REVIEW: SPIDER KICKERS – Alcoholic

 

SPIDER KICKERS – Alcoholic (2011)

Sleaszy Rider Records

One of Greece's oldest and most authentic extreme metal acts, SPIDER KICKERS return approximately four years after their third full-length, VIII Division, delivering nothing short of a sonic holocaust through their uncompromising brand of old school death/thrash metal. Formed back in 1986, the band has remained true to its roots, and Alcoholic is yet another testament to their dedication and consistency.

Having had the pleasure of witnessing SPIDER KICKERS perform live, I can confidently say they rank among the finest Greek extreme metal bands. Their approach to death/thrash metal is deeply rooted in the old school tradition and possesses all those increasingly rare qualities missing from many contemporary releases that lean towards a more modern sound. SPIDER KICKERS stay pure to the core, and the result is an album packed with first-class compositions overflowing with energy and aggression, yet never sacrificing technical precision or memorable melodies.

The vocal performance consists of intense, hoarse growls that perfectly enhance the brutality of the material. What makes it even more impressive is that they are delivered by the band's drummer. Not only does he prove himself to be an outstanding musician, effortlessly shifting between crushing mid-paced sections and relentless blast beats, but he also delivers his vocal performance flawlessly throughout the album.

There isn't much more to add. Both the production and the cover artwork are excellent, while the overall package proves that you don't need to be based in the capital or invest a fortune to create a truly outstanding release. Alcoholic is exactly that: a stunning old school death/thrash metal album. If you're looking for a record capable of sweeping you off your feet and dragging you through a brutal musical journey, then this is one release you shouldn't overlook.

Christine  Parastatidou

REVIEW: DEATH, Leprosy

 

DEATH, Leprosy (1988)

Combat Records

Εγένετο έκτοτε.

Η μπάντα που πατάει με το ένα πόδι στο Thrash Metal και με το άλλο βυθίζεται στα σκοτεινά, εφιαλτικά και κατά τόπους βαλτωμένα νερά του ακόμη υπό διαμόρφωση Death Metal, παρουσιάζει στο δεύτερο άλμπουμ της, μετά το εκρηκτικό Scream Bloody Gore, ένα έργο που για μένα αποτέλεσε την πρώτη επαφή με τους DEATH. Για την ακρίβεια, το πρώτο κομμάτι που άκουσα ποτέ από αυτούς ήταν το ομώνυμο "Leprosy".

Ο Chuck Schuldiner, ηγέτης, τραγουδιστής, κιθαρίστας και βασικός συνθέτης του σχήματος, είχε ήδη από το ντεμπούτο τους θεμελιώσει τον χαρακτηριστικό ήχο της μπάντας. Κάποιοι θα υποστηρίξουν ότι οι POSSESSED είχαν προηγηθεί, και δεν έχουν καθόλου άδικο. Ωστόσο, το δικό τους Seven Churches είναι περισσότερο ένα Thrash Metal άλμπουμ με εφιαλτικά φωνητικά, παρά η πλήρης γέννηση ενός νέου μουσικού είδους.

Το παρακλάδι του Death Metal είχε ήδη αρχίσει να σχηματίζεται, όμως ο Chuck ήταν εκείνος που το έκανε ευρύτερα γνωστό μέσα από αυτό το ακατέργαστο, ωμό και τραχύ άλμπουμ. Ο ακραίος ήχος έκανε το επόμενο βήμα μετά το Thrash Metal, πατώντας γερά πάνω στις βάσεις του και προσθέτοντας όλα εκείνα τα θανατηφόρα συστατικά που θα καθόριζαν τη νέα μουσική πρόταση.

Κάπως έτσι ήρθε αυτός ο δίσκος, ακριβώς στην εποχή και στο σημείο όπου γεννιόταν το νέο αυτό ιδίωμα. Και τελικά, το Leprosy έγινε ένα από τα άλμπουμ που όρισαν τη γέννησή του, μέσα από τραγούδια όπως το ομώνυμο, αλλά και τα "Forgotten Past", "Left to Die", "Pull the Plug", "Open Casket" και "Primitive Ways".

