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.

Το άρθρο LEFT TO DIE – “INITIUM MORTIS” (2026, RELAPSE) εμφανίστηκε πρώτα στο Myth Of Rock.

For AMON AMARTH, every new release signals the dawn of a new chapter. As on many of their previous albums, the figure of Oden—the Norse Allfather and god of war, wisdom, death, magic, and poetry—remains a central source of inspiration, shaping both the lyrical themes and the visual identity of the record. While “The Allfather Awakens” revolves around the mythology surrounding Oden, it is not a concept album. Instead, it presents a series of historically inspired tales celebrating courage, sacrifice, and the relentless struggle for a greater purpose.

Following the release of their first-ever acoustic offering, “Upphaf”, AMON AMARTH have now unveiled “Gjallarhorn”, the explosive opening track from “The Allfather Awakens”. While “Upphaf” embraced a restrained, atmospheric approach, evoking the feeling of an ancient tale passed down beneath the watchful gaze of the Allfather, “Gjallarhorn” charges in with everything fans have come to expect from the Swedish metal veterans.

Driven by a soaring guitar riff, relentless pace, and an instantly memorable chorus, the track delivers the band’s trademark blend of melodic death metal and Viking grandeur. A handful of unexpected twists add even more excitement, making “Gjallarhorn” a song seemingly destined to become a highlight of AMON AMARTH’s live performances.

In Norse mythology, Oden paid the ultimate price in his relentless pursuit of wisdom, tearing out one of his own eyes and casting it into Mímisbrunnr, the legendary Well of Wisdom, in exchange for knowledge and foresight beyond mortal understanding—insight that would influence the destiny of both gods and humankind. With “Gjallarhorn”, AMON AMARTH breathe new life into this timeless legend, inviting fans to follow in the Allfather’s footsteps. Those who have received the eye already know their path. Those who have not must seek it, surrender their sight, and embrace the foresight that lies beyond the sacrifice.

For “The Allfather Awakens”, AMON AMARTH embraced a fresh approach to songwriting. Their 13th studio album, following 1998’s “Once Sent From The Golden Hall”, was recorded during two separate sessions held months apart at producer Jacob Hansen’s studio in Denmark.

Instead of waiting until touring had ended, the band began developing new material while still on the road. The first recording session took place in the spring of 2025, with the album ultimately completed in March 2026. This staggered writing and recording schedule gave the band the opportunity to devote their full attention to every composition, resulting in a record where each track was crafted with the care and impact of a potential standalone single.

“We worked on one song at a time and made each song as good as possible,” says guitarist Olavi Mikkonen. “Then we recorded one song at a time until each track was totally finished — drums, guitars, and vocals. Only then did we start on the next one.”

On the guitar front, AMON AMARTH deliberately steered away from a polished modern sound, trading their familiar 5150 amplifiers for classic Marshall amps to achieve a more organic and traditional tone. As is customary for the band, the music was composed before the lyrics, with the instrumental ideas shaping the stories that followed.

Interestingly, the title track, “The Allfather Awakens”, which ultimately inspired the album’s name, was the final song written during the sessions. With Oden serving as the album’s central figure, the record draws heavily from Norse mythology and history, weaving epic narratives throughout songs such as “Eight Legs Of Thunder”, “Kvasir’s Blood”, and “Die With A War Cry”, the latter featuring the stirring refrain: “Facing destruction / Annihilation / Master your thoughts and mind.”

The album’s striking cover artwork once again showcases the talents of Tom Thiel, whose powerful depiction of Oden marks his seventh cover collaboration with the Swedish metal veterans.

More than three decades into their journey, AMON AMARTH continue to stand as a true brotherhood. That deep bond, built through years of shared experiences, fuels the band’s unity and creative chemistry, allowing them to deliver with equal force both on stage and in the studio.

On “The Allfather Awakens”, frontman Johann Hegg once again brings the band’s epic vision to life through his commanding vocals and powerful storytelling. The lyrics of “We Rule The Waves” perfectly capture AMON AMARTH’s fearless spirit and unstoppable drive, celebrating the courage, ambition, and adventurous nature that have defined their path: “From cradle until the grave / As long as the sun sets in the west / We rule the waves / Our restless hearts / Have brought us far / As far as Vinland’s shores / We’ve gone further / Than any man has ever gone before.”

