Tag Archives: bass

Battalions – Album Review

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Battalions – King of a Dead World

APF Records

Release date: 21/10/2022

Running time: 31 mins

Review by: Alun Jones

9.5/10

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.      

Check out Battalions on Facebook, Twitter and Bandcamp.

Have a gander at the APF Records website, or Facebook, Bandcamp or Twitter.

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

 

Bad Manners – Gig Review

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Bad Manners + 50 Hertz + Luke Gallagher

Friday 24th February 2023

Buckley Tivoli

The atmosphere in the Buckley Tivoli was lively and positive, as the crowd gathered in anticipation of the evening’s entertainment. One of the biggest and best audiences I’ve seen for a long while were waiting for an appearance by 80s ska legends: Bad Manners. There was definitely a feel-good factor in the air, and not just because it was Friday night.

I missed the first support, but arrive just as 50 Hertz took to the stage. A local band, they performed a set comprised of originals and covers, including well known songs by The Jam and Sex Pistols. They sounded note perfect, and knew how to warm the audience up and keep them interested, ready for the headliners. A rousing cover of Ten Pole Tudor’s “Swords of a Thousand Men” was a highlight and justifiably went down very well.

Bad Manners are an eight piece band, comprising three man brass section along with the standard guitar, bass, keyboards and drums. The band enter the stage and launch right into a fabulous rhythm, the audience begin moving along. The unmistakeable Buster Bloodvessel joins the musicians before long to rapturous applause, and the celebration begins.

Starting with a killer rendition of “This is Ska”, the band are tight and clearly enjoying every note. Seeing Buster on stage, I can’t help but be reminded of those classic Top of the Pops appearances from “when I were a lad”. He’s slightly less animated nowadays, of course – but the joyous two-tone tunes can do most of the work for him. And the band aren’t shy, merrily bopping along without any rest.

It’s so easy to move to the music – call it dancing if you will, I’m not sure in my case – as the irresistible pull of “Special Brew”, “Lip Up Fatty” and “Walking in the Sunshine” keep the crowd entranced. When the band hit a groove, they let it breathe and keep the audience captivated.

With a final encore of “Can Can”, it’s all over – and I don’t think there can be a single complaint from anyone in the Tiv tonight. The band could have played all night and we’d have asked for more. Bad Manners don’t rely on nostalgia and don’t rest on their laurels; they rely on creating a wonderful, fun night of music for all ages.

Sergeant Thunderhoof – Album Review

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Sergeant Thunderhoof – This Sceptred Veil

Pale Wizard Records

Release date: 03/06/2022

Running time: 69 minutes

Review by: Alun Jones

9.5/10

OK: so for once, I’m kinda stuck for words.  How do I tackle this album, the new offering from Sergeant Thunderhoof?  I mean, we can go through a song-by-song overview; try to describe the listening experience for the reader, make comparisons to other bands in a lame attempt to get the message across.  But what I really need – or want – to do, is SELL it.  Because I care about you, Ever Metal readers, and I don’t want you to miss out.  “This Sceptred Veil” is a fantastic record.

Our opening song ‘You’ve Stolen the Words’ lays Sergeant Thunderhoof’s wares out on the table from the off.  A mammoth, heavy riff erupts from the speakers and drags the listener along like a tin can in a hurricane.  This is a big sound.  Mark Sayers guitars are momentous, epic on a biblical scale.  Comparisons to Soundgarden are obvious but apt, particularly considering the Olympian vocals of Daniel Flitcroft, soaring on every song.

If I was gonna make more lazy comparisons, there’s a hint of spacey Monster Magnet raunch on ‘King Beyond the Gates’ and maybe even some Maiden gallop on ‘Show Don’t Tell’.  Both tracks testify that the rhythm section – Jim Camp on bass and Darren Ashman on drums – have the skills to rev the engine as well as groove along on the more cerebral tracks.

Speaking of the cerebral, it’s the lengthy prog work outs that differentiate Thunderhoof from other similar artists.  As much as I love the rockin’ numbers (shout out too for ‘Devil’s Daughter’), these guys are extremely comfortable wandering into the realms where Mastodon rule.  Witness ‘Avon and Avalon’ Parts I and II: two tracks that, whilst not exactly mellow, certainly take their time to explore and build a musical soundscape.  It’s thrilling.

Running at around the 69-minute mark, there is a lot to discover here.  You’re going to need to devote some time to this baby, but don’t fret – you’ll be massively rewarded if you do.  So please forgive the hard sell.  I only mention similar bands in an attempt to reach out to fans who I know will dig this, too.  Sergeant Thunderhoof have created a superb album in “This Sceptred Veil” – one of the best of the year, so far.  Don’t miss it.   

Check out Sergeant Thunderhoof on Facebook, Bandcamp and Instagram.

You can find Pale Wizard Records on Facebook, Bandcamp and their interwebs page.

