REVIEW: HYPOCRISY, Osculum Obscenum

 

HYPOCRISY, Osculum Obscenum (1993)

Nuclear Blast Records

Όχι για καρδιακούς.

Σουηδικό Death Metal και οι Hypocrisy, ένα από τα σχήματα που το δημιούργησαν, εδώ στο δεύτερο άλμπουμ της καριέρας τους, που συνεχίζει αδιάκοπα μέχρι το παρόν. Όχι οι εποχές που θα ανακαλύψουν το διάστημα και τα τρομακτικά μυστήρια που κρύβει, αν και κοντά, δεν βρίσκονται εδώ. Αγνό και ματωμένο Death Metal, με ακραιφνή καθαρή παραγωγή και ελαφρύ Black υπόβαθρο όσον αφορά το στιχουργικό μέρος. Οι Peter Tägtgren στις κιθάρες, Mikael Hedlund στο μπάσο, Masse Broberg στη φωνή και ο Lars Szöke στα τύμπανα αποτελούν τη σύνθεσή τους και έχουν γράψει μερικά από τα πιο ματωμένα και σκοτεινά τραγούδια της ιστορίας τους, όπως τα Pleasure of Molestation, Exclamation of a Necrofag, Osculum Obscenum, Necronomicon, καθώς και την τρομερή διασκευή στο Black Metal των Venom, καθιστώντας το Attachment to the Ancestor συνώνυμο του ονόματός τους για πάντα.

English:

Not for the faint of heart.

Swedish Death Metal and Hypocrisy, one of the bands that helped shape it, here on their second album of their career, which has continued uninterrupted to the present day. The times when they would explore space and its terrifying mysteries are not here, although close, they are not present. Pure and bloody Death Metal, with a straightforward, clean production and a slight Black metal influence in the lyrical content. Peter Tägtgren on guitars, Mikael Hedlund on bass, Masse Broberg on vocals, and Lars Szöke on drums make up their lineup, and they have composed some of their most brutal and dark songs in their history, such as Pleasure of Molestation, Exclamation of a Necrofag, Osculum Obscenum, Necronomicon, as well as the incredible cover of Venom's Black Metal, making Attachment to the Ancestor synonymous with their name forever.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: WOLF’S GANG – Apocalypse

 

WOLF’S GANG – Apocalypse

EmanesMetal Records

The French metal scene has long been relatively underrepresented on the international stage, with many talented bands choosing to perform primarily in their native language. This linguistic choice often imparts a unique and exotic character to their sound, setting them apart from their peers. Apocalypse marks the debut release of Wolf’s Gang, offering an introduction to their musical style and potential.

Musically, the band draws heavily from the heavy metal of the 1980s, incorporating vintage elements while striving for a modern interpretation. Their sound can be loosely compared to bands such as Iron Maiden, the legendary French band Nightmare during their traditional heavy metal phase, and to some extent, HammerFall. The album showcases competent musicianship, with lead guitar work and solos that add variety and richness to their compositions. As listeners become more familiar with their work, they will likely discover new details and nuances that reveal the band’s evolving identity.

As a debut effort, Apocalypse reflects the band’s primary influences, but also demonstrates their potential to craft a more personal and distinctive sound in the future. The songwriting indicates a solid foundation upon which they can build, with room for growth and experimentation. The album serves as a promising starting point for Wolf’s Gang’s journey within the heavy metal landscape.

Overall, Apocalypse is a commendable release that both fans of traditional metal and those interested in contemporary interpretations should consider exploring. It offers a glimpse into the talents of a band still in development, but with clear signs of potential. With continued evolution, Wolf’s Gang could establish a notable presence in the scene in the coming years.

Nick Parastatidis

REVIEW: RAGE, Carved In Stone

 

RAGE, Carved In Stone (2008)

Nuclear Blast Records

Η αναγέννησή τους ταιριάζει πολύ.

Οι παλαίμαχοι του ευρωπαϊκού Speed και Power Metal, με τον Peter "Peavey" Wagner σε τραγούδι, μπάσο και σύνθεση, ως ηγέτη, δεν χρειάζονται ιδιαίτερη σύσταση. Αγαπημένοι στο κοινό και στη χώρα μας, μετά τη δεύτερη χρυσή εποχή τους μέχρι το 1999, έκαναν την δισκογραφική τους κοιλιά, αλλά από τις αρχές της νέας χιλιετίας έχουν κάνει πολύ σοβαρές προσπάθειες δισκογραφικά. 

