♦ 8/10

Dimitris Zacharopoulos

Το άρθρο DIE ENTWEIHUNG – ‘WORLDWIDE TERROR” (2026, SELF-RELEASED) εμφανίστηκε πρώτα στο Myth Of Rock.

On October 23rd, ABYSSUS will release their new, third full length album, entitled „The Reign“, a ferocious testament to their artistic evolution. The album encapsulates all the core elements that have defined death metal through the decades: raw aggression, blistering riff-work, and a suffocating, commanding atmosphere. Once again, the visual narrative is entrusted to Andreas Marschall (IN FLAMES, BLIND GUARDIAN, DIMMU BORGIR a.o.), whose artwork enhances the band’s sonic vision with striking intensity.

The album will be released on a CD and limited Vinyl version on purgatory purple. On Bandcamp you will also find various bundles with new merchandise.

Pre-order the album here:

https://save-it.cc/fireflash/the-reign

Today, ABYSSUS release the first single, entitled „The Meaning Of Pain“. “It was the very first song we composed for the new album, and it naturally became the bridge between our past and our present. It captures the essence of our earlier sound while introducing the new elements that define who we are today“, says Konstantinos Analytis.

“As the album’s opening track, we felt it was the perfect choice. Its explosive opening sets the tone from the very first note and draws the listener into the journey that unfolds throughout the record. Lyrically, “The Meaning of Pain” delves into the emotional weight of loss – whether through death or separation – and the scars left by betrayal, regardless of how or where it comes from. Whether inflicted by friends, partners, lovers, or even family, it explores the pain of broken trust and the lasting impact it leaves behind.”

From the very outset, ABYSSUS placed equal emphasis on studio output and live performance. A steady stream of EPs and split releases established their presence within the international Underground metal community. Their debut full-length, „Into the Abyss“ (2015), garnered widespread acclaim and marked a pivotal moment in the band’s evolution – leading to increasingly frequent appearances both in Greece and across Europe, often sharing the stage with renowned acts, like POSSESSED, SINISTER, SUICIDAL ANGELS and ROTTING CHRIST.

With renewed creative vigour and greater maturity, ABYSSUS unveiled their sophomore album „Death Revival“ in 2022 via Transcending Obscurity Records. Adorned with an arresting cover by the legendary Andreas Marschall, the album was met with universal praise, further cementing the band’s reputation for delivering unrelenting, yet masterfully crafted, death metal. More shows with a.o. ASPHYX, TANKARD, GRAVE DIGGER and THE CROWN followed.

Relentlessly evolving, ABYSSUS remain true to their roots while continuing to push the boundaries of the genre. With a prolific discography and an ever-growing presence on the live circuit, they have rightfully earned their place as a formidable name within the global death metal landscape.

ABYSSUS live:

18.10.2026 – Athens (GR) – Kyttaro Live Stage with Pestilence & Dead Congregation

ABYSSUS is:

Konstantinos Analytis – Vocals

Panagiotis Gkourmpaliotis – Rythm Guitar

Konstantinos JaJas – Lead & Rythm Guitars

Manolis Skoularakos – Bass

George “Hellgrinder” Tsafos – Drums

Guests on “The Reign”:

Konstantinos Foukarakis – Lead & Rythm Guitars (Rotting Christ)

Fotis Benardo – Drums (Nightfall, ex-Septic Flesh, ex-Nightrage)

Chris Zoukas – Bass (Sacral Rage)

Το άρθρο ABYSSUS: REVEALS NEW SINGLE “THE MEANING OF PAIN”, ALBUM PRE-ORDER STARTS 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.

♦ 7,5/10

Panos Niko

Το άρθρο NERVOSA – “SLAVE MACHINE” (2026, NAPALM) εμφανίστηκε πρώτα στο Myth Of Rock.

Το άρθρο DIMMU BORGIR – “GRAND SERPENT RISING” (2026, NUCLEAR BLAST) εμφανίστηκε πρώτα στο Myth Of Rock.

Bailey, best known for his long-running work with Savage Messiah, comes in as the band’s new guitarist following the departure of Marek “Ashok” Šmerda last year. That exit was part of a turbulent period for the group, marked by reported internal disagreements and behind-the-scenes tension.

With Bailey stepping into the role, Cradle of Filth are moving forward with a refreshed lineup as they continue their ongoing activities in the extreme metal scene.

Dani Filth, frontman and the only remaining original member of Cradle of Filth, has commented on the arrival of Joff Bailey, stating the following: “Three shows into the ‘Majestic In Death US Tour 2026’ and we feel it about time to introduce the new guitarist in Cradle Of Filth! Please join us in officially welcoming to the band Joff Bailey. Joff has already worked on the forthcoming album and now begins his touring adventures with the Filth!”.

