Tag Archives: alternative rock

Live in the Mojave Desert – Album Review

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Various Artists – Live in the Mojave Desert

Heavy Psych Sounds Records

Release date: Various

Running time: Various

Review by: Alun Jones

Rating: see below

Hello there!  Remember me?  It’s me, that bloke who occasionally reviews albums for Ever Metal and spins ropey old yarns about rock’n’roll.  Yeah, him.  Sorry I’ve been absent for a while, had a few things on my all-you-can-eat buffet plate recently.  More about that another time (if the lawyers allow me).  For now, recline in your favourite easy chair, and let’s review.  With me?  Good.

Right then, bit of a mammoth task, this one.  “Live in the Mojave Desert” is actually a series of five albums, each recorded live (of course) amongst the sand and rocks of the Californian desert.  It’s probably like Star Trek, when Kirk and crew are roaming around the cliffs and valleys – but in the dark, and with guitars and lights and stuff – and no one dies (hopefully).

Up first in my sequence of albums is the legendary Earthless, a band who should need no introduction.  I listened to their offering whilst on a trip to North Wales; sadly the surf was flat, but the sonic musings of this three piece fitted perfectly the rolling roads between green valleys and big skies.  In the land of druids and standing stones, witches and warriors, this was a perfect soundtrack.  The songs are a journey in themselves, awash with psychedelic Hendrix style explorations.  Only three songs, but they’re plenty lengthy and offer huge scope.  It’s actually quite beautiful. (9/10)

Next on the list was Mountain Tamer, a band I’m not familiar with previously, but a cool name.  And a cool name goes a long way with me.   The Mountain Tamer sound is raw and in-your-face, with mighty, meaty riffs that clunk around in full-on doom style.  There’s also a mind expanding, trippy element to their music, leaving me with the impression of Black Flag in a collision with Hawkwind.  This unique approach is best exemplified by stand out tracks “Black Noise” and “Scorched Earth”, but it’s all damn fine. (8/10)

An offering in this series from my old buddies Nebula was very welcome, their brand of psych drenched sci-fi hard rock being something I’m somewhat partial to.  This is the album with the most obviously “live” feel – not that it’s sloppy at all, the very occasional tiny imperfections and wall of fuzz give a genuine and celebratory vibe.  Opening track “To the Centre” is a feedback drenched, blistering explosion.  “Giant” is another standout track with a bouncing, crazy gonzo riff. (8/10)

Spirit Mother are another band I’ve not heard before, and they were a real surprise.  Their first song, “Tonic (Exodus Inc)” is straight off the soundtrack of some forgotten Italian/Turkish 1970s horror movie.  The band take the standard desert/doom rock and add violin, and everything veers off in a totally unexpected direction.  From mournful 70s rock on “Ether” to creating their own genre of gothic Spaghetti Western (“Dead Cells”), it’s like Morricone on peyote orchestrating The Exorcist.  Strangely beguiling. (8.5/10)

The album I listened to last in the collection was the debut release of STÖNER, the very aptly named stoner rock “supergroup” which features Brant Bjork (Kyuss, Fu Manchu, solo etc) and Nick Oliveri (Kyuss, QOTSA, Mondo Generator etc etc).  With Brant’s drummer, Ryan Güt whacking the tubs.  As a fan of these rogues’ other bands, I was definitely curious about this release.  No fear here: this is exactly what I hoped it would be: desert rock royalty.  “Rad is Rad” features a relentless, rolling bassline that drags the listener along on a head-nodding journey whilst Brant croons in his laid-back manner.  The big, groovy bass continues in “The Older Kids”, and the tracks develop a trancelike vibe as it progresses.  And strap yourself in for the final song, “Tribe/Fly Girl” – over 13 minutes that will melt your eyeballs.  Definitive. (9/10)

That’s it: five albums, five bands, and a mind-blowing excursion into the remote desert valleys.  Whether showcasing how it should be done, or abducting the listener in a smoke-filled UFO to be probed in new realms, these live collections are a trip.

Here’s a ton of links! Click away for more info on this awesome music…

Start with Heavy Psych Sounds, they have a website, Bandcamp, Facebook and Instagram.