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

Pentre Fest 2022

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Pentre Fest 2022

McLean’s Pub, Pentre, Deeside

25th and 26th February, 2022

February 2022 saw the long awaited return of Pentre Fest. After falling victim to the pandemic, this local metal festival was revived and came back harder than ever. Two days of metal/rock, hosted in McLean’s pub in Pentre, Deeside, North Wales – I was over joyed to revisit this fantastic event.

Friday evening was headlined by Raised by Owls, with appearances by In Depths and my old mates Ryuko, amongst others (see the reviews below).

Saturday saw the largest audience ever at Pentre Fest, not surprising considering the legendary Blaze Bayley was headlining. Add performances from Absolva, Cadence Noir, Reaper, plus many more and it all equalled a spectacular day’s entertainment.

Despite a few of the advertised artists having to drop off due to the plague, there was a legit feast of music of various hard rockin’ types, spread over two stages. It was so good to be back: a feeling everyone seemed to share, bands and gig goers alike.

You can read the full review on the Ever Metal website here. Just for the hell of it, here are the bands that I reviewed personally.

Friday 25/02/2022

Navnlos

The first band I caught this year was Navnlos, so that was a pretty good start!  These guys deliver some heavy groove metal, powerful and relentless.  I also detected something of a nasty grunge element, like Tad jamming Pantera songs in Venom’s garage.  Navnlos feature evil riffs, primal rhythms and ogre like vocals – it’s the sound of a rampaging army of berserkers storming your tea party.  Bloody great way to kick things off!  

Hellfire Devilles

Some may have wondered how a psychobilly band would go down at a metal festival.  Well, turns out that Hellfire Devilles fitted in snugger than Tommy Lee’s underpants.  A raucous, rock’n’roll three-piece trading in high energy, foot on the gas music – these guys wrought crazy voodoo all over the outside stage.  Thumping drums, frantic guitar and slapping upright bass – along with monster movie lyrics – the set was an absolute joy.   This was freaky tiki, cocktail chaos a go-go: Killerbilly has arrived!  Do not miss Hellfire Devilles if you get chance to see them.  Main stage next time, please.

Saturday 26/02/2022

Bad Earth

Although happily installed as Pentre Fest regulars, Bad Earth have had anything but a comfortable couple of years.  With the band reduced to just founder member Geordie at one point, the addition of new members Karl and Ben has reinvigorated this band beyond belief.  Big, fast, dirty, non-stop biker rock that would make my old mate Lemmy very proud indeed, Bad Earth played brilliantly and performed a highlight set.  The term “power trio” does not do justice here: more like “annihilation trio”.  I wore my Bad Earth t-shirt ‘cos I’m a fanboy, you can fuck objective journalism sky high.

Wrath of Man

My first experience of these guys and they were intense, with a capital “fucking hell mate, who just punched my teeth out?”.  Originally slated to appear earlier, Wrath of Man were delayed due to a horde of Visigoths on the A55 (Bad Earth moved their own set to accommodate).  The Wrath encapsulate a steaming metal cauldron of brutal riff and thrashy ferocity, topped with growling vocals that suddenly bloom into melodically sung choruses.  Uncompromising, surprising and you should check them out, like now.

Master Charger

RIFF OVERLOAD!  Quick, pals – jump on Al’s Master Charger fun bus, we’re starting a club for MC fanboys and I’ve saved you all a seat!  I’d listened to Master Charger before, but never seen them live – and oh, what beauty I did behold.  Sludgier than a dirty bath, doomier than the Goat of Mendes, we sold our souls for Master Charger and they gave us a blinding set of fuzzy, scuzzy rock.  Seriously supreme, this trio destroyed all before them – afterward, I destroyed their merch table because yes, I bought bloody everything!  I’m not pissing about, Master Charger were AMAZING.

And that’s it. More soon, I hope. As always, major respect to Fozzy, Beany and crew for making this happen. Please check out the bands above and share the love.

Catch up with news at the following pages: N.E.W. Metal Productions, Goodfor Audio, McLeans Pentre.

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.       

Spelljammer – Album Review

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Spelljammer – Abyssal Trip

RidingEasyRecords (UsThem Group, Palmer Turner Overdrive)

Release date: 26/02/2021

Running time: 44 minutes

Review by: Alun Jones

8/10

A slow build of distortion, punctuated by air raid sirens, heralds the onslaught of “Bellweather”, the first track on the latest Spelljammer opus.  These guys are in no rush.  Instead, the listener sinks slowly into the mire, as first guitars and bass, then drums, stealthily enter.  Over the course of six plus minutes, the track builds beautifully, setting the style for the album to follow. 

Spelljammer are from Stockholm, Sweden – and comprise Niklas Olsson (bass and vocals); Robert Sörling (guitar) and Jonatan Rimsbo (drums).  It’s been five long years since their last album, but now they’re back with a huge, ponderous collection of sludgy, doom laden music.

