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The Donnas – The Atlantic Years 2002 –2005 Album Review

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The Donnas – The Atlantic Years 2002 –2005 

Cherry Red Records 

Release date: 30/05/2025 

Running time: Well it’s 3 CDs of Rock’n’Roll goodness, so it’s good vfm 

Review by: Alun Jones 

9/10 

Hey all you Rock’n’Rollers, you are in for a well deserved treat!  Cherry Red records have compiled all of the output from legendary Bad Girls of Rock, The Donnas, into one neat and sweet boxed set.  Between 2002 and 2005, The Donnas were signed to major label Atlantic, and their star was on the rise like a comet – the label marketing the band in movies, games ad infinitum.  Surely The Donnas would conquer the world? 

The first disc in the set covers the absolute must-have “Spend the Night” album.  Take it from me, “Spend the Night” is a total Rock’n’Roll classic – one of the greatest guitar Rock albums of the 21st century.  The perfect collision of supersonic, Ramones and Runaways pop punk power with AC/DC riffology – this is a 10 out of 10 timeless wonder that anyone who loves Rock’n’Roll should treasure.   

I mean. ‘It’s on the Rocks’, ‘Take it off’, ‘Who Inviited You’ – the rockin’ starts and it just doesn’t stop.  And when you’re invited to a Donnas shindig, you’d better be prepared – these girls know how to party.  With songs about drinking, partying, staying up all night and peer group alienation, The Donnas are total, unfiltered ROCK STARS.  There’s not a bad song here, it’s diamond class all the way, cheekily witty lyrics included.  Two bonus tracks add to the fun, and with songs like “Too Bad About Your Girl” you’re gonna annoy the hell out of the neighbours till ‘5 O’clock in the Morning’! 

Hopes were high for the follow up album, “Gold Medal”, but sadly this doesn’t quite hit the same heights.  The sound was augmented with acoustic guitars and a wider ranging approach to songwriting, which is to be applauded.  For the most part this works well, and nothing has changed that much really.  Overall, the thrill isn’t quite the same, however. 

With songs like ‘I Don’t Want to Know (If You Don’t Want Me)’ and ‘Don’t Break Me Down’ we’re in familiar Donnas territory, and the lyrics are sharpened up and more mature.  ‘Fall Behind Me’ is the justifiable stand out song here, rolling along as The Donnas snarl defiantly in what is one of the best songs in the entire compilation.  With a bonus track tagged on, it’s a solid collection – but it’s a house-trained version of its predecessor. 

Disc 3 cobbles together everything else that was left in the Atlantic catacombs.  There’s a handful of great but not excellent unreleased tracks, some acoustic versions of songs from “Gold Medal”, a batch of pretty bloody electrifying live tracks and a fun cover of Billy Idol’s ‘Dancing With Myself’.  Nothing completely indispensable, but a fine way to complete the collection for the die hards. 

And that’s about it for The Donnas.  They released one more album – “Bitchin’” – on their own label, and called it a day.  The Donnas will never reform.  They’ve all moved on to other things.  But for a short while in the early part of this century, they were perfection.  This release testifies to that.  If nothing else, you need “Spend the Night” – you’ll never party the same without it.  You’ll love it, like I do, and you’ll want as much other music by The Donnas as you can find.  Start here. 

Find out more about The Donnas on Facebook, YouTube, Instagram and Spotify.

This review is brought to you by Platinum Al in association with Ever Metal.

Stiff Little Fingers – The Singles 1978-1983 Album Review

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Stiff Little Fingers – The Singles 1978-1983 

Cherry Red Records 

Release date: 09/05/2025 

Running time: 30 tracks on 2 CDs, you work it out 

Review by: Alun Jones 

9/10 

Welcome back to Platinum Al’s Punk Rock Corner, here at Ever Metal HQ!  Where yet again, I’ll be taking a detour from our more traditional hard rock/metal path and into the wonderful world of Punk Rock!  This time, a 2 CD collection of classics from Northern Ireland legendary rockers, the one and only Stiff Little Fingers.  These guys should need no introduction, but if you need a place to start, this compendium from Cherry Red Records is a good enough place to begin. 

All of the band’s singles – A side plus B side – between the years 1978 to 1983 are contained herein, and in chronological order, natch.  Thus, we start with the original Rigid Digits recording of ‘Suspect Device’ c/w ‘Wasted Life’ – and what a way to start.  Urgent, in-your-face and literally bounding from the speakers, both songs have a frantic yet melodic purpose with huge choruses.   

