An uncanny force hailing from Greece attacks again with their fifth full-length opus, a beautifully balanced yet fearsome album of Blackened Death Metal.
Emerging from the scorching pits of Athens, Greece after a five-year hiatus, Black/Death Metal outfit Burial Hordes brings forth an outstanding slab of Blackened Death Metal that harnesses both chaos and atmosphere in equal parts, which is exactly what they have to offer us all in their brand new opus Ruins. The follow-up to their 2018 album Θανατος αιωνιος (The Termination Thesis), and featuring a classy artwork by Khaos Diktator Design, the excellent Ruins is a beautifully balanced yet fearsome album right off the bat, wit the band formed of D.T. (Ravencult) on vocals, and T.K. (Dead Congregation) and D.D. (Enshadowed, Anticreation) on the guitars and bass, supported by session drummer Eugene Ryabchenko (Fleshgod Apocalypse), slipping into different dimensions only to come back with renewed anger, being therefore highly recommended for fans of Incantation, Dead Congregation, Deathspell Omega, and Enshadowed, just to name a few.
The opening track In the Midst of a Vast Solitude is simply infernal and devastating from the very first second, with Eugene sounding bestial on drums and, therefore, offering D.T., T.K. and D.D. everything they need to generate a beyond Stygian and captivating ambience of Black and Death Metal. T.K. and D.D. keep darkening the skies with their scorching riffs in Insubstantial, a headbanging creation by the band where D.T. continues to roar like a demonic entity, followed by Perish, bringing forward another five minutes of absolute darkness and insanity by Burial Hordes where Eugene once again dictates the song’s pace with his sick blast beats, feeling solid and sulfurous while presenting Doom Metal elements in its second half. And investing in a hammering, heavy-as-hell sound it’s time for the Blackened Doom-infused aria Wandering Stream of Wind, with the guitars by T.K. and D.D. piercing our souls mercilessly.
Then tribal beats ignite the flawless, pulverizing Black and Death Metal extravaganza Infinite Sea of Nothingness, a demonic composition showcasing the always visceral growls by D.T., or in other words, succumb to the dark side of music to the sound of this precious gem of the underground extreme scene. There’s no sign of slowing down; quite the contrary, their Black Metal madness goes on in Isotropic Eradication, where Eugene crushes his drums supported by the devilish riffage by his bandmates, followed by Purgation, offering our putrid ears more of the band’s hellish sounds. Moreover, it will penetrate deep inside your psyche and demolish your hopes and dreams, with D.T.’s deep guttural sounding inhumane and absolutely evil. Lastly, the ending of the album could have been a little heavier and darker than what’s offered in …to the Threshold of Silence, but the song is still amazing and brings forward more of their evil roars, harsh riffs and pounding drums.
This ruthless Greek horde is waiting for you on Facebook to join them in their battle for extreme music, and if you want to show them your utmost support you can stream Ruins in its entirety on Spotify and purchase a copy of it from their own BandCamp page or from the Transcending Obscurity Records’ webstore, as well as from Apple Music or Amazon. Easily one of the best albums of late in the Blackened Death Metal spectrum, Ruins represents an evolution in the sound of Burial Hordes, and I can’t wait to see what’s next for such powerful and important name of the always prolific Greek underground scene.
Best moments of the album:In the Midst of a Vast Solitude, Infinite Sea of Nothingness and Purgation.
Worst moments of the album:…to the Threshold of Silence.
Released in 2023 Transcending Obscurity Records
Track listing 1. In the Midst of a Vast Solitude 4:57
2. Insubstantial 4:46
3. Perish 5:06
4. Wandering Stream of Wind 5:54
5. Infinite Sea of Nothingness 5:24
6. Isotropic Eradication 4:51
7. Purgation 4:23
8. …to the Threshold of Silence 5:44
Band members D.T. – vocals
T.K. – guitars, bass
D.D. – guitars, bass
Enjoy this first-class album of Heavy Rock full of addictive hooks, intricate dynamics, clever drum pattering and diverse vocals all carefully brought into being by three skillful Greek rockers.
A Heavy Modern Rock band formed in 2016 in Athens, Greece, Vonavibe are more than ready to rock with their debut full-length album titled Bleed To Life, containing gargantuan proportions of heavy (and ultimately satisfying) chock ‘n’ gravel rock sounds that bring to mind all our favorite bars, beaches, arenas and rock festivals. Produced, recorded, and mixed by the band’s own vocalist and guitarist Dyon at Red Toy Studio, and mastered by John Christodoulatos at Sweetspot Productions, the album showcases all the talent and passion for Heavy Rock by the aforementioned Dyon together with John Tass on the lead guitars and George Andrian on drums, offering our avid ears addictive hooks, intricate dynamics, clever drum pattering and diverse vocals, all carefully brought into being by such talented Greek trio.
Somber Stoner Rock and Metal guitar lines ignite the band’s rockin’ feast in Left For Dead, with Dyon kicking some ass with his Hard Rock inspired vocals while John delivers striking solos for our total delight, followed by Run n’ Hide, the perfect tune for hitting the highway on a Harley Davidson feeling the wind on your face, with the amazing beats by George being nicely complemented by the song’s metallic bass lines. Then we have Vonavibe, the song that carries the name of the band, offering more of their classic Hard Rock sounds led by the slashing riffage by Dyon and John; and the trio slows things down and offer our ears the delicate ballad Hold On, showcasing Dyon’s smoother side on vocals while the instrumental parts exhale melancholy. After such melodious moment, it’s time for their rendition for The Rolling Stones’ classic Paint It Black (check the original version HERE), presenting a superb job done by the trio by keeping the song’s essence intact while adding their own Greek Hard Rock twist to it, with George crushing his drums in great fashion.
