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Zombina & The Skeletones – Album Review

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Zombina and the Skeletones – In Sinistereo

9×9 Records

Release date: 31/10/2025

Running time: 42 mins approx

Review by: Alun Jones

9/10

Yes, they’re back! Liverpool’s finest Rock’n’Roll revenants, Zombina and the Skeletones, have returned – the stake has been removed, and their hellbound hearts beat once more! But you probably already knew that, right? Their spellbinding comeback, “The Call of Zombina”, was released last year – and made Top 3 in my Ever Metal end of year favourites for 2024, as I’m sure you’ll recall…

So what’s going on here, then? Well, the songs on “In Sinistereo” were originally released as four separate EPs some ten years ago, as a digital only deal. But they’re not just being re-released here: the songs have been remixed and remastered, sure – but many are also enhanced with additional keyboards, horns and vocals that were previously absent. Songs have been edited longer or shorter, meaning that we have a whole new creature, reimagined Frankenstein-like from its previous form.

Lend a pointed ear, and the listener will also find a cauldron-full of the signature ZATS sound: a bubbling mixture of Punk, Rock’n’Roll, Psychobilly and glorious pop that revels in a B-movie graveyard of monsters, ghouls, murderers and broken hearts. With the sweet yet deadly voice of Zombina masterminding the whole crazy shindig along with partner in crime Doc Horror on vocals and guitar, this party never stops.

Opening song ‘(All I Wanna Do Is) Decompose (With You)’ is a fast paced Punk rocker and an ideal way to wake the dead. Chugging guitar and circus keys devolve into a spooky, theremin laced outro. ‘Phantom with the X-Ray Mind’ adds some skronky keyboards to a Devo/B-52s style mash up, whilst the jangly guitar of ‘Witch Mountain’ evokes early 80’s Damned.

The Skeletones add touches of 60’s girl groups with ‘Haunted House of Love’ and ‘Whatever You Do, Don’t Fall in Love’. Elsewhere they bring in a cheeky, Madness-does-The Addams Family-with-horns style stomper with ‘The Stakeout’. ‘Kill!!!!’ adds a synth pop sheen and is the least convincing track here, but don’t worry, there’s plenty of raucous tracks like ‘Ramon’, ‘The Wild’ and ‘You Swallow Spiders in Your Sleep’ to keep you bouncing like the Devil’s on your tail!

The production is warm and clean, with all of the musical parts seeping through perfectly. ‘In Sinistereo’ is rejuvenated as a vibrant and varied experience, a Tim Burton movie-like album with the songs dancing their way out of the crypt. Zombina and the Skeletones are without doubt the perfect band for Halloween. Trust me, this is all treat, no trick.

Check out Zombina and the Skeletones on Faceboo, Instagrot, ChewTube, Spookify and Badcamp.

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

Syncolima – Move Mountains Album Review

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Syncolima – Move Mountains

Self-released

Release date: 05/09/2025

Running time: 38 mins

Review by: Alun Jones

9/10

OK kids: listen up, and listen up good. There’s a new release from those revved up, lightning charged Derbyshire hell-riders known as Syncolima, and we need to talk business. The three piece, consisting of Josh on guitar/vocals, Stoff on bass duties and drums courtesy of he-who-shall-be-known-as Harry, have gone full warp speed ahead and dropped their third full album release. I’ve been checking it out like an eager little monkey and here’s what I have to share.

“Move Mountains” plays to Syncolima’s considerable strengths, and delivers a tasty, chewy platter that’s a step up from previous. Launching with the furious and interestingly titled ‘Gluten Free Toast’, there’s an immediate declaration of Metal intent. Loaded with a sneering disdain, this full-on rocker sets the tone for the album in uncompromising fashion. ‘Shipwrecked’ bounces out of the speakers like a runaway galleon on a stormy sea, and ‘Kill All the Billionaires’ bursts at the seams with obvious contempt. If they put this song title on a t-shirt, I’ll be front of the queue for one.

Aggression isn’t the only trick in the bag though, as Syncolima nimbly intertwine other shades and shifts in pace. This is particularly evident in what I consider the album highlight, ‘Mistakes Were Made’. Here, the band meld angst driven riffs, mellow sections and a blinding melody. ‘Ouroboros’ also delves into the band’s Grunge influences with an ear friendly marriage of tuneful musicality and chugging Rock.

