REVIEWS Αρχεία - Myth Of Rock

ETHEREAL VOID – “PRIMORDIAL DISSONANCE” (2026, SPINEBUSTER ENTERTAINMENT)

MythofRock — Thu, 15 Oct 2026 12:50:00 +0000

Ethereal Void return with their third album, “Primordial Dissonance”, giving death metal enthusiasts plenty of reasons to be happy. The new album from the Canadian trio is a masterclass in death metal, a lesson in extreme music, and an exhibition of death metal artistry. The three musicians showcase their death metal prowess through excellent compositions that represent the genre at its best. Ethereal Void clearly love the American school of death metal, but they occasionally look across the Atlantic, incorporating elements of Swedish death metal into their sound. Add to the mix their progressive metal influences, along with some melodic and atmospheric touches, and you get the full picture of this album. I wouldn’t disagree with anyone who pointed out that there are also hints of groove metal and deathcore in the mix. As you can see, “Primordial Dissonance” is a very interesting, multifaceted album that will satisfy you to the fullest! However, be warned: this album isn’t an easy listen. On the contrary, it requires time and patience to reveal all its secrets. Its complexity and attention to detail reward repeated listens, with something new waiting to be discovered each time. Judging by the quality of this release, Ethereal Void have a lot to offer to the genre, the death metal scene, and every individual fan of extreme music. They don’t reinvent the wheel, but they don’t have to! The Canadians play the music they love and have created a record that feels like a priceless treasure for every extreme music maniac!

♦ 8/10

Dimitris Zacharopoulos

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ETERNITY’S END – “TITANBLOOD” (2026, SCARLET)

MythofRock — Tue, 13 Oct 2026 11:06:42 +0000

Power metal has become a rather worn-out genre. Its heyday was years ago, and today it rarely gets much attention, except through a handful of bands whose talent and skills manage to bring power metal back into the spotlight. One of these bands is Eternity’s End, the musical brainchild of virtuoso guitarist Christian Muenzner, who have now reached their fourth album with their latest release. “Titanblood” is an excellent record that could take the German band to the next level. Why? For many reasons! First, the songs are highly inspired, built around a wealth of fantastic ideas, and reveal something new with every listen to the attentive, demanding listener. They draw influences from bands across both the European and American power metal scenes. Second, the vocals are amazing! How could they be anything else when the group’s new singer is the well-known Mike Livas (Silent Winter, Bloodorn), whose beautiful voice takes Eternity’s End to another level?! The third reason is the incredible technical ability of the band’s musicians. Special mention must go to the group’s leader, Christian Muenzner, who performs absolute wonders on guitar! We’re talking about a guitarist who brings the glory days of Shrapnel Records into the present! As a result, the album also takes on a strong progressive metal edge. Beyond that, the production is excellent, pushing every instrument to the forefront with just the right degree of clarity and crispness. The only thing I’m not particularly fond of is the artwork, which feels somewhat amateurish – “Titanblood” definitely deserved a more suitable cover. Taking all these factors into account, we can appreciate the true value of this album and realize that the time has come for Eternity’s End to gain wider recognition. Support this highly deserving band, which deserves to be among the top acts in today’s metal scene!

-8/10

Dimitris Zacharopoulos

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STARBENDERS – “THE BEAST GOES ON” (2026, SUMERIAN)

MythofRock — Fri, 09 Oct 2026 11:01:32 +0000

With “The Beast Goes On” Starbenders deliver a catchy blend of alternative rock, heavy pop and rock n’ roll, built around an aesthetic that balances accessible melodies with more unconventional touches. The album’s greatest strength lies in its ability to combine contrasting elements without losing its sense of identity. Dissonant passages, the interplay between acoustic and electric guitars and occasional punk rock influences add variety to the arrangements, while the heavier riffs provide a welcome edge to the record’s pop-oriented foundations. The vocals are another defining feature, possessing a distinctive tone that helps the band stand out. Layered harmonies and vocal polyphonies add depth to the mix, complementing the atmospheric qualities that run throughout the album. There is also an ethereal, almost ghostly character to certain passages, with chant-like vocals and theatrical melodies that occasionally bring Ghost to mind. Despite these qualities, “The Beast Goes On” gradually loses some of its initial impact. Although the material remains melodic and accessible, the songwriting becomes somewhat repetitive as the album progresses, making it harder to maintain the same level of engagement throughout. The combination of catchy hooks and heavier instrumentation is appealing, but it does not always develop into compositions that leave a lasting impression. To sum up, “The Beast Goes On” is an enjoyable record with a distinctive vocal identity and an appealing mix of rock influences. While its occasional lack of variety holds it back, its strongest moments make for a worthwhile listen.

