by Dimitris Zacharopoulos

photos by Iro Kalligeri (@irokalligeriphotography)

Let’s take things from the beginning! When we arrived outside Gazarte in the Gazi area, shortly after the doors had opened, quite a crowd had already gathered. First on the bill were Stavros Allos, a Greek band whose sound falls somewhere within the realms of eclectic Greek-language alternative pop/rock. Shortly after 9 p.m., the trio took the stage and treated us to their simple yet refined pop/rock sound. To be honest, while I liked their style, I didn’t find their melodies particularly interesting. They certainly have some work to do in that department, but their overall sound and approach are more than worthy of praise. Unfortunately, they also encountered a few technical problems, with the singer/guitarist having some trouble with his guitar pedals and the bassist even breaking a string on his instrument. Nevertheless, Stavros Allos put on a fairly decent performance, and the time passed pleasantly as we waited for Mercury Rev to take the stage.

It was a quarter past 10 p.m., and Gazarte Ground Stage was almost packed. You could see the anticipation on everyone’s faces, which quickly turned into excitement when psychedelic videos began appearing on the wall behind the stage. The time had come to experience the ultimate lyrical beauty, surrender to heavenly melodies, lose ourselves in dreamlike worlds and be swept away by an intoxicating sense of poetry! The five musicians who make up the current Mercury Rev lineup began playing the beautiful songs of this great psychedelic alt-pop/rock band with grace and joy. A band that enjoyed its greatest success in the late ’90s and early ’00s, Mercury Rev continue to impress both in the studio and on stage. They proved that they still command the stage with confidence, delivering their lyrical poems and painting beautiful pictures on an invisible canvas of music and emotion. The sound was excellent, their chemistry remarkable, their performance outstanding and their emotions so genuine, honest and dramatic. They played for just an hour and fifteen minutes, but that was more than enough to work their magic, move us deeply, spread their wings and take us on a journey to distant, fairytale-like places. Jonathan Donahue looked like a poet singing his magnificent songs, a prince leading us into his kingdom, a dandy lost in a monologue across meadows filled with flowers and colors. Grasshopper was weaving intricate sonic tapestries with his guitar, the two keyboardists added multiple layers of notes, while the drummer provided the rhythmic foundation for Mercury Rev’s psychedelic anthems. And what a setlist! We heard “The Dark Is Rising”, “Goddess on a Hiway”, “Holes” and, of course, “Tides of the Moon”, which gave us goosebumps and sent a shiver through the entire Gazarte audience. A powerful torrent of notes and words mesmerized us in the context of a magnificent performance that left us spellbound on every level: musically, literarily, spiritually and emotionally. It was a multi-layered explosion of sounds and images unfolding right before our eyes, an artistic triumph that resonated both within us and in the world around us. Unforgettable.

All is Dream …

Το άρθρο MERCURY REV, STAVROS ALLOS – GAZARTE GROUND STAGE, ATHENS, GREECE – 29/10/2026 εμφανίστηκε πρώτα στο Myth Of Rock.

by Dimitris Zacharopoulos

Formed in Manchester in 2015, HENGE are much more than an ordinary rock band. Performing as fictional characters named Zpor, Goo, Sol and Nom, they have created a mythology that extends beyond their music. Their colorful identities, extravagant costumes and imaginative storytelling are essential elements of a concept that transforms every performance into something truly unusual. They describe their distinctive musical style as Cosmic Dross, a term that perfectly captures the strange, playful and wonderfully chaotic nature of their songs.
The band consists of Matthew Whitaker, responsible for vocals and guitar, Pete Turner on bass and synth bass, Roy Medhurst behind the synthesizers and Sam Draper on the drums. Together, they have developed a musical language that refuses to remain within familiar territory. Psychedelic passages collide with infectious electronic rhythms, progressive arrangements meet pulsating dance beats and unexpected changes in direction keep listeners constantly guessing. There is certainly a sense of humor in what they do, but beneath the theatrical presentation lies an ambitious musical project.
HENGE introduced their peculiar philosophy to the world with the release of the five-track debut EP, “Cosmic Dross”, in July 2017 through Love Love Records. The record provided the first glimpse of their unusual artistic identity and quickly attracted attention within the alternative festival circuit. It was an introduction to a band that had absolutely no intention of playing by conventional rules, musically or visually.

Their first full-length album, “Attention Earth!”, arrived on October 19, 2018, marking an important step for the band. Building on the ideas introduced in their debut EP, the album expanded their sonic palette while establishing the foundations of their increasingly recognizable sound. It also helped bring their peculiar brand of entertainment to a wider audience, confirming that HENGE were not simply another act relying on extravagant outfits and an amusing backstory.
Their creative momentum continued in 2020 with “ExoKosm”, a further exploration of their musical possibilities. The album demonstrated their ability to combine different styles without sacrificing coherence, moving between space rock, progressive rock, psychedelic rock and heavy rock. During this period, they also released singles such as “Exo” and “Get Outta Ma House”, adding further dimensions to their catalogue.
In 2023, HENGE returned with “Alpha Test 4”, another chapter in their musical exploration. Singles including “Wanderlust” and “Get A Wriggle On” further illustrated their willingness to experiment with rhythm, texture and weird songwriting.

