REVIEW: TYGERS OF PAN TANG, The Cage (1982)

 

TYGERS OF PAN TANG, The Cage (1982)

MCA Records

Τί ακούω και δε το πιστεύω;

Εμπορική στροφή ανάλογη των Def Leppard μελλοντικά έχουμε εδώ  απ' τις τίγρεις. Μετά από τρία συμπαγή άλμπουμ των οποίων τα δύο μέσα στο 1981, στο τέταρτο άλμπουμ με τη τίγρη να φαίνεται πίσω απ' ένα χέρι που βάφει το κάγκελο του "κλουβιού" πάνω της, τα πράγματα λίγο.... δεν είναι όπως θα τα περιμέναμε. Εντάξει δε λέω, τη ζημιά ροπής προς το A.O.R. τη ξεκίνησαν μεγαθήρια όπως οι Uriah Heep από στο 1980 κι οι Rainbow απ' το 1981, αλλά από ένα ψημένο NWOBHM συγκρότημα όπως αυτό, μάλλον χτυπά άσχημα στα αφτιά. Ακόμη και επιρροές Glitter Rock των 70s βρίσκουμε σε κάποια κομμάτια και όντως το σύνολο δε γλυτώνει απ' τη μετριότητα του 6/10  κατά συνέπεια δεν θα αναφερθώ σε επιμέρους κομμάτια του δίσκου. Η χρήση ακόμη κι ηλεκτρονικών κρουστών απ' τον ντράμερ Brian Dick ηχεί κι είναι όντως μάλλον περίεργη. Τα drum pads της εποχής δεν είχαν χροιά κανονικών δερμάτων στα τύμπανα οπότε ο ρυθμός είναι λίγο.... ποπ,  ακόμη χειρότερα ο John Sykes έχει φύγει απ' τη μία κιθάρα και αυτό είναι η πιο μεγάλη διαφοροποίηση με πριν. Ο Robb Weir έχει το δικό του κιθαριστικό πόστο μαζί με τον Fred Purser που παίζει και πλήκτρα (!), αλλά το ηχόχρωμα Sykes λείπει. Richard "Rocky" Laws μπάσο και πάντα ο Jon Deveril στο μικρόφωνο και πραγματικά αν και προσπαθώ να βρω δικαιολογία δε μπορώ! Ένα χαλαρό άλμπουμ που δε το βάζω κοντά στα τρία που προηγήθηκαν και βεβαίως όπως συμβαίνει στις περιπτώσεις αυτές, το σχήμα έσπασε μετά τη κυκλοφορία  για χρόνια. Ένα άδοξο, αν και  προσωρινό τέλος εποχής.

English:

I hear what I'm saying and I don't believe it;

A commercial turn similar to Def Leppard's future, here from the tigers. After three solid albums, two of which were released in 1981, the fourth album with a tiger behind a hand painting the "cage" door above it, things are not quite what we expected. Alright, I'm not saying that the damage from AOR had started with giants like Uriah Heep from 1980 and Rainbow from 1981, but from a well-known NWOBHM band like this, it's a big blow. Even influences from 70s Glitter Rock can be found in some tracks, and the overall album doesn't escape mediocrity with a score of 6/10. Therefore, I won't refer to specific tracks on the album. The use of electronic drums by drummer Brian Dick sounds and is indeed rather unusual. The drum pads of the time didn't have the usual tone of drum skins, so the rhythm is a bit... pop, and worse, John Sykes has left the one-guitar role and that's the biggest difference with before. Robb Weir has his own guitar post alongside Fred Purser, who plays keys (!), but Sykes' tone is missing. Richard "Rocky" Laws on bass and Jon Deveril on vocals, and I really try to find an excuse but I can't! A relaxed album that doesn't put it next to the three that preceded it, and as usual in these cases, the band broke up after its release for years. A inglorious, albeit temporary end of an era.

Τάκης "Ε-Μortal One" Γιώτης

A Tale of Two Tribes: Comparing EUROPE's 'Cherokee' and ANTHRAX's 'Indians

 

While both "Cherokee" by EUROPE and "Indians" by ANTHRAX are iconic songs in their respective genres, they have some interesting similarities and differences in their lyrics. Here's a comprehensive comparison of the two songs:

Similarities

Both songs were released in the 1980s, with "Cherokee" coming out in 1986 on EUROPE's album "The Final Countdown" and "Indians" released in 1987 on ANTHRAX's album "Among the Living". Both songs are considered classics of their respective genres, with "Cherokee" being a staple of rock music and "Indians" a thrash metal anthem.

