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King Kraken – March of the Gods Album Review

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King Kraken – March of the Gods 

Self-released 

Release date: 18/04/2025 

Running time: 40 mins approx 

Review by: Alun Jones 

9.75/10 

Ahoy there, shipmates!  Look lively with that cargo, we’re ready to set sail on these treacherous seas.  Be wary, for there are many tales in these waters of fearsome beasties, rising from the depths to swipe a man from the deck and carry him to a watery grave.  Here are ten such omens from the murky waves, tales of King Kraken! 

Sorry folks, I got a little carried away there.  We’re taking a considered view of the latest album from the mighty band known as King Kraken, though this is pretty exciting news.  Their last album, MCLXXX, was a bona fide banger, and I’ve been looking forward to hooking this new release for quite a while.   

From the opening track, it’s anchors away as the boys unleash ten tracks of compelling rock/metal that’s loaded with powerful riffs and greater depth than before.  ‘Scream’ blazes out of the speakers and it’s obvious right away that the Kraken boys have been focussed on creating adrenaline spiking music, wasting not a second of listening time.  ‘El Giganto’ is another sonic smasher, big sing-along choruses and relentless, skyscraper crushing enegy. 

The guitars of Pete Rose and Adam Healey are constantly ingenious, throwing out titanic riff and lethal lead like they’ve discovered a sunken treasure chest of hidden invention.  See ‘Berzerker’ as a prime example.  Title track ‘March of the Gods’ deals out more mayhem, this time with a galloping, martial feel.  Get in step and march along, or be bowled out of the way! 

The track ‘Hero’ adds different textures to the Kraken sound, with bluesy leads embellishing a plaintive atmosphere.  Mark Donoghue’s astounding vocals shine thoughout this album, but never more so than here.  It ain’t exactly a ballad, it’s too damn heavy – but ‘Hero’ is an excellent emotional counterpoint. 

After that, ‘Vigilante’ steers us into more familiar, Clutch-like waters: it’s a proper groove rocker with a crunchy middle section.  ‘Preacher’ resonates