Second track, “Lake”, follows the hypnotic incline of the opener with a brutal riff and throaty vocals, before descending into a medium paced headbanger.  This track nicely encapsulates the contrasts between heavy, thunderous ferociousness and trancelike wonderment.

The band composed these songs in the seclusion of a remote house in the country.  The various shifting sections of the songs obviously reflect that concentrated effort, with a perfect ebb and flow.  Sections wind intricately between the monstrous and the calm. 

“Among the Holy” starts with a creeping pace before erupting into the album’s biggest rocker.  The title track opens with a sample from some obscure horror movie, and I need to know which!  After that, it’s crawling doom which picks up speed a little in a Sabbathy manner – complete with distorted vocals.

Talking of Sabbath, “Peregrin” feels like one of those Tony Iommi instrumentals on “Master of Reality”.  It’s actually quite wonderful.  Finally, “Silent Rift” is over ten minutes of all that’s gone before, ramped up even higher.  The pace is slow, there’s no haste, Spelljammer take their time and let the music grow and breathe.

The listener will also need to take their time and truly absorb this album.  Stick on your ear goggles, turn the lights down low and bask in the inventiveness.  “Abyssal Trip” is a record that’s been carefully composed and nurtured.  The enjoyment here is in the journey and all its interwoven elements.      

As we’re talking of jam, I’m reminded of an episode with my old Black Sabbath mates.  We were at legendary Rockfield studios in Wales, and following a late night in the studio and an even later nights boozing, the band were relaxing on the lawns on a gorgeous summer day.  Bill fell asleep on the grass, and Ozzy decided to take the remains of the strawberry jam from breakfast and smear it all over Bill’s beard.  Sure enough, ten minutes later, Bill woke with a scream – brushing wasps from his face.  He jumped up and ran to a nearby pond, jumping in face first.  When he emerged, Bill looked like a Sasquatch.  He spent days rubbing ointment on his face and was finding dead insects in his beard for ages.   

Seek out more Spelljammer info on Bandcamp, Facebook and Instagram.

RidingEasy Records are also on the web, Bandcamp, Facebook and TubeYou.

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

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.

Here Lies Man – Album Review

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Here Lies Man – Ritual Divination

RidingEasy Records (Us/Them Group)

Release date: 22/01/2021

Running time: 61 minutes

Review by: Alun Jones

8.5/10

OK: we have something very interesting here.  Something quite special.  Apparently, this is the fourth album from Here Lies Man, so I’ve got some catching up to do.  The bands unique selling point is their amalgamation of Black Sabbath with Afrobeat, and it’s a refreshing interpretation of a genre that continues to morph and bewitch the listener.

On this release, founding members Marcos Garcia (vocals/guitar) and Geoff Mann (drums) are joined by Doug Organ on keyboards and JP Maramba on bass.  Here Lies Man devoutly worship the riff in full-on Iommi style, but they’re piloting their space vessel on an exploratory course into previously uncharted galaxies.

Yes, there are chunky, heavy guitar riffs galore – but with a stroke of mad scientist genius the rhythms power the engine with a new force.  Tracks like “I Wander”, “Night Comes” and album highlight “Can’t Kill It” don’t just rock, they don’t just groove: there’s something – dare I say it – danceable in the songs on Ritual Divination.  So much so, that I might just have to go and shake my not inconsiderable booty right now.

There.  That’s better.  Just had to groove on out there, people – but I’m back now.  Here Lies Man have crafted something very infectious.  Snippets of 70s style heavy rock (“Collector of Vanities”), dizzy space rock (“In These Dreams”) and incessant beats (everywhere) create something that’s heavy AND fun.

If I have one criticism, it’s that the album feels slightly too long.  All this inventiveness is sometimes hard to keep up with, despite its addictive nature.  Over time, however, I’m guessing the additional length of the recording will probably deliver greater rewards.   

Ritual Divination by Here Lies Man: boldly rocking where no one has rocked before.

My old mates in Black Sabbath used to enjoy going off in random directions, too (usually because of the, er… substances).  One time, Bill Ward decided to play yet another prank on diminutive vocal god Ronnie James Dio by taking an axe to all the furniture in Ron’s hotel room and hacking off eight inches from the bottom of everything, to make it all smaller.  Chair legs, table legs, bed – the lot.  Moved the pictures – and the mirror on the wall – lower down by a foot, etc etc.

When Ronnie arrived, not only did he not get the joke, he really didn’t get the joke at all.  He thought it was a special room for the vertically challenged, congratulated the Hotel Manager and gave me a big cash bonus for booking him such a fabulous room.  Cheers, Bill!

Check out Here Lies Man website, on Bandcamp and Facebook.

Visit RidingEasy Records website and on Bandcamp.

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