Russian heavy metal pioneers Aria decided to re-record their two studio albums featuring former singer Arthur Berkut with the current line-up featuring singer Mikhail Zhitnyakov. In a certain way, this is a lack of respect for the former singer who had put his heart and soul into the original performances and who had done an excellent job in my opinion. This is also the main reason why this re-recording is controversially discussed on the internet these days.

From a more objective point of view, the material is still great and the album has aged very well. The songwriting varies between epic heavy metal anthems over energetic short tracks to heartfelt ballads. The production is different from the original version as this album features slightly more domineering acoustic folk guitar sounds and improved atmospheric keyboard layers. This benefits the calm and epic moments on the record such as the overture of title track ''Крещение огнём'', the elegant, mysterious and plodding ''Палач'' or the passionate ballad ''Там высоко''. Overlooked bonus track ''Поле битвы'', released as a single six years after the original album, also benefits from the improved folk soundscapes.

On the other side, the traditional instruments sound less impressive than on the original version. Especially the bass guitar sound is missing some energy in certain songs. The amazing middle part of hit single ''Колизей'' sounds rather toothless here for instance. Hidden pearl ''Белый флаг'' sounds less heavy than in its original form due to unnecessary keyboard use in the post-chorus section.

As for the two different singers, we have a draw here. Both Arthur Berkut and Mikhail Zhitnyakov are charismatic and passionate melodic heavy metal singers. I have no preference here.

In the end, objectively speaking, Крещение огнём still sounds excellent seventeen years after its original release because the songs have aged very well. The acoustic guitar and keyboard sounds have improved on this release. The bass guitar and also drums sound however less impressive. The two different singers are both absolutely outstanding. At the end of the day, I would recommend you to purchase the original album version that is slightly better than this re-recording. This new release is for avid collectors and fans only.

Final rating: 90%

I usually don't review singles but Equilibrium's One Folk is a very welcome exception since it includes quite a few interesting ideas. The song has a strong message in favour of unity and against division. The experimental music video that has come along with it underlines this great idea visually as well.

The song starts with some folkloristic elements that bring back the style of the band's early outputs such as Turis Fratyr and Sagas that so many fans are missing dearly. The track soon develops into a contemporary metal song with keyboard sounds and minor electronic elements that rather recall the band's most recent records Renegades and Armageddon. This track basically finds the perfect balance between old and new Equilibrium material. Another great detail is that the song includes excerpts of Stephen Hawking's final message to the world. His inspired message blends in perfectly with the song's purpose.

On the negative side, this single focuses so much on its outstanding message that the musicianship and even songwriting is lacking in several departments. The chugging guitar riffs are everything but impressive and the rhythm section could also be a little bit more powerful. The production is a little bit lifeless and muddy. The track is also lacking a catchy or at least memorable passage. Even after several spins, the song remains difficult to get into and to be remembered.

However, the song's message is far more important than the musicianship here. ''One Folk'' is a decent song but its purpose is far more than that. The idea of unity has become more important than ever in times when people insult one another rather than having civilized discussions.

Final rating: 80%

Enslaved is a band that has always thought outside the box and offered a rather progressive take on black metal inspired by Norse mysticism, mythology and spirituality. This is why some people consider the band members pioneers while others have difficulties processing the complex music. Utgard exemplifies such conflicting reactions perfectly.

The quintet's fifteenth album contains several highlights. ''Sequence'' for instance is a surprisingly fluid song despite its numerous ideas varying from cold black metal passages to moments domineered by atmospheric electronic effects and percussive elements. ''Homebound'' is one of the band's fastest and most energetic songs with vibrant rhythm section and unchained vocals without forgetting about more atmospheric guitar melodies that make for an apocalyptic ride. The highly atmospheric and almost space rock influenced closer ''Distant Season'' even unleashes cinematic vibes that will leave a lasting impression.

Other experiments might however go a notch too far. The atmospheric choirs, dramatic clean vocals and almost sacral atmosphere in the opener ''Fires in the Dark'' makes me think of bands like Batushka. This complex tune is a grower but misplaced as an album opener. The dystopian soundscapes in ''Urjotun'' feel quite elegiac and recall groups such as Killing Joke or Ministry. The lack of structure might even draw influences from the krautrock genre. These influences sound very interesting on paper but the final result is rather difficult to digest.

In the end, Enslaved offers courageous progressive black metal on Utgard. It should appeal to listeners who like to take their time discovering an album and let it grow on them. Despite the band's open-minded approach, some experiments might go too far and sound incompatible or even inaccessible at first contact. This is why the album can be described as brave, diversified and intriguing but not as the group's greatest hour.

Final rating: 75%

Under Pressure is a surprising release by underrated American thrash metal veterans Death Angel. It's an extended play with four acoustic songs, including two rearranged songs from most recent record Humanicide and classic album Act III, an unusual cover of a song originally performed by Queen and David Bowie as well as one completely new tune.

All four songs can convince and show the talent of the involved musicians. The two playfully rearranged songs vary from their original versions and ooze with atmosphere. This kind of songwriting shows the band's courage, creativity and variability.

The cover song is an unusual choice for a thrash metal band but Death Angel has managed to keep the dynamic spirit of the original rock song alive. The fact that the original track featured two very distinctive vocalists makes some parts of the reimagined version sound a little bit unorganized, hectic and confusing in the vocal department. Nevertheless, it's impressive that Death Angel has chosen such an ambitious song and the instrumental work is flawless.

The only new song called ''Faded Remains'' blends in wonderfully and has a perfect length of about four minutes. The acoustic guitar play is dynamic, the vocals are enthusiastic and the chorus is quite catchy. Closed-minded genre elitists might claim that the band is selling out but Death Angel is rather trying out a few new experiments almost four decades into its career and it's working surprisingly well due to the talent of the involved duo.

If you like playful acoustic rock music, then Death Angel's Under Pressure should certainly appeal to you. The band deserves recognition and respect for breaking its genre boundaries and trying something new its members are actually great at. Rob Cavestany and Mark Osegueda offer seventeen minutes of quirky entertainment in a time when people are glad to change their minds and discover something new.

Final rating: 90%