed at evoking a mood dominated by somber emotions—loneliness, despair, and introspection. However, given the album’s extended duration and the repetitive nature of its elements, maintaining engagement becomes increasingly difficult. The overarching atmosphere is one of bleakness and heaviness, which, at times, successfully resonates on an emotional level.

It is important to note that my perspective on this release is influenced by my limited familiarity with the genres of ambient and funeral doom metal, in which INTER ARBORES primarily operates. While certain passages evoke a sense of darkness that I found compelling, the prolonged monotony and the lack of variation ultimately hindered my ability to stay immersed throughout the entire piece. The experience might have been enhanced if the composition had been divided into smaller sections or included more theatrical elements to provide contrast and maintain interest.

In its current form, the album risks becoming monotonous after a certain point, which affects its overall impact. Nonetheless, for listeners who appreciate immersive, lengthy ambient doom explorations, this work may offer a profound auditory journey.

Conclusion: While I acknowledge the artistic intent and the emotional depth conveyed, I find that the album's length and repetitive structure limit its accessibility. Therefore, I can appreciate its merits but cannot recommend it beyond an audience already inclined toward this specific aesthetic.

Nick Parastatidis

AS THE SUN FALLS Unveil New Official Video

 

THEOGONIA RECORDS has released the official video for “9 Days Of Sorrow”, the latest single from Finnish melodic death metal act AS THE SUN FALLS. The track is taken from the band’s upcoming album Songs From The Veil, set for release on May 22nd, 2026.

Steeped in grief, memory, and the slow descent through darkness, “9 Days Of Sorrow” showcases the band’s signature fusion of melodic and atmospheric death metal. Haunting guitar lines and somber textures drive the song’s emotional weight, offering one of the most introspective moments on the forthcoming record.

The accompanying video visually amplifies the track’s themes, portraying the lingering ache of loss and the fragile passage through mourning. Its stark imagery mirrors the band’s continued exploration of Finnish mythology, northern landscapes, and human vulnerability.

With Songs From The Veil, their third full-length album, AS THE SUN FALLS deepen their atmospheric storytelling, crafting a sound that feels both vast and intimately personal.