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.
Έχοντας
ξαναπεί ότι οι μικρές κυκλοφορίες είχαν παλαιότερα τη δική τους ξεχωριστή αξία,
εδώ έχουμε το δεύτερο συνολικά EP των Destruction στη δισκογραφία τους, το
οποίο περιλαμβάνει την επανεκτέλεση ενός παλαιότερου τραγουδιού τους με τη νέα,
τότε, τετραμελή σύνθεση του συγκροτήματος.
Ακολουθεί
η διασκευή του The Damned των Plasmatics, της αξέχαστης Wendy O' Williams, ενώ τα
Reject Emotions και το ορχηστρικό The Last Judgment ολοκληρώνουν το σύνολο.
Μικρό
σε διάρκεια αλλά φονικό σε περιεχόμενο, λειτουργεί ως ιδανική προετοιμασία για
το επόμενο δισκογραφικό τους βήμα, το άλμπουμ Release from Agony.
English:
Kills Everything in Its Path!
As I’ve said before, smaller releases used to have a
special value of their own. Here we have Destruction’s second EP overall, a
release that features a re-recorded version of one of their earlier songs,
performed by the band’s then-new four-piece lineup.
Next comes their cover of The Damned by Plasmatics,
fronted by the unforgettable Wendy O’ Williams, while Reject Emotions and the
instrumental The Last Judgment round out the tracklist.
Short in length but absolutely lethal in content, this
EP serves as the perfect appetizer for their next major discographic step: the
album Release from Agony.