Το άρθρο CRADLE OF FILTH: NEW GUITARIST ANNOUNCED 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.

Golden Serpent erupt with unrelenting energy, channeling much of their ferocity into the album’s first half. From the very first seconds, up-tempo and violent rhythms fill the space, delivering a heavy yet sharply defined sound laced with a foulness reminiscent of prominent acts (Belphegor immediately come to mind). The band unleash a storming, blackened tremolo riff in the savage “Satan’s Wrath”, a track that overwhelms listeners steeped in the black and death metal tradition. They occasionally ease the pace, weaving in more adventurous yet equally brutal riffage (“Aēšma-Daeva’s Lullaby”), though it’s clear that frantic tempos remain their primary obsession. Indeed, the title track, with its putrefied theme, detonates as a pure blast of death metal energy – unrestrained, dynamic, and executed with full force by every member.

Beneath the unrelenting aggression lies a clear focus on the meticulous craft of the guitar duo. Apophis’ and Blackheart’s patterns don’t rely on peculiarity; instead, they impress through precision, dynamism, and their vital role in shaping the band’s sickening atmosphere. Evil Dead drives the assault with relentless, hammering drumming from start to finish, while Asmodeus delivers growls of hellish brutality that stop short of obscurity. Each word is audible, intensifying the sense of unholiness and making the overall experience feel even more visceral and real.

In the album’s second half, the band shift toward a different approach, exploring mid-paced, dark, and atmospheric ideas. Tracks like “Rise of Apophis” carry an epic undertone while showcasing the group’s technical virtues. Likewise, “Black Heart” is likely to appeal to listeners drawn to a more ritualistic style, where pompous flourishes intertwine seamlessly with aggression.

As the album draws to a close, the merciless, crushing riffage of the wrathful “God Ends Here” and the more intricate textures of “Hecate’s Nightfall” reveal just how concise and disciplined the preceding material has been. The production strikes a careful balance, highlighting the band’s deep, heavy sound (guitars and bass carrying all the depth and weight required) and allowing unholy vocals to dominate, without overshadowing the atmospheric element that enriches the overall experience.

“Lullabies from Hell” stays focused, avoiding unnecessary detours and keeping its vision sharp and direct. Of course, it doesn’t strive for peculiarity or innovation; instead, songs evoke a familiar sense of déjà-vu, making any association feel natural.  With a runtime of just over half an hour and tracks lasting less than four minutes each, it offers a brief and enjoyable listen. Ultimately, it establishes Golden Serpent’s identity and captures the attention of a rather restricted audience – though how long that interest will last remains uncertain.

♦ 7/10

Alex Nikolaidis

Το άρθρο GOLDEN SERPENT – “LULLABIES FROM HELL” (2025, SLEASZY RIDER) εμφανίστηκε πρώτα στο Myth Of Rock.

As the band is ready to get on stage in Athens and Thessaloniki, Greece, Myth of Rock is looking back to the story of this dark innovating band, the one and only Samael!

by Dimitris Zacharopoulos

Samael’s first steps were typical for an underground black metal band in the late ’80s — raw, chaotic, evil-sounding. Their early EP “Medieval Prophecy” (1988) was self-financed and captured their grim energy. However, it was their debut album “Worship Him” (1991) that announced their arrival to the metal world.

Released through the young label Osmose Productions, “Worship Him” was a cold, minimalist slab of black metal that stood alongside the early works of Venom, Bathory and Hellhammer. Its slow, ritualistic pace and cavernous atmosphere set Samael apart from the thrash-driven chaos of the time. With songs like “Into the Pentagram” the band laid the groundwork for what would become their trademark style — heavy, hypnotic, deeply spiritual.

The addition of bassist Masmiseîm (Mas) gave the band more power, allowing them to perform across Europe, including Poland and Russia — rare territory for extreme metal acts in those days.

With “Blood Ritual” (1992), Samael began to move beyond traditional black metal. Produced by Waldemar Sorychta, the album combined darkness with precision, brutality with melody. It was their first release on Century Media, a partnership that would elevate them to the next level.

Their European tour with Unleashed and Tiamat, followed by appearances alongside Fear Factory and Brutal Truth, exposed Samael to a wider audience. By this point, they were no longer just another underground act — they were a rising force with a distinctive sound and vision.

Then came “Ceremony of Opposites” (1994) — the album that changed everything. Still working with producer Waldemar Sorychta, Samael created a masterpiece that bridged the worlds of black and industrial metal. For the first time, keyboards were a central element, giving the music an epic and ritualistic aura. Tracks like “Black Trip”, “Son of Earth” and the timeless “Baphomet’s Throne” captured a unique balance of aggression, atmosphere and mysticism. The album’s production was crisp, the riffs razor-sharp and the vocals dripping with venom and grandeur. Samples, including the voice of Aleister Crowley and fragments of Mussorgsky’s “Pictures at an Exhibition”, deepened the occult mood.

