REVIEW: REQUIEM - Within Darkened Disorder

 

REQUIEM - Within Darkened Disorder (2011)

Twilight Records

Swiss death metallers REQUIEM make a strong comeback with Within Darkened Disorder, arriving approximately two years after the release of their fifth studio album, Infiltrate... Obliterate... Dominate. The band once again delivers clear, pure and in-your-face death metal, without unnecessary frills, experimental detours or embellishments that might distract from its primary objective: sheer brutality.

Within Darkened Disorder is the real deal for fans of brutal death metal. Although its sound draws influences from the European scene, REQUIEM are arguably closer to the American school of death metal, with deep, guttural vocals, extremely heavy and fast rhythms, and a relentless combination of intricate riffs and solos. The music balances sheer aggression with enough technical detail to keep things interesting, avoiding the impression that speed and heaviness are its only defining characteristics.

The production deserves special mention, as it allows all the instruments to stand out while preserving the weight and intensity of the band's sound. The guitars retain their crushing impact, the rhythm section provides a solid foundation for the relentless assault, and the vocals complement the music's uncompromising character. Everything serves the same purpose, resulting in an album that delivers its brutality with clarity and precision rather than sacrificing definition for sheer sonic force.

REQUIEM are not here to reinvent death metal or offer something particularly original. They are here because they love the genre, and Within Darkened Disorder reflects that straightforward approach without compromises or unnecessary alterations. The band knows exactly what it wants to achieve and stays firmly focused on that goal from beginning to end.

So, if you appreciate traditional death metal with a brutal edge, deep guttural vocals and an uncompromising approach to songwriting, REQUIEM's Within Darkened Disorder is certainly an experience worth having. No frills, no unnecessary distractions, just death metal delivered straight to the point!

Christine  Parastatidou

REVIEW: VILLAGERS OF IOANNINA CITY – Age Of Aquarius

 

VILLAGERS OF IOANNINA CITY – Age Of Aquarius (2019)

Napalm Records

Magic exists, and it exists in a form that is far from spectacular, far removed from the kind of spectacle that dazzles you for a moment only to be forgotten the next. It exists in a much more profound way, in a manner that is almost alchemical.

Just as the alchemists claimed that any metal could be transmuted into gold, so too do Villagers of Ioannina City, on Age of Aquarius, transform seemingly disparate musical genres into something unified, cohesive, and narratively compelling.

On Age of Aquarius, the progressive rock sensibilities of PINK FLOYD and TOOL converge with the sounds of stoner rock and doom metal, enriched by elements of heavy metal and, at times, epic passages that perhaps evoke the mid-tempo grandeur of bands such as MANOWAR and BATHORY. These elements become even more pronounced on their latest album, Venceremos. Nor are blues-rock experiments absent, as the track “Millennium Blues” demonstrates. All these sounds are woven together by the sometimes commanding, sometimes understated presence of the clarinet and the bagpipe, instruments rooted in the musical traditions of Epirus and beyond. Personally, having roots in Florina, I also discerned echoes of the traditional music of Western Macedonia in “Dance of Night.”

Villagers of Ioannina City offer a sonic ritual, an album that transports you without severing your connection to reality. An album that celebrates life, while also reminding us of the need to struggle, to stand together, and to strive to make that life better. It is the kind of musical experience one encounters only in the work of truly great progressive rock bands, The Wall by PINK FLOYD being one such example.

After all, according to astrological and esoteric traditions, the Age of Aquarius is the new era that succeeds the Age of Pisces. It is associated with technology and innovation, with an emphasis on science, the internet, and artificial intelligence. It is also associated with collectivism: a shift from “I” to “we,” in which communities and networks take the place of traditional hierarchies. Finally, it represents spirituality and freedom, a movement away from rigid dogmas and towards the pursuit of individual spiritual expression. No one can say with certainty exactly when this new age begins. In other words, it is an era of transformation and human betterment, and this album seems, in its own way, to serve that very ideal.

An album whose lengthy compositions never become tiresome. Instead, like a seed that finds fertile soil, it grows and takes root within you, deepening its hold with every successive listen.

