January is over. Yet the cold still lingers, steel grey skies still shroud us. The iron glow on the horizon promises more snow. We stumble like children through the deep snow drifts of the French Pyrenees, our bodily extremities feeling icy cold. We are here in search of Worselder, metal warriors who hail from these parts…
Here we have “Red Shift”, the latest endeavour from the mighty Worselder. It’s their first LP since “Paradigms Lost” in 2017, no thanks to the delay caused by the bloody pandemic. They’re back in full-on, skull crushing style here, though – picking up where they left off with the well-received success of the last album.
Part power metal, part thrash, with a bit of old school trad metal, Worselder’s music is aggressive and direct, no superfluous cheese. Opening tracks ‘Para Bellum’ and ‘Point of Divergence’ are furious metal with chugging riffs and fast pace. It’s infectious, head banging stuff. There’s a ferocious metalcore attack embedded in there too, particularly on ‘Pillars of Smoke’.
It nearly goes wrong on ‘Absurd Heroes’, where a truly ugly slap bass stinks things up in the intro. It’s only a minor setback though – ‘Atheist’ kicks the doors down with a killer riff and ‘The Exoteric Verses’ melds a haunting atmosphere with a death metal chant along. ‘Insurgents (Part 1)’ is a smart instrumental and good change of pace, leading to the frenzy of ‘Insurgents (Part 2)’. All wrapped up with the epic ‘Ascent to Rebirth’, it’s a solid effort.
The production is top notch and the musicians are excellent, without being over indulgent or obvious with their playing. Worselder are a far more formidable band than I had initially expected, and “Red Shift” is a pleasant surprise.
As a teenaged skateboarder in the late 80’s, Boston hardcore legends Gang Green were definitely on my playlist. They appeared on a Thrasher Skate Rock tape, what more do you need to know?! Merging hardcore punk with a more metallic edge, Gang Green added a technicality and rock’n’roll, beer drinking party vibe to their unique take on crossover/thrash. It was mostly fun, though sometimes dumb, times – with a fast and crazy energy. Eventually finding a home on Roadrunner records in 1987, the albums Gang Green recorded for that label are collected here by Cherry Red Records.
Working through the discs chronologically, we’ll start with the first Roadrunner release, “You Got It”. Featuring what is possibly the worst album cover all time – the band in a sewer? Why is (vocalist/guitarist) Chris Doherty jumping through a fence? And where are his legs?! This atrocious shot always bothered me, so I’m delighted I get to bitch about it now (though it only appears as a small pic!). Music wise, “You Got It” is chock full of belters: the storming thrash of ‘We’ll Give it to You’ setting out Gang Green’s goods; ferocious hardcore with ‘LDSB’ and ‘Born to Rock’. There’s even a surprise social conscience (and mellow intro) on ‘Another Bomb’. Plus, bonus track ‘Skate to Hell’ is worth the price of admission alone.
If Roadrunner were relieved they’d done the right thing signing this bunch of unruly punks after that first record, ‘Older… Budweiser’ went even better. Armed this time with a great cover/title (thankfully), Gang Green delivered more of the same, but amped up even further. ‘Church of Fun’ bolts out of the gates; ‘Just One Bullet’ and ‘We Can Go’ show exactly how to meld hardcore and thrash into a furious, fun time. The rock’n’roll edge that began on the previous record becomes more prevalent, adding a distinct flavour to the band’s sound (see ‘Tear Down the Walls’). The humour misfires on ‘Bedroom of Doom’, but the does-what-it-says-on the-tin ‘Ballad’ is a nice attempt to branch out musically before closing time.
On disc three, we have the live album “Can’t LIVE Without It”, recorded at the Marquee Club in London in 1990. Most of the live tracks appear already on this compilation, but it’s a solid recording of an energetic, relentless show. There are a bunch of non-Roadrunner tracks which add value for money; plus, the inclusion of the “I81B4U” EP and ‘Living Loving Maid’ single, which is great news for obsessive nerds like me.
Finally, the compilation album “King of Bands” rounds out the collection. If you’ve not had enough of hearing some of these songs twice already, prepare to experience some of them yet again with this “greatest hits” set. Although, there are two new tracks and three from Gang Greens first album on Taang! Records for VFM. The two tracks – ‘Thunder’ and ‘Rub It In Your Face’ are OK, but not up to the standard of older material. Still, this last disc seals the lid on this barrel of good times very nicely.