Their latest full-length release, “Journey to Voltus B”, arrived in 2025 through Cosmic Dross Records. The album made once again clear that HENGE have no interest in standing still. The accompanying singles “Ascending” and “Slingshot/Hypersleep” offered further evidence of their creativity, while subsequent remix releases provided new perspectives on their material.
Yet, understanding HENGE requires much more than listening to their studio recordings. Their true strength lies in the live environment, where music, theatre, visual spectacle and audience participation come together to create something genuinely distinctive. Their concerts are colorful celebrations of imagination, filled with elaborate costumes, infectious rhythms, unexpected musical detours and an impossible-to-resist sense of fun. The four musicians invite audiences into their fictional world, encouraging everyone to forget the outside world and everyday routine.

HENGE have been established as festival favorites throughout the United Kingdom and beyond. Their reputation grew rapidly through appearances at festivals, where their performances attracted enthusiastic crowds. In 2018, they received the Live Act of the Year award at the Independent Festival Awards in Sheffield. Their achievements were acknowledged once again in 2022, when the music video for “New Planet” received a Silver Award in the Best Music Video category at the Tokyo Film Awards.
Their ambitions have also extended into the world of comics. Beginning in 2019, HENGE collaborated with artists Tom Eglington, Boo Cook, known for his work on the legendary British comic 2000 AD, and Phil Buckenham to create a series of illustrated adventures based on the band’s characters and mythology. The first issue appeared in September 2019, followed by two further instalments in 2021 and 2023. This additional dimension demonstrates how their concept has developed into a complete fictional universe, with music serving as the main form of expression.
HENGE have shared their musical adventures with like-minded artists. In 2026, they embarked on the Sounds of the Cosmos Tour, joining forces with legendary space rock pioneers Gong for some performances. The collaboration between two acts with such strong connections to psychedelic experimentation and space/progressive rock landscapes was a natural meeting of minds, bringing together different generations of adventurous musicians.

And the journey is far from over. Their forthcoming album “HUMANS”, scheduled for 2027, promises another chapter in their ongoing relationship with our planet. The band has also announced an ambitious world tour for the same year, covering the United Kingdom, Europe, Canada, USA and Mexico. These dates are their first-ever performances in North America, introducing their phenomenal sound to new audiences.
Before that next major expedition, however, HENGE are preparing to bring their unique show to Athens. On Friday, November 6, 2026, Gazarte Ground Stage will welcome one of the most eccentric and entertaining live acts to emerge from the British scene in recent years. For those unfamiliar with their work, this will be an excellent opportunity to discover a band with irresistible rhythms and infectious energy.

In a world that often seems increasingly divided, their mission to bring peace, unity and positive energy to humanity feels surprisingly relevant. Perhaps their message is wrapped in bizarre costumes, strange characters and storytelling, but the underlying idea is simple and beautiful – music can bring people together, encourage imagination and offer an escape from dull reality.

Prepare for an unusual encounter. Leave your expectations at the door, keep your minds open and get ready to experience something completely different. HENGE are heading to Athens and Gazarte Ground Stage!

Το άρθρο HENGE: SPACE MADNESS, PSYCHEDELIC CHAOS, PROGRESSIVE SURREALISM & RAVE BEATS εμφανίστηκε πρώτα στο Myth Of Rock.

by Dimitris Zacharopoulos

In the fall of 2026, Fifth Angel are returning to Greece as part of their 40^th anniversary tour, with shows in Thessaloniki, Larissa, and Athens. Forty years after the release of their debut album, they will perform the entire record live, alongside selected songs from the rest of their discography. For fans of classic US metal, this is an opportunity to relive an era that will never be forgotten.

From Bellevue to metal history

The story of Fifth Angel began in the early 1980s in Bellevue, a suburb of Seattle. The city that would later become internationally known for the grunge explosion already had a thriving metal scene, with bands such as Queensrÿche and Metal Church developing their own distinctive sounds. Fifth Angel emerged as part of this creative period, long before the musical landscape changed in the early ’90s.

At the heart of the band were vocalist Ted Pilot and guitarist Ed Archer, friends since their school days. They were joined by guitarist James Byrd, drummer Ken Mary and bassist Kenny Kay. From the beginning, the band focused on songwriting and recording quality, aiming to create music that stood out through its melodies, technical ability and powerful sound.

In 1983, they recorded a four-song demo at Steve Lawson Productions, with Terry Date handling production and engineering. The material included “Fade to Flames”, “Fifth Angel”, “In the Fallout” and “Wings of Destiny”. The demo attracted the attention of Shrapnel Records, which financed the recording of five additional tracks in 1985, completing the material for their first album.

“Fifth Angel”: A classic debut

The self-titled album was released in 1986 and became one of the defining records of American heavy metal during the decade. Powerful guitars, outstanding vocals, carefully crafted melodies and huge choruses combined aggression with emotional intensity, creating a sound that appealed to fans of traditional heavy metal and melodic power metal alike.

Terry Date’s contribution was also significant. The album marked his first production credit, launching a career that would later include major names such as Pantera, Soundgarden, White Zombie, and Deftones. This makes the record an interesting part of the producer’s history as well.

The original release was independently financed by the band, while the album was distributed in Europe through Roadrunner Records. The response was particularly strong and the record quickly achieved cult status. Its quality also attracted the attention of Epic Records, which signed Fifth Angel in 1988 and re-released the album, giving it much wider international exposure.

The music press regarded the band as one of the most promising acts of the time. Magazines such as Kerrang!, Hit Parader, RIP, Metal Edge and Metal Forces featured them extensively. The album reached No. 117 on the Billboard 200, but its greatest achievement became clear over time: it evolved into a landmark release for fans of classic American metal, retaining its power and freshness decades later.

