REVIEWS Αρχεία - Myth Of Rock

ZIVANISHED – “100% AGNOS KYPRIAKOS VILLOS” (2026, EP, SELF-RELEASED)

MythofRock — Tue, 22 Sep 2026 16:27:53 +0000

Cypriot band Zivanished belong to the satirical metal category, mixing thrash metal and death metal with funny, satirical lyrics! Of course, it’s not only thrash and death metal that are present in their music – they also incorporate many other elements, such as black metal, deathcore, punk and hardcore, while on a few occasions they even bring in folk/Eastern influences (they even cover Greek folk/pop composer Phoebus)! And by singing in Cypriot Greek, they create their own mosaic of Cypriot metal, standing out from other bands that have humor as a strong part of their musical identity! All of the above are confirmed by their new EP, “100% Agnos Kypriakos Villos” (villos means dick), which will give you many moments of pure, unfiltered madness! You will get fired up by the metal riffs and intense grooves, while laughing your heart out at the biting and hilarious lyrics! The production is flawless, the songs are imaginative and well-crafted, and the band has clearly worked very hard to deliver a very good result! Of course, Zivanished are not reinventing the wheel or creating something completely new. However, they are creative, inspired, and full of passion and determination! What reaches our ears is damn enjoyable and forces you to hit repeat again and again! “100% Agnos Kypriakos Villos” leaves us with high hopes for Zivanished’s future. If they continue like this and believe even more in their talent, their next album could be something truly worth talking about and admiring! We all need to give this Cypriot metal a try!

♦ 8/10

Dimitris Zacharopoulos

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TINY MAGNETIC PETS – “ASTRALUX” (2026, EP, ARCHANGELO MUSIC/BMG)

MythofRock — Tue, 22 Sep 2026 11:10:44 +0000

Tiny Magnetic Pets have always had a nice way of mixing classic synth-pop with something darker and more atmospheric, and “Astralux” takes that idea into a more cinematic direction. This three-track EP gives a pretty good indication of where the Irish trio are heading next. The real highlight is “Lost My Guiding Light (Again)”. Originally appearing in an earlier form, the song has been completely reworked into something bigger, more energetic and much more suitable for the dancefloor. The synths immediately grab your attention, while Paula Gilmer’s vocals add the emotional element that keeps the track from becoming just another electronic club number. I particularly like the balance between the futuristic electronic textures and the very human feeling in the songwriting. You can hear echoes of Depeche Mode, OMD, Goldfrapp and even some of the more adventurous electronic music of the ’80s, but Tiny Magnetic Pets never sound like a tribute band, they have their own personality. The two versions of “Low Places” take things further into club territory. Paul Dakeyne’s remix gives the song a completely different pulse, while the “Acid Dub” version goes deeper and becomes more hypnotic. “Astralux” is ultimately a transitional release, but an exciting one. It feels like Tiny Magnetic Pets are preparing for something larger and darker. If the forthcoming “A Black Frame” follows the path suggested here, we may be looking at the most ambitious chapter of their career. For now, “Astralux” is a stylish, melodic and wonderfully atmospheric little EP that deserves repeated listens.

♦ 8/10

Dimitris Zacharopoulos

Astralux EP by Tiny Magnetic Pets

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RAISED ON CANDY – “PICKLE EYES” (2026, MAGIC DOOR)

MythofRock — Tue, 22 Sep 2026 10:21:54 +0000

Raised On Candy are back, and “Pickle Eyes” is a pretty damn good way to remind us why noisy, guitar-driven alternative rock still has a place in 2026. Following their Steve Albini-produced debut, Joe Penna and Scotty Imp return with a track that sounds raw, energetic and unpredictable, without trying to recreate the glory days of ’90s alternative rock. “Pickle Eyes” grabs you almost immediately with its sharp guitars and restless rhythm section. The song is heavy, but not in the traditional (metal) sense. The heaviness comes from the guitars, the drums and the way the whole thing is arranged to keep you uncomfortable. I like that. There is something wonderfully chaotic about Raised On Candy, but it is a controlled chaos. Joe Penna’s vocals sit perfectly inside the music, never trying to overpower the guitars. Meanwhile, Scotty Imp’s drumming is one of the track’s strongest weapons. His playing is energetic, expressive, with those big fills giving the song an extra kick every time it seems ready to settle down. The production by Ray Ketchem also deserves credit – the sound is clear enough to reveal the details, but it still keeps that live, organic feeling. You can hear the musicians playing together rather than listening to a polished studio construction. “Pickle Eyes” also has enough melody to stay in your head after the noise disappears, and that is its biggest strength. If this is a first taste of “Play Marbles On The Turnpike”, then the new album should be worth paying attention to. “Pickle Eyes” is catchy, loud and alive— that is exactly what rock ’n’ roll should sound.