English:

And so it came to pass.

A band with one foot firmly planted in Thrash Metal and the other sinking into the dark, nightmarish, and at times murky waters of a Death Metal sound that was still taking shape, DEATH returned with their second album following the explosive Scream Bloody Gore. For me, this record marked my very first encounter with the band. To be precise, the first song I ever heard by DEATH was the title track, "Leprosy."

Chuck Schuldiner, the band's leader, vocalist, guitarist, and principal songwriter, had already established DEATH's unmistakable sound with their debut album. Some will argue that POSSESSED got there first, and they are not entirely wrong. However, Seven Churches is ultimately more of a Thrash Metal album with nightmarish vocals than the complete birth of a new musical genre.

The Death Metal offshoot had already begun to take shape, but Chuck was the one who brought it to a much wider audience through this raw, unrefined, and abrasive album. Extreme music took its next evolutionary step beyond Thrash Metal, building firmly upon its foundations while adding all the lethal ingredients that would come to define this new style.

This is where Leprosy entered the picture—at precisely the right moment and in the very era when this new genre was being born. In the end, it became one of the defining albums of Death Metal's infancy, thanks to songs such as the title track, "Forgotten Past," "Left to Die," "Pull the Plug," "Open Casket," and "Primitive Ways."

Τάκης "Ε-Μortal One" Γιώτης

Live Review: Slaughter to Prevail, Crypta & Chained Saint at Moni Lazariston, Thessaloniki

 

Date: July 25, 2026

Venue: Moni Lazariston, Thessaloniki, Greece

On July 25, 2026, the historic courtyard of Moni Lazariston in Thessaloniki hosted a formidable night of extreme metal, featuring a diverse billing that spanned thrash, death metal, and modern deathcore.

Chained Saint

Doors opened at 6:30 PM, and precisely at 7:30 PM, Chained Saint kicked off the evening. Delivering an energetic dose of aggressive thrash metal, the group set a solid tone early on. Their set featured tracks like "Stronger Than Stone (Blindside)", "Punk", "1,000 Tons", "Free Reign", and "Animosity", alongside previews of unreleased material including "Uncrowned" and "Snakeskin". Their tight performance effectively warmed up the fast-growing crowd.

Crypta

Taking the stage next was the all-female Brazilian death metal force, Crypta. Known for their relentless speed and technical precision, the band delivered an uncompromising set drawn primarily from their recent work. Highlights included powerful renditions of "The Other Side of Anger", "The Outsider", "Dark Clouds", "Stronghold", "Lord of Ruins", and the fan-favorite "From the Ashes". Crypta's stage presence and razor-sharp execution proved once again why they are one of the most compelling modern acts in classic-style death metal.

Slaughter to Prevail

Headlining the night were Slaughter to Prevail, the Russian-born, Orlando-based deathcore titans. Opening their performance with the heavy-hitting "Bonebreaker", the band maintained intense momentum throughout their set. Frontman Alex Terrible led the crowd through explosive renditions of "Banditos", "Russian Grizzly in America", "Viking", and "Bratva".

A standout drum solo briefly shifted the spotlight before the band closed out the night with a crushing sequence featuring "Baba Yaga", "Demolisher", "Kid of Darkness", "Behelit", and "Conflict". The high-energy performance delivered exactly what the audience anticipated, bringing a heavy and memorable night at Moni Lazariston to a close.

TEXT: Nick Parastatidis

PHOTOS/VIDEOS: Theofilos Bachtsevanidis

REVIEW: HAMMERFALL, Hammer Of Dawn

 

HAMMERFALL, Hammer Of Dawn (2022)

Napalm Records

Πιστεύουν σε αυτό που κάνουν, άλλη μια φορά.