Nick Parastatidis

REVIEW: THE BLOODSHOT GAMBLERS - Pain and Other Simple Pleasures

 

THE BLOODSHOT GAMBLERS - Pain and Other Simple Pleasures (2009)

Demon Deluxe Records

Arizona-based duo THE BLOODSHOT GAMBLERS, featuring Tim David Kelly and Brian Anderson of KICKING HAROLD, have once again reminded me of the universal truth that one should never say never. I have never been particularly fond of rock music, let alone alternative rock, yet there are always exceptions that make you reconsider your position. THE BLOODSHOT GAMBLERS are one of them. This does not mean that I will suddenly start exploring the genre on a regular basis, but it does mean that Pain and Other Simple Pleasures has won me over, despite being far removed from the kind of music I usually listen to.

The duo's compositions possess a distinctive warmth and appeal, combining seductive melodies with a dark atmosphere coloured by melancholy and bitterness. There is an emotional depth to these songs that makes them immediately engaging without relying on unnecessary embellishments or exaggerated dramatics. Instead, the music draws the listener into its own world through the interplay between its melodic sensibility and its more restrained, sombre elements.

One of the album's strongest points is the balance THE BLOODSHOT GAMBLERS achieve between their rougher, more forceful passages and their smoother, more melodic moments. Neither side dominates at the expense of the other, allowing the material to maintain a natural flow while retaining its dynamics and emotional intensity. The arrangements feel cohesive, yet the songs have enough variation to prevent the album from becoming monotonous. This combination of consistency and contrast gives Pain and Other Simple Pleasures much of its character.

The musicianship is equally convincing, with the duo demonstrating a clear understanding of the atmosphere they want to create and the means required to achieve it. Tim David Kelly's vocals deserve particular mention, as his warm, expressive delivery adds considerable weight to the compositions. His performance brings out their emotional nuances, reinforcing both their melodic appeal and their underlying sense of darkness. The result is a collection of songs that feels genuine, carefully crafted and capable of leaving a lasting impression.

Pain and Other Simple Pleasures may not be the kind of release that would normally attract the average metalhead, but quality music deserves recognition regardless of genre boundaries. THE BLOODSHOT GAMBLERS have delivered an album that succeeds through its atmosphere, songwriting and emotional sincerity, proving that a musical style outside one's usual preferences can still offer plenty to appreciate. If you are open-minded enough to explore beyond your familiar territory and have a taste for well-crafted rock music, this is a release I highly recommend!

Christine  Parastatidou

REVIEW: U. D. O., Animal House

 

U. D. O., Animal House (1987)

RCA

Νέο φως, ίδιος ορίζοντας

Οι Accept έκαναν για πρώτη φορά παύση στα τέλη του 1986, μετά την περιοδεία για την προώθηση του πολύ καλού, μα ταυτόχρονα, για κάποιον λόγο, υποτιμημένου Russian Roulette. Για την ακρίβεια, οι Wolf Hoffmann και Peter Baltes ήθελαν να ακολουθήσουν μια μουσική κατεύθυνση προσανατολισμένη αποκλειστικά στην αμερικανική αγορά, η οποία τελικά θα οδηγούσε στην πρόσληψη νέου τραγουδιστή (David Reece) και στην κυκλοφορία του άλμπουμ Eat the Heat, μιας από τις πιο νερουλές μουσικά, χωρίς ωστόσο να είναι εντελώς κακή, δισκογραφικές τους προσπάθειες. Από την άλλη, ο Udo Dirkschneider ήθελε να επιστρέψει στην προ Balls to the Wall εποχή, παραμένοντας πιστός στις παραδοσιακές φόρμες του Heavy Metal.

Τα τραγούδια που είχαν γράψει οι Accept κατά τη διάρκεια της περιοδείας του 1986 αναδιαμορφώθηκαν από τον Udo και τους νέους συνεργάτες του (Mathias Dieth και Peter Szigeti στις κιθάρες, Frank Rittel στο μπάσο και Thomas Franke στα τύμπανα) και εντάχθηκαν στο πρώτο προσωπικό του άλμπουμ ως U.D.O. Μιλάμε για γκάφα ολκής από την πλευρά των υπόλοιπων μελών των Accept! Όχι μόνο του έδωσαν το Lay Down the Law, αλλά έπαιξαν και οι ίδιοι σε αυτό, ένα από τα πιο αντιπροσωπευτικά κομμάτια του δίσκου, το οποίο, αν το κρατούσαν για τους Accept, θα μπορούσε να έχει τεράστια απήχηση.

