REVIEW: BENEDICTUM – Dominion

 

BENEDICTUM – Dominion (2011)

Frontiers Records

There was a time back in the mid-’90s when classic Heavy and Power Metal had started gaining serious momentum and had once again become one of the most fashionable trends in metal. But, as with everything else, the music industry likes to keep things moving, so new trends appear, old ones disappear, and the wheel keeps turning. Nowadays, it is the Metalcore and Hardcore era, which means that classic Heavy Metal is often neglected, if not entirely forgotten, by most record labels.

I have never liked the business side of music or the whole concept of trends. For me personally, it all boils down to the things I like to listen to and the things I don’t. I certainly don’t like or accept record labels trying to shove bands down my throat simply because they happen to be the “next big thing” of the current trend. This whole mentality makes me sick. Still, there is light at the end of the tunnel. There is hope, and there is always something exciting to be discovered, because when an interesting, ass-kicking band makes its appearance, true Heavy Metal fans are bound to find it sooner or later.

That is pretty much what happened to me with BENEDICTUM and their third studio album, Dominion. Originally released by Frontiers Records in February 2011 in Europe and March in North America, Dominion arrived at a particularly interesting point in the band’s career. Formed in 2005 and quickly noticed by former DIO guitarist Craig Goldy, Benedictum had already built a reputation with their first two albums, Uncreation and Seasons of Tragedy, as well as appearances at festivals such as Wacken Open Air and Gods of Metal and touring with Doro. For Dominion, they moved to Frontiers and, with a significantly reshuffled line-up around the core duo of vocalist Veronica Freeman and guitarist Pete Wells, brought in Grammy Award-winning producer Ryan Greene, whose credits include Megadeth, NOFX, MxPx and F5.

And believe me, they came, they saw, they conquered!

They simply blew my mind with their classic Heavy Metal structures, infused with quite a few progressive and modern touches. Dominion, running for just over an hour, is here to take us all by storm with its dynamic and powerful compositions, flawless musicianship, memorable riffs and choruses. This is not an album that relies solely on brute force, either. One of the things I particularly like about it is its versatility and variety. It is undoubtedly a powerful and mighty record, but it never lacks melody, atmosphere or beautiful guitar work, and its songs possess different characters and moods.

There are straightforward Heavy Metal anthems such as “Dominion,” “Grind It” and the fist-pumping “Bang,” darker and more threatening material such as “Dark Heart,” more melodic moments such as “Loud Silence,” and then there is “Epsilon,” the nearly nine-minute epic that takes the band into considerably more progressive territory. The latter is probably the clearest indication that Benedictum were not content simply to repeat what they had already done. With its extended structure, keyboards and scorching guitar work, it expands the album’s musical horizon without ever losing its Heavy Metal identity. Guest guitarist Craig Goldy adds his own touch to the track, while the album also benefits from the presence of Jeff Pilson and the legendary Rudy Sarzo, who lays down the bass on “Bang.”

What makes this album stand out, apart from its beautiful compositions, excellent execution and powerful production, is undoubtedly its lead singer, Veronica Freeman. She is one of the best singers I have listened to in a long time, and I am not only referring to female singers. Her voice has such depth, flexibility, aggression and passion that she can sing melodically, scream and growl, shifting effortlessly between different expressions without ever losing her identity. Her range is impressive, but the common denominator in everything she does is that her voice serves the songs rather than merely showing off what she can do. It enhances their character and increases your satisfaction to the maximum. Contemporary reviewers likewise singled out Freeman’s power, versatility and commanding presence as one of the album’s greatest strengths.

Pete Wells, meanwhile, is responsible for a substantial part of the album’s identity. His riffing is heavy, muscular and rooted firmly in the classic British and American Metal traditions, while his solos provide enough technical fireworks to keep things interesting. The rhythm section of Chris Shrum and Mikey Pannone keeps everything firmly under control, and Tony Diaz’s keyboards become particularly important when the band ventures into its more atmospheric and progressive territory. The result is a sound that remains unmistakably Heavy Metal while allowing Benedictum enough room to breathe and experiment.