Τείνουν να χαρακτηριστούν ως οι Σουηδοί Manowar. Αρκετοί έχουν αφήσει πίσω τους το σχήμα ήδη από το τρίτο ή τέταρτο άλμπουμ, αλλά παρ' όλα αυτά, αφού έκαναν κι αυτοί την «κοιλίτσα» τους μετά τα μέσα της πρώτης δεκαετίας του 21ου αιώνα, σε αυτό το άλμπουμ (και το τέταρτο κατά σειρά που το πιστεύω ακράδαντα) για άλλη μια φορά «παίζουν παπάδες».

Για όσους ρομαντικούς του πραγματικού Power Metal με μια δόση επικής χροιάς υπάρχουν εκεί έξω (και υπάρχουμε αρκετοί), το πιο πρόσφατο άλμπουμ τους αποτελεί ακόμα μία ευχάριστη ρετρό σταγόνα μεταλλικού μεγαλείου από τα παλιά.

Υπό αυτό το πρίσμα, το "Hammer of Dawn" σαν δίσκος έχει και πάλι αρκετές καλές στιγμές, λίγες μέτριες και καθόλου κακές. Το αρχηγικό δίδυμο των Joacim Cans στα φωνητικά και Oscar Dronjak στην κιθάρα συνεχίζει, μαζί με τους συνεργάτες του, αυτό που κάνει εδώ και χρόνια — και, κατά τη γνώμη μου, το κάνει καλά.

Τα "Brotherhood", "Hammer of Dawn", "No Son of Odin", "Venerate Me", "Reveries Too Old to Die Young", "Live Free or Die" και "No Mercy" τα βρίσκω, περισσότερο υποκειμενικά παρά αντικειμενικά, αρκετά τίμιες στιγμές μέσα στον δίσκο.

Πείτε με για άλλη μια φορά οπαδό κι όχι απλώς φίλο. Θα το αντέξω!

English:

They believe in what they do, once again.

They are often regarded as the Swedish Manowar. Many people had already left the band behind after their third or fourth album, but nevertheless, after they too experienced a bit of a decline after the mid-2000s, with this album (and this is the fourth time in a row that I strongly believe it), they prove once again that they can truly deliver.

For all the romantics of true Power Metal with an epic touch out there (and there are quite a few of us), their latest album is yet another pleasant retro drop of the old-school metal grandeur we grew up with.

Seen from this perspective, Hammer of Dawn once again offers several great moments, a few average ones, and absolutely no bad tracks. The leading duo of Joacim Cans on vocals and Oscar Dronjak on guitar continues, alongside their collaborators, to do what they have been doing for years — and, in my opinion, they are doing it well.

"Brotherhood", "Hammer of Dawn", "No Son of Odin", "Venerate Me", "Reveries Too Old to Die Young", "Live Free or Die" and "No Mercy" are, more from a subjective point of view than an objective one, some truly honest and worthy moments on this album.

Call me a fanboy once again and not merely a friend. I can handle that!

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: DARK REFLEXIONS - Beyond Obscurity

 

DARK REFLEXIONS - Beyond Obscurity

Silent Noise Records

DARK REFLEXIONS should consider themselves among the very few and fortunate bands that, shortly after their formation and without having released any demos or independent material, managed to secure a record deal and deliver their debut album within roughly a year. Of course, this cannot be attributed to luck alone; the talent, skills and dedication of the band members are clearly present. However, it is also true that they chose to operate within the melodic death metal/metalcore genre, a style that currently enjoys great popularity and a strong presence worldwide. This can certainly be an advantage for emerging bands, but at the same time it creates an additional challenge, as they need to offer something fresh, distinctive and memorable in order to rise above the countless acts that populate the scene.

With “Beyond Obscurity”, DARK REFLEXIONS prove that they possess the qualities required to make a name for themselves within this genre. Their compositions are built around the necessary intensity and aggression, yet they never sacrifice melody or atmosphere. The band successfully combines crushing, heavy sections with more emotional and melodic moments, while the use of acoustic guitars and carefully crafted passages provides a dynamic contrast that leads into some truly powerful and brutal outbursts. Add to this the angry and passionate vocal delivery, as well as the incorporation of progressive elements and unexpected twists, and the result is an album that offers much more than straightforward aggression.