Μετά τα άλμπουμ Unity και Soundchaser, που τους έβαλαν στο παιχνίδι, αυτό το CD είναι το αμέσως πιο "κλασικότροπο" Rage που είχαν κυκλοφορήσει στην πρώτη δεκαετία του 21ου αιώνα. Με ντράμερ τον André Hilgers και τον Λευκορώσο κιθαρίστα Victor Smolsky, το τρίο μας δίνει εδώ ίσως το καλύτερο άλμπουμ της επιστροφής τους. Γρήγορο Power Metal, με αυτή τη χαρακτηριστική ταχύτητα Rage των εποχών Trapped και The Missing Link, που μας έλειπε, είναι η αλήθεια, και με όρεξη, καλές συνθέσεις.

 

Ακούγοντας το ομότιτλο Carved in Stone, πρώτο στη σειρά, γυρνάς το μυαλό σου στις τρομερές στιγμές τους. Τα κομμάτια Drop Dead!, Gentle Murders, Open My Grave, One Step Ahead, Lost in the Void και Lord of the Files (Maiden-ικός τίτλος βεβαίως) ακολουθούν τη πεπατημένη, χαρίζοντας χαμόγελα στους φίλους αυτού του κλασικού συγκροτήματος.

English:

Their revival suits them very well.

Veterans of European Speed and Power Metal, with Peter "Peavey" Wagner on vocals, bass, and songwriting as the leader, need no special introduction. Beloved by fans and in our country too, after their second golden era until 1999, they experienced a lull in their discography, but since the early 2000s, they have made serious efforts in the studio. 

Following the albums Unity and Soundchaser, which put them back in the game, this CD is the most "classic-oriented" Rage release from the first decade of the 21st century. With André Hilgers on drums and the Belarusian guitarist Victor Smolsky, the trio delivers perhaps their best album of their comeback. Fast Power Metal, with the distinctive speed Rage is known for during the Trapped and The Missing Link eras—which we missed—is true, and it's played with enthusiasm and strong songwriting. 

Listening to the title track Carved in Stone, the first in the sequence, takes you back to their incredible moments. Tracks like Drop Dead!, Gentle Murders, Open My Grave, One Step Ahead, Lost in the Void, and Lord of the Files (a Maiden-esque title, of course) follow the formula, bringing smiles to fans of this classic band.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: VALHALL – Red Planet

 

VALHALL – Red Planet

Housecore / Hammerheart Records

Valhall, a Norwegian band established in 1987, exhibits a notable evolution in their musical style over the years. Initially emerging as a black metal act, the band transitioned into a doom metal sound that reflects a significant departure from their early extreme metal roots.

Red Planet is their third full-length album, and its re-release offers an opportunity to evaluate their current artistic direction. The album primarily adheres to traditional doom metal aesthetics, drawing influence from foundational bands such as Black Sabbath. The sound is characterized by clean vocals, complemented by prominent keyboard arrangements reminiscent of Deep Purple, which introduce psychedelic and atmospheric elements. Additionally, the album incorporates jazz influences and more energetic, rock-oriented components, resulting in a diverse sonic texture.

A standout track is "Made in Iron," distinguished by its NWOBHM (New Wave of British Heavy Metal) influence. This piece introduces a slightly more aggressive and energetic style, making it particularly memorable within the context of the album.

The remaining tracks maintain a consistent mood and style but tend to follow familiar doom metal tropes. While the album is well-produced and engaging, it does not significantly break new ground within the genre. Consequently, it may be perceived as somewhat predictable or conventional, offering familiarity rather than innovation. The overall sound is polished, yet it may lack the emotional intensity or originality needed to distinguish it markedly from other releases in the genre.

In summary, Red Planet reflects Valhall’s mature and refined approach to doom metal, demonstrating solid songwriting and execution. However, from an analytical perspective, it may be considered somewhat standard, with limited elements to elevate it beyond the typical offerings of contemporary doom metal.

Christine  Parastatidou

S.R.L Releases New Single "Sine Requie Luctamur"

 

Italian melodic death/thrash metal band S.R.L has released their new single, "Sine Requie Luctamur," recorded at their home studio and mixed by Marco "Panda" Delle Fate. Formed in 1992 in Terni, Umbria, S.R.L is known for blending diverse styles and singing in Italian about everyday life. The band features Jerico Biagiotti, Rodolfo "RawDeath" Ridolfi, Cristiano "Alcio" Alcini, Panduk, and Francesco "Khaynn" Bacaro.

REVIEW: IMMORTAL, Battles In The North

 

IMMORTAL, Battles In The North (1995)

Osmose Productions

Μαύρο μέταλ σε λευκό φόντο.