All That Remains is another classic Rock N’ Roll tune with an edgier vibe thanks to the raspy vocals by Dyon, always supported by the solid riffs and beats by his bandmates, whereas the trio then delivers one more dark song titled Beyond Tolerance, starting in a very somber manner to the introspective vocals by Dyon while John adds tons of feeling and groove to the music when things get heavier. In Break Your Sky they bring forward more of their fusion of classic Rock N’ Roll with Sludge Rock and Metal nuances, keeping the album at a high level of heaviness and electricity, and let’s keep banging our heads to the piercing riffage by Dyon and John in Song 9, while George hammers his drums in the name of Rock N’ Roll. Finally, closing the album we have Alive, offering more of their Hard Rock riffs and beats while Dyon keeps declaiming the song’s lyrics with tons of passion and John fires a soulful solo, resulting in eight minutes of first-class rock music for the masses.
In summary, Vonavibe play high-quality Rock N’ Roll, and you can enjoy their music to the fullest by streaming Bleed To Life on YouTube and on Spotify, and by purchasing a copy of the album by clicking HERE. In addition, don’t forget to show your love for those Greek rockers by following them on Facebook and on Instagram, and by subscribing to their YouTube channel. Whenever Dyon, John and George take your city by storm with their Heavy Rock, don’t think twice and go check such amazing band live, raising your horns for all the amazing songs from Bleed To Life and, therefore, keeping the flames of Rock N’ Roll burning bright anywhere they go.
Best moments of the album:Run n’ Hide, Paint It Black and Break Your Sky.
Worst moments of the album:Hold On.
Released in 2023 Eclipse Records
Track listing 1. Left For Dead 4:49
2. Run n’ Hide 3:22
3. Vonavibe 4:14
4. Hold On 3:45
5. Paint It Black (The Rolling Stones cover) 4:24
6. All That Remains 5:08
7. Beyond Tolerance 5:42
8. Break Your Sky 3:38
9. Song 9 4:48
10. Alive 8:13
Band members Dyon – vocals, rhythm guitars
John Tass – lead guitars
George Andrian – drums
This infuriated Black and Death Metal horde from Greece will crush your mind with their debut effort, showcasing their steely vision and penchant for writing superbly structured songs that have an inherent catchiness to them.
Formed in October 2017 in the hypnotizing city of Athens, Greece, the unrelenting Black/Death Metal horde Decipher is ready to unleash upon humanity their first full-length opus, entitled Arcane Paths To Resurrection, the follow-up to their 2019 debut EP Of Fire and Brimstone. Displaying a stunning artwork by Artem Grigoryev, the album showcases the steely vision and penchant for writing superbly structured songs that have an inherent catchiness to them by vocalist M.L., guitarists K.G. and K.C., and drummer N.C., while also being gritty and dynamic, not giving you much time to dwell on things as it keeps throwing one deadly riff after the other at you as you’re forced to scramble in an attempt to fully comprehend them before life comes to an end.
The band’s Stygian guitars ignite their sulfurous attack in Chants of the Unholy, with the blast beast by N.C. bringing hell to their imposing musicality, and K.G. and K.C. continue to extract darkness and hatred from their guitars in Lost in Obscurity while M.L. vociferates rabidly in the name of evil in a great display of contemporary Black Metal. Then a beyond creepy, phantasmagorical interlude titled Arcane Paths will send shivers down your spine before the quartet comes crushing our putrid souls once again in Enslaved to Be, presenting their demonic riffs and growls supported by another bestial performance by N.C. on drums, also showcasing hints of Melodic Black Metal carefully inserted into their core sound.
Get ready for eight minutes of sulfur and obscurity entitled Altar of the Void, with the entire band being on absolute fire from start to finish, in special M.L. with his venomous gnarling while K.G. and K.C. once again hammer our skulls with their axes; whereas investing in a more somber sonority with elements from Doom Metal and Blackened Doom we have Penance, before exploding into their core insanity led by the infernal drums by N.C., sounding very detailed, demonic and thrilling, or in other words, a lecture in modern-day Black Metal. And lastly, closing the album the band offers us all one last onrush of malignant Black Metal titled Sanctum Regnum, with their piercing guitars and hellish roars elevating the song’s obscurity to a whole new level, therefore feeling very dense and grim until the very last second.
In a nutshell, Decipher are more than ready to kill armed with their sulfurous debut effort, and if I were you I would definitely give those Greek metallers a shout on Facebook and on Instagram, subscribe to their YouTube channel for more of their classy music, stream their sick creations on Spotify, and above all that, purchase a copy of Arcane Paths To Resurrection from their own BandCamp page or from the Transcending Obscurity Records’ webstore as a special digipak CD or as an ass-kicking shirt + CD combo (or click HERE for all things Decipher). The band is surely delivering a timeless piece of Black Metal that’s impactful and strongly evocative with Arcane Paths To Resurrection, keeping in mind this is just their first opus, which means Decipher will surely make a lot of noise in the coming years for the delight of al lovers of extreme music out there.
Best moments of the album:Chants of the Unholy, Altar of the Void and Penance.
Worst moments of the album: None.
Released in 2023 Transcending Obscurity Records
Track listing 1. Chants of the Unholy 4:11
2. Lost in Obscurity 5:40
3. Arcane Paths 1:48
4. Enslaved to Be 4:56
5. Altar of the Void 8:52
6. Penance 5:15
7. Sanctum Regnum 5:42
Band members
M.L. – vocals, chants
K.G. – lead and rhythm guitars, bass, vocals, chants
K.C. – guitars
N.C. – drums
Behold this 34-minute aural declaration of war toward the insignificance of all terrain things masterfully crafted by a dynamic duo from Greece.
Born in the beginning of 2021 in Athens, Greece with the intent of creating sprawling, otherworldly abstract Death Metal embraced with lyrics about chaos, death and nightmarish realms and states of consciousness, the ruthless Black/Death Metal duo Necro on guitars and vocals and Noctus on bass and vocals, collectively known as Anticreation, emerges from the abysses of hell with their colossal debut album From the Dust of Embers, a 34-minute aural declaration of war toward the insignificance of all terrain things. Recorded, mixed and mastered at Descent Studio, and with layout by Cold Poison an logo and inner parts by Nox Fragor Art, From The Dust Of Embers is an imposing beast levitating with an immense aura of complete ruin and inevitability highly recommended for fans of Pseudogod, Immolation, Dead Congregation and Lucifyre, showcasing all the fury of Necro and Noctus accompanied by guest musicians Krzysztof Klingbein on drums and Slanderer on ambient and noise tracks.