“The Allfather Awakens” track listing:

01. Gjallarhorn
02. Eight Legs Of Thunder
03. Kvasir’s Blood
04. We Rule The Waves
05. Upphaf
06. Die With A War Cry
07. Raven God
08. The Allfather Awakes
09. Oden’s Hunt
10. Ascending Like An Eagle

AMON AMARTH is:

Johan Hegg – Vocals
Olavi Mikkonen – Guitar
Johan Söderberg – Guitar
Ted Lundström – Bass
Jocke Wallgren – Drums

Photo credit: Sylwia Makris and Christian Martin Weiss

Το άρθρο AMON AMARTH: ANNOUNCE “THE ALLFATHER AWAKENS”, THEIR NEW ALBUM εμφανίστηκε πρώτα στο Myth Of Rock.

Needless to say, the untamed fury of “Dawn of Possession” and the asphyxiating hell of “Here in After” and “Failures for Gods” remain unsurpassed. Yet those heights don’t mean that Immolation are finished today — not at all! On the contrary, this gifted band continue to engage us with compelling albums that challenge religious dogma and denounce the fall of man. You see, Immolation have remained faithful to their vision, carving their own path far from trends and fleeting hypes. Their focus has always been their art and messages they seek to convey.

Their twelfth album, “Descent”, immediately draws attention with its striking cover artwork by Israeli illustrator Eliran Kantor (he also collaborated with the band in their previous release), which -depicting a struggling fallen angel- perfectly reflects the bleak lyrical themes. Musically, things are even more impressive. The album is another worthy addition to Immolation’s consistently outstanding catalog, though it offers no major surprises. The band remain committed to the direction they’ve established, using the familiar elements of recent works through a perfectly executed formula.

What sets this album apart from its predecessor is its balance between immediacy and duration. At just forty minutes, it contrasts with the more extended yet magnificent “Acts of God” (which led some listeners to lose their way across its fifteen-track structure). Likewise, while “Descent” doesn’t carry the same cinematic essence, it more than compensates with an atmosphere of unrelenting darkness and blasphemous intensity, supported by a disciplined songwriting.

The album features Immolation’s blend of technical, brutal riffing and dark melodies, showcasing the band’s distinctive style without exaggerations. The listener is kept constantly engaged, thanks to the excellent guitar work by Vigna and Bouks. Their intricate interplay of dissonant, swirling patterns, grooves and leads indicates precision and ingenuity. Indeed, these two may well be the genre’s most outstanding guitar duo today. Their interaction is phenomenal and they never seem to reach a saturation point.

The album plunges into darkness instantly with the violent opening of “These Vengeful Winds” and the even more ferocious “The Ephemeral Curse”. Sick, disharmonic motifs (Immolation’s trademark), occasionally flirting with black metal, project a grim atmosphere, further intensified by Dolan’s ageless growls, which seem to emerge from some unknown pits of hell. While the structures aren’t excessively complex, yet the way certain tracks unfold is exemplary (“God’s Last Breath”). In the striking succession of themes and incomparable riffs, the elaborate drumming stands out as well. Shalaty dominates with hellish blastbeats and more intricate variations, proving that he’s one of the most creative drummers of the era, seamlessly integrated into the band’s vision.

“Adversary” and “Bend Towards the Dark” are quintessential Immolation moments, full of malevolence and suitable for live performances. The band also remind us of their long-standing ability to drift into doom/death territory in “Attrition” and the first part of “God’s Last Breath”. The atmospheric interlude “Banished”, placed purposefully near the end, serves as a lamentable intro to the self-titled closing track, where the band unleash all brutality and technical command in a demolishing, violent hymn of aggression and precision. The triumphant end is as musically intense as it is inhuman: “We’ve reached the point of no return, We’ve no idea what will become of us…”

“Descent” reaffirms that Immolation are important for death metal. Their recent run of remarkable albums is further strengthened by another addition — another stare into humanity’s dark side and inherent failures. Familiarity, however, doesn’t act as a deterrent thanks to the intriguing songwriting. And that’s most impressive: despite operating within well-established territory, Immolation continue to amaze with their compositional abilities and performance, still delivering strong feelings. Why should you need the “unexpected” when you know beforehand you’ll hear something outstanding, born from Vigna’s seemingly boundless creativity? That’s all the guarantee you need! In the end, Immolation’s magnificence is unmatched.