The history of Gang Green proves to be a fascinating tale. Predating Jackass by some years, the party hard doctrine of the band remains resolutely in place. Some of the lyrics are juvenile at best, out right sexist at worst (‘Cum In You’, oh dear); but if you can forgive that, the attitude and fun remains infectious. Yes, it’s all about partying and beer, but the music is still great. Not as metal as COC, or as punk as Circle Jerks, Gang Green added a rockin’ flare to their brand of crossover and brought the party home.
A great compilation featuring tons of interviews, info and photos, “We’ll Give It To You” is a comprehensive guide to beer-soaked thrash punk. It’s time to get out on your skateboard, rock out to Gang Green, and celebrate with a few beers. Afterward, that is. Ever Metal wants you to take care: don’t drink & skate.
BLEEAUURRRGH!!! It’s a jump scare to wake anyone out of hibernation, running for safety behind the sofa. What a way to start the year! APF records present “A Crash Course in Terror”, the debut album from TORSO. Formed from the smouldering corpse of Possessor by that band’s Graham Bywater (frontman/guitarist), TORSO skulk in a murky Grindhouse nightmare.
Are you sitting comfortably? Then we’ll begin. ‘Heads Start to Roll’ introduces the album with a John Carpenter-esque, menacing, keyboard-led theme which immediately unsettles the listener. Then the chainsaw guitars cut through, the song erupts, and the listener is dragged along by the scalp in a ferociously paced fairground ride from hell.
The retro, electro keyboard themes dotted throughout help to set this album apart in its own fuzzy VHS world. Spooky instrumentals like ‘Pranks’, ‘Depth Charge’ and ‘Death TV’ add a dread atmosphere, part prog and part video nasty soundtrack.
‘Sinking Spell’ is like The Melvins rocking out to a Texas Chainsaw Massacre back projection. The lo-fi, raw sound of the heavier numbers keeps everything within the TORSO world: ‘Precious Blood’ could be a punked up hybrid of Angel Witch and Electric Wizard. Finally, the epic ‘Circuit Breaker Breaker’ has a B-movie, doom metal fury that sounds as if the final survivor is running for their life from a vicious psycho killer.
My only complaint with this album is that at just 30 minutes, it’s a little short – I’d have loved another 5 minutes of mayhem. But at least “A Crash Course in Terror” is to the point. That’s much preferable to yet another 80 minute Metallica album – I haven’t finished listening to all the songs on their last record yet…
“A Crash Course in Terror” by TORSO. A fantastic, gruesome recording and a perfect start to the year. Can 2023 get any better?
“Empires of Ash” is the new album from Heron, and if you like the sludge, this is gonna be one for you. It’s the band’s third full length album, and you’ll know when you listen that there’s a whole mountain load of experience brewed up in this mighty concoction. Experience, plus what seems like a lifetime’s worth of melancholy and frustration given voice through huge, expansive slabs of atmospheric thunder.
Starting with ‘Rust and Rot’, Heron take us on a 9 minute plus odyssey encompassing thudding drums and menacing guitar. Vocals are guttural and brutal, the end result is a thrilling wade through a sludgey mire. Contrast this to the second track, ‘The Middle Distance’: a sombre yet beautiful (yes, you read that right) epic, which only erupts into molten fury after the three-minute mark. When the vocals come in, you’ll drop your pint.
‘Hauntology’ is another epic, and very aptly titled. Eerie yet calm and pensive, till again it builds to an enthralling outburst. ‘Hungry Ghosts’ is a more ruthless amalgamation of Conan with later period Danzig guitar flash. The final track, ‘With Dead Eyes’ has a melodic entrance, and once more decimates with a powerful vocal.
Whether it’s doom, sludge, post-rock or any other shade of metal, there’s a wide variety of styles and influences on this album. I was lulled into a relaxed haze before being startled awake with fiery exultations on several occasions. Heron have really gone all out with “Empires of Ash” to create a record that is unique and imaginative.