Μετά τα δύο πρώτα άλμπουμ τους, και ειδικά το Pure Holocaust, που είναι και το πιο γνωστό άλμπουμ της πρώτης τους εποχής, οι Νορβηγοί black metal συγκροτήματα ξαναμπαίνουν στο μούχλιασμένο υπόγειο στούντιό τους κάτω από το κάστρο στη μέση του δάσους στα περίχωρα του Bergen (σε μια πρόταση με μόνο δύο αλήθειες: το στούντιο και την πόλη της Βόρειας Νορβηγίας από όπου κατάγονται), και το αποτέλεσμα είναι αυτό το άλμπουμ. Ο Abbath Doom Occulta συμμετέχει στα φωνητικά, το μπάσο και πλέον και στα ντραμς, ενώ ο Demonaz Doom Occulta παίζει κιθάρα — η σύνθεση πλέον είναι ούτως ή άλλως και ο ντράμερ Grim, αν και ήταν στα εξώφυλλα του Pure Holocaust, ξέρουμε ότι δεν έπαιξε πραγματικά σε αυτό. 

Ορθόδοξο (όσο κι αν αυτό το επίθετο είναι σε αντιδιαστολή με το όλο θέμα) black metal, με καλή αλλά φυσικά χαμηλή παραγωγή, γρήγορα κομμάτια με την κλασική παγωμένη χροιά του ήχου τους, που αποτελεί το σήμα κατατεθέν τους, και θεματολογία που πηγάζει από το αρκτικό περιβάλλον, τα σκοτεινά δάση (ναι, ξεκολλήστε από την ιδέα ότι και αυτοί είναι "σατανιστές". Πούλαγε το image τότε, να θυμίσω, αν δεν ήσουν σκοτεινός, το κοινό δεν θα αγόραζε το CD). Το κρύο και τα απόκοσμα πλάσματα που καραδοκούν μέσα στο σκοτάδι του βορρά. Παγωμένοι μαύροι ύμνοι, καλυμμένοι με χιόνι, όπως τα Battles in the North, Throned by Blackstorms, Grim and Frostbitten Kingdoms, με το μεγαλύτερο "χίτ" τους, το Blashyrkh (Mighty Ravendark). Θρονιάζονται πίσω από το λευκό εξώφυλλο με τις ασπρόμαυρες μούρες των μουσικών του συγκροτήματος. Η θερμοκρασία ήδη έχει πέσει στο στερεοφωνικό μου...

English:

Black metal on a white background.

After their first two albums, especially Pure Holocaust, which is also their most well-known release from their early era, the Norwegian black metal band returns to their moldy underground studio beneath the castle in the middle of the forest on the outskirts of Bergen (in a sentence with only two truths: the studio and the city of Northern Norway where they originate), and the result is this album. Abbath Doom Occulta contributes vocals, bass, and now drums as well, while Demonaz Doom Occulta plays guitar — the lineup now includes Grim as the drummer, although he appeared on the Pure Holocaust cover, we know he didn't actually play on that album. 

Orthodox (as much as this adjective contrasts with the overall theme) black metal, with good but naturally low production, fast tracks with their signature cold, icy sound that defines them, and lyrics inspired by the Arctic environment, dark forests (yes, stop thinking that they are "Satanists" — that image sold back then, I should remind you: if you weren’t dark, the audience wouldn’t buy the CD). Coldness and eerie creatures lurking in the darkness of the North. Frozen black hymns covered in snow, like Battles in the North, Throned by Blackstorms, Grim and Frostbitten Kingdoms, with their biggest "hit," Blashyrkh (Mighty Ravendark). They sit behind the white cover art featuring black-and-white faces of the band members. The temperature has already dropped in my stereo...

Τάκης "Ε-Μortal One" Γιώτης!

SECRET RULE Releases New Single "Silent Pain"

 

Italian modern metal band Secret Rule has launched their new single and music video, "Silent Pain," from their upcoming tenth album "X," due out October 24, 2025, via Rockshots Records.

Following "Just a Sacrifice" and "Echoes of the Earth," "Silent Pain" explores hidden suffering with haunting melodies and raw lyrics. Angela Di Vincenzo shares, "It’s about giving voice to buried feelings." The track combines heavy riffs with delicate atmospheres, reflecting emotional chaos and healing.

The band produced the song themselves, with drums recorded at Alpha Music and mastered at Digitall Studio. "X" celebrates their ten-year journey with a bold mix of metal, symphonic, and electronic sounds, focusing on themes of struggle and rebirth.