Those tracks are followed by another bona fide classic (and possibly their best song?): ‘Alternative Ulster’.  Jake Burns barks out the vocals to make this ode to boredom seem anything but boring.  You’ve probably heard this track before, and if you haven’t you’re a.) in for a right old treat and b.) you’ll swear you HAVE heard it before after just one play, because it’s that flaming good. 

Other blinding tracks on the first disc include ‘Gotta Getaway’, ‘Nobody’s Hero’, ‘At the Edge’ (I’ve got the 7” single of that one!) and of course the furious, growling ‘Straw Dogs’ – the first SLF song I ever heard, fact fans!  The songs are a mighty combination of Punk Rock acidity and catchy choruses, with the odd reggae influence creeping in and adding some variety (such as on ‘Mr Fire Coal Man’).  A couple of the B sides are more for completists – though I admit that the live cover of ‘White Christmas’ gets a habitual playing in my house every festive season.       

Disc 2 blasts out more of the same, starting with ‘Just Fade Away’ with its brutally brilliant melody and rousing pace.  ‘Go For It’ has been the instrumental live intro for SLF for absolute donkey’s years – and it’s another ear tickler that stays in the memory.  Indeed, the second disc shows the Fingers stretching their musical muscles ever further: the reggae swing of ‘Doesn’t Make it Alright’ and ‘Safe As Houses’ are truly irresistible whilst ‘Silver Lining’ boasts a glittering brass section with joyous results. 

Stiff Little Fingers manage to introduce some socio-political subject matter into their material – they did, after all, form at the height of the troubles – but this is only part of the story.  With the usual Punk topics of teenage boredom and frustration, along with some tracks that are just plain old good fun, their songs aren’t preachy – but there is usually a message.       

As Disc 2 progresses, the songs become more accomplished, but not necessarily more commercial.  Certainly not in the vein of “selling out”.  ‘Bits of Kids’ and ‘Touch and Go’ still retain that essential Punk Rock bite, even as the band develop.  That early venom and energy is still discernible, but tempered with a greater grasp of songwriting craftsmanship. 

This singles collection does a fine job of replacing my ancient vinyl copy of “All the Best”, the Stiff Little Fingers comp from the 80’s that covered the same material.  It updates that old album very nicely, with a damn fine inner booklet covering info on all the releases.  Ideal for the completist fans, covering all the essentials, it’s also a handy jumping on point for curious new listeners – though you’re gonna want the studio albums, too! 

Check out Stiff Little Fingers on their website, Facebook, Instagram and Spotify.

This review is brought to you by Platinum Al in association with Ever Metal.

Master Charger – Posthumous Resurrection Album Review

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Master Charger – Posthumous Resurrection 

Octopus Rising/Argonauta Records 

Release date: 02/05/2025 

Running time: 55 mins approx 

Review by: Alun Jones 

9/10 

This is a tough review to write.  It’s tough, because I need to write around 400 words about this release – but all I need to say, really, is something like “do not miss this awesome new album by Master Charger, it’s great”.  There’s nothing else that needs to be said.  So, let’s see if I can pad that out for another few hundred words, shall we? 

Yes indeed, the new release from Midlands, UK based Doom Lords, the one and only Master Charger.  I’ve been anxiously waiting for this to drop, as I became a convert to their cause when I saw these filth hounds live at Pentre Fest a while back.  Superb band.  An unholy amalgamation of Sludgey Doom and fuzzy Stoner with a heart-warming affection for Blues based Rock’n’Roll, I’m proud to wear the T-shirt and be an advocate for this three-piece from hell. 

We start with the rumbling, echoey drums of ‘Thy Kingdom Polluted’, which is quickly adorned by dirty, fuzzy guitars and trippy wah-wah lead.  The riifs have groove and it’s easy to get dragged along and nod that head.  ‘Only My Eyes See, Empires Rust’ follows this with a colossal doom riff that fries your brain, then it’s off on a ten minute plus odyssey with the title track.  Passing through different sections, this monster is the evil offspring of Sabbath and Cathedral. 

After all that full on Doom Metal savagery, even I could do with a little break.  And that respite is gifted to us in the form of ‘Fallen Angel Painted Doll’, an instrumental track that begins with some quite beautiful acoustic guitar.  Starting just like those genius Tony Iommi mellow moments on the early Sabbath albums, though this grows into full band folky ramble complete with harmonica.  Perfect. 