And if all this isn't enough for you, the album offers two bonus tracks, both of which are actually worth your attention. The first is “Sanctuary,” a beautiful acoustic-based ballad that reveals a considerably softer side of Freeman and the band. It is a welcome change of pace after almost fifty minutes of headbanging, aggression and fist-pumping Heavy Metal. Interestingly, the song was written by Freeman and Wells several years earlier, while Jeff Pilson contributes vocals and acoustic guitar to the recording. Freeman herself has spoken enthusiastically about the song and its collaboration with Pilson.

And then comes the real surprise: “Overture/Temples of Syrinx,” Benedictum’s interpretation of the opening section of Rush’s 2112. Choosing Rush was certainly not the most obvious move for a traditional Heavy Metal band, but it makes perfect sense here, considering the progressive tendencies already present in Dominion. The band stays remarkably close to the original while delivering it through its own heavier perspective. Apparently, the idea came from producer Ryan Greene during the mixing sessions, and even the band’s rhythm section initially thought the song would be a serious challenge. They were not wrong—the result, however, was well worth the effort.

And this is exactly what I like about Dominion. It is not afraid to be a Heavy Metal album first, but it is equally unafraid to stretch its boundaries when the song demands it. It can crush you with a riff, hit you with a chorus, slow down for a melodic passage and then suddenly launch into an eight-minute progressive adventure. The eleven original compositions are followed by the two bonus tracks, making for a remarkably varied listening experience that never feels as predictable as its traditional-metal foundations might suggest.

Of course, Dominion is not without its imperfections. Some of its ideas are stronger than others, and the album’s ambition occasionally threatens to become a little too much. But even its weaker moments are outweighed by the sheer energy, musicianship and personality that Benedictum bring to the table. This is a band with something that many technically proficient modern acts seem to lack: character.

And that, ultimately, is what makes Dominion such an enjoyable record.

In an era when trends come and go and record labels constantly search for the next fashionable sound, Benedictum simply played Heavy Metal on their own terms. They brought the riffs, the power, the melody, the progressive touches and, above all, Veronica Freeman’s phenomenal voice. Dominion may not reinvent Heavy Metal—and it certainly does not need to. It simply reminds us why we fell in love with the genre in the first place.

Check them out. Turn it up. And let Benedictum do the rest.

Christine  Parastatidou

REVIEW: DEF LEPPARD, On Through The Night

 

DEF LEPPARD, On Through The Night (1980)

Vertigo

Μία νταλίκα, μια νύχτα με πανσέληνο

Το πρώτο τους, κυριολεκτικά, αλλά και το πρώτο τους για μένα που άκουσα, καλοκαίρι του 1997. Αγορασμένο LP, σφραγισμένο, εισαγωγής, αλλά στα φτηνά, από το Rock City της οδού Ακαδημίας. Ωραία εμπειρία, ωραίο βρετανικό hard & heavy στα όρια του NWOBHM.

Έχει μέσα υλικό που αξίζει πολλά, όπως τα Rock Brigade, Wasted, Sorrow Is a Woman, Hello America — κι αυτό ειδικά δείχνει πού και πώς θα κατέληγαν, σε λίγα χρόνια, ως ήχος αλλά και ως image — Satellite, When the Walls Come Tumbling Down και Answer to the Master, που είναι τα πιο χαρακτηριστικά από τα έντεκα συνολικά τραγούδια του δίσκου.

Οι πέντε τότε νεαροί από το επαρχιακό Σέφιλντ πατάνε, από τη μια, στα χνάρια των Saxon και, από την άλλη, των Led Zeppelin της μετά το Physical Graffiti εποχής.

Από το επόμενο άλμπουμ τους, High ’N’ Dry του 1981, θα ανοίξουν, επί το εμπορικότερο, το μουσικό ύφος τους. Το τρίτο τους άλμπουμ, Pyromania, θα τους κάνει χρυσούς δισκογραφικά και τα αγαπημένα παιδιά του τότε νέου MTV.

Η πράσινη γλίτσα με τις ροζ τσιχλόφουσκες και το «λεοπαρδαλέ» ντύσιμο του Glam θα τους βρει στο Hysteria, επτά χρόνια μετά από τούτο.

