Ka’aper Release New Single “Eternity in Stone”

 

Cyprus Melodic Death Metal band Ka’aper have unveiled their brand‑new single “Eternity in Stone”, taken from their upcoming album “When Gods Walked the Earth”.

Recorded in the band’s home studio and mixed/mastered by Max Barishnikov, the track offers a first taste of the epic, myth‑laden atmosphere Ka’aper are shaping for their new full‑length.

With their signature blend of melody, aggression, and ancient‑themed storytelling, Ka’aper continue building momentum as they prepare for the album’s release.

REVIEW: VIETAH – Smalisty Zah

 

VIETAH – Smalisty Zah

Stygian Crypt Productions

VIETAH, the atmospheric black metal project from Belarus, operates entirely under the vision of its sole member, Antarctis. This is not a band in the traditional sense but a one‑man entity devoted to a specific aesthetic: mid‑tempo black metal shaped by a distinctly pagan, hibernal atmosphere.

Smalisty Zah is crafted with evident care and dedication. The album’s autumn‑to‑winter mood is built through the interplay of cold, melodic guitar lines and spacious keyboard layers, both working together to create a sense of isolation and seasonal stillness. The compositions avoid modern genre clichés, instead embracing a more traditional, introspective approach to atmospheric black metal.

The record stands as a sincere and admirable work within its niche. Fans of atmospheric black metal will find much to appreciate here. If the material occasionally feels like it could benefit from a touch more speed or urgency, that does little to diminish the album’s overall character and intent.

Smalisty Zah remains a recommended listen for those who seek black metal rooted in mood, nature, and personal vision.

George Kefalas

REVIEW: HEAVY LOAD, Stronger Than Evil

 

HEAVY LOAD, Stronger Than Evil (1983)

Thunderload Records

Παγωμένος, χαλύβδινος οδοστρωτήρας.

Οι Σουηδοί είναι οι άγιοι προστάτες του παραδοσιακού, τίμιου, αυτού που οι Manowar αποκαλούν όσο κι αν αυτό είναι τελικά αμφισβητήσιμο από τους ίδιους, True Heavy Metal. Μετά το εκπληκτικό Death Or Glory ένα χρόνο πριν, δεν έχασαν καιρό, και το συγκεκριμένο άλμπουμ πραγματικά ολοκληρώνει την απόλυτη μεταλλική θύελλα του βαρέως φορτίου, δηλαδή του ονόματός τους! Με πρόσφατη την απώλεια του οδηγού του σχήματος, κιθαρίστα και ερμηνευτή Ragne Wahlquist, που για άλλη μια φορά στεναχώρησε τον κόσμο της βαριάς μουσικής, ακούω κι αυτό το αξεπέραστο άλμπουμ τους. Απόλυτο, κλασικό, απαραίτητο — είναι μερικά ανούσια επίθετα. Πώς να σχολιάσεις και με ποιες λέξεις κομμάτια όπως τα Run With The Devil (το οποίο, σαν μέταλο της νεότερης γενιάς, το άκουσα πρώτη φορά από τους HammerFall), The King, Singing Swords, Stronger Than Evil, Free, Saturday Night, Roar of the North, καθώς και τα κομμάτια από το Monsters of the Night Ε.Ρ. του 1985 που υπάρχουν στο τέλος, το ομότιτλο και το I’m Alive;

English:

Frozen, steel-hard bulldozer.

The Swedes are the holy guardians of traditional, honest metal—what Manowar, regardless of how much they themselves might question it, call True Heavy Metal. After the stunning Death Or Glory a year ago, they didn’t waste time, and this album truly completes their ultimate heavy metal storm—heavy as their name suggests! Recently, with the loss of the band’s leader, guitarist and vocalist Ragne Wahlquist, who once again saddened the heavy music world, I listen to this unmatched album of theirs. It’s absolute, classic, essential—though those are some trivial adjectives. How can you comment on, and with what words, songs like Run With The Devil (which, as a metal of the newer generation, I first heard from HammerFall), The King, Singing Swords, Stronger Than Evil, Free, Saturday Night, Roar of the North, as well as the tracks from the 1985 Monsters of the Night EP, including the title track and I’m Alive?

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: BLACKFOOT – MARAUDER

 

BLACKFOOT – MARAUDER (1981)

Atco Records

In 1981, Blackfoot released Marauder, their fifth studio album, emphatically sealing the "Golden Trilogy" that began with Strikes and continued through Tomcattin’. At a time when traditional Southern Rock was beginning to lose its momentum, Blackfoot injected it with the raw energy of Hard Rock and Heavy Metal, creating a sonic steamroller that bridged two entirely different worlds.