Earthless do the web thing here, with some Facebook and Twitter.

Mountain Tamer kick in the sky with Facebook and Bandcamp.

Go crazy with Nebula via Facebook.

Spirit Mother have you covered with some weberation, Facebook, Bandcamp and Insta.

Finally, have a look at Stoner’s web presence here and Facebook it too.

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

1968 – Album Review

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1968 – Salvation, If You Need…

Self-released & No Profit Recordings

Release date: 20/04/2021

Running time: 44 minutes

Review by: Alun Jones

9.5/10

For this review of “Salvation, If You Need…”, the second album from UK stoner rock titans 1968, I promise that there will be no messing about, no silly stories, no nonsense whatsoever.  I’m not even drinking.  Rather, I will endeavour to write a serious review that treats this album with the respect it deserves.  Not enough respect to get the article written on schedule, mind; but hey – I never said I was perfect.

Anyone familiar with 1968 from their previous efforts will not be disappointed to learn that the band’s strengths are in full flow here.  Thankfully, they’ve also pushed boundaries and explored their psychedelic tendencies further than ever before.  Witness opening track “Railroad Boogie”, which teases a funky Blaxploitation groove before unleashing the glorious big riff sound that we expect.

Comparing 1968 to Kyuss is far too obvious and lazy.  Jimi Ray’s voice has some of that gruff John Garcia sound (with a little later-period TSOL vocalist Joe Wood), though his vocals have matured to a sincere, soulful timbre.  See also, guitarist Sam Orr: schooled in Sabbath riffology and Lizzy attitude, here his Hendrix aspirations are allowed to fly unrestrained.  Magnificent washes of sound cascade and add colour everywhere, without being obtrusive.

“Blackwing” is the highlight for me: a refrain that’ll slip into your ears and lodge there.  It’s pointless trying to remove it.  Whether happy accident or hard slog, this is an epic riff.  “Eastern Wind” follows a similar path, but offers enough of its own controlled chaos to stand on its own two feet. 

Tom Richards’ bass warms up “Here It Lies” and expertly keeps the vibe dialled on a grungy, early Soundgarden pace.  The raw, unrefined blues of “Small Victories” and “God Bless” also allow drummer Dan Amati to show he can play refined and delicate, as well as thundering and determined.    

Yes, 1968 are undoubtedly still inspired by the classic rock of the late 60s/early 70’s, but we’re also drinking beers in Satan’s Dive Bar, somewhere in Seattle, with a jukebox that’s stuck on Badmotorfinger.  And some Budgie, too, based on the solid cover of that band’s “Guts” that shows up here.   

Look, I’ve tried to be serious for once, and I hope you appreciate it, reader.  “Salvation, If You Need…” is a truly magnificent piece of work.  I’ve been playing it for ages and it hasn’t aged.  I’m still discovering little delights everywhere.  It has scale and pace that other bands don’t dare trifle with.  A contender for Album of the Year, so long as I can get hold of the imminent vinyl release.

Now, who wants to hear about the time Ozzy, Belinda Carlisle and me gate-crashed Venom’s Satanic picnic?

I lied about not drinking, by the way.     

You can find 1968 on Bandcamp, and also follow their social media adventures on Facebook, Twitter and Instagram.

This Platinum Al review has been produced with the aid of Ever Metal.       

Lugosi – Album Review

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Lugosi – Video Nasty

Self-released (BJF PR)

Release date: 12/03/2021

Running time: 27 minutes

Review by: Alun Jones

8.5/10

OK, here we go!  The clue’s in the title, folks – you can probably figure out where we’re headed with a band called Lugosi straight off the (vampire) bat.  If not, let me give you some pointers…

To get to Lugosi’s haunted house, depart from the Ramones’ basement, travel up Misfits Avenue, take a left at Danzig Drive, head on past Lemmy’s Bar’n’Grill till you get to 1313 Mockingbird Lane.  And you’ve arrived: horror themed punk’n’roll with fast’n’furious tunes and daft lyrics about dodgy old horror and sci-fi movies.  In other words, exactly the kind of goth rock Halloween shindig that your ol’ Uncle Al loves to crash.

