PUTREVORE 2nd single: new video

 

Spanish-Swedish Death Metal band PUTREVORE, have just launched the 2nd advance single "Morbid Procession", in form of a lyric-video, of what will be their 5th full-length album entitled "Unending Rotting Cycle" which will see the light next November 11th through Xtreem Music on CD, 12"LP Cassette & Digital formats.

SLEEK Releases New Lyric Video "A Life In Chains"

 

Greek hard rock band SLEEK has launched their powerful new lyric video for "A Life In Chains." The band describes the track as a raw and intense expression of their identity, blending hard riffs, strong vocals, and heartfelt lyrics that explore internal struggles and the quest for redemption.

“Every riff, every lyric, every scream – they are a part of us. ‘A LIFE IN CHAINS’ is the voice of those who refuse to stay bound. Every listen, every share, fuels our passion!” say the band.

REVIEW: CRADLE OF FILTH, Nymphetamine

 

CRADLE OF FILTH, Nymphetamine (2001)

Roadrunner Records

Μαύρο ουρλιαχτό τυλιγμένο σε πορφυρό βελούδο.

Η εκδίκηση τρώγεται με όλο το αίμα μέσα, έτσι έφαγε και εμένα, ορκισμένο «true metaler» μέχρι τότε (ψέμα, το άκουσα καμιά δύο χρόνια μετά) και σφοδρό επικριτή των Cradle of Filth. Τουλάχιστον αντιδούσα σε όλους τους συμμαθητές και ειδικά τις συμμαθήτριες που είχαν ντυθεί «νυχτερίδες» μετά το άκουσμα του Dusk and Her Embrace και του Cruelty and the Beast μερικά χρόνια πριν. Δεν έφταιγε το συγκρότημα μάλλον, αλλά ο μουσικός τύπος (το ίντερνετ ακόμη έπιανε 128 kbps αν είχες ISDN, οπότε η τηλεόραση και το γνωστό περιοδικό μας έκαναν πλύση εγκεφάλου!) και η μόδα που δυστυχώς είχε γίνει κατεστημένο.

Πρακτικά, το πρώτο άλμπουμ που άκουσα από αυτούς και έτσι μπήκα τελικά στον βαθύ μαύρο μεταλλικό και πλέον πολύ Gothic μουσικό κόσμο τους.

Εμένα, οι κλασικές metal κιθάρες που άκουσα σε κομμάτια όπως τα Gilded Cunt, Nemesis, τελικά με κέρδισαν ή τουλάχιστον μου προκάλεσαν αυτή την περιέργεια να το ψάξω το πράγμα, μπας και τελικά έκανα λάθος!

Ακόμα και ο Dani Filth τραγουδάει πολύ πιο κοντά σε αυτό που είχα στο μυαλό μου, παρά στο περίεργο ακόμα για μένα Dusk..., που το απέκτησα πιο μετά και αυτό τελικά σε CD.

Παρακάτω, τα Gabrielle, Absinthe with Faust, Medusa και Hemlock, Coffin Fodder, English Fire, Mother of Abominations, Filthy Little Secret και Nymphetamine (Overdose) / Nymphetamine (Fix), με τη συμμετοχή της Liv Christine των Theatre of Tragedy, με κέρδισαν κι άλλο.

Έτσι, ΔΕΝ ανακάλυψα το black metal, αφού η εποχή αυτή είχε περάσει γι’ αυτούς, αλλά μάλλον το blackened gothic.

Σίγουρα όχι το ίδιο καλό όσο το Midian, που όντως θεωρώ πλέον το ζενίθ τους και που είχε βγει ένα χρόνο πριν, αλλά από κάπου έπρεπε να ξεκινήσω να αμφισβητώ αυτά που πίστευα και εγώ.

English:

A black scream wrapped in crimson velvet.