The band’s name was never a hollow marketing gimmick. With a lineup featuring leader Rickey Medlocke (Lakota Sioux/Cherokee), Greg T. Walker (Eastern Creek), and Jakson Spires (Cherokee), Blackfoot brought an authentic, "warrior" pride to the stage.

The title Marauder perfectly captured the image of an unstoppable combatant. This is reflected even in their vocal arrangements; instead of typical rock harmonies, their choruses often rely on unison vocals or fifths, echoing traditional Native American chants. This gives the record a unique sense of "tribe" and collective unity.

Marauder is the exact moment Southern Rock collided with tempered steel:

• "Good Morning": The opening track shocks with its aggression, channeling the "metallic" discipline of British Steel-era Judas Priest.
• "Too Hard to Handle": With its galloping riff and massive groove, this track feels like a precursor to Metallica’s Black Album—a style that would become the industry standard for "heavy" a decade later.
• "Payin' For It": Here, the band pivots toward a high-energy KISS-inspired swagger. With its punchy, mid-tempo stomp and "call-and-response" chorus, it captures that theatrical "Detroit Rock City" attitude, proving the band could craft arena anthems as easily as they could write heavy riffs.

Despite the intensity, Medlocke and Hargrett never abandoned their Blues roots. They maintained that signature Southern "swing" and swampy grit even during the high-speed passages.

The album dives into dark, realistic territory that sets it apart from the "party rock" of the era:

• "Diary of a Workingman": A poignant social manifesto regarding working-class despair. This bluesy ballad builds into an epic Hard Rock crescendo.
• "Fire of the Dragon": A raw look at addiction ("chasing the dragon"), portraying the struggle with narcotics as a claustrophobic trap.

On "Rattlesnake Rock 'n' Roller," the guest appearance of Rickey’s grandfather, Shorty Medlocke, on the banjo grounds the record in heritage. Here, Blackfoot pays homage to the "fathers"—Elvis Presley, Chuck Berry, and Jerry Lee Lewis—proving that their brand of hard roxk/Metal is simply the natural evolution of original Rock 'n' Roll.

The album closes with the masterful "Searchin'" a sprawling "road song" where the gospel backing vocals of Southern Comfort provide a redemptive arc to the Marauder’s journey.

Legacy and Influence

Marauder was a triumph both commercially and artistically:

• Commercial Impact: It solidified the band as an international force. "Fly Away" hit No. 42 on the Billboard charts, and the band became icons in the UK, embraced by the NWOBHM (New Wave of British Heavy Metal) movement.
• Enduring Influence: The album’s sound served as the blueprint for the bluesy Hard Rock later perfected by Cinderella. Furthermore, Medlocke’s "heavy-bottom" aesthetic and signature pinch harmonics deeply influenced Zakk Wylde (evident in both Pride & Glory and Black Label Society).

Marauder remains a landmark release—a moment where Native American soul and American Rock 'n' Roll fused with Hard Rock and Heavy Metal. It created a sound that hasn't aged a day.

Nick Parastatidis

REVIEW: VICE HUMAN, Vice Human (1984) & Metal Attack (1985)

 

VICE HUMAN, Vice Human (1984) & Metal Attack (1985)

Unisound Records

Ιστορίες από την κρύπτη

Ταξίδι στο απώτερο παρελθόν της ελληνικής heavy metal σκηνής, πριν καλά-καλά αυτή γίνει «σκηνή». Μία ομάδα παιδιών, που πιθανολογείται ότι ήταν οπαδοί ομάδων ποδοσφαίρου και ξένων συγκροτημάτων, την ίδια εποχή που ολόκληρη η Ευρώπη είχε δώσει δείγματα γραφής, κάθισε και έγραψε μουσική και στίχο σε περιόδους παλαιολιθικές, κάνοντας το πέρασμα από το προηγούμενο hard rock στο νεότερο τότε ιδίωμα του heavy metal.