Let’s get the devil-locked elephant in the room dealt with first: ‘cos there’s going to be a Misfits reference in nearly every sentence I write of this review!  To be fair, although there’s an undoubted Misfits influence in Lugosi’s work, it’s more in the lyrical content: songs about vampires, Dawn of the Dead and devil worship are aplenty, but in a tongue in cheek, Hammer horror style rather than any serious Satanic pretence.  This is music made by fans of cheesy, campy horror classics for other fans of the same.

The music itself has less of the big “WOAH” Danzig choruses and a more Motorhead inspired punk’n’roll sound, like Supersuckers  or Zeke.  There’s even a really cool instrumental in the middle of “They Came from Outer Space” that has an Iron Maiden feel.  The riffs not too far from Clutch, and – is that a Thin Lizzy influence?  Well, I was surprised to learn that Lugosi are from Dublin – I imagined they were from a remote cabin in the Texas backwoods somewhere…

“Late Night Slasher Movie” starts things off perfectly, in the speedy rockin’ style I mentioned, with hilarious lyrics!  “We’re Here to Drink Blood” is one of the punkier paced, Ramones tracks – and it’s catchier than a zombie plague.  Then there’s “Soylent Green”, which reminds me of Jerry Only era Misfits (this is a good thing).  A heavier, Sabbath feel rocks right out of the grave on “The Vampyre” and “Hellfire Club”.  There’s an almost doom sound to “1313”, augmented by high-pitched, theremin like weirdness.  I think you get the idea.

“Video Nasty” is a great album, thoroughly enjoyable in many ways: a successful Frankenstein bolting together of B-movies, punk and heavy metal – ideal for your next gathering on All Hallows Eve.  Kitsch, ridiculous, over the top – and FUN.  Lugosi have really reanimated the corpse of horror punk, and – it’s alive!!!

Check out Lugosi on Facebook and Bandcamp.

This review was proudly presented by Platinum Al and Ever Metal.

Platinum Al’s Top 10 Rock & Metal Albums of 2021

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Over the last year, I’ve reviewed a fair few albums for my pals at Ever Metal, and also continued on my never ending odyssey to explore new music. Old bands, new bands, from the big hitters to the up and comers. But what Rock and Metal albums were my favourites from 2021?

This list answers that question: here are the albums that I enjoyed the most from last year:

10. Stoner – Stoners Rule

9. Here Lies Man – “Ritual Divination”

8. Bloody Hammers – “Songs of Unspeakable Terror”

7. Melvins – “Working with God”

6. Acid Mammoth – “Caravan”

5. Barbarian Hermit – “One”

4. Red Fang – “Arrows”

3. Son of Boar – “Son of Boar”

2. Green Lung – “Black Harvest”

  1. 1968 – “Salvation, if you need…”

Another strong year for new music, 2021 managed to deliver that much, at least. There were plenty of other great releases from other artists, this is just my pick of the best – and it certainly wasn’t easy to narrow down to just this ten.

All of the above are superb records, and I’d strongly advise you to check them out. Read the full reviews on Ever Metal (where applicable) and also on here too, in the near future.

Let’s raise a glass to more great music in 2022 – and who knows, maybe some more gigs?!

Ungraven/Slomatics – EP Review

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Ungraven/Slomatics – Split EP

Blackbow Records

Release date: 05/03/2021

Running time: 31 minutes

Review by: Alun Jones

8/10

How did you spend your time during the pandemic?  Did you learn a new language or a musical instrument?  Did you get out there running, hammering marathons and getting super fit?  Or, like most of us, did you hang on there by your finger nails, just about keeping it together and escaping the monotony?  Well luckily for us, these two bands – Ungraven and Slomatics – decided to put their talents to creative use and deliver some music to keep us all sane in these bizarre times.

This is one EP, two bands and six songs in total.  First off, we have Ungraven, who despite only being formed in 2019 feature musicians of fine pedigree: Jon Davis (Conan), David Ryley (Fudge Tunnel) and Tyler Hodges (Tuskar).   “Defeat the Object”, their first offering, features a reliably sturdy riff to nod your head to.  Next track, “Onwards She Rides to a Certain Death” comes galloping out of the gates like an armour covered battle horse – it’s no nimble dressage, more like a cavalry charge into a frenzied battle.  Ungraven’s final song, “Blackened Gates of Eternity”, has a grinding intensity that has an industrial feel.

