Here we have a new American band moving in the
heavy/speed metal direction. This is their debut EP, containing three songs
that introduce the band’s musical identity and give a first taste of what they
are capable of.
Behind the microphone we find Jill Janus, a former
Playboy model who proves that her involvement with music is not just a
publicity move. Her vocal performance is actually quite strong, and this comes
from someone who has never been a big fan of female vocals, whether they belong
to the old school or the newer generation of metal bands such as NIGHTWISH,
LACUNA COIL, or THE GATHERING. Jill’s voice fits the aggressive and powerful character
of the music, adding personality and energy to the songs.
The guitar work is also quite impressive, with solid
riffs and a good understanding of the heavy/speed metal style. Although this is
only a short release, all three tracks maintain a good level of quality and
show that the band has potential. Among them, "The Creeper" stands
out as probably the strongest song of the EP, combining the best elements of
their sound.
This is a promising first step from HUNTRESS, and the
band are preparing to release their first full-length album soon. Until then,
they are definitely a name worth keeping in mind for fans of modern heavy metal
with a strong traditional influence.
THE NEW BLACK is one of the very few bands that made
such an immediate and lasting impression on me from the very first moment I had
the pleasure of listening to their music. After so many years in the metal
scene and countless hours spent discovering new bands and albums, I've reached
a point where I'm not easily impressed, excited, or genuinely enthusiastic. In
fact, the number of bands that make it onto my long-term playlist is remarkably
small. However, Germany's THE NEW BLACK possesses that special quality that
instantly caught my attention, so it goes without saying that I was eagerly
anticipating their sophomore release.
Fortunately, for the second time, these guys have not
disappointed.
If you're a fan of Southern groove metal, it's hard to
imagine not enjoying what THE NEW BLACK has to offer. The band has a remarkable
ability to combine memorable melodies, infectious grooves, and highly effective
sing-along choruses, all delivered through superb musicianship and a powerful,
crystal-clear production. Their songwriting strikes an excellent balance
between heaviness and accessibility, making their material equally appealing to
both dedicated metal fans and listeners who appreciate strong hooks and melody.
II: Better in Black picks up right where the band's
self-titled debut left off, while also showcasing a slightly more rock-oriented
approach. At times, the album brings to mind the more inspired side of
NICKELBACK, blended with the unmistakable influence of Zakk Wylde's signature
pinch harmonics and Southern swagger. Rather than simply repeating the formula
of the debut, the band expands upon it, delivering a collection of songs that
feel both familiar and refreshed.
Special mention must also go to vocalist Markus
Hammer, whose warm, expressive voice adds an extra dimension to the material.
His performance consistently elevates the songs, giving them both character and
emotional depth while providing the perfect complement to the band's
groove-laden sound.
Supported by strong songwriting, excellent
performances, and first-class production values, II: Better in Black is a
highly satisfying follow-up that confirms THE NEW BLACK as one of the most
promising acts in the modern Southern groove metal scene.
If Southern groove metal is your thing, then this
album deserves a place in your collection. I know it will certainly remain in
mine.
Οι
Trouble από το Σικάγο του Ιλινόις είναι ένα συγκρότημα που, στο πέρασμα του
χρόνου, απέκτησε πολύ μεγαλύτερες διαστάσεις απ’ ό,τι πίστευαν ακόμη και οι
ίδιοι. Ταυτισμένοι με τη φωνή του Eric Wagner, ο οποίος έφυγε πρόσφατα από τη
ζωή, πριν από τέσσερα χρόνια, η εποχή των τεσσάρων πρώτων δίσκων τους θεωρώ πως
είναι και η πλέον αντιπροσωπευτική της πορείας τους.