Μεταλλική καταιγίδα από την αρχή, με το ομότιτλο Animal House, και συνέχεια με τα Go Back to Hell, Warrior, Black Widow, το ιδιαίτερο και πιο εμπορικό τραγούδι του δίσκου, They Want War, το οποίο κάποτε απέφευγα, αλλά πλέον συμπαθώ, καθώς και τα We Want It Loud και Run for Cover.

English:

A New Light, the Same Horizon

Accept went on hiatus for the first time in late 1986, following the tour in support of Russian Roulette, a very good album that, for some reason, remains underrated. To be more precise, Wolf Hoffmann and Peter Baltes wanted to pursue a musical direction aimed exclusively at the American market, a move that would eventually lead to the recruitment of a new singer, David Reece, and the release of Eat the Heat. The latter remains one of the musically more watered-down efforts in their discography, although it is not entirely without merit. Udo Dirkschneider, on the other hand, wanted to return to the pre-Balls to the Wall era, remaining faithful to traditional Heavy Metal.

The songs Accept had written during their 1986 tour were reworked by Udo and his new collaborators (Mathias Dieth and Peter Szigeti on guitars, Frank Rittel on bass, and Thomas Franke on drums) and ended up on his first solo album under the name U.D.O. Talk about a colossal blunder on the part of the remaining Accept members! Not only did they hand him Lay Down the Law, but they also played on it themselves. It is one of the album's most representative tracks, and had they kept it for Accept, it could have made a huge impact.

A veritable Heavy Metal storm right from the start, with the title track Animal House, followed by Go Back to Hell, Warrior, Black Widow, and the album's more distinctive, commercially oriented track, They Want War. I used to skip that one, but these days I find myself enjoying it. We Want It Loud and Run for Cover round out the selection.

Τάκης "Ε-Μortal One" Γιώτης!

Social Scream Release Official Video for “Now Command”

 

Greek Heavy Metal band Social Scream have released the official video for “Now Command,” a track from their new album, Setup To Transformation.

Featured as the album’s seventh track, “Now Command” appears in the second part of the ten-song release, which combines heavy riffs, complex rhythmic structures, and a dark, psychological atmosphere. The new video adds a visual dimension to the band’s latest work, further exploring its musical and thematic identity.

Following the presentation of “The Unified Field,” Social Scream continue to introduce different aspects of Setup To Transformation, bringing the album’s material to a wider audience through their latest audiovisual release.

REVIEW: VENOM, Prime Evil

 

VENOM, Prime Evil (1989)

Under One Flag

Μα ένα outsider μπορεί να είναι καλό;

Ε, ναι, λοιπόν! Όχι απλώς καλό, αλλά καλύτερο απ’ ό,τι αποδείχθηκαν τα At War with Satan (1984) και Possessed (1985), αφήνοντάς τα να «ιδρώνουν» από την προσπάθεια!

Χωρίς υπερβολές, ο κ. Tony Dolan (ο γνωστός μας Demolition Man, πλέον στους Venom Inc.) όχι μόνο αντικαθιστά επάξια τον Cronos σε φωνή και μπάσο, αλλά γράφει κιόλας πιο «βενομικά» απ’ όσο θα περίμενε κανείς.

Και τι δεν έχει μέσα το άλμπουμ αυτού του αναγεννημένου line-up! Κομμάτια που πλέον θεωρούνται αγαπημένα, όπως τα Prime Evil, Parasite, Blackened Are the Priests, Megalomania (διασκευή στους Black Sabbath), Harder Than Ever, School Daze και Live Like an Angel – Die Like a Devil.

Αν και στο άλμπουμ συμμετέχουν δύο κιθαρίστες, στα credits η μπάντα αναφέρεται ως τρίο, με τους Mantas και Abaddon της αρχικής σύνθεσης. Πρόκειται, δηλαδή, για τη σύνθεση που συναντάμε σήμερα στους Venom Inc., μαζί με τον Demolition Man.

