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.
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.
What’s that lumbering out of the murky haze? Why, it’s none other than Bongzilla, trampling everything in their path with gargantuan, sludgy riffs whilst surrounded by billows of smoke. No need to run, citizens – these dudes move too slow to pose any physical threat, you’ll outrun them easily. This music is not about speed. It’s about being refreshed beyond all recognition.
“Dab City” is the sixth album for Bongzilla, and their second for the Heavy Psych Sounds label. They’ve been firmly established as a three piece for some time, comprising of Mike “Muleboy” Makela on bass and vocals, Jeff “Spanky” Schultz on guitar and Mike “Magma” Henry on drums. Unsurprisingly, the album was recorded with the assist of various “mood enhancements”, right onto analogue tape.
There are seven songs here, with several of them hovering around (or over) the ten-minute mark. You’re definitely getting your money’s worth. Title track and opener ‘Dab City’ clocks in at 11.51 of super heavy, psychedelic sludge. ‘Cannonbong (The ballad of Burnt Reynolds as lamented by Dixie Dave Collins)’ rolls in at nearly 14 minutes of slow’n’steady, frazzled doom metal. And what a song title!
Other tracks offer more fried and fuzzed out rock, with ‘Hippie Stick’ and ‘American Pot’ revealing a groove and swing to their sound. Vocals are less smoky and strangled and more like a zombie from The Walking Dead, but it all melts together well. I don’t think there are any shocks on “Dab City”, but who cares? Bongzilla have concocted a ripe batch of stoner, sludgy metal that will satisfy the righteous.
Let’s talk about Tankzilla. To start, what a rad name! According to the band’s PR, “Satan fucked a Panzer and the offshoot is Tankzilla”. Which pretty much sums everything up nicely. So nicely, in fact, that the rest of this review is a bit pointless.
Tankzilla are actually a duo consisting of Peter Van Elderen (guitar and vocals) and Marcin Hurkmans (drums), who started jamming together after their previous bands split. Before you get clever and assume that these guys are gonna be just like Royal Blood, they’re not. They have a whole lot more Motorhead in their dirty DNA.
‘Lucifer’, the first track, proves this nicely, with an opening riff reminiscent of ‘Deaf Forever’ by Lemmy’s crew. The song quickly erupts into a bludgeoning juggernaut all of its own, crushing everything in its path and setting the course for the rest of this slab of sonic destruction.
Yes, the power of the mighty riff rules in Tankzilla’s blitzkrieg campaign. ‘Crossroad’ drops more loud bombs adding a funky feel, while tracks such as ‘Wolfpack’ and ‘Soulsurfer’ have a hard rocking edge. The assault slows a little with ‘Brother from Another Mother’, but keeps unleashing maximum firepower. Bonus points for the sample from The Mandalorian too in ‘Mutant Freak’. This is the way!
The final song, ‘Hard Way’, has a Melvins vibe to it – something else which makes me very happy indeed. Whether firing on all cylinders or easing off the gas a little here and there, this debut album is devastatingly excellent. Tankzilla are a relentless, riff loaded monster and nothing can resist their onslaught. Definite Top Ten of the year list for me.
No time now, but remind me to tell you about that time with Motorhead in Europe, when we took the band to visit a military museum on a day off. Philthy was hungover, so Lem let him sleep it off in an old Russian tank. We closed the hatch and scarpered, leaving Phil in there all day. He only just made it to the next gig in Copenhagen by the skin of his teeth.
Witnere (their name is Olde English for tormentor: so far, so cool) are a British metal band comprised of Jason Taylor on drums and Declan Doyle on the guitar and bass. Vocals are shared, and also aided with the assistance of their comrade Scott. This is their second album, produced and released by the band themselves.
“Albion Aflame” is rooted in a solid, defined concept: Britain in the Dark Ages, and the myth – or history, maybe – concerning King Arthur. Immediately, this foundation elevates Witnere to a higher standing, with plenty to explore. First track ‘410 AD’ is a folky number that captures the theme brilliantly, dropping the listener right into the frame.
From there, it’s an album of magic, prophecy and bloody battles amidst a collection of powerful songs. ‘Merlin’s Warning’ gallops off in an Iron Maiden style, relentless drums and guitars roaring. Great melodic instrumental section, fiery lead – all top quality, with a riff you can hum (this is v important). ‘Furor Saxonicus’ is a fast paced, face ripper – and again also very catchy. You can head bang and chant along, waving your air sword at imaginary enemies.
‘King of the Britons’ features another agile, speedy riff that conjures the melodic approach of Thin Lizzy. The rest of the songs follow in this style – without losing their appeal – until we reach the epic ‘Avalon’. Our story is almost over: acoustic guitar intro gives way to a more sombre, though still awesome, finale that builds on quieter verses and rousing choruses.
There’s a lot to take in lyric wise (a lyric sheet would be great), but the vocals across the album – whoever they’re delivered by – are varied and confident.
The production on this recording is extremely impressive: it’s crisp and clear, without sounding “nice”. ‘Albion Aflame’ benefits from excellent musicianship and performances, too. What’s most impressive, though, is the level of story telling detail that Witnere are able to create. There’s a lot of care and passion gone into every element of this album, from the research to the execution. ‘Albion Aflame’ surprised me with its professionalism and depth. You don’t have to use sorcery to track this album down, but I suggest you waste no time in doing so.
The Lords of Altamont – To Hell With Tomorrow, The Lords Are Now!
