RISABOV Unleash New Album "Light Years Toward Impact"

 

Greek heavy experimentalists RISABOV have officially returned with their highly anticipated second full-length album, "Light Years Toward Impact." Following their debut release Rise, this new 44-minute concept-driven record cements the band’s reputation as one of the most compelling forces in the Greek underground scene.

Released on April 20, 2024, Light Years Toward Impact is a dark, atmospheric voyage that seamlessly navigates death/thrash outbursts, progressive structures, and a cinematic sci-fi aesthetic.

RISABOV caters to listeners who thrive in the spaces between death metal, progressive metal, sludge, post-metal, and experimental heavy music. Across standout tracks like "Sanction," "Dreaming Infinity," "Predator," "Directive 4," "Inner State," and "Outer State," the band builds a sonic world dripping with tension, existential dread, and cosmic themes.

The album boasts a crisp, modern production while fiercely honoring an old-school extreme metal ethos. It strikes a masterclass balance between:

• Aggressive groove and thrash bursts
• Atmospheric melancholy and post-metal textures
• Progressive complexity and cinematic intensity

"Light Years Toward Impact does not function merely as another metal release, but as a concept-driven sonic universe that explores alienation, time, human consciousness, and the inevitable collision with the unknown."

The album's auditory philosophy is perfectly mirrored by its visual identity. RISABOV pairs their music with psychedelic textures, cosmic aesthetics, and a gritty, dark urban imagery that captures the record's overarching concept.

The release has already begun turning heads globally. International underground metal media, including transcending-the-mundane.com, have highlighted RISABOV as one of the most exciting and uncompromising new acts emerging from the Greek heavy scene.

Light Years Toward Impact is available now on all major digital streaming platforms.

Conjurist has officially unleashed its highly anticipated debut full-length album, I Am the Earth

 

Formed in Nashville by multi-instrumentalist Blake Bailey, Conjurist has rapidly carved out a distinct niche in the underground scene by fusing elements of melodic death metal, post-black/blackgaze, doom, and hardcore. I Am the Earth marks a definitive milestone for the project, showcasing a signature hybrid style that seamlessly balances technical aggression with crushing, doom-laden melodies.

The ambitious debut was recorded entirely by Bailey, with mixing and mastering handled by Robbie Bingham, ensuring a dense and powerful sonic landscapes that mirrors the album's weighty themes.

"Conjurist pairs its dense sonic concepts with striking arcane visuals."

Beyond the music, Conjurist is known for exploring deep mysticism, mythology, and raw human emotion—a conceptual focus brought to life by striking, ritualistic aesthetics. The band recently captivated audiences by performing in elaborate animal skull masks in the music video for their track "Solace for the Shaman."

I Am the Earth is available now on all major streaming platforms.

REVIEW: HELSTAR, Nosferatu

 

HELSTAR, Nosferatu (1989)

Metal Blade Records

Αποκορύφωμα των τεσσάρων καλύτερων δίσκων τους.

Αναφέρομαι στον τέταρτο δίσκο της πρώτης εποχής των Αμερικανών Power/Speed Metal πρωτοπόρων. Πρόκειται για ένα κατά το ήμισυ θεματικό άλμπουμ που αφηγείται μια παραλλαγή στην κλασική ιστορία του Bram Stoker με θέμα ένα βαμπίρ. Ίσως να μην είναι πρωτοτυπία, αλλά μουσικά αποτελεί ένα δείγμα προς μίμηση.

Με τη θεωρούμενη κλασική σύνθεση των James Rivera, Larry Barragan, Andre Corbin, Jerry Abarca και Frank Ferreira, έχουμε το πιο αγαπημένο σε μεγάλο ποσοστό του κοινού τους άλμπουμ. Ύμνοι όπως τα «Baptized in Blood», «To Sleep, Per Chance to Scream», «Harker's Tale (Mass of Death)», «Perseverance and Desperation», «The Curse Has Passed Away» (η ιστορία που προαναφέραμε), καθώς και τα «Harsh Reality», «Swirling Madness» και «Aieliaria and Everonn» στολίζουν με το σκοτεινό τους αποτύπωμα τον ήχο από τα ηχεία μας όταν παίζουν.