“Time Will Tell” and the breakup

In 1987, bassist Kenny Kay left the band and was replaced by John Macko. Shortly afterward, James Byrd departed, with Kendall Bechtel taking over on guitar.

The second album, “Time Will Tell” was released in 1989 through Epic Records, with Terry Brown, known for his work with Rush, handling production. The record continued the melodic and powerful direction of the debut, while the title track received significant exposure through MTV. Meanwhile, “Midnight Love” became the theme song for Howard Stern’s radio show, bringing the band even greater recognition.

Despite the positive reviews and the promising opportunities ahead, Fifth Angel lost Epic’s support, and the members went their separate ways by 1990. The changing musical landscape and the rise of grunge, centered in Seattle itself, made things difficult for many traditional metal bands.

However, the breakup did not erase their name. The first two albums continued to circulate among fans, preserving the reputation of a band that had offered something special but never had the opportunity to fulfill its full potential.

The reunion and a new chapter

In 2009, discussions began about reuniting Fifth Angel. Ed Archer, John Macko, and Kendall Bechtel returned, alongside drummer Jeffrey McCormack. For their appearance at the Keep It True festival in 2010, Peter Orullian, known for his work with Heir Apparent, ultimately took over vocal duties.

The audience response was enthusiastic, however, the reunion did not proceed without difficulties. In 2011, plans were announced for a new album featuring David Fefolt on vocals, but the project never materialized.

In 2017, the band returned once again, with original drummer Ken Mary rejoining and Peter Orullian handling vocals for selected performances. A new opportunity emerged when Nuclear Blast Records showed interest in their material and signed the band based on a three-song demo.

In 2018, Fifth Angel released “The Third Secret”, their first new studio album in almost three decades. The record featured Ken Mary, John Macko, and Kendall Bechtel, while Ed Archer soon returned to the band. With the addition of vocalist Steven Carlson and guitarist Ethan Brosh, the lineup was completed.

The return to recording was accompanied by appearances at major European festivals, including Metal Assault, Rock Hard and Alcatraz in 2019. Fifth Angel demonstrated that they had not returned simply to recreate memories of the past, but to continue their epic musical journey.

Their next studio album, “When Angels Kill”, followed in 2023, also through Nuclear Blast. Together with “The Third Secret”, it confirmed that the band’s creative drive remained strong and that their story had not ended with their two classic albums from the 1980s.

Forty Years Later

The “40th Anniversary Tour 2026” represents a return to Fifth Angel’s roots and an opportunity to celebrate the album that helped define their career. Performing “Fifth Angel” in its entirety, alongside selected songs from the rest of their discography, gives these shows a special significance, connecting the band’s history with the present.

For those who have followed them since the 1980s, their songs carry sweet memories of heroic times. For younger listeners, they offer a chance to discover a band that managed to earn something really important: the lasting respect of music fans.

The three shows in Thessaloniki, Larissa, and Athens will bring pieces of authentic American metal history to Greece! Yet, these shows are more than a nostalgic trip down memory lane. They are a celebration of the songs that have stood the test of time and the music that still makes us raise our fists up to the sky.

Το άρθρο FIFTH ANGEL – FOUR DECADES OF US METAL GLORY! εμφανίστηκε πρώτα στο Myth Of Rock.

Coroner

CORONER needs no introduction, having established themselves as one of the most important acts in the history of technical thrash metal. They are among the bands that forever changed the way we perceive technicality, songwriting and musical evolution within extreme metal.

Emerging from Zurich in the mid-1980s, and having initially worked as road crew for their fellow countrymen CELTIC FROST, CORONER developed a musical language entirely their own, blending thrash metal with classical music, avant-garde aesthetics, progressive rock, jazz, and, later on, industrial elements. Their innovative approach went on to influence countless bands that followed.

“R.I.P.,” “Punishment For Decadence,” “No More Color,” “Mental Vortex,” and, of course, “Grin” — an album that was initially ridiculed upon its release but eventually received widespread acclaim years later — have become integral parts of metal history. These are timeless records that have stood the test of time and continue to sound more contemporary than many releases coming out today.

Following their breakup in 1996, CORONER’s return to the stage in 2011, including performances in Athens and Thessaloniki, reignited fans’ hopes. However, the wait for new material lasted more than three decades. And in the end, every minute was worth it. “Dissonance Theory” is a modern metal album that proves CORONER are still ahead of their time. With Tommy Vetterli delivering yet another monumental guitar performance and Ron Broder’s distinctive voice remaining unchanged over the years, the band has returned without making a single compromise.

On October 30, 2026, Athens will welcome CORONER back, fifteen years after their last appearance in the city, for one of the few European dates on their tour. And they won’t be alone, as two more bands will join them exclusively for the Athens show!

Depressive Age

The German band DEPRESSIVE AGE, who briefly changed their name to D-AGE between 1996 and 2001, have achieved an almost mythical status in the underground metal scene. Originally formed in Berlin in 1984 under the name BLACKOUT, they adopted the name DEPRESSIVE AGE in 1988, drawing influence from bands such as CORONER, among others, and went on to release four albums with a truly distinctive sound. Blending technical thrash metal and progressive metal with dark atmospheres and melancholic undertones, and driven by Jan Lubitzki’s distinctive and unmistakable vocals, they managed to leave their own mark on the scene.

From the 1992 release “First Depression”, regarded as one of the greatest technical/progressive thrash metal albums of all time, through 1993’s “Lying In Wait” and 1994’s “Symbols For The Blue Times” to the extraordinary “Electric Scum” in 1996, DEPRESSIVE AGE proved just how unique they were within the metal scene. On the latter, they even incorporated gothic and alternative influences without losing their identity.

