With their debut albums, NIGHTWISH introduced a fresh
element to the Euro power metal scene by incorporating operatic female vocals,
a move that influenced many bands in the genre. While some succeeded in
offering something new, the majority struggled to bring originality or
innovation. Personally, I have become somewhat disillusioned with the scene,
not expecting to encounter anything particularly noteworthy anymore—until I
discovered this release from the Russian band ANDEM.
Undoubtedly, ANDEM’s sound is influenced by
NIGHTWISH’s early work; however, what sets them apart is the exceptional talent
of their vocalist, Yuliana Savchenko. Her voice imparts a profound lyricism to
the music, elevating the compositions beyond mere homage. It would be unfair not
to acknowledge the meticulous craftsmanship evident in the arrangements, which
are thoughtfully detailed and possess a freshness often lacking in similar
bands.
"Doch' Lunnogo Sveta" (which translates to
"Moonlight Daughter") is an album that can be appreciated even by
listeners who are not dedicated fans of this genre. Yuliana’s voice is truly
captivating, transporting the listener into worlds of fantasy and emotion.
Additionally, the choice to sing in their native language adds authenticity and
depth to the music.
Having experienced such a compelling release, I can
confidently say it stands alongside the best of the genre, reminiscent of
NIGHTWISH’s “Oceanborn.” I encourage those interested in this style to give
ANDEM a genuine chance.
Με
αυτόν τον τρόπο τους έμαθε πολύς κόσμος τότε, ανάμεσά τους κι εγώ. Το
συγκρότημα των WaldemarSorychta
στην κιθάρα, JasonViebrooks στο
μπάσο, ο μακαρίτης πλέον τραγουδιστής GusChambers και ο ντράμερ-είδωλο DaveLombardo, πρώην των Slayer, με το πρώτο τους άλμπουμ PowerofInnerStrength να έχει αφήσει πολύ καλή
εντύπωση. Η τετράδα αποβάλλει το πολύ groove στοιχείο που υπήρχε πριν, χάριν του κλασικού thrashmetal. Αυτό ήταν κάτι που στα τέλη της
δεκαετίας εκείνης το έκαναν πολλοί, όπως οι Testament, Nevermore, OverKill, Exodus κ.ά. Η "ζημιά", ας την πούμε,
που προκάλεσε το groovemetal
στην Αμερική με το μπαμ των Pantera,
συνέβη σε αντιδιαστολή προς το grunge.
Πάντως, από το 1996 και μετά, φαίνεται τάση υποχώρησης. Ο δίσκος αυτός είναι,
λοιπόν, ένα δείγμα που χάθηκε στον χρόνο αυτής της εποχής. Κανείς, βέβαια, δε
ξεχνάει την εμφάνισή τους τότε στο Rockwave, μαζί με τον BruceDickinson και τους Megadeth, στο γήπεδο του Απόλλωνα
Αθηνών (νυν Σμύρνης) στη Ριζούπολη. Με τα κομμάτια Pathetic Loar, Portrait of Henry, Empress (Of Rancor),
Descending Darkness, War Between One, Myth of a Man, Code of Silence να χαίρουν
ακόμη της εκτίμησής μας. Ας θυμηθούμε, λοιπόν, αυτό το άλμπουμ ορόσημο
για το τότε του σκληρού ήχου.
English:
Titanic Effort
Back then, this is how many people learned about them,
including myself. The band featuring Waldemar Sorychta on guitar, Jason
Viebrooks on bass, the late vocalist Gus Chambers, and the iconic drummer Dave
Lombardo, formerly of Slayer, left a very good impression with their debut
album Power of Inner Strength. The quartet removed much of the groove element
that was present before, in favor of classic thrash metal. This was something
many bands did towards the end of that decade, like Testament, Nevermore,
Overkill, Exodus, and others.
The "damage," so to speak, caused by groove
metal in America with Pantera’s explosive rise, was in contrast to grunge.
However, from 1996 onward, there was a clear trend of decline. This album is,
therefore, a lost relic of that era. No one, of course, forgets their
appearance at Rockwave, back then, alongside Bruce Dickinson and Megadeth, at
the Apostolos Nikolaidis Stadium (now Peace and Friendship Stadium) in
Rizoupoli. Tracks like Pathetic Loar, Portrait of Henry, Empress (Of Rancor),
Descending Darkness, War Between One, Myth of a Man, and Code of Silence still
earn our respect today.
Let us remember, then, this landmark album for the
heavy sound of that time.