Έκτοτε, απλά, ποτέ δεν θα ακουστούν τόσο βρετανικά Heavy. Ορθότερα, δεν θα το ήθελαν κιόλας. Οπότε, ας το παραδεχτούμε: αυτό επιθυμούσαν κι αυτό έκαναν!

English: 

A Lorry, a Full-Moon Night

Their first one, quite literally, and also the first one I ever heard, back in the summer of 1997. A sealed, imported LP, bought for a bargain price from Rock City on Akademias Street. A great experience: proper British hard & heavy, right on the edge of NWOBHM.

There is plenty of material here that is worth its weight in gold, including Rock Brigade, Wasted, Sorrow Is a Woman, Hello America — and this one, in particular, already hints at where they would end up a few years later, both in terms of sound and image — Satellite, When the Walls Come Tumbling Down, and Answer to the Master, which are among the most characteristic tracks on the album’s eleven-song tracklist.

The five young lads from provincial Sheffield were, on the one hand, following in the footsteps of Saxon and, on the other, drawing from the post-Physical Graffiti era of Led Zeppelin.

With their next album, High ’N’ Dry (1981), they would begin to broaden their musical style in a more commercial direction. Their third album, Pyromania, would earn them gold status and turn them into darlings of the then-new MTV.

The green slime, pink bubblegum and “leopard-print” Glam attire would catch up with them on Hysteria, seven years after this record.

From that point on, they would simply never sound this British and Heavy again. More accurately, they did not want to. So let’s admit it: that was what they wanted, and that was exactly what they did.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: DEF LEPPARD, Adrenalize

 

DEF LEPPARD, Adrenalize (1992)

Mercury

Δεν ξέρω ακόμα γιατί υπάρχει στη δισκοθήκη

Τα πρώτα πέντε άλμπουμ τους τα έχω· αυτό είναι το πέμπτο στη σειρά κυκλοφοριών. Πρέπει να πέρασε την πόρτα μου επειδή, στις αρχές του 2001–2002, το παλιό καλό Metropolis το είχε 6,90€, όπως και το εξίσου αδιάφορο για εμένα Hysteria που είχε προηγηθεί δισκογραφικά — οπότε, μικρή η απώλεια. Ειλικρινά, έχω αναφερθεί με τα χειρότερα λόγια για αυτούς και, «ειλικρινέστερα», δεν τα παίρνω πίσω.

Sleazy, Hair Rock που εκείνη την εποχή, στις αρχές της δεκαετίας του ’90, πέθαινε πολύ γρήγορα — και μακάρι να μπορούσα να του δώσω τη χαριστική βολή με μια βαριοπούλα στο κρανίο, αν ήταν εφικτό. Αν και το Grunge φρόντισε (με τις πλάτες του νέου αέρα, των δισκογραφικών εταιριών–βαμπίρ και του ύποπτου για τον ρόλο του MTV) να μας απαλλάξει από τη σαβούρα, δυστυχώς συμπαρέσυρε ολόκληρη τη σκληρή πλευρά του ήχου, ακόμη και το Metal της δεκαετίας του ’80.

Σαν δίσκος έχει μερικά ενδιαφέροντα σημεία στα δέκα κομμάτια του, αλλά και πάλι, από δαύτους συμπαθώ μόνο τα τρία πρώτα άλμπουμ — μέχρι το Pyromania, δηλαδή. Οπότε απλώς πίνω τον καφέ μου όσο ακούω τα Let’s Get Rocked, Heaven Is, Make Love Like a Man, Tonight, Stand Up, Personal Property, Tear It Down, μιας και δεν βρίσκω πολύ «ψωμί» στις Made in America συνθέσεις τους στον δίσκο.

Ξέρω ότι έχουν το κοινό τους — το σέβομαι. Αλλά προτιμώ καλύτερα να βάλω το ντεμπούτο τους, On Through the Night του 1980, όπου τουλάχιστον το Hard & Heavy τους είναι απείρως πιο τίμιο.

