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!
Pentre Fest – it’s no secret that I’m a fan of this two day Metal festival held in a pub/club down the road from me. Organised by the hard working and hard rocking people at North East Wales Metal Productions, it’s a non-stop feast of fine tunes, the very best of underground Metal from around the UK.
Here’s my write up my experiences from this years event. You can read a full account from Team Ever Metal over at their site.
Day 1
Hiraeth
My excitement had been steadily rising for weeks ahead of Pentre Fest. You just can’t beat this mini two-day festival in North Wales, it really is the gig highlight of the year for me. I arrived just in time to catch Hiraeth, a great Black Metal band who originate from not too far away in Wrexham. Taking the Black Metal template and weaving tales of ancient Welsh folklore and history, these sword wielding warriors bring a positive, inclusive vibe with their increasingly accomplished musicality. A great band and a real high point to start with.
Attic Theory
Liverpool’s Attic Theory were up next on the main stage, and though they were new to me, they really made a good impression. Full on, hard hitting alternative rock, Attic Theory ploughed through the room with a big riffs and anthemic vocals. I love me some Grunge and these guys had the power and a magnetic groove. Unfortunately they buggered off home before I could buy their delightful album on sexy vinyl!
Battalions
The band I was most excited to see at this year’s gathering was Battalions, who I’ve developed a bit of a fanboy adoration for. They’re on APF Records so that’s a mark of quality right there. Thankfully, Battalions’ monstrous, doomy, fuzzed out riffs were even more satisfying than their quite brilliant album ‘King of a Dead World’. They warmed my ancient, jaded soul with a sludgy set that really was a Pentre Fest highlight.
Miserable Sinner
Outside, the cold drizzle made viewing the Keymo stage a bit of a challenge – never mind actually playing on it! I did catch Geordie of Bad Earth performing his Miserable Sinner solo acoustic set in defiance of all the mighty Thor could unleash upon him, with AC/DC’s “Whole Lotta Rosie” being a particular favourite!
Basement Torture Killings
A brutal, Death Metal Grindcore band of lunatics who’ve watched too may serial killer documentaries, Basement Torture Killings certainly know how to entertain. It was a case of “Netflix and kill”, as they tore through a visceral set and eviscerated a huge cuddly teddy bear. Not my usual type of O Positive, but BTK served up a memorable, blood soaked show. Time for bed.
Day 2
Firefly
Running late as per usual, I actually wasn’t punished too badly this time as apparently Edd Case had declined his opening slot! Instead I arrived just in time to see Firefly, who had only just started their set. An amazing start to the festivities, Firefly brought their own brand of Industrial Goth Metal to give everyone a big wake up call. Like a mix of Rammstein, NIN, Gary Numan and Sisters of Mercy with the smoky vocals of Marianne Faithful (like what Mare said), this was pretty damn unmissable. Check ‘em out!
Victim of Damp
Opening proceedings on the outdoor stage was Victim of Damp, alias Pentre Fest die hard Frank Williams. His amalgamation of gentle covers and humorous originals improves with confidence every time. A free shot of the old alcohol helped warm us all up too!
Losing Light
This band sounded like an interesting premise, and indeed they were. Four guys from fairly close by, they have plenty of experience but are a relatively new proposition as Losing Light. Usually, their set would include a couple of covers, but these were dropped for this first Pentre appearance. Very confident and excellent musicians, their own self written songs were more than capable – Losing Light gave us an electric performance. Let’s hope they return soon.
Oliver Carins
Quick, no time to put your feet up – get out to the Keymo stage! Oliver Carins, usually part of Scarfoot (who are a hell of a band anyway) gave us a superb acoustic set with fine vocals and masterful guitar skills. Folky and warm, the songs still had that signature epic Scarfoot edge.
The Raging Mabels
Sadly, Any Given Reason were unable to play this afternoon, so the daring Raging Mabels parachuted in to save the day. And boy did they rage! A set of powerful yet tuneful rockers, the Mabels played an energetic non-stop set that rattled by like a rocket riding coyote chasing a roadrunner. Equally at home playing for fans of Motorhead or the Ramones, it’s no secret that this pretend rock journo is a mega fanboy – the Mabels are pure joy! And they (finally) brought some merch!!!
Chain of Survival
Theigns and Thrawls did a brilliant acoustic set oustide next, but more about them later. Let’s skip forward a little to Chain of Survival. Another Liverpool based band, this time we have a Hardocre Thrash Punk four piece who are utterly uncompromising. If you ever played DRI or Sick of It All casettes from a boombox while skateboarding in a local supermarket carpark (as I still do) then you’ll love COS too.
Fallen North
These guys have played McLeans gigs before, but they showed up in full force – this was not a dress rehearsal! Full on, no apologies modern metal with crunchy riffs and soaring vocals, Fallen North soon had the crowd won over. They stepped down from the stage to join a fan on the dancefloor, still playing, and giving one of the most heartwarming moments of the weekend. Well played all round.