Both songs also share a common theme of exploring the struggles and injustices faced by Native American tribes. EUROPE's song tells the story of a Cherokee warrior's journey, while ANTHRAX's song is more focused on the brutal treatment of Native Americans by European colonizers.

Differences

One of the most striking differences between the two songs is their approach to storytelling. EUROPE's "Cherokee" is a more narrative-driven song, with lyrics that paint a vivid picture of the Cherokee warrior's journey. The song's lyrics are rich in detail, with vivid descriptions of the warrior's battles, his love for his tribe, and his eventual demise.

ANTHRAX's "Indians", on the other hand, is more focused on conveying the sense of outrage and anger towards the treatment of Native Americans. The lyrics are more direct and aggressive, with vocalist Joey Belladonna delivering a scathing critique of European colonialism and its impact on Native American tribes.

Another key difference between the two songs is their musical style. EUROPE's "Cherokee" is a power ballad, with soaring guitar solos and a sweeping chorus. The song's melody is more straightforward and anthemic, making it easy to sing along to.

ANTHRAX's "Indians", on the other hand, is a thrash metal anthem, with fast-paced guitar riffs and aggressive drumming. The song's tempo is faster and more intense, reflecting the anger and frustration expressed in the lyrics.

Criticisms and Controversies

Both songs have faced criticism over the years for their perceived cultural appropriation and stereotypes. Some have argued that EUROPE's "Cherokee" reduces Native American culture to a simplistic narrative, while ANTHRAX's "Indians" relies on negative stereotypes and doesn't offer any real insight or understanding of Native American experiences.

In recent years, both bands have faced criticism for their handling of Native American imagery and themes. In 2020, EUROPE was accused of cultural appropriation for using Native American imagery in their music videos and live performances. ANTHRAX has also faced criticism for their use of Native American imagery and stereotypes in their music and artwork.

Conclusion

While both "Cherokee" by EUROPE and "Indians" by ANTHRAX are iconic songs in their respective genres, they have some significant differences in their lyrics and approach to storytelling. EUROPE's song is more focused on telling a narrative story, while ANTHRAX's song is more focused on conveying a sense of outrage and anger.

Both songs also face criticism for their cultural appropriation and stereotypes, which is an important consideration when examining these songs. Ultimately, both songs are products of their time and reflect the cultural attitudes and biases of their era.

Despite these criticisms, both songs remain beloved classics in their respective genres, and continue to inspire new generations of rock fans and metalheads.

Nick Parastatidis 

REVIEW: WRATHBLADE, God Of The Deep Unleashed (2017)

 

WRATHBLADE, God Of The Deep Unleashed (2017)

Eat Metal Records

Πάλι κλεινόμαστε εντός των τειχών.

Ένα από τα σχετικώς νέα σχήματα της ελληνικής Speed/Power αλλά κι Epic Metal κατηγορίας σε ένα άλμπουμ πέρασε κάτω απ' το ραντάρ σε πολύ κόσμο. Οι Αθηναίοι Wrathblade εδώ στο δεύτερο πλήρες αλμπουμ τους μοιάζουν σαν τους  επικούς προπάτορες Omen αλλά κυρίως τους έτερους θεούς Manilla Road σε πολλά σημεία, με το κιθαριστικό riffing τους κοντά  ακόμη και σε Black Μetal, αλλά και το πορωτικό πραγματικά κράμα τους ανάμεσα σε γρήγορο Power Metal ή πιο χαμηλών οκτανίων Speed Metal αλλά προφανώς με επικές αφηγήσεις στιχουργικά, κρύβει στιγμές πραγματικού μετάλλου να ξεπετιούνται απ' τα ηχεία. Στη σύνθεση που έγραψε το άλμπουμ βρίσκονται οι Νίκος Βαρσαμής στην (ιδαίτερη) φωνή, Χρήστος Μόσαλος και Νίκος Σωτηρίου κιθάρες, Γιώργος Κουμπαρούλης μπάσο, Γιάννης Αλεξανδράκης ντραμς. Η ιστορία των μύθων που διαδραματίζεται πίσω από το  Θεό της θάλασσας αδερφό  του Δία,  Ποσειδώνα γύρω απ' την Ατλαντίδα και την θεογονία πριν είναι γνωστή βέβαια απ' τα παιδικά μας χρόνια μέσω των κειμένων του Ησιόδου και φυσικά το σωκρατικό διάλογο του Τίμεου. Όλα τα κομμάτια του άλμπουμ κρύβουν μια όμορφη μεγαλοπρέπεια που έχει να κάνει με  ακούσματα που όλοι έχουμε λίγο ή πολύ κι αυτό σίγουρα σε κερδίζει. Εννιά τραγούδια με τα Enter the Warriors Guild, Castration of Urnaus, No Dole for the Blest, Vaunted Pride, Trancendal Essence και το τελικό Submersion για τη καταβύθιση της Ατλαντίδας περικλείουν ένα πραγματικά αξιοπρεπέστατο σύνολο.