Ozzy had trouble with a heron. He’d just had a new pond built on his farm, and one bird kept gorging on Oz’s expensive ornamental Koi carp. One night, we decided to lay ambush and surprise the heron with a siren and a shot gun when it flew in at dawn for breakfast. Bill Ward fell asleep, so we floated him out on the water on an inflatable raft, as he snored under the moonlight. When the heron arrived, I sounded the siren, Oz fired his gun into the air and Bill woke up startled, then fell into the pond screaming “I can’t swim!”. Oh, we did laugh. The bird flew off, never to be seen again.
Confession time: I don’t actually like Power Metal. Widdly and flashy guitars; superfluous keyboards washing over everything; histrionic, high-pitched vocals – no thanks. I mean, I can dig Iron Maiden and Judas Priest – do they count? But otherwise, this particular metal sub-genre is not for me.
Vis Mystica are a Power Metal band. But they’re a Star Wars themed Power Metal band, and no one is more steeped in Star Wars lore than me. No one. You know the cantina scene in Episode IV? I can name all the aliens in that scene, what planet they’re from, and what they’re doing there. I’ve collected the action figures since 1978. I can beat anyone – anyone – at Original Trilogy Trivial Pursuit. Ask my other half, I’ve ruined a couple of dinner parties playing that game.
It’s not a huge claim to fame, but Star Wars fandom is all I have to offer in life.
So, let’s put my knowledge to use. To be fair, musically “Celestial Wisdom” is far better than I feared. The widdly guitars and pointless keyboards are present, but the music is fast and furious like a T-16 race in Beggar’s Canyon. The vocals are solid and not overly dramatic, not Gungan-level annoying at all. In fact, the first two tracks, ‘Whispering Winds of Fate’ and ‘Legacy of the Builders’ had me headbanging along like a Wookiee on a runaway Bantha.
Everything was going well till Track 4, ‘Lux Et Veritas’, when xylophone style plinky-plonk noises threatened to sink things faster than a proton torpedo in a two-metre-wide exhaust port. It all suddenly sounds like Christmas music. Thrashy, hyper-space speed guitars on ‘Beyond the Gates of Fury’ engage the nav-computer and manage to steer us back on course, thankfully.
Without a lyric sheet, it’s kind of hard to tell how much actual Star Wars nerd obscurities are present within these songs. There are no lightsaber or R2 unit samples to add context, so I found the theme lacking a bit. “Celestial Wisdom” is based around the Knights of the Old Republic comics/video games – alas, not my area of expertise – rather than the movies, so I may not have the wisdom I need to fully judge.
Whilst Power Metal may not be my usual cup of blue milk, I’ve got to give credit to the musicianship and imagination of Vis Mystica for this endeavour. The world needs more of this sort of thing. It’s far more fun than I thought it would be: genuine fans of the Power Metal genre will probably get a lot out of it. A bit more Star Wars next time, though, please lads? I can help with the reference material if you like.
Brant Bjork must be a very busy boy at the moment. We’ve already had an album out earlier this year from his desert rock supergroup, Stoner, and now here’s a solo effort too. He’s a multi-talented, multi-instrumentalist singer song writer and no mistake, offering up sonic expeditions of varying styles and pace. Most of all, though, Brant seems to be a decent bloke who’d be ideal company for a beer or three.
For “Bougainvillea Suite”, we’re in a more laid back, but still rockin’ mode. The album is like a combination of Santana and Steppenwolf, full of relaxed but vital summer vibes. ‘Trip on the Wine’, our first song, has a similar stomp to The Door’s ‘Five to One’, but less angsty. The late 60s-early 70’s groove is maintained throughout, ‘So They Say’ embellished with a sweet, melodic construction and ‘Broke That Spell’ having an early Purple raunch.
Stoner band mate Ryan Gut adds percussion and keys, whilst the final member of that trio, Nick Oliveri, pops up on ‘Bread for Butter’. This track and ‘Ya Dig’ are two of the more direct, heads-down rockers, whilst the extended blues jam of ‘Who Do You Love’ is trippy territory augmented with some almost Stooges-like lead guitar. This last track is a real highlight, it’s like a long-forgotten experiment involving all of the bands I’ve mentioned!
And that’s it: eight songs that whilst not easy listening, can be mellow, psychedelic and still rock your bones. “Bougainvillea Suite” would make perfect summer evening listening, a beer and a BBQ as the clear sky fades to black, good times with good friends after a long day shredding a pool. But it’s been released in late Autumn, so what do I know? Just buy it and enjoy.