♦ 8/10

Dimitris Zacharopoulos

Play Marbles On The Turnpike by Raised On Candy

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FIREWIND – “GODS, MYTHS & TITANS” (2027, BLKIIBLK)

MythofRock — Tue, 22 Sep 2026 09:02:29 +0000

The beloved Firewind are back with a new album and once again, we have to congratulate Gus G. and his gang. And we will do exactly that, knowing that “Gods, Myths & Titans” is one of the band’s finest releases. Firewind give us an excellent album, packed with fantastic compositions of wonderful, fresh, bombastic power metal that will excite every metal fan. The new album by the Greek band features two very important elements of the genre: power and melody! The arrangements may be incredibly clever, and the technical performance of all the musicians may be outstanding, but the magic of the album lies in the incredible power that the songs deliver and in the infectious melodicity of the compositions! Stylistically, Firewind show a tendency towards European power metal here, while still making constant references to US power metal and, of course, classic ‘80s heavy metal. Gus G. gives a masterclass with his riffs and solos, Henning Basse delivers the performance of his career, and the rhythm section hits like a thunderbolt from Zeus! Every song is a whirlwind that sweeps everything away, every song is a beautiful combination of smart, melodic ideas. I suppose you have all heard the killer track “The Legend of Achilles”, which has already been released as a lyric video – everything else follows the same path, including the masterful “Firegod”, “Queen of the Underworld”, “A King Dethroned” and “Titans Fall”. You will also discover that the album features an emotive, heartbreaking ballad, “Unbreakable”, which sends chills down your spine. After all, a lot of work has gone into every detail of the production, which takes the album to another level! In the end, “Gods, Myths & Titans” will enchant you from the very first listens. Firewind deliver a powerful, jaw-dropping power metal album that we will be talking about for years to come. Finally, a masterpiece from the Greek gods of power metal!

♦ 9/10

Dimitris Zacharopoulos

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EDDIE SKULLER – “BLIND LOVE” (2026, EP, SELF-RELEASED)

MythofRock — Mon, 21 Sep 2026 10:54:08 +0000

It is difficult to cover Tom Waits. His songs are too personal, strange and full of character, however, Eddie Skuller seems to understand this very well. On “Blind Love”, his four-track tribute EP, he does not imitate Waits. Instead, he takes these songs and gives them a different shape – and that is exactly why this EP works. From the opening “Blind Love” to “You Can Never Hold Back Spring”, Skuller focuses on the songwriting rather than the mythology surrounding Waits. “Downtown Train” and “House Where Nobody Lives” stand out immediately, but the four tracks work well together, creating a consistent atmosphere without sounding like four versions of the same song. Skuller’s voice is a big part of that. His lofty tenor is unusual and instantly recognizable, bringing a cleaner and more vulnerable quality to material originally associated with Waits’ rougher delivery. There is no attempt to reproduce the originals. Instead, Skuller lets the melodies and lyrics lead, proving that these songs can survive a completely different vocal approach. The decision to record the performances live to tape also gives the EP a character of its own. There is warmth and spontaneity in the sound, while Nick Kinsey’s production avoids making everything too predictable. The bass, guitar, keyboards and Ryder Cooley’s accordion add subtle layers without taking attention away from the vocals. “House Where Nobody Lives” is perhaps the strongest example of this approach. Skuller finds the simplicity in the song and lets its central idea speak for itself: a house is only valuable when there is love inside it. “Blind Love” is a short EP, but it does what a good tribute should do. It respects the source material while giving it a new identity. Eddie Skuller clearly loves these songs, and more importantly, he understands how to make them his own.

♦ 8/10

Dimitris Zacharopoulos

Blind Love (EP) by Eddie Skuller

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LUKE HAINES & MIKE SMALLE – “THE BLACK MARIA, O” (2026, BRING YOUR OWN HAMMER)

MythofRock — Mon, 21 Sep 2026 10:46:55 +0000

There is something fascinating about taking a forgotten song from the 19th century and giving it a completely new life without destroying what made it special in the first place. “The Black Maria, O”, the new collaboration between Luke Haines and Mike Smalle, does exactly that. And it does it in a way that feels natural. Originally written by Irish-American lyricist Edward Harrigan and composer David Braham in 1887, the song could easily have remained buried in some dusty history book. Instead, Haines and Smalle bring it back into the light, keeping Harrigan’s strange, vivid language while building a modern musical world around it. The result is not a simple historical reconstruction – it is a genuine reinterpretation. “The Black Maria, O” has a dark, slightly theatrical character, but it never becomes overly dramatic. There is a strong pop instinct underneath everything, giving the song an accessible quality. At the same time, there is something unsettling in its atmosphere. The references to police wagons, prisons and the criminal underworld of late 19th-century New York give the lyrics a darker edge, while Haines’ distinctive presence makes the whole thing feel wonderfully offbeat. What I particularly like is that the song does not try too hard to sound “old”. Instead, it takes something old and makes it sound alive. That is a big difference. Mike Smalle’s production gives the historical material enough space to breathe, while the contemporary arrangement makes the story relevant without forcing any modern message onto it. “The Black Maria, O” is an unusual single, but that is exactly its strength. It is history turned into music, but never in a dry or academic way. It is strange, catchy, atmospheric and genuinely memorable. Most importantly, it makes you curious about the story behind the song—and that is probably the best thing historical music can do.

