MACABRE stand among the earliest bands to explore the
extreme territories that would later crystallize into death metal and
grindcore. Active since 1984, they’ve long insisted on calling their music
murder metal—and honestly, it’s the most accurate term available. Trying to
categorize them strictly by musical influences would require a full-length book
rather than a simple review.
The “murder metal” tag isn’t just about the sharp,
abrasive, and often extreme elements in their sound. The defining factor is
thematic: for decades, MACABRE have written exclusively about serial killers,
their crimes, and the grim histories surrounding them. Every album is
essentially a macabre anthology set to music.
Sonically, attempting to outline the main ingredients
of this U.S. trio’s style means casting a very wide net. Thrash, death metal,
and grind are obvious foundations, but they coexist with math‑rock twists, punk energy, folk‑like melodies, nursery‑rhyme motifs, deranged children’s‑song cadences, jazz‑fusion detours, and even black‑metal edges. These elements form the frenetic,
eccentric amalgam that defines MACABRE’s identity.
Lyrically, Grim Scary Tales continues the band’s tradition
of recounting all‑too‑real stories of historical killers. The figures
portrayed here include Locusta, Nero, Gilles de Rais, Vlad Tepes, Gilles
Garnier, Elizabeth Bathory (via a cover of VENOM’s “Countess Bathory”), Burke
and Hare, Mary Ann Cotton, the Bender Family, Lizzy Borden, Joseph Vacher,
Belle Gunness, Béla Kiss, and Karl Großmann.
All of this is executed with razor‑sharp precision, tight musicianship, and a level of
skill that often goes underappreciated. Corporate Death’s vocal performance remains
a spectacle in itself—shifting from guttural growls to clean lines to unhinged,
psycho‑screeching
outbursts that fit the subject matter disturbingly well.
For long‑time fans, this album is an easy investment. For
newcomers, only those who are genuinely open‑minded and drawn to progressive, unconventional, and
evolutionary forms of extreme music should step into Grim Scary Tales. You need
to be a bit of a psycho yourself to appreciate this sophisticated madness. I
suppose I am—because I enjoyed it thoroughly.
Canadian hard
rock band Conjure Hand has unveiled their latest maxi-single, “Baby (I Won’t
Let Go),” offering a preview of their upcoming album. The track was recorded at
the band’s home studio and mixed and mastered at Circle A Studios. A vinyl
release is planned for summer 2026.
Formed in 2022
in Victoria, British Columbia, Conjure Hand is fronted by Black Caesar (Andrew
Kovar). The band blends classic rock, blues, and soul influences from the 1960s
and ’70s, creating a groove-driven sound marked by harmonized guitars, rich
organ textures, and powerful rhythms.
Lyrically, the
group explores themes rooted in African American and Canadian history, voodoo
traditions, and working-class life. With an energetic stage presence and
growing fanbase, Conjure Hand continues to establish itself as a compelling
force in the modern rock scene.
Book of Dowth, the tenth studio album by the German
melodic death metal band SUIDAKRA, is a release that—despite the group’s long
and consistent career—still feels under‑recognized. Whether this lack of wider acknowledgment
stems from strategic missteps or from the press too easily categorizing them as
“Germany’s answer to DARK TRANQUILLITY,” the result is the same: a band with
far more depth than the usual labels suggest.
While the comparison to Swedish‑influenced melodic death metal is not entirely
misplaced, a closer listen reveals a broader musical identity. Book of Dowth
may well be the band’s most melodic work to date, yet it also stands as one of
their most mature. The album blends SUIDAKRA’s established death metal
foundation with folk instrumentation and storytelling rooted in Celtic
mythology, while presenting song structures that are more intricate—at times
even approaching a progressive sensibility.
What distinguishes this album further is the band’s
increased engagement with heavy, epic, and power metal elements, occasionally
evoking the spirit of groups like BLIND GUARDIAN or RUNNING WILD. These
influences do not dilute SUIDAKRA’s core sound; instead, they expand it,
enriching the atmosphere without compromising the band’s identity. The
integration feels natural, as if these components had always been present but
are now brought into sharper focus.
For long‑time followers, Book of Dowth delivers exactly what
they expect—melodic aggression, folk textures, and vivid storytelling—while
also offering more refined songwriting and a clearer sense of artistic
direction. For new listeners, it serves as an accessible entry point: melodic
enough to draw them in, yet representative of the band’s broader stylistic
palette.