Στο
τρίτο τους άλμπουμ, μετά τα Psalm 9 και The Skull που είχαν προηγηθεί,
εξακολουθούν να παίζουν αυτό το χαρακτηριστικό μείγμα αμερικανικού Heavy Metal
με έντονες Doom Metal αναφορές. Δεν είναι αποκλειστικά «παιδιά των Black
Sabbath», όπως, για παράδειγμα, οι συμπατριώτες τους και ήδη βετεράνοι τότε
Pentagram, καθώς διαθέτουν τα δικά τους ιδιαίτερα στοιχεία, τα οποία τους
διαφοροποιούν αισθητά.
Το
παλιακό ύφος που θα καλλιεργήσουν ακόμη περισσότερο στο μέλλον εδώ περιορίζεται
σε ορισμένα riffs που κάτι θυμίζουν, χωρίς όμως να παραπέμπουν ξεκάθαρα κάπου.
Το συναίσθημα αυτό είναι τόσο ασαφές, ώστε χάνεται μέσα στο συνολικό μουσικό
σύνολο του δίσκου.
Τα
τραγούδια του, όπως τα The Misery Shows, Thinking of the Past, On Borrowed
Time, Run to the Light, Born in a Prison, Peace of Mind και The Beginning,
καθώς και η εξαιρετική διασκευή του Come Together των Beatles, η οποία
περιλαμβάνεται στα επιπλέον κομμάτια της έκδοσης CD, συγκαταλέγονται πλέον στα
κλασικά δείγματα του ήχου τους. Πρόκειται για ένα άλμπουμ που έγραψε τη δική
του ιστορία στη βαριά ηλεκτρική μουσική της δεκαετίας του ’80.
English:
Third Edition
Trouble, hailing from Chicago, Illinois, are a band
whose stature has grown far beyond what even they themselves could have
imagined over the years. Forever associated with the voice of Eric Wagner, who
passed away four years ago, I believe the era represented by their first four
albums remains the most defining and representative period of their career.
On their third album, following Psalm 9 and The Skull,
Trouble continue to deliver their trademark blend of American Heavy Metal
enriched with strong Doom Metal overtones. They are not simply "children
of Black Sabbath" in the way that, for example, their fellow countrymen
and already well-established veterans Pentagram were. Trouble possess a
distinctive identity of their own, and the songwriting on this album clearly
highlights the elements that set them apart.
The vintage feel that they would further develop in
the years to come is present here only in certain riffs that sound vaguely
familiar without directly recalling any particular source. The impression is
subtle enough to become absorbed into the album's overall musical character
rather than standing out on its own.
Songs such as The Misery Shows, Thinking of the Past,
On Borrowed Time, Run to the Light, Born in a Prison, Peace of Mind, and The
Beginning, along with the outstanding cover of the Beatles' Come
Together—included among the bonus tracks on the CD edition—have long since
earned their place among the classic examples of the band's signature sound.
This is an album that carved out its own place in the history of heavy music
during the 1980s.
VARATHRON,
Gloryfication Under The Latin Moon - LIVE (2019)
Agonia
Records
Θα
ακουστεί η ελληνική σκηνή στην άλλη άκρη της Γης
Οι,
πλέον Ηπειρώτες, Varathron κατέγραψαν κατά τη διάρκεια της περιοδείας τους στη
Λατινική Αμερική το 2019 αυτό το ζωντανό best of άλμπουμ. Από το Μεξικό έως τη
Χιλή και από το Περού έως τη Βραζιλία, αυτή η ανίερη πεντάδα του μεσογειακού
Black Metal δίδαξε τι εστί ελληνικός ήχος στους πιστούς οπαδούς της στην
αντίπερα όχθη του Ατλαντικού.
Δεκατρία
από τα πιο κλασικά κομμάτια της δισκογραφίας τους, από το πρώτο τους άλμπουμ
His Majesty at the Swamp έως το τότε πιο πρόσφατο Patriarchs of Evil,
παρουσιάζονται εδώ με δαιμονική εκτελεστική αρτιότητα και ακατέργαστη
συναυλιακή ενέργεια.