Unfortunately, the band remained inactive for a long period before finally reuniting in 2022, following two earlier, largely unsuccessful attempts in 2003–2005 and 2014. Since their return, they have performed at major European festivals, proving that their music remains timeless and as powerful as ever.

Although their new studio album, due for release through Fireflash Records, has yet to arrive, their upcoming performance in Athens will mark their first-ever appearance in Greece, offering a rare opportunity to experience this distinctive band live.

Cryptic Shift

British band CRYPTIC SHIFT, meanwhile, have emerged as one of the hottest new names in progressive/technical thrash/death metal. In just a few years, they have established themselves as one of the most talked-about acts in the modern progressive/technical thrash/death scene.

Having launched their career in 2011, they released several demos, singles and EPs before making their full-length debut in 2020 with the outstanding “Visitations From Enceladus”. Six years later, now signed to Metal Blade Records, they struck again with their recent and equally impressive second album, “Overspace & Supertime”. The record delivers a distinctive blend of technical death metal, thrash metal, jazz fusion, science fiction and the progressive metal spirit of the early 1990s.

Their lengthy compositions unfold like cinematic journeys through cosmic landscapes, packed with constant shifts in direction, technical virtuosity and extraordinary imagination. Their sound is arguably a little more extreme than that of BLOOD INCANTATION, while influences and elements drawn from DEATH, ATHEIST, CYNIC, NOCTURNUS, PESTILENCE, GORGUTS, VEKTOR, and ALLAN HOLDSWORTH blend seamlessly into a thoroughly distinctive sound of their own. This has already established CRYPTIC SHIFT as one of the most exciting new bands in the genre.

CRYPTIC SHIFT are happening right now, and in a few years, when they have grown into a much bigger name, we’ll be saying that we saw them opening this show.

On Friday, October 30, 2026, at Gagarin 205 Live Music Space, three generations of musicians who constantly push the boundaries of extreme metal and beyond will come together for one special night, sharing the same stage for a unique occasion.

The pioneers CORONER, the underrated DEPRESSIVE AGE and the rising stars CRYPTIC SHIFT.

Will you be there?

Το άρθρο DISSONANCE OVER GREECE: GET READY FOR CORONER, DEPRESSIVE AGE & CRYPTIC SHIFT εμφανίστηκε πρώτα στο Myth Of Rock.

by Dimitris Zacharopoulos

Mercury Rev were formed in 1989 by a group of students at the University at Buffalo. At the center of the band’s original creative universe were vocalist and guitarist Jonathan Donahue, guitarist and multi-instrumentalist Sean “Grasshopper” Mackowiak, vocalist and keyboardist David Baker, and several musicians who helped shape the group’s unusual early sound.

Beginnings

Their beginnings were far removed from the traditional idea of a rock band. Initially, Mercury Rev were involved in creating soundtracks for student films, experimenting with instruments, noise, unconventional recording techniques and improvised musical passages. Their artistic environment was influenced in part by composer/professor Tony Conrad, whose explorations of drone music helped inspire Grasshopper’s approach to sound.

The band’s early music emerged from a willingness to experiment without worrying about commercial expectations. Guitars could become sources of noise, melodies could disappear into walls of distortion, and familiar musical structures could dissolve into long, unpredictable passages. Rather than attempting to write conventional rock songs, Mercury Rev were interested in creating entire sonic worlds.

Their debut album, “Yerself Is Steam”, released in 1991, captured this restless spirit. It was an album of psychedelic turbulence, noise-rock intensity and strange, almost cinematic atmospheres. Listening to it was less like hearing a collection of traditional songs and more like entering an unfamiliar environment in which beautiful melodies and overwhelming sonic disturbances existed side by side.

The follow-up, “Boces”, released in 1993, continued this experimental journey. The album expanded the band’s already unconventional musical language, combining explosive guitars, psychedelic passages, unusual instrumental textures and a collective approach to songwriting.

Finding Their Own Way Through Chaos

Mercury Rev’s early years were marked by internal tensions and changes in direction. David Baker departed following the touring period around “Boces”, and his departure coincided with a gradual transformation in the band’s sound.

Their third studio album, “See You on the Other Side”, released in 1995, represented an important transitional moment. Although the record retained elements of their psychedelic and experimental origins, it also revealed a growing interest in melody, atmosphere and more structured songwriting.

The album didn’t bring a commercial breakthrough, and the years that followed were difficult. Financial problems, conflicts with their record label and personal struggles threatened their future. The creative relationship between Donahue and Grasshopper also reached a particularly difficult point.

Yet sometimes the most important artistic transformations emerge from moments of uncertainty. Donahue began exploring simpler melodies and different compositional approaches, while his relationship with Grasshopper gradually recovered. Their renewed connection helped establish the foundation for a completely different chapter in Mercury Rev’s history. The result would change everything.

“Deserter’s Songs”: The album that changed everything

Released in 1998, “Deserter’s Songs” remains the defining milestone of Mercury Rev’s career and one of the most extraordinary transformations in alternative rock.

“Deserter’s Songs” presented a more delicate, melodic and emotionally direct band. The guitars were no longer the dominant force in a chaotic sonic battle. Strings, horns, woodwinds, acoustic instruments and carefully arranged textures became central to the music.

The participation of former members of the legendary roots rock and Americana group The Band, including Garth Hudson and Levon Helm, contributed to the album’s connection with American roots music. At the same time, Mercury Rev retained the psychedelic imagination that had always distinguished their work.