West Coast death‑metal force Gravemass have released the official video
clip for “This Is The Way,” taken from their self‑titled debut album.
Forged by veteran musicians from acts such as Zimmers
Hole, Punch Drunk, 3 Inches of Blood, Revocation, Just Cause, West of Hell,
Savannah, Process and The Golers, Gravemass emerge as a formidable new presence
in the extreme‑metal
landscape. Their collective experience fuels a sound steeped in heaviness,
aggression, and sinister atmosphere.
“This Is The Way” showcases the band’s signature blend
of crushing riffs and commanding death‑metal vocals, delivering a whirlwind of dark energy
and precision. The video amplifies their intense stage persona, underlining why
Gravemass are quickly being hailed as a rising powerhouse.
With decades of combined musicianship and an
uncompromising approach to sonic brutality, Gravemass step forward not just as
a new band, but as a coalition of seasoned warriors intent on asserting their
dominance. Their death‑metal
masterclass has officially begun.
I first came across FATHER'S FACE a few months ago
through their self‑titled
demo, and I was immediately struck by the beauty and individuality of their
compositions. The Brazilian band has a rare ability to craft songs that carry a
distinct identity—music that stands apart from the majority of heavy and
progressive metal acts. Once you hear them, you recognize them.
Soundtrack for a Closing Light marks their debut full‑length album, featuring ten tracks: seven new
compositions alongside the three pieces from their demo. The result is one of
the most compelling progressive heavy metal releases I’ve encountered in quite
some time. While echoes of HEAVEN'S GATE, ANGRA, and CRIMSON GLORY occasionally
surface, FATHER'S FACE never fall into imitation. Their influences enrich the
music without overshadowing the band’s own character.
The progressive elements are used with purpose—they
serve the songs rather than showcase technical prowess for its own sake. The
guitars deliver memorable melodies, the rhythm section provides solid and
dynamic support, and the overall arrangements feel thoughtful and cohesive. The
inclusion of harsher vocal passages in a couple of tracks adds an unexpected
dramatic tension, almost like watching two opposing forces—clean and extreme
vocals—argue within the same narrative.
If you’re looking for progressive heavy metal that
balances personality, musicianship, and emotional depth, FATHER'S FACE is a
band worth paying attention to. With Soundtrack for a Closing Light, they prove
they can deliver.
Μετά
το 2001, οι Γερμανοί Rage ξαναζούν κι εμείς μαζί τους μια τρίτη εποχή
δημιουργικής επιστροφής. Ο γιγαντιαίος Peter "Peavey" Wagner στην
ηγεσία, το μπάσο και τη φωνή, ο Victor Smolsky στην κιθάρα και ο André Hilgers
στα ντραμς δίνουν και σε αυτό το άλμπουμ ό,τι καλύτερο μπορούν. Μιλάμε για ένα
ακόμη τυπικό δείγμα της δουλειάς αυτής της τριάδας του τευτονικού Speed/Power
Metal, ικανό να φέρει στο μυαλό εικόνες από τις πιο κλασικές κυκλοφορίες του
πρόσφατου, αλλά και του απώτερου παρελθόντος τους. Η σύγκριση είναι προφανώς
αναπόφευκτη, αλλά δεν υπάρχει κανένας φόβος ότι θα γύρει η πλάστιγγα εναντίον
του.
Με
μερικά πολύ χαρακτηριστικά κομμάτια, όπως τα "The Edge of Darkness",
"Hunter and Prey", "Into the Light", "The Beggar's
Last Dime", και η σουίτα "Empty Hollow" με αρκετά progressive
στοιχεία, ακολουθούν το πρώτο, ομότιτλο τραγούδι και το ομώνυμο του δίσκου, που
βρίσκονται μέσα στο σύνολο των μερών που την αποτελούν και μας φτάνουν στα μισά
της διάρκειας. Μετά, τα "Saviour of the Dead", "Hellgirl",
"Purified" και "Tomorrow Never Comes" ολοκληρώνουν το
άλμπουμ με πολύ ενθαρρυντικά συναισθήματα για το μέλλον αυτού του ιστορικού
σχήματος.
English:
Intertwined with their new era.
Since 2001, the Germans Rage have been experiencing,
along with us, a third period of creative resurgence. The colossal Peter
"Peavey" Wagner at the helm—handling bass and vocals—the talented
Victor Smolsky on guitar, and André Hilgers on drums give their all on this
album, delivering the best they can. We’re talking about yet another classic
example of this trio’s work in the Teutonic Speed/Power Metal style, capable of
evoking images of their most iconic releases from both their recent and distant
past. The comparison is, of course, inevitable, but there’s no fear that the
scales will tip against them.
