Rotting Christ - ΠΡΟ ΧΡΙΣΤΟΥ/Pro Xristou (Season Of Mist)
For 35 years Rotting Christ have stood at the top of the Greek extreme metal scene and while the savagery of Thy Mighty Contract and Non Serviam may have been evolved over the years the ethos of that second album continues to be their mantra to this day. "I Will Not Serve" be that in the religious sense or in the more recent years, since signing to Season Of Mist, in a musical sense too.
What I mean by this is Sakis Tolis (vocals/guitar) and his brother Themis (drums) have crafted a soundscape that differs from album to album, always experimenting with new additions, the anti-dogmatic and pagan lyricism still a huge part of their song writing but their music has gained grandeur, they've slowed down on the outright Hellenic Black Metal blasts, relying more on chugging tribalistic rhythms (The Sixth Day) and gothic atmospherics, but still their music carries that spirit of rebellion and unity against tyranny, as well as plenty of tremolo leads and blast beats, though less classic metal soloing than on Heretics.
Little by little the brothers Tolis, augmented here by the two Kostas', Foukarakis (guitars) and Cheliotis (bass), have reinvented what their sound is and on Pro Xristou (Before Christ) they advance again sonically, writing some of the most accessible music of their career, though I'm sure the name means we'll never get that Stryper co-headline tour. With the epic albums that have proceeded this, really from Aelo and the retrospective compilation, the brothers Tolis have written a 14th album that defines who they are now.
Sweeping orchestral segments, gothic choirs, keys from Nikos Kerkias, demonic/angelic soprano vocals from Amdroniki Skoula on La Lettera Del Diavolo, narration and a theme around the last pagan kings guardian against the influx of Christianity, from Norse heritage to Roman leaders, the cinematic scale is matched by both the ferocity of the metallic onslaught but also the melodic sections too all slotting perfectly into the hypnotic repetition of Rotting Christ's music shown perfectly on Pix Lax Dax which kicks and punches well.
Every Rotting Christ album is an audio experience and this fourteenth may just be the best one yet. Roll on Bloodstock Festival and their exclusive UK show. 35 years and still fighting, these are their battle cries. 9/10
What I mean by this is Sakis Tolis (vocals/guitar) and his brother Themis (drums) have crafted a soundscape that differs from album to album, always experimenting with new additions, the anti-dogmatic and pagan lyricism still a huge part of their song writing but their music has gained grandeur, they've slowed down on the outright Hellenic Black Metal blasts, relying more on chugging tribalistic rhythms (The Sixth Day) and gothic atmospherics, but still their music carries that spirit of rebellion and unity against tyranny, as well as plenty of tremolo leads and blast beats, though less classic metal soloing than on Heretics.
Little by little the brothers Tolis, augmented here by the two Kostas', Foukarakis (guitars) and Cheliotis (bass), have reinvented what their sound is and on Pro Xristou (Before Christ) they advance again sonically, writing some of the most accessible music of their career, though I'm sure the name means we'll never get that Stryper co-headline tour. With the epic albums that have proceeded this, really from Aelo and the retrospective compilation, the brothers Tolis have written a 14th album that defines who they are now.
Sweeping orchestral segments, gothic choirs, keys from Nikos Kerkias, demonic/angelic soprano vocals from Amdroniki Skoula on La Lettera Del Diavolo, narration and a theme around the last pagan kings guardian against the influx of Christianity, from Norse heritage to Roman leaders, the cinematic scale is matched by both the ferocity of the metallic onslaught but also the melodic sections too all slotting perfectly into the hypnotic repetition of Rotting Christ's music shown perfectly on Pix Lax Dax which kicks and punches well.
Every Rotting Christ album is an audio experience and this fourteenth may just be the best one yet. Roll on Bloodstock Festival and their exclusive UK show. 35 years and still fighting, these are their battle cries. 9/10
Reverend Hound - Deal In Steel (Metalizer Records)
In the PR it refers to Revered Hound being a Bavarian version of Vicious Rumours. Yeah I can see that, definitely, this Munich band are based in the old school, the very old school. Rarely shifting out of the 80's with their speed/thrash/trad sound. So it's twin axe attack, galloping rhythms and Wolfgang Gräbner having a Udo meets Chris Boltendahl, though he can go a bit higher.
There's a load of Teutonic metal here, just look at the vocal influences but Reverened Hound do pitch the majority of their songwriting in the style of the gnarly US style of heavy metal, such as the aforementioned Vicious Rumours, Riot and Sanctuary. The sort of classic metal meets thrash that those bands are known for, this third album not changing their spots any time soon. Hounds Of The Sea bounces, Days Of Wrath has all the guitars you could want, Glory gets a bit Maiden while Rain says to hell with it and goes all out thrash.