♦ 7/10

Panos Niko

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SIGNUM REGIS – “BEYOND SPACETIME” (2026, FIREFLASH/EDEL)

MythofRock — Fri, 09 Oct 2026 09:22:35 +0000

Signum Regis has now reached their eighth album, and I have nothing but good things to say after listening to it. “Beyond Spacetime” stands out as a very good melodic power metal album, featuring symphonic, progressive and hard rock elements as well! The Slovak band’s power metal is mainly European in character, although there are also influences from American bands such as Symphony X and Crimson Glory. In any case, the main elements of “Beyond Spacetime” are melody, power and incredible technical performance – everything is present in abundance and, together with the strong emotion, defines an album that achieves its goal triumphantly. What is the goal? Of course, to charm the listener, of course, to please them, and of course, to reward them for their time and attention! Signum Regis manages to entertain fans of the genre, who will find everything they are looking for in their new creation. I don’t think anything is missing from “Beyond Spacetime”, which is a complete musical work, with a beginning, middle and end. The only thing that initially made me wonder was the fact that they collaborate with a different singer on each song. In the end, however, this variety brings freshness, keeps the interest alive and adds further dimensions to the final result. So, Signum Regis offers us a rich, moving, direct and effective album, proving that they still have plenty to say and give in 2026! If you are into power metal, don’t hesitate – “Beyond Spacetime” is the album you need! Congratulations to Signum Regis.

♦ 8,5/10

Dimitris Zacharopoulos

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LEFT TO DIE – “INITIUM MORTIS” (2026, RELAPSE)

MythofRock — Thu, 08 Oct 2026 11:34:12 +0000

To tell the truth, I’ve never been a fan of tribute bands. In such cases, I usually find myself thinking, “Play your own music”. I’ve always preferred listening to the original material, performed by the artists who created it in the first place. Sorry, but I cannot find any magic in bands that exclusively play other people’s songs. Call me dogmatic — I probably am. However, under certain circumstances, I’m willing to make an exception and put my usual way of seeing things aside.
Left to Die were formed recently with the intention of revisiting Death’s pre-debut era, when Chuck Schuldiner, the greatest mastermind of death metal, was laying the foundations of an entire genre. The band features two ex-Death members, Terry Butler (bass) and Rick Rozz (guitars), who respectively played on “Spiritual Healing” and “Leprosy”, alongside Gruesome founders Matt Harvey (vocals, guitars) and Gus Rios (drums). The inclusion of the latter two isn’t coincidental, as they come from a band deeply influenced by Death, both in their more savage and progressive manifestations.
“Initium Mortis” unleashes twelve dynamites from 1984, originally found on Death’s cassette demos that circulated through tape trading. The quartet remains respectful to the original material, performing these classic tracks (most of which never appeared on the subsequent albums, except for “Infernal Death”) with precision and dynamism. Given a modern production treatment, the songs now possess a clear, heavy sound that brings out details previously buried in the raw recordings, while still retaining the necessary rawness.
At the heart of it all are those savage, solid Floridian riffs — so familiar and instantly recognizable — backed by Rios’ aggressive drumming and Butler’s powerful bass lines, which add considerable depth to the album. Furthermore, Harvey’s tone and overall performance are perfectly suited to what a work of this kind demands. His vocal temperament comes close to Chuck’s, adding another layer of brutality and energy to the material.
If you had asked me beforehand what I imagined an album based on Death’s early years would sound like, my answer would certainly have been “Initium Mortis”. I believe this release fulfills every fan’s and collector’s expectations when it comes to production and overall performance. Intense and raw, it leaves no room for resting your neck. It may start with the mid-tempo, crushing rhythm of “Legion of Doom”, but once the highly addictive riffs of sinister classics such as “Power of Darkness”, “Summoned to Die”, “Mantas”, or “Death by Metal” take over, there is little left to say. With such a track list, the album remains captivating from beginning to end.
The production team has worked meticulously to give a new dimension to songs originally recorded with rudimentary equipment in the mid-80s. You may remember the rough, muffled sound and Chuck’s barely audible vocals in these cassettes. Yet, despite their lack of production values, there was something in that embryonic material that “Initium Mortis” cannot quite reproduce: sparkle. Chuck was a restless, revolutionary teenager who, alongside Rick Rozz and Kam Lee, was at the very beginning of a whole movement. That sparkle would eventually become a fire that overwhelmed everything in its path — changing heavy metal and the way we hear this music.
You could hear that genesis happening in Death’s demos. At that early stage, it was impossible to imagine how far Chuck’s talent would eventually evolve. His spirit was unrestrained, breaking through every rule that stood in his way. Death’s energy was unmatched — for instance, just listen to the execution of “Mantas” in “Live Tape #2”, recorded at a concert in Tampa. That level of rawness and malevolence could never be fully captured in “Initium Mortis”.
Left to Die chose not to deviate from the original stuff, delivering a powerful and precise performance. Their sole purpose is to highlight Death’s roots and give fans the opportunity to hear material they may never have encountered before, now presented with modern production. They wanted to pay homage. Nothing more, nothing less. The band took on the task of filling a gap, and they’ve done it splendidly. Perhaps they will inspire a new generation to dig deeper into this old stuff and discover the mind that stood behind this magnificent music — and that’s fine. And, of course, they’ll make money from their tour by playing another man’s work.