The album features several very characteristic tracks,
such as "The Edge of Darkness," "Hunter and Prey,"
"Into the Light," "The Beggar's Last Dime," and the suite
"Empty Hollow," which contains quite a few progressive elements.
Following these are the opening track, the title song, and the album’s
eponymous track, all of which are part of the sequence and bring us halfway
through the album’s length. Afterwards, songs like "Saviour of the
Dead," "Hellgirl," "Purified," and "Tomorrow
Never Comes" complete the record, leaving us with very encouraging
feelings about the future of this historic band.
Ένα
άλμπουμ ενός... side project, καθαρά. Τότε, ένας νεαρός Σαλονικιός κιθαρίστας
των Σουηδών ήδη φτασμένων Power Metal συγκροτημάτων Dream Evil, ο Κώστας
Καραμητρούδης, γνωστός στον χώρο μας ως Gus G, προτρέπεται από τον τεράστιο,
θρυλικό και εγώ δε ξέρω τί άλλο κιθαρίστα, αλλά και παραγωγό, David Chastain,
να δοκιμάσει τον τραγουδιστή Stephen Frederick, όταν του ζητά τη βοήθειά του
για να στήσει αυτό το άλμπουμ.
Έχοντας
το demo του ως βάση, ο Gus G θέλει να μεταλαμπαδεύσει την προσπάθειά του σε
έναν δικό του δίσκο. Μαζί τους οι Brian Harris στα ντραμς και ο Κωνσταντίνος
στο μπάσο. Ένα άλμπουμ που πραγματικά δεν ξεπεράστηκε ποτέ από μεγάλο αριθμό
φίλων του κλασικού Heavy και Power Metal, και νομίζω δίκαια! Οι επιρροές όλων,
και ειδικότερα του Gus G, ξεκινούν από Helloween, Rainbow, Malmsteen,
Stratovarius και φτάνουν σε Crimson Glory, Gargoyle, Queensryche και Warlord
από την άλλη πλευρά του Ατλαντικού.
Ένα
άλμπουμ που, αν σας χτυπά άσχημα ο Euro Power ήχος, θα το πρότεινα ανεπιφύλακτα
(όπως και το επόμενο Burning Earth, που έχει ακόμη πιο U.S. Speed Metal
ηχητικά) για σίγουρα αποτελέσματα!
Στα
δώδεκα κομμάτια της αρχικής έκδοσης θα βρείτε μερικά πολύ κλασικά πλέον
δείγματα, όπως το ομώνυμο του άλμπουμ, τα Warrior, World of Conflict, τον ύμνο
τους, Destination Forever, και επιπλέον τα Tomorrow Can Wait, την απίστευτη
διασκευή στο Pictured Life της άψογης πρώτης εποχής των Scorpions, Firewind
Raging, Who Am I και το τρίτο single του δίσκου και στη συνείδησή μας, το Fire.
English:
Raw power as a first dose.
A pure side project album. Back then, a young
Thessalonian guitarist from the already established Swedish Power Metal bands
Dream Evil, Kostas Karamitroudis—known in our scene as Gus G—was encouraged by
the legendary, iconic, and I might add, otherworldly guitarist and producer
David Chastain to try out vocalist Stephen Frederick when he asked for his help
in putting together this album.
Using his demo as a foundation, Gus G aimed to channel
his effort into his own record. Joining him were Brian Harris on drums and
Konstantinos on bass. An album that truly has never been surpassed by a large
number of fans of classic Heavy and Power Metal—and I believe rightfully so!
The influences for all of them, especially Gus G, range from Helloween,
Rainbow, Malmsteen, Stratovarius, to Crimson Glory, Gargoyle, Queensryche, and
Warlord on the other side of the Atlantic.
If you're heavily into Euro Power metal, I would
wholeheartedly recommend this album (as well as the next, Burning Earth, which
leans even more toward U.S. Speed Metal in sound) for guaranteed results!
Among the twelve tracks of the original release,
you'll find some now-classic examples, such as the title track, Warrior, World
of Conflict, their anthem Destination Forever, as well as Tomorrow Can Wait,
the incredible cover of Pictured Life from the early, flawless era of the
Scorpions, Firewind Raging, Who Am I, and the third single on the album—and in
our consciousness—the song Fire.
