Maybe not everybody knows that Christos Antoniou from Septicflesh is a multitalented musician with a Master’s Degree in concert music and an honorable classical background. With the band Chaostar, and the latest release entitled “Anonima”, Christos Antoniou fully satisfies his natural desire to explore the countless ever fascinating facets of classical music.
“Un Pensiero Per Il Destino” could be easily labeled as a classical operetta in which the main elements are the flawless soprano vocals in Italian (as in the traditional opera performances) and the delicately intricate composition where flutes and strings deliver epic undertones.
“Medea”, obviously inspired by Euripide’s unforgettable drama, presents an ominously dark atmosphere since the very beginning featuring a narration by David Vincent from Morbid Angel. The rest of the song could sound hostile to the average listener with its cathartic, often insane with so many elements mixed together, descent through a relentless haunting musical exploration ranging from classical to jazz and beyond.
On “Dilate The Time”, the delightfully familiar voice of Fernando Ribeiro from Moonspell gives you a sense of hope and a much needed break to breathe. From a musical point of view, there is a sort of comforting recurring melody with a straight forward classical approach that dwells in a controversial experiment.
“Les Reminiscences Extatique” feels like a bittersweet heartbreaking drama. The highlight here is the tragically spellbinding vocal performance by Androniki Skoula emotionally well supported by a cascade of elegantly classical orchestral backgrounds.
“L’Idee Fixe” is an extremely poetic piece with a soothing melodic theme. Yet, the second part of the song unfolds an ambiance obscurity that holds a Byzantine or simply archaic style.
“Misery’s King” has a cautious approach with a well defined melodic theme that can be easily accepted, maybe even loved, at the first listening. It feels almost like a ballad focusing on delightful arpeggios, melancholic keyboards and emotionally charged vocals.
It is obvious that “Anonima” is not suitable for an easy everyday listening with all the experimental orchestral arrangements that truly leave no space for catchy melodies widely accessible. Nevertheless, this is an absolutely stunning collection of classical soundscapes that courageously embraces multiple modern elements.

We can all agree on the fact that Monster Magnet’s “Last Patrol” has represented a tremendous come back, so why not re-imagining this album in an even more twisted fashion? Ladies and gentlemen, Mr. Wyndorf’s eclectic mind is always working in mysterious and marvelous ways and the result is called “Milking The Stars: A Re-imagining Of Last Patrol”. As Dave Wyndorf himself has stated, the songs taken from “Last Patrol” on this album are reinterpreted in a weird old-school fashion as if they have been written in 1968. If that’s not enough for the greedy fans, the album contains also four brand new tracks and if you’re lucky to get your hands on the limited edition you’ll get two live bonus tracks.
“Let The Circus Burn” is your classic edgy psychedelic dream trip. This is an instrumental track that focuses on a truly vintage guitar sound in trippy acid rock fashion surrounded by a wide array of multichromatic effects. Due to the peculiar richness of details, this song will require multiple listening to fully grasp its inner beauty.
“Mindless Ones ‘68” is a powerful bombastic blast all the way through. Considering that this was hands down one of my favorite track on “Last Patrol”, I must admit that even this version doesn’t disappoint. The new key elements here, besides the more vintage and raw sound, is the addition of the organ arrangement that delivers an enchanting bitterness but still makes you want to jump and dance.
“No Paradise For Me” features a brilliant cathartic Wyndorf’s monologue full of hidden meaningful truths (as always, think about the cult song “Zodiac Lung”). The music is made of eerie hypnotic melodies full of magical reverb that concocts the uneasy feeling of being lost in the middle of a desert or in the outer space, if you prefer.
“Milking The Stars” starts with decadently romantic mood, almost tinged with a sinister vibe, with a slow enchanting rhythm. It’s just lovely how all those peaceful arpeggios increasingly flow into the familiar psychedelic tunnel, another good chance to space out with no return, which has become a trademark of the band’s music style.
“The Duke (Full On Drums ‘N Wah)” gains a great deal of readily appreciable hyper dynamicity with the addition of groovy drums and intensely attractive guitar tunes. Still, the main melody keeps the sexy and shimmering vintage stoner rock vibe of the original version.
In the end, there’s so much more than meets the eye as “Milking The Stars: A Re-imagining Of Last Patrol” is not only an elegantly crafted work of music but also an authentic showcase of the fervent avant-garde creativity behind Monster Magnet’s music pathway.