The sinister intro Faith’s Demystifcation welcomes the listener to the Stygian lair ruled by Anticreation before the duo comes crushing in the title-track From the Dust of Embers, a straight-to-the-point, no shenanigans Black Metal onrush where Krzysztof proves why he was chosen by Necro and Noctus to take care of the drumming duties, and with Necro being not only bestial on the guitar but his guttural vocals are also infernal. Then starting in a beyond phantasmagorical manner, the obscure The Beauty of Lava brings forward elements from Doom Metal and Blackened Doom to make things even more menacing, with Noctus hammering his bass mercilessly, and the duo continues to extract sheer malignancy from their stringed weapons in Abomination Reborn while Krzysztof dictates the pace with his pounding beats. Put differently, it’s sulfurous Black Metal at its finest spiced up by a humongous dosage of Death Metal roars, whereas The Last Perception sounds even more demented and vicious than its predecessors, resulting in a Black Metal extravaganza where Necro’s strident, devilish riffs will pierce your mind ruthlessly.
Krzysztof smashes his drums like a beast in A Journey Into the Throat of Death, giving it a tribalistic vibe while the guitars and bass sound as caustic as possible, flowing into the interlude The Swarm, which will send shivers down your spine thanks to all the eerie, otherworldly noises and sounds crafted by Anticreation until all hell breaks loose in Unborn, a brutal Black Metal aria where Necro and Noctus once again darken our minds with their riffs and bass lines, not to mention how inhumane Krzysztof sounds behind his drums. Kathagiasis, the last song from the regular version of the album, showcases wicked vociferations by Necro accompanied by the menacing bass by Noctus, whereas lastly we’re treated to more of their caustic fusion of Black and Death Metal that’s worth the investment in the digital version of the album with the bonus track The Supreme Terror, which as its name already says will terrorize you for all eternity.
There’s no light at the end of the tunnel for your damned soul, which means the only option left for you is to succumb to the dark side and join Anticreation on their devilish path, and you can do so by following the band on Facebook and by purchasing the amazing From The Dust Of Embers from the band’s own BandCamp page, as well as from the Sentient Ruin Laboratories’ BandCamp page or webstore, or from the Nuclear Winter Records’ BandCamp page. In the end, we’re all insignificant, and Anticreation are among us to show us this unwanted truth armed with From The Dust Of Embers, an album that will surely be considered one of the top metal albums hailing from Greece this year.
Best moments of the album: From the Dust of Embers, Abomination Reborn and Unborn.
Worst moments of the album:The Beauty of Lava.
Released in 2022 Sentient Ruin Laboratories/Nuclear Winter Records
Track listing 1. Faith’s Demystifcation 0:45
2. From the Dust of Embers 4:04
3. The Beauty of Lava 5:44
4. Abomination Reborn 4:48
5. The Last Perception 4:10
6. A Journey Into the Throat of Death 4:33
7. The Swarm 0:45
8. Unborn 4:26
9. Kathagiasis 4:37
Digital Edition bonus track 10. The Supreme Terror 3:16
Band members Necro – guitars, vocals
Noctus – bass, vocals
Guest musicians Krzysztof Klingbein – drums
Slanderer – ambient/noise tracks
Dark, diabolical, and majestic while taking a fresh look into 90’s Greek Black Metal with a nostalgia of the past and a twist into the future. That’s what these infernal veterans have to offer in their newborn spawn.
Forged in the fires of Athens, Greece in 2019 by bassist Jim Mutilator, a founding member of legendary Greek Black Metal band Rotting Christ, and vocalist The Magus, who formed Necromantia in 1989 together with Baron Blood (R.I.P.), one of the most influential and avantgarde bands of the scene, Hellenic Black Metal outfit Yoth Iria is an amalgam of the influences and visions of its creators, sounding dark, diabolical, emotional, powerful and majestic while taking a fresh look into 90’s Greek Occult Black Metal with a nostalgia of the past and a twist into the future. Now in 2021, the duet which developed and pioneered the underground scene back in the day is ready to crush our souls with their first full-length album, titled As The Flame Withers. Recorded, mixed and mastered at Pentagram Studio by Yoth Iria and George Emmanuel (Rotting Christ, Septicflesh, Lucifer’s Child), and displaying a Stygian artwork by Indian artist Harshanand Singh, As The Flame Withers represents everything this primeval entity stands for, supported by guest musicians George Emmanuel on the guitars, John Patsouris on keys and J.V. Maelstrom (Dephosphorus, Nigredo) on drums, dragging the listeners into the pits of the underworld and keeping them there forever in pitch black darkness.
The Children of Bodom-inspired riffage by George kicks of the melodic and infernal The Great Hunter, bringing to our ears old school Norwegian Black Metal blended with the epicness of Behemoth and Rotting Christ, whereas mesmerizing, imposing sounds permeate the air in the insane title-track Yoth Iria, showcasing beyond obscure lyrics growled by The Magus (“For aeons he laid dormant / speaking through dreams / conspiring in visions / watching from his Throne / Arch-Priest and King / of the Seven Hells / The Highest of Angels / the Brightest of them all”) while his bandmates keep the atmosphere as heavy and somber as possible. Then it’s time for George and Jim to slash their respective guitar and bass in the very melodious but of course heavy-as-hell Hermetic Code, a very atmospheric creation by the band offering our ears a good dosage of Doom Metal added to their core ferocity; and arising from the pits of the underworld like a demonic entity, The Magus and Jim bring forward Demonaz-inspired vocalizations and dirty, rumbling bass lines in The Mantis, with the background keys by John Patsouris sounding insanely epic while J.V. Maelstrom hammers his drums mercilessly.