Italy is not a country that has accustomed us to a
large number of death metal releases. There is certainly an extreme scene, but
personally I am not very familiar with it. NOCTURNA PERAMBULANT IN TENEBRIS,
with their debut “Death Dawn,” introduce a sound rooted in mid‑tempo death metal as it was primarily shaped by U.S.
bands. Upon this foundation, they incorporate elements from black and
traditional metal, creating a hybrid approach that broadens their stylistic
palette.
One aspect worth highlighting is the band’s lyrical
direction. They avoid the usual zombie, gore, and serial‑killer themes often associated with the genre.
Instead, their lyrics lean toward war‑driven and epic narratives reminiscent of BOLT
THROWER. Musically, if comparisons must be drawn, their sound sits somewhere
between SIX FEET UNDER, DEBAUCHERY, and the darker, mid‑tempo side of ROTTING CHRIST.
“Death Dawn” contains several good ideas, yet as a
complete release it tends to feel somewhat monotonous. The lack of variety
becomes noticeable—an understandable challenge when working within the
constraints of mid‑tempo
death metal. There are positive elements throughout, but the band would benefit
from developing more dynamic shifts and broader compositional contrasts in
future work.
For now, I believe the album will primarily appeal to
diehard fans of this specific sound. Tracks like “Immortal End” and the more
epic “Lachedaimonios” stand out, but after a certain point the repetition makes
the material blend together. Still, it’s worth giving the album a listen and
drawing your own conclusions.
Puerto Rican blackened death metal force Sons of Kali
have dropped their latest single, “Bloodshed,” offering another fierce preview
of their upcoming debut album. The track was recorded at Island Recording
Studios with engineer Jorge Vega, and later mixed and mastered by Christian
Rodriguez at Lady Starship Studios, sharpening its brutal, high‑velocity sound.
Formed in 2024 by guitarist Fabian Milian and bassist
Diego Garcia, Sons of Kali quickly solidified their lineup with vocalist
Sebastian Sousa and drummer Elier Bonilla, channeling a vision of faster,
heavier, and more aggressive extreme metal. Blending diverse influences into a
distinct sonic identity, the band has already released three singles, with
“Bloodshed” marking their most intense offering yet.
Their debut album is now one of the most anticipated
releases emerging from Puerto Rico’s extreme metal scene.
Emerging in 2020, DarkFlow has quickly established
itself as one of the most distinctive new voices in the modern metal landscape.
Refusing to be confined by genre boundaries, the band fuses Heavy Metal,
Thrash, Symphonic, and Progressive elements into a hybrid they boldly define as
Shock Metal. This self‑coined label reflects not only their sound but their
artistic philosophy: music that confronts, provokes, and immerses the listener
in a world of intensity and narrative depth.
A defining aspect of DarkFlow’s identity is their
commitment to theatrical performance. Their shows are crafted as full sensory
experiences, blending dramatic staging, visual storytelling, and a heightened
sense of spectacle. For DarkFlow, the stage is not merely a platform but a
world in which their stories unfold.
One of the most striking examples of their conceptual
ambition is the track “The Last Symphony.” The song explores a bleak
eschatological vision: humanity has lost its way, turning against itself
instead of seeking unity or compassion. In this narrative, divine intervention
arrives not as salvation but as judgment. Drawing from the tradition of
apocalyptic Christian literature—particularly the Book of Revelation—God
descends in wrath, fulfilling the prophecy that every soul is condemned. There
is no redemption, no final mercy; the prophecy becomes reality, and humanity
faces an irreversible end.
The production of the track further elevates its
impact. Andy LaRocque of King Diamond not only produced the song but also
performs its guitar solo, infusing the piece with his signature precision and
dark melodic flair. His involvement bridges DarkFlow’s modern Shock Metal
vision with the legacy of theatrical and narrative-driven metal.
The thematic core of “The Last Symphony” resonates
with the complex history of apocalyptic texts. The Book of Revelation,
attributed to John, was not immediately embraced by the early Church. Its
portrayal of Jesus as a warrior-king—far removed from the figure of love and
compassion emphasized in the four Gospels—made its inclusion in the New
Testament a matter of debate. DarkFlow taps into this tension, channeling the
raw, violent, and symbolic imagery of Revelation to craft a song that
challenges contemporary perceptions of faith, morality, and divine justice.