Slomatics pick up the baton and start off with the brutally heavy, atmospheric “Kaan”, which seems to move sideways rather than forwards.  Slow and hefty, I’ve seen ox bow lakes form quicker than the pace of this monster.  “Proto Hag” follows a similar style, but you’ll be glad to learn that it’s even more intense.  Slomatics have been building their reputation for some years now, and these tracks confirm their prominence.  Their final song, “Monitors” – probably my favourite on the whole EP, though I feel bad singling out one track – only pushes their reputation further.  The music is almost trancelike, with a magnetic melodic element.

This split EP is dense and compelling.  Both Ungraven and Slomatics impress with their conviction and integrity.  The only down side is that 31 minutes just isn’t enough.  This is a very enjoyable starter, but it just makes me hunger for a full plate of whatever these two immense bands can serve up.  Please sir, can I have some more?

Check out Ungraven on Facebook and Bandcamp.

You can find Slomatics on the interweb, Bandcamp, Facebook and Twitter.

Visit Blackbow Records here or on Bandcamp.

This review was presented to you by Platinum Al in association with Ever Metal.

Singles Night at the Virtual Hot Tub #24

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One of my favourite types of night in: a random stack of 7 inch vinyl, and a big old crate of booze. I’ve not held a Singles Night at Platinum Al’s Virtual Hot Tub for a little while, so allow me to put that right.

You see, I’ve got a load of 7″ singles that I haven’t listened to yet. They come from various sources, though most are second hand. So I play ’em through, A side then B side, and enjoy the sonic delights. Accompanied with a tipple of two.

Here’s the latest batch:

  1. Mudhoney – “Warning” / Meat Puppets – “One of These Days”
  2. Cockney Rejects – “The Greatest Cockney Rip Off” / “Hate of the City”
  3. Metallica – “The Unforgiven” / “Killing Time”
  4. The Shipbuilders – “Silk Road” / “La Fee Verte”
  5. Huey Lewis & The News – “Stuck With You” / “Don’t Ever Tell Me That You Love Me”
  6. The Archies – “Sugar, Sugar” / “Melody Hill”
  7. Boney M – “Painter Man” / “He Was a Steppenwolf”
  8. Twiggy – “Falling Angel” / “Virginia (And the Circus Side Show)”
  9. Freddie Mercury & Montserrat Caballe – “Barcelona” / “Exercises in Free Love”
  10. Yes – “Going for the One” / “Awaken Pt. 1”
  11. Bad Manners – “Special Brew” / “Ivor the Engine”
  12. Kylie Minogue – “Better the Devil You Know” / “I’m Over Dreaming (Over You)”
  13. The Jam – “Going Underground” / “The Dreams of Children”
  14. Siouxsie & The Banshees – “Cities in Dust” / “An Execution”
  15. Gary Numan – The Live E.P.: “Are “Friends” Electric?” / “Berserker” / “Cars” / “We Are Glass”
  16. Del Shannon – “Runaway” / “Jody”
  17. The Smurfs – “Silly Little Song” / “Little Smurf Boat”
  18. The Proclaimers – “I’m Gonna Be (500 Miles)” / “Better Days”
  19. Stray Cats – “Stray Cat Strut” / “Drink That Bottle Down”
  20. Eurythmics – “Sexcrime (Nineteen Eighty Four)” / “I Did it Just the Same”

From Metallica to the Smurfs, there’s a right old mixture in that playlist. A nice wide coverage of genres from pop, disco, ska, prog rock, punk and – wonder of wonders – even some opera. Not to mention all the various subgenres on the list (Goth? Post punk? New Wave? Make your own conclusions).

Another fine evening of music, I can recommend a Singles Night for the variety and fun. Dig out your old singles collection and have a knees up!