Alex Nikolaidis

PS1: I don’t want to hear comments like, “They bring Chuck’s spirit back to life”. Chuck’s spirit lives on through his albums, inspiring countless bands — actually, he never left. He’s still here, regardless of the existence of Left to Die (or any other Left to Die).
PS2: There’s simply no reason to grade a cover band’s work.

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SPACE GRAVEL – “INSIDE” (2026, SELF-RELEASED)

MythofRock — Tue, 06 Oct 2026 13:54:19 +0000

Greek band Space Gravel stand right at the point where heavy rock meets doom, psychedelia and space rock. Their debut album, “Inside”, captures this creative meeting of styles in a powerful and impressive way, through six long instrumental compositions with no vocals. Instead of a singer, the guitars become the main protagonists, taking us deep into the strange and fascinating world of Space Gravel. This is a real guitar feast, packed with heavy riffs, extended solos and all kinds of psychedelic guitar phrases. The playing is constantly interesting, with the guitars creating one layer after another and giving the music its unique character. Add to this the solid, massive rhythm section and you can easily understand what Space Gravel are trying to achieve with “Inside”. The whole band sounds locked in, with every instrument contributing to the atmosphere and the journey. The musical language of “Inside” is dystopian and often creates a dark, threatening atmosphere. Yet, somewhere inside all this darkness, there is always a small glimpse of light. What matters most for Space Gravel, however, is the journey itself, not the destination. This is an intense and adventurous trip, full of mysteries, strange landscapes and unexpected turns. The quartet gives everything, both musically and emotionally, and the complex result should excite fans of psychedelic, space and doom-heavy rock. Some compositions are more direct and easier to enter than others, but overall, “Inside” needs time. You have to let it play, get into its atmosphere and discover all the small details hidden inside these lengthy tracks. There is a lot to explore here, and Space Gravel clearly have their own musical identity. If you are into psychedelic, spacey heavy rock and doom, you will find plenty to enjoy on “Inside”. And for those with a special love for heavier, darker and more doom-oriented sounds, this debut could really blow your mind.

♦ 8/10

Dimitris Zacharopoulos

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EUROPE – “COME THIS MADNESS” (2026, SILVER LINING MUSIC)

Antonis Mantzavinos — Sat, 03 Oct 2026 09:33:59 +0000

The Swedish giants have just released their 12th (!) studio album, following a 9 year pause, where they have been very active, mainly touring, but also gathering their ideas, rehearsing and finally recording ‘Come this Madness’. Looking back to their s/t debut one in 1983, you can easily say that this has been a ‘hell of a journey’, with ups, highs, downs and going through different phases, line-ups. However, the core of the band has not changed at all and since they reunited with the magnificent and very heavy ‘Start from the Dark’ back in 2004, it is now time to get out there for new adventures,

‘Come this Madness’ finds the band in a fantastic form, doing what they do best actually: giving us high quality classic rock tunes. This new album is no exception to the rule. To the contrary, Europe give their best with a very fresh and modern sound, proving that they are far away from a word I despise (‘veterans’) and looking at the present and future with a bright and sharp eye.