Before long we’re back in real business though: ‘When Hell Rode In’ and ‘Head Into The Sun’ sound like a Satanic ZZ Top jamming Venom songs.  Freaky acid tipped wah-wah heralds the start of ‘The Awakening’, which grows into another filthy groover.  ‘Mass Produced Mass Destroyed’ keeps on bringing the heavy, a brutal track that conjures ideas of both legendary Black bands, Sabbath and Flag. 

Finally, ‘Upon Roads Less Travelled’ cools things down – a short but classy instrumental that is the calm after the storm.  “Posthumous Resurrection” reaches its finale, and what a ride it’s been.  Visceral, muscley Doom Metal with outrageous riffs, thoughtfully composed variations – all the promises are delivered on, tenfold.  The only slight issue here is the lack of a vinyl release, which is patently criminal with an album this good.  But Master Charger have given us a killer album – another one for the end of year Best Of list.  Go buy it, NOW. 

There you go, over 500 words – no problem.  Reviews are easy when the music is this good. 

Check out Master Charger on Facebook, Instagram, Bandcamp and Spotify.

This review is brought to you by Platinum Al in association with Ever Metal.

King Kraken – March of the Gods Album Review

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King Kraken – March of the Gods 

Self-released 

Release date: 18/04/2025 

Running time: 40 mins approx 

Review by: Alun Jones 

9.75/10 

Ahoy there, shipmates!  Look lively with that cargo, we’re ready to set sail on these treacherous seas.  Be wary, for there are many tales in these waters of fearsome beasties, rising from the depths to swipe a man from the deck and carry him to a watery grave.  Here are ten such omens from the murky waves, tales of King Kraken! 

Sorry folks, I got a little carried away there.  We’re taking a considered view of the latest album from the mighty band known as King Kraken, though this is pretty exciting news.  Their last album, MCLXXX, was a bona fide banger, and I’ve been looking forward to hooking this new release for quite a while.   

From the opening track, it’s anchors away as the boys unleash ten tracks of compelling rock/metal that’s loaded with powerful riffs and greater depth than before.  ‘Scream’ blazes out of the speakers and it’s obvious right away that the Kraken boys have been focussed on creating adrenaline spiking music, wasting not a second of listening time.  ‘El Giganto’ is another sonic smasher, big sing-along choruses and relentless, skyscraper crushing enegy. 

The guitars of Pete Rose and Adam Healey are constantly ingenious, throwing out titanic riff and lethal lead like they’ve discovered a sunken treasure chest of hidden invention.  See ‘Berzerker’ as a prime example.  Title track ‘March of the Gods’ deals out more mayhem, this time with a galloping, martial feel.  Get in step and march along, or be bowled out of the way! 

The track ‘Hero’ adds different textures to the Kraken sound, with bluesy leads embellishing a plaintive atmosphere.  Mark Donoghue’s astounding vocals shine thoughout this album, but never more so than here.  It ain’t exactly a ballad, it’s too damn heavy – but ‘Hero’ is an excellent emotional counterpoint. 

After that, ‘Vigilante’ steers us into more familiar, Clutch-like waters: it’s a proper groove rocker with a crunchy middle section.  ‘Preacher’ resonates on a grinding, Alice in Chains style rhythm, whilst ‘Magnum Opus’ ups the pace with a full-on, diesel-powered Mad Max urgency.  Both tracks demonstrate the feel and sheer talent of the rhythm section, Karl Meyer on bass and Richard Lee Mears on drums. 

‘Chainsaw Saviour’ is another stand out track, with a menacing, pummelling riff.  No prizes for guessing who inspired that lyric!  The final song, ‘Under the Sun’, has yet another pulverising pace, tempered with mellower verses that remind me of the epic song writing of classic Soundgarden. 

So is it any good, then??!!  Well yeah – “March of the Gods” promised a huge amount and it delivers in spades.  King Kraken have obviously worked hard here, striving to push their musicianship and their song writing to a higher level than ever before.  It’s a gripping listen, with new ideas and dynamics aplenty.  We’re only a third of the way through the year, and we could have a contender for Best Album of 2025. 

But don’t just heed this old seadog’s tall tales, go and catch this monster yourself. 

Visit King Kraken here. You can also check them out on Facebook, Instagram, Twitter, Spotify and YouTube.

This review is brought to you by Platinum Al in association with Ever Metal.