English:

We're closing in within the walls once again.

A relatively new formation in the Greek Speed/Power and Epic Metal scene, Wrathblade from Athens, has flown under the radar for many people. In their second full-length album, they resemble the epic pioneers Omen, but mainly the other gods Manilla Road in many points. Their guitar riffing is close to Black Metal, but also blends well between fast Power Metal and lower-octave Speed Metal, with undoubtedly epic lyrical storytelling, hiding moments of genuine metal exploding from the speakers.

The album was composed by those involved: Nikos Varsamis on vocals, Christos Mosaolos and Nikos Sotiriou on guitars, Giorgos Koumparoulis on bass, and Yiannis Alexandrakis on drums.

The story of myths unfolding behind the God of the Sea, brother of Zeus, Poseidon, around Atlantis and the pre-known mythology before our childhood days through the texts of Hesiod and naturally Socratic dialogue of Plato. All the tracks on the album hide a beautiful grandeur that has to do with sounds that we all have had a little or a lot of, and this definitely wins you over.

Nine songs with titles like Enter the Warriors Guild, Castration of Urnaus, No Dole for the Blest, Vaunted Pride, Transcendal Essence, and the final Submersion for the sinking of Atlantis enclose a truly impressive collection.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: CARCASS, Swansong (1996)

 

CARCASS, Swansong (1996)

Earache Records

Death N' Roll κι από τους πρώτους.

Οι Άγγλοι πρώην grind/death metal πρωτοπόροι, των οποίων πριν διαβάστε στίχους στα άλμπουμ  πιο πίσω χρονικά, καλό θα ήταν να ανατρέξετε σε κάποιο εγχειρίδιο χειρουργικής ιατρικής λόγω των όρων που χρησιμοποιούν, εδώ τους βρίσκουμε στο απόγειο της δόξας τους μετά το θεϊκό Heartwork. Το πρώτο τους για μένα άλμπουμ το "κύκνειο άσμα" στα ελληνικά, έχει όλα εκείνα τα στοιχεία ενός best of άλμπουμ. Με ένα είδος crossover αναμεσα σε hard rock με death metal χροιά, σαν το Wolverine Blues των Entombed θα το χαρακτήριζα, αν κι εκείνο είναι πιο ...N' Roll παρά Death!  Η πολιτική άποψη ενεδρευει σε πολλά από τα εξαιρετικά κομμάτια του. Keep on Rotting in the Free World, Black Star, Tomorrow Belongs to Nobody, Cross my Heart, Generation Hexed είναι αξέχαστα τραγούδια.

English:

"Death 'N' Roll, and one of the first to do it.

The English former grind/death metal pioneers, whose earlier albums' lyrics made you want to consult a surgical manual due to the terminology they used, are now at the peak of their glory following the divine *Heartwork*. Their first album, which I consider their 'swan song' in Greek, has all the elements of a best-of compilation. It features a crossover style between hard rock and death metal, reminiscent of *Wolverine Blues* by Entombed, although that one leans more towards rock 'n' roll than death! A political stance lurks in many of the excellent tracks. *Keep on Rotting in the Free World*, *Black Star*, *Tomorrow Belongs to Nobody*, *Cross My Heart*, and *Generation Hexed* are unforgettable songs."