Syncolima’s exploration of different genres, from groovy Stoner to nasty Metal and on to gritty Grunge helps to elevate their songcraft to higher levels. Rather than cherry pick in an obvious manner, they’re mature and clever enough to absorb influences rather than merely ape them. Which is why songs like ‘The House We Build’ can stand on their own, rather than sound derivative. And it’s why “Move Mountains” is more than a satisfying release, it’s essential. Quality of a very high order.

Check out Syncolima on Facebook, Instagram and Spotify.

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

Torso – Annihilation Day Album Review

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Torso – Annihilation Day 

APF Records 

Release date: 29/08/2025 

Running time: 35 mins 

Review by: Alun Jones 

9/10 

You can run, but you can’t hide!  It’s January 1st, 1984, and there’s a psycho killer on the loose in this small-town University campus.  Can Rita and Christine expose the killer?  More importantly – can they SURVIVE? 

Are you ready for another blood-soaked album of Grindhouse Garage Metal from Torso?  Of course you are.  Released by those gallant gents at APF Records, “Annihilation Day” has been created as a soundtrack for a (sadly) imaginary, low budget VHS horror flick.  The kind of movie we used to rent out and watch in the summer hols – curtains drawn in daylight.  The sort of flick that was so scary, you’d shit your shoes off.       

Press play, let’s get things started.  First track ‘The Halls Run Red’ begins with an eerie, electronic pulse, and provides some exposition for this gritty video nasty.  Soon enough the guitars burst in, like a pub punch up between Fudge Tunnel and Carcass.  The resulting splatter fest has a relentless pace as it incorporates three movements, the refrain ‘Dorm of the Dead’ doing more narrative work.  Throwing in some brutal Thrash and spacey keys, it effectively conjures the right mood for a 1980’s murderthon. 

‘Satanic Nirvana’ begins with some tribal, Killing Joke style drums, followed by a chainsaw guitar summoning the ghost of Hillbilly Death Grunge titans Tad.  There’s melody here too, in both the vocals and lead, not dissimilar to early Nirvana (nicely coincidental).  It’s powerful and more infectious than a radioactive zombie plague. 

After a brief intermission, the audience reaches part two of the presentation with an atmospheric keyboard intro.  Then ‘Blast Furnace’ explodes with an unstoppable, lo-fi Murder Thrash riff.  Torso do a great job here of melding that ferocity with the symphony-like keyboard.   

Finally, ‘Show Your Face’ has a thundering rhythm part that oozes with an almost Industrial groove.  It’s a bludgeoning track that seems to have some Revolting Cocks inspiration in there, that again deftly slips some melody in the back door.  Eventually, the track boils over into a cacophony of glorious noise, but by then it’s too late – the story is over.  Or is it?     

With the four tracks on “Annihilation Day” each comprising three mini movements, the soundtrack feel of the whole endeavour is apparent.  Well produced but beautifully abrasive, the songs may be long, but each retains its own vibe and the listener’s interest.  It would be nice to see this approach explored further in later Torso recordings with greater musical contrast, but for now there’s enough blood, guts and mayhem to make this an unmissable release.  Torso have provided another highlight for 2025.   

Don’t hide behind the sofa – you cannot afford to miss this!  

Check out Torso on Facebook, Instagram, Spotify and Bandcamp.

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

Anti-Nowhere League – Album Review

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Anti-Nowhere League – We Are… The League 

Cherry Red Records 

Release date: 15/08/2025 

Running time: 37 mins approx 

Review by: Alun Jones 

9.5/10  

Well, well – here we are again taking an all too brief sojourn into Platinum Al’s Punk Rock Corner.  This time, a band that many of you may well be aware of, thanks to some fairly successful Metal overlords by the name of Metallica covering one of their filthy little ditties.  Yes, it’s the incomparable Anti-Nowhere League!  Anyone with a sensitive disposition should look away now, things are about to get very, very messy. 

