MAMMOTHFEST 2026: A Triumphant Final Day (13/06/26)

 

The fourth and final day of Mammothfest 2026 arrived with high expectations, a diverse billing of heavy subgenres, and an eager crowd ready to see out the festival in style. Covering everything from local doom and modern djent to Swedish alternative rock and progressive metal royalty, June 13th proved to be an unforgettable marathon of live music.

The afternoon kicked off promptly at 17:30 with Katharsis, a fierce three-piece outfit hailing from Thessaloniki. Though early festival logistics meant missing their live visual delivery, reports from the barrier confirmed a devastatingly heavy start to the day. The trio tore through a calculated four-song assault alongside two brand-new, unreleased tracks that hint at a massive future release.

Katharsis Setlist:

1. The Last Battle

2. Rotting Kingdom

3. Eternal Voyage

4. Beneath the Swamp

(Plus 2 unreleased tracks)

Up next at 18:15 were Athens-based progressive groove metal/djent technicians Herta. They wasted no time injecting a massive dose of adrenaline into the growing crowd. Delivering precise, polyrhythmic syncopation and bone-shattering riffs, their performance of tracks like Monolith and The Snake Devours the Wolf proved exactly why they are a force to be reckoned with in the Greek modern metal scene. By the time they closed with Control, the crowd was thoroughly warmed up.

Herta Setlist:

1. Monolith

2. The Snake Devours the Wolf

3. Labyrinth

4. Beyond the Dead

5. The Path

6. Incarnation

7. Control

As the clock struck 19:00, the festival's namesake vibes truly took over with the arrival of Acid Mammoth. The Athenian doom/stoner icons laid down a wall of fuzzy, monolithic riffs that shook the venue to its core. Moving through the thunderous Supersonic Megafauna Collision and the suffocatingly heavy grooves of Jack the Riffer, their set was a masterclass in slow-burning, psychedelic heaviness.

Acid Mammoth Setlist:

1. Supersonic Megafauna Collision

2. Tree of Woe

3. Berserker

4. Untitled

5. Them!

6. Jack the Riffer

Crossing the North Sea to join the billing, London’s Seven Sisters took the stage at 20:00, shifting gears into the realms of progressive heavy/power metal. Armed with twin-guitar harmonies reminiscent of classic NWOBHM mixed with modern complexity, their set was melodic, soaring, and technically flawless. Highlights included an epic rendition of The Cauldron and the Cross and the brilliant melodic hooks of Andromeda Descending.

Seven Sisters Setlist:

1. The Cauldron and the Cross

2. The Artifice

3. Andromeda Descending

At 21:00, Sweden’s Ambush brought pure, unadulterated 1980s traditional heavy metal nostalgia to the stage. Exuding high energy, leather, and piercing vocals, they triggered the first massive sing-alongs of the evening with tracks like Firestorm and Desecrator. A surprise, blistering cover of Judas Priest’s Metal Gods sent the crowd into a frenzy, setting the perfect stage for the final track, Don't Shoot (Let 'em Burn).

 

Ambush Setlist:

1. Evil in All Dimensions

2. Maskirovka

3. Possessed by Evil

4. Heading East

5. Firestorm

6. Desecrator

7. Natural Born Killers

8. Metal Gods (Judas Priest cover)

9. Don't Shoot (Let 'em Burn)

As night fell at 22:15, Magna Carta Cartel offered a mesmerizing change of pace. The Swedish alternative rock band draped the venue in a cinematic, dreamlike atmosphere. Their synth-kissed guitars and melancholic melodies felt like a breath of fresh air. Tracks like Silence, Metropolis Flow, and the hauntingly beautiful "Valiant Visions Dawn" captivated the audience, showcasing the depth of the festival's curation.

Magna Carta Cartel Setlist:

1. This Time

2. Turn

3. Sleepy Eye June

4. Silence

5. Metropolis Flow

6. Darling

7. Sway

8. Arrows

9. Savantgarde

10. Valiant Visions Dawn

Finally, at 23:30, progressive metal titans Soen stepped into the headlining spotlight to close out Mammothfest 2026. The Swedish quintet delivered a flawless, emotionally charged performance that balanced intricate technicality with massive, anthemic hooks. From the opening punch of Mercenary and Antagonist, Joel Ekelöf’s vocals were pristine, while Martin Lopez’s drumming anchored the night with unparalleled groove. The emotional weight of Lotus and Illusion brought chills to the audience, before the band brought the entire four-day festival to a triumphant, heavy end with a roaring performance of Unbreakable.