In the excellent The Red Crown Turns Black we face more of their blasphemous lyrics (“From the deserts of Saturn / and the depths of the Abyss / the General of Chaos / the Devourerof Souls”) while the music sounds like a demonic fusion of Behemoth, Immortal and Children of Bodom, with George being once again sensational with his wicked riffs and solos, and rocking guitars and classic beats ignite the Stygian extravaganza titled Unborn, Undead, Eternal, reminding me of some of the most recent creations by Rotting Christ, with The Magus gnarling like a creature from the netherworld nonstop. The second to last explosion of their Ritualistic Black Metal comes in the form of Tyrants, where The Magus’ roars are effectively supported by the hellish kitchen by Jim and Maelstrom, resulting in another doomed, thunderous aria blasted by this talented Greek horde, while Jim continues to smash his bass in the closing tune The Luciferian, accompanied by the grim guitars by George. Once again blending old school Black Metal with Doom Metal and more contemporary styles, the song unfortunately loses its grip after a while, albeit nothing that could do any harm to such powerful album.
In the end, As The Flame Withers, which is by the way available for a full listen on YouTube, is exactly what such prominent duo from the Greek Black Metal scene is saying the album is, an ode to the early days of the genre without sounding outdated, tiresome nor bland at all. Hence, if you want to explore their obscure realm in more detail and stay updated with all things Yoth Iria, you can start following the band on Facebook and on Instagram, and of course purchase your copy of As The Flame Withers from the Pagan Records’ BandCamp page or webstore (including the CD and black LP versions of the album), as well as from Record Shop X. It’s indeed a true pleasure witnessing two trailblazers of the Greek Black Metal scene generating such infernally dark music with so much punch and potency even after all these decades on the road, proving once again extreme music can be a true fountain of youth for many, while the flames of Black Metal keep burning the souls of the unbelievers for all eternity.
Best moments of the album: Yoth Iria, The Mantis and The Red Crown Turns Black.
Worst moments of the album:The Luciferian.
Released in 2021 Pagan Records
Track listing 1. The Great Hunter 4:24
2. Yoth Iria 5:41
3. Hermetic Code 6:34
4. The Mantis 7:19
5. The Red Crown Turns Black 6:26
6. Unborn, Undead, Eternal 5:14
7. Tyrants 4:51
8. The Luciferian 6:32
Band members The Magus – vocals
Jim Mutilator – bass
Guest musicians George Emmanuel – guitars (session)
John Patsouris – keys (session)
J.V. Maelstrom – drums (session)
A highly enterprising and unusual release by four Greek rockers who definitely know how to blend 90’s Seattle Grunge with Stoner and Southern Rock.
Athens, Greece-based Hard Rock/Post-Grunge quartet Puta Volcano has been building up their legacy and fanbase one gig, one album and one song at a time since their inception in 2012, having released their debut EP Represent Victory Below Eye that same year, their first full-length installment The Sun in 2015, and more recently another EP titled Harmony of Spheres, in 2017, gaining notoriety in their homeland for their heavy mixture of Seattle Grunge with Stoner and Southern Rock, all with a Southeastern European twist. Already acknowledged in the Greek heavy rock scene, the band comprised of Anna Papathanasiou on vocals, Alex Pi on the guitar, Bookies on bass and Steve Stefanidis on drums is ready to take the world of heavy music by storm once again with their brand new opus AMMA, a highly enterprising and unusual release full of heft and verve, combining elements from the music by Alice In Chains, Melvins, Hole, A Perfect Circle, Kylesa and Baroness and, therefore, creating a tantalizing and electrifying sound.
Produced by Johnny Tercu, recorded by Alex Ketenjian, Nick Dimitrakakos and Alex Bolpasis and mixed and mastered by Alex Ketenjian and Johnny Tercu, all at Unreal Studioz in Athens, and featuring a classy artwork that’s the collective effort of artists Anna Papathanasiou herself and Laura Bricta, with an inner sleeve photo by Chrysalena Antonopoulou and logo and layout by Fuzz Ink., AMMA is a multi-layered and very entertaining album of rock music, bringing forward a collection of songs reflecting the whereabouts of a band who illustrates the well documented character of their craft, while simultaneously branching out to new territories using bits and pieces of novelties, making the exploration of each and every track of the album a detailed nit-picking adventure for the listener.
The inspiring an cinematic intro R-Entry prepares our ears and minds for the groovy Entropica, showcasing poetic lyrics declaimed by Anna (“Back from an endless slumber / Across event horizons / Silence where once was thunder / Ashes and rust surround me / I’m breaking / Having seen too many ends / I’m choking / Struggling to let go”) while Steve blasts some sluggish and potent beats accompanied by Bookies’ low-tuned bass, resulting in a lecture in Post-Grunge. Then again drinking from the same fountain as iconic bands like Pearl Jam and Soundgarden we have Venus Lullaby, presenting a beautiful sonority led by Alex’s distortions and Anna’s charming vocals, driving you absolutely addicted to her passionate performance, not to mention the song’s electrifying vibe; and venturing through more aggressive and harder lands the band offers us all First Light, a true headbanging Rock N’ Roll anthem with hints of classic Heavy Metal where Alex and Bookies are on fire with their stringed weapons, while Anna continues to shine on vocals.
Then a somber intro morphs into a Hard Rock and Grunge extravaganza titled Black Box, with Steve and Bookies hammering their instruments ruthlessly, therefore providing Anna all she needs to fire her Alice In Chains-inspired vocals and inspiring us all to bang our heads like there’s no tomorrow, followed by Sugar Cube, a more introspective creation by the quartet showcasing crisp and delicate guitar lines and beats, bringing to our ears that trademark Seattle sound with a nice Greek twist. The atmospheric bridge Echoing Icons sets the stage to the exciting Primitive Data, another explosion of Post-Grunge with gorgeous lyrics (“Like raindrops on the sea / Break stillness and riple the veil / I fall from blackest space / A flailing newborn / Heliacal rising again / More shadows in my head / I left my center back home / A lifetime ago”), also showcasing the ass-kicking shredding by Alex and the fierce drumming by Steve.
Wicked guitars and deep, dark vocals permeate the air in Apnea, again exploring 90’s Grunge grounds with metallic nuances, flowing smoothly until its crisp ending, whereas Torus sounds groovier than all previous songs thanks to the potent bass jabs by Bookies, presenting stunning performances by all band members with Steve slamming his drum kit mercilessly, living up to the legacy of the Seattle sound. After such enfolding sonority it’s time for Puta Volcano to enhance their heaviness and rage in Space Blanket, a very melodic, sinister and vibrant song where Anna sounds as dark and devilish as possible and with Alex having another amazing performance with his riffs and solos, while ethereal sounds ignite the closing tune titled Kassandra’s Gift, led by Anna and her whimsical voice before the entire band comes crushing our senses one last time in a lesson in modernity and progressiveness.