With their genre-blending sound, theatrical ambition,
and willingness to explore provocative themes, DarkFlow stands as a band
unafraid to push boundaries. “The Last Symphony” is not just a song—it is a
statement, a confrontation, and a glimpse into the apocalyptic imagination that
fuels their Shock Metal identity.
The older I get, the more I find myself drawn toward
black metal’s stark landscapes. For many listeners the trajectory goes the
opposite way, yet when releases like COLD EMPIRE’s From the Ashes of the Empire
cross your path, the shift feels less like a change in taste and more like a natural
evolution.
COLD EMPIRE, a two‑piece black metal act from Italy, craft a sound that
defies geographical expectations. Had I not looked them up beforehand, I would
have placed them somewhere in Scandinavia. Their approach is cold, epic, and
unrelentingly dark—rooted firmly in the classic black metal tradition. The band
avoids keyboards and unnecessary embellishments, relying instead on sharp
riffing, raw atmosphere, and a sense of frozen grandeur.
From the Ashes of the Empire stands out as a compelling
and memorable work. The songs move with purpose, carrying a blackened aura that
is both immersive and immediate. It’s a release that captures the essence of
traditional black metal without feeling derivative, channeling a chilling
atmosphere that pulls the listener into its bleak domain.
In COLD EMPIRE’s world, black metal reigns supreme—and
this album makes a strong case for why.
Οι
ατσάλινοι μαχητές του μέταλ με το πιο παχύ «σολ» (μέτσολ), οι ανοξείδωτοι
πολεμιστές πάνω στις Harley Davidson, η μπάντα που παρουσιάζει την πιο
αξιοπρόσεκτη πορεία από τη Βαλχάλα μέχρι τη σκηνή του Μπρόντγουεϊ (ή του
τσίρκου — οι γνώμες διίστανται), αποφάσισε να τονίσει ότι διαθέτει ακόμη επικά
χαρακτηριστικά στις παρυφές του νέου αιώνα.
Μετά
από δύο παγκόσμιες περιοδείες για τον δίσκο Louder Than Hell, δύο ζωντανά
ηχογραφημένα άλμπουμ (το ένα τόσο «ζωντανό» που η δουλειά στο στούντιο
ακούγεται πιο ζωντανή!) και με σημαίες αλά Kings of Metal εποχής στο εξώφυλλο,
κυκλοφορούν αυτό εδώ. Τώρα, τόση ώρα, για τη μουσική τους αυτή καθαυτή δεν
γράψαμε σχεδόν τίποτα.
Η
τετράδα Eric Adams, Joey DeMaio, Karl Logan και ο —μακαρίτης πλέον— Scott
Columbus κάνει ένα ιστορικό πισωγύρισμα. Μια ανάμιξη της εποχής Kings of Metal
/ Fighting the World με τα προγενέστερα άλμπουμ έως το 1984, και το αποτέλεσμα
είναι… περίεργα συμπαθητικό. Καλύτερος δίσκος από οτιδήποτε είχαν παρουσιάσει
την τελευταία δεκαετία, αλλά και πάλι κάτι χτυπάει λάθος.
Ίσως
φταίνε οι δύο διασκευές: το Nessun Dorma από την όπερα του Giuseppe Verdi και
το country κομμάτι An American Trilogy, που έχει ερμηνεύσει και ο Elvis
Presley. Ίσως πάλι οι πιο σοβαρές —ναι, μπορείς να τις χαρακτηρίσεις έτσι—
προσπάθειες με τα Call to Arms, Valhalla, Swords in the Wind, Warriors of the
World United, Hand of Doom, Fight Until We Die, που όντως αξίζουν τον τίτλο
Manowar.
Έχουμε
λοιπόν ένα άλμπουμ που, όπως είπαμε, είναι το καλύτερο εδώ και πολλά χρόνια,
αλλά και πάλι κάτι μου φταίει. Το οχτώ το παίρνουν —και είναι το πρώτο από το
1988— κι αυτό από μόνο του αποτελεί γεγονός. Οι εποχές που όλα τα παλιά θηρία
έδιναν δίσκους όπου το εννιά ήταν ντροπή να το βάλεις έχουν περάσει
ανεπιστρεπτί, όπως και η έμπνευση των συγκεκριμένων συγκροτημάτων.
Πρέπει
κάποτε να το αποδεχτούμε αυτό.
English:
What can one really say, and what can one possibly
describe.