Revenge is eaten with all the blood inside, so it also consumed me—once a self-proclaimed "true metaler" (liar, I actually heard it about two years later) and a fierce critic of Cradle of Filth. At least I reacted against all my classmates, especially the female classmates who had dressed as "bats" after hearing Dusk and Her Embrace and Cruelty and the Beast a few years earlier. It probably wasn't the band’s fault but the music press (the internet still only reached 128 kbps back then if you had ISDN, so TV and our usual magazine brainwashed us!) and the fashion that, unfortunately, had become the establishment.

Practically, the first album I listened to from them—and thus finally entered their deep black metal and now very Gothic musical world—was.

For me, the classic metal guitars I heard in tracks like Gilded Cunt and Nemesis ultimately won me over or at least sparked the curiosity to explore the music, hoping I might have been mistaken!

Even Dani Filth sings much closer to what I had in mind, rather than the still somewhat strange Dusk..., which I acquired later, and that one was eventually in CD format.

Below, tracks like Gabrielle, Absinthe with Faust, Medusa, Hemlock, Coffin Fodder, English Fire, Mother of Abominations, Filthy Little Secret, and Nymphetamine (Overdose) / Nymphetamine (Fix), featuring Liv Christine of Theatre of Tragedy, won me over even more.

So, I didn't discover black metal, since that era had already passed for them, but rather blackened gothic.

Certainly not as good as Midian, which I now consider their pinnacle and which had come out a year earlier. But I had to start questioning what I believed at some point.

Τάκης "Ε-Μortal One" Γιώτης!

REVIEW: PHAVIAN - Foreword E.P.

 

PHAVIAN - Foreword E.P.

Independent Release

While progressive metal may not be my primary genre of choice, I approached PHAVIAN’s debut with an objective perspective. Hailing from the United States, PHAVIAN is a relatively new band, and this release represents my first encounter with their music.

The term "progressive metal" often evokes the notion of highly intricate and sometimes derivative bands, with DREAM THEATER frequently serving as a benchmark—sometimes to the point of oversaturation. However, PHAVIAN distinguishes itself by not aligning with that template. Instead, their music aims to evoke a "traveling" or atmospheric experience, inviting the listener on a sonic journey to different worlds. This conceptual approach is evident in their compositional choices, which feature frequent but thoughtfully executed musical shifts that maintain listener engagement without becoming overwhelming.

Musically, the band can be described as heavy or power metal grounded in progressive rock structures. Their compositions exhibit considerable depth, with layers that reveal more upon repeated listens. The integration of dynamic changes appears carefully balanced, contributing to a sense of narrative and escapism within the music.

Vocalist Elizabeth Matson's contribution is notable in establishing the dreamy, immersive atmosphere that the band seeks to create. Her voice adds an ethereal quality that complements the overall mood. While I would be interested to hear additional male vocals to diversify the vocal palette, this is ultimately a creative decision for the band.

n summary, PHAVIAN’s debut EP offers a compelling experience for those interested in progressive metal with a focus on atmosphere and musical storytelling. Fans of the genre seeking something that emphasizes mood and musical exploration may find this release worth exploring.

Nick Parastatidis

REVIEW: ΜANOWAR, The Lord Of Steel

 

ΜANOWAR, The Lord Of Steel (2012)

Magic Circle Music

Γιατί είναι πέντε οι Manowarriors στο εξώφυλλο;

Η επιστροφή της επιστροφής στην επιστροφή του ήχου τους που επέστρεψε, μια μπερδεμένη περιγραφή που ταιριάζει στο προηγούμενο άλμπουμ τους, Gods of War, το οποίο, παρόλο που ανήκει στα ίδια κυβικά, είναι τόσο πολύπλοκο που καταντά κουραστικό αν δεν αφαιρέσεις τα περιττά. Εδώ πήραν το μήνυμα και έχουμε πάλι ένα ενισχυμένο άλμπουμ, αλλά στα ίδια τους τα κυβικά. Έντεκα κομμάτια με τα κλισέ, το αίμα, τα σπαθιά, τα κομμάτια για τους οπαδούς τους, τους βιασμένους πολεμιστές από τις άγριες Βαλκυρίες (το ανάποδο, αλλά μου αρέσει ο τρόπος που σκέφτεστε): The Lord of Steel, Born in a Grave, Black List, Expendable, Hail Kill and Die, αλλά και την άγρια δύση στο El Gringo, όπως έκαναν παλιά και στο Outlaw.