Fields of the Nephilim – Gig Review

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Fields of the Nephilim + The Faces of Sarah

Friday 10th September 2021

Buckley Tivoli

It had been a good 18 months since I last attended a gig, and leaving the house to join a throng of fans enjoying live music seemed like a very strange proposition. I’d actually forgotten all about the concert, as tickets had been booked long before lockdown. Heading up to the Tiv was both exciting and, if I’m honest, a little unnerving.

On entering the venue, it was just like old times: a great vibe as the crowd drank and awaited the bands. As life was getting back to normal, the Goths had crept from the shadows near and far, ready to witness Fields of the Nephilim.

The support band, The Faces of Sarah, were already attempting to breathe life into the evening. Unfortunately, and unusually for the Tiv, they could hardly be heard. I wasn’t too far away, but could barely make out the sound of the instruments. The guitarist looked to be going for it, throwing shapes like a crazed gibbon, but to no avail. The dual lead vocals were extremely impressive, however the poor sound made them come across like an AOR outfit.

Had my old copy of the Usborne Book of Goths been on my person, I could’ve ticked off several obvious dark rock tropes from the moment Fields of the Nephilim took the stage. There was so much dry ice the band could barely be seen, just a group of grey silhouettes in dusty cowboy hats. They begin in true over the top, cinematic style with “The Harmonica Man”. Atmosphere is poured on with no restraint.

And that’s exactly what I paid my money for: I wanted the full experience without any subtlety, and by God, that’s what the audience got.

FOTN erupted into “Preacher Man” and we all loved it. There’s no onstage frontman/audience banter (till the very end) and that, again, is just how I expected it. The songs bounce along like little Goth demons knowing Halloween isn’t far away.

“Moonchild” was an obvious highlight, with its slow, moody intro leading into the searing guitar and rumbling bass. The whole set is all treat, no tricks – I got the feeling that this is exactly how FOTN would’ve performed 30 years ago. The whole set is absolutely note perfect and full of every excess that the audience could devour.

I’d also forgotten how much I enjoy live music. This evening was a fantastic reminder of what we’ve been missing – can’t wait for more.

EMQs with… Platinum Al

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Last year, in the depths of lockdown and with no live entertainment to review, the glorious website that is Ever Metal was kind enough to open up their Ever Metal Questions series to the reviewers. As an EM contributor I was finally able to fulfil a lifelong ambition – and satisfy my enormous ego – by being interviewed for the site.

The questions were pretty much what we ask musicians, only I had the privilege of answering them myself. And now, in a move that confirms that I really have no shame, I proudly re-present the same interview here, at the Virtual Hot Tub. Well, it is my birthday this month…

Enjoy!

What is your name, what do you do, and can you tell us a little bit about how you ended up doing it?

My name’s Alun, AKA Platinum Al.  I write some reviews for Ever Metal, which came about through meeting Rick and Beth at Pentre Fest a while back.  “I can write!” I lied, and they’ve been too kind to bin me off ever since.

What Country/Region are you from and what is the Metal/Rock scene like there?

North Wales in the UK.  We seem to be a bit out in the wilderness to the outsider, but thankfully there are a few venues that put good bands on in Chester and Wrexham (both nearby) and of course, the good old Tivoli in Buckley (just up the road).  Liverpool and Manchester are both accessible.  The big win for us though is Pentre Fest – and all the other events that North East Wales Metal Productions put on.  It’s introduced me to loads of new music and it’s right on my doorstep. 

What is your favourite latest release? (Album, EP, Single, Video)

Desert Storm’s “Omens” on APF Records is album of the year so far.  Beyond that, I’m still reeling from the wonder of Giant Dwarf’s self-titled master piece, my album of 2019.

Who have been your greatest influences, in music or in life?

George Lucas, for Star Wars – which influenced me more than anything since I was five years old.  Stan Lee and Marvel comics have also been a big inspiration.  Skateboarding in general has opened my eyes and ears to the wonder of the world since my teens. 

In music, there’s dozens: Johnny Cash, Motorhead, AC/DC, Ramones, the Damned, The Misfits, Black Sabbath, The Cult, Soundgarden, Led Zeppelin, Queen, Monster Magnet, COC, Melvins, Jimi Hendrix etc etc.

What first got you into music?