The combination of the band's energy, strong dynamics and excellent sense of melody, alongside a solid production and an appealing cover artwork, makes “Beyond Obscurity” a very enjoyable release for fans of modern melodic death metal and metalcore. DARK REFLEXIONS may still be at the beginning of their journey, but this debut shows a band with potential, ambition and the ability to leave a lasting impression.

Christine  Parastatidou

Dark Reflexions · Beyond Obscurity

Tsar Stangra Announce Major Lineup Changes

 

Bulgarian pagan black/folk metal band Tsar Stangra has announced a significant lineup change, marking the beginning of a new chapter in the band's history. Following a decade of perseverance and the release of their sophomore album, the band explained that the decision was driven by the members' evolving long-term goals.

Tsar Stangra expressed their sincere gratitude to departing members Cindy Tecca, Wayne Barr, Simon Vaillancourt-Girard, Samuel Paré, and Olivier Vaillancourt-Girard for their commitment and invaluable contributions, particularly to the band's latest album.

At the same time, the band introduced its revamped lineup, welcoming Alexandre Guay (Rite of Decay) and Francis Wafer on guitars, along with Louis-Charles Drolet (Rite of Decay, Seventh) on drums. According to the band, the new members have already been rehearsing together for nearly a year and have written more than thirty minutes of new material, signaling an exciting new creative direction for Tsar Stangra.

REVIEW: DEFILED - In Crisis

 

DEFILED - In Crisis (2011)

Season Of Mist Records

Japan has never been among the countries most commonly associated with heavy metal, and as a result its extreme metal scene has often remained under the radar. Those willing to explore it, however, will quickly discover that it has produced a respectable number of noteworthy acts, generally divided between melodic and highly brutal approaches. DEFILED have always belonged firmly to the latter camp, as their name alone suggests, and with In Crisis they returned almost eight years after the release of their previous full-length album.

From beginning to end, In Crisis is built around one central objective: uncompromising brutality. Aggression, relentless speed, crushing riffs and an overwhelming sense of violence dominate every aspect of the record, while everything else is clearly treated as secondary. DEFILED leave no room for subtlety, atmosphere or emotional variation, instead opting for a constant barrage of bludgeoning death metal accompanied by the expected gore-inspired aesthetics.

The problem, at least from my perspective, is that the album rarely moves beyond that single idea. I've always believed that even the most extreme forms of metal benefit from memorable melodies or contrasting moments that give the music depth, balance and identity. In Crisis offers very little of that. As a result, the songs gradually begin to blend together, making it increasingly difficult to distinguish one from another. What initially feels intense eventually becomes repetitive, and the relentless aggression loses much of its impact through the absence of variation.

There is no denying that DEFILED are highly capable musicians. Their technical ability and precision are evident throughout the album, but they rarely use those strengths to expand their songwriting beyond sheer violence. Instead, In Crisis remains focused almost exclusively on delivering maximum intensity, making it feel extreme simply for the sake of being extreme rather than serving a broader musical purpose.

Ultimately, In Crisis is a straightforward brutal death metal album aimed squarely at listeners who want relentless ferocity with virtually no compromise. Fans who appreciate unfiltered violence and crushing heaviness above all else will likely find plenty to enjoy here. Those, however, who expect memorable songwriting, dynamic arrangements or even modest melodic touches may find the experience too one-dimensional to leave a lasting impression.

Christine  Parastatidou

REVIEW: DEATH, Symbolic

 

DEATH, Symbolic (1995)

Roadrunner Records

Θάνατος εδώ και τριάντα χρόνια.

Έχοντας υπόψη ότι αυτό ήταν το πρώτο άλμπουμ των DEATH που άκουσα ως παιδί, κάπου το 1997, θα έλεγα πως έκανα την καλύτερη δυνατή αρχή!