English:

I still don’t know why it’s in my collection

I own their first five albums; this one is the fifth in their release sequence. It must have slipped into my collection because, back in 2001–2002, the old good Metropolis had it for €6.90 — just like the equally indifferent Hysteria that came before it. So, the loss was small. Honestly, I’ve spoken about them in the harshest possible terms and, “more honestly,” I’m not taking any of it back.

Sleazy, Hair Rock that, in the early ’90s, was dying fast — and I wish I could have delivered the final blow with a sledgehammer to the skull, if that were possible. Though Grunge took care of that (with the backing of the new winds, the vampire-like record labels, and MTV’s suspicious role), it unfortunately dragged down the entire heavy side of the sound, even the Metal of the ’80s.

As an album, it has a few interesting moments across its ten tracks, but still, I only like their first three records — up to Pyromania, that is. So I just drink my coffee while listening to Let’s Get Rocked, Heaven Is, Make Love Like a Man, Tonight, Stand Up, Personal Property, Tear It Down, since I don’t find much “meat” in their Made in America songwriting on this record.

I know they have their audience — I respect that. But I’d much rather put on their debut, On Through the Night (1980), where at least their Hard & Heavy is infinitely more honest.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: BETRAYER F.T.M. – No Life Till Fury

 

BETRAYER F.T.M. – No Life Till Fury (2010)

Violent Records

This is the second new band that I listen to from Colombia, the other one being REVENGE, and I think that this South American country has already shown that it can give us some very good speed/thrash metal bands. Anyway, let me get into the music of the band.

Betrayer F.T.M., hailing from Cali, Colombia, formed in 2005 and belong to that wave of South American underground bands that kept the spirit of classic thrash alive well into the new millennium. «No Life Till Fury» is their first full-length album, following the «Bestial Torment Rage» EP from 2007. Originally released in 2010 by «Violent Records» as catalog number «VME003», the album contains nine tracks and runs for just over half an hour. A later digital edition appeared in 2013 through Born of Chaos Records, which explains the different date you may encounter on some streaming platforms.

Musically, they move into the speed/thrash path, with plenty of punk aggression and some traditional heavy-metal touches thrown into the mix. Their sound has nothing modern about it and brings strongly an ’80s atmosphere. Even the production follows this direction, being dynamic, clear and sufficiently open to give all the instruments their proper space. The album never sounds overproduced or artificially polished, and that works perfectly with the band's underground character.

As for the influences, well, I think early METALLICA is above all, while you can also find traces of bands such as TOXIK, IRON MAIDEN, JUDAS PRIEST and even BLACK SABBATH. The guitar work occasionally moves into traditional heavy-metal territory, while the bass is surprisingly prominent in the overall sound rather than being buried underneath the guitars. The solos in particular add another dimension to the otherwise straightforward thrashing attack.

«No Life Till Fury» is also a very direct album. At roughly 32 minutes, it doesn't waste time with unnecessary arrangements or extended compositions. The band themselves have explained that they did not try to make the record fit a particular running time; it simply ended up being as long as they felt it needed to be. And this is probably the right approach for this kind of music. Nine songs, plenty of speed and aggression, and then you're back to the beginning looking for another spin.

There is also a small detail that adds some character to the record: “La Orden Del Chaos” is sung in Spanish, standing apart from the predominantly English-language material. The lyrics throughout the album deal with rebellion, anger, aggression and the whole confrontational attitude that comes naturally with this style of thrash metal. The shouted vocal interjections and rowdy delivery give several songs an almost live-performance feeling.

On «No Life Till Fury» you might not listen to something particularly original, but honestly, that isn't the point. All the songs are played with such passion and enthusiasm that the whole listening experience remains thoroughly enjoyable. This is music made by people who clearly love the classic era of metal and aren't interested in reinventing the wheel. The album's aggressive, anthemic character, combined with its raw production and old-school attitude, makes it easy to return to.

Even the cover artwork fits the band's approach perfectly. Its grotesque and disturbing imagery immediately establishes the violent and confrontational identity of the record before you have even pressed play. It is certainly not an album that tries to be pretty or sophisticated—and neither does the music.