I listened to the Star Wars soundtrack first of all; it still has an amazing emotional response on me even now.  The next big development was seeing the film Highlander, which I loved.  A friend of mine recommended the Queen album A Kind of Magic as it featured several songs from the film, and it’s been downhill from there.  Thankfully, through skateboarding I was introduced to music that was a bit off the beaten track, shall we say.

Which current bands or musicians would you like to see collaborate on a record?

Good question!  How about Shakin’ Stevens – the Welsh Elvis – fronting the Misfits?  Danzig can write the songs.

If you could go to any festival in the world, which would you choose and why?

Pentre Fest!

What’s the weirdest music related thing you own?

I have some pretty weird vinyl in my collection, like Roland Rat, the Wurzels and an album called “How to Strip for Your Husband”.   Oh, and a Joan Collins work out record.

If you had one message for your Ever Metal readers, what would it be?

Never ever bloody anything ever.

If you could bring one rock star back from the dead, who would it be?

So many greats to choose from (sadly).  I’ll nominate my old mate Lemmy, as I probably embarrassed myself when I met him by talking bollocks.

If you could change one thing about the music industry, what would it be?

Stop developing new formats – you lied to us about CDs when vinyl was the ultimate.  There are some albums I own on vinyl, tape, CD and download – and I’ve had to buy every single one.  Can we all just agree to not buy whatever new garbage format they try and lumber us with in the future? 

Name one of your all-time favourite albums?

Never Mind the Bollocks, Here’s the Sex Pistols.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Vinyl, obviously!

What’s the best gig that you have been to, and why?

Black Sabbath at Birmingham Genting Arena on their “The End” tour is up there.

What do you get up to when you’re not writing/ taking photos?

Working the day job and being a dad mostly.  Then listening to music, skateboarding, riding my bike, watching old Hammer horror movies, collecting toys, drinking beer.

Which five people would you invite to a dinner party?

Sir Christopher Lee, Johnny Cash, Jimi Hendrix, Joey Ramone and Lemmy.

If they have to be alive, then James Hetfield, Glenn Danzig, Dave Vanian, Henry Rollins and pro skateboarder Mike Vallely.

Jaffa Cakes? Are they a cake or a biscuit?

I don’t know, but I had cherry ones in Greece and they were amazing!

Thank you for your time. Is there anything else that you would like to add?

Just thanks for giving me the opportunity to flaunt my massive ego by doing an interview, it’s something I’ve always wanted to do!  HAHA!

Oh, and to the readers of Ever Metal: thanks for reading, and never forget that we are fans just like you and we do this for the love of the music.  Never say die!

Read more Ever Metal staff EMQs here.

Wax Mekanix – Album Review

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Wax Mekanix – Mobocracy

Electric Talon Records (Dewar PR)

Release date: 20/11/2020

Running time: 30 mins approx

Review by: Alun Jones

9/10

“Who the fuck is Wax Mekanix?” You may well ask.  Who is this enigmatic troubadour, this mysterious master musician, who has concocted this art for us to absorb?  Well, I’m not sure I can answer those questions, but I have done some research.  A bit late, I know, as this album was first released back in November.  But hey, I can’t be cutting edge all of the time.  Sometimes a scribe such as I must admit that changes of seismic consequence occur without my usual omniscient vision.  Hard to believe, I know.

And yet here we are.  Six tracks of exploration and wonder that plough a beguiling path through musical genres, from classic hard rock to folky musings, with an added sprinkle of the unexpected and alternative.

If you want big full-on metal with groove, you’ll find it with “Blood in my eyes”.  Huge chants and choruses?  Try the gladiatorial detonation of “Victorious”, where you’ll also witness Brandon Yeagley and Chris Bishop of the very awesome Crobot playing the funky, infectious riffs that they’re famed for.

Wax himself is something of a renaissance man: writing, singing and playing on all tracks.  Possessing a voice that can change from a warm country croon to a caramel Maynard James Keenan earnestness to a classic Alice Cooper roar, Wax morphs easily from one to another.  He’s like Mike Patton with a folk fixation, but dressed even more dapper.