Well, deathsters can afford a sardonic smile this year, as after Monstrosity’s exceptional new effort, another brilliant release arrives from the New Yorkers. It’s good that the old men still have lessons to impart.

♦ 9/10

Alex Nikolaidis

Το άρθρο IMMOLATION – “DESCENT” (2026, NUCLEAR BLAST) εμφανίστηκε πρώτα στο Myth Of Rock.

Monstrosity had been absent from new stuff for eight years following “The Passage of Existence”. Now, the band’s seventh album, “Screams from Beneath the Surface”, has finally emerged from the depths of Florida’s swamp. As is often the case with Monstrosity, each new release brings lineup changes, with drummer Lee Harrison once again standing as the only musician to appear on every album. This time, Mark van Erp, another founding member, returns to bass duties after a lengthy absence, while Ed Webb makes his debut as the band’s vocalist. Alongside guitarists Matt Barnes and Justin Walker, they form a formidable lineup, bringing Monstrosity’s name back to the forefront.

The band has worked hard to resurface their core and uphold the regional tradition. The result is an album that thrives on technical proficiency and precise execution. Monstrosity’s signature muddy essence unfolds naturally through excellent songwriting that remains accessible to the “trained” ear without compromising the technical sophistication for which the band is renowned. Indeed, the album showcases raw aggression, intricate guitar work, bleak melodies, and Webb’s appropriately deep growls, which further sicken the overall atmosphere. Together, these elements form a lethal package that proves Florida’s flame still burns in Monstrosity’s heart.

Don’t look for fillers here – all ten compositions maintain high quality standards, contributing to a cohesive and well-crafted whole. Every track possesses its own strengths and distinct character, forbidding you from pressing the “skip” button. The riffing may not be particularly innovative, but it draws strength from the band’s long history, combining a broad range of themes and moods. That’s the album’s strength: rather than relying on a single approach, it confidently explores different facets of death metal, provoking the listener to stay engaged.

On this rather adventurous album, the impressive mid-tempo opener “Banished to the Skies” immediately establishes Monstrosity’s status. Its atmospheric introduction and mesmerizing sequence of themes shape a composition that I would confidently rank among the standout tracks of the year. Likewise, “Atrophied” exemplifies perfectionism in every sense — a distinctive piece thriving with sick patterns and serving as a masterclass in technical riffing and drumming.

Monstrosity venture into doom/death territory with the asphyxiating “The Dark Aura”, where desperation and darkness prevail, while the keys in the background intensify an already suffocating atmosphere. Undoubtedly, this stands out as a highlight for fans of the genre’s slower, more oppressive side. The band retain their fierce, unrestrained energy in thrash-driven cuts like “The Colossal Rage”, where roughness doesn’t omit technical precision. As for the splendid “Blood Works”, Vigna’s shadow is apparent in the main riff (you’ll detect Immolation’s echoes within this tightly constructed idea).

Metal Blade has respected Monstrosity’s long-standing legacy, making the sound deep and heavy while bringing every instrument and detail into sharp focus, without compromising the band’s brutality. The rhythm section is presented exactly as it should be: an admirably robust machine, with van Erp’s consistently audible, thunderous basslines adding immense weight to the compositions, and Harrison’s peculiar drumming guiding every pattern with the assurance of an expert.

Monstrosity returned emphatically, unleashing brutality and decay through skilled execution rather than showing off. Their songwriting and performance serve as a vehicle for something deeper — a truth elaborately expressed in the exemplary “Veil of Disillusion”: at their core, the band remain committed to quality in every aspect of their work, while continuing to honor the tradition of their regional scene.

The preceding albums, regardless of their virtues, gave the impression that Monstrosity wrote them out of obligation. In contrast, “Screams from Beneath the Surface” feels like something more substantial: a genuinely inspired work, composed with dedication and sincerity. I would argue that it stands as the band’s strongest output since their early peak, proving that Florida’s death metal hasn’t degenerated into a museum artifact. Without question, it’s a “must-hear” release of the year and comes highly recommended to fans of the genre.