Μετά από αυτό, οι Helstar μπήκαν στον πάγο, με τον Rivera να φορμάρει τους Destiny's End στα μέσα της δεκαετίας του '90, που αποτελούν βέβαια την ηχητική συνέχεια τους. Αργότερα, η επανασύνδεσή τους έφερε πάλι χαρά στο κοινό.

English:

The pinnacle of their four best albums.

I am referring to the fourth album of the first era of the American Power/Speed Metal pioneers. It is a semi-thematic record that narrates a variation of the classic Bram Stoker story, centered around a vampire. It may not be an innovation, but musically, it stands as a model to be emulated.

With the so-called classic lineup of James Rivera, Larry Barragan, Andre Corbin, Jerry Abarca, and Frank Ferreira, this is their most beloved album for a large portion of the audience. Anthems such as "Baptized in Blood," "To Sleep, Per Chance to Scream," "Harker's Tale (Mass of Death)," "Perseverance and Desperation," and "The Curse Has Passed Away" (the story we've mentioned) along with "Harsh Reality," "Swirling Madness," and "Aieliaria and Everonn" adorn the sound with their dark imprint whenever they play.

After this, Helstar went on hiatus, with Rivera reforming Destiny's End in the mid-1990s, which of course represents their sonic continuation. Later, their reunion once again brought joy to their fans.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: TEARS - Unravelling Travesties

 

TEARS - Unravelling Travesties

Freedom Records

Progressive metal is a genre I often find myself disinclined towards, primarily due to the tendency of many bands within it to prioritize showcasing technical prowess over crafting engaging, memorable compositions that invite repeated listening. However, TEARS from Greece present a refreshing departure from this norm.

While their music can be classified as progressive metal, it is inherently infused with a strong sense of progressive rock sensibility in its approach to composition. The band skillfully blends a wide spectrum of sounds—ranging from the melodic nuances of progressive rock to the intensity of heavy and progressive metal—yet manages to do so in a manner that feels cohesive and deliberate, rather than a mere collage of styles.

A notable aspect of "Unravelling Travesties" is its theatrical atmosphere, which is effectively conveyed through the expressive and warm vocals of the lead singer. This vocal delivery enhances the album’s emotional depth and adds a layer of sophistication to the overall listening experience.

This release stands out as a progressive metal offering that strives for authenticity rather than spectacle. The musicians behind TEARS are clearly driven by artistic expression, prioritizing the conveyance of their thoughts and feelings through music rather than conforming to genre conventions or technical showmanship for their own sake.

In essence, "Unravelling Travesties" not only enriches the Greek metal scene but also exemplifies the potential for progressive metal to be both innovative and emotionally resonant. It is highly recommended for listeners seeking music of genuine quality and artistic integrity. A commendable effort that earns my full respect.

Nick Parastatidis

REVIEW:PICTURES OF PAIN – The Reckoning

 

PICTURES OF PAIN – The Reckoning

Pitch Black Records

Contrary to the common perception that Norway's metal scene is solely defined by its prolific black metal output, there exists a diverse spectrum of bands that deserve recognition. Pictures of Pain exemplifies this diversity, showcasing a sound that bridges melodic death metal and progressive metal elements.

Their debut album, released after a dedicated five-year development period, demonstrates a clear personal artistic vision. The band has succeeded in crafting compositions that are both technically proficient and stylistically cohesive, blending elements from death metal, progressive metal, and classic heavy metal traditions. The meticulous songwriting results in tight, well-structured tracks that avoid unnecessary complexity or showmanship, emphasizing instead the musicians' skill and musical maturity.

The lineup comprises highly skilled musicians whose performances are both intricate and tasteful. Guitar solos and thematic development exhibit sophistication without descending into gratuitous technicality, highlighting a balanced approach to musicianship. The rhythm section is notably solid and weighty, providing a strong backbone that supports the more elaborate melodic and harmonic elements.

A notable aspect of Pictures of Pain is the vocal duality, which significantly enhances the album's depth. The clean vocals evoke the sensibilities of progressive metal, characterized by clarity and melodic nuance. In contrast, the brutal growls are delivered with the raw intensity typical of death and black metal, adding an aggressive edge that complements the more melodic passages.

Overall, The Reckoning is a compelling release that appeals not only to fans of diverse metal genres but also to listeners seeking intricate, well-executed compositions. It is a testament to the band's growth and artistic vision, and it warrants serious attention from those who appreciate music that balances complexity with craftsmanship. Highly recommended for those willing to explore beyond the traditional boundaries of Norwegian metal.