Heavy Psyche Sounds Records
Release date: 17/03/2023
Running time: 35 minutes
Review by Alun Jones
9.5/10
Ladies and gentlemen, I am excited! Why am I excited, you ask? Because I freakin’ love this album by the Lords of Altamont, that’s why! Here we have ten unrelenting tracks (plus a bonus) of fast and furious rock’n’roll, created by a gang of motorbikin’ miscreants on their own highway to hell. It’s leather, denim, roaring hogs and cheap booze fuelled rock the way that it should be.
Now you may know I’m a tad dubious about live albums. Often times, live records are fumbled contract fillers or a shoddy cash in. Well, you can relax here, pilgrim – “To Hell With Tomorrow, The Lords Are Now!” is a live in the studio release with pristine sound. It doesn’t lack the crowd atmos, but it does more than over achieve by being a rowdy collection of tunes performed as if the band are in the room, right there with you.
If you’re new to the Lords of Altamont, you can expect an explosion of gritty rock’n’roll instilled with the sound of garage rock, Detroit punk and 60’s R&B. So hang on tight as The Lords tear through filthy, feel good tracks like “Going Nowhere Fast”, “Velvet” and “Going Downtown”. Sing along with the wind in your face to “I Said Hey” and shake your booty to “7th Day” – all of these infectious tracks will hit their mark.
This album works as a great introduction to the band and their two decades plus history, in a no nonsense, no holds barred presentation. Like a forgotten B-movie soundtrack from 1969, “To Hell With Tomorrow…” is one for all the rebels and wild ones out there. Park up, step inside the truck stop and let yourself go.
Yeah, yeah – I know! Just keep quiet and probably no one will notice. Ok, this review should’ve been written weeks ago, but if you just keep schtum and play along, I might just get away with it, OK? OK??!! Right, they’re coming – remember the plan!
Hello there, ladies and gentlemen! Yes ‘tis I, your humble scribe, with another review of a new (ahem) album that I’m sure will tantalise your aural orifices. This time, a piece of musical majesty entitled “The Ever-Living Fire”, by a superb group of musicians known as Slumbering Sun. Comprised of members of Destroyer of Light, Monte Luna and Temptress, the pedigree is certainly top notch.
Musically, Slumbering Sun offer a collection of melodic, progressive doom that drags numerous styles into its bubbling cauldron of influences.
Opening song ‘Morgenröte‘ starts with an ethereal blend of female vocal, guitar and violin, conjuring the sort of misty morning amongst druidic stones that I might encounter on the mystical isle of Anglesey in Wales. Two and half minutes in, and a huge megalithic guitar erupts into the proceedings, and over the course of the remaining 10 minutes the band are more like an orchestra than a typical rock band – passages ebb and flow, heavy and light, revisiting themes on their journey.
Track 2, ‘Liminal Bridges’, commences with a mellow intro, before the song explodes into a shinier, brighter – dare I say, uplifting? – vibe. It’s like Thin Lizzy composed a mega Sabbath epic and decided to hurtle off into the forest with it. ‘Love in a Fallen World’ reverts to a more sombre feel again, but features a great guitar melody and builds slowly and satisfactorily.
‘Dream Snake’ is my personal highlight of the record: unsurprisingly, as it’s the most Sabbath of all the tunes here (even down to the Ozzy-like vocals). Finally, there’s just over 9 minutes of lumbering, doom laden exploration on the title track, which manages to cover massive prog metal sections and a huge “na na na” backing vocal.
Track by track then, that’s your overview of “The Ever-Living Fire” by Slumbering Sun. The band certainly don’t aim low, throwing in a varied collection of sounds and ideas from classic doom to Celtic folk. I mean, they’re from the southern states of the USA, they’ve probably never been to Llandudno! The album is hugely creative, but it is somewhat dense – it’ll take a few listens to appreciate. Magical stuff when it falls into place, though.
Make no mistake: a new album from Oxford riff titans Desert Storm should be marked on your calendar with gleeful anticipation. Three years ago, when I reviewed their release du jour “Omens” for the mighty Ever Metal, I proclaimed that here was a home-grown band who could really step up to national consciousness. I threw my horned Viking helmet in the ring then, and I’m standing by that statement now.
If you want dirty, big, caveman stoner rock then you’ll find it on lead bruiser ‘Master of None’. If you crave sludge-ridden creations that still have groove in full force, it’s here on ‘Druid’s Heath’ and ‘Insomniac’. Thudding, slow paced doom? You’ll need to hear ‘Self Deprecation’. Most importantly, if you want heavy music that’s progressive, daring and unafraid to explore whatever sonic vistas can be conjured, you’ll find that too – and plenty of it.
What impresses most of all with “Death Rattle” is how much further Desert Storm are willing to go to really push the boundaries. Every song is intricately crafted with multiple sections and features for different instruments and sounds. The molten fury is tempered with instrumental passages that are – well, beautiful. ‘Bad Trip’ is the best, but by no means only example: warm, mellow passages that build to shattering crescendos.
I’ve never given a ten out of ten review ever for Ever Metal, because I’m a miserable old bastard. Still haven’t been quite that generous. But “Death Rattle” almost persuaded me to go to the max. It’s really that fucking good. The musicianship, the creativity, the execution: all brilliantly awe-inspiring. And it gets better with each listen!
“Death Rattle” has been created by Desert Storm, and released by APF Records. Listen to it, live with it, explore it. One of the best albums of the year, no doubt.
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