Yeah, it’s that time again! Time for another Singles Night at my Virtual Hot Tub. These nights are always huge amounts of fun, with some rockin’, some ripe cheese and some surprises. Plus the occasional dud, just to keep me on my toes.
Recap time, for the newbies: Singles Night is all about digging into my collection of 7 inch singles, which have come into my possession from various sources. I play through the pile, one after the other, A side then B side. There’s all sorts of genres and styles in that pile and sometimes the unexpected CAN happen.
So grab the’sen a drink (I recommend the booze) and let’s see what we get in this pile of 45rpm glory…
Royal Blood – “Limbo” / “All We Have is Now”
The Cult – “Spiritwalker” / “A Flower in the Desert”
Zodiac Mindwarp & The Love Reaction – “Planet Girl” / “Dog Face Driver”
Slade – “Mama Weer All Crazee Now” / “Man Who Speaks Evil”
Kevin The Gerbil – “Summer Holiday” / “Hawaiian Holiday”
Boney M – “Belfast” / “Plantation Boy”
Elton John – “Part Time Love” / “Cry at Night”
Chas & Dave w/ Rockney – “Strummin'” / “I’m in Trouble”
Showaddywaddy – “Rock’n’Roll Lady” / “I’m a Traveller”
Suzi Quatro – “She’s in Love with You” / “Space Cadets”
Chuck Berry – “My Ding-A-Ling” / “Let’s Boogie”
Queen – “Hammer to Fall” / “Tear It Up”
Def Leppard – “Animal” / “Tear it Down”
Queen – “I’m Going Slightly Mad” / “The Hitman”
Gary Moore – “Parisienne Walkways” / “Fanatical Fascists”
Music from ‘The Sting’ ft. Marvin Hamlisch on piano – “The Entertainer” / “Solace”
Showaddywaddy – “Heartbeat” / “Lucy Jane”
David Soul – “Silver Lady” / “Rider”
Frank Sinatra – “I Believe I’m Gonna Love You” / “The Only Couple on the Floor”
Hot Chocolate – “You Sexy Thing” / “A Warm Smile”
Who wants to guess the lamest track of the bunch? If you guessed Kevin the Gerbil’s song, you’d be dead wrong! I’m a lifelong Roland Rat Fan and anything from his world is golden to me. In actual fact, there’s noting awfully cheesy on that last – certainly not Chas & Dave or Showaddywaddy, either.
Starting off bang up to date with a great single from Royal Blood, the rock genre delivered the goods with bangers from The Cult, Zodiac Mindwarp, Queen and Def Leppard. I’ve only just noticed that Queen wanted us to “Tear It Up” whilst the Lepps wanted us to “Tear it Down” – crazy!
Talking of crazy, I love Slade and that single was a gift from my pal Greeny at his wedding (it was number 1 when I was born). A happy addition to the collection.
Another fun night, it got a bit hazy with the beverages piling up. I’ll keep you posted with more of these soon.
The last time I was at Wales Comic Con in Wrexham was back in August 2022, and a lot has changed since then. That last event I called “a triumphant return”, though it seems that everything moved back to the substitute venue in Telford. Now the convention appears to be back in North Wales for good, which I’m very happy about.
I mean, I don’t even know where Telford is. Somewhere near Birmingham, I think, so a couple of hours away. Whereas Wrexham is fifteen minutes away from home. It’s easier for me to get to Liverpool, so why would I go to Telford?!
Wales Comic Con was certainly more modest this year. I could tell right away, as I was able to park on the University grounds. The event was reduced to just one sports hall, rather than sprawling over the campus. There were less people milling about, which was actually a bonus, as in previous years the halls could get very crowded.
As always, there were plenty of vendors selling all manner of wierd and wonderful merchandise. My family and I had a right old time adding paraphernalia to our respective collections, and were well satisfied by the wonders on offer.
Our only issue with the event was that some of the celebrity guests had cancelled. In particular, Christopher Lambert of Highlander and Greystoke fame was a temptation we couldn’t resist. I’ve given up on the celeb autograph hunting game as an expensive disappointment, but I was ready to come out of retirement for Connor McLeod.