Ένα άλμπουμ που έμεινε για χρόνια στη σκιά, αλλά τελικά κέρδισε τη θέση που του αξίζει!

English:

But Can an Outsider Be Any Good?

Well, yes! Not just good, but better than At War with Satan (1984) and Possessed (1985), leaving both albums struggling to keep up!

Without exaggeration, Tony Dolan (our well-known Demolition Man, now with Venom Inc.) not only proves himself a worthy replacement for Cronos on vocals and bass, but also delivers songwriting that sounds more authentically Venom than one might expect.

And what doesn't this revitalised line-up have to offer? The album features several tracks that have since become firm favourites, including “Prime Evil,” “Parasite,” “Blackened Are the Priests,” “Megalomania” (a cover of Black Sabbath), “Harder Than Ever,” “School Daze” and “Live Like an Angel – Die Like a Devil.”

Although two guitarists feature on the album, the band is credited as a trio, comprising original members Mantas and Abaddon alongside Dolan. In other words, this is the line-up that would later form the core of today's Venom Inc., with Demolition Man completing the picture.

An album that spent years in the shadows but ultimately earned the recognition it deserved!

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: LEGIO MORTIS - The Human Creation and the Devil's Contribution

 

LEGIO MORTIS - The Human Creation and the Devil's Contribution (2011)

MDD Records

A couple of years after the release of their third album, German sextet LEGIO MORTIS strikes back with a new work bearing the rather clever title The Human Creation and the Devil's Contribution. Lyrically, the band deals with Satan, ancient times and darkness in general, but the ideas presented also offer some food for thought beyond simply serving the songs and contributing to their extreme and sinister atmosphere. There is more to the lyrical approach than the usual dark imagery, which helps give the album an additional dimension.

Musically, LEGIO MORTIS dwell somewhere between death and black metal, incorporating plenty of dark and gothic metal elements into their sound. Although this combination may initially seem familiar and rather common, the truth is that these guys have managed to deliver a quite original and characteristic result, different from what we're mainly used to hearing within these genres. This does not mean that their music avoids the established clichés and familiar ingredients associated with death, black and gothic metal. Rather, the band approaches them from its own perspective, combining recognizable elements with a slightly modern twist, most notably through the use of keyboards, which contribute to the overall atmosphere without completely overshadowing the heavier aspects of the music.

The musicianship is very good throughout the album, while most of the songs are catchy and interesting enough to maintain the listener's attention. The compositions balance aggression with darker, more atmospheric passages, allowing the band to explore different shades of its sound without losing its overall identity. The production is also very good, giving the material the clarity and weight it needs while supporting the album's dark character. Another interesting detail is the guest vocal appearance by Liv Kristine (LEAVES' EYES) on "Life Denied", which adds a further dimension to the album.

All in all, The Human Creation and the Devil's Contribution is an interesting release from a band that manages to combine familiar genre characteristics with its own ideas and a modern approach. If you like contemporary interpretations of dark, gothic death/black metal, then LEGIO MORTIS might be a good start for you!

Christine  Parastatidou

Antichrist Magazine Announces A Tribute To Kreator

 

Antichrist magazine will release A Tribute To Kreator on November 6, 2026, featuring 21 bands from 11 countries paying tribute to the influential German thrash metal band.

The compilation spans several eras of Kreator’s career, bringing together early classics such as “Pleasure to Kill,” “Flag of Hate,” “Betrayer” and “Tormentor” with later tracks including “Violent Revolution,” “Phobia,” “Impossible Brutality” and “Demon Prince.” The selection also includes less frequently revisited material such as “Endorama,” “Black Sunrise,” “Golden Age” and “Stream of Consciousness.”

The participating bands represent Germany, Serbia, Poland, the UK, Turkey, Sweden, Brazil, the Netherlands, Australia, Norway and the USA, offering their own interpretations of songs from Kreator’s extensive catalogue.

A Tribute To Kreator will be available on Bandcamp and YouTube from November 6, 2026, via Antichrist magazine.