What could be better: playing vinyl records in good company, with some beers in a great local pub? Sounds pretty good to me. Yes, Bring Your Own Vinyl Night was back again, in the traditional home of The Queen’s Head in Mold, North Wales.
Following both Record Store Day, and a record fair – both of which VOD Music in Mold were involved with, it has been a wax packed day anyway. So it was good to finish the day’s events off with a chance to spin some records.
So what exactly is involved with Bring Your Own Vinyl Night? It’s simple: everyone gets 15 minutes to play whatever songs they like, on quality record decks with a mixer. But it can only be vinyl format.
Here’s my playlist:
Jimmy McGriff and Groove Holmes – The Squirrel
You know those funky jazz instrumentals that the Beastie Boys did on “Check Your Head” and “Ill Communication”? I was immediately infatuated with those songs (see also their compilation “The In Sounds From Way Out!”). Research revealed that the main influences on those songs were Jimmy McGriff and Richard “Groove” Holmes, two soul jazz organ players and band leaders. I tracked down some records of each, and they are amazing. This track is from their joint album, “Giants of the Organ Come Together”. “The Squirrel” is a groovy number indeed, but you should check out the full album (and their individual recordings). Nice!
Queens of the Stone Age – Make It Wit Chu
A slinky, sexy number from the “Era Vulgaris” album by Queens of the Stone Age. This track quickly became one of my favourite QOTSA songs, though it’s from what’s probably my least favourite of their albums. Originally appearing on “Desert Sessions Volumes 9 & 10”, where it featured backing vocals by the wonderful PJ Harvey, “Make It Wit Chu” is pure class.
Clutch – The Regulator
More Clutch, ‘cos I just can’t get enough. This song, “The Regulator”, starts with a folky, bluegrass feel before it erupts into a pounding blues rocker. You can find it on the album “Blast Tyrant” and I suggest you go and track it down right now.
Devo – Gut Feeling
Ah, Devo. What can I say about Devo? We go way back, I heard their first album when I was a kid and it baffled me at first. Took a while to get it, but it was worth it. “Gut Feeling” is of course from the “Q: Are We Not Men? A: We Are Devo!” classic debut. It’s a sunny, dreamy song with a surf rock feel.
And that wraps it up for my set. Four great songs which I enjoyed playing, I hope others liked them too. Either way, it was a great evening catching up and talking music with a few beers.
Thanks to Halcyon Dreams and VOD for organising a superb event.
And thanks to The Queens Head – a great pub, I really enjoyed my food too!
Battalions return with a pummelling new album, “King of a Dead World” from APF Records. THE APF label can be relied upon for quality releases, and there’s no doubting that here. Born of Hullfire – well, they come from Hull – and unleashed in streams of molten lava from the deepest catacombs, here Battalions are channelling all of their experience into a recording of sheer, elemental power.
It falls on the humbled shoulders of yours truly to attempt some journalistic summary of what we have here. But in short – if you’re already a fan of (or just familiar) with Battalions, just go ahead and buy this now. If you’re a new or curious listener, be prepared for a lesson in dense, thick Sludge. With a capital ‘S’.
The music Battalions let loose on the world combines the heaviosity of Sludge with a persistent groove, underlined with the unrelenting intensity of hardcore. First track ‘Green Boots’ demonstrates this perfectly, with a crushing riff that can make the listener nod their head and scream along.
Phil Wilkinson’s vocals are a harsh growl, well suited to the ferocity of tracks like ‘Parasite’. The guitars of Pete Cross are punishing but also full of variety, as shown on ‘Coughing Nails’ (great title). Meanwhile, Matthew Dennett on bass and Simon Harrison on drums manage to keep it all on track with precision.
‘Bones to Dust’ was another track that particularly impressed; a calmer start (by comparison) that erupts into a huge, bouncing riff which will sandpaper your face off.
“King of a Dead World” is chock full of great ideas and delivers on all of them. Though relatively short at 31 minutes, the album wastes nothing and doesn’t out stay it’s welcome – you’ll want to replay it again and again. It’s unforgiving, powerful and noisy – there’s no slumber on the Humber here. Instead, join Battalions on the Highway to Hull, it’s a full on, exciting ride and you won’t regret it.
