Μια
από τις πιο χαρακτηριστικές μπάντες της Ανατολικής Ακτής, μέλος των «μεγάλων
τεσσάρων» του Thrash Metal μαζί με τους Slayer, Megadeth και Metallica.
Προσωπικά, ένα από τα αρχικά συγκροτήματα που ξεκίνησα να ακούω. Τους
πρωτοάκουσα με το Among the Living, το κλασικό άλμπουμ τους, και στη συνέχεια
με το Persistence of Time.
Το
συγκρότημα των πέντε μουσικών από τη Νέα Υόρκη, με ηγετική μορφή τον κιθαρίστα
Scott Ian, άλλαξε πολλές μορφές και μέλη. Το συγκεκριμένο CD αποτελεί το σημείο
της επανένωσης με τον δεύτερο, θεωρητικά τον πιο κλασικό, τραγουδιστή τους,
Joey Belladonna, πίσω από το μικρόφωνο, στη θέση του John Bush (των Armored Saint),
ο οποίος τον είχε αντικαταστήσει το 1994.
Σύγχρονη
παραγωγή και υλικό που παραπέμπει, βεβαίως, στους Anthrax που ξέρουμε, αλλά
περιλαμβάνει και νέες ιδέες. Earth on Hell, The Devil You Know, Fight 'Em 'Til
You Can't, I'm Alive, In the End, The Giant, Judas Priest (ναι, το είδαμε κι
αυτό, η λατρεία δεν κρύβεται!), The Constant και Revolution Screams είναι τα
καλύτερα σημεία ενός πολύ καλού δίσκου.
English:
A Return of Megaton Proportions
One of the most characteristic bands of the East Coast
and one of the “Big Four” of Thrash Metal, alongside Slayer, Megadeth and
Metallica. Personally, they were one of the first bands I ever started
listening to. I was first introduced to them through Among the Living, their
classic album, and then through Persistence of Time.
The five-piece from New York, led by guitarist Scott
Ian, went through numerous lineup changes and different incarnations over the
years. This particular CD marks their reunion with their second — and,
theoretically, their most classic — vocalist, Joey Belladonna, back behind the
microphone in place of John Bush (of Armored Saint), who had replaced him in
1994.
The production is modern, while the material naturally
points back to the Anthrax we know, yet it also incorporates some new ideas.
Earth on Hell, The Devil You Know, Fight 'Em 'Til You Can't, I'm Alive, In the
End, The Giant, Judas Priest (yes, we got that one too — the devotion is
impossible to hide!), The Constant and Revolution Screams are among the
highlights of a very good album.
Swiss project NERUMIA have released a new lyric video
for “Aliénation,” the title track of their forthcoming album Aliénation.
NERUMIA were officially formed in 2001 in the Swiss
mountains by Pasquale “Scual” Rivetti and Philippe “Phil” Privet. The duo
released two albums, The Land of the Black (2003) and I Don’t Understand
(2007), before the project was put on hold following Privet’s death in 2009.
NERUMIA returned in 2020 with a new line-up featuring
Magnus and Juan. Following Juan’s death in 2022, the remaining members
completed Senza Realtà (2023), incorporating guitar solos he had recorded
before his passing.
NERUMIA now continue as a trio with the addition of
Adrien, preparing to enter their next chapter with Aliénation.
The current line-up features Scual (concept, lyrics,
guitars, drums and lead vocals), Adrien (rhythm and lead guitars, vocals), and
Magnus (bass and vocals).
Κι
αυτό (A Lesson Well Learned) είναι τραγούδι, βέβαια, από το ομώνυμο μίνι
άλμπουμ τους, που είχε προηγηθεί το 1983.
Αυτό,
το πρώτο πλήρες τους δημιούργημα, είναι απλώς κλασικό. Αμερικάνικο Heavy Metal
από τα ’80s, με τσαγανό και πάθος. Τα πέντε παιδιά από το Los Angeles, με
επιρροές από το βρετανικό NWOBHM, αλλά και με χαρακτηριστικά αμιγώς
αμερικανικής καταβολής, παλαντζάρουν ανάμεσα στη φαντασία και τον ρεαλισμό.
March Of The Saint, Can U Deliver, Mad House, Seducer,
Mutiny On The World (μιλάμεγιαΤΟΕΠΟΣ!), Stricken By Fate και False Alarm — κιαυτάείναιμόνοτα 3/4 τουδίσκου!
Ένα
ακόμη ντεμπούτο που στιγμάτισε τη δεκαετία του ’80. Το τουλάχιστον
πληθωριστικό, επικών διαστάσεων εξώφυλλο, με τους πέντε ιππότες/αγίους με
πανοπλία, προφανώς υπονοεί τα πέντε μέλη τους: τους κυρίους Phil Sandoval,
Gonzo Sandoval, John Bush, Joey Vera και David Pritchard (RIP).
Απαραίτητος
δίσκος σε κάθε Old School Metal συλλογή.