Leaves’ Eyes comes back to please once again the gigantic worldwide fanbase that has been conquered through years of constant hard work. The latest full length entitled “Symphonies Of The Night” is meant to make everybody happy as it holds the undisputable musical strength that comes with experience and maturity.
“Hell To The Heavens” is the audacious opening track that you would expect. In terms of musical direction here you get the infamous beauty & beast duet and the trademark rhythm of symphonic metal. This album gets also a bunch of bonus points for the lyrics concerning lots of fascinating historical and mythological themes.
“Maid Of Lorraine” is particularly interesting for the lyrical subject referring to an ancient prophecy. The main musical core gets a little heavier with steady guitar riffs but the true strength comes from the folk attitude that influences the keyboards and the vocal style.
Yet, “Galswintha” is the one song that emphasizes the band’s folk nature to the maximum with graceful flutes and acoustic arpeggios. Also, the band manages to make space for some groovier power metal guitar patterns.
The title track is a successful effort to combine harmoniously the grandeur of operatic vocals and the catchy vibe of an unpretentious gothic rock theme. Besides being flawlessly executed, this song has a strong chorus that you can’t get out of your mind.
“Saint Cecelia” is more than just a song as it revolves around one of the most majestic vocal performances in Liv Kristine’s career. Without any guitars or drums, you can fully appreciate and embrace Liv’s powerful yet elegantly frail voice, and obviously the sumptuous keyboards provide a deeply dramatic atmosphere that further enhances her notorious vocal skills.
In such a heterogeneous album, it’s obvious to feel a great deal of attraction for a more romantic/tragic tune like “Angel And The Ghost” which shines for another outstanding intense vocal performance by Liv Kristine. And if you find yourself stuck in that dramatic mood, you will fall in love with the absolutely elegant violins that surround Liv’s angelic voice on “Nightshade”.
Like the previous releases, “Symphonies Of The Night” will bring nothing but joy and delight to Liv Kristine’s faithful fans and might even conquer more hearts wandering out there.

Monster Magnet’s latest release entitled “Last Patrol” is not just another stoner rock album. Maybe it’s the witty lyrics, the true passion for music or the “don’t give a damn about trendy stuff that sells” attitude that makes a real difference. Once again, Mr. Wyndorf & co. just go out there and jam like there’s no tomorrow, and you can always feel it.
As soon as you listen to the album opener “I Live Behind The Clouds” you start spacing out, irrationally perhaps, but you can’t help it. The melody is sweet and peaceful, a bit deceiving at first, the mood is sorrowful thanks to Wyndorf’s dirty lunatic vocals. Even when the drums kick in a certain feeling of impending perdition lingers on.
The titletrack shows that as much as every note feels spontaneously groovy, this is a bitter thoughtful song. It is fundamental to stress the perfection of the guitar sound rightfully dwelling in the dreamy realm of psychedelic rock (pay attention to some extra psychedelic magic lurking in the background). An impressive and super groovy guitar solo and a blissful rage in the vocals make this song a must have. Of course, the tempo changes, the emotionally trippy breakdown that melts into a wild jam (which seems to go on forever just like an auditory hallucination) and the top notch production must no be taken lightly.
Wyndorf takes the role of an ascetic storyteller on “Three Kingfishers”. You can hear classic Black Sabbath dark aura lingering on the acoustic melody. But, again, it’s the guitars building an unforgettable groove that violently pull you into a kaleidoscopic vortex.
“Mindless Ones” is an ensemble of fine stoner rock riffs and wasted rocker attitude. Besides the super-duper groove that induces dancing and screaming, the highlight here is Wyndorf’s performance all raspy and raw in classic Monster Magnet’s style. Savor every guitar solo because this type of lustful enthusiasm for music is becoming a rarity.
“The Duke (Of Supernature)” has a sexy rock ‘n roll attitude that makes you feel like smoking weed staring (and eventually spacing out once more) at the sunset. There’s also a bittersweet romantic mood in the round of acoustic arpeggios. And when dirty distortion kicks in all those guitars’ shreds keep on playing tricks on your mind.
Seriously, who could ever resist Mr. Dave Wyndorf’s power tripping charm? Do yourself a favor, set “Last Patrol” in loop, for good measure, and space out without regrets, you know that there’s nothing interesting going on out there anyways.