Οι Heaven and Hell (όχι βέβαια οι Black Sabbath με το alter ego τους!), Douglas, Spitfire, Flames και οι Vice Human από την Αθήνα, μαζί με τους Σαλονικιούς Northwind, Vavel και Deceptor, πρέπει να είναι από τους πρώτους που έγραψαν demo αλλά και άλμπουμ. Με αυτή τη κυκλοφορία της ιστορικής Unisound, που περιλαμβάνει τα δύο πρώτα άλμπουμ των Vice Human, του ήρωα για τα μεταλλικά δρώμενα της Ελλάδας, Νίκου Παπακώστα, στο CD player και μέσω κομματιών όπως τα I Need Power, Life Don’t Be Blind, Damned World, You Gonna Work All The Time, Vice Human, Dust Into My Nose από το πρώτο ντεμπούτο τους, καθώς και τα Heavy Metal, We Are the Future, Hell Has Broken Loose, Hooligan Hero, Two Wheels, Metal Wars, Get A Woman από το δεύτερο του 1985, σαν κρυμμένος θησαυρός σε χρονοκάψουλα, με μεταφέρει εκεί και τότε. Δε χρειάζεται κάτι άλλο να ειπωθεί.

English:

Tales from the Crypt

A journey into the distant past of the Greek heavy metal scene, before it was truly recognized as a "scene." A group of kids, who are believed to have been football fans and fans of foreign bands, at a time when Europe as a whole was already making its mark, sat down and wrote music and lyrics in what can only be called prehistoric times—making the transition from the previous hard rock to the newer genre of heavy metal.

Heaven and Hell (not, of course, the Black Sabbath with their alter ego!), Douglas, Spitfire, Flames, and Vice Human from Athens, along with Thessaloniki bands Northwind, Vavel, and Deceptor, are likely among the first to record demos and albums. With the release of the historic Unisound, which includes the first two albums of Vice Human—an icon of Greece’s metal scene, Niko Papakosta—playing in the CD player and through tracks like I Need Power, Life Don’t Be Blind, Damned World, You Gonna Work All the Time, Vice Human, and Dust Into My Nose from their debut, as well as Heavy Metal, We Are the Future, Hell Has Broken Loose, Hooligan Hero, Two Wheels, Metal Wars, and Get A Woman from their second album of 1985, it’s like a hidden treasure in a time capsule. It transports me there and then. No more needs to be said.

Τάκης "Ε-Μortal One" Γιώτης

 

REVIEW: DEBAUCHERY - Germany´s Next Death Metal

 

DEBAUCHERY - Germany´s Next Death Metal

AFM Records

DEBAUCHERY, hailing from Germany, initially emerged as a mid-tempo metal band with a sound reminiscent of early SIX FEET UNDER and OBITUARY, aligning closely with the US metal scene. Their first two albums were exceptional, and they remain a staple in my listening rotation. Subsequently, the band incorporated hard rock elements into their music, drawing significant influence from AC/DC. This evolution added an intriguing dimension to their sound, enhancing its diversity and increasing my enjoyment of their music.

Following this shift, DEBAUCHERY continued to release albums that either harkened back to their original style or blended metal with hard rock. This progression brings us to their seventh studio album, "Germany’s Next Metal." While the core sound remains consistent with their recent work, this release introduces some thrash metal elements. Despite these promising additions, the album unfortunately reveals a band that appears somewhat fatigued and lacking in inspiration. The tracks seem to echo their previous work without the same level of enthusiasm, resulting in a somewhat monotonous listening experience.

It seems that the band's creative well in this hard rock-meets-metal style may be running dry. This is the first DEBAUCHERY release that has left me indifferent. I hope they soon find renewed inspiration and return to form.

Nick Parastatidis

INTERVIEW: DEAMONOLITH

 

 

Genre: Experimental/Progressive Death Metal

 

Country: Poland

 

Questions by: Nick Parastatidis

 

Answers by: Marcin “Major” Meyer (guitarist)& Łukasz Kobusiński (Vocals)

 

Photo by Adam Grudzinski

 

Site: Bandcamp

 

1) Most bands spend their debut trying to grab attention with three-minute "hits." You chose a 35-minute single-track odyssey. Was this a conscious rebellion against the "TikTok-era" attention span, or did the music simply refuse to be severed into pieces?

 

Marcin “Major” Meyer (guitarist): From the very beginning as we composed and created the sounds our goal was to craft a sophisticated extreme metal track that goes beyond contemporary trends. Of course we could have divided the song into parts (we call them “episodes” in reference to the lyrics) just as we did on the CD and on YouTube, but we deliberately chose to keep it as one powerful track on other platforms. It’s a middle finger aimed at the modern music industry, modern society, and its fast-food consumption culture. I’m fully aware of the consequences of this approach. I genuinely despise TikTok and similar short-attention-span media, even though my wife and daughter have tried to unsuccessfully convince me to use them.

 

2) You’ve joked that a 10-minute song is “a walk for losers." In an era of playlists and singles, "The Monolithic Cult of Death" demands a "theatrical" commitment from the listener. Do you view Deamonolith as a musical entity or more of a ritualistic experience that requires total immersion?