Unfortunately, M. Lambert had cancelled his appearance (possibly some time earlier), though there had been no warning from the event organisers. In fact, event staff on the day were somewhat vague as to whether he’d cancelled or not. Refunds will be provided, but the Highlanders absence was quite a blow. This was not a kind of magic.
The cosplayers saved the day, as always, with some great displays of imagination and creativity. There were fewer than previous years, obviously, but were still very impressive. Thanks to everyone who posed for photos!
A reminder re the photos on this blog: I am not a professional photographer. I have a nice (but old) camera, and I’ve recently been beset with technical difficulties. My trusty PC has died and I’m cobbling this together on an old laptop running Windows 7 and no photo editing software. So I hope the pics are OK – feel free to share etc as you please, cosplayers.
In conclusion, it was great to have Wales Comic Con back in it’s proper home, and despite a few issues, we all had a great day. Let’s hope the move back to Wrexham will herald a return to form and this convention can get back on its feet.
Deathchant – Thrones RidingEasy Records Release date: 13/10/2023 Running time: 37 minutes Review by: Alun Jones 8.5/10
OK, so this one’s a grower. This is the third album by Deathchant, and it started as “good” but progressed to “great!” pretty smoothly after a couple of listens. There’s a lot going on with “Thrones”, and it wasn’t necessarily what I’d assumed beforehand. Yes, there’s heavy, sludgy grooves and psychedelic shine as would be expected, but it’s tempered with a classic rock sensibility that adds both power and gravitas.
This is personified most obviously in tracks such as ‘Mirror’ and ‘Chariot’, both of which come ferociously pounding out of the gates and boast a melodic lead guitar that reminded me (very pleasantly) of Thin Lizzy. There’s also plenty of crunch in those tracks, and the doomier sections of the title track, which builds brilliantly within its 7 minutes and 40 seconds of contrasting ooze and fast paced rock.
It was the track ‘Mother Mary’ that first grabbed my attention, though. This relaxed, more introspective track, tucked away at number 4 on the playlist, immediately convinced me that there was much more going on with Deathchant than I’d immediately suspected. Anyone with any class can tell you that Sabbath’s ‘Planet Caravan’ is a momentous, pivotal track on ”Paranoid”, and it’s the same here. ‘Mother Mary’ quietly entices the listener into a different, dream-like realm.
‘Hoax’ does the opposite, waking the listener up with a jolt – and the album closes with the heaviest song of the lot, ‘Tomb’, part doom march and part striding, muscular beast. The vocals can sometimes seem a little low in the mix, but overall the finished work has enough twists and turns to ensure we’re always engaged.
As an album, ‘Thrones’ teases at first and will full-on deliver if you give this album a little time. Crafting together gloomy proto metal and snazzy classic rock frills, Deathchant have created something original – it’s thrilling and cathartic at the same time.
Imagine, if you will, a baked pie that tastes so good, it can stop crime and make the streets safe. A flavour so amazing that evil doers will stop in their tracks and abandon their crazy schemes of chaos and destruction. Such a pie does exist: it is the Hostess Fruit Pie.
We’ve discussed the joy of Hostess products on this page a while back, when I considered the not inconsiderable charm of the Twinkie. But for me, the true classic is the fruit pie.
Hostess Fruit Pie
I first ate one of these amazing creations in my late twenties, on my first trip to the USA. Available in several flavours, it was the cherry version that quickly became my favourite. The others were OK, but cherry was supreme.
Like the Twinkie, I was first made aware of the Hostess Fruit Pie via advertisements in Marvel and DC comic books, that I read as a kid. After years of drooling over these unobtainable treats, I finally got to try one on that American trip.
They are now available in the UK, the sample pictured here was bought from an American sweet shop in Chester. They still taste great. If you get chance, and if tooth destroying sweetness is your thing, I suggest you indulge in the Hostess Fruit Pie.
Here’s an example of one of those adds that hooked me in as a child. Each one featured an established superhero foiling the plans of some wacky menace with the assistance of the pie (or Twinkies, or Cup Cakes, whatever). Marketing genius. It took me twenty years and a flight across an ocean, but eventually the pie would be mine.