The excellent AMMA is available for a full and detailed listen on YouTube and on Spotify, but of course if you want to show your true support to Puta Volcano you should definitely purchase the album from their own BandCamp page or from Apple Music, or simply click HERE for all locations where you can grab a copy of the album or simply stream it. Also, don’t forget to follow them on Facebook, Instagram and YouTube, with AMMA working as the utmost representation of everything the band stands for, their talent and their strong focus on what they do, leaving us all eager for more of their music and pointing to a fantastic future for such distinguished Greek quartet with their Seattle-inspired sound.
Best moments of the album: First Light, Black Box, Primitive Data and Space Blanket.
Worst moments of the album:Sugar Cube.
Released in 2020 The Orchard
Track listing
1. R-Entry 0:42
2. Entropica 4:28
3. Venus Lullaby 3:45
4. First Light 3:41
5. Black Box 4:20
6. Sugar Cube 3:18
7. Echoing Icons 1:41
8. Primitive Data 4:32
9. Apnea 2:43
10. Torus 4:15
11. Space Blanket 4:15
12. Kassandra’s Gift 5:47
Band members
Anna Papathanasiou – vocals
Alex Pi – guitar
Bookies – bass, backing vocals
Steve Stefanidis – drums
An amazing album of rock and metal music containing nine high-energy compositions overflowing groove and adrenaline, carefully brought forth by four talented musicians hailing from Greece.
It’s time to bang our heads to the groovy and melodic Alternative Metal blasted by SiXforNinE, a four-piece band formed in 2011 in the always fun city of Athens, Greece, who are releasing now in 2019 a brand new and extremely entertaining opus entitled Parallel Universe, a follow-up to their 2015 debut self-titled album being highly recommended for fans of the music by bands like Disturbed and Breaking Benjamin. Comprised of founding members Georga Kapa on the guitar, Herc Booze on bass and Pete Outfox on drums, as well as Fotis Benardo (Necromantia, Septicflesh) on vocals, SiXforNinE have been on a roll since their inception, having already shared the stage with renowned acts such as Monster Magnet, Fates Warning, Leprous, and Memory Garden, and with Parallel Universe representing an evolutionary step in their relatively short but already solid career.
Recorded at DevasoundZ Studios in Athens, produced by Fotis Benardo himself, mixed by Paul Pavao (Disturbed, Stone Temple Pilots, Breaking Benjamin), mastered by Tom Baker (Rob Zombie, Nine Inch Nails, Mötley Crüe), and featuring a stunning artwork by Vagelis Petikas (Revolver Design), Parallel Universe showcases a very special chemistry between all four band members in each of its nine high-energy rock anthems, dealing with distinct topics such as a galactic travel via astral projection and the story of a refugee hoping for a better future. In other words, you better get ready to rock with SiXforNinE, as the Rock N’ Roll party crafted by those four talented Greek metallers doesn’t seem to have a time to end based on the amount of adrenaline flowing from their new album.
The band begins their feast of mesmerizing and groovy sounds in Every Cloud Has a Silver Lining, a lecture in progressiveness by the quartet where Fotis and his Miles Kennedy-inspired vocals walk hand in hand with George’s crisp riffs, not to mention Herc’s rumbling bass lines, followed by the heavier and more progressive Life Devouring Demons, reminding me of some of the incendiary creations by Mastodon. Furthermore, Pete brings endless intricacy with his beats in an awesome fusion of Alternative Rock and Metal with the heaviness of Progressive Metal, while Herc is on absolute fire with his metallic bass. And as heavy as high-end Alternative Metal can be, the band explodes our ears with the melodic and vibrant Bullet Off Its Course, a song that could easily be played in any radio station with Fotis once again stealing the spotlight with his passionate vocals.
Then inspired by the music by Alter Bridge, Breaking Benjamin and other big names of the alternative scene, George slashes his strings beautifully while Pete’s beats bring groove and thunder to the music in Never Ending Road, whereas in More Than Words Can Say the band blends the heaviest elements from Progressive Metal with smoother rockin’ nuances, displaying a powerful job done by George on the guitar as well as Fotis on vocals, overflowing rage and anguish from start to finish. And it’s time to slow things down a bit and enjoy a pensive and whimsical musical journey by SiXforNinE in Counting Stars (a Parallel Universe), where George, Herc and Pete generate an enfolding ambience with their respective instruments, resulting in almost 10 minutes of ethereal passages and piercing sounds. Not only that, George’s guitar solo is a thing of beauty, adding an extra touch of finesse to a fantastic song that flows flawlessly into a catchy ending.
Very intricate and full of breaks and variations, Out of the Blue offers the listener the thunderous sound of the bass lines by Herc nicely complementing Pete’s wicked beats, being at the same time violent and very harmonious and with Fotis’ roars bringing even more stamina to the song’s already gripping vibe. In Sea of Lies we’re able to witness pure Rock N’ Roll flowing through the band’s instruments, sounding tailored for being played at top volume at a rock pub while everyone is enjoying a cold and tasty beer; moreover, George and Pete couldn’t sound more electrifying with their riffs and beats, also presenting the progressiveness that makes their music so compelling. And lastly, the angry bass by Herc ignites the closing tune Meditation Hyperjam, a sonic extravaganza of badass sounds and tones led by George’s heavy riffs while Fotis fires his potent vocals, putting a truly exciting ending to the album.
If you love rock and metal music with high dosages of complexity, groove and electricity, then Parallel Universe, which you can hear in full on YouTube and on Spotify, is the perfect solution to satisfy your craving. Hence, go check what SiXforNinE are up to on Facebook, including their tour dates, and grab your copy of the album from their own webstore, as well as from Apple Music or from Amazon. Fotis, George, Herc and Pete did one hell of a job in Parallel Universe, and there’s nothing better to show them our support and appreciation than by rocking like there’s no tomorrow together with this hardworking and amazing band coming from Hellenic lands.