Soen Setlist:

1. Mercenary

2. Antagonist

3. Fraccions

4. Memorial

5. Lascivious

6. Discordia

7. Martyrs

8. Lotus

9. Primal

10. Violence

11. Illusion

12. Unbreakable

TEXT: Nick Parastatidis

PHOTOS/VIDEOS: Theofilos Bachtsevanidis

KA'APER Release New Album When Gods Walked The Earth via Satanath Records

 

Cypriot dark metal force KA'APER have unleashed their second full-length album, When Gods Walked The Earth, out now via Satanath Records.

Formed on the southern shores of Cyprus in 2024, KA'APER channel ancient mythology, death, and human tragedy into a powerful blend of crushing riffs, dark melodies, and fierce vocals. The new album features ten tracks exploring themes of life and death, love and betrayal, and the eternal struggle between chaos and order, all viewed through the lens of ancient gods and legends.

Drawing inspiration from bands such as Septicflesh, Dark Tranquillity, Rotting Christ, Insomnium, and Graveworm, the band delivers a dark and atmospheric journey through mythology and modern decay.

When Gods Walked The Earth was mixed and mastered by Max Baryshnikov and includes guest appearances from Ellen Pcheliakova (violins), Julia Selikhova (vocals on "Lament for Osiris"), and Mike Angastiniotis (vocals on "Hiding").

Tracklist:

1. Amenhotep
2. Of Chaos and Destruction
3. Pharaoh
4. Our Time of Dying
5. Eternity in Stone
6. When Gods Walked the Earth
7. Lament for Osiris
8. A Reason to Go Insane
9. After the Gods
10. Hiding

With its fusion of melodic darkness, mythological storytelling, and relentless heaviness, When Gods Walked The Earth marks another significant step forward for Cyprus' rising adepts of the dark arts.

REVIEW: TEN – Stormwarning

 

TEN – Stormwarning

Frontiers Records

Stormwarning is TEN's latest release. Having been active for more than two decades, TEN have established themselves as one of the most recognizable names in the melodic hard rock and metal scene. This album marks the band's eleventh release and eighth studio album, further cementing their long-standing presence in the genre.

Musically, TEN continue to blend melodic metal with elements of pomp rock, creating a sound that is both epic and accessible. The band appears to be in particularly strong form on Stormwarning, delivering a collection of well-crafted songs characterized by memorable melodies, strong choruses, and polished musicianship.

The album's highlights include tracks such as "Endless Symphony," "Kingdom Come," and "Destiny," all of which showcase TEN's ability to write melodic rock and metal anthems with a grand, uplifting atmosphere. These songs capture the band's strengths perfectly, combining powerful vocal performances with rich instrumental arrangements.

The album's main weakness emerges during its second half, where the material becomes noticeably softer. While these more restrained moments demonstrate the band's versatility, they may not appeal equally to all listeners. For those who prefer TEN's heavier and more energetic side, some of these softer passages can slow the album's momentum and feel less engaging compared to its strongest tracks.

Overall, Stormwarning is a very solid release that should satisfy fans of melodic rock and melodic metal. The quality of the songwriting, performances, and production make it one of TEN's strongest efforts in recent years. In fact, it stands as their best album since the acclaimed Spellbound and Babylon era. As an added bonus, the album artwork is excellent and complements the music's epic atmosphere perfectly.

Ioannis Kaskamanidis

REVIEW: HYPOCRISY, Hypocrisy

 

HYPOCRISY, Hypocrisy (1999)

Nuclear Blast Records

Δυναμική συνέχεια από άλλη διάσταση.

Κι ενώ παρολίγο το σχήμα να διαλυθεί μετά το άλμπουμ The Final Chapter το 1997, η φωνή του λαού τους κράτησε ζωντανούς. Ο Peter Tagtgren σε κιθάρες, πλήκτρα και φωνή, ο Michael Hedlund στο μπάσο και ο Lars Szöke στα drums αποδεικνύουν τόσο στους ίδιους όσο και στον κόσμο πόσο δίκιο είχε που ζήτησε να μην το διαλύσουν. 

Το έκτο τους στούντιο άλμπουμ, το ομώνυμο, είναι πραγματικά ένα από τα καλύτερα—not μόνο δικά τους, αλλά και όλου του ιδιώματος του death metal. 