 

Major: We can perceive Deamonolith in both of these dimensions. On the one hand it is a manifestation of our powers, dreams and anxieties transformed into sound; on the other, it emerges as a dark energy flowing through our veins demanding a deeper level of focus from both us and the listener.

 

I recommend experiencing the album in complete darkness - you may uncover additional hidden layers that expand perception beyond the surface. As I continue to develop spiritually, I find myself moving toward a more immersive, ritualistic approach indeed.

 

Łukasz “Kobuch” Kobusiński (vocalist): Both.

 

Our music composition is a consistent story, musically and lyrically as well. It leads the listener to its universe. And we will act this way in the future – Deamonolith band will create music backgrounds and lyrics themes directly connected with each other within every song.

 

It is natural that it needs to grab the attention of the listener. If one wants to get into it, of course. I find the song not boring and makes the listener focus on the theme. That’s my own opinion.

  

3) With members having roots in bands like Gortal, Imperator  and Lost Soul there is a massive amount of "old school" DNA here. How did you balance that classic Polish Death Metal ferocity with the more avant-garde elements like the saxophone and piano without losing the "foundation of death"?

 

Major: The foundation of the composition is based on extreme metal subgenres. I couldn't avoid classic death metal riffs - it is an inseparable part of my music personality. The avant-garde elements serve as additional layers that expand the range of expression. As long as the riffs remain brutal these non-metal elements make the compositions more multidimensional and unpredictable.

 

4) The lyrics follow a harrowing narrative: a Leader, a Council and a failed search for a Messiah that eventually leads to the stars. Does this story reflect your view on modern humanity — that we are constantly seeking salvation in the wrong places, whether it’s ancient religion or future technology?

 

Major: The story unfolds on multiple levels of meaning. Each band member interprets it through their own lens and the same applies to the listener. From my perspective it serves as a quiet warning - an invitation to preserve one’s individuality rather than submit to the “truths” imposed by modern society and their tribalism. In an age crowded with self-proclaimed messiahs I choose to follow none of them.

 

5) In section four, “The Acknowledgement”, you mention that Mecca, Jerusalem, and the Vatican have given up their secrets. Is the "Monolithic Cult" a critique of organized religion or a celebration of the "Absolute" that exists beyond human dogma?

 

Kobuch: I find every form of organised religion as worthless. Each of them makes people feel guilty of thinking and having doubts.

 

And I have always had a feeling that there is something beyond control of human minds, something above the world as we know it. I wouldn’t go so far to celebrate the Absolute or to celebrate even a feeling of its presence. But it certainty pushes me to ask questions.

 

6) The Astronaut at the end of the album realizes that "The horizon has no end" and "There is no Risen from the Dead." It’s an incredibly nihilistic conclusion. Is the "Afterfall" a warning or an inevitability?

 

Kobuch: It’s not a warning at all. It’s a fact.

 

Leave the Risen from the Dead. This existence form (or non-existence, to be precise) is not necessary for us to realize the truth. Let’s think about space.

 

We are not able to imagine the overwhelming size of our galaxy. Distances between planets in the Solar System are enormous. And what about the Milky Way? What about the universe at all? Is there “a universe” that has size?

 

Man has always thought of himself as a centre of something.

 

We are less than moon dust.

 

7) Recording a single 35-minute piece is a logistical nightmare. How did the atmosphere in JNS Studio differ from your previous experiences? Did you record in long, grueling sessions to maintain the "flow" or was it a surgical assembly of movements?

 

Major: It’s not possible to record individual tracks in a single take given the level of effort involved, but in the end the process was relatively smooth. When you come prepared the only thing that matters is staying focused on delivering your best.

 

And each band member did so without any real obstacles.

 

We know JNS Studio very well. It’s a professional and comfortable environment that allows us to achieve the right creative flow while also offering the precision needed when a more surgical approach is required.

 

Kobuch: I did my part of recordings in Bydgoszcz, my home town, at Santa Studio with Szymon “Sigmar” Grodzki as a sound engineer. I come back to this place and this guy every time I need to record vocals. For years. Smooth cooperation.

 

8) Major and Desecrate, you spent two years trying to reactivate Gortal before Deamonolith emerged. What was that specific "spark" or "new energy" that told you this material needed a brand new name and a more progressive identity?

 

Major: I’d like to point out two reasons. The first, quite obvious, was the absence of Chryste, the founder of Gortal. At that time he had other priorities than rehearsing. We had made a pact among ourselves that if one member out of the three was missing, the band would be buried.