Best moments of the album:Life Devouring Demons, Counting Stars (a Parallel Universe) and Sea of Lies.
Worst moments of the album:Never Ending Road.
Released in 2019 Eclipse Records
Track listing 1. Every Cloud Has a Silver Lining 6:12
2. Life Devouring Demons 5:52
3. Bullet Off Its Course 5:00
4. Never Ending Road 4:53
5. More Than Words Can Say 5:02
6. Counting Stars (a Parallel Universe) 9:16
7. Out of the Blue 5:58
8. Sea of Lies 4:10
9. Meditation Hyperjam 5:12
Band members Fotis Benardo – vocals
George Kapa – guitars
Herc Booze – bass
Pete Outfox – drums
A thrilling and very detailed album of Melodic Groove Metal made in Greece, overflowing heaviness, punch and electricity.
Hailing from the always vibrant city of Athens, Greece, Heavy/Groove Metal act Voidnaut was formed in 2015 by guitarist Kostas Krikos and vocalist Stavros Benardo as a small project, gradually evolving into a much bolder and violent beast with the additions of drummer Kostas Alexakis (Acid Death) and bassist Kostas Tasakos (Double Square) not long after. With influences ranging from Disturbed to Pantera and the overall sound of American Heavy Metal, Voidnaut are unleashing upon us their debut full-length album, entitled Nadir, mixed and produced at Devasounds Studios by Fotis Benardo (SixforNine, Septic Flesh), mastered by Steve Lado (Tardive Dyskinesia), and featuring a modern artwork by Giannis Nakos (Remedy Art Design). And overflowing heaviness, punch and electricity, of course.
The acoustic guitar by Kostas Krikos in the intro Nadir works as the “calm before the storm”, warning us all there’s a demolishing feast of Groove Metal coming entitled Back from the Grave, a straightforward and catchy tune where Kostas Alexakis provides those traditional pounding beats we love in heavy music, while its lyrics remind me of some of the most interesting creations by bands like Dream Theater and Trivium (“I shut off the engine of light and in darkness I reigned / To another dimension,My redemption… / All I need is a sign-an unknown sacrifice I’m the keeper of light. / In my hour of pain wicked forces I gained for I’m back from…”). Then get ready to bang your head to a fusion of Southern and Groove Metal named Hunted, where Stavros does a great job with his raspy, angry vocals while Kostas Tasakos extracts pure metallic lines from his bass; and Stavros kicks off the flammable This Pain of Mine with a demented scream, while the rest of the band fires modern-day Alternative and Groove Metal lines, sounding perfect for jumping up and down during their live performances.
Control is another smashing tune by Voidnaut led by Kostas Alexakis’ thunderous beats and spiced up by Kostas Krikos’ electryfing riffs and solos, with all four band members being on fire from start to finish in an awesome display of modern metal music. Then more modernity and contemporary sounds invade our ears in Porcelain Lady, displaying a great sync between Kostas Tasakos and Kostas Alexakis with their rumbling bass punches and beats, respectively, while Stravos keeps roaring like a pro on vocals; and putting the pedal to the metal the band offers us Damage Done, blasting sheer rage and groove from their sharp instruments, with highlights to Kostas Alexakis’ incendiary performance on drums, not to mention the amazing guest vocals by Fotis Benardo and guest guitar solo by Bob Katsionis (Firewind, Outloud).
Kostas Krikos keeps cutting our skin deep with his razor-edged riffs in Scarred for Life, highly inspired by the music crafted by icons like Killswitch Engage, Light The Torch and other exponents of the Metalcore and Alternative Metal scene, with Stravos simply kicking some serious ass with his screams, followed by Road to Nowhere, probably the most commercial track of the album (which doesn’t mean it’s bad at all, though, just less electrifying), presenting solid instrumental pieces spearheaded by Kostas Krikos and his in-your-face riffs. Lastly, closing the album Voidnaut deliver tons of aggression in Savage World, drinking from the same fountain as bands like Trivium, sounding groovy, heavy-as-hell and vibrant, with Kostas Alexakis once again stealing the spotlight with his rhythmic and furious drumming. They’re definitely on beast mode in this great song, which obviously puts a climatic ending to the album, therefore leaving us eager for more of their modern-day Melodic Death and Groove Metal.
It’s quite easy to feel all of Voidnaut’s groove and punch from Nadir, as all you have to do is listen to the album in full on Spotify, or purchase it from iTunes or Amazon. You can also keep updated with all things Voidnaut such as tour dates and new releases by following the band on Facebook, and enjoy more of their music (and videos) by subscribing to their YouTube channel, showing your true support to another excellent Hellenic band that will surely keep fighting for metal music for years to come with their talent, passion and energy. Needless to say, we should all thank them for that by banging our heads nonstop to their powerful music.
Best moments of the album:This Pain of Mine, Control and Damage Done.
Worst moments of the album:Road to Nowhere.
Released in 2019 7hard/7us Records
Track listing 1. Nadir 1:17
2. Back from the Grave 4:16
3. Hunted 3:20
4. This Pain of Mine 4:15
5. Control 3:38
6. Porcelain Lady 4:26
7. Damage Done (feat. Fotis Benardo & Bob Katsionis) 4:36
8. Scarred for Life 4:26
9. Road to Nowhere 4:15
10. Savage World 3:52
Band members Stavros Benardo – vocals
Kostas Krikos – guitars
Kostas Tasakos – bass
Kostas Alexakis – drums
Guest musicians Fotis Benardo – vocals on “Damage Done”
Bob Katsionis – guitar solo on “Damage Done”
Heretics, atheists and rebels, it’s time to burn in the fires of the dark and occult Black Metal masterfully crafted by the greatest Greek institution in the history of heavy music.