Αυτό είναι και το τελευταίο που έχουν κυκλοφορήσει σε επίπεδο πλήρους άλμπουμ, γιατί έχουν και δύο, τρία - τέσσερα E.P. μετά.

Οι Manowar ήταν και θα είναι μια ζωή για τους πολλούς ανώριμους, χαβαλετζήδες, κιτς και πολέμαρχους της true heavy metal φάσης. Οπότε, "φλώροι και ποζεράδες, φύγετε απ’ την αίθουσα"...

 

Αυτά και ο Θωρ βοηθός!

English:

Why are there five Manowarriors on the cover?

It's like the return of the return of their sound, which has come back — a confusing description that fits their previous album, Gods of War. Although both albums are in the same league, Gods of War is so complex that it becomes tiring unless you strip away the unnecessary parts. Here, they took the message and delivered another enhanced album, but still within their familiar framework. Eleven tracks filled with clichés: blood, swords, songs for their fans, the tortured warriors of the savage Valkyries (the opposite, but I like the way you think): The Lord of Steel, Born in a Grave, Black List, Expendable, Hail Kill and Die, as well as the wild west vibe in El Gringo, reminiscent of their old Outlaw album. 

This is also their last full-length album so far, since they’ve released a couple of EPs since then.

Manowar has been and will be, for many, forever, a symbol of immature, teasing, kitsch, and warrior spirit in true heavy metal. So, "losers and poseurs, get out of the room"...

 

That’s all and Thor may be helpful.

Τάκης "Ε-Μortal One" Γιώτης! 

ELDPROV Releases New Single «Lavåret»

 

Swedish death/black metal band Eldprov has dropped their new single «Lavåret», recorded at Studio Valhalla and mixed by David Mauritzon. Founded by Jonas Backe and Andreas Zoergel, Eldprov gained fame with their 2020 debut and 2022 album “Rift.” Now with new members, they continue to build momentum while working on their second album.

REVIEW: PHAVIAN - Meridian I

 

PHAVIAN - Meridian I

Independent

If you are familiar with PHAVIAN through their previous release, the E.P. “Foreword,” you already have an idea of their musical approach. For those new to the band, PHAVIAN is an American progressive metal ensemble known for their distinctive style that sets them apart from many contemporary acts. Their sound is characterized by a blend of melodic passages and heavier moments, creating a dynamic listening experience. The band’s use of ethereal vocals by lead singer Elizabeth Matson adds an atmospheric layer, contributing to a dreamy, almost fairy-tale-like quality in their music.

The opening track, “Slate,” exemplifies the band’s compositional strengths, combining intricate arrangements with a melodic sensibility. It sets the tone for the album by showcasing their ability to balance technicality with emotional resonance. Throughout “Meridian I,” the band demonstrates a clear influence from 1970s progressive rock, evident in their song structures and overall aesthetic. This retro inspiration enriches their sound, making it both familiar and fresh within the modern progressive metal scene.

Lyrically and musically, “Meridian I” offers a depth that invites repeated listening. The album features multiple layers of meaning, with compositions that reward careful attention. The band’s evolution from their previous E.P. is noticeable, as “Meridian I” exhibits a more refined and cohesive musical narrative. This progression suggests a band committed to developing their artistic identity and exploring new sonic territories.

Overall, PHAVIAN’s “Meridian I” is a well-crafted release that showcases their ability to craft atmospheric and engaging progressive metal. Their incorporation of vintage influences alongside modern elements results in a distinctive sound that stands out within the genre. While it may appeal more to listeners who appreciate both melodic richness and progressive complexity, the album’s depth makes it a noteworthy addition for a broad audience seeking thoughtful and evocative music.

Nick Parastatidis