Kevin Plant (Cry For Mercy)
Blues rock royalty Cry For Mercy weren’t playing this weekend, but vocalist/bass maestro Kev Plant braved the elements outside on the acoustic stage for a solo performance. Great playing augmented with Kev’s trademark soulful, Paul Rogers like voice was an oasis of calm. It takes some cojones to tackle Chris Cornell’s vocals, but Kev’s version of Audioslaves ‘I Am The Highway’ was respectful and stirring.
Ogun
The world needs more authentic Thrash Metal. Thankfully Liverpool’s Ogun delivered a rousing set of the genuine article at Pentre Fest. Not dated or old fashioned in anyway, just modern thrash in the spirit of Testament, Exodus and even Slayer. Speed but without compromising on songcraft or melody, there’s plenty to enjoy in Ogun’s set. Not their first time here and hopefully not their last either.
Bad Earth
OK, so I’ve seen Bad Earth before – but they’re always exciting. And loud! Playing their own, patented Rockcore (TM), this three piece always seem to be ready to decimate wherever they play. It’s dirty biker rock dialled to eleven and kept up way past it’s bedtime, as Geordie, Karl and Ben assault their instruments like they’ve insulted their mothers. Always a pleasure to be in the crowd for a Bad Earth gig!
Edd Case
Closing the Keymo stage outside, this wasn’t the first I’d seen of Edd this Fest. He’d already played a blinder the day before, and this time gave us a very welcome rendition of ‘Mother’ (note to bands everywhere: play more Danzig) amongst some select covers. Original material also got an airing, including the magnificent ‘Letters Back Home’, a moving and sadly still relevant masterpiece. Edd, you truly are a poet.
Theigns and Thralls
Earlier in the day, I witnessed an eye opening and refreshing performance by Theigns and Thralls on the outside acoustic stage. I always enjoy a trip into different genres at Pentre Fest and this folk set was a definite highlight. In the evening, they plugged in fully to give us a real taste of Folk Metal, the energy of which had the audience jumping and dancing around. Glorious fun for all!
Fury
This year’s esteemed headline act, there was a fair buzz around the venue for Fury’s set. And to be fair, they were worth waiting for. Specialising in the unrecycled, sheer joy of Heavy Metal in all its Iron Maiden/Judas Priest glory, these guys were undoubtedly on top form. The dual female/male lead vocals of Nyah and Julian help the band transcend any Hard Rock cliches with an outstanding, individual sound. Fury are undoubtedly excellent musicians, and have the performance and songcraft to back up their reputation. I can’t really think of a bone to pick with them. Other than if they don’t make a return visit one day, we’ll all be very upset.
And that’s it: the end of another Pentre Fest. A wonderful weekend of fine music and great company, I’m already counting down to next year. I’ve definitely got post Pentre Fest blues.
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.
Friday night. I’ve just been down to the local video shop, had a scan of the horror section, took my time deciding which film to rent. If it’s good I’ll watch it at least three times before I bring it back tomorrow. Go for the one with the craziest sounding name and the most gonzoid image on the cover. Doesn’t matter who’s in it, I just want to know which offers the most brain destroying, off the wall, lurid descent into madness.. Pay up and leg it home, video tape in hand. Urgently load the clunky VHS player and wait for the image on screen to stop crackling and reveal its gory beauty…
‘Brain Cells’ by horror metal deviants Torso bursts forth with a frantic commotion. This is album number two from ex-Possessor frontman/guitarist Graham Bywater in his new guise as the Dark Lord of Grindhouse Schlock Terror. APF records haven’t so much released this album, as unlocked the gates, stood well back and unleashed it upon the world in a tidal wave of bloody fury.
Starting with the intense thrash of ‘You Belong in Hell’, the lo-fi atmosphere is captured perfectly. Not that the production is poor, but this whole album has the vibe of an ancient cassette that’s been used and re-used many times. Probably starting with Huey Lewis, then taped over with some early Maiden, then repeatedly re-recorded on again until it features Carcass and Entombed.
As before, songs are peppered with random movie samples (good luck tracking the sources down, I’m stumped already), though there’s noticeably less of the John Carpenter-inspired keyboard instrumentals this time around. No matter, the drive-in B-movie atmosphere is ever present here – both ‘Savage Magic’ and ‘Brain Cells’, in particular, help see to that.
Key highlights you won’t want to miss include ‘Deep Space Death Trap’ with its unforgiving, virulent chorus and raw, fuzzed up riffs; and ‘Hex Pest’, which roars along as if possessed by a filthy, NWOBHM-obsessed demon biker.