English:
The Greek Scene Heard at the Other End of the Earth
Now based in Epirus, Varathron captured this live
best-of album during their 2019 Latin American tour. From Mexico to Chile and
from Peru to Brazil, this unholy quintet of Mediterranean Black Metal showed
its devoted followers on the far side of the Atlantic what the Greek sound is
truly all about.
Thirteen of the most classic tracks from their
discography, spanning from their debut album His Majesty at the Swamp to what
was then their most recent release, Patriarchs of Evil, are presented here with
demonic precision and the raw energy of a live performance.
The name THE TARDS may not ring a bell for most metal
fans, but the band has been active since 2005, and Guillotine marks their
second release. On this album, THE TARDS deliver a distinctive blend of thrash
and traditional heavy metal. While the production is modern and powerful, the
riffs, songwriting approach, and overall attitude are firmly rooted in the
spirit of the 1980s.
What makes THE TARDS particularly interesting is their
ability to develop a recognizable identity so early in their career. Rather
than relying heavily on obvious influences, they have managed to craft a sound
that feels personal and distinctive. If there is one comparison that comes to
mind, it is MEGADETH, mainly due to certain aspects of the song structures and
arrangements rather than any direct stylistic imitation.
As a whole, Guillotine is a very interesting and
rewarding release. The band's musicianship, creativity, and commitment to the
metal genre are evident throughout the album. My only reservation concerns the
length of some compositions. A few tracks tend to overextend themselves,
becoming somewhat repetitive as they progress. More concise songwriting would
help highlight the band's strongest ideas and make the material even more impactful.
That said, THE TARDS possess both the talent and
dedication required to make a lasting impression. Their ability to combine
traditional metal values with a fresh and personal approach sets them apart
from many contemporary bands. If they continue refining their songwriting and
focus on making some of their compositions more direct, they have the potential
to deliver even stronger releases in the future.
Guillotine is well worth seeking out, especially for
listeners who appreciate heavy/thrash metal with character and individuality.
In an era where genuinely distinctive bands are increasingly rare, THE TARDS
offer something that deserves attention.
The fourth and final day of Mammothfest 2026 arrived
with high expectations, a diverse billing of heavy subgenres, and an eager
crowd ready to see out the festival in style. Covering everything from local
doom and modern djent to Swedish alternative rock and progressive metal royalty,
June 13th proved to be an unforgettable marathon of live music.
The afternoon kicked off promptly at 17:30 with
Katharsis, a fierce three-piece outfit hailing from Thessaloniki. Though early
festival logistics meant missing their live visual delivery, reports from the
barrier confirmed a devastatingly heavy start to the day. The trio tore through
a calculated four-song assault alongside two brand-new, unreleased tracks that
hint at a massive future release.
Katharsis Setlist:
1. The Last Battle
2. Rotting Kingdom
3. Eternal Voyage
4. Beneath the Swamp
(Plus 2 unreleased tracks)
Up next at 18:15 were Athens-based progressive groove
metal/djent technicians Herta. They wasted no time injecting a massive dose of
adrenaline into the growing crowd. Delivering precise, polyrhythmic syncopation
and bone-shattering riffs, their performance of tracks like Monolith and The
Snake Devours the Wolf proved exactly why they are a force to be reckoned with
in the Greek modern metal scene. By the time they closed with Control, the
crowd was thoroughly warmed up.
Herta Setlist:
1. Monolith
2. The Snake Devours the Wolf
3. Labyrinth
4. Beyond the Dead
5. The Path
6. Incarnation
7. Control
As the clock struck 19:00, the festival's namesake
vibes truly took over with the arrival of Acid Mammoth. The Athenian
doom/stoner icons laid down a wall of fuzzy, monolithic riffs that shook the
venue to its core. Moving through the thunderous Supersonic Megafauna Collision
and the suffocatingly heavy grooves of Jack the Riffer, their set was a
masterclass in slow-burning, psychedelic heaviness.