Poland’s mighty Dopelord return with a humongously heavy album of slow rolling, occult driven doom on “Songs for Satan”. Released via Blues Funeral Recordings, they’re celebrating the work of Lucifer in their temple of stoner sludge, and you’re invited. Throw on your hooded robes and join the throng!
Of course the songs are slow and heavy, and Dopelord manage to stamp their mark on the stoner-doom template by adding melody to their powerful, drawn out compositions. Whilst the music rumbles along demonically, the vocals add a surprising, idiosyncratic sheen. ‘Night of the Witch’ is executed in perfect, scuzzy doom style. ‘Evil Spell’ is skull crushingly heavy, but both tracks feature sing along choruses that will steal your soul as well.
It’s difficult to get all the lyrical intent on this album without a lyric sheet, but it’s safe to say that the message here is a direct and scathing criticism of the Catholic church in Dopelord’s home country. Whereas many a doom band is content to revel in Hammer Horror/Dennis Wheatley themes, Dopelord have taken this typical 1970s influence and added a real-world attack on religion too.
The album is book-ended by instrumentals, the latter of which, ‘Return to the Night of the Witch’, comfortably re-establishes “Songs for Satan” in the dreamlike, mellotron-soaked occult realm. It’s a fine album, melding inexorable, fuzzy doom with themes of devil worship and hellfire. Dopelord’s latest is genuinely well crafted, spell binding stuff. I wouldn’t bother sending them a Christmas card, though.
Pentre Fest is a big deal to me. And I’ll bet it means a lot to plenty of other people too, who are just as keen to enjoy this festival of underground – but not unloved – metal bands. I look forward to this event every year. I mean, after the Christmas festivities, how else are you gonna survive the misery of January?
Yours truly was the lone representative for Ever Metal at Pentre this year, so all the reviews were my responsibility. I tried to see as many acts as I could, but it wasn’t always possible. And so I can cover as much ground as poss, the summaries will be short and sweet this year. But trust me, I’ll keep you on the straight and narrow.
The festival began on Friday evening, Edd Case and his acoustic set on the new outdoor Keymo stage being my introduction. It’s a proper stage this year, with steps and everything. Edd played a great set of acoustic tracks, including some Maiden, Neil Young (nice Soundgarden segue/tribute) and plenty more. Most impressive.
Heading inside, Omega Throne was on next. Their set was an exciting blend of Death/Black Metal, with some intriguingly dark, gothic elements peppered through the songs. A great set that combined power and fury with a little mystique.
That was followed by the lunatic genius of Mad Spanner. Now a one-man band of crazed thrash metal with a backing track, Mike aka Mad Spanner offers brilliant musicianship, wry humour and furious energy. I’m still recovering from this set, God know how he does it.
Back inside and Bloodmores were up next. This was a great set of pounding, heavy Thrash/Death metal, excellently played and with a surprising amount of foot stomping groove.
Tonight’s original headliners, I Saw The World Burn, were sadly unable to play. We sincerely hope all is well in that camp. At the final hour, however, Cadence Noir were able to fill the headline spot with their gothic tinged folk punk’n’roll. Cadence can always be counted on to get everyone jumping and jigging around, and they did a fine job of finishing Day the First of Pentre Fest.
Saturday’s wake-up call was DAM.G, alias Rob from Thrashatouille’s “grown up band” (not my observation, but one overheard on the day!). A melting pot of progressive metal with Rob’s growl augmented by phenomenal female co-lead vocals, it was certainly a powerful and memorable set.
Outside was a pleasant surprise: the disco funk of Mrs Gizlo. Who’d have expected that? Not me, but it was great fun to hear something different and it certainly got the crowd moving.
In Which It Burns took to the indoor stage next, and gave as a relentless set of thrash metal. It was only mid-afternoon and these Pembrokeshire ragers delivered the goods with super-fast, aggressive tracks. Nice work.
Liverpool’s Ogun were on the main stage next, with some meaty thrash metal of their own. Fast and brutal, I really enjoyed these guys and their total take-no-prisoners approach. Wish I’d bought a t-shirt.