The result was elusive: a collection of songs that seemed to exist somewhere between childhood memories, half-remembered dreams and the bittersweet recognition that innocence can never be recovered completely.

Jonathan Donahue’s distinctive, high-register voice became an essential part of this new identity. His vocals often sounded fragile and vulnerable, yet they carried an emotional sincerity that made the songs feel deeply personal.

The album was embraced by critics, with Britain’s NME naming it their “Album of the Year”. Mercury Rev had moved from cult experimentalists to widely celebrated alternative artists without abandoning the imagination that had brought them together.

“All Is Dream”: A World of Its Own

“All Is Dream”, released in 2001, confirmed that their transformation was not a one-off event. The album continued the band’s exploration of richly arranged psychedelic pop, combining orchestral instrumentation, unusual sonic details and melodies that seemed to float between reality and imagination. Tony Visconti, renowned for his work with David Bowie, contributed string arrangements and Mellotron parts, adding another dimension to the record’s expansive sound.

Songs such as “The Dark Is Rising”, “Little Rhymes” and “Nite and Fog” demonstrated the band’s ability to create music that was simultaneously accessible and mysterious. “The Dark Is Rising” became one of their most recognizable songs, with its hypnotic progression and gradually intensifying atmosphere. It captured something essential about Mercury Rev: their music could be beautiful without becoming predictable, and emotionally direct without sacrificing its strangeness.

The album reached number 11 on the UK Albums Chart, becoming the band’s highest-charting studio album in Britain.

There was a darker undertone to “All Is Dream”. Its title perfectly reflected the band’s continuing fascination with the unstable boundaries between dreams, memories and waking life.

Continuing the Journey: “The Secret Migration”

“The Secret Migration” (2005) found Mercury Rev exploring another variation of their psychedelic pop aesthetic. The album retained the lush arrangements and melodic sensibility associated with their late-1990s breakthrough, but its atmosphere was often more intimate and reflective. The music seemed less concerned with the dramatic contrasts of their earlier work and more interested in creating a continuous emotional landscape. “In a Funny Way” stood out as one of the record’s most accessible songs, combining warmth and melodic clarity with the band’s characteristic sense of gentle disorientation.

By this point, Mercury Rev had established a distinctive musical identity that could not easily be reduced to a single genre. Psychedelic rock, chamber pop, dream pop, experimental music and American roots influences all formed part of their vocabulary.

Exploring New Territories: “Snowflake Midnight” and “Strange Attractor”

In 2008, Mercury Rev returned with two companion releases: “Snowflake Midnight” and “Strange Attractor”. The former embraced electronic textures and a more synthetic, atmospheric sound, demonstrating that the band were still interested in exploring new possibilities. The accompanying “Strange Attractor”, released as a free digital album, offered instrumental explorations that further emphasized their experimental instincts.

These releases reflected a willingness to take risks, even when the results differed considerably from what longtime listeners might have expected. Mercury Rev had never been a band interested in repeating the same album indefinitely. Their music could be delicate, electronic, psychedelic or orchestral, but it continued to revolve around atmosphere, emotional suggestion and the unexpected connections between sounds.

Returning to the Light

After a seven-year gap between studio albums, Mercury Rev released “The Light in You” in 2015. The album marked another chapter in the continuing evolution of Donahue and Grasshopper’s musical partnership. By this stage, the two had become the band’s central figures, supported by additional musicians and collaborators. “The Light in You” revisited the melodic and psychedelic elements that had defined much of their later work, while incorporating contemporary production and atmospheric electronic details. It was a reminder that Mercury Rev’s identity had never depended on a fixed lineup or a particular instrumental arrangement. Instead, their music emerged from the creative relationship between two musicians who had spent decades exploring the boundaries of sound and melody.

A Tribute to Bobbie Gentry

In 2019, Mercury Rev released “Bobbie Gentry’s The Delta Sweete Revisited”, a reinterpretation of the American singer-songwriter’s 1968 album “The Delta Sweete”. Rather than simply reproducing the original recordings, the band approached the material through their own distinctive musical sensibility. Different guest vocalists performed the songs, including Norah Jones, Lucinda Williams, Beth Orton and Carice van Houten. The project highlighted Mercury Rev’s long-standing connection with American roots music, an influence that had become particularly evident during the recording of “Deserter’s Songs”. It also demonstrated their ability to interpret another artist’s work without erasing its original character. The album was both a tribute to Gentry’s songwriting and a continuation of Mercury Rev’s interest in the emotional possibilities of orchestration, atmosphere and distinctive vocal performances.

“Born Horses”: A new chapter

In September 2024, Mercury Rev released “Born Horses”, their first studio album of original material since “The Light in You”. The album brought Donahue and Grasshopper back to the centre of the band’s creative world, continuing their exploration of atmospheric, psychedelic and melodic music. Its release also coincided with changes in the band’s performing lineup, including drummer Joe Magistro and guitarist and flugelhorn player J.B. Meijers. “Born Horses” belongs to a body of work that values atmosphere and emotional expression over trends. It reinforces the idea that Mercury Rev’s greatest achievement is not any single album, but the distinctive musical language they have developed throughout their career.

What makes Mercury Rev so special?