Κομμάτι-κομμάτι, η μία επιτυχία διαδέχεται την άλλη: Fractured Millennium, Apocalyptic Hybrid, Fusion Programmed Minds, Reversed Reflections, Until the End, Paranormal Hysteria, Disconnected Magnetic Corridors, Time Warp, Paled Empty Sphere. Ακόμη και το επιπλέον κομμάτι αυτής της αρχικής έκδοσης, Self-inflicted Overload, αποτελεί σεμινάριο της σουηδικής σχολής. 

Ένα δέκα με τόνο ακόμη για την τριάδα που γράφει τη δική της ιστορία στη σφαίρα της επιστημονικής φαντασίας και του τρόμου.

English:

A dynamic continuation from another dimension.

And while the band nearly disbanded after the The Final Chapter album in 1997, the voice of the fans kept them alive. Peter Tagtgren, on guitars, keyboards, and vocals, along with Michael Hedlund on bass and Lars Szöke on drums, prove to both themselves and the world how right they were to fight for the band’s survival. 

Their sixth studio album, the self-titled Hypocrisy, is truly one of the best—not only of their own discography but of the entire death metal genre. 

Track after track, successions of excellence: Fractured Millennium, Apocalyptic Hybrid, Fusion Programmed Minds, Reversed Reflections, Until the End, Paranormal Hysteria, Disconnected Magnetic Corridors, Time Warp, Paled Empty Sphere. Even the bonus track of this initial edition, Self-inflicted Overload, stands as a masterclass in the Swedish school of death metal. 

A perfect ten, plus one, for the trio that is writing its own history in the realms of science fiction and horror.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: DESTRUCTION, Mad Butcher E.P.

 

DESTRUCTION, Mad Butcher E.P. (1987)

Steamhammer

Όλα τα σφάζει, όλα!

Έχοντας ξαναπεί ότι οι μικρές κυκλοφορίες είχαν παλαιότερα τη δική τους ξεχωριστή αξία, εδώ έχουμε το δεύτερο συνολικά EP των Destruction στη δισκογραφία τους, το οποίο περιλαμβάνει την επανεκτέλεση ενός παλαιότερου τραγουδιού τους με τη νέα, τότε, τετραμελή σύνθεση του συγκροτήματος.

Ακολουθεί η διασκευή του The Damned των Plasmatics, της αξέχαστης Wendy O' Williams, ενώ τα Reject Emotions και το ορχηστρικό The Last Judgment ολοκληρώνουν το σύνολο.

Μικρό σε διάρκεια αλλά φονικό σε περιεχόμενο, λειτουργεί ως ιδανική προετοιμασία για το επόμενο δισκογραφικό τους βήμα, το άλμπουμ Release from Agony.

English:

Kills Everything in Its Path!

As I’ve said before, smaller releases used to have a special value of their own. Here we have Destruction’s second EP overall, a release that features a re-recorded version of one of their earlier songs, performed by the band’s then-new four-piece lineup.

 

Next comes their cover of The Damned by Plasmatics, fronted by the unforgettable Wendy O’ Williams, while Reject Emotions and the instrumental The Last Judgment round out the tracklist.

Short in length but absolutely lethal in content, this EP serves as the perfect appetizer for their next major discographic step: the album Release from Agony.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: RAZORWYRE - Coming Out

 

RAZORWYRE - Coming Out E.P.

Independent

This band from New Zealand started its career under the name GAYWYRE, a name that hardly reflected the style of music they were playing. Fortunately, they soon realized that a more fitting name was needed and adopted the name RAZORWYRE instead. And indeed, their current moniker provides a much better indication of what listeners can expect from their music.

RAZORWYRE play traditional heavy metal enriched with strong doses of speed and thrash metal. If you can imagine a mixture of IRON MAIDEN’s melodic approach and the aggressive energy of classic OVERKILL, then you already have a fairly accurate picture of the sound offered on this release. The band successfully combines sharp, energetic riffs with memorable melodies, creating a style that feels both familiar and refreshing.

Personally, I enjoyed this EP a lot, mainly because it contains many of the elements I look for in a promising new band: strong songwriting ideas, genuine enthusiasm, and a sense of freshness that prevents the material from sounding derivative. These qualities are further enhanced by a clear and powerful production that meets professional standards and allows every instrument to be heard without sacrificing the raw energy of the music.

Special mention should be made of vocalist Z Chylde, whose voice proves to be an ideal match for the band's sound. His singing style is firmly rooted in the N.W.O.B.H.M. tradition, while at certain moments his rougher vocal approach brings to mind Cronos of VENOM. This combination gives the music additional character and helps RAZORWYRE establish a distinct identity within the genre.