The only thing that I would like from BETRAYER F.T.M. on their upcoming releases is to add some more variety into their sound. There are moments when the formula becomes a little predictable, particularly because the band relies so heavily on the same old-school thrash attack throughout the record. A little more variation in tempo, songwriting and arrangements could have made an already enjoyable album even stronger.

So, the conclusion is simple: if you like 80s speed/thrash metal, especially the rawer underground side of the genre, then there is a very good chance you might like *No Life Till Fury* too. It may not offer anything revolutionary, but it delivers exactly what it promises—fast, aggressive and passionate Colombian thrash metal with a strong old-school feeling. And sometimes, that's more than enough.

Nick Parastatidis

ANGA Release New Single “Demons”

 

German modern metal band ANGA have released their new single, “Demons,” offering a powerful snapshot of the band’s increasingly dark and heavy sound.

The track was recorded across three studios operated by members of the band: Thomas Höflein’s studio, SFR Recordings, run by guitarist Marvin Schäfer, and Helios Studio, operated by drummer Gabriel Illert. Mixing and mastering were handled by guitarist Thomas Höflein.

Hailing from Stuttgart and Aschaffenburg, ANGA combine crushing riffs, driving breakdowns, electronic elements, soaring vocal melodies, and the dark intensity of modern metalcore. The band features vocalist Anne Zeides, guitarists Thomas Höflein and Marvin Schäfer, bassist Fabian Streich, and drummer Gabriel Illert.

Following their 2021 debut album “Shadows” and the “Straight to Hell” EP, ANGA have continued to develop a darker and heavier musical identity. “Demons” captures this current chapter of the band: modern, aggressive, atmospheric, and confidently genre-defying.

REVIEW: Pressure Zone – Volume I

 

Pressure Zone – Volume I

Noisehead Records

Noisehead Records made a very good and genuinely smart move with Pressure Zone – Volume I, a compilation that appears to have been conceived as the first chapter in a wider series. Released in 2009 as a ten-track cardsleeve CD, the collection presents itself as a compact snapshot of the European underground rather than a conventional label sampler.

I call it a smart move for several reasons. First of all, the compilation was offered for free—which, if you happen to find a copy today, is certainly a good reason to grab it. We all know how appealing it is to discover a free compilation featuring different bands, because such releases give listeners the opportunity to explore unfamiliar corners of the metal scene and come across groups they might otherwise never encounter. If one of those bands makes a strong impression, the natural next step is to investigate their catalogue and, eventually, support them by purchasing their releases.

Noisehead Records, however, did something more interesting than simply promoting its own roster. The label brought together bands connected with different independent and established labels, creating a broader picture of the European metal underground. That approach gives Pressure Zone – Volume I a purpose beyond advertising: it functions as a small but meaningful document of a scene in motion.

The idea behind the compilation was to make metalheads more aware of the many interesting underground bands active across Europe. In that sense, Pressure Zone represents what its subtitle suggests: a European metal-underground-united movement. At a time when discovering new music was still heavily dependent on physical CDs, magazines, mail order, and word of mouth, compilations such as this one were particularly valuable. They served as musical maps, connecting listeners with bands from different countries and giving lesser-known acts an opportunity to reach an audience outside their immediate scene.

Musically, the collection is dominated by extreme metal. Nine of the ten participating bands explore styles ranging from melodic death metal to brutal death metal and metalcore. The sole traditional heavy metal representative is Toxic Virgin, a band I have known since its 2001 debut. They are a very good and interesting group that deserves support, and they contribute a catchy, memorable song that provides a welcome contrast to the more aggressive material surrounding it.

Among the extreme-metal acts, The Spektrum are truly magnificent. Their melodic death-metal approach combines heaviness with atmosphere and strong songwriting, making them the standout band for me. Their contribution is one of those tracks that immediately encourages further investigation—and that is precisely where a compilation like this succeeds.

I have mentioned these two bands because they provided my favourite moments, but this certainly does not mean that I disliked the remaining participants. The other groups all contribute worthwhile songs, and the compilation maintains a good level of quality throughout. The remaining eight bands are Demolition, Draconic, Rozenhill, Controlstate, Rien Sans Douleur, Necropsy, Nuestros Derechos and Preydatory.