Οι DEATH της δεκαετίας του '90 αποτελούσαν ένα μοναδικό μείγμα ακραίου και προοδευτικού Metal, με τη ζυγαριά να γέρνει περισσότερο προς το δεύτερο. Το "Symbolic" είναι το επιστέγασμα και η απόλυτη τελειοποίηση αυτής της μουσικής συνταγής, η οποία ανανέωσε αισθητά το ήδη κατασταλαγμένο Death Metal. Ένα ιδίωμα που τότε έδειχνε να έχει αρχίσει να λαχανιάζει, προσπαθώντας να αντισταθεί στην ξέφρενη επέλαση του νεότερου και ακόμη πιο ακραίου δεύτερου κύματος του Black Metal, το οποίο είχε ήδη αρχίσει να του κλέβει τη δόξα από το 1992 περίπου.

Το υπερσυγκρότημα των DEATH είχε πλέον φτάσει στην ιδανική του μορφή. Πλάι στον αείμνηστο ηγέτη, τραγουδιστή και κιθαρίστα Chuck Schuldiner, συναντάμε τον Bobby Koelble στη lead κιθάρα, τον Steve Di Giorgio και τον Kelly Conlon στο μπάσο, καθώς και τον αχανή Gene Hoglan πίσω από τα τύμπανα, να ισοπεδώνει κυριολεκτικά κάθε δέρμα που βρίσκεται μπροστά του.

Για μένα, πρόκειται για έναν δίσκο που βαθμολογείται με απόλυτο 10/10, οπότε πραγματικά δεν χρειάζεται να προστεθεί τίποτα άλλο. Απλώς τον βάζεις στο στερεοφωνικό, πατάς το play και χάνεσαι μέσα σε σκοτεινά, προοδευτικά αριστουργήματα όπως τα "Symbolic", "Zero Tolerance", "Empty Words", "Sacred Serenity", "1,000 Eyes", το υπέρ-κλασικό "Crystal Mountain" και το συγκλονιστικό "Perennial Quest".

English:

Death for Thirty Years.

Considering that this was the first DEATH album I ever heard as a kid, sometime around 1997, I'd say I couldn't have asked for a better introduction.

The DEATH of the '90s represented a unique fusion of extreme and progressive Metal, with the balance leaning increasingly toward the latter. "Symbolic" stands as the culmination and ultimate refinement of that musical formula, one that breathed new life into an already well-established Death Metal scene. At the time, the genre seemed to be running out of steam, struggling to keep pace with the furious rise of the younger and even more extreme second wave of Black Metal, which had already begun stealing much of its spotlight around 1992.

By this point, DEATH had evolved into the ultimate supergroup. Alongside the late mastermind, vocalist, and guitarist Chuck Schuldiner were lead guitarist Bobby Koelble, bassists Steve Di Giorgio and Kelly Conlon, and the colossal Gene Hoglan behind the drum kit, absolutely demolishing every drumhead placed in front of him.

As far as I'm concerned, this is a flawless 10/10 album, so there really isn't much more to say. You simply put it on your stereo, press play, and lose yourself in dark, progressive masterpieces such as "Symbolic," "Zero Tolerance," "Empty Words," "Sacred Serenity," "1,000 Eyes," the immortal classic "Crystal Mountain," and the breathtaking "Perennial Quest."

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: DARKTHRONE, Total Death

 

DARKTHRONE, Total Death (1995)

Peaceville Records

Πάγος, σκοτάδι, άδειοι πλανήτες.

Τουλάχιστον άδειοι πλανήτες μέσα σε ένα νεκρό διαστημικό τοπίο απεικονίζονταν στο αρχικό εξώφυλλο αυτού, του έκτου άλμπουμ των ιστορικών Νορβηγών black metallers. Η πρόσφατη επανέκδοση, που ευτυχώς το έκανε ξανά διαθέσιμο, υιοθετεί ένα διαφορετικό εξώφυλλο, με ένα σκοτεινό νορδικό δάσος στην άκρη ενός γκρεμού. Όμως, αυτό που πραγματικά έχει σημασία είναι η μουσική, και αυτή παραμένει αναλλοίωτη.