Ultimately, Book of Dowth is a strong, cohesive album
that highlights SUIDAKRA’s strengths and underscores why they deserve greater
attention. It satisfies established fans, invites new ones, and reinforces the
impression that this is a band whose work merits far more recognition—hopefully
including a long‑overdue
appearance on a Greek stage.
Το
τρίτο άλμπουμ των Αμερικανών, που μελλοντικά θα θεωρηθούν Heavy Metal ηγέτες
στη συνείδηση του κόσμου, άργησε. Τρία χρόνια το χωρίζουν από το Night of the
Stormrider, διάστημα στο οποίο η σύνθεσή τους άλλαξε ξανά, με τον ψηλό και κοκκινομάλλη
—με χαίτη μέχρι τη μέση— Matt Barlow να αναλαμβάνει το μικρόφωνο και να χαρίζει
σταθερά τη φωνή του για τα επόμενα επτά χρόνια στην «παγωμένη γη»,
σηματοδοτώντας ίσως την εποχή των καλύτερων δίσκων τους.
Το
σκοτάδι που εκπέμπει αυτό το άλμπουμ, όσον αφορά την ηχητική του πλευρά, δένει
απόλυτα με το πλαίσιο των στίχων, οι οποίοι είναι εξίσου σκοτεινοί και
αποπνέουν μια βαθιά απελπισία. Πραγματικά, αυτός ο δίσκος είτε απέκτησε
φανατικούς φίλους είτε πέρασε παγερά αδιάφορος στους οπαδούς των δύο πρώτων
κυκλοφοριών τους — πόσο μάλλον μετά από τόσο μεγάλη αναμονή.
Ειδικά
τα Last December, Brainwashed, Burnt Offerings, Creator Failure και το έπος σε
διάρκεια και βάρος Dante’s Inferno κρατούν αμείωτο το ενδιαφέρον και, για όλους
εμάς που αγαπάμε αυτό το άλμπουμ, το τοποθετούν πολύ ψηλά στη δισκογραφία τους.
Έχουμε,
λοιπόν, ένα δυναμικό νέο ξεκίνημα που θα οδηγήσει παρακάτω σε ακόμη καλύτερα
δείγματα της δημιουργικής τους πορείας.
English:
They’ve Arrived — and This Time, They’re Here to Stay
The Americans’ third album — by a band that would
later be regarded as Heavy Metal leaders in the eyes of the world — took its
time. Three years separate it from Night of the Stormrider, a period during
which their lineup changed once again. The tall, red‑haired, mid‑back‑mane
Matt Barlow stepped in as vocalist, lending his voice steadily for the next
seven years to the “frozen earth,” marking what many consider the era of their
finest records.
The darkness radiating from this album, sonically
speaking, aligns perfectly with the lyrical framework — equally dark, steeped
in a sense of despair. This is truly a record that either gained devoted
followers or left fans of the first two albums completely indifferent,
especially after such a long wait.
Tracks like Last December, Brainwashed, Burnt
Offerings, Creator Failure, and the massive, weighty epic Dante’s Inferno keep
the listener fully engaged and, for those of us who love this album, place it very
high within their discography.
What we have here is a powerful new beginning — one
that would soon lead to even stronger examples of their creative evolution.
Από
το εξώφυλλο τραβάει το μάτι ο τρίτος δίσκος των Αθηναίων Power Metalers, με όλα
εκείνα που μαγνητίζουν από παλιά τον φίλο του είδους. Μία φετινή κυκλοφορία που
δείχνει πως και για τον κλασικό metal ήχο η χρονιά που διανύουμε τείνει να
είναι από τις καλύτερες. Μέσα στο κυρίως πιάτο, η συνταγή των πέντε μουσικών
είναι αυτή που περιμέναμε: ογκώδες, επικό, με πολλά παραδοσιακά ελληνικά
στοιχεία και αρκετά γυναικεία φωνητικά, κλασικής κατά τα άλλα νοοτροπίας Power
Metal.
Και
με αυτό, επαναλαμβάνω, όχι ευρωπαϊκής αισθητικής «ραψωδίες» από τρα-λα-λά στο
Στρουμφοχωριό. Η ελληνική σχολή του μελωδικού ήχου έχει ευτυχώς αφήσει πίσω στο
σύνολό της τις κακές επιρροές από την Εσπερία, τραβώντας δική της πορεία.