“Mad World” is one of my favourite tracks here, starting off with some Mexican guitars before erupting in a NWOBHM stampede that also recalls The Crue at their pop metal best.

The absolute highlight, though, is the final track “Black”.  This song is all eerie acoustic guitar and minimal percussion, with a catchy melody that creates something hypnotic and other worldly.  Despite also reminding me of Johnny Nice Painter form the Fast Show (do a Google) on the chorus, this song exudes atmosphere.

Although the album is a little short, there’s plenty to investigate.  Listeners will be rewarded with additional revelations each time they delve into it.    

When I first heard Mobocracy, I rated it as good.  After a couple of listens, I’ve upgraded it to GREAT.  A welcome amalgamation of styles and influences, as well as exemplary song writing and musicianship, don’t let the endeavours of Wax Mekanix pass you by.  Who is Wax Mekanix?  The real question should be: “What’s next?”

Speaking of wax, did I ever tell you about that time when Ozzy and me decided to do a séance with some candles he pilfered from some hippies?  That did not end well.  There’s a little B&B in Carlisle that still has scorch marks up the walls.  Tony was not impressed in the slightest.  And I still have a phobia of barbecues to this day.

You can check out Wax Mekanix on Facebook, Twitter and Bandcamp.

This review was brought to you by Platinum Al and Ever Metal.

Bloody Hammers – Album Review

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Bloody Hammers – Songs of Unspeakable Terror

Napalm Records

Release date: 15/01/2021

Running time: 32 mins approx

Review by: Alun Jones

8.5/10

Outside, the nights are starting to get lighter and Spring is on its merry way.  The birds chirp merrily and warmth is returning to the land.  Which is completely inappropriate for a review of the new album by Bloody Hammers, “Songs of Unspeakable Terror”.  It should be Halloween instead: gloomy and dark with the bizarre and uncanny just outside your door.

Anders Manga (vocals, guitars, bass) and Devallia (keyboards/organ) are the Morticia and Gomez husband and wife team behind Bloody Hammers, a metal/rock/goth creation based in Transylvania County, North Carolina.  How’s that for an address?  Bet Glenn Danzig’s crying into his Count Chocula cereal. 

On this opus, Lily and Herman have left behind their previous established sound of Alice Cooper-style hard rock, crunchy metal and Sisters of Mercy atmos.  Entombed alive due to the pandemic, Bloody Hammers have exhumed the bloody corpse of horror punk, in a temporary tribute to the genre.

And it’s huge fun!  Fast and furious tracks like “Night to Dismember” and “Waking the Dead” rocket from the crypt like the hounds of hell are on their tail.  Huge “whoah-oh” Misfits choruses are of course present and correct.  Rousing and energetic, these songs are obvious but loving celebrations of influences that have only been hinted at on previous albums. 

There’s macabre melody on “We Are the Damned”, with a choir vocal effect to help power the camp horror feel.  “Hands of the Ripper” and “Not of This Earth” are slower, more metal sounding with a grinding riff.

Little of the occasional Andrew Eldritch explorations exist on “Songs of Unspeakable Terror”, though “Lucifers Light” unites guitar and keys into a moody Danzig like ballad.  A little more of this approach would still have fitted perfectly however.  I don’t know if Devallia can sing, but if she can this was a missed opportunity.   

The listener never feels too far removed from the original Bloody Hammers style, however.  Likewise this isn’t a simple, derivative rip-off of “Walk Among Us”, even though “The Brain That Wouldn’t Die” is a nice radioactive “Hatebreeders” mutation.  But whereas the Misfits took their inspiration from monochrome B-movies, Bloody Hammers have changed gears to a Kensington gore-drenched 60’s Technicolor horror fest. 

“Songs of Unspeakable Terror” is an album of pure enjoyment, which is just what we need right now.  With song titles taken directly from classic Hammer/Amicus movies, a warm rediscovery of horror punk style and some familiar Bloody Hammers rock, you can’t go wrong.  Go dig out your Halloween fancy dress, find your “Plan 9 From Outer Space” VHS cassette and get ready for a ghouls night in!   

Check out Bloody Hammers on Bandcamp, Facebook and Instagram.

This review was brought to you by Platinum Al and Ever Metal.