Overall, Pressure Zone – Volume I is more than a free promotional disc. It is an enthusiastic attempt to unite different parts of the European underground and introduce listeners to bands that deserve attention. Its value lies not only in the individual songs, but also in the spirit behind the release: open-minded, supportive, and focused on discovery. For metalheads interested in exploring the European scene, this compilation is a small but worthwhile piece of underground history.

Christine  Parastatidou

REVIEW: DEF LEPPARD, Pyromania

 

DEF LEPPARD, Pyromania (1983)

Vertigo

Οριακά από τη νέα υπηκοότητα

Πιο Αμερικανοποιημένα δεν ήταν σε αυτή τη φάση συγκροτήματα όπως οι Ratt, οι Mötley Crüe, οι White Lion κι όλοι αυτοί της συνομοταξίας του «hair metal». Οι Άγγλοι, ως το… βρακί τους, έχουν ήδη λανσάρει στην απέναντι ακτή του Ατλαντικού τη μόδα με τα μποξεράκια και τα μπλουζάκια με τη σημαία του Ηνωμένου Βασιλείου, καθώς και με το λογότυπό τους, με αυτό εδώ το τρίτο άλμπουμ της μάλλον κάπως αδιάφορης, για μένα προσωπικά, καριέρας τους.

Αντικειμενικά, παίζουν εμπορικό αλλά καλό hard and heavy, με εφαλτήριο περισσότερο τους Genesis, τους Led Zeppelin, τους Queen και τους Sweet παρά τους Black Sabbath ή τους Deep Purple και τους Rainbow. Όπως είπαμε, όμως, οι μελωδίες τους είναι τόσο προορισμένες να αγαπηθούν από τους απέναντι, ώστε εδώ πλέον κι οι ίδιοι ξεχνούν ότι ανήκουν, χρονολογικά, στο συνάφι του NWOBHM, μαζί με τους Saxon, τους Tokyo Blade, τους Iron Maiden, τους Praying Mantis κ.ά.

Έχω δηλώσει ότι ανέχομαι αρκετά τη δισκογραφία τους μέχρι και αυτό, το τρίτο τους έργο — κάτι που δεν έχει αλλάξει μέχρι σήμερα. Η αλήθεια είναι ότι θα αποτελέσουν τόσο μεγάλη επιρροή για τα αμερικανικά συγκροτήματα, όπως αυτά που αναφέρονται στην αρχή — και για άλλα τόσα στη νιοστή δύναμη —, ώστε από το επόμενο άλμπουμ η μεταμόρφωσή τους σε «false metal», κατά τους Manowar, θα ολοκληρωθεί.

Εδώ, όμως, τα πέντε Αγγλόπουλα παίζουν καλά και με πάθος αυτό που παίζουν, οπότε τους το αναγνωρίζω, έχοντας αυτό το CD — καλά, έχω και μερικά από τα επόμενα, δεν το αρνούμαι.

Τα πιο αγαπημένα μου κομμάτια είναι το βαρύ και γρήγορο «Stagefright», το «Too Late for Love», το «Photograph» — η επιτυχία του ανερχόμενου φαινομένου του MTV, με το κλασικό βιντεοκλίπ —, τα «Die Hard the Hunter» και «Foolin’», το επίσης καλό «Rock of Ages», που ξεκινά σαν χλιαρό ποπ κομμάτι αλλά εξελίσσεται σε έναν μικρό ύμνο, καθώς και τα «Comin’ Under Fire» και «Action! Not Words». Όλα αυτά είναι χαρακτηριστικά ενός δίσκου που τους έκανε πολύ πλουσιότερους σε κινητή περιουσία, αφού πούλησε — και εξακολουθεί να πουλά — τόσες δεκαετίες μετά, τις κάλτσες του.

English:

Barely Granted a New Citizenship

At this stage, few bands were more Americanized than Ratt, Mötley Crüe, White Lion, and all those other outfits belonging to the so-called “hair metal” fraternity. The Englishmen had already launched the fashion of Union Jack boxer shorts and T-shirts, complete with their own logo, on the opposite shore of the Atlantic—and this third album marks that transition in what is, at least to me personally, a somewhat unremarkable career.