Tracklist:

Hateful Agony (Germany) – Flag of Hate

Oskrnavitelj (Serbia) – Pleasure to Kill

Vephar (Poland) – Extreme Aggression

Witchkrieg (Germany) – Betrayer

Theocracide (UK) – Violent Revolution

Dragonborn (Turkey) – Phobia

Helldrifter (Germany) – Murder Fantasies

Chainsaw Holiday (Sweden) – Terror Zone

Infernal Course (Brazil) – People of the Lie

Anomic (Netherlands/Germany) – Impossible Brutality

Day 40 (UK) – Fatal Energy

Chemophage (Australia) – Behind the Mirror

Myrholt (Norway) – Some Pain Will Last

Arakara (USA) – Stream of Consciousness

Fiber Tormentum (USA) – Demon Prince

Midgard (Brazil) – Black Sunrise

Hellgrimm (USA) – Chosen Few

Kublai Kapsalis (Turkey) – Golden Age

TvKills (Brazil) – Limits of Liberty

Brunno Mariante (Brazil) – Endorama

Tyranno (Brazil) – Tormentor

REVIEW: WARDRUM – Spadework

 

WARDRUM – Spadework (2011)

Steel Gallery Records

Spadework is the debut album from WARDRUM, a Greek metal band from Thessaloniki, the country's second-largest city and the hometown of both Behind The Veil and Steel Gallery Records. The band's connection with the local metal scene is particularly strong, as most of its members come from HORIZON'S END, an excellent progressive metal band with a reputation for its musicianship.

The driving force behind WARDRUM is drummer Stergios Kourou, while guitarist Kosta Vretos, also a member of HORIZON'S END, brings his considerable skills to the album. Vretos has also released some really good solo material, further demonstrating his abilities as a guitarist. Bassist Kostas Scandalis, another HORIZON'S END member, takes care of the production and mastering, and he has done a wonderful job. The sound is clear, powerful and well balanced, allowing the individual instruments to stand out without sacrificing the overall cohesion of the music.

On vocals, we find Pierro Leropale, a singer I had the chance to see live a couple of months ago alongside Uli Jon Roth, the former SCORPIONS guitarist. My impression of him was very positive, and Spadework confirms that he is equally convincing in the studio. His performance suits the band's melodic approach, delivering the material with the power and expression required by this style of metal.

The cover artwork was created by Michal Karcz, a member of the Rainer Kalwitz Crew, whose work has been associated with bands and labels such as SHADOW GALLERY, Century Media Records and Massacre Records. The artwork provides an appropriate visual presentation for the album, complementing the band's musical identity.

Musically, WARDRUM play lyrical power metal, combining strong melodies and memorable vocal lines with a considerable degree of technical ability. The guitar work is particularly impressive, with Kosta Vretos demonstrating both precision and a good sense of melody. The technical elements never become an end in themselves; instead, they serve the songs and help give the album its character. This balance between musicianship and accessibility is one of the record's main strengths.

Among the songs, I particularly enjoyed "The Meaning of Forever", "Crest of the Wave", "Yesterday" and "Soultrip". Each of them offers something worth returning to, while collectively they demonstrate the band's ability to combine melodic appeal with the energy expected from a power metal release.

In conclusion, Spadework is one of the most impressive Greek metal releases I have come across in recent years, and I would not hesitate to recommend it to fans of melodic and power metal. The musicianship, the vocal performance and the excellent production make this debut a release that deserves attention beyond the band's home country.

Of course, some might think that I am being particularly generous because WARDRUM come from my own city. Fair enough! My suggestion, however, is simple: listen to a few samples before making up your mind. I believe that once you have heard what the band has to offer, you will understand why I hold this album in such high regard.

Ioannis Kaskamanidis

REVIEW: SCORPIONS, Blackout

 

SCORPIONS, Blackout (1982)

Harvest

Η δεύτερη κορυφή των Σκορπιών

Το δεύτερο διαμάντι τους μετά το Taken by Force (1977), αν και τα δύο άλμπουμ δεν είναι άμεσα συγκρίσιμα. Η πεντάδα των Klaus Meine (φωνητικά), Rudolf Schenker και Matthias Jabs (κιθάρες), Herman Rarebell (ντραμς) και Francis Buchholz (μπάσο) κινείται μουσικά στα ακόμη δυσδιάκριτα τότε όρια του νέου κινήματος που έφερε την ταμπέλα του Heavy Metal, ακριβώς μετά το Hard Rock, διατηρώντας, βέβαια, την εμπορική χροιά της.