More Trouble! Another welcome re-issue from Trouble’s back catalogue courtesy of Hammerheart records, here we have their 2013 album “The Distortion Field”, back in circulation. This was the last studio effort the band have released (at this time) – and with vocalist Eric Wagner (RIP) absent, replaced by Kyle Thomas (of Exhorder and Alabama Thunderpussy).
Sure enough, things get off to a solid start with a thunderous ‘When the Sky Comes Down’ and ‘Paranoia Conspiracy’, both reliably Trouble-some rockers. The album really picks up a gear or three with ‘The Broken Have Spoken’, a lumbering riff juggernaut that reminded me of Pantera. Then there’s ‘Sink or Swim’, a mighty, pacey mountain shaker with a chorus hook so big it could reel in a Kraken.
There’s little of the psychedelic, hippy journeys found on the Def American albums. Instead, there’s the almost ballad ‘Have I Told You’, which haunts like vintage Alice in Chains. The quality only dips with ‘Glass of Lies’, which is a little too barroom boogie for me – though the last section of the song thankfully reverts to a funereal doom speed.
For the most part though, songs like ‘Hunters of Doom’ deliver exactly the kind of chugging riffology that the listener would expect. ‘Butterflies’ illustrates Trouble’s doom strategy perfectly again – slow, heavy crunch with another almighty chorus.
Add in the bonus track ‘The Apple from the Snake’ and this is prime Trouble. Newcomers may want to start with something from the band’s earlier work, but a re-issue of “The Distortion Field” is fantastic news for fans. Add this record to your collection and keep your fingers crossed for something new in the near future.
My mate Keith Moon was a trouble maker who needed no introduction – blowing up toilets, scrappy food fights and driving limousines into swimming pools. He was good as gold round at his old mum’s house, though. I went there once with Keith, and it was all very pleasant. Cup of tea, slice of cake, lovely conversation with Mrs Moon. Very down to earth. Until I got home later that is, and spent the entire evening on the loo. Moony told me later that his mum – another practical joker – had laced my food with laxatives. Very bloody funny.
Yes it’s me again, sneaking in some more punk rock alongside your regular dose of Ever Metal. Because variety is the spice of life, right? Although tbh, some trainspotter’s gonna testify that Eddie and the Hot Rods aren’t punk, they’re “pub rock” or “new wave”. Like I care.
This compilation from Cherry Red includes 40 tracks over two CDs, full to the top of the pint glass with pub/punk/new wave from Eddie and the Hot Rods. All the single A and B sides from 1976 to 1985 are squeezed in – in chronological order – leaving no stone unturned, to create a definitive journey through the bands career.
Starting with the first 45, ‘Writing on the Wall’, and including numerous energetic cover versions like ‘Woolly Bully’, ’96 Tears’ and ‘Satisfaction’, it’s easy to imagine being in a packed pub rocking out to the Hot Rods. These early tracks illustrate nicely how the band were really a revved up R’n’B band in the style of the Stones and early Who – just faster and even more gung-ho. There’s a direct line here from the rebellious rock’n’roll of the MC5 – as evidenced by two collaborations with Rob Tyner at the end of disc one.
The punk association really blossoms with the superb ‘Teenage Depression’; it’s like Mick, Keith and the other three time travelling ten years into their future and being inspired by the Ramones.
The obsessive nature of this collection means we get three versions of all-time classic (and new wave comp standard) ‘Do Anything You Wanna Do’ (including the US single edit and live version from a B side). It’s a good job it’s such a great song.
There’s a clue with that repetition where this compilation will find its audience. For the die-hard fan or seasoned collector, it’s a handy collection covering all bases. The booklet is perfect: details about every single and repro art of each record. It’s far more than a “greatest hits” set, though, so may be too much for the casual listener.
The last couple of tracks on the second disc suffer from heavy handed mid 80s production, but it’s quality stuff all the same. Some will prefer to write the band off as coat tail riders, based on the boozy covers, but the sheer exuberance of the performances is addictive. “The Singles 1976 – 1985” shows Eddie and the Hot Rods at their very best; the final product is so chock full of detail it’s a treasure.
Platinum Al's Virtual Hot Tub 