It’s time to get all emotional and nostalgic because another great band is celebrating the 25th anniversary. Not many bands can achieve so much and Paradise Lost being pioneers of gothic metal can certainly brag about such an awesome career. “Tragic Illusion 25 (The Rarities)” is a compilation of previously released rare songs and a new one chosen to commemorate this important anniversary.
“Loneliness Remains” is definitely an iconic gothic metal track that recalls the early band’s realeses. Besides the doom attitude on the guitar riffs and solo, here you will find the heavily decadent sound of gothic and the obviously desperate gloomy atmosphere.
The cover of “Never Take Me Alive” by Spear Of Destiny has instead a different musical approach much closer to the modern sound of Paradise Lost. It’s an easy song that sounds like a semi ballad mainly with clean vocals and less gothic decadence.
“Last Regret” and “Faith Divides Us – Death Unites Us” caught my attention right away because they’re both orchestra mixes. So, you definitely get what you expect as these great classic melodies are totally turned upside down and reinterpreted by a real full orchestra with all the instrumental variety and elegant execution.
“Cardinal Zero” comes as a reality check, bringing back the heavy gloom of typical Paradise Lost guitar riffs and of course that agonizing sadness that we all love and need.
If you crave for more somber feelings you will appreciate “Godless” filled with the slow ominous atmosphere of something tragic, and possibly very dark, coming right at you.
Another odd cover is “Missing” by Everything But The Girl which sounds way too hopeful with potential sunshine or something like that, nevertheless it’s all about cute easy melodies and playful experimentation.
The unforgettable classic newly recorded, “Gothic 2013” effortlessly maintains the same true gothic attitude and rainy day sadness but obviously the sound is less raw and more polished compared to the original.
“Tragic Illusion 25 (The Rarities)” is a sweet treat for the band’s strong fanbase but the newbies out there can certainly enjoy it as well.

The first thing that inevitably comes to mind when you listen to The Vintage Caravan’s “Voyage” is that this album cannot be the work of three extremely young guys. It’s hard to believe, yet here we are tripping in awe with a bunch of songs that constantly show mature musicianship and bright ideas. In terms of genre, The Vintage Caravan relies on a psychedelic retro rock sound that delivers a romantic and exceptionally nostalgic taste for a long gone golden era of rock. But aren’t them too young to drown full speed inside the realm of nostalgia?
“Craving” is full of spontaneous energy with an addictive guitar riff. This opening track shows right away that The Vintage Caravan has perfectly developed a personal take on 70’s classic rock and an absolutely professional sound.
Listening to “Expand Your Mind” you fully comprehend that this trio can jam in style. The guitar solo here is absolutely stunning with groovy classical rock licks flying right through a psychedelic trip that will make you space out wherever you are. The rhythm here comes straight from the 70’s with a vengeance and the vocals reincarnate the true rocker’s delivery.
“M.A.R.S.W.A.T.T.” is another catchy tune that just brings you another blast of groovy guitar riffs and the bass line on the breakdown is just a wonderful treat.
“Cocaine Sally” could have been written and performed by a group of rockers pondering the meaning of life while recalling all those wasted years. The ensemble of bluesy rock riffs over a super fun rhythm is certainly a winning choice.
“Winterland” offers another side of the band’s musical pathway. This is an extremely melancholic song with an icy cold atmosphere attenuated by soothing smooth vocals and a sudden blast of amazing psychedelic distorted guitars.
If you fancy a true mind warping trip, then the final track “The Kings Voyage” is your cup of tea. Through what appears to be an endless array of style and tempo changes, this is a creative and challenging interpretation of the band’s musical inspiration.
In the end, besides the absolute realization that this Icelandic band’s name in more than appropriate as every stylistic detail on this album is purely vintage, we can’t deny that “Voyage” hits the spot if you’re hungry for whatever got lost while the hourglass was running out of sand.