Objectively speaking, they play commercial but genuinely good hard and heavy, drawing more from Genesis, Led Zeppelin, Queen, and Sweet than from Black Sabbath, Deep Purple, or Rainbow. As I said, however, their melodies are so clearly designed to be embraced by American audiences that, by this point, even they seem to forget that, chronologically speaking, they belong to the NWOBHM camp, alongside Saxon, Tokyo Blade, Iron Maiden, Praying Mantis, and the rest.

I have said that I can tolerate their discography up to and including this, their third release—a position that has remained unchanged to this day. The truth is that they would go on to become such a major influence on American bands like the ones mentioned at the beginning—and countless others raised to the nth degree—that, from the next album onward, their transformation into what Manowar would call “false metal” would be complete.

Here, though, the five English lads play their music well and with passion, and I give them credit for that. I own this CD—and, all right, I also have a few of the later ones; I’m not going to deny it.

My favorite tracks are the heavy and fast “Stagefright,” “Too Late for Love,” “Photograph”—the hit that helped establish MTV as a rising phenomenon, complete with its classic video—“Die Hard the Hunter,” “Foolin’,” and the equally good “Rock of Ages,” which begins like a tepid pop song but develops into a minor anthem. “Comin’ Under Fire” and “Action! Not Words” are also among the album’s highlights.

Together, these songs are representative of a record that made the band considerably richer in movable assets, since it sold—and continues to sell, all these decades later—an absolute ton.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: THE BLACK RIDERS – Chosen Few

 

THE BLACK RIDERS – Chosen Few

GI Records

Some records survive because they were successful. Others survive because collectors refuse to let them disappear. Chosen Few by The Black Riders belongs firmly to the second category: an obscure British heavy-metal release with limited documentation, conflicting catalog information, and the unmistakable appeal of an underground discovery.

Little reliable biographical information about The Black Riders has surfaced, but the music gives a clearer impression of the band than the surviving paperwork. Chosen Few presents raw, direct British heavy rock rooted in the New Wave of British Heavy Metal, yet shaped by the harder, more street-level sound of the early 1980s.

The album is commonly listed as a 1984 release, although a later full-album upload identifies it as a GI Records release from 1988. It contains nine tracks: “Can’t Stop Us Now,” “Mindless Violence,” “Can’t Hold On,” “Twilight Zone,” “Frankenstein,” “Chosen Few,” “Addiction,” “Time To Run,” and “Money Talks.” The material also reportedly appeared on a 1993 Hot Metal Records split CD with Preyer’s Terminator, although this may represent a later archival or bootleg circulation rather than the original release. Until an original sleeve, label scan, catalog number, or matrix detail is examined, the exact release history remains uncertain.

Such confusion is hardly unusual for obscure independent metal records of the period. Unlike the better-known NWOBHM acts, The Black Riders left behind little verifiable biography, stable lineup information, or contemporary press coverage. They appear to have been one of the many small independent bands that emerged from the era's local scenes, recording and circulating their music without ever reaching the wider audience enjoyed by bands such as Iron Maiden, Saxon, Diamond Head, or Tygers of Pan Tang.

Musically, Chosen Few is best described as raw NWOBHM-influenced hard rock. There is little interest in technical showmanship or elaborate production. Instead, the songs rely on straightforward guitar riffs, driving rhythms, gritty vocals, and memorable choruses. The rough production, typical of an obscure independent recording, gives the album a direct, almost live-room character.

The material is generally mid-tempo and forceful rather than relentlessly fast, placing the band closer to traditional heavy metal and hard rock than to the speed and thrash metal that would soon dominate the underground. The aggression comes through weight, attitude, and subject matter rather than extreme tempos or harsh vocals.

“Can’t Stop Us Now” is a natural introduction to the band's straightforward, chorus-driven approach, while “Mindless Violence” brings a darker and more confrontational edge. “Can’t Hold On” reveals a more melodic hard-rock side, showing that the band was not limited to blunt aggression. “Time To Run” captures their driving character particularly well, combining a firm rhythm section, prominent guitars, and an urgent vocal delivery.