♦ 8/10
Dimitris Zacharopoulos

The Black Maria, 0 by Bring Your Own Hammer presents

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TARJA – “FRISSON NOIR” (2026, EARMUSIC)

MythofRock — Sun, 20 Sep 2026 11:08:37 +0000

With “Frisson Noir”, Tarja Turunen continues to explore the space between symphonic metal, classical music and more experimental territory. The album is an ambitious and musically dense listen, built around elaborate arrangements, orchestral textures, progressive elements and consistently strong musicianship. There is a great deal happening throughout these compositions, which can be one of the album’s most rewarding qualities but it can also make some sections difficult to follow when too many ideas are introduced without a clear sense of direction. The opening portion is particularly adventurous, frequently moving between piano, orchestration, choir, heavy guitar riffs and Tarja’s unmistakable operatic vocals. Rather than relying on conventional songwriting structures, several compositions feel designed around atmosphere and gradual development. This approach creates some striking moments, but it can also become difficult to follow when ideas are layered without particularly smooth transitions between them. Some sections feel longer than necessary, occasionally revisiting established musical ideas without developing them enough to justify their length. The quieter piano and vocal passages also sound slightly less polished in the mix than the heavier and orchestral sections. There is a noticeable shift as the album moves beyond its midpoint. The compositions become more structured and immediately accessible while retaining the intricate arrangements and high level of musicianship established earlier. This is where the record feels most balanced, allowing its complexity to complement the songwriting rather than overshadow it. Progressive and djent influenced guitar work sits alongside prominent strings, classical guitar and orchestral instrumentation. In certain sections, the traditional Japanese instrument Shamisen is also incorporated into both the riffing and more traditional lead passages, adding an unusual but yet very interesting texture to the arrangements. The instrumental performances are a major part of the record’s identity. Guitar solos are used sparingly, with the few that appear serving more as expressive additions than opportunities for technical display. The string work is particularly effective, while several instrumental passages feel substantial enough to stand independently. In some cases, the music itself is so strong that the vocals seem almost secondary, suggesting that certain sections could have worked equally well as purely instrumental compositions. The collaborations further broaden the album’s palette, with one carrying particular historical significance. Marko Hietala who spent years alongside Tarja as a member of Nightwish, provides a contrasting vocal presence that complements her well. Dani Filth, frontman of the extreme metal band Cradle of Filth, brings an especially unexpected connection to the darker side of metal. Both appearances reinforce the album’s willingness to move outside predictable territory without abandoning its symphonic foundations. Ultimately, “Frisson Noir” is an ambitious record that rewards attention to its details. Its experimental nature can occasionally make it feel overextended or unfocused, particularly in its earlier stages but its later compositions demonstrate a stronger balance between complexity, atmosphere and accessibility. For listeners willing to explore its more unconventional arrangements, there is plenty of musical depth to discover.

♦ 8,5/10

Panos Niko

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MOB RULES – “STORIES FROM THE VERDANT VALE” (2026, ROAR/REIGNING PHOENIX MUSIC)

MythofRock — Sun, 20 Sep 2026 10:17:53 +0000

There are bands that evolve over the years, and there are those that simply keep proving why they gained the audience they have. Mob Rules clearly belong to the second category. “Stories From The Verdant Vale” does not attempt to turn things upside down or present a different side of the band. Instead, it firmly follows the familiar paths of melodic power metal and offers a collection of songs characterized by melody, energy and a strong epic feeling. From the very first notes, it becomes clear that the Germans know their formula very well. The guitars play a leading role, the melodies are carefully crafted, and the choruses have that characteristic feeling that makes you keep singing them to yourself after the song ends. “Master Of The Black Crow” stands out for its energy, while “Above The Maelstrom” slows things down and adds a more emotional dimension. That, however, is also where the album’s main weakness lies. Mob Rules do not really try to step outside their comfort zone. For those looking for experimentation or something genuinely new, the album probably will not offer many surprises. For loyal fans, though, this consistency is more of an advantage than a weakness. The second half of the record, featuring older material and different versions, works more as a bonus for collectors than as an essential part of the release. In the end, “Stories From The Verdant Vale” is not an album that will change the history of European power metal. It is, however, an honest, well-played and quality record from a band that still knows how to write melodies with substance.