Overall, Coming Out E.P. is a highly enjoyable release that will undoubtedly appeal to fans of 1980s heavy, speed, and thrash metal. RAZORWYRE demonstrate both the talent and the potential required to make a lasting impact on the heavy metal scene, and this EP serves as convincing evidence that they are a band worth keeping an eye on in the future.

Nick Parastatidis

REVIEW: ZENO MORF – Wings of Madness

 

ZENO MORF – Wings of Madness

Karthago Records

Norway is widely recognized for its extreme metal scene, particularly its black metal output. However, the country occasionally produces bands rooted in more traditional heavy metal aesthetics. ZENO MORF is one such example, and with their second full-length album, Wings of Madness, they deliver a collection of 12 tracks firmly grounded in classic heavy metal tradition.

Musically, the album draws clear inspiration from genre-defining acts such as IRON MAIDEN, BLACK SABBATH (particularly the Dio era), JUDAS PRIEST, and, to a lesser extent, METALLICA. These influences are evident throughout the record, both in the riff construction and overall compositional approach. What stands out, however, is that ZENO MORF do not merely imitate their predecessors; instead, they integrate these elements into a coherent sound that carries a degree of personal identity.

The album contains several strong compositions, and the band demonstrates a solid grasp of traditional metal songwriting. Nevertheless, one of its main limitations is a noticeable lack of dynamic variety. A significant portion of the material tends to operate within similar tempos and rhythmic structures, which can lead to a somewhat uniform listening experience across the full runtime. Greater experimentation with pacing or arrangement diversity could have elevated the overall impact of the record.

Vocally, the performance is distinctive and immediately recognizable. The singer has a clear stylistic identity, which adds character to the music. However, there is room for broader expressive variation, as the delivery occasionally remains within a relatively narrow range of techniques and dynamics. Expanding vocal approaches could further enhance the emotional depth of the material.

Despite these criticisms, Wings of Madness remains an enjoyable and well-executed traditional metal release. It will likely appeal most strongly to dedicated fans of classic heavy metal, while listeners outside this sphere may find it less compelling. It is a solid and promising effort from a band with clear potential, even if it suggests that further development could yield even stronger results in the future.

Highlights: “Riding the Tundra” (notable for its epic atmosphere), “Requiem”, and “Badgers in the Attic”.

Nick Parastatidis

REVIEW: SAXON, Metalhead

 

SAXON, Metalhead (1999)

Steamhammer

Άλλη μία επικίνδυνη στροφή με μεγάλη ταχύτητα.

Ο δίσκος αυτός έχει συνειδητά αγνοηθεί από τους σκληροπυρηνικούς «σαξονικούς», αφενός επειδή κινήθηκε σε διαφορετική κατεύθυνση και αφετέρου επειδή τότε αυτή η κατεύθυνση τούς φαινόταν ξένη. Όσο περνά ο καιρός και πλησιάζοντας προς το τέλος της δεκαετίας, οι «δεινόσαυροι» του παλιού NWOBHM βρίσκουν όλο και περισσότερο έμπνευση και παρηγοριά στο ευρωπαϊκό power metal. Εδώ ίσως το παρακάνουν, αλλά και πάλι, πώς να πει κανείς ότι πρόκειται για κακό άλμπουμ; Δεν ισχύει κάτι τέτοιο.

Στιβαρή παραγωγή, θεματολογία από επιστημονική φαντασία αλλά και ιστορικά στοιχεία, όπως πάντα. Δεν καταλαβαίνω γιατί οι παλιοί το αγνοούν επιδεικτικά. Περιλαμβάνει, και τι δεν περιλαμβάνει: Conquistador, All Guns Blazing και Prisoner (αμφότερα δεν είναι διασκευές σε Judas Priest και Iron Maiden!), Metalhead, Are We Travelers in Time, Sea of Life — τόσα κλασικά κομμάτια, που πλέον πώς να μη θεωρείται ένα από τα καλύτερα άλμπουμ της εποχής τους;

Θυμάμαι με νοσταλγία τη συναυλία τους το 2000 στο Ρόδον, στην Αθήνα, στα πλαίσια της περιοδείας για αυτόν τον δίσκο. Δεν κατέβαιναν από τη σκηνή με τίποτα. Δεν υπήρχε άλλο συγκρότημα πριν από αυτούς· βγήκαν λίγο μετά τις εννιά το βράδυ και το πάρτι τελείωσε γύρω στα μεσάνυχτα.

English:

Another dangerous turn taken at high speed.