Το δίδυμο των Fenriz και Nocturno Culto κάνει για άλλη μία φορά αυτό που γνωρίζει καλύτερα από τον καθένα: μονολιθικό, ωμό και απέριττο Black Metal, αυτή τη φορά με μια πιο «ανθρώπινη» παραγωγή, η οποία σίγουρα δεν απογοήτευσε κανέναν από τους φίλους του συγκροτήματος εκείνη την εποχή.

Προσωπικά, πρόκειται για το πιο αγαπητό στα δικά μου αυτιά άλμπουμ της μεσαίας περιόδου τους. Περιλαμβάνει συνθέσεις που φέρνουν αμέσως στον νου τους μεγάλους πρωτοπόρους Celtic Frost, Bathory, Destruction και Venom, κάτι απολύτως φυσιολογικό, αφού αυτές υπήρξαν ανέκαθεν οι σταθερές επιρροές των DARKTHRONE. Τραγούδια όπως τα "Earth's Last Picture", "Blackwinged", "Gather for Attack on the Pearly Gates", "Black Victory of Death", "Blasphemer" και "The Serpent's Harvest" συγκαταλέγονται πλέον δικαίως στις κλασικές στιγμές της δισκογραφίας τους.

English:

Ice, darkness, empty planets.

At least that is what the original cover artwork of this, the sixth album by the legendary Norwegian black metallers, depicted: barren planets suspended in a lifeless cosmic landscape. Fortunately, the recent reissue has made the album available once again, although it replaces the original artwork with a dark Nordic forest perched on the edge of a cliff. In the end, however, what truly matters is the music, and that remains untouched.

The duo of Fenriz and Nocturno Culto once again do what they know better than anyone else: delivering monolithic, raw and stripped-down Black Metal, this time with a more "human" production that undoubtedly failed to disappoint any of the band's followers back then.

Personally, this is my favourite album from DARKTHRONE's middle period. It contains songs that instantly bring to mind the pioneering spirit of Celtic Frost, Bathory, Destruction and Venom, which is hardly surprising since those bands have always been DARKTHRONE's most enduring influences. Tracks such as "Earth's Last Picture", "Blackwinged", "Gather for Attack on the Pearly Gates", "Black Victory of Death", "Blasphemer" and "The Serpent's Harvest" have rightfully earned their place among the undisputed classics of the band's catalogue.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW:NORDAGUST - In the Mist of Mornings

 

NORDAGUST - In the Mist of Mornings

Karisma Records

I'll begin this review in a rather unorthodox way: In the Mist of Mornings is an album intended exclusively for truly open-minded listeners. Those expecting anything resembling conventional metal, despite the band's occasional association with the genre, are likely to be left puzzled. NORDAGUST have little in common with metal as it is generally perceived, instead operating in the same broad territory as those atmospheric acts that favor melancholy, introspection, and mood over heaviness and aggression.

Although the band employs traditional rock instrumentation, their sound is enriched by an impressive array of unconventional instruments, including flute, dulcimer, sallow flute, mouth harp, musical saws, and kettles. The result is an evocative blend of symphonic progressive rock infused with strong folk and medieval influences. It is a rich and carefully layered musical palette that places atmosphere above all else.

In the Mist of Mornings may be NORDAGUST's debut full-length release, but the band itself has existed for many years, and that experience is evident throughout the album. Every composition seems designed to build immersive sonic landscapes, evoking feelings of melancholy, isolation, and almost catatonic stillness. The melodies form the foundation of the music, while the interplay of multiple male and female vocalists enhances the dreamlike quality of the material, giving the album a distinctive identity.

Its greatest weakness, however, lies in the songwriting itself. Despite the abundance of instruments, textures, and vocal arrangements, many of the compositions share a remarkably similar atmosphere and structure, making them blend into one another. As a result, the listening experience can become somewhat repetitive, especially over the course of the album.