It was freezing outside, so deep apologies from me to the various artists I missed outside, whilst huddled inside with a pint. North Wales Deathcore deviants Dystopian Sun kept the fires burning with some intense yet bouncy metal that roared by like a Sasquatch driving a stolen pick-up truck.
Rule of Six had an early start on Saturday morning. Whilst most of us were still hiding from encroaching hangovers, these lads set off at 4am to get from Northern Ireland to North East Wales for this gig. I’ve never seen so many guitars on stage (four plus a bass!) but all Rule of Six’s instruments were well employed, with their melodic metal proving an uplifting and thrilling experience. Maiden comparisons are a bit obvious, but apt. Great show and nice contrast to much of the bands so far.
From one band who crowded out the main stage, to another band who spent little time on it: Broken Jaw refused to be restrained and preferred to wander around the room! Their blend of punk energy and attitude with metal riffery made sure no-one in the audience was allowed to put their feet up.
Afterward, I dared to make a rare venture outside to witness Skinflick, who I’d heard very good things about. This two-piece outfit gave us some filthy Industrial EDM dripping with sleazy beats – another very cool divergence from the expected.
Beyond Salvation made their way to Pentre from Manchester, and pretty much laid waste to all with a blistering set of thrash metal. The band were both brutal and energetic, with superb playing, that kept the gig going on full steam. There was no chance for the audience to flag here!
I’m actually gutted that I missed SOOTO out on the Keymo Stage. Blame the cold, blame the drink, blame me for being useless: I should’ve been there, sorry. Can we get SOOTO back please? I promise I’ll pay attention this time.
Every year at Pentre Fest, there’s at least one band that I go full-on Fan Boy for. This year’s recipients of the accolade were the amazing Struck/Down, who played huge sounding groove metal riffs that immediately had me hooked like a fish. For me, Struck/Down were the best band of the weekend by a distance. T-shirt purchase? Tick. CD purchase? Tick.
Finally, our last band of a fantastic event were Extreme Metal leviathans Krysthla. The foot was down on the pedal as Krysthla hurtled us through the last set of the weekend with a rapid fire, unrelenting batch of songs.
And that was it, Pentre Fest was over for another year. I’ve been downhearted ever since, missing the camaraderie and fell-good vibes of the event – not to mention the out of this world music. Thanks and huge respect to Fozzy and Beany, North East Wales Metal Productions, McClean’s, and all the bands and crew who made this happen.
Whitby is a beautiful seaside town in North Yorkshire, England. Facing the North Sea, the port is surrounded by streets of old buildings and framed by the church of St. Mary and the ancient, ruined abbey, over looking all that sits below. It’s a lively and welcoming town that offers a wealth of history and a vibrant atmosphere.
One of several claims to fame that Whitby can boast is it’s enduring connection to the story of Dracula. The book’s writer, Bram Stoker, visited Whitby and was inspired by the local scenery and folklore in creating his novel and the infamous character. With the Count now deeply entrenched in popular culture, it’s often a surprise that his original site of landing in England was this Yorkshire fishing port.
Whitby Harbour
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Of course, the Whitby Goth Weekends – which take place twice a year – celebrate the connection to the Lord of Vampires, but our trip wasn’t timed to coincide with those events. It was Mrs Platinum Al’s birthday trip to a place she’d wanted to visit for years, with or without Goths.
I’d been once before on a school trip in the early 1980s. Back then, the Dracula association wasn’t clear to me, though the memorial to explorer Captain James Cook was. Stoker’s Dracula is my favourite book, so that was the primary inspiration for both of us on this trip.
The town is full of old pubs, new yet stylish bars, cafes and bistros. We ate very well on our trip, particularly the fish & chips. The tantalising smell of fish & chips whilst exploring the streets was incredible – highly recommended to enjoy some on your visit. We ate in The Magpie, right on the harbour front, and the food was excellent.
There didn’t seem to be many big brand, typical high street shops. Instead, we found many small independent establishments, with lots of antique and curiosity shops that provided plenty of wonder. There were a handful of the usual seaside souvenir shops, plus several shops selling alternative/goth/rock gear of every imaginable variety. The Child was very impressed and spent a small fortune.