Christine  Parastatidou

REVIEW: TYGERS OF PAN TANG, Spellbound

 

TYGERS OF PAN TANG, Spellbound (1981)

Music On CD

Αληθινό ντεμπούτο, αν και πρόκειται για το δεύτερο άλμπουμ τους.

Έναν χρόνο μετά το ντεμπούτο τους, Wildcat, οι Βρετανοί μπαίνουν πλέον γερά στο επόμενο στάδιο της καριέρας τους. Με ανανεωμένη σύνθεση ως πεντάδα, συνεχίζουν την πορεία τους στο μεταλλικό μονοπάτι έχοντας τον Jon Deverill πλέον στη φωνή, τους Robb Weir και John Sykes (ο οποίος από εδώ και πέρα γίνεται «ο μεγάλος») στις κιθάρες, τον Richard Laws στο μπάσο και τον Brian Dick στα ντραμς.

Αυτό το δισκάκι είναι ό,τι δεν ήταν η πρώτη τους κυκλοφορία: νευρικό, με σχετικά γρήγορα tempos, ακόμα καλύτερη παραγωγή από τον Chris Tsangarides (για δεύτερη φορά) και πάρα, πάρα πολύ όρεξη για NWOBHM. Το μουσικό σύνολο του δίσκου χαρακτηρίζεται από μελωδίες αλά Saxon, δισολιές αλά Iron Maiden και γκάζι αλά Motörhead, στον βαθμό που μπορεί βέβαια να παρομοιαστεί με άλλα συγκροτήματα της γενιάς του.

Με κομμάτια όπως τα Gangland (από το οποίο ίσως οι Maiden να άντλησαν τον τίτλο για το δικό τους, μάλλον μέτριο τραγούδι), Take It, Minotaur, Hellbound, τη μπαλάντα Mirror, Silver And Gold, Blackjack, The Story So Far και Tyger Bay, αυτός ο δίσκος δεν περνάει απαρατήρητος, ακόμη και πάνω από σαράντα χρόνια μετά.

English:

A true debut, even if it is actually their second album.

Just one year after their debut, Wildcat, the Brits are now making a dynamic entry into the next stage of their career. Armed with a refreshed five-piece lineup, they forge ahead on their heavy metal path, now featuring Jon Deverill on vocals, Robb Weir and John Sykes (who from this point on becomes "the great one") on guitars, Richard Laws on bass, and Brian Dick on drums.

This record is everything their first release wasn’t: edgy, with relatively fast tempos, an even better production by Chris Tsangarides (returning for a second time), and an absolute, massive hunger for NWOBHM. If one were to compare the album's overall sound to other bands of their generation, it is characterized by Saxon-style melodies, twin-guitar solos à la Iron Maiden, and a Motörhead-infused grit.

Packed with tracks like Gangland (from which Maiden might have lifted the title for their own rather mediocre song), Take It, Minotaur, Hellbound, the ballad Mirror, Silver And Gold, Blackjack, The Story So Far, and Tyger Bay, this album refuses to go unnoticed, even more than forty years later.

Τάκης "Ε-Μortal One" Γιώτης

Carlos Perón & Melting Rust Opera Unveil Fourth Collaboration

 

A new chapter in experimental electronic–industrial fusion has arrived as Carlos Perón, co‑founding member of the legendary Swiss group Yello, teams up once again with Germany’s Melting Rust Opera for their fourth collaborative track. The release marks a meeting point between Perón’s avant‑garde electronic legacy and the band’s gritty metal‑industrial aesthetic.

Perón, who helped shape Yello’s identity in Zurich in 1979 before departing in 1983 to pursue a prolific solo career, brings his signature conceptual edge—echoes of works like Impersonator and Die Schwarze Spinne. Melting Rust Opera counterbalance this with their raw, metallic pulse, creating a hybrid sound that feels both mechanical and emotional.

The new track explores themes of identity, transformation, and the shadows we carry. Lines such as “There are echoes, I hear them… I once was down, now I am standing above” set the tone for a piece that moves between introspection and confrontation. The lyrics drift through darkness—“Hiding in the dark… it will get darker”—while still reaching for renewal and self‑reinvention.

This collaboration continues to expand the sonic universe shared by Perón and Melting Rust Opera, proving that electronic pioneers and industrial metal innovators can still find fresh ground together.