Έτσι,
στα οκτώ κομμάτια του άλμπουμ (συν την εισαγωγή των περίπου δύο λεπτών), θα
δούμε ένα τόσο μουσικό όσο και στιχουργικό ταξίδι σε έναν μαγικό, ανατολίτικο
σε σημεία και μυστηριακό ονειρικό κόσμο (τα πλήκτρα βοηθούν πολύ σε αυτό), μέσω
κομματιών όπως τα «Dragon Wings», «Istar (Blood Red Sea)», «The Oath», «The
Tower of High Sorcery», «Fortress of Sorrow», «Into the Shadows» (με τη
συμμετοχή του Harry "The Tyrant" Conclin) και «When the Angels
Bleed».
English:
The Long-Awaited Return
From the cover, the third album by Athens-based Power
Metal band immediately catches the eye, with all those elements that have long
magnetized fans of the genre. This year's release demonstrates that, even for
the classic metal sound, the current year is shaping up to be one of the best.
Inside the main course, the recipe of the five
musicians is exactly what we expected: a colossal, epic sound, rich with
traditional Greek elements and featuring quite a few female vocals, all of
which is characteristic of the otherwise classical Power Metal mentality.
And I repeat, this is not European aesthetic
"epics" with a la-la-la vocals from Smurf Village. Fortunately, the
Greek school of melodic sound has left behind the bad influences from the West
as a whole, forging its own unique path.
Thus, across the eight tracks of the album (plus the
roughly two-minute intro), we will experience a musical and lyrical journey
into a magical, at times Oriental, and mystical dreamlike world—especially
aided by the keyboards—through songs like "Dragon Wings," "Istar
(Blood Red Sea)," "The Oath," "The Tower of High
Sorcery," "Fortress of Sorrow," "Into the Shadows"
(featuring Harry "The Tyrant" Conclin), and "When the Angels
Bleed."
I doubt there is much left to say about this
masterpiece, yet I’ll try. If anyone reading this has never encountered this
colossal work, they should pause here and seek it out immediately. I still
remember the excitement I felt back in 1999 when the album was first released
through Nuclear Blast Records. I listened to it repeatedly, trying to absorb
its depth, beauty, and sheer musical vision — and even then, I couldn’t fully
grasp everything it had to offer.
The Fragile Art of Existence stands as a state‑of‑the‑art achievement not only in progressive power metal,
but in metal as a whole. It is performed by some of the finest musicians the
genre has ever produced. At the center is the mastermind Chuck Schuldiner (may
he rest in peace), supported by Steve DiGiorgio on bass and Richard Christy on
drums — both widely respected players who have since collaborated with countless
bands. Alongside them is guitarist Shannon Hamm, known for his work with DEATH,
and vocalist Tim Aymar, whose raspy, emotive delivery and technical control
evoke shades of Harry “The Tyrant” Conklin and Warrel Dane.
Musically, CONTROL DENIED can be described as the
power‑metal‑infused counterpart to DEATH, with occasional twists
reminiscent of ATHEIST — but above all, it is unmistakably the artistic vision
of Chuck Schuldiner. The production, handled by Jim Morris and Schuldiner at
Morrisound Studios, is top‑tier,
capturing both the precision and the emotional weight of the material. Travis
Smith’s cover artwork completes the package, reinforcing the album’s atmosphere
and ambition.
The album was reissued in 2008 by Metal Mind
Productions, and now Relapse Records presents a new remastered edition in two
formats: a double‑CD
slipcase and a three‑CD
deluxe digipack. Both include extensive bonus material, featuring the band’s
1996, 1997, and 1999 demos — some with Schuldiner himself on vocals — offering
a rare glimpse into the album’s evolution.
For music lovers, this is a treasure. For metal fans,
it is essential. In my view, The Fragile Art of Existence is an album that
deserves a place in every serious CD collection.
Heavy Pettin emerged from Glasgow in 1981, formed by
three former members of the local band Weeper — guitarist Gordon Bonnar,
bassist Brian Waugh, and drummer Gary Moat. Soon joined by vocalist Steve
“Hamie” Hayman and lead guitarist Punky Mendoza, the band quickly developed a
distinctive identity within the NWOBHM movement. Their name, borrowed from
UFO’s “No Heavy Petting”, hinted at their blend of hard rock swagger and
melodic ambition. Early demos and their debut single “Roll the Dice” attracted
attention from BBC Radio 1 and led to a major‑label deal with Polydor, setting the stage for their
first full‑length
album, “Lettin’ Loose”, recorded at Musicland Studios in Munich.