“Since man cannot live without miracles, he will provide himself with the miracles of his own making. He will believe in any kind of deity even though he may otherwise be a heretic, an atheist, and a rebel.” – Fyodor Dostoyevsky
It is not a coincidence that our review number 666 exhales blasphemy, heresy and, above all, first-class occult Black Metal and a lot of fire. Hailing from Athens, the capital of the beautiful Greece and the heart of Ancient Greece, here comes the greatest Greek metal institution of all time, the almighty Rotting Christ, spitting fire upon humanity with their fantastic and very atmospheric new opus, entitled The Heretics, their thirteenth studio album and a beautiful follow-up to their excellent 2016 release Rituals. Recorded at Pentagram Studios in Athens, mixed and mastered at Fascination Street Studio in Örebro, Sweden, and featuring a stunning artwork by Ukrainian designer Vyacheslav Smeshko and cover art by Greek artist Maximos Manolis, Rotting Christ’s new album is absolutely incendiary, going against all types of religion, church and creed.
And when I say incendiary I’m not exaggerating, as pretty much every single song from The Heretics mentions the world “fire”, proving the band’s mastermind, vocalist and multi-instrumentalist Sakis Tolis and his brother, drummer Themis Tolis, knew exactly what they were doing when turning what it truly means to be a heretic into their unparalleled Dark Metal. All lyrics are obscure, austere and rebellious, which together with all beautiful intonations by guests Stelios Steele and Dayal Patterson, as well as an array of guest musicians such as Irina Zybina (vocalist for Russian Pagan/Folk Metal bands Alkonost and Грай), Alexis Karamelis and Melechesh Ashmedi, makes the experience of listening to The Heretics truly hypnotizing, enfolding our souls in darkness and fire while the music remains as heavy, intricate and epic as we got used to from the Tolis Brothers. In other words, are you ready to burn in the purifying fires of the Dark Metal blasted by the one and only Rotting Christ?
The imposing In the Name of God brings forward a very atmospheric start, with the words by Russian philosopher Fyodor Dostoyevsky spoken by guest Stelios Steele setting the stage for the crushing wall of sounds created by the Tolis Brothers, always in the name of fire, not to mention how its headbanging riffs will inspire you to break your neck in half, while Vetry Zlye, also called “Ветры злые” (which translates as “evil winds” from Russian), is another beautiful composition by those Greek metallers with the help of guest vocalist Irina Zybina and her mesmerizing voice, getting closer to what the band did in Rituals and with the drums by Themis sounding as imposing and demolishing as we like it in classic extreme music. “The mind is universe and can make a heaven of hell a hell of heaven”, and it’s with those words by English poet John Milton that Rotting Chirst kick off another thrilling hymn titled Heaven and Hell and Fire, showcasing austere, cryptic lyrics (“Beyond the burning fire, heaven and hell / Today I give you choices: life or death / I offer you desire, I sentence you to death / Today I give you a choice, I give you Hell”) that perfectly match with the song’s flammable, classic and very melodic musicality, with Sakis once again being a beast with his riffs and unmatched roars.
Hallowed Be Thy Name is a mesmerizing and extremely obscure hymn by led by Themis’ pounding beats, with Sakis extracting those low-tuned, Stygian sounds we love so much from his guitar and bass. Put differently, join their mass and burn with them, also savoring the words by William Shakespeare powerfully declaimed by Stelios, putting a majestic end to the song. Following such enfolding tune we have Dies Irae, where Sakis’ work on the guitar is the perfect example of how heavy and harmonious a riff can be at the same time, as well as the song’s background choir bringing even more thunder to this already potent song; whereas in I Believe (or “Πιστεύω”), which is based on a poem by Nikos Kazantzakis, a giant of modern Greek literature, the instrumental pieces are a bit too “polluted”, but nothing that makes the song boring or not enjoyable. Moreover, it should work a lot better live as it has the potential to generate huge circle pits due to its frantic pace. Back to a more visceral mode, we have the fabulous Fire God and Fear, with the words by French philosopher Voltaire (“Those who can make you believe absurdities can make you commit atrocities.”) generating a stunning paradox with the birds gently chirping in the background in the beginning, before the scorching riffs and thunderous drums by the Greek brothers of metal urge us all to bang our heads nonstop. Hence, this is by far one of my favorite songs of the entire album, where we can savor that classic Rotting Christ sonority with a welcome contemporary twist.
Rotting Christ The Heretics Box Collector
The Voice of Universe is another song that will reach deep inside your mind and soul, with Sakis vociferating its insurgent words (“The angel, I won’t serve again / I won’t have a place anymore in heaven / It’s my own soul, it’s my own mind / And can make a heaven of hell, a hell of heaven.”) while Themis keeps blasting his trademark tribal beats, and when you think those Greek metallers couldn’t sound more mesmerizing and brutal at the same time they deliver the excellent The New Messiah, featuring an excerpt from Matthew 24:11 (“And many false prophets will arise and lead many astray.”), with the guitars and all background elements and voices filling out all spaces in the air. And lastly, as the icing on the cake we have the magnificent, somber and ferocious The Raven, based on what’s probably the most famous poem by the iconic american writer Edgar Allan Poe, offering our ears over five minutes of cutting riffs, Black and Doom Metal drums, and endless poetry, with highlights to the sensational job done by Stelios Steele, giving life to Poe’s renowned lines. Actually, if you have some spare money to purchase any of the special editions of the album, you’ll also be able to enjoy the bonus tracks The Sons of Hell and Phobos (also called “The Sons of Hell, Pt. 1 & 2” by some people), two dark and demolishing tunes that make it worth the additional investment, or in other words, two excellent samples of modern-day Black Metal infused with epic and atmospheric elements.
In summary, The Heretics, available for a full listen on YouTube and on sale from several locations such as the band’s own BandCamp page and the Season of Mist webstore (and if I were you, I would go for the limited edition deluxe wooden boxset as it comes with several awesome perks), is definitely an album that will touch your heart and soul, taking you on a fascinating musical ride through the woes of religious wars, Zoroastrianism and the eternal war between good and evil. That’s what the unrelenting Rotting Christ offer us in their top-of-the-line new opus, and may Sakis and his horde continue to burn us all heretics, atheists and rebels with their dark and occult Black Metal for many decades to come.
Best moments of the album:Heaven and Hell and Fire, Hallowed Be Thy Name, Fire God and Fear and The Raven.
Worst moments of the album:I Believe.