Acid Mammoth Setlist:
1. Supersonic Megafauna Collision
2. Tree of Woe
3. Berserker
4. Untitled
5. Them!
6. Jack the Riffer
Crossing the North Sea to join the billing, London’s
Seven Sisters took the stage at 20:00, shifting gears into the realms of
progressive heavy/power metal. Armed with twin-guitar harmonies reminiscent of
classic NWOBHM mixed with modern complexity, their set was melodic, soaring,
and technically flawless. Highlights included an epic rendition of The Cauldron
and the Cross and the brilliant melodic hooks of Andromeda Descending.
Seven Sisters Setlist:
1. The Cauldron and the Cross
2. The Artifice
3. Andromeda Descending
At 21:00, Sweden’s Ambush brought pure, unadulterated
1980s traditional heavy metal nostalgia to the stage. Exuding high energy,
leather, and piercing vocals, they triggered the first massive sing-alongs of
the evening with tracks like Firestorm and Desecrator. A surprise, blistering
cover of Judas Priest’s Metal Gods sent the crowd into a frenzy, setting the
perfect stage for the final track, Don't Shoot (Let 'em Burn).
Ambush Setlist:
1. Evil in All Dimensions
2. Maskirovka
3. Possessed by Evil
4. Heading East
5. Firestorm
6. Desecrator
7. Natural Born Killers
8. Metal Gods (Judas Priest cover)
9. Don't Shoot (Let 'em Burn)
As night fell at 22:15, Magna Carta Cartel offered a
mesmerizing change of pace. The Swedish alternative rock band draped the venue
in a cinematic, dreamlike atmosphere. Their synth-kissed guitars and
melancholic melodies felt like a breath of fresh air. Tracks like Silence,
Metropolis Flow, and the hauntingly beautiful "Valiant Visions Dawn"
captivated the audience, showcasing the depth of the festival's curation.
Magna Carta Cartel Setlist:
1. This Time
2. Turn
3. Sleepy Eye June
4. Silence
5. Metropolis Flow
6. Darling
7. Sway
8. Arrows
9. Savantgarde
10. Valiant Visions Dawn
Finally, at 23:30, progressive metal titans Soen
stepped into the headlining spotlight to close out Mammothfest 2026. The
Swedish quintet delivered a flawless, emotionally charged performance that
balanced intricate technicality with massive, anthemic hooks. From the opening
punch of Mercenary and Antagonist, Joel Ekelöf’s vocals were pristine, while
Martin Lopez’s drumming anchored the night with unparalleled groove. The
emotional weight of Lotus and Illusion brought chills to the audience, before
the band brought the entire four-day festival to a triumphant, heavy end with a
roaring performance of Unbreakable.
Cypriot dark metal force
KA'APER have unleashed their second full-length album, When Gods Walked The
Earth, out now via Satanath Records.
Formed on the southern shores
of Cyprus in 2024, KA'APER channel ancient mythology, death, and human tragedy
into a powerful blend of crushing riffs, dark melodies, and fierce vocals. The
new album features ten tracks exploring themes of life and death, love and
betrayal, and the eternal struggle between chaos and order, all viewed through
the lens of ancient gods and legends.
Drawing inspiration from bands
such as Septicflesh, Dark Tranquillity, Rotting Christ, Insomnium, and
Graveworm, the band delivers a dark and atmospheric journey through mythology
and modern decay.
When Gods Walked The Earth was mixed and mastered by Max Baryshnikov and includes guest appearances
from Ellen Pcheliakova (violins), Julia Selikhova (vocals on "Lament for
Osiris"), and Mike Angastiniotis (vocals on "Hiding").
Tracklist:
Amenhotep
Of Chaos and Destruction
Pharaoh
Our Time of Dying
Eternity in Stone
When Gods Walked the Earth
Lament for Osiris
A Reason to Go Insane
After the Gods
Hiding
With its fusion of melodic
darkness, mythological storytelling, and relentless heaviness, When Gods
Walked The Earth marks another significant step forward for Cyprus' rising
adepts of the dark arts.
