Party season is in full swing – and if you need a refreshing alcoholic beverage to sip on your night out, don’t worry: Platinum Al’s got you covered! The Steamboat is a mix of sweet and tangy citrus flavours, you can’t go wrong.
I’ve seen some recipes for a Steamboat cocktail use whiskey, but at the Virtual Tiki Bar, we make this drink using Southern Comfort, lime juice and lemonade. Here’s the info:
Steamboat
Southern Comfort
Lime juice
Lemonade
Ice
Simply add a small amount of lime juice to the glass (I use a lime cordial) and carefully add some ice. Pour in two measures of Southern Comfort, then top up with lemonade (full fat works best). Garnish however you feel, a slice of lime works well.
There you go: a classic drink I never get bored of.
Again, I’m not on commission for this drink, I just want to share the appreciation with my discerning readers. Enjoy and drink responsibly.
Nebula/Black Rainbows – “In Search of the Cosmic Tale: Crossing the Galactic Portal” Split
Heavy Psych Sounds
Release date: 28/06/2024
Running time: 32 minutes
Review by: Alun Jones
8.5/10
What’s that old saying? Oh yeah, “I get by with a little help from my friends”. Now neither Nebula or Black Rainbows could possibly fail on their own, so together these cosmic psychonaut supertroopers should absolutely RULE. These guys aren’t leaning on each other, they’re building each other up to stratospheric heights.
“In Search of the Cosmic Tale: Crossing the Galactic Portal” is the longest title I’ve ever had to type (thank the gods for copy and paste). It’s a six-track album split between those two bands, and released by one of the most on-the-money record companies around at the moment, Heavy Psych Sounds. So the pedigree is off the charts.
The first three tracks are from our old buddies, the psychedelic warriors, Nebula. There are three brand new tracks here, of which ‘Acid Drop’ is the pinnacle – a chugging, unstoppable mammoth tune that’s fuzzier than a caveman’s armpits. ‘Eye pf the Storm’ chills the mood out a bit with an infectious, spaced-out groove that fits perfectly. Things get a bit weirder with ‘Ceaser XXXIV’, with a lolloping riff that wiggles into your mind.
Black Rainbows present us with ‘The Secret’, which really shouldn’t be a secret to anyone: it’s a boisterous, Sabbath style good time and probably my favourite track here. Ah, I shouldn’t pick – but there you go. The galactic groove continues with ‘Thunder Lights on the Greatest Sky’, another joyous ode to fuzz. ‘Dogs of War’ wraps things up nicely with a psych wander through the sky that gradually builds to exhilarating levels.
At just over half an hour long, this mini album/EP or whatever simply isn’t long enough. The quality of music is fantastic though, as well it should be. No surprises there. Both Nebula and Black Rainbows are awesome bands that you can trust to conjure up the goods. This beauty’s available on several different versions of sexy vinyl too, so worth shelling out for.
Many a weary old seadog has told a tale of the fearsome sea monster, the Kraken. A huge, tentacled beast, legends say it can tear a ship apart and drag sailors to a watery doom. Only occasionally venturing from the deepest of ocean depths, the Kraken is never the less dreaded by seafarers – the legend of this behemoth is ancient and terrible.
Also, Kraken is brand of spiced rum that’s actually really nice! I haven’t composed one of these drink based blogs for a long while, so with party season upon us, let’s celebrate this enjoyable spirit.
Release the Kraken!
Kraken is a spiced rum and can be mixed many ways, my favourite being with coke (full fat, of course). Ginger beer is also a god option. Kraken has a taste reminiscent of vanilla and caramel, mixed with cola it has a sweet but deep taste that’s a refreshing variation on the typical rum and coke. There are many other recipe suggestions on the Kraken website – check it out here.
I’m not on commission for this, sadly. Hope you enjoy, and drink responsibly.
Ready for something a little different? Something born from the familiar, but tantalisingly different? Then step right this way, Platinum Al has a musical odyssey that will intrigue you. We’re talking about the debut album from Devil Moon Risen, a trio out of Phoenix, Arizona, and it’s all kinds of unexpected.