English:
A Lesson We Learned Well
And this (A Lesson Well Learned) is, of course, a song
from their self-titled mini-album, which preceded it in 1983.
This, their first full-length release, is simply
classic. ’80s American Heavy Metal, full of guts and passion. The five guys
from Los Angeles, drawing influences from the British NWOBHM while also
displaying distinctly American characteristics, move back and forth between
fantasy and reality.
March Of The Saint, Can U Deliver, Mad House, Seducer,
Mutiny On The World (we’re talking about AN EPIC!), Stricken By Fate and False
Alarm — and that’s only three-quarters of the album!
Another debut that left its mark on the ’80s. The
downright extravagant, epic-scale cover, featuring five armored knights/saints,
obviously represents their five members: Phil Sandoval, Gonzo Sandoval, John
Bush, Joey Vera and David Pritchard (RIP).
An essential record in any Old School Metal
collection.
Sometimes a press release can create a misleading
first impression. The bio sheet accompanying VALSANS describes the Austrian
band as an answer to those dissatisfied with MANOWAR's later albums and the
split of RUNNING WILD. Approaching the CD with some scepticism, I was not
particularly convinced by such promotional claims. After ten years of writing
for this zine, I have learned that a bio sheet is rarely a reliable indication
of what a band actually has to offer.
VALSANS play traditional Power Metal, drawing on
familiar influences such as WIZARD, GRAVE DIGGER and, to a lesser extent,
MANOWAR and METALLICA. The band have a capable vocalist, a tight rhythm section
and some good ideas, all of which contribute to an enjoyable listening
experience. However, Sword remains a rather typical release for the genre, with
most of its musical ingredients already explored, often in more distinctive and
inventive ways, by the aforementioned bands.
As someone who genuinely appreciates this particular
style of Metal, I found the album pleasant throughout, but it ultimately failed
to leave a lasting impression or create the desire to return to it. The
musicians are clearly talented and demonstrate a good understanding of
traditional Power Metal, but they still need to develop a more recognisable
musical identity. Alternatively, stronger songwriting and more distinctive
compositions could help them move beyond the familiar territory of their
influences.
Sword is an enjoyable effort for fans of traditional
Power Metal, although those looking for something particularly original may
find little here to distinguish VALSANS from the numerous bands operating in
the same musical territory. Give them a listen before heading to your local
record store.
German Death Metal solo project Praise of Death have
released their new album, “Rivers of Gore.” The album was recorded and mixed at
Morbid Arts Productions by Mark Raziel, who also founded the project in
Augsburg in 2024, and was mastered by Ilarion Ivanenko.
Praise of Death features Finnish vocalist Topias
Jokipii and combines old-school Death Metal influences with heavy riffing,
aggressive vocals, atmospheric passages, guitar solos and darker lyrical
themes. The project previously released its debut album, “Philanthropist,”
which explored subjects including nihilism, existential dread and human
self-destruction.
With “Rivers of Gore,” Praise of Death continue to
develop their approach to underground Death Metal, drawing on both its
traditional brutality and more atmospheric and introspective elements.
There are quite a few bands associated with the
N.W.O.B.H.M. movement whose music never quite fitted the more familiar template
of the genre. Warfare, formed in Newcastle upon Tyne in 1982, were certainly
one of them. Rather than following the more melodic or traditional side of
British heavy metal, they developed a much more aggressive and direct sound,
standing somewhere between Motörhead, Tank, Venom and Atomkraft, with a strong
punk attitude running through it.
The band released five studio albums during their
original career: Pure Filth (1984), Metal Anarchy (1985), Mayhem, Fuckin'
Mayhem (1986), A Conflict of Hatred (1988) and Hammer Horror (1990), along with
the Noise, Filth and Fury and Total Death EPs. This already makes Warfare an
interesting part of the later N.W.O.B.H.M. story, but their association with
some of the most recognizable names of the British extreme-metal scene makes
their history even more distinctive.
In fact, it is difficult to discuss Warfare without
mentioning those connections. Algy Ward of Tank was involved with Pure Filth,
Lemmy Kilmister of Motörhead produced Metal Anarchy, while Cronos of Venom was
involved with Mayhem, Fuckin' Mayhem. The latter also featured Cronos as a
guest vocalist on the band's version of The Kinks' "You Really Got
Me". Metal Anarchy, meanwhile, also featured Motörhead guitarist Würzel as
a guest.
So, Warfare certainly did not try to hide their
influences. Their music was built around speed, rough vocals, primitive and
deliberately raw production, short songs and an almost punk-like directness.
The result was considerably closer to the dirty, hard-driving attack of
Motörhead and Tank than to the more conventional N.W.O.B.H.M. sound of the
period. Even their album titles — Pure Filth, Metal Anarchy and Mayhem, Fuckin'
Mayhem — give a pretty good indication of what the listener should expect.
The New Age of Total Warfare was released by
Southworld Recordings in 2011 and brings together 16 tracks, running for
approximately 47 minutes. It is therefore a fairly substantial introduction to
the band's catalogue rather than simply a short selection of their most obvious
songs. The compilation moves through material from different periods of the
band's career and also includes several live recordings, giving it a little
more variety than a straightforward studio-only collection.