Το άλμπουμ απέδειξε ότι το ηλεκτρικό κεντρί των πέντε μουσικών μπορούσε να τσιμπήσει άσχημα, και μάλιστα ύστερα από το κλασικό μεν, αλλά κάπως πιο αδύναμο Animal Magnetism, δύο χρόνια νωρίτερα.

Πρακτικά, πρόκειται για το προτελευταίο τους άλμπουμ που αγγίζει τα όρια του 10/10. Ένα εννιάρι με βάση τα δικά μου κριτήρια, ίσως όμως και γενικότερα. Μια ακόμη δισκάρα με τα όλα της, με το ομώνυμο Blackout, το μεταλλικό ταξίδι ταχύτητας που ακούει στο όνομα Dynamite, τον ύμνο No One Like You, την αδικημένη μπαλάντα When the Smoke Is Going Down, το You Give Me All I Need και το China White να ξεχωρίζουν σε μια κυκλοφορία που δικαιωματικά συγκαταλέγεται στις κορυφαίες στιγμές των Scorpions.

English:

The Scorpions’ Second Peak

Their second gem after Taken by Force (1977), although the two albums are not directly comparable. The five-piece lineup of Klaus Meine (vocals), Rudolf Schenker and Matthias Jabs (guitars), Herman Rarebell (drums), and Francis Buchholz (bass) operates within the still-blurred boundaries of what was then an emerging movement labelled Heavy Metal, positioned just beyond Hard Rock, while, of course, retaining its commercial edge.

The album proved that the electric sting of these five musicians could deliver quite a nasty bite, especially following Animal Magnetism, a classic in its own right, but a somewhat weaker effort released two years earlier.

In practical terms, this is the second-to-last Scorpions album to approach the 10/10 mark. A nine out of ten by my own standards, perhaps even by more general consensus. Another fully fledged masterpiece, featuring the title track Blackout, the high-speed metal ride that is Dynamite, the anthem No One Like You, the unfairly overlooked ballad When the Smoke Is Going Down, You Give Me All I Need, and China White. A release that rightfully ranks among the Scorpions’ finest moments.

Τάκης "Ε-Μortal One" Γιώτης!

BE FADING FAST Release New Album Phobophobia

 

Czech death metal band Be Fading Fast have released their third full-length album, Phobophobia (2026). The album was recorded at Shaark Studios in Bzenec, Czech Republic, with Pavel Hlavica responsible for mixing and mastering.

Formed in 2006 by former Deflorace members, Be Fading Fast combine old-school death metal with thrash and hardcore influences. The band previously released Victims (2008) and Global Attack (2011). Despite lineup changes, periods of inactivity and injuries, the group continued working on new material, eventually returning to Shaark Studios to record their long-awaited third album.

Available as a digital release, Phobophobia marks the band's return with their uncompromising approach to extreme metal.

REVIEW: URIAH HEEP, Wake The Sleeper

 

URIAH HEEP, Wake The Sleeper

Noise Records

Κι η ζωή συνεχίζει ακάθεκτη

Είναι μερικά συγκροτήματα που, ρε παιδί μου, τα σέβεσαι. Έτσι απλά. Για το όνομά τους, για την καριέρα και την ιστορία τους, με όλες τις στιγμές τους, καλές, έξοχες ή και πιο μέτριες.

Οι συγκεκριμένοι, σύμφωνα με το δικό μου υποκειμενικό κριτήριο, ήταν σε όλες τις εκφάνσεις και τις μορφές τους, από το 1969 έως το 1980, όταν μπήκαν για λίγο στον πάγο, κι ύστερα από το 1982 μέχρι… τώρα που γράφω όλα αυτά στο πληκτρολόγιο, ένα συγκρότημα που έχω πάρα πολύ ψηλά. Τους κατέτασσα ψηλότερα από άλλους της συνομοταξίας τους (π.χ. τους Deep Purple) και έχω τσακωθεί γι’ αυτό, αλλά γνώμη δεν με άφηναν να αλλάξω.