♦ 8/10

Frost and Fire

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ANTHRAX – “CURSUM PERFICIO” (2026, NUCLEAR BLAST)

MythofRock — Fri, 18 Sep 2026 16:15:26 +0000

Ten years is a long time to wait for a new Anthrax album, long enough for curiosity to turn into impatience, and for expectations to grow heavier as time passed. Yet, in the case of “Cursum Perficio”, the wait acquires a different meaning once the music finally arrives. What we have here feels less like a simple return and more like a statement, a confession and, in many ways, an act of self-awareness. The years have passed, but what emerges from them is a band that sounds remarkably alive. From the heavy, atmospheric opening, “The Long Goodbye” offers the first indication of where this journey is heading, revealing strong songwriting, memorable melodies and their unmistakable character throughout. “It’s For The Kids”, “Everybody’s Got A Plan” and “NYC 93” tread familiar ground, and the result is powerful, while some more mid-paced, groove-based songs play their own part in the scenery. Joey Belladonna is one of the album’s defining strengths, instantly grabbing you with nearly every note. His voice sounds like it is in a second prime, with his phrasing, melodic instinct and judgement standing out strongly. Jonathan Donais is equally convincing, fully absorbed into the band’s musical psychology, contributing solos that are technically advanced but extremely memorable and purposeful. The whole band performs with the familiar solidity of Anthrax, but there is something different in the way their playing is captured. The production may initially feel unusual or slightly muted. With time, however, it becomes clearer what it aims to achieve: giving the performances a more organic feel while helping to shape the album’s personality, alongside its unusual but intriguing cover art. The most striking departure comes with “The Edge of Perfection”. Its darker textures, blackgaze-like shapes and melodic-hardcore-flavoured backing vocals might raise an eyebrow, but the experiment reveals itself as organic. It is different because the composition demands it, not because the band needs to announce it. And this is where “Cursum Perficio” becomes more interesting as a whole. Beneath its stylistic variety lies an emotional movement: loss, love, human connection, reckoning, awareness, confrontation with the end, catharsis and a new destination. “My Victory” feels like that destination, bringing an earned sense of light through dark, thrashy riffing. After so much time, the remarkable thing is that Anthrax have returned with more than a good album. They are back with a purpose. There is no bad track here, as the material ranges from good to excellent, never losing its identity. It naturally sounds mature, deeply experienced without becoming predictable, and fresh without chasing relevance. And perhaps that is what remains after the final notes: not simply the satisfaction of hearing Anthrax at their best in many years, but the feeling of having taken part in their exciting journey of consciousness. “Cursum Perficio” leaves behind the rare kind of aftertaste that makes you want to return, again and again, discovering a little more with every listen. And every return will most definitely feel victorious.

♦ 8/10

Tasos Bouhoutsos

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SOFT SCIENCE – “SAND” (2026, SHELFLIFE/SPINOUT NUGGETS)

MythofRock — Fri, 18 Sep 2026 16:03:11 +0000

Soft Science offer us “Sand”, their fifth album, and once again prove why dream pop can be so damn addictive. Across these ten songs, the Northern California band creates a beautiful mix of shimmering guitars, dreamy vocals, shoegaze textures, post-punk energy, grunge aesthetic and strong pop melodies. The result is an album that sounds atmospheric and emotional, but never loses its momentum. From the opening moments, “Sand” pulls you into its world. There is a constant feeling of movement, as if the songs are floating forward while the guitars create waves of sound around them. The twin 12-string guitars are especially important here, giving the album that bright, hazy character, while the rhythm section keeps everything on the go. The synths and electronic touches add another layer without taking anything away from the songs themselves. “Spinning” is a fantastic example of what Soft Science do best. It has an infectious rhythm, beautiful vocals and guitars that keep building around the melody. “Understand” is another highlight, with a more uplifting feeling and a strong Lush influence. Then comes “Fade”, which combines a steady danceable pulse with dreamy vocals and a more reflective mood. These songs are catchy, but they also have real emotional weight. What I really like about “Sand” is that it does not stay trapped in sadness. The lyrics deal with broken patterns, difficult relationships, memory and uncertainty, but there is always some hope hiding underneath. The album feels wounded at times, but never defeated. Soft Science have clearly pushed their sound further, especially into noisier and more expansive territory, but they never forget the importance of melody. “Sand” is hypnotic, energetic and surprisingly uplifting. It is the kind of album that gets better with every listen, revealing another guitar line or melody each time. You’ll soon find yourself addicted to it!

♦ 8/10

Dimitris Zacharopoulos

Sand by Soft Science

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