Before the actual release of this new album, they released 4 singles, setting the tone and preparing us for what followed. ‘One on One’, ‘Cult of Ignorance’, ‘Scandinavian Eyes’ and ‘Come this Madness’ are all classic rock hits, all created with the unique way this band knows very well to launch all their potential ‘on the floor’: catchy choruses, signature heavy riffs and leads, an undeniable rock-solid rhythm section and also the keys of Mic Micaeli taking us back in time. There are actually many instances on all songs of the glorious past of the band, especially from the 80s, and it must be acknowledged that there has been a remarkable job on the melodic character of the album.

‘this time of year’, a beautiful power ballad reminds us one of the reasons we loved Europe for, many years ago. ‘In a different World’ cruises us in a groovy and heavy pace, where the John Norum and Joey Tempest just glow! Ian Haugland is one of my favorite drummers, and he really blasts on this album showing off his trademark playing and charisma, a characteristic example of this is ‘Takin’ it back’. There is a short ballad ‘In the Absence of Grace’, where things slow down where you catch your breath from the previous speedy pace and groove, and this might be short but within almost one minute and a half, the song captivates your interest and you just wish there would be more of this beauty. ‘The Angels much have flown’ kicks off with probably my favorite groove, kudos to John Leven and Ian Haugland, a great song, unveiling and blending each element of this great band, in a harmonic and balanced way, simple and glorious beauty! I specifically admire John Norum’s guitars, where he never exaggerates and knows precisely how to excite you with his heavy riffs, leads and solos, without a ‘bigger-than-life’ attitude, playing what exactly is needed at the moment it is played. If this is not being a genious, then I wonder what could be..?

‘The Devil’s back’ has a Deep Purple or Uriah Heep hype, which kindly reminds us of the band’s roots and music craftsmanship. The album closes with a special and distinctive track (justified by its title!) ‘Nothing can follow this’. Keys set the tone from the start, Joey Tempest is speaking instead of singing, and then the whole music continues, with a strong oriental flavor and riff, it pauses with a beautiful bridge, where there lead and backing vocals are beautifully blended, followed by Norum’s distinctive guitars. The last track is absolutely a statement of what this album is about. Or not. You will judge that.

‘Come this Madness’ is a brilliant fresh album, created from a band who take things seriously and leave no doubt about what they are capable of doing. It is the modern version of a band who always sounds contemporary and follows their own vision of how modern ‘classic’ rock should be played. No fillers. No compromises. No doubts.

8/10
Text by Antonis Mantzavinos

Tracklist:

1. One on One
2. The Cult of Ignorance
3. Come This Madness
4. This Time of Year
5. In a Different World
6. Scandinavian Eyes
7. Takin’ It Back
8. In the Absence of Grace
9. The Angels Must Have Flown
10. The Devil’s Back
11. Nothing Can Follow This

Official website: https://www.europetheband.com/

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SPACEMAN – “READ ONLY MEMORY” (2026, SPINEBUSTER ENTERTAINMENT)

MythofRock — Sat, 03 Oct 2026 03:44:59 +0000

Spaceman is the solo band of Canadian musician Zach MacDonald, and the new album, “Read Only Memory”, is a strange but beautiful opus, which praises the sonic art of progressive/technical metal, as conceived by Watchtower, Spastic Ink, Coroner, Voivod, Toxic, etc. We are talking about an album of avant-garde, experimental music, which is very difficult to accept. Yet, if you give time to this odd metal album, if you pay attention to its complex structure, if you listen to all these intricate compositions without any reservations or prejudice, then “Read Only Memory” will open for you a door to another dimension, to a brand-new world, where everything is possible and every dream comes true. Here you will find elements from the mad metal science of Ron Jarzombek, the artistic fantasy of Steve Vai and Joe Satriani, the quirkiness of Devin Townsend, and so on. The defect here has to do with the production of this amazing album, which could sound a little warmer and less cerebral. Nevertheless, the ones who will focus on the musical worth of “Read Only Memory” will gain a music treasure, so unique and precious. With his extremely progressive approach, Spaceman proves that he is a brilliant multi-instrumentalist, who doesn’t fear exploring the uncharted waters of progressive metal. Listen to his songs and cherish some rare moments of musical extravaganza! “Read Only Memory” will be a great companion for all those who treat music as mathematics! Come on, all you metal nerds!