It’s not simply their ability to write beautiful songs, although they have produced some of the most memorable melodies in alternative rock. Nor is it merely their willingness to experiment, even though their early records remain remarkable examples of psychedelic and noise-rock exploration. Their true achievement lies in the way they bring these apparently contradictory qualities together. Mercury Rev understand that beauty does not have to be clean, polished or predictable. Their music can be fragile and overwhelming, comforting and unsettling, accessible and mysterious. A gentle melody may suddenly open into an orchestral passage, while an apparently straightforward song can reveal unexpected emotional depths with repeated listening.

Jonathan Donahue’s voice is central to this identity. Its high register and vulnerable delivery are not designed to dominate the music through sheer power. Instead, his singing often seems to hover above the arrangements, as if he were trying to communicate something that ordinary language cannot quite express. Grasshopper’s guitar work and instrumental imagination provide another essential element. His contributions help create the strange textures and psychedelic dimensions that connect Mercury Rev’s experimental beginnings with their later, more melodic music. Their artistic partnership has endured because neither musician appears interested in reducing the band’s identity to a single formula. Together, they have continued to explore the possibilities of sound, allowing their music to change while preserving its unmistakable sense of wonder.

Mercury Rev are dreamers, explorers and sonic storytellers whose music exists somewhere between psychedelic rock, chamber pop and the uncharted territories of the imagination. Their catalogue contains noise and beauty, melancholy and hope, experimentation and unforgettable melodies.

And their journey continues to fascinate. On October 29, the Greek audience will have the chance to experience a band that dares to experiment, explore, and express its rich spectrum of emotions, as Mercury Rev will play live in Athens, Greece at Gazarte – Ground Stage! We will be there!

Το άρθρο MERCURY REV: PSYCHEDELIC DREAMS, BEAUTIFUL MELANCHOLY, SONIC WONDERS εμφανίστηκε πρώτα στο Myth Of Rock.

by Tasos Bouhoutsos

Founded in 1983 by drummer Marky Edelmann (Marquis Marky), the band initially featured a different line-up before Marky reformed it in 1985 with bassist Ron Broder (Ron Royce) and guitarist Tommy Vetterli (Tommy T. Baron). This trio would go on to define Coroner’s classic era, establishing an unmistakable identity built on technical control, unusual structures and a willingness to look beyond thrash’s traditional boundaries. The band also had early ties to Celtic Frost, whose Tom G. Warrior contributed vocals to Coroner’s “Death Cult” (1986) demo.

Their first albums chart a remarkable progression. “R.I.P.” (1987) delivered a raw, high-speed tech-thrash attack, while “Punishment for Decadence” (1988) introduced greater intricacy and compositional ambition. “No More Color” (1989) refined that approach, bringing tightly interlocked rhythms and elite guitar work to the forefront. Ron Royce’s flexible bass lines and distinctive vocals gave the music a character that technical precision alone could never define. By “Mental Vortex” (1991), Coroner balanced their technical edge and musical experience with progressive elements, driving rhythms and atmospheric depth. “Grin” (1993) shifted towards more minimal grooves, industrial textures and a restrained, mechanical pulse, confirming a band more interested in evolution than repetition.

Despite the respect their work earned and their indisputable influence on other artists, Coroner never achieved the wider recognition their rich catalogue deserved. They disbanded in 1996, with the members pursuing different paths, before reuniting in 2010, initially solely for live performances. Marky later stepped away due to his unwillingness to record new material, and drummer Diego Rapacchietti took his place, while Broder and Vetterli remained the band’s central creative partnership.

Released in October 2025, “Dissonance Theory” marked Coroner’s first studio album in more than three decades, reconnecting with their earlier legacy without simply revisiting it. It reflects the creative instinct that carried them from the furious velocity of “R.I.P.” to the colder, groove-driven terrain of “Grin”. Coroner remain a compelling example of technical metal shaped not by virtuosity alone, but by the need to challenge their own limits.

Following their full-scale comeback, the two upcoming shows in Greece – October 30 at Gagarin 205 in Athens and October 31 at Principal Club Theater in Thessaloniki – offer an opportunity to witness Coroner at another high point in their journey, renewed while further strengthening their lasting legacy, underscoring the unique significance of their musical presence.

THE SONIC KNOT: “Mental Vortex” (1991, Noise)

Having established their technical thrash approach across their first three albums, Coroner reached a defining point in their evolution with “Mental Vortex”, released on August 12, 1991. Its obscure, unsettling cover draws on the dark imagery of Robert Bloch’s “Psycho”, later immortalized by Alfred Hitchcock’s film. Behind this arresting first impression lies a distinctive sonic identity. Recorded at Sky Trak Studio in Berlin and mixed, produced and engineered by Tom Morris at Morrisound in Florida, the album boasts a clear, powerful production. Already renowned for his work on landmark extreme-metal releases such as Morbid Angel’s “Altars of Madness”, Sepultura’s “Beneath the Remains” and Nocturnus’ “The Key”, Morris gives Coroner’s intricate arrangements a sharper, more vivid sound while preserving their precision and individuality.

Opening samples give way to an exposed guitar line whose gritty yet bright tone immediately draws the listener into the album’s atmosphere, while the drums combine force and precision with intricate patterns and finely judged fills. Ron Royce’s grainy, almost otherworldly voice completes the amalgam, its expressive phrasing lending the songs an unaffected theatricality. Discreet keyboards and atmospheric samples further reinforce the tension and momentum of the album’s restless, circular motion, echoing its conceptual vision.