The track selection includes "New Age of Total
Warfare", "Dance of the Dead", "Living for the Last
Days", "Death Charge", "Military Shadow", "Blown
to Bits" and "Metal Anarchy", while the second half adds live
versions of "Death Charge", "Elite Forces", "Burn Down
the Kings Road" and "Blown to Bits". The collection closes with
a studio version of "No Fun", adding another connection to the punk
side of Warfare's musical identity.
The songs themselves are generally fast, uncomplicated
and aggressive, with very little interest in unnecessary technicality or
elaborate arrangements. Warfare's strength is precisely this straightforward
approach: the riffs come quickly, the vocals are rough, the production retains
an appropriately dirty character and most of the songs get to the point without
wasting time. There is an almost Metal-Punk mentality here, something that
helps explain why the band can appeal equally to listeners coming from the
Motörhead, Tank or early Venom side of metal.
Among the material included here, the title track and
"Metal Anarchy" are particularly representative of what Warfare were
about. The latter also gives the compilation one of its most obvious
connections with Lemmy's world, considering his involvement in the original
1985 album. Metal Anarchy itself was released by Neat Records in March 1985, at
a time when Warfare were establishing their identity as one of the more
aggressive bands operating around the N.W.O.B.H.M. scene.
For listeners who already know Warfare, The New Age of
Total Warfare works as a compact retrospective of a band that occupied an
unusual position between British heavy metal, speed metal and punk. For those
who have never listened to them, it provides a useful introduction to a group
whose history is closely connected with some of the key figures of the early
British extreme-metal movement.
Warfare were never the typical N.W.O.B.H.M. band, and
this compilation makes that very clear. Their music is fast, rough, loud and
uncomplicated, with the attitude of a punk band and the volume of a heavy-metal
one. For anyone interested in the more aggressive and less polished side of the
early British metal scene, this is an interesting place to discover them.
Αυτοί
οι Testament κι οι Exodus είναι κάποια από τα συγκροτήματα της περίφημης Bay
Area της Καλιφόρνιας που άργησαν να κυκλοφορήσουν το ντεμπούτο τους, το καθένα
για διαφορετική αιτία.
Οι
Forbidden Evil, όπως ονομάζονταν αρχικά, πιέστηκαν να κόψουν το δεύτερο
συνθετικό του ονόματός τους από τη δισκογραφική τους εταιρεία, ώστε, αφενός, να
είναι πιο εύηχο το όνομα και, αφετέρου, να μην «κακοχαρακτηριστούν» ως
αποκρυφιστικό μουσικό σχήμα. Το ντεμπούτο τους, όμως, φέρει κι αυτό στον τίτλο
του το «Evil» και αποτελεί έκτοτε ένα από τα καλύτερα δείγματα της δεύτερης γενιάς
του Thrash Metal.
Τρία
κομμάτια έχουν γραφτεί με τη βοήθεια του γνωστού από τους Vio-Lence, αλλά πολύ
περισσότερο από τους Machine Head μελλοντικά, Robb Flynn, ο οποίος ήταν μέλος
τους για ένα χρονικό διάστημα.
Ο
τρομερός Glen Alvelais, με τα χαρακτηριστικά κιθαριστικά του leads και solos,
αλλά κυρίως ο Paul Bostaph, που ρίχνει βολές από το σκαμπό του ντράμερ, είναι
αποκάλυψη εδώ, παίζοντας ωμό Thrash. Η παραγωγή δεν είναι για πρώτο βραβείο,
αλλά είναι ανεκτή, ενώ χαρακτηριστικά κομμάτια όπως τα Chalice of Blood,
Through Eyes of Glass, Forbidden Evil, March Into Fire, As Good as Dead και
Follow Me συνθέτουν ένα άλμπουμ από τα πιο αποδεκτά στον κόσμο του πιο ακραίου
ήχου.
English:
Riding the Second Wave
These Testament and Exodus are among the bands from
California’s legendary Bay Area that took some time to release their debut
albums, each for a different reason.
Forbidden Evil, as they were originally called, were
pressured by their record label to drop the second part of their name, both to
make it sound more appealing and to avoid being labelled as an occult-oriented
band. Their debut, however, still carries the word “Evil” in its title, and has
since become one of the finest examples of the second generation of Thrash
Metal.
Three tracks were written with the help of Robb Flynn,
known at the time from Vio-Lence, but later far more prominently as a member of
Machine Head, who was a member of the band for a period of time.
The formidable Glen Alvelais, with his distinctive
guitar leads and solos, but above all Paul Bostaph, firing away from behind the
drum kit, are revelations here, delivering raw Thrash. The production is hardly
award-winning, but it is acceptable, while standout tracks such as Chalice of
Blood, Through Eyes of Glass, Forbidden Evil, March Into Fire, As Good as Dead
and Follow Me make this an album that has become one of the most highly
regarded releases in the world of extreme music.