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: BLUE ÖYSTER CULT – Club Ninja

 

BLUE ÖYSTER CULT – Club Ninja

CBS Records

“Club Ninja”, released in 1986, often stands as one of Blue Öyster Cult's more divisive albums. As the band was transitioning into the mid-80s era, their sound evolved, leaning towards more polished, radio-friendly production that diverged significantly from their earlier, more progressive, and hard rock roots. While this change didn’t sit well with all fans, the album still has its own merits and identity, especially for listeners attuned to 80s aesthetics.

The album kicks off with “White Flags,” a cover of a Leggat Brothers song, which immediately sets the tone for what’s to come. The polished production is evident, with prominent synthesizers creating an atmospheric introduction. The guitars are still present but somewhat restrained, letting the synths take a front seat, which may come as a surprise for long-time fans of the band’s heavier, guitar-driven material. However, this track is a clear example of the more AOR (Album-Oriented Rock) vibe that permeates *Club Ninja*. The chorus is big, melodic, and undeniably catchy—a trend that continues throughout the album.

Next, “Dancin' in the Ruins” follows, and here is where the album shows its 80s colors even more clearly. The track has a light danceable rhythm, leaning toward a pop-rock sound, and one might detect hints of disco elements, especially in the groove of the beat. While it doesn’t entirely veer into a dance track, it has that infectious energy, driven by the combination of keyboards and tight drumming. The track reached moderate success, and its upbeat nature makes it one of the album’s highlights, especially for those who enjoy Blue Öyster Cult’s more accessible side.

A track like “Rock Not War” brings the band back to a more straightforward rock sound, though it still maintains that glossy, heavily produced sheen that defines the record. The lyrics, focusing on anti-war themes, touch on socio-political commentary, showing that the band hasn’t completely abandoned their philosophical and provocative lyrical content, despite the more commercial sound. The guitar work, though not as gritty as on previous albums, is solid, and there’s an energy to the song that feels more in line with their past, making it a bridge between eras for the band.

One of the album’s strengths is its ability to balance softer, more melodic songs with heavier moments, such as in “Shadow Warrior.” Here, the band reintroduces some of the mystique and darker themes they were known for in the 70s, with Eric Bloom delivering a vocal performance that channels some of the enigmatic energy that defined the band’s earlier work. The track has a compelling build-up, with some intricate guitar work providing a powerful undercurrent. The atmospheric synths add layers to the song, making it more nuanced and compelling.

Perhaps the most noteworthy track in terms of showcasing the AOR and catchy elements is “Perfect Water.” This song is drenched in an 80s sound with smooth vocals and dreamy production. While lyrically it takes a deep dive into more abstract themes, the overall feel of the song is serene and radio-ready. Its structure and accessibility make it a perfect example of the band’s direction in “Club Ninja”. The song also has a bit of progressive rock sensibility in its pacing, something that may appeal to fans of both worlds.

The album closes with “Madness to the Method,” a track that pulls together all the elements explored on the record. It’s epic in scope, with dynamic shifts between softer verses and bombastic choruses. The guitar solo towards the end is one of the album’s highlights, and the song finishes on a powerful note, leaving listeners with a sense of closure after an otherwise varied album.

In my opinion, “Club Ninja” may not have resonated as strongly with fans of Blue Öyster Cult’s earlier work, but it captures the sound of the mid-80s impeccably. The album leans heavily into AOR territory, with strong melodic hooks and an infectious, catchy quality that keeps you engaged from start to finish. The addition of disco-like grooves in some tracks gives it a distinct flavor that differentiates it from other rock albums of the time, making it stand out for its daring fusion of genres. Though some purists may find the polished production and radio-friendly approach jarring, *Club Ninja* is undeniably a product of its time, with a certain charm that makes it a fun and compelling listen.

Nick Parastatidis

REVIEW: COLDSTEEL – “Freakboy” (1992)

 

COLDSTEEL – “Freakboy” (1992)

Turbo Music

Coldsteel's “Freakboy”, released in 1992, didn’t quite capture the attention of the thrash metal scene at the time, with many critics giving it a lukewarm reception. Personally, I struggled to connect with it during the first few listens. The album isn’t packed with the kind of immediate, catchy hooks you might expect from the genre, especially compared to the work of thrash titans like Anthrax. Yet, something kept drawing me back. Over time, I realized that “Freakboy” rewards those who give it repeated listens.