We’re starting in the realm of desert rock, but Devil Moon Risen have added some spice to their chimichanga with elements of punk, sludge and doom metal. So, off we go with a thuddingly heavy, groovy chugger in ‘Bad Sketch of a Killer’ that twists into a creepy waltz and back again.
Like Primus playing QOTSA songs on an album produced by the late great Steve Albini, the songs feature unpredictable, powerful bass and thrashing guitars. It doesn’t always quite gel, ‘The Rim’ is more of a challenge to get into, but “Fissures of Men” is always surprising and brave.
When everything falls into place though, the results are superb, as with the full-on rock-out distorted delight that is ‘Shaun Powell’. Elsewhere, there’s more Frankenstein-like craziness such as ‘D.T.T.B.O.W.T.B.’, which launches like later era Danzig before offering some more laid-back grooves, then morphing to a black metal wail.
“Fissures of Men” is a journey and then some: Devil Moon Risen have taken the obvious starting point and run off in a totally different direction (or three). Whether it’s noise rock or some as yet uncharted genre of music, the album is sometimes demanding and always unpredictable. If – or when – you’re ready, “Fissures of Men” could be just the education you need.
UK Subs have been around for a while. Their roots go right back to the early days of British punk rock, incorporating dozens of albums and nearly as many band members. They’ve released an album for every letter of the alphabet, A to Z, and have played all over the world. And guess what? Despite being a fan for years, I’ve never seen them live. Time to correct that mistake, with the Subs appearing just up the road from me in Wrexham.
The Rockin’ Chair used to be known to me as Central Station, and I’ve seen a fair few bands there (such as The Damned, twice, if I recall). This was my first visit to the venue in it’s new guise, though happily not much had changed.
Our fearless support was Birkenhead based The Crapsons, who dealt a reliably fun and furious selection of fast punk rock numbers. Most songs are brief and to the point, played well and enthusiastically, with a healthy dollop of tongue in cheek humour. Highlights included ‘Fuck Off’ and its sequel, ‘Fuck Off Again’, but the whole set was energetic and enjoyable.
Yours truly popped off to the bar, where I spotted legendary UK Subs vocalist/visionary Charlie Harper, who was merrily hanging about chatting to fans. I returned after The Crapsons set, picked up a copy of the newly re-issued “Flood of Lies” album, and asked Charlie to sign it. This he gladly did, as well posing for a selfie. Seems like nothing is too much for this true gentleman of punk, Charlie happily agreed to requests with a pleasant “No worries!” What a lovely bloke.
Unfortunately my selfie was not lovely. I’m a total novice at such things, and made the classic mistake of taking the shot from a low angle. Thus, my rock’n’roll claim to fame features a smiling Charlie, but is ruined by me looking like a huge necked gorilla.
The crowd in The Rockin’ Chair had built considerably, and when the UK Subs took to the stage, there was a roar of approval. Straight away the band sent forth a barrage of songs from their vast back catalogue. Sadly, however, the sound for the frist half dozen songs was diabolical. Alvin Gibbs’ bass was phenomenal, rumbling and gliding along, but Steve Straughan’s guitars were totally lost. Thankfully this seemed to improve from ‘Down on the Farm’ onwards, with the sound coming to life.
No problems with the drums, played expertly by Stefan Häublein. And of course, Charlie was superb: a benign punk rock general leading his faithful troops over the top, on a charge into a rock’n’roll no man’s land where we could all party together. ‘Warhead’ was rousingly brilliant, everyone singing along. ‘Stranglehold’ (the first Subs song I ever heard, fact fans!) was still a blast of fresh air, all these years later.
Returning for an encore, I remember ‘CID’ and ‘You Don’t Belong’ received by an audience who really didn’t want it all to end. UK Subs persevered through sound problems with power and professionalism, giving the loyal fans an unforgettable night. Personally, I was stoked to finally hear these songs live and be part of a UK Subs audience. Fingers crossed I’ll get to do it again. Thanks to all for making this happen, it’s amazing to see classic bands of this stature in the local area.