Our old pals at Cherry Red Records have seen fit to reissue the Anti-Nowhere League’s debut album from 1982, “We Are… The League”.  Just in time too, ‘cos my old copy is absolutely knackered and would be more use for shovelling horse poo than listening to. Now I only have MP3 files to review the music – and this release is of course, on big sexy vinyl – so we’ll have to trust that the physical version will be up to scratch (no pun intended).  From what I can see though, the final package itself looks bloody good. 

And musically?  Well, if you’re the type of music fan who likes Tech Symphonic Death Metal Opera, you may be confused.  The lack of virtuosity on display here will make your jaw drop, the crude musical renderings and disgusting lyrics will make you nauseous.  But don’t worry, I’m sure there’s some new Nightwish album or whatever for you to enjoy instead. 

‘We Are The League’ is a great rabble-rousing opener: setting out the bands lewd manifesto right from the start, with self-deprecating glee.  And the filthy fun doesn’t stop there, with classic pogo inducing mayhem in the likes of ‘I Hate People’ and the delightfully crude ‘Animal’.  The “serious music” fans will be aghast at the mauling of Ralph McTell’s ‘Streets of London’ and then probably run for cover and bolt the door, when ‘Let’s Break the Law’ comes on. 

There are two bonus tracks added to this release. ‘Rocker’ is tagged on the end of Side 1, and the infamously obscene ‘So What’ (the afore mentioned Metallica cover) on Side 2.  Though the latter song doesn’t appear to be available on the pre-release download?  Strange.  If any readers are still unfamiliar with this particular ode to debauchery, oh boy – I wish I could see your faces when you hear it… 

Whether the humour in this recording has stood the test of time is for those wiser than me to discuss.  If a bunch of uncouth punks cranking out obscenity ridden, buzz-saw guitar rock music sounds like a good time, you’re gonna love “We Are… The League”.  It’s not big and it’s not clever, but it is a raucously fun time from start to finish.   

Have a look at what Anti-Nowhere League are up to on their website, Facebook, Instagram and Spotify pages.

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

Spider Kitten – Album Review

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Spider Kitten – The Truth is Caustic to Love 

APF Records 

Release date: 27/06/2025 

Running time: 40 mins approx 

Review by: Alun Jones 

9/10 

The wild and wonderful world of Spider Kitten: a place, a frame of mind, an attitude – there is nowhere else like it.  Both welcoming and confrontational at the same time, this band follow their own desires and to hell with the consequences.  There are no rules in this lawless land, just an exploration of whatever realm of consciousness the band happen to be channelling at any one point.  But it all makes perfect sense. 

APF records have released this latest album by Spider Kitten, entitled “The Truth is Caustic to Love”.  Within its sonic walls are a myriad of styles and journeys, encompassing everything from the gloomiest of doom, sludgy grunge, magnificent acoustic ballads and Spaghetti Westerns.  Plus everything else you can think of. 

Now that’s probably the most pretentious intro to a review I’ve ever written, so I’d better back it up with some serious wordology.  The menacing crawl of ‘13 of 6’ is our first destination, its crushing heavy sections contrasted with sparse ambient passages, tense with expectation.  First single ‘The Dose’ is next, coming on like a Death Metal Melvins; followed by the delightful acoustic guitars and Mexican sunset of ‘Sueño’.  Then it’s back to the heavy, with ‘The Spoiler’ sounding like Alice in Chains on a major comedown. 

This contrast in light and dark isn’t necessarily a new idea, but with Spider Kitten, the experimental, melodic and melancholy moments seem more extreme.   

‘Three Shots’ is a central track here, and a personal favourite, with its moody, dusty Ennio Morricone soundtrack vibe.  ‘Woe Betide Me’ and the closer, ‘Guilty’, both have a weeping blues feel and offer some calmer moments.  These songs are surrounded by noisier relations, such as ‘Revelation #9’, ‘Crying Towel’, and ‘Wretched Evergreen’, all of which are gloriously abrasive and aggressive. 

Surprisingly, it doesn’t take multiple listens to appreciate “The Truth is Caustic to Love”.  This is because the heavy is beguilingly heavy and the mellower moments shine in the murk, and together it’s a fascinating smorgasbord of sounds and ideas.  Spider Kitten are beyond easy prediction, best just enjoy wherever they take us. 

You can find out more about Spider Kitten via Facebook, Instagram, Spotify, YouTube, X and Bandcamp.

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

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.

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