 

The second reason emerged naturally. The music evolved into a more sophisticated form and a new identity became inevitable. We wanted to maintain integrity and coherence — both for ourselves and for the audience.

 

9) You have guests contributing clean vocals and saxophone. These aren't standard tools in the Polish death metal kit. When you were composing, did you "hear" those instruments in the void, or did they emerge as a way to color the cosmic themes of the album?

 

Major: I’ve had a few moments of clarity where I realized we needed to enrich the composition with additional layers. These were external inspirations that struck me deeply and almost “poisoned” my mind in a creative sense. For example, while running, I came across Misanthrope’s track “Regard Vers L’Infinité”, and from the very first moment I knew the saxophone had to be part of the arrangement.

 

10) You’ve planned a very specific release schedule - from CD jewel cases to vinyl and finally cassettes in 2026. In the digital age why is the physical "relic" so important for a concept album like this?

 

Kobuch: Personally I think that physical releases are the core of music. I am an old school guy and I will always go back to them (CDs in my case). When using digital streams I always look for albums worth buying on CD. Maybe it’s because I get the feeling of owning something after touching a physical copy, not earlier? Digitals don’t bring this feeling to me.

 

As for Deamonolith, our release schedule included digital, CD and LP releases at the beginning. We were looking for a label that could be interested in cooperation with releasing a tape format (MC), but there wasn’t any then. Anastasis of Greek Nuclear Winter Records joined a year and a half after the premiere.

 

And we are pleased to have the release formats table fulfilled now.

 

11) Does the name Deamonolith represent a physical object (like the monoliths in your lyrics) or is it a state of mind — the "unbreakable stone" of the metal scene you’ve been a part of since the 90s?

 

Kobuch: Interesting… I remember I was thinking of it for a while shortly before joining Deamonolith. I didn’t come to a final conclusion then.

 

The imagery of weird, scary sculpture is quite alluring, nevertheless this explanation is not enough. I would rather like to consider the name of the on the various levels - starting with physical forms and then going to more abstract concepts. Stone of the metal music scene could be one of them.

 

Same as creation of life. Continuous changes of forms of existence. Self-destructive acts of probably the highest evolved representatives. And so on.

 

12) After reaching the "edge of the universe" on your debut, where does Deamonolith go next? Can you ever go back to writing "short" songs or has the portal been opened too wide?

 

Kobuch: My point of view on composing music has been reconstructed so much since I’ve joined the Deamonolith band, that I am not able to even think of creating three or four minutes lasting tracks now. What’s even more, I very often have a feeling that songs I daily listen to end much too quickly if you know what I mean.

 

So, as you have written, the gates have been opened too wide to be closed again.

 

At the present time we are into the creation process for the next album. There will be long songs on it. The formula will be similar to the debut, but we think of composing two “blocks” if we may name them this way. And maybe they both will be split into two parts.

 

Thank you kindly for this interesting (I hope so) interview and for your support for the Deamonolith band. See you somewhere, sometime (maybe on our live show in Greece?).

 

Take care of yourself!

 

https://deamonolith.bandcamp.com/

 

https://www.youtube.com/@Deamonolith

 

https://www.facebook.com/DEAMONOLITH

 

https://www.instagram.com/deamonolith_official_pl/ 

Emergenz Release Debut Album Becoming None

 

German Melodic Black/Death Metal newcomers Emergenz have unveiled their debut album “Becoming None”, a release that introduces the band’s atmospheric yet aggressive sound to the metal scene. The album was recorded, mixed, and mastered by renowned producer Andy Classen at Stage One Studios, a name well‑known to fans of extreme metal production.

REVIEW: DEUS INVERSUS – Mastery over the World

 

DEUS INVERSUS – Mastery over the World

Nihilistic Empire Records

DEUS INVERSUS deliver a qualitative form of brutal death metal that leans heavily into Satanic themes while incorporating surprisingly melodic and morbidly atmospheric guitar work. The band operates with evident chemistry: the performances feel tight, coordinated, and purposeful, allowing the compositions to balance brutality with blackened melodic elements. Even when the riffs move into chaotic territory, the lines remain discernible — an essential factor for listeners who want to follow and appreciate the structure of each track.

The tempos are predominantly ultra‑fast, yet the band maintains control and precision, avoiding the sloppiness that often plagues extreme-speed releases. Their approach shows discipline as much as aggression.

Fans of DEICIDE, IMMOLATION, and ACHERON will immediately recognize the lineage and should find plenty to enjoy here. Mastery over the World stands as a focused, well-executed example of modern brutal death metal with a strong sense of identity and intent.

George Kefalas