199 StepsGraveyard
The highlight of our Whitby trip was appreciating some of the local features that famously appear in Dracula. We walked up the 199 steps to the graveyard – not easy, but less exhausting than it sounds. Naturally (for any Dracula fan, at least) we had a look round the graveyard, and St. Mary’s church as well.
Although in ruins, the Abbey at the very top of the headland is an ominous sight: it’s easy to imagine Stoker being inspired by the view. It was dark and foreboding on the day we visited – which was entirely appropriate – but fascinating never the less. We were also able to pick up some brilliant merch in the giftshop!
One final attraction I’ll mention was the Dracula Experience, which has a kind of Haunted House/Ghost Train at the funfair feel. It was there I saw a cape once worn by the legendary Christopher Lee when he played the Vampire Count. Other than that, we practically ran through the entire attraction, driven by the fear of whatever lurked in the dark and may jump out at us. Great fun!
Our Whitby roadtrip was pretty much perfect, with something for everyone. From the quaint and historic views, to the great food and warm welcome, we all thoroughly enjoyed our visit and will definitely return. Goth weekend next, maybe?
Yawning Man are one of, if not THE, originators of Desert Rock. Born from jam-style generator parties way out in the desert, this band pioneered the sound that would later be adopted by Kyuss, Fu Manchu and many others. Ripple Music are reissuing the “Pot Head” EP, on vinyl and CD, for the first time in like, eons, man. And it’s a great listen.
“Pot Head” consists of four instrumental tracks, illuminating the template that others would follow. Free form, jammed compositions that stretch out into the vast, starry night. Awash with psychedelic flourishes, there’s a cinematic feel to songs like ‘Manolete’ and ‘Digital Smoke Signal’. The listener can grasp the improvisational vibe, close your eyes and you’re a world away from anywhere as the music spirals endlessly into the universe.
Wow, I was off in the moment there for a moment reader. How unprofessional – I do apologise. I love the fact that all four songs are instrumental, ‘cos as we all know that the singer is the least important member of any band. No vocals equals a psyche freak out that incorporates samba rhythms, wailing reverb drenched guitar and no distractions from the dusty, spaced out shenanigans.
Emergency! Emergency! Quick – this is urgent! Due to a slight administrative cock-up (that might be my fault, I’m not telling), a review for this reissue of Trouble’s classic third album almost slipped through the net. But there is no way I’m going to let that happen. Absolutely everything Trouble related should be treated with total respect and receive the maximum coverage. Hence, here’s my review to commemorate the re-release of this landmark album.
Metal Blade, who released the original version of “Run to the Light” in 1987, have been gracious enough to give us all a chance to rediscover this album from Chicago metal legends Trouble. Trouble is, as I’m sure you know, one of the great doom metal bands that originated the style back in the eighties – before the sub-genre even had a name. Whilst everyone else was speeding up and thrash metal was coming to the fore, Trouble were one of the few bands who took their inspiration from early Black Sabbath. They played slower, griding riffs resonating with melancholic power.
‘On Borrowed Time’, with its funereal intro and gloomy pace, illustrates the Trouble template well: and features a revved-up section in the latter half. The title track has a bouncy intro riff reminiscent of ‘Symptom of the Universe’ that’s married to a crushing, slower section. It’s this multi part approach to song writing, contrasting sections of heavy and light, that most recalls Tony Iommi and crew. Trouble isn’t directly stealing guitar lines or concepts, it’s the spirit and craft of Sabbath that they emulate.
The bonus tracks in this Expanded Edition include three demos of album tracks that are interesting, but for fans only. The real curio is the cover of The Beatles classic ‘Come Together’, which originally appeared on “The Best of Metal Blade Vol. 2” in 1987. Fans of the band will be aware of Trouble’s affection for 60s psychedelia, so this track will make perfect sense. ‘Come Together’ is no real surprise – it sounds exactly how you’d imagine it would – but it’s a nice temptation for the faithful.
“Run to the Light” offers little in the way of new gems, but to lament that would be to miss the point. It’s incredibly important to have albums like this in circulation, available for all to investigate and add to their collection. I can only apologise to the band and record label for the tardiness of my review; if it’s any consolation, I’ve already bought a vinyl copy to cherish (to go alongside my ancient CD copy). I’d encourage readers to buy a copy of this Trouble album and indulge in the joy of doom.