The steel-clad warriors of metal with the thickest
“sol” (or “met-sol”), the stainless riders atop their Harley Davidsons, the
band whose trajectory stretches from Valhalla all the way to a Broadway stage
(or a circus tent — opinions vary), decided to remind us that they still
possess epic qualities on the threshold of the new century.
After two world tours supporting Louder Than Hell, two
live albums (one so “live” that the studio work sounds livelier!), and with
Kings of Metal-style flags waving proudly on the cover, they release this one.
And here we are, several lines in, having barely written anything about the
music itself.
The quartet of Eric Adams, Joey DeMaio, Karl Logan,
and the now-late Scott Columbus takes a historical step backward. A blend of
the Kings of Metal / Fighting the World era with their pre‑1984 albums, and the result is… strangely likeable. A
better record than anything they’ve put out in the last decade, yet something
still feels off.
Maybe it’s the two covers: Nessun Dorma from Verdi’s
opera, and the country piece An American Trilogy, also performed by Elvis Presley.
Or maybe it’s the more serious —yes, you could call them that— efforts like
Call to Arms, Valhalla, Swords in the Wind, Warriors of the World United, Hand
of Doom, Fight Until We Die, which genuinely earn the Manowar title.
So what we have here is an album that, as mentioned,
is their best in many years — and yet something still bothers me. They get an
eight —their first since 1988— and that alone is noteworthy. The days when the
old beasts delivered albums where giving them anything less than a nine felt
shameful are long gone, just like the inspiration of these once-mighty bands.
«Έχω
περάσει πολλές άσχημες στιγμές μετά την ιστορία με τους Iron Maiden. Έχω παίξει
με το πρώτο μου σχήμα, τους Blaze, σε συναυλίες μπροστά σε είκοσι-τριάντα
άτομα», ανέφερε πρόσφατα από σκηνής στο αθηναϊκό κοινό ο κύριος Blaze Bayley. Η
εποχή που περιγράφει ήταν αυτή μετά την κυκλοφορία του πρώτου του δίσκου,
ύστερα από την σχεδόν εξαετή πορεία του με τους Iron Maiden. Κάποια από τα
κομμάτια είχαν ήδη πάρει σχήμα από την εποχή μετά το Virtual XI, και
προορίζονταν για το επόμενο άλμπουμ του μαζί τους, κάτι που βέβαια δεν συνέβη.
Ένα CD, γραμμένο υπό το πρίσμα των αρχών του νέου αιώνα, θα έλεγα σκοτεινό,
κλειστοφοβικό και πολύ μοντέρνο Heavy Metal, πιο μηχανιστικό απ' ό,τι μας έδωσε
αργότερα. Ίσως το γεγονός ότι έχει να κάνει με την ανερχόμενη ακόμη τότε επιστήμη
της πληροφορικής, που εκείνη την εποχή άρχισε να εισέρχεται στη ζωή του κάθε
ανθρώπου, να ήταν η επιρροή στη θεματική (χαλαρά το λες) του συνολικού άλμπουμ.
Ό,τι και αν του προσάπτουν οι πάντως είδους «δικαστές κι εισαγγελείς», κατόπιν
εορτής, ο πρώτος αυτός δίσκος έχει να δώσει κομμάτια με μεγαλύτερη ιστορική
αξία, όπως τα «Ghost in the Machine», «Evolution», «Silicon Messiah», «The
Hunger», «Born As A Stranger», «Reach for the Horizon», «Stare At the Sun».
English:
Falling from the Sky to the Earth
"I have gone through many tough moments after the
story with Iron Maiden. I’ve played with my first band, Blaze, at concerts in
front of twenty to thirty people," recently stated Blaze Bayley from the
stage to the Athens audience. The period he describes was after the release of
his first album, following nearly six years of touring with Iron Maiden. Some
of the tracks had already taken shape during the time after Virtual XI, and
were intended for his next album with them—though, of course, that never
happened.
This CD, I would say, written in the spirit of the
early 2000s, is dark, claustrophobic, and very modern heavy metal—more
mechanistic than what he later delivered. Perhaps the fact that it relates to
the emerging science of computing, which was just beginning to enter everyone's
life at that time, influenced the thematic (loosely speaking) of the entire
album. Whatever accusations are made against it by the so-called "judges
and prosecutors," in hindsight, this first album offers tracks of greater
historical value, such as "Ghost in the Machine,"
"Evolution," "Silicon Messiah," "The Hunger,"
"Born As A Stranger," "Reach for the Horizon," and
"Stare At the Sun."
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