Progressive rock sensibilities, subtle jazz inflections and avant-garde ideas enrich the arrangements, while infectious grooves and bursts of aggression add dimension without diluting its unapologetic sharpness. Firmly rooted in technical thrash, “Mental Vortex” expands Coroner’s vocabulary through shifting tempos and interweaving riffs that keep the listener absorbed. “Divine Step (Conspectu Mortis)” sets the tone with precision, while “Son of Lilith” and “Metamorphosis” showcase the band’s command of majestic contrast. “Sirens” stands apart, pushing progressive thrash towards a powerful, post-punk-inflected crescendo. The closing cover of The Beatles’ “I Want You (She’s So Heavy)” feels like a both a natural and twisted extension of the album’s hypnotic pull, though its status as the only track to receive a video clip may have limited the album’s promotional potential.

“Mental Vortex” captures Coroner at their creative peak, bridging earlier technical precision and later experimentation. Its enduring impact lies in a distinctive, absorbing sound that rewards those seeking quality beyond the bright lights.

Το άρθρο CORONER – DISSONANCE, SYMMETRY, RENEWAL εμφανίστηκε πρώτα στο Myth Of Rock.

by Dimitris Zacharopoulos

What does the electric guitar mean to you personally? Is it more than an instrument?

Absolutely. For me, the electric guitar is a way of expressing things that I sometimes cannot put into words. It’s a voice, an extension of my personality, and a way to communicate with people. I’ve always believed that music can say things that words simply cannot. The guitar has been part of my life for so long that I don’t really see it as a separate thing from who I am.

Do you remember the first guitarist who made you want to pick up a guitar and play? In your opinion, are there any new guitarists that stand out? Name three of them please!

Stevie Ray Vaughan was the guitarist who really made me want to pick up a guitar and play. There was something incredibly powerful about his playing. The tone, the attack, the phrasing, the emotion — everything felt so raw and honest. He showed me that the guitar could be much more than an instrument. His influence on me goes beyond the notes he played. It’s about the way he made you feel every single one of them.

As for today’s guitarists, I’d mention Eric Gales, Kingfish and this guy, Ariel Posen. They all have very different approaches, but what I appreciate about them is that they have their own identity. That’s what excites me most about a guitarist.

Stefanos, Sakis, Babis, you all participate in Guitar Experience vol. 4. What do you think connects the three of you as guitarists?

I think what connects us is our love for the instrument and the need to express ourselves through it. Of course, we all kinda have different musical backgrounds, influences, and approaches, and that’s exactly what makes an event like this interesting. We’re there to share our individual musical worlds with the audience. At the end of the day, the guitar is the common language, but everyone has their own story to tell.

How has your relationship with the guitar changed since you first started playing?

When I started, I was fascinated by the instrument itself and by the guitarists I admired. I wanted to learn, improve, and discover what the guitar could do. Over the years, my priorities have changed. Today, I’m less interested in what I can play and more interested in what I have to say through my playing. You learn that sometimes one note can be more powerful than a hundred. The journey is never-ending, but the older I get, the more I value simplicity, honesty, and personality.

Blues, rock, funk, jazz, instrumental music, all meet in your musical worlds. How important is it for you to keep experimenting instead of staying inside one genre?

It’s extremely important. I’ve always loved blues and rock, and they’re a huge part of my musical identity, but I don’t want to put limits on myself. Music has no borders, and I get excited when different influences come together naturally. You can take the raw emotion of the blues, the energy of rock, the groove of funk, and the harmonic possibilities of jazz, and create something that feels completely your own. I’m not interested in mixing genres just for the sake of it. I want everything I play to feel honest and natural, whatever the influences may be.

You have all played with many different musicians and in very different environments. What have other musicians taught you about playing the guitar that you could never have learned alone?

Playing with other musicians teaches you to listen. You can spend hours practicing alone, but you can’t fully learn interaction, chemistry, timing, and the ability to react to another musician until you’re actually playing together. You learn when to lead, when to support, and when to leave space for someone else. Some of the best musical moments happen spontaneously, when nobody is trying to control everything. Those experiences have taught me that being a good guitarist isn’t just about what you play — it’s also about what you make possible for the other musicians around you.

How different is playing guitar on stage in front of an audience from playing in the studio? Which one brings out the best in you?

They’re two very different experiences, and I love both for different reasons. In the studio, you have the opportunity to explore details, experiment with sounds, and work on the smallest aspects of a performance. On stage, everything becomes more immediate. There’s energy coming from the audience, and every night is different. You have to trust your instincts and embrace the moment. If I had to choose, I’d definitely go with live performance. There’s something unique about the energy exchange between the musicians and the audience that you simply cannot recreate in the studio. I love the spontaneity, the freedom, and the fact that anything can happen in the moment. That’s where I feel most connected to the music, and I believe that’s where I express myself best as a guitarist.

You will share the same stage at Guitar Experience 2026. What are you personally looking forward to hearing from the other two guitarists that night?

For me, these kinds of gatherings are always like a masterclass. No matter how long you’ve been playing or how much experience you have, there’s always something to learn from other musicians. Everyone has a different approach, a different sound, and a different way of expressing themselves through the instrument. I’m really looking forward to hearing Stefanos and Babis, discovering their musical worlds, and sharing that experience together. I believe that when musicians with different personalities come together, everyone walks away with something new. And that’s one of the most beautiful things about music — you’re always learning.

Why should Greek fans not miss the Guitar Experience vol. 4 event? Send a message to them!

Because this is a chance to experience the electric guitar up close, through three different musical personalities, each with a different story, sound, and approach. It’s not just about technique or guitar solos. It’s about energy, expression, creativity, and the connection between musicians and the audience.