Even so, In the Mist of Mornings remains a very accomplished debut that showcases a band with a fully realized artistic vision. There is little here that feels underdeveloped or tentative. The album succeeds admirably at creating powerful emotional landscapes, but it deliberately sacrifices energy and immediacy in favor of contemplation and mood. This is music that demands patience and a particular state of mind.

Ultimately, this is an album made for a very specific audience—listeners who appreciate soundtrack-like, deeply atmospheric music where emotion outweighs momentum. While I can certainly admire NORDAGUST's artistic ambition and craftsmanship, this is one of those rare cases where I respect the music far more than I personally enjoy it. It is special music for special people, and I have to admit that I don't quite belong to that audience.

Christine  Parastatidou

CRYSTAL THRONE unveil new lyric video for "Children Of The Ruins"

 

French progressive heavy metal outfit Crystal Throne have released the official lyric video for "Children Of The Ruins", the latest single taken from their upcoming studio album, Chantry Of Sacrifice.

Formed in Metz, France, in 2019 by guitarist Max Waynn and vocalist Terry DeFire, Crystal Throne blend melodic heavy metal, power metal and progressive influences with the spirit of the 1980s. Their sound combines technical musicianship, memorable melodies and an expansive universe inspired by science fiction, mythology and fantasy.

Following their self-titled debut album in 2021, the band expanded its lineup with drummer Will Ram and second guitarist John L, adding even more depth and power to their evolving sound. The result is Chantry Of Sacrifice, a darker, more ambitious and mature concept album set in the distant year 5150. The story follows Hyldr, a war veteran and scientist who becomes the last human in a universe where Earth has mysteriously vanished. Her final mission is to travel back in time, uncover the truth and alter humanity's fate.

Combining progressive songwriting, memorable hooks and an immersive sci-fi narrative, Chantry Of Sacrifice promises to be Crystal Throne's most accomplished work to date. The band is also preparing a companion audiobook that will further expand the album's rich storyline.

For fans of: Queensrÿche, Symphony X, Crimson Glory, Judas Priest.

REVIEW: MOURNING LENORE - Loosely Bounded Infinities

 

MOURNING LENORE - Loosely Bounded Infinities

Major Label Industries Records

Portugal has produced more than its fair share of quality melodic doom/death metal acts over the years, and newcomers MOURNING LENORE have clearly drawn inspiration from that tradition. Formed only a couple of years ago and previously known only for a split CD, the band now steps forward with its debut full-length, Loosely Bounded Infinities, hoping to establish its place within the genre.

I always approach debut albums with slightly different expectations. It's only natural for young bands to still be searching for their identity while gradually breaking free from the shadow of their influences. MOURNING LENORE are very much at that stage. Their brand of melodic doom/death metal is competently written, emotionally charged, and successfully captures the feelings of melancholy, solitude, and introspection that define the style. The musicians clearly know what they're doing, the songwriting is well structured, and the production gives the material the weight and atmosphere it deserves.

The problem is that, despite all of its strengths, Loosely Bounded Infinities rarely rises above the familiar. The band's influences are evident throughout the album, and while everything is executed with confidence and sincerity, there isn't enough of a distinctive personality to make the songs truly stand apart from the countless other releases in this genre. This is by no means a weak album—far from it—but it doesn't yet reveal a band with a unique musical identity.

The potential is certainly there. MOURNING LENORE possess the musicianship and songwriting ability needed to make a lasting impression, but they still need to develop a more personal approach that will allow them to escape the confines of their influences. Once they achieve that, they could become a force worth paying close attention to.

As it stands, Loosely Bounded Infinities is a solid and enjoyable debut that will primarily appeal to devoted fans of melodic doom/death metal. Those already invested in the genre should find plenty to appreciate, while everyone else would be wise to sample a few tracks before deciding whether this is an album for them.

Christine  Parastatidou