The remaining titles—“Twilight Zone,” “Frankenstein,” “Chosen Few,” “Addiction,” and “Money Talks”—suggest a mixture of dark imagery, social commentary, and rebellious self-definition, reinforcing the distinctly early-'80s underground-metal atmosphere.

Chosen Few is not important because The Black Riders became one of British heavy metal's defining names. They didn't. Its appeal lies elsewhere: this is the sound of a band operating outside the spotlight, using the language of heavy metal and hard rock to create something direct, energetic, and personal.

For collectors, the uncertain release history only adds to the fascination. Any original copy should be checked against label details, catalog numbers, sleeve credits, country of manufacture, and matrix information, particularly when distinguishing it from later archival or bootleg appearances.

Chosen Few is an obscure but rewarding document of British heavy rock. The Black Riders sound like a determined underground band somewhere between NWOBHM, traditional heavy metal, and gritty hard rock. Their songs are direct, their production rough, and their musical vocabulary familiar—but the combination has enough character to make the album more than a historical curiosity.

This is not a lost masterpiece in the conventional sense. It is a cult discovery: imperfect, under-documented, and rooted in the uncompromising spirit of the British metal underground. For listeners interested in obscure NWOBHM, private-press heavy metal, and rough-edged early-'80s hard rock, Chosen Few deserves a place on the listening list.

Nick Parastatidis

REVIEW: KROKUS, Dirty Dynamite

 

KROKUS, Dirty Dynamite (2013)

Sony Music

Είστε σίγουρα το ίδιο συγκρότημα!

Κάποτε οι AC/DC μετακόμισαν στην Ελβετία και, στο 17ο άλμπουμ λοιπόν των παλαιμάχων Hard & Heavy Rockers, ξαναστάζει από το αίμα των ηλεκτρικών Αυστραλών και πρώτων διδασκόντων, και στα δώδεκα κομμάτια του.

Εντάξει, η επιρροή είναι παραπάνω από εμφανής. Ποτέ δεν το αρνούνταν, άλλωστε, ήδη από τα τέλη της δεκαετίας του ’70, όταν μεταλλάχθηκαν από Progressive σε Hard Rock σχήμα, ότι οι AC/DC ήταν αγαπημένοι τους. Οπότε, αμαρτία εξομολογούμενη…

Κεφάτο ύφος, ζωντανή αίσθηση και καθαρή, διάφανη παραγωγή ήχου, με πολύ καλές στιγμές τα Hallelujah Rock ’n’ Roll, Go Baby Go, Rattlesnake Rumble, Dirty Dynamite, την πολύ διασκευασμένη εκδοχή του Help! των Beatles, Better Than Sex, Dőg Song, Bailout Blues, Yellow Mary και Hardrocking Man, σε παρασύρουν σε ένα άλμπουμ που, εντάξει, καλώς ή κακώς, δε θα μας έλειπε, αλλά, απ’ την άλλη πλευρά, δε μας χαλάει καθόλου η ύπαρξή του.

Είναι ένα καλό «παρών», για να μας θυμίζει πώς ήταν οι παλιές, καλές τους εποχές.

English:

Surely, You’re the Same Band!

At one point, AC/DC moved to Switzerland, and on the 17th album by these veteran Hard & Heavy rockers, the blood of the electric Australians and pioneering masters once again runs through all twelve tracks.

Okay, the influence is more than obvious. After all, they never denied, even as far back as the late ’70s, when they evolved from a Progressive outfit into a Hard Rock band, that AC/DC were among their favourites. So, a sin confessed…

A spirited approach, a lively feel, and a clean, crystal-clear production define the album, with Hallelujah Rock ’n’ Roll, Go Baby Go, Rattlesnake Rumble, Dirty Dynamite, their much-covered take on the Beatles’ Help!, Better Than Sex, Dőg Song, Bailout Blues, Yellow Mary, and Hardrocking Man standing out as particularly strong moments. They sweep you along through an album that, well, whether for better or worse, is not something we would necessarily miss, but, on the other hand, we certainly don’t mind having it around.

It is a good way of saying “we’re still here,” reminding us of what their good old days were like.

Τάκης "Ε-Μortal One" Γιώτης