♦ 8,5/10

Alex Nikolaidis

Το άρθρο MONSTROSITY – “SCREAMS FROM BENEATH THE SURFACE” (2026, METAL BLADE) εμφανίστηκε πρώτα στο Myth Of Rock.

Talking about the song the Trondheim/Oslo based band say, “Wanting to honour the life and work of Ozzy, we decided it was time to do a Black Sabbath cover. We chose The Wizard because a) it slaps, and b) the harmonica melody presented the perfect opportunity for sax rippage. This cover was not recorded as part of the Hard Anger sessions, it was done a couple of months after Ozzy’s passing, but the sound we’ve gone for is very much a continuation of the Hard Anger sound, so the deluxe version presents the perfect opportunity to show yet a different side of us.”

The band are partway through a European tour with Avatar, giving them a real taste of the bigger stages — something they first experienced while touring with Kvelertak.

The sound is uncompromising. Mercilessly downtuned breakdowns collide with savage, unrelenting saxophone lines that refuse to play a supporting role. The influence of Meshuggah, The Dillinger Escape Plan, and Gojira is unmistakable, but so too is the freeform intensity of John Coltrane, Ornette Coleman, and Miles Davis.— something distinctive, unruly, and entirely its own.

That depth is no accident. Between them – Sondre Sørensen Brønstad (Vocals), Oskar Myrseth (Guitar), Jarand Aga Baas (Guitar), Johan Jamtfall Eriksen (Bass), Alexander Dellerhagen (Saxophone) and Bjørn André Syverinsen (Drums) – hold jazz performance master’s degrees, bachelor’s degrees in music technology and musicology, and an academic seriousness that underpins the chaos. Singer Brønstad even wrote his master’s thesis on the history and cultural impact of mosh pits. These are musicians who understand both the tradition they draw from and the rules they are breaking.

Themes of war and humanity coil themselves around their new album. The deluxe edition single ‘KILL’ explores a near-future dystopia where artificial intelligence erodes truth itself. The title comes from the Norwegian phrase Kunstig Intelligens Lager Liv (“Artificial Intelligence Creates Life”), forming an acronym KILL that feels both prophetic and unsettling.

Far from the blood-and-thunder chaos you might expect, Agabas delivers a flamboyant, cathartic, and overwhelming live experience—intense, loud, and immersive—where the saxophone reigns and bodies collide. They carve out humanity’s horrors on the album. ‘Jævla menneske’ translates as ‘Damn Human’ and features Jørgen Munkeby of Norwegian experimental metallers, Shining. “‘La Blodet Flomme’ dismantles the nonsensical logic behind conflict. “Are war crimes punished, or is it only genocide if you lose?” asks Brønstad.

But, above all, Agabas are intent on building community. Inclusivity is foregrounded at their shows and embedded in ‘Arv.’ “Join Agabas and help us create our legacy together,” vocalist Brønstad urges. “We stand together, against injustice.”

Guitarist Myrseth ponders their unique deathjazz sound, “We noticed intense, hard-hitting moments in jazz, like Coltrane in the ’60s, and thought, why not combine that with the heaviness of Meshuggah to create a new kind of hard?”

Deathjazz is an unfamiliar hunger, and Agabas feeds it to you until your body dissolves into rhythm and your heart freezes, perfectly reshaped by the curve of a saxophone.

Listen to ‘The Wizard’HERE

Tour Dates:
Mar 7 – Luxembourg – De Gudde Wëllen, LUXEMBOURG
Mar 9 – Wiesbaden – Schlachthof, GERMANY*
Mar 10 – Zlin – Datart Hala, CZECHIA*
Mar 11 – Warsaw – Stodola, POLAND*
Mar 12 – Berlin – Columbiahalle, GERMANY*
Mar 13 – Hamburg – Docks Club, GERMANY*
Apr 11 – Oslo – Sub Scene – NORWAY

*Supporting Avatar

Tracklist:
1 .Kjærlighet for alle
2. Jævla Menneske
3. En vakker himmel
4. La blodet flomme
5. Se det for deg
6. Vis meg alt
7. Råte
8. En enkel sjel
9. Arv
10. På åpent hav
11. KILL (BONUS TRACK)
12. Mørke Daga (BONUS TRACK)
13. The Wizard (BONUS TRACK)

Το άρθρο AGABAS: HONOUR BLACK SABBATH WITH THEIR SAX-ATTACK DEATHJAZZ! εμφανίστηκε πρώτα στο Myth Of Rock.