Released in 2019 Season of Mist
Track listing 1. In the Name of God 4:13
2. Vetry Zlye 3:14
3. Heaven and Hell and Fire 4:52
4. Hallowed Be Thy Name 5:06
5. Dies Irae 3:45
6. I Believe 3:42
7. Fire God and Fear 4:49
8. The Voice of Universe 5:22
9. The New Messiah 3:07
10. The Raven 5:23
Deluxe Edition/Limited Edition Deluxe Boxset bonus track 11. The Sons of Hell 4:18
Band members Sakis Tolis – vocals, guitars, bass, keyboards, percussion
Themis Tolis – drums
Guest musicians Giannis Kalamatas – guitars (live)
Van Ace – bass (live)
Stelios Steele – poem intonation on “In the Name of God”, “Hallowed Be Thy Name” and “The Raven”
Alexis Karamelis – backing vocals on “I Believe”
Stratis Steele, Alexandros Louziotis, Giannis Stamatakis & Theodoros Aivaliotis – vocals (choirs)
Nikos Velentzas, Stamatis Ampatalis, Vasilis Koutsoyflakis & Manos Six – percussion
Irina Zybina – female Vocals on “Vetry Zlye”
Dayal Patterson – intonation on “Heaven and Hell and Fire” and “Fire God and Fear”
Melechesh Ashmedi – vocals on “The Voice of Universe”
Enjoy 22 minutes of destructive Death Metal delivered by a Greek power trio aiming at unleashing metal music with tons of groove and vile vibes, blended with technical and aggressive thrash sounds and their own twisted atmosphere.
And the endless source of high-quality metal music that is the Hellenic Republic brings to us another recently born Death Metal act that goes by the interesting name of Gravewards, a Death Metal power trio based in the capital Athens and formed in late 2015. Aiming at unleashing metal music with tons of groove and vile vibes heavily influenced not only by old school Death Metal, but also by technical and aggressive thrash sounds blended with their own twisted atmosphere, this Greek band is the latest option in the market for fans of bands such as Autopsy, Bolt Thrower, Obituary, Death and Benediction.
Recorded at Made In Hell Studio in Athens in late 2016, and featuring a straightforward, dark artwork By Czech designer Vojtěch Moonroot Doubek (Moonrot Art), the debut demo by Gravewards, titled Subconscious Lobotomy, will bring to your avid ears 22 minutes of destructive Death Metal split in four original creations by the band, working as a solid warmup for their upcoming releases. Those guy might be “just” a power trio, but the amount of energy and aggressiveness they put into making their music feels like they’re a full-bodied band with five or even more members. Be ready to get smashed by Nikos on vocals and guitars, Fotis on bass, and Vasilis on drums, and enjoy the demonic music by another band that proudly carries the flag of Greek Metal wherever they go.
Distorted lines and a hostile ambience are the background for Nikos and his bandmates to begin crushing with their visceral Death Metal in Casket Entrapment, also presenting hints of Doom and Sludge Metal to make things even more interesting. Moreover, Nikos sounds like a rabid beast on vocals, while Vasilis punishes his drums mercilessly during the whole song. In the next song of the EP, the heavy and sluggish title-track Subconscious Lobotomy, not only the rumbling bass by Fotis together with the blackened guitars by Nikos dictate the rhythm, but it also has a primeval vibe perfect for breaking your spine headbanging. Put differently, this is the type of song that offers the listener a very cohesive sonority with that raw punch we always look for in good quality Death Metal.
Sounding even more enraged and demented than before, Nikos keeps growling like a beast while Fotis and Vasilis set the desired ambience for his vile gnarls in Crawling Chaos, a showcase of almost seven minutes of a groovy and violent bloodshed the likes of Obituary, Entombed, Unleashed and several other classic acts that play old school Death Metal. And lastly, Deathwomb Incubation begins with an eerie female voice followed by melodic guitars in a gripping rhythm, gradually becoming a menacing spawn of evil Death Metal with the desperate, deep growls by Nikos penetrating your mind while Fotis and Vasilis keep shaking the earth with their low-tuned weapons until the song’s vibrant and abrupt ending.
In summary, Gravewards have just risen from the pits of hell and are definitely here to stay, disturbing our peace with the ruthless and gruesome Death Metal found in Subconscious Lobotomy, giving a very good sense of the destructive path this honest and hardworking Greek power trio might take in their future releases. If you are curious to know more about the band, go check their Facebook page and YouTube channel, and in case you’re an admirer of underground extreme music you can purchase their debut demo at Discogs or at the Dying Victims Productions’ webstore. I’m sure the guys from Gravewards will appreciate your support, which will certainly fuel them for keeping delivering crushing Death Metal to your ears.
Emerging from the scorching pits of Athens, Greece after a five-year hiatus, Black/Death Metal outfit Burial Hordes brings forth an outstanding slab of Blackened Death Metal that harnesses both chaos and atmosphere in equal parts, which is exactly what they have to offer us all in their brand new opus Ruins. The follow-up to their 2018 album Θανατος αιωνιος (The Termination Thesis), and featuring a classy artwork by Khaos Diktator Design, the excellent Ruins is a beautifully balanced yet fearsome album right off the bat, wit the band formed of D.T. (Ravencult) on vocals, and T.K. (Dead Congregation) and D.D. (Enshadowed, Anticreation) on the guitars and bass, supported by session drummer Eugene Ryabchenko (Fleshgod Apocalypse), slipping into different dimensions only to come back with renewed anger, being therefore highly recommended for fans of Incantation, Dead Congregation, Deathspell Omega, and Enshadowed, just to name a few.
This ruthless Greek horde is waiting for you on Facebook to join them in their battle for extreme music, and if you want to show them your utmost support you can stream Ruins in its entirety on Spotify and purchase a copy of it from their own BandCamp page or from the Transcending Obscurity Records’ webstore, as well as from Apple Music or Amazon. Easily one of the best albums of late in the Blackened Death Metal spectrum, Ruins represents an evolution in the sound of Burial Hordes, and I can’t wait to see what’s next for such powerful and important name of the always prolific Greek underground scene.
THE HEADBANGING MOOSE 