Here go with a tasty treat, the wonderfully named Saltpig with their self-titled debut album. And who are Saltpig? The band are a duo consisting of drummer Fabio Alessandrini (formerly of Annihilator) and Mitch Davis (formerly of everyone from Mark Lanegan and U2 to Damon Albarn, crazy!) on everything else. Together they have created this mysterious yet compelling piece of work, released by the ever-reliable Heavy Psych Sounds.
The musician’s previous experience is superficially surprising, as Saltpig’s album is a rutting beast comprised of doom, stoner, psych and occult rock parts in equal measure. Filthy, fuzzy riffs and manically clattering drums are what we get, and we get it good – right from the rolling, rollicking menace of ‘Satan’s War’ onwards.
Gutsy and powerful, not bloated, the next four tracks follow the opener in a similar unforgivingly retro style. Songs like ‘Demon’ and ‘Burning Water ‘ go unashamedly full throttle, proto metal with bouncy rhythms, aggression and melody.
‘When You Were Dead’ slows the pace slightly for a classic Sabbath gloom rocker. ‘Burn the Witch’ has a slinkier, groovier feel and ticks the obscure horror film dialogue box, too. No idea where that sample is taken from, but I feel I should…
Finally, this all leads up to a mega epic called ‘1950’, nigh on twenty-minutes of repetitive, fuzz drenched pummelling guitar and distorted vocals that builds slowly, has only subtle variation for the most part and threatens to drive the listener mad. That may sound like hell to some, but I bloody loved it. It’s a dark, tormenting, almost religious experience and strangely intriguing.
Saltpig’s first album is an enigma: heavy as hell, brutal, surprising, hypnotic and fascinating. I’ve slapped on an easily deserved score of 8.5, but this could go higher over time.
November 25 1991, Manchester G-MEX. That was the last (and first) time I saw The Cult perform live. They were my favourite band and being there to witness them in person was a hell of a thrill, I was barely 19 years old and I’d never been to a gig of that scale before. Years go by, and I’m finally going to see The Cult again, this time at the far more atmospheric Apollo, rather than the cavernous aircraft hanger of the old G-MEX.
Yes indeed, it had been a long time since I saw my old mates Billy and Ian up on a stage. A lot had happened during that time – for all of us – but the music was always there.
Our support act this evening, in a seemingly incongruous move, was Jonathan Hultén. Standing solo on stage, swathed in veils and enigmatic face paint, Hultén was not what many were expecting to open the show. His music was dark, ethereal folk, with acoustic guitar and haunting vocals. At first I was intrigued, as the music continued I became thoroughly engaged. Just a few days before Halloween, this Scandinavian folk horror and gothic bombast was entirely appropriate to open this event.
More surprises, even more pleasant, revealed themselves when The Cult took to the Apollo stage – accompanied by a sample of ‘Ride of the Valkyries’ from Apocalypse Now (a genius move in itself). Launching into an earth-shaking ‘In The Clouds’, followed by ‘Rise’, from the insanely underrated “Beyond Good and Evil” album, this was not what I was expecting at all. Both songs are later entries in the band’s cannon, and sit gloriously at the heavier end of their repertoire. I adore both tracks – this was going to be interesting.
“Electric” album cut ‘Wildflower’ was next. One of my favourite Cult songs, I could’ve left at that point and been satisfied. More hard hitting classics followed with the swagger of ‘Star’ and Charlie Jones’s thudding bass introducing ‘The Witch’. New track ‘Mirror’ slots in seamlessly, then we get another mighty song from “Beyond Good and Evil”, ‘War (The Process’). All well known songs to Cult freaks like me, but not obvious choices by any means.
Billed as “The Cult 8424” – a 40 year anniversary tour – I’d expected a Greatest Hits set, culled mainly from the bands mid 80’s days. Early non-album single ‘Resurrection Joe’ was therefore no surprise, otherwise, this set spanned eras and albums confidently. Next was an acoustic ‘Edie (Ciao Baby)’ – I’ve always preferred this song in stripped down form to the “Sonic Temple” production.
‘Sweet Soul Sister’ was my chance for a quick “comfort break” – I’ve never been a huge fan. Great riff, overblown chorus! Another surprise followed, with ‘Lucifer’ from the “Choice of Weapon” record. The huge, epic riff of this song has made it one of my favourites, so a real bonus to hear live. John Tempesta on drums really powered all these songs home flawlessly, with both groove and power.