Ειδικά με κάτι τέτοια CD, όπως αυτό το 21ο άλμπουμ τους, στο πλαίσιο της τεράστιας δισκογραφικής καριέρας του μοναχικού λύκου Mick Box, κιθαρίστα και ηγέτη τους από την πρώτη μέρα, δεν είναι δύσκολο να καταλάβει κανείς το γιατί. Ένα άλμπουμ ζωντανό, φρέσκο, Hard Rock, αλλά και κάτι παραπάνω, θα μπορούσε να πει κανείς: Hard and Heavy!

Με μερικούς θρύλους να έχουν περάσει από τις τάξεις τους, όπως οι Ken Hensley, David Byron, Gary Thain, Lee Kerslake, John Lawton, John Wetton, John Sloman, Peter Goalby και Bob Daisley, και με τους περισσότερους από τους παραπάνω να έχουν πλέον εγκαταλείψει τα εγκόσμια για τη μεγάλη μπάντα του ουρανού, είναι απορίας άξιο πώς, στα τελευταία χρόνια της πρώτης δεκαετίας του 21ου αιώνα, κατάφεραν να γράψουν και να κυκλοφορήσουν ένα τόσο καλό και στιβαρό άλμπουμ!

Με τον σχεδόν κλασικό, στα πρότυπα των ύμνων τους από τη δεκαετία του ’70, τίτλο «Wake the Sleeper», να δίνει το έναυσμα με ιδιαίτερη δύναμη, ακολουθούν τα «Overload», «Tears of the World», «Light of a Thousand Stars», «Heaven’s Rain», «Book of Lies», «What Kind of God», «Ghost of the Ocean», «Shadow» και «War Child». Τα περισσότερα από αυτά είναι γραμμένα από τον πληκτρά Phil Lanzon και τον αείμνηστο πλέον μπασίστα Trevor Bolder, με τη συνδρομή του Bernie Shaw, του συμπαθέστατου τραγουδιστή τους από το 1987 και του μακροβιότερου μέλους τους μετά τον Mick Box.

English:

And Life Goes On Unstoppable

There are some bands you simply have to respect, you know what I mean? It is as simple as that. You respect them for their name, their career and their history, with all the good, outstanding and sometimes more modest moments that come along the way.

As far as my own subjective criteria are concerned, these guys have always ranked extremely high in my personal estimation, in all their different incarnations and throughout their entire journey, from 1969 until 1980, when they went into temporary hibernation, and then from 1982 right up to… well, now, as I sit here typing these words. I have always placed them above others of a similar stature (Deep Purple, for example), and I have even had arguments over it, but nobody ever managed to change my mind.

Albums like this one, their 21st studio release, make it easy to understand why. It is another chapter in the remarkable recording career of Mick Box, the band's very own lone wolf, guitarist and leader from day one. This is a lively, fresh Hard Rock album, with something more to offer as well, as you could justifiably call it Hard and Heavy!

With so many legends having passed through their ranks, including Ken Hensley, David Byron, Gary Thain, Lee Kerslake, John Lawton, John Wetton, John Sloman, Peter Goalby and Bob Daisley, and most of them having since departed this world for the great band in the sky, it is genuinely remarkable that, in the closing years of the first decade of the 21st century, they managed to write and release such a fine, solid album!

The title track, “Wake the Sleeper,” kicks things off with considerable force, sounding almost like one of their classic anthems from the 1970s. It is followed by “Overload,” “Tears of the World,” “Light of a Thousand Stars,” “Heaven’s Rain,” “Book of Lies,” “What Kind of God,” “Ghost of the Ocean,” “Shadow” and “War Child.” Most of these songs were written by keyboardist Phil Lanzon and the late bassist Trevor Bolder, with contributions from Bernie Shaw, their thoroughly likeable vocalist since 1987 and the longest-serving member of the band after Mick Box.

Τάκης "Ε-Μortal One" Γιώτης!