Welcome back, folks, to Platinum Al’s Punk Rock Corner, here at Ever Metal HQ. The eagle eyed and elephant brained amongst you will recall that we’ve already reviewed some of these UK Subs albums, although that was in their delicious vinyl form. This time around, our mates at Cherry Red have lovingly curated a 5 CD set of Subs albums, together with a healthy bunch of bonus tracks to make this a tantalising package.
We’ve already discussed, in previous reviews, how UK Subs mastermind Charlie Harper has overseen an alphabetical run of albums with titles from A to Z. This compilation gathers together the final parts of that run, from W to Z (though to be honest, these Subs nutters didn’t even stop at Z, they kept going). Thus, listeners are gifted with an indispensable collection that covers output from the exceptionally strong line up of Harper, Jet Taniguchi, Alvin Gibbs and Jamie Oliver (not that one).
I’d be a pretentious fool if I didn’t tackle these albums in alphabetical/chronological order, so let’s jump in with “Work in Progress”. This is probably my favourite of all the albums in this collection, though accepting the high standard on offer, I have no reason why. It’s a rambunctious bundle of high-speed punk rock: ‘Creation’, ‘All Blurs into One’; coupled with clever ventures into rockabilly (‘Eighteen Wheels’) and more. The wonderful ‘Hell is Other People’ has become something of a personal anthem for me, and it will for you, too! This disc includes seven bonus tracks, comprising some old Subs classics and new bruisers such as the joyously MC5 sounding ‘666 Yeah’.
From W we’re on to X, with “XXIV” – and more fast’n’furious punk rock shenanigans with ‘Implosion 77’, ‘Monkeys’ and ‘Momento Mori’ – just for example. The Subs aren’t afraid to go off tangent with the jangly acoustic guitar with attitude of ‘Coalition Government Blues’ and R&B energy of ‘Wreckin’ Ball’. There’s just one bonus track this time, the riotous and righteous co-operative anthem of ‘Workers Beer Company’, rounding off another solid and varied album.
“Yellow Leader” may or not have been written concerning a certain political party leader, you’ll have to listen and decide for yourself. What I do know is that this album kicks off in supreme style with the frenetic pace of ‘Sick Velveteen’, bouncy thump of ‘Artificial’ and blues punk of ‘Bordeaux Red’. ‘Chemical’ sounds almost metal, ‘Rebellion Song’ is an acoustic punk protest song and ‘Sin City Blues’ throws in some welcome Rockabilly, creating another multi-faceted and accomplished recording.
Eventually, Charlie and the lads completed their mission from A to Z, with the monster that is “Ziezo”. The end may be in sight, but the UK Subs don’t take their foot off the gas – as proven by tracks such as ‘Oligarchy’, ‘Banksy’ and ‘This Machine’ fulfilling the full throttle end of the punk rock promise. The pallet is embellished by the punk-blues of ‘Disclosure’ and jaunty ska of ‘City of the Dead’, delivering a fine album that’s accomplished and enjoyable.
So we’ve reached the end of the alphabet, kids – but that’s not quite the end of our story here. The set also includes “Acoustic XXIV”, an album comprising of acoustic tracks that were originally packaged with a limited edition version of “XXIV”. I had assumed the songs here would merely be acoustic versoins of songs from that parent album, but far from it. There are 13 songs making a surprisingly great change of pace. Comprising of folk punk (‘Sleeping Rough’)’ and protest songs (‘Stop Global War’), it’s an accomplished and satisfying listen in it’s own right. I could image Johnny Cash having a go at ‘Higher Tide’, and I think that’s some compliment indeed.
Who would’ve guessed that the UK Subs would actually fulfil their aim and complete this bonkers endeavour, releasing an album for every letter of the alphabet? Punk rock wasn’t supposed to burn this brightly for so long, but it has. What’s more, the UK Subs haven’t let their standards slip – these final albums in the run are as strong as anything they’ve released in their long career. Genuinely brilliant. Ladies and gentlemen, I present to you – UK SUBS.
Platinum Al's Virtual Hot Tub 