The latter part of the set delivered all the big crowd pleasers; an anthemic ‘Firewoman’, a truly captivating ‘Rain’ (surely one of the greatest rock riffs of the era), the tribal beauty of ‘Spiritwalker’. Billy Duffy, playing to a home town crowd, performed guitar magic throughout: from gutsy, gritty riffs to mesmerising yet direct, never fancy melodies. Lightning bolt energy from Ian Astbury galvanised the audience, as he revelled in the role of shamanic leader. And with a final roar through ‘Love Removal Machine’, it’s over.
Except it isn’t! Of course not, we all know The Cult will be back for an encore. But what will it be? Any more surprises?
‘Brother Wolf, Sister Moon’ is a classic track from the wonderful “Love” album, but wasn’t a single and so a very welcome reward. Finally, of course, the legendary ‘She Sells Sanctuary’ rings out and unites the crowd in a euphoric shared moment – Astbury’s air raid siren vocals leading the throng. I swear that man doesn’t need a microphone.
My return visit to The Cult’s sonic temple took a few years longer than anticipated. It was great to see them on such fine form, revelling in the classics and confident in their position as genuine, treasured heroes. What really made the gig for me though, was the sheer joy of hearing a very generous helping of less obvious, but very beloved tracks that I wasn’t expecting. No ‘Lil’ Devil’, but the rest of the set made up for it. I’ll return sooner next time.
PS: we need “Beyond Good and Evil” re-releasing on vinyl, please lads!
Delivering another deadly double dose of Halloween Horror Fest, can you take it??!
Saw (2004)
Saw is a very clever twist on the serial killer tale. Here, two dudes – strangers to each other – wake up in a grotty bathroom, chained up, not knowing how they got there, or why. Clue: they’re not on a stag night. One is Dr Lawrence Gordon (Cary Elwes), and both men are trapped, taunted by the Jigsaw Killer with a series of clues. Jigsaw is a killer who likes to test his victims tenacity – their very will to survive – in a series of “games”.
It’s very difficult to explain the plot of Saw without giving too much away. Suffice to say that the back story is revealed through glimpses, as slowly the narrative falls into place – like a jigsaw – and the mysteries of circumstances and survival are resolved.
Usually I like my horror supernatural, but I’m not adverse to a good old psycho killer story. Saw is an ingenious film, with twists and turns coming from everywhere, as the viewer pieces everything together. It’s gruesome, it’s harrowing, but over all Saw is absolutely enthralling. If you’ve not seen it, make sure you see Saw.
Everyone does the ‘see saw’ gag, right?
Note: I met Cary Elwes once, and he was one of the nicest, most down to earth people you could meet. A genuine gentleman.
8.5/10
Son of Dracula (1943)
Although the 1930s are often considered the golden days of Universal horror, the studio was still delivering classics in the 40s, as far as I’m concerned. Only the third in Universal’s Dracula series, there’s no Bela Lugosi here, but it’s a well plotted and inventive film.
The vampire of the title is played here by Lon Chaney Jr. He plays Count Alucard, an Eastern European nobleman visiting the United States as a guest of Katherine Caldwell (Louise Allbritton). Katherine, a keen student of the occult, is engaged to Frank Stanley (Robert Paige), though obviously captivated by the Count.
Following the unexpected death of their father, Katherine and her sister Claire (Evelyn Ankers) are his benefactors. Katherine opts to take just their mansion “Dark Oaks”, after which she marries Alucard and rejects Frank. The local doctor, aiding Frank, has become suspicious. Eventually they conclude that Alucard is a vampire, and decide to deal with the situation appropriately…
Chaney’s casting isn’t quite right for this role, but he makes a fair attempt. What makes Son of Dracula an intriguing watch cunning plot twists, and how cleverly the story creates a new spin on an old tale, evading the obvious. I really enjoyed this film and happily recommend it.