“Brain Cells” is an underground garage-metal thrill ride from opening act to final curtain. It’s glorious, murderous fun for all – you’ll want to rewind and go from the start again, as soon as it’s finished. A nasty, blood splattered triumph for Torso and a Top Ten of 2024 album for me.
Over the last couple of days, I’ve noticed I’ve had a cold coming on. Sore throat starting, slight cough, feeling tired and achy. This morning I did a Covid test – no, I didn’t know that was still a thing, either – and what do ya know, I’ve got the Vid. Double bars on the tester, I’m in full Vid mode and suffering more by the minute. What I need is medication. Something to clear the fog from my head. Luckily, I have this new EP by Berenice to help.
This self-titled release from APF records is the debut from East Anglia based noise wizards Berenice. It’s a wild, untamed, raw release that’s a brew of hardcore, crust, sludge and grind. The five piece have delivered a five song EP to launch their musical manifesto and it’s every bit as uncompromising as you’d expect.
First track ‘Problems’ unleashes a screaming, thrashing beast stampeding at 100mph. ‘Reflection’ slows the tempo slightly, but rides on a chugging riff and guttural, screaming vocals. The remaining tracks follow in a similarly brutal style, with only last song ‘Sorrow’ breaking the three-minute barrier.
If melody and finesse are your thing, then Berenice might not be what you’re looking for. Instead, if you want fast, loud, aggressive music infused with the rage of living in the modern world, the Doctor prescribes a regular dose of Berenice – to be taken as often as possible.
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.
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?
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.
Let’s start with a history lesson. The “Behold the Basilisk” EP by TOOM is a dug-up time capsule, having been recorded in January 2010. The band themselves were formed in 2007, and split not long after this recording. What could have been a long-lost curio, to be spoken of fondly by the few who had inside knowledge, has now been reanimated and set loose by APF records.
What we have is an EP consisting of four stoner doom tracks from an extinct trio. Like those ape dudes at the start of “2001: A Space Odyssey”, Teddy-James Driscoll, Jus Smith and Jack Newnham have been enlightened by a big, Black Sabbath obelisk – the legacy of which has been excavated for our enjoyment.
“Snake Chalmers” opens things up, with an acoustic guitar intro that’s highly reminiscent of those mellow Iommi passages from “Master of Reality”. It’s a beautiful, yet deceptive beginning to a collection of crushingly heavy music. Play it for Granny, she’ll be surprised as fuck when the lethal riffage of “There’s Nothing Cute About Cobras” revs up and creates utter destruction. Growling vocals and gruesome, pounding guitars are where we’re at here.
Similar approach for “Mandark”, though this track throws in some variations in riffs and tempo, with a short, but killer “quieter” section. Here and on the final song, “Decapodiformes”, there’s a hint of influence from the likes of Sleep, High On Fire and Mastodon – with relentless, mighty riffs powering through.
Gone but not forgotten, then: it’s introducing and welcoming back TOOM on this impressive EP. Makes you wonder what might have been…
Writing these reviews for Ever Metal isn’t easy, you know. I’m sure I speak for the whole writing team when I say that we pour our heart and soul into all our prose. Each of us lives with the fear of the dreaded Writer’s Block, gnawing at our bones. So, I decided that my review of this reissue of the 2016 debut album by Barbarian Hermit, released by the mighty APF Records, would need some help.
But who could assist with such a task? Why none other than my old friend, Volkrugg the Decimator – barbarian warlord of Ages Long Forgotten. Of course: no-one is better qualified! And seeing as I’ve basically been a hermit for the last year, between us we should have it covered.
Take it away, Volkrugg…
“Greetings, people of the 21st century! I am Volkrugg the Decimator – warlord of the Mist Realm, conqueror of the Thorspian cities, leader of the barbarian hordes of Vossk. My good friend, Al, has begged me for my musings concerning the recorded work of Barbarian Hermit, and lo – shall I render it unto thee with vicious glee!
“From the very start, these seven songs burst forth like an army of Ionian Thrask Vandals! They wield their war axes with vengeful power, surging down from the mountains on thundering hooves of hell. The brief respite of sometime calmer moods offer shelter from the maelstrom of war, yet always the majesty and power of conflict lurks temptingly!
“Verily, hearing these odes, I was mindful of my fallen brothers from glorious battles past – gone but ne’er forgotten, proudly drinking and brawling in Valhalla!”
There you go, I couldn’t have said it better myself. “One” is a great, sludgy, fuzzy celebration of relentless force and mesmerising intricacies. Both Volkrugg, his band of berserker warriors and myself are all big fans. You’d be a fool of mythic proportions to miss this album, and be warned – Volkrugg fed his last court jester to a tiger. Barbarian Hermit reviewed by a barbarian and a hermit – you can’t get a more honest opinion than that.
Platinum Al's Virtual Hot Tub 