“Ceremony of Opposites” was a transformation. Samael had transcended black metal and entered a new dimension. They toured heavily, sharing stages with Morbid Angel, Cannibal Corpse, Grave and Therion, conquering both Europe and the United States. Even today, “Ceremony of Opposites” is regarded as one of the most important extreme metal records ever made — a turning point for the genre itself.

After the “Rebellion” EP (1995), Samael made a bold decision — they replaced their live drummer with programmed drums. Xy moved from behind the kit to keyboards and programming, a move that shocked fans at first but became one of their defining characteristics. Their next full-length, “Passage” (1996), pushed their sound into a cybernetic future. With martial rhythms, dense orchestration and a cosmic atmosphere, it felt like a soundtrack to a dark, futuristic ritual. Songs like “Rain”, “Jupiterian Vibe” and “My Saviour” remain fan favorites.

This was also the era, when Samael became one of Europe’s most respected live acts, appearing at major festivals like Wacken, Dynamo, and With Full Force. A classical reinterpretation of “Passage” by Xy under the name “Xytras Passage” showed the band’s growing ambition beyond metal boundaries.

Their 1998 album “Eternal” recorded at the legendary Mountain Studios in Montreux, fused classic rock warmth with electronic textures. Produced by David Richards (Queen, David Bowie), it expanded their musical universe even further, balancing cosmic themes with earthly emotion.

After experimenting with electronic music through the side project Era One, Samael returned to full strength with “Reign of Light” (2004). The album reflected a more accessible side of the band — polished, modern, hypnotic. Songs like “Telepath” and “On Earth” showed their ability to combine metal with darkwave and gothic influences.

In 2007, “Solar Soul” marked another peak in creativity. It was powerful, melodic and cinematic, with production by Xy and Waldemar Sorychta and mixing by Stefan Glaumann (Rammstein). The album’s futuristic spirit and anthemic sound brought Samael back into the spotlight, supported by a major tour alongside Nine Inch Nails and Iggy Pop.

But Samael were never a band to stay still. In 2009, they surprised everyone with “Above”, a raw, aggressive album that paid homage to their early black metal roots. It was fast, furious and uncompromising — a reminder that the darkness was still in their veins.

With “Lux Mundi” (2011), Samael united all their eras into one cohesive statement. Heavy, industrial and symphonic, it bridged their early ferocity with their later sophistication. Tracks like “Luxferre” and “Antigod” became staples of their live shows.

After the departure of longtime bassist Mas in 2014, ex-Sybreed member Drop joined the band, bringing fresh energy. Samael celebrated the 20th anniversary of “Ceremony of Opposites” with a special tour, performing the entire album live — a spiritual and sonic experience for fans around the world.

In 2017, Samael released “Hegemony” through Napalm Records — their most politically charged and dynamic work in years. Songs like “Black Supremacy” and “Angel of Wrath” blended industrial precision with melodic power, reaffirming their position as pioneers. The album’s concept — about balance, power, and control — reflected the band’s ongoing interest in philosophy, order and rebellion.

In recent years, Samael have celebrated their legacy with reissues of “Solar Soul” and “Lux Mundi” (2019) and the release of “Passage Live” (2024), recorded during a sold-out show in Krakow. Their lineup now includes Vorph (vocals, guitars), Xy (keyboards, programming), Drop (guitars) and Ales (bass), a tight and confident unit that continues to evolve.

Samael’s influence on extreme metal is undeniable. They were among the first to combine black metal with electronic and industrial elements, paving the way for acts like The Kovenant, Dødheimsgard and later Fear Factory and Rammstein in their darker moments. Their use of drum machines and samples, once considered heresy, became a standard for many industrial metal bands. Yet, no one ever matched Samael’s balance of darkness, beauty and technique. Their lyrical themes, exploring duality, spirituality, cosmic order and human transcendence, gave depth to their art, lifting them far above typical satanic or horror-driven metal.

Each era of Samael represents a chapter in metal’s evolution — from black to industrial, from underground to cosmic.

In 2025, their return to Greece for the exclusive “Ceremony of Opposites” shows will be dark rituals of sound and memory. Because Samael are not here to entertain, they are here to invoke. And after nearly forty years, their ceremony still burns with eternal fire.

Το άρθρο SAMAEL – INNOVATING IN DARKNESS εμφανίστηκε πρώτα στο Myth Of Rock.