While the album doesn’t scream for attention with fast, blistering riffs, it reveals its character slowly. Coldsteel’s sound on “Freakboy” carries noticeable heavy metal touches alongside the thrash elements, setting them apart from contemporaries who leaned more heavily into the speed and aggression of the genre. In tracks like “Bracing the Fall,” “Freakboy,” and “Never Now, Never Will,” the band shows their ability to blend thrash intensity with a more melodic, traditional heavy metal sensibility.

Though not as technically intricate as bands like Testament, Coldsteel’s riffs have a gritty, raw energy reminiscent of early Anthrax, particularly in the way they incorporate groove into their sound. The production, too, lacks polish, but this gives the album a rugged edge that enhances its underground feel.

Lyrically, “Freakboy” delves into familiar themes of alienation, frustration, and personal defiance. The title track, “Freakboy,” is a standout, capturing the spirit of the outsider—a theme that resonates with the rebellious heart of thrash metal. “Bracing the Fall” and “Never Now, Never Will” are also notable moments, bringing a balance of heaviness and melody that gives the album some of its best hooks.

In the end, “Freakboy” may not be a groundbreaking release, but it’s a solid, sincere effort. Its combination of thrash aggression with heavy metal influences makes it an interesting listen, especially for fans who appreciate a bit more depth in their thrash. It may take time to fully appreciate, but for those willing to give it a chance, Coldsteel’s “Freakboy” offers a rewarding experience.

Νικόλαος Παραστατίδης 

REVIEW: JACK STARR, Out Of The Darkness (1984)

 

JACK STARR, Out Of The Darkness (1984)

Music For Nations

Ασταμάτητος.

Αφού έγραψε ιστορία στα δύο πρώτα Virgin Steele άλμπουμς, άφησε το συγκρότημα που ο ίδιος έστησε στην ευθύνη του David DeFeis, πήρε τη Stratocaster κιθάρα του και στρατολόγησε ο, τί καλύτερο υπήρχε στον τομέα του U.S. Heavy/Power Metal. Φωνή απ' τον Rhett Forester που έκοψε δύο κλασικά άλμπουμ με τους Riot, τους Carl Canedy & Garry Bordonaro των The Rods σε ντραμς και μπάσο αντίστοιχα αλλά κι τη βοήθεια ενός ακόμη μπασίστα του Gary Driscoll (πρώην Rainbow) σε ένα κομμάτι του δίσκου αυτού, το Let's Het Crazy Again. Αυτό το άλμπουμ, το πρώτο λοιπόν προσωπικό του γαλλικής καταγωγής Αμερικανού κιθαρίστα είναι γνωστό περισσότερο για το κομμάτι False Messiah , ή καλύτερα για να ακριβολογούμε  η διασκευή σε αυτό το κομμάτι που έκαναν δέκα χρόνια μετά οι Jag Panzer, το επανέφερε στα μουσικά δρώμενα και μας θύμισε ποιός το έγραψε αρχικά. Άλλα διαμάντια εδώ μέσα είναι τα Wild in the Streets, Concrete Warrior, Eyes of Fire και το έξτρα κομμάτι στην επανέκδοση σε CD το Amazing Grace. Άψογο και στιβαρό το πρώτο δείγμα δουλειάς του Jack Starr και το μέλλον διαγράφεται φωτεινό.

English:

Unstoppable.

After making history with the first two Virgin Steele albums, he left the band he had founded to David DeFeis's care, picked up his Stratocaster, and recruited the best talent in U.S. Heavy/Power Metal. Vocalist Rhett Forster, who recorded two classic albums with Riot, Carl Canedy & Garry Bordonaro of The Rods on drums and bass respectively, and additional support from bassist Gary Driscoll (formerly of Rainbow) on one track of this album, *Let’s Get Crazy Again*. This album, the first solo effort by the French-American guitarist, is best known for the track *False Messiah*, or more precisely, the cover of this song done ten years later by Jag Panzer, which brought it back to the musical forefront and reminded us who originally wrote it. Other gems here include *Wild in the Streets*, *Concrete Warrior*, *Eyes of Fire*, and the bonus track on the CD reissue, *Amazing Grace*. Jack Starr’s first solo effort is flawless and solid, and the future looks bright.

Τάκης "Ε-Μortal One" Γιώτης