The Vision Bleak is one of the most interesting and underestimated bands in the metal scene. This time the indomitable duo Allen B. Konstanz and Ulf Theodor Schwadorf decides to venture in the realm of witchery horror story and, inevitably, Grimm’s fairytales as theme for the long awaited full-length “Witching Hour”.
“A Witch Is Born” is indisputably the catchiest song on the album. An overload of doomish guitar riffs blasting through an ominous rhythm will have an immediate strong impact even on first time listeners.
“The Blocksberg Rite” kicks off with a lovely eerie flute melody that continues to bring a touch of folk throughout the mid-paced guitar riffs. The chorus sounds like an evil mantra that certainly fits the haunting mood.
“Cannibal Witch” feels like a dark anthem with a slower gothic rhythmic tapestry. The vocals follow smoothly the persistently sinister atmosphere and the addition of spooky organs towards the end just makes everything more entertaining.
“The Wood Hag” incarnates the fairytale mood perfectly. If you close your eyes and follow the harpsichord melody you might risk getting lost in the Black Forest where the witch is obviously hiding.
A song like “The Call Of The Banshee” is totally expected on a witchery themed album. The guitar riffs and drumming are pressing and tight but the overall rhythmic core seems a little repetitive. Still, the solemn mysterious vocal delivery and the luminous arpeggios bring noteworthy moments.
Despite the obvious trendy spellbinding theme and the palpable intricate mist of darkness that defines the instrumental style, “Witching Hour” provides a generous dose of entertaining grooves and memorable melodies. At the same time, the whole album seems to aim to please many and sometimes lacks the genuine gothic masquerade appeal of cult albums such as “Carpathia- A Dramatic Poem”. Certainly, there are many individual songs full of tempting and haunting musical inspirations on “Witching Hour” that cannot (and must not) go unnoticed.

Orphaned Land is one of those bands that do not really require any formal introduction. Despite the long career, the Israeli band has not released many albums but each full length is well known to hold an incredible musical strength and intensely peaceful messages. These reasons alone would be enough to justify the great expectation behind the release of the latest album entitled “All Is One”.
The title track is quite easy to love with that elegant epic taste in the guitar work and the euphoric strength of symphonic metal. At the same time, you will always be attracted by the oriental folk elements that here are particularly joyous.
It cannot be denied that the Middle Eastern theme is exceptionally intense on “The Simple Man”. The music core here is certainly radio friendly with mid paced rhythm, pleasantly melodic guitars and powerful choirs.
“Let The Truce Be Known” easily follows the same musical pathway. The melodic side of the band becomes once again the preferred choice. The rhythm is further slowed down to reach a palpable melancholic mood gracefully rendered by the keyboards work without putting aside the strong oriental vibe.
“Through Fire And Water” is a more complex and definitely more interesting track. The intricate sitar intro is just breathtaking. The melodic guitars are fluently adorned by loads of sorrowful keyboards, but the authentic highlight is represented by the cathartic ensemble of emotions portrayed by the male and female vocals.
“Fail” has a remarkably darker mood where guitars steal the scene with delightful progressive rock melodies. While the song starts with a heavier approach and intense growls, there is still space for more accessible tunes and super clean guitar solos.
“Our Own Messiah” is powerfully dramatic both in terms of lyric content and music style. Yet, the lead guitars and the choirs deliver an uplifting vibe that makes you hope for a better future. Following the delicately slow breakdown, the passionate musicianship displayed on the guitar’s progression and solo cannot go unnoticed.
With “All Is One”, Orphaned Land has delivered a collection of meaningful songs that will hopefully reach a wider range of listeners worldwide.