The lineup during the sessions — Hamie, Bonnar,
Mendoza, Waugh, and Moat — represented the band at their most cohesive. The
production was handled primarily by Reinhold Mack, known for his work with
Queen and ELO, with Brian May contributing in a supportive, advisory role.
While May’s involvement has often been overstated, his presence added prestige
and subtle guidance, while Mack’s polished, international sound shaped the
album’s identity. The result was a debut that stood apart from the rawer edges
of NWOBHM, leaning instead toward a melodic, radio‑ready approach that echoed the rising American hard
rock wave.
Upon release in 1983, “Lettin’ Loose” received
positive critical attention. Though it did not achieve major commercial
success, it was widely regarded as a strong debut with memorable songwriting
and a glossy production uncommon for first‑time NWOBHM acts. Many listeners immediately noticed
the resemblance to early Def Leppard — particularly the “High ’n’ Dry” and “Pyromania”
eras — a comparison reinforced by the album’s layered choruses, melodic guitar
lines, and tight arrangements. At the same time, reviewers pointed out clear
Saxon influences, especially in the heavier, more driving tracks, as well as
hints of Thin Lizzy, UFO, AC/DC, and even American glam metal. Heavy Pettin
occupied a unique space: a British metal band with an unmistakably
international sound.
The album flows with surprising ease, especially for a
debut. Its sequencing is deliberate, moving from accessible melodic rockers to
heavier, darker material and back to energetic NWOBHM roots. The production is
polished but not sterile, allowing the band’s youthful energy to shine through.
The songs are consistently memorable, built around strong choruses, melodic guitar
interplay, and Hamie’s distinctive vocal delivery. It is an album that feels
cohesive, confident, and crafted with a clear sense of direction.
“In and Out of Love” opens the album with a perfect
blend of melodic hooks and NWOBHM energy. The tight mid‑tempo riff, rising pre‑chorus, and explosive layered chorus immediately
establish the band’s Def Leppard‑like sensibility. Mendoza’s solo is fluid and
tasteful, setting the tone for the album’s guitar work.
“Love Times Love” follows with a brighter, upbeat
feel. Its bouncy rhythm and youthful vocal delivery make it one of the album’s
most accessible tracks. The chorus is pure pop‑metal craftsmanship, simple and instantly memorable.
“Rock Me” shifts toward a heavier, more aggressive
sound. The chugging riff and darker bridge introduce a tension between NWOBHM
grit and melodic hard rock polish. The song acts as a bridge between the
album’s lighter opening and its heavier core.
“Victims of the Night” is one of the album’s purest
NWOBHM moments. Fast, urgent, and driven by Moat’s propulsive drumming, it
showcases the band’s roots. The dramatic chorus adds a sense of danger and
nocturnal atmosphere.
“Love on the Run” blends melodic rock with a
distinctly Saxon‑like
feel. The rolling rhythm and soaring chorus create a sense of motion, while the
dual‑guitar
harmonies reveal the band’s Thin Lizzy influence.
“Hell Is Beautiful” stands as the album’s dramatic
centerpiece. Darker and moodier, it features one of Hamie’s most expressive
performances and a powerful, emotionally charged chorus. The solo is among the
album’s finest, balancing melody and intensity.
“Shout It Out” returns to upbeat, high‑energy rock. With its bright guitars and crowd‑ready chorus, it leans toward the American glam/hard
rock sound that would soon dominate MTV. It’s not the deepest track, but it’s
undeniably effective.
“Devil in Her Eyes” introduces a heavier, more sensual
groove. The menacing riff and dramatic vocal delivery give the song a mature
tone, while the guitar solo adds emotional depth.
“Roll the Dice”, originally released as their debut
single, closes the album with raw NWOBHM energy. Despite the polished
production, it retains the grit and urgency of the band’s early days, making it
a fitting conclusion.
“Lettin’ Loos” remains a well‑crafted, memorable debut that flows effortlessly from
start to finish. Its blend of NWOBHM roots, melodic hard rock ambition, and
polished production gives it a unique place in early‑80s metal history. Heavy Pettin may not have achieved
the commercial breakthrough their label envisioned, but this album stands as a
testament to their potential — a cohesive, hook‑filled release that still resonates with listeners who
appreciate the intersection of British metal and melodic rock. It is, in every
sense, a debut that deserved more recognition than it received.