If you love the guitar, rock, blues, or simply live music played with passion, come and be part of it. Bring your ears, your energy, and your love for music. We’re looking forward to sharing a great night with you. See you there!

Το άρθρο GUITAR EXPERIENCE VOL. 4: SAKIS DOVOLIS – LET THERE BE GUITAR (interview) εμφανίστηκε πρώτα στο Myth Of Rock.

by Dimitris Zacharopoulos

photos by Iro Kalligeri (@irokalligeriphotography)

The promoter’s decision to hold the concert indoors proved to be absolutely right and successful, as the Purple’s show coincided with bad weather. This Autumn evening in Athens was rainy, which would have caused considerable inconvenience for everyone. So, on Tuesday afternoon, we headed to the concert equipped with an umbrella and soon found ourselves inside the venue. Although it was a regular working day, quite a few people had already gathered in the arena and the stands of Telekom Center. Nothing was going to stop the fans from enjoying Deep Purple, and the venue soon filled up, as we will see below.

The opening act was Jayler, an English band from the West Midlands, formed in 2022, who released their debut album, “Voices Unheard”, just a few months ago. From the moment they stepped on stage, it was clear that they play hard rock influenced by the ’70s and the giants of that unforgettable era! With a look and sound inspired by bands such as Led Zeppelin, Aerosmith, Free, AC/DC and others, the quartet delivered a fantastic performance and played really well. Their songs, some simpler and others more adventurous, were thoroughly interesting, while their performances, full of passion and a rebellious spirit, transported us back to the days when hard rock was flourishing. It was as if they had travelled from the past to the present in a time machine! Jayler proved to be the ideal band to open for Deep Purple! We had a great time with them, they really warmed us up, and I have to say I would have loved to hear them play for quite a while longer!

After the pleasant surprise that the young guys in Jayler had been for us, our minds turned back to the evening’s great headliners. The last time we had seen Deep Purple, they had been really good, and Simon McBride had been a revelation. We were hoping they would deliver the same kind of performance again and that Purple would be in good shape. And that’s exactly what happened! When the intro started playing on the video wall behind the stage, an entire arena felt the chills. Slowly, Deep Purple appeared before us, and the place went wild! “Highway Star” was chosen as the opening song, and the concert couldn’t have got off to a better start. Roger Glover, Ian Paice, Ian Gillan, Don Airey and Simon McBride were standing right in front of us, and you can imagine how emotional the moment was! However, it was clear that Gillan was struggling. At first, his voice wasn’t particularly strong or in great shape, but he gradually warmed up and improved considerably as the show went on. Glover and Paice were the ultimate rhythm section, McBride impressed us with his flawless playing and Airey painted beautiful musical pictures with his keyboards! The setlist was superb, featuring many of the band’s classic songs, as well as tracks from their latest album. Among others, we heard “Into the Fire”, “Smoke on the Water”, “Space Truckin’”, “Lazy”, “Sometimes I Feel Like Screaming”, “Perfect Strangers”, and more. The crowd sang, danced, went crazy, and gave the hard rock veterans the adoration they deserved. The instrumental solos were fantastic (Airey once again paid tribute to us by playing the theme from “Zorba the Greek”), the five musicians were full of energy, and the whole concert had a festive, magical atmosphere! The production was also top-notch, with flawless sound and lighting. And so, the concert came to a triumphant end, with Deep Purple bringing down the curtain after “Black Night”.

And so, a great concert took place, one that has already been written in golden letters in the concert history of our country. Deep Purple were magnificent, delivering a performance worthy of their immense legacy and legendary name! Deep Purple forever!

Το άρθρο DEEP PURPLE, JAYLER – TELEKOM CENTER, ATHENS, GREECE – 13/10/2026 εμφανίστηκε πρώτα στο Myth Of Rock.

by Dimitris Zacharopoulos

Do you believe a guitarist needs great technical skills to create something that really moves people?

I don’t believe so. One can master all the techniques, but as you touch another human soul, be just another human soul. What we are as people is what moves people.

How important are your personal experiences, emotions and memories when you write or improvise music?

Most important. Our music can be nothing more and nothing less than what we are as people.

Blues, rock, funk, jazz, instrumental music, all meet in your musical worlds. How important is it for you to keep experimenting instead of staying inside one genre?

Music is alive and therefore does not fit into labels which serve mainly as marketing plots anyway. Trying to stay in one genre is like thinking about how you are going to name the baby while you are making love.

What makes a great guitar solo for you? Is it technique, tone, feeling, melody or something completely different?

A clear incentive to express ‘the imponderables’ with sincerity and abandon.

You have all played with many different musicians and in very different environments. What have other musicians taught you about playing the guitar that you could never have learned alone?

Everything really.

Gear is obviously an important part of the guitarist’s world. How much does the right guitar, amplifier or effects setup affect your creativity and your playing?

Truth be told, not much. It is usually our ego getting in the way, not the gear. Coltrane once said you can play a shoestring if you are sincere.

If the three of you had to create one song together, what would you like it to sound like? Would it be blues, rock, funk, something completely different—or all of these together? Hopefully we’ll get to create something together on the 8th of November. I have no idea how it will sound like but I can’t wait to hear it.

Why should Greek fans not miss the Guitar Experience vol. 4 event? Send a message to them!

If nothing else, gifts will be drawn!

Το άρθρο GUITAR EXPERIENCE VOL. 4: BABIS TYROPOULOS – LET THERE BE GUITAR (interview) εμφανίστηκε πρώτα στο Myth Of Rock.