♦ 8/10

Dimitris Zacharopoulos

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SEASON OF MELANCHOLY – “IN SLEEP” (2026, SELF-RELEASED)

MythofRock — Mon, 28 Sep 2026 09:14:41 +0000

Ukraine’s Season of Melancholy describe their music as “romantic metal”, but in reality, what they play is much closer to gothic metal, with strong atmospheric elements and clear influences from some of the biggest names of the genre, such as Paradise Lost and Anathema. Every now and then, you can also hear some post-punk and electronic touches, but these elements are used sparingly and never take the music away from its gothic foundations. “In Sleep”, their second album, was written between 2018 and 2024, and from the very first moments it becomes obvious that melancholy is at the heart of Season of Melancholy’s sound. There is a strong sense of sensitivity and fragility running through these songs, but without making the album weak or overly sentimental. On the contrary, “In Sleep” is a 100% gothic metal record, full of emotion and wrapped in an immersive, captivating atmosphere. The Ukrainian band relies on elegant guitar work, plenty of keyboards and clean baritone vocals, while the solid rhythm section gives the songs the necessary weight. Everything comes together nicely thanks to a fresh, powerful production that allows the different elements to breathe while keeping the overall sound strong and punchy. As a result, Season of Melancholy have created a dynamic and intense album that manages to stick in your head after only a few listens. A big part of its appeal comes from the melodies. The Ukrainians have written some really characteristic melodies here, sweet and discreet rather than overly dramatic or bombastic. They know when to let a melody speak for itself, and this restraint works in their favor. There is no need for unnecessary frills or cheap attempts to impress. If you are into gothic metal, “In Sleep” is definitely an album worth checking out. Season of Melancholy don’t try to reinvent the genre, nor do they need to. They simply take the elements they love and turn them into something personal, emotional and atmospheric. This is not black art, but melancholic art, and there is a certain beauty in that distinction. With “In Sleep”, Season of Melancholy show that they deserve a place among the promising names of the Ukrainian gothic metal scene. Let’s give this band a chance – I’m pretty sure they will know exactly what to do with it!

♦ 8/10

Dimitris Zacharopoulos

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HARDBONE – “HARDBEAT” (2026, MASSACRE)

MythofRock — Fri, 25 Sep 2026 10:46:21 +0000

If there is one thing you have to appreciate about Hardbone, it is that they never try to hide their intentions. “Hardbeat” gets straight to the point: guitars up front, a rhythm that hits relentlessly, and a voice carrying all that raspy rock ’n’ roll attitude this particular style demands. From the very first tracks, it becomes clear that the Germans continue to invest more in feeling than in technical showmanship. The riffs are simple but effective, the choruses have the necessary immediacy, and the guitar work provides plenty of moments that raise the intensity. “Four To The Floor” is a characteristic example of this approach, while “House Of Rock ’n’ Roll” sounds almost tailor-made for the live environment, with the crowd singing along with the band. What is interesting is that, despite its obvious references to classic hard rock, “Hardbeat” never sounds sterile. There is a sense of spontaneity that makes the songs work even better as the volume goes up. “Big Dog” relies more heavily on groove, while “Evil For A Good Cause” brings out more aggression and gives the guitars room to take center stage. Of course, not everything is perfect. The album’s biggest weakness is that it does not offer many surprises. Hardbone know their formula and stubbornly stay within its boundaries. For some, this may mean a lack of evolution. For others, however, it is exactly the reason they will keep coming back to this record. “Hardbeat” does not need any big statements. It is energetic, dirty and authentic hard rock, made for loud listening and even louder live shows.

♦ 8,5/10
Frost and Fire

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