Two horror reviews for you this time, friends! Read on, if you dare…
The Revenge of Frankenstein (1958)
The second instalment in a series of Frankenstein films produced by Hammer, The Revenge of Frankenstein followed hot on the heels of its predecessor. The Curse of Frankenstein had been released the previous year, and was such a hit that a sequel was demanded. Despite, of course, the fact that the evil Baron had been executed at the finale last time.
No matter, Baron Victor Frankenstein (Peter Cushing, of course) is saved from death with a fairly sneaky twist, and is soon practicing medicine in a far off town. Going by the name of Doctor Stein (no one’s gonna figure that out, right?), the doc sets up a successful practice for wealthy patients, whilst also looking after the poor at a hospital.
Joined by a younger doctor, Hans Kleve (Francis Matthews) – who learns Dr Stein’s true identity and wants to learn from him – Frankenstein is soon up to his old tricks. This time around, his creation (Michael Gwynn) at least looks normal, if only at first. It isn’t long before the inevitable happens and everything goes downhill, big time.
The production looks quality and performances are great, in particular Cushing who brilliantly darts between menace and a steely charm. Some gory surgery provides the bloody horror required and The Revenge of Frankenstein admirably fulfils its role as gruesome entertainment. We just know that another sequel will be along soon!
8/10
The Return of the Living Dead (1985)
So this is the film that establishes the concept of zombies eating brains, yeah? OK. One thing is for sure, this comedy-horror is not a sequel to Romero’s brilliant Night of the Living Dead. The Return of The living Dead is a very different beast, though still in a cult league of its own as a horror punk classic.
At a medical supply warehouse, two employees accidentally release a load of toxic gas which reanimates a cadaver and causes all kinds of health and safety high jinks. The morgue over the road has a crematorium, which seems ideal for permanently destroying the undead evidence. Until the escaping gas contaminates the clouds above, and rainfall on the nearby cemetery causes the dead to rise…
Oh, did I mention the gang of punks in the cemetery, waiting for their friend to finish work at the medical supply place? No? Well they are, and you can guess the rest.
This mid eighties movie is not something I’d usually watch. In fact, the main reason I wanted to watch this film is because of the legendary soundtrack, which features a load of awesome horror related punk bands like The Cramps, The Damned and TSOL. A vinyl copy has been on my shopping list for a long time, but I wanted to see the film first so I didn’t feel like too much of a fraud.
The film is pretty good fun, though. It’s fairly dumb and only occasionally does the black humour raise a smile, but The Return of the Living Dead was certainly worth a watch. It’s over the top – unapologetically so – but that’s part of it’s success. Disengage brain and go for it. The soundtrack is bloody great, by the way. I’ve got it on clear with red blood splattered vinyl. AT LAST!!!
All aboard! Take your seats please, ladies and gentlemen, for a ride of the Horror Express! This early seventies sci-fi horror features a familiar plot and a fine cast, so jump onboard and have your tickets ready…
It’s 1906, and British anthropologist/explorer Professor Saxton (Christopher Lee) is making his way back to Europe via the Trans Siberian Express from Shanghai to Moscow. Saxton has discovered the remains of an ancient missing link, frozen in the snow. A rival, Dr Wells (Peter Cushing) is also on the journey – and he’s curious just what Saxton has locked up in a huge wooden crate.
The humanoid begins to defrost and returns to life, escapes, and starts a murderous campaign aboard the train. The creature is a host for an extra-terrestrial intelligence, frozen for millions of years, but now keen to return to the stars. To accomplish this, the creature kills and absorbs the knowledge of it’s victims, taking on their appearance as well.
Wells, Saxton and other passengers deduce the nature of the creature’s plans, but can they destroy something that can assume the identity of its victims?
Horror Express is based on the novella Who Goes There? by John W Campbell, as was The Thing from Another World and of course, John Carpenter’s The Thing. Though not a patch on the later Carpenter film, Horror Express is a fascinating variation on the story, and manages to raise the tension capably. Telly Savalas is seen only fleetingly as a brutal Cossack, sadly, but the two leads are as dependable as ever.
A great film in it’s own right, and recommended for any fan who can’t get enough of Carpenter’s masterpiece.
Platinum Al's Virtual Hot Tub 