Reverend Hound do indeed Deal In Steel, sharpened a while ago but not dulling yet, classic metal with Yanky/German grunt. 7/10
Collateral - Should've Known Better (Big Shot Records)
The second album from Kent foursome Collateral has been anticipated. Releasing theirEP in 2018, getting plenty of Planet Rock radio play and winning Camden Rocks Festival to play their main stage, they've been on an upward trajectory since supporting Reckless Love, H.E.AT and more recently FM, their debut album came out in 2020, just before the pandemic so in 2022 they recalibrated and set out on tour, remixing their debut and gaining more recognition.
So yeah for the Planet Rock contingent I'd say that Should've Known Better is anticipated. That said, I couldn't find much on this record I liked to be rather brutal about it. I'm not going to rag on the band as they're doing what their audience want, but their AOR/melodic rock doesn't feel like it has much muscle to it. The modern production gives it a clean clinical sound but that destroys any grit they may have.
They're great performers, vocals especially but it's a bit too formulaic, only when they get bluesy on Original Criminal did I prick up my ears a little, but too much of this falls into the Def Leppard/Bon Jovi template of gang choruses and not much else. For me Collateral play a fairly standard style of melodic rock that is made to be as radio friendly as possible but doesn't really take too many risks. They're fans will love it. 6/10
Force Of Mortality – Into The Abyss (Self Released)
Having been a part of this year’s Oxford M2TM, Force Of Mortality finally release their sophomore album. Formed in 2016 they have an EP and a full length to their name. The latter recorded as a trio when their lead guitarist left the band. After the pandemic they looked for another lead guitarist and with Matt G joining, Mazza (vocals/guitar), dB (drums/production) and Dr Col (bass), they ae now a tight, focussed foursome with another 50 odd minutes of music. But what kind of music? Well thrash, late 80’s early 90’s thrash. That’s the overarching style here and it doesn’t move from that position, perhaps then I’m not the best person to review it given my dislike of the genre mainly but hey ho here we go.
Into The Abyss sets out its stall early with Driven, the chugging Metallica-like track that leads into the some faster Slayer/Crossover sounds. Waiting for a lead player pays off with the title track, probably one of the stronger cuts on the record as well as Fear Of The Dark. The title track is followed by the brooding Forgiveness which builds on some tasty bass and throws in doom. I don’t really know what Woman From Hell is doing there but I guess it’s putting in some crossover thrash, mainly though Force Of Mortality stay in that Metallica style. Into The Abyss is a decent album for thrash fans and it’s good to see the Oxford band back on track a four piece. 7/10
Collateral - Should've Known Better (Big Shot Records)
The second album from Kent foursome Collateral has been anticipated. Releasing theirEP in 2018, getting plenty of Planet Rock radio play and winning Camden Rocks Festival to play their main stage, they've been on an upward trajectory since supporting Reckless Love, H.E.AT and more recently FM, their debut album came out in 2020, just before the pandemic so in 2022 they recalibrated and set out on tour, remixing their debut and gaining more recognition.
So yeah for the Planet Rock contingent I'd say that Should've Known Better is anticipated. That said, I couldn't find much on this record I liked to be rather brutal about it. I'm not going to rag on the band as they're doing what their audience want, but their AOR/melodic rock doesn't feel like it has much muscle to it. The modern production gives it a clean clinical sound but that destroys any grit they may have.
They're great performers, vocals especially but it's a bit too formulaic, only when they get bluesy on Original Criminal did I prick up my ears a little, but too much of this falls into the Def Leppard/Bon Jovi template of gang choruses and not much else. For me Collateral play a fairly standard style of melodic rock that is made to be as radio friendly as possible but doesn't really take too many risks. They're fans will love it. 6/10
Force Of Mortality – Into The Abyss (Self Released)
Having been a part of this year’s Oxford M2TM, Force Of Mortality finally release their sophomore album. Formed in 2016 they have an EP and a full length to their name. The latter recorded as a trio when their lead guitarist left the band. After the pandemic they looked for another lead guitarist and with Matt G joining, Mazza (vocals/guitar), dB (drums/production) and Dr Col (bass), they ae now a tight, focussed foursome with another 50 odd minutes of music. But what kind of music? Well thrash, late 80’s early 90’s thrash. That’s the overarching style here and it doesn’t move from that position, perhaps then I’m not the best person to review it given my dislike of the genre mainly but hey ho here we go.
Into The Abyss sets out its stall early with Driven, the chugging Metallica-like track that leads into the some faster Slayer/Crossover sounds. Waiting for a lead player pays off with the title track, probably one of the stronger cuts on the record as well as Fear Of The Dark. The title track is followed by the brooding Forgiveness which builds on some tasty bass and throws in doom. I don’t really know what Woman From Hell is doing there but I guess it’s putting in some crossover thrash, mainly though Force Of Mortality stay in that Metallica style. Into The Abyss is a decent album for thrash fans and it’s good to see the Oxford band back on track a four piece. 7/10
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