This album has been deliberately overlooked by the hardcore “Saxon loyalists,” partly because it moved in a different direction and partly because, at the time, that direction felt alien to them. As the years go by and we approach the end of the decade, the “dinosaurs” of the old NWOBHM era increasingly find inspiration and comfort in European power metal. They may be overdoing it here, perhaps—but even so, how could anyone honestly call this a bad album? That simply isn’t the case.

Solid production, themes drawn from science fiction as well as history, as always. I don’t understand why the old guard dismisses it so openly. It contains—what doesn’t it contain? Conquistador, All Guns Blazing, and Prisoner (neither are covers of Judas Priest or Iron Maiden songs!), Metalhead, Are We Travelers in Time, Sea of Life—so many tracks that have become classics that it’s hard not to regard this as one of the strongest albums of their era.

I still remember with nostalgia their 2000 concert at Rodon in Athens, part of the tour supporting this album. They simply refused to leave the stage. There was no opening act; they came on shortly after nine in the evening and the party didn’t end until around midnight.

Τάκης "Ε-Μortal One" Γιώτης!

Before We Fall Release Debut Album Synthetic Life

 

Hungarian modern metal outfit Before We Fall have officially unveiled their long‑awaited debut album “Synthetic Life”, marking a major milestone in their rise from underground studio project to full‑fledged force in the European metal scene.

Recorded at Stray Heart Records with engineer István Diószegi and mixed/mastered at No Silence Studio by István Simon, the album captures the band’s signature blend of sharp modern riffing, dual‑vocal intensity, and atmospheric tension.

Formed in Budapest in 2018, Before We Fall evolved from a studio experiment into a tight five‑piece featuring Takács Attila (vocals), Róth Henrik (vocals, guitar), Tagscherer István (guitar), Csécsei Szabolcs (bass), and Táncos Bence (drums). After gaining traction with their EPs Leaves and Healed by Fear, the band now take a decisive step forward with Synthetic Life, their most ambitious and polished work to date.

REVIEW: SAXON, Unleash The Beast

 

SAXON, Unleash The Beast (1997)

Steamhammer

Ποιο είναι τελικά αυτό το θηρίο;

Έχοντας ήδη κυκλοφορήσει, από το 1990 έως τότε, τρία στούντιο άλμπουμ πολύ υψηλού επιπέδου, οι γερόλυκοι εξακολουθούν να ουρλιάζουν. Σε έναν δίσκο που είναι και πάλι εμποτισμένος με την αισθητική του NWOBHM των πρώτων τους βημάτων, οι πέντε Άγγλοι παραδίδουν νέα μαθήματα heavy metal.

Το εκπληκτικό ομότιτλο τραγούδι του άλμπουμ, που ανοίγει τη γιορτή, διαδέχονται τα Terminal Velocity, Circle of Light, The Thin Red Line, Ministry of Fools, The Preacher, Cut Out the Disease και All Hell Breaking Loose, τα οποία αποτελούν τα πιο λαμπερά στολίδια αυτού του χορταστικού δίσκου του Biff Byford και της παρέας του.

Όσοι διέκριναν σποραδικές power metal πινελιές στο αμέσως προηγούμενο Dogs of War, εδώ θα διαπιστώσουν ότι αυτές έχουν πλέον μετατραπεί σε ολόκληρη συμφωνία αυτής της σχολής. Και γιατί όχι; Οι Saxon, στον δίσκο με το πέτρινο gargoyle στο εξώφυλλο, πλησιάζουν ολοένα και περισσότερο αυτό το ιδίωμα. Μάλιστα, λίγο αργότερα στην πορεία τους, θα το ενστερνιστούν ακόμη πιο έντονα.

English:

What Is This Beast, After All?

Having already released three studio albums of exceptionally high quality between 1990 and this point, the old wolves are still howling. On an album once again steeped in the NWOBHM spirit of their early days, the five Englishmen deliver yet another masterclass in heavy metal.

The album's stunning title track, which kicks off the festivities, is followed by Terminal Velocity, Circle of Light, The Thin Red Line, Ministry of Fools, The Preacher, Cut Out the Disease, and All Hell Breaking Loose—the brightest jewels adorning this rich and rewarding record from Biff Byford and company.

Those who detected occasional power metal touches on the immediately preceding Dogs of War will find that, here, those elements have blossomed into a full-fledged symphony of the style. And why not? On the album featuring the stone gargoyle on its cover, Saxon move ever closer to that particular musical territory. In fact, a little further down the road, they would embrace it even more wholeheartedly.

Τάκης "Ε-Μortal One" Γιώτης!