Stormwarning is TEN's latest release. Having been
active for more than two decades, TEN have established themselves as one of the
most recognizable names in the melodic hard rock and metal scene. This album
marks the band's eleventh release and eighth studio album, further cementing
their long-standing presence in the genre.
Musically, TEN continue to blend melodic metal with
elements of pomp rock, creating a sound that is both epic and accessible. The
band appears to be in particularly strong form on Stormwarning, delivering a
collection of well-crafted songs characterized by memorable melodies, strong
choruses, and polished musicianship.
The album's highlights include tracks such as
"Endless Symphony," "Kingdom Come," and
"Destiny," all of which showcase TEN's ability to write melodic rock
and metal anthems with a grand, uplifting atmosphere. These songs capture the
band's strengths perfectly, combining powerful vocal performances with rich
instrumental arrangements.
The album's main weakness emerges during its second
half, where the material becomes noticeably softer. While these more restrained
moments demonstrate the band's versatility, they may not appeal equally to all
listeners. For those who prefer TEN's heavier and more energetic side, some of
these softer passages can slow the album's momentum and feel less engaging
compared to its strongest tracks.
Overall, Stormwarning is a very solid release that
should satisfy fans of melodic rock and melodic metal. The quality of the
songwriting, performances, and production make it one of TEN's strongest
efforts in recent years. In fact, it stands as their best album since the
acclaimed Spellbound and Babylon era. As an added bonus, the album artwork is
excellent and complements the music's epic atmosphere perfectly.
Κι
ενώ παρολίγο το σχήμα να διαλυθεί μετά το άλμπουμ The Final Chapter το 1997, η
φωνή του λαού τους κράτησε ζωντανούς. Ο Peter Tagtgren σε κιθάρες, πλήκτρα και
φωνή, ο Michael Hedlund στο μπάσο και ο Lars Szöke στα drums αποδεικνύουν τόσο
στους ίδιους όσο και στον κόσμο πόσο δίκιο είχε που ζήτησε να μην το
διαλύσουν.
Το
έκτο τους στούντιο άλμπουμ, το ομώνυμο, είναι πραγματικά ένα από τα
καλύτερα—not μόνο δικά τους, αλλά και όλου του ιδιώματος του death metal.
Κομμάτι-κομμάτι, ημίαεπιτυχίαδιαδέχεταιτηνάλλη: Fractured Millennium, Apocalyptic Hybrid, Fusion
Programmed Minds, Reversed Reflections, Until the End, Paranormal Hysteria,
Disconnected Magnetic Corridors, Time Warp, Paled Empty Sphere. Ακόμη
και το επιπλέον κομμάτι αυτής της αρχικής έκδοσης, Self-inflicted Overload,
αποτελεί σεμινάριο της σουηδικής σχολής.
Ένα
δέκα με τόνο ακόμη για την τριάδα που γράφει τη δική της ιστορία στη σφαίρα της
επιστημονικής φαντασίας και του τρόμου.
English:
A dynamic continuation from another dimension.
And while the band nearly disbanded after the The
Final Chapter album in 1997, the voice of the fans kept them alive. Peter
Tagtgren, on guitars, keyboards, and vocals, along with Michael Hedlund on bass
and Lars Szöke on drums, prove to both themselves and the world how right they
were to fight for the band’s survival.
Their sixth studio album, the self-titled Hypocrisy,
is truly one of the best—not only of their own discography but of the entire
death metal genre.
Track after track, successions of excellence:
Fractured Millennium, Apocalyptic Hybrid, Fusion Programmed Minds, Reversed
Reflections, Until the End, Paranormal Hysteria, Disconnected Magnetic
Corridors, Time Warp, Paled Empty Sphere. Even the bonus track of this initial
edition, Self-inflicted Overload, stands as a masterclass in the Swedish school
of death metal.
A perfect ten, plus one, for the trio that is writing
its own history in the realms of science fiction and horror.