Black Project – Blood Moon Album Review

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Black Project – Blood Moon

Self-released

Release date: 29/06/2025

Running time: 38 minutes

Review by: Alun Jones

8.5/10

Change is necessary, and change is good. If we allow ourselves the chance to step away from the familiar, it can reap rewards. Such is the case with Black Project, where Mike Rawsthorne and Geoff Lilleyman of British Rock heavyweights Crisis have stepped away from their usual band and explored something new. Along with cohorts Dean Wright Cockburn, Mike Ball and Tim Campling, this five piece have set forth on a new venture that capitalises on their considerable talent and experience.

“Blood Moon” builds on the strengths we would expect, creating a mighty hard rock/metal album that delivers a wide variety of song writing expertise. From the pounding beat and chugging riff of ‘Powerglide’ with its soaring chorus to the epic feel of the title track, Black Project demonstrate the wide scope of their creativity. ‘Blood Moon Rising’ features a bluesy, classic Rock vibe with plenty of thumping pace. Elsewhere, with ‘Only the Brave’, there’s a Zep style anthemic rocker with a powerful, rolling rhythm.

The musicianship and production are spot on, clean and crisp but still organic, natural sounding. Black Project obviously have a love for the majesty of the seventies greats, but inject a healthy dose of their own style and drag it all up to date. Fans of Purple, Zeppelin and Dio will admire the ambitious breadth of composition, whilst the more energetic, no holds barred influence of Lizzy and Maiden are also keenly felt.

Far from a side hobby, “Blood Moon” captures the best of all the musicians and is never lazy or dialled in. Crisis will return, but hopefully this wander from the well trodden path will see them reinvigorated and inspired. In the meantime, Black Project have a pretty special creation of their own to celebrate. Thoroughly enjoyable, full of variety and always exciting, this is Classic Rock treated with respect but re-cast for the modern ear.

Check out Black Project on Facebook.

This review is presented by Platinum Al in association with Ever Metal.

The Death Wheelers – Album Review

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The Death Wheelers – Ecstasy of Möld 

RidingEasy Records 

Release date: 07/03/2025 

Running time: 30 mins approx 

Review by: Alun Jones 

8.75/10 

Mold is a small, quaint market town in the north east region of Wales.  Typical of settlements in this Celtic country, it has roots going back may hundreds of years.  Nowadays, there are numerous good pubs and restaurants and a really good record shop (among many other businesses).  Though why The Death Wheelers decided to write an album dedicated to the town, I have no idea.  Mold is, however, only the English name – in Welsh it is Yr Wyddgrug, which sounds much more metal. 

“Ecstasy of Möld” is a new album by The Death Wheelers, their fourth for RidingEasy Records.  They originate from Quebec, and if you’re not familiar with the band, they create hard rockin’ instrumentals that sound like a soundtrack for a long lost, scuzzy grindhouse flick about zombie bikers. 

Following  the short first track ‘Loud Pipes Take Lives’, which sets out the style template succinctly, we have ‘Homicycle Maniacs’.  It’s a full on, throttle revving gas guzzler not a million miles away from Motorhead or even Entombed.  Other tracks such as ‘Hella Hammered’ and ‘Blood, Bikes and Barbiturates’ are variations on the same inspirations, interjected with samples from obscure motorcycle exploitation movies. 

It’s all very cool, and the instrumental nature of the songs adds a whole different layer of gonzoid escapism.  Some different avenues are explored at points, such as the title track’s outro which shimmers with a surf guitar sound.  ‘The Heretic Rites of Count Choppula’ slows to rumbling doom metal, and the last song ‘Get Laid… To Rest’ ends on a more sombre, mellow note. 

With Ecstasy of Möld, The Death Wheelers have delivered an album that roars along the highway and easily retains the listener’s attention, vocals be damned.  ‘Cos let’s be honest, the singer is always the least important member of any band.  This album has a sleezy charm and plenty of fuel in the tank, I suggest you take it for a spin. 

Check out The Death Wheelers on Facebook, Instagram, Spotify and Bandcamp.

This review is presented by Platinum Al in association with Ever Metal.

Yawning Balch – Album Review

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Yawning Balch – Volume Three

Heavy Psych Sounds

Release date: 21/02/2025

Running time: 35 mins

Review by: Alun Jones

9.5/10

Dear old Jimbo Morrison, he was a clueless fool indeed. Many times, I used to drive Jim out to the desert so he could commune with shamanistic spirits in the sun-baked wilderness. Jimbo would spend hours out of his gourd, murmuring into the ether. Of course, what I used to do, was stop at a truck stop and load up on whiskey and other supplies on the way. Then when we got into the desert, ply Jimbo with the booze and feed him leaves of spinach out of a tin, telling him it was “good gear”. I’d wear a kid’s Native American fancy dress costume and mumble nonsense. Morrison never did wise up to it.