Having conquered the world’s biggest metal festivals — from Wacken Open Air to Hellfest — and earning strong acclaim from both fans and critics, NERVOSA continue to cement their status as leaders of the genre. With founding guitarist Prika Amaral firmly established as the band’s new vocalist since 2023’s “Jailbreak”, they charge forward with unstoppable, sledgehammer-like force.

Reuniting once more with producer Martin Furia of German thrash legends DESTRUCTION, the band skillfully fuse old-school power with a sharp, modern edge. “Slave Machine” delivers twelve blistering new tracks to the NERVOSA arsenal and is available for pre-order now.

Alongside the album announcement, NERVOSA have unveiled the title track “Slave Machine”, offering a fierce first taste of what’s to come. The song immediately hits the accelerator, revealing a slightly different side of the band through a catchy, alternative-flavored bridge, while still packing crushing intensity — a statement opener that signals the dawn of a new era for NERVOSA.

NERVOSA comments on the “Slave Machine” title track: “This song is everything that we want to say and play, many different vocal layers and guitar melodies like a scream to say that we are all part of the ‘Slave Machine’.”

Regarding the “Slave Machine” album, NERVOSA said: “‘Slave Machine’ is the most brutal and melodic album of NERVOSA, and we are proud to take this step further, keeping our roots.”

Across twelve brand-new tracks, the five-piece push their crushing sound further than ever. Opener “Impending Doom” sets an ominous tone, slowly building tension through thunderous riffs and jagged drumming that underline the band’s commanding presence. The title track “Slave Machine” immediately shifts into high gear, pairing speed with a surprising alternative-style bridge and an infectious chorus that reveals a fresh shade of the band’s identity.

“Ghost Notes” follows with a barrage of heavy yet instantly memorable riffs, powered by relentless drums and Prika Amaral’s ferocious vocals, capped off by a stunning guitar solo. On “Beast Of Burden,” NERVOSA unleash their most savage side, while “You Are Not A Hero” delivers a massive chorus, giving Slave Machine a true anthem moment.

Elsewhere, “Hate” erupts with raw aggression, and “The New Empire” channels destruction through sharp melodic precision. “30 Seconds” pushes the intensity even higher, while “Crawl For Your Pride” blends the band’s trademark social commentary with knockout songwriting. “Learn Or Repeat” and “The Call” continue to mix modern groove elements with old-school thrash spirit, before the album closes on a dark, menacing note with “Speak In Fire,” bringing Slave Machine to a threatening, sinister finale.

Tracklisting

01. Impending Doom
02. Slave Machine
03. Ghost Notes
04. Beast Of Burden
05. You Are Not A Hero
06. Hate
07. The New Empire
08. 30 Seconds
09. Crawling For Your Pride
10. Learn Or Repeat
11. The Call
12. Speak In Fire

Photo by Akis Zaralis

Το άρθρο NERVOSA: NEW ALBUM DETAILS εμφανίστηκε πρώτα στο Myth Of Rock.

Placing greater emphasis on melody without sacrificing their trademark chaos, the EP strikes a balance between blistering speeds, powerful vocals and a solid melodic framework. Alongside the original tracks “Evolve”, “Crystal”, “Indigo Eyes” and “Show Them The Light,” the release also includes the instrumental “Behind the Veil,” as well as a death metal reworking of “Nemesis” by Arch Enemy.

On a lyrical and conceptual level, “Veil of Revelations” confronts illusion, manipulation and spiritual blindness, exploring themes of perception, awakening and personal evolution. With nearly 100 live shows across the United Kingdom since their formation in 2022, and a growing reputation for crushingly tight, high-intensity performances, Worship The Sacrifice continue to establish themselves as a distinct and powerful force within the UK underground scene.

“Veil of Revelations” stands as a bold statement of what melo-chaotic death metal truly represents.

April 9 — SAVE THE DATE!!!

EP tracklisting:

01. Evolve
02. Crystal
03. Behind The Veil
04. Indigo Eyes
05. Nemesis
06. Show Them The Light

Το άρθρο WORSHIP THE SACRIFICE: ANNOUNCE NEW EP DETAILS εμφανίστηκε πρώτα στο Myth Of Rock.