Listening to “Resurrection” by Death SS feels like a full immersion in the perilously dark realm of nostalgia. Even if nothing on this album will win prizes for innovation and creative energy, there will be a certain dose of childish guilty pleasure associated with each and every song. Even if the band has been around since the 70s, it was back in 1991 that Steve Sylvester & co. truly rocked the scene with the breakthrough release of “Heavy Demons” bringing evil corruption and horror everywhere around you.
It is noteworthy that Steve Sylvester’s voice is still in great shape after approximately thirty years of career.
“Revived” is a straight forward heavy rock guitar driven tune with the addition of modern electro elements that renders it quite dancy. The rhythm is undeniably groovy and Steve Sylvester is running the (freak) show with feverish vocals.
“The Crimson Shrine” is like the traditional blast from the past. Nothing is too heavy on top of the traditionally metal style keyboards. But as expected, Steve Sylvester’s vocal delivery is the reason why you will love this song. His voice is scratchy and somehow melancholic on this slow paced tune adorned by the most classic heavy guitar solo all licks and distortion.
“Dionysus” is all about classic rock guitar riffs but still quite gothic with a somewhat retro flavor especially on the female chorus. If you like the romantic/gothic vibe elegantly delivered by the keyboards work, you will definitely enjoy the similar sweet decadence that overwhelmingly diffuses through “Star In Sight”.
“Ogre’s Lullaby” is exactly a nightmarish lullaby with a tormented doomish guitar riff in loop made to bring the full of the creepiness of the monsters under your childhood bed.
“The Devil’s Graal” is a quite enjoyable slower track with a deeply melancholic acoustic intro and a classically fully shred guitar solo.
“Bad Luck” opens up with Steve Sylvester’s twisted laughter and traditionally distorted rock vibe. This is a not to be missed fun horror rock tune with full blast guitar riffs and crazy solo tapping.
Overall, “Resurrection” is a very consistent and strong album in terms of both style variety and musicianship. It is definitely a must have for the band’s eternally loyal fanbase.

Once upon a time, Deathstars was a big deal, a band with a mesmerizing creative force that filled each and every song. Then, that explosive bright light started to dim for no apparent reason.
Deathstars gives it another shot after the sadly disappointing “Night Electric Night” in 2009. So, after some years spent focusing exclusively on writing process and music exploration, the band released “The Perfect Cult”. Hence, this is an album that truly comes loaded with anxious expectations.
Listening to “The Perfect Cult”, among some obvious mixed feelings there is this sort of weakness lingering between riffs and melodies. It’s not really a matter of being innovative at all costs in a music scene where the majority of releases focus on a recycle process, it’s more about the art of delivering a sentiment of passion through music.
“Explode” doesn’t live up to its title. Among flat guitar riffs, there is a catchy rhythm hiding in there but it just fails to create a mood. Whiplasher’s vocals truly attempt to bring a solid strike of energy to cheer the atmosphere.
“All The Devil’s Toys” is the one song that should force you to pump the volume and dance until you fall dizzy on the floor. Nice concept, groovy guitars, but it ends up losing its strength and charm long before the song is over.
“Ghost Reviver” holds the haunting shadow of “Termination Bliss” deep inside, therefore it could be classified as the happy encouraging moment of the album.
The title track has a very catchy chorus and the sinister toned vocals are quite entertaining, yet again it cannot be considered a memorable song.
“Bodies” gets a straight synthetic rock attitude that certainly feels refreshing with loads of darkly atmospheric keyboards that deliver a tragic sense of decadence. In general, the slower goth oriented rhythm seems to flow steady and spontaneously.
“Noise Cuts” is another valuable track if only because it successfully delivers the intoxicating hopelessness of the dark side that we got used to embrace in Deathstars’ previous albums. The synths tapestry, elegantly composed and executed, feels like the perfect complement for Whiplasher’s melancholic and mischievous delivery.
In the end, I really wanted to fall desperately in love with “The Perfect Cult” but it seems impossible at the moment, so maybe I’ll just wait for the next release and try again.