If you’re planning on a mind-expanding trip into the remote wastelands, you’d be much better off with this new album from Yawning Balch for company. The band is comprised of Fu Manchu’s Bob Balch on guitar, together with stoner rock legends Yawning Man, here consisting of Gary Arce (guitar), Mario Lalli (bass) and Bill Stinson (drums). This is volume three of a series of experiments that these gentlemen have produced, released by Heavy Psych Sounds.

Truth be told, this is a tough review to write. This is an instrumental album, consisting of just two songs. Both tracks are formed from experimental jam sessions, expansive psychedelic explorations that meander along like the Silver Surfer exploring a vast, distant galaxy. This is not an album of incendiary riffs and barking vocals.

First track ‘The Taos Hum’ is just over twenty minutes long. It will take you on an interstellar journey of shimmering guitars and rumbling percussion, resulting in a mesmerising encounter. The lack of vocals, or even a standard verse-chorus structure, doesn’t matter at all. Same story with ‘Winter Widow’, the second track: slightly shorter at 14 minutes, this is all about the journey and getting lost along the way.

“Volume Three” is a cinematic soundtrack for any road you’re on. Mellow and cerebral, this album by Yawning Balch grabbed me from the start, this is the first recording of 2025 that has captivated my senses and will be a Top Ten of the year contender. Magical and highly recommended.

Find out more about Yawning Balch on Facebook, Instagram, Spotify and Bandcamp.

This review is presented by Platinum Al in association with Ever Metal.

Ilex – Mutatio Album Review

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Ilex – Mutatio

Self released

Release date: 05/04/2024

Running time: 47 minutes

Review by: Alun Jones

8/10

There I was, just casually chilling between sets at McLeans in Pentre, when Frank – AKA Victim of Damp – said to me: “Hey Al, you should check this band out. They’re a Spanish Metal band, and they’re really good.” Frank sent me a link, and I gave said Spanish Metal band a listen. They’re called ILEX, and the album is called “Mutatio”, and he wasn’t wrong, to be fair.

“Mutatio” was actually written and worked on beginning some years ago, and eventually released back in April 2024. Even though it’s not a new release, I figured it was worth a review. What we have here is some fine thrash metal, with plenty of groove and some gargled Death vocals, with a nice experimental edge to set it off.

We start with some fine acoustic guitar on ‘Ardet Nec Consumitur’. a moody piece which erupts into the furious death-thrash of ‘F.P.T.S’. This track is fast, with a brutal chugging riff and growled vocals. Next is ‘Changing the Archetype’, where Ilex play with some contrasting tempos and sections. As we listen through the album, they’ve obviously challenged themselves to create progressive, expansive soundscapes and channel different styles.

‘Iceberg’ then begins with a slow, melodic intro: it’s an extended, progressive piece that really starts to evolve the sound. The aggressive metal in this track diverges brilliantly from the excellent, mellow middle section. The crunchier, ruthless riffs of tracks like ‘Rubble Survivor’ manage to comfortably nestle next to the spooky sound of instrumental ‘Omnia Mutantor, Nihil Interit’, as well as the bouncy groove of ‘Eyes of the Messiah’.

There’s the old school Metallica/Testament Thrash of ‘Cambrian Explosion’, but one of the highlights of the album is ‘The Pilgrimage’. Here the vocals are cleaner. but it’s the almost NWOBHM gallop of the track that really captures the groove here. Nice Purple style skronky organ at the end, too!

The production on “Mutatio” is really impressive, everything sounds clear but also has plenty of guts. The real success though is the mix of genres that Ilex are comfortable in exploring, whether that be Hardcore/Crossover, trad Thrash, Death or Groove metal – as well as the exquisite delicate moments. “Mutatio” has been maturing for a while, it’s well worth seeking out and dusting off.

Check out Ilex on Facebook, Spotify and Bandcamp.

This review is brought to you by Platinum Al in association with Ever Metal.

Jonathan Hultén – Album Review

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Jonathan Hultén – Eyes of the Living Night 

Kscope Records 

Release date: 31st January 2025 

Running time: 43 mins approx 

Review by: Alun Jones 

9/10 

WARNING: This is NOT a Heavy Metal album.  If you’re the type of listener that only wants to hear the loudest of pummelling riffs and ear slashing vocal roars, this may not be for you.  And that’s fine.  We all like to rage like Satan with a stubbed toe.  This is Ever METAL, after all.  If, on the other hand, you’re the kind of discerning listener who likes to temper the ferocity with atmosphere and introspection, take a seat. 

Jonathan Hultén is a Swedish singer-songwriter who first arrived on my radar as the support act for The Cult on their 84/24 tour last year.  Hultén was not what I anticipated at all for a major rock show: his music, performed solo, is a dark yet beautiful expression of acoustic, gothic melody and ethereal charm.   

This second album, “Eyes of the Living Night”, takes the listener on another fairy tale like walk in enchanted woods.  Beginning with ‘The Saga and the Storm’, the music is more soundtrack for a folk horror movie than a typical rock album.  This opening track is like a lost Morricone classic and builds to a gloriously uplifting finale.  Just wait for that mid song moment when your neck hairs will raise to the sky. 

First single ‘Afterlife’ features swirling keyboards and angelic vocals, while ‘Riverflame’ has the plaintive ambience of a Nine Inch Nails/Alice in Chains mash up.  The dreamy folk of ‘The Dream was the Cure’ offers a widescreen Scandinavian epic of reflection, and is a highlight of the album.  Weaving genres further, ‘Through the Fog, Into the Sky’ is a wonderful classical piano piece whilst ‘Vast Tapestry’ sees Hultén n the role of gentle folk troubadour. 

The concluding track, ‘Starbather’, works more like a rock ballad and bookends the album with a final flourish of bright optimism.   

“Eyes of the Living Night” won’t destroy your speakers, but it will take you to a mystical and unforgettable place.  With its layers of gothic ambience and mood elevating nuance, this album deserves to be a part of the Ever Metal community’s world.  The music of Jonathan Hultén will be there for you when you need to reach inside yourself, to heal and unwind.  Or to transport your mind to another world.  I genuinely love this album and heartily recommend it, I hope you’ll give it a chance. 

Find out more about Jonathan Hultén on Facebook, Instagram, Spotify, YouTube and Bandcamp.

This review is brought to you by Platinum Al in association with Ever Metal.

Pentagram – Lightning in a Bottle Album Review

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Pentagram – Lightning in a Bottle 

Heavy Psych Sounds Records 

Release date: 31/01/2025 

Running time: 49 minutes  

Review by: Alun Jones 

8.75/10 

Pentagram are a band that refuse to die.  With roots going back some fifty years, and every kind of catastrophe from band splits, arrests and hard drug addiction, it’s some feat that we’re here to discuss a new album at all.  Like a bizarre hybrid of 80s slasher movie antagonists, Pentagram keep coming back to life.  Now, with “Lightning in a Bottle”, the band are back: the life support has been thrown on, this time by mad scientists Heavy Psych Sounds.   

The band’s only constant member is founder/frontman/vocalist Bobby Liebling, a complex and controversial character.  On this excursion, he’s joined by a new bunch of musicians who are venturing to keep the name and legacy of Pentagram alive.  Tony Reed is on guitar and production duties, Henry Vasquez on drums and Scooter Haslip handles bass.  All three have sturdy pedigrees earned from other bands, and their contributions here make them light years past being mere hired hands. 

Liebling’s story is both chaotic and scandalous, but this isn’t the time or place to cast stones.  Interestingly, on the track ‘Lady Heroin’, the singer explores the theme of his addiction in a mournful, self-torturing manner.  There’s no bravado here, with Liebling openly pondering on the destruction that addiction has wrought.  Musically, the song marries a solid riff with a forlorn middle section. 

‘I’ll Certainly See You in Hell’ follows this track, with a strutting pace and Liebling wailing like a deranged preacher.  After that we get ‘Thundercrest’ with its ruthless, pounding riff – forming a triumvirate of the best songs in the middle of the album.  Not that the rest of “Lightning…” is lacking: whether its aptly titled opener ‘Live Again’ with its head nodding urgency or the crawling doom fest of ‘Walk the Sociopath’, Pentagram have all bases covered. 

The biggest fear was always going to be Pentagram pissing on their legacy.  They are, after all, one of the great Doom Metal bands that are responsible for the development of the sub-genre.  Absolutely no fear of that here, though: “Lightning in a Bottle” sees this version of Pentagram releasing a reassuringly strong album.  The musical reputation of Pentagram continues to thrive. 

Check out Pentagram on Facebook, Instagram, Spotify or their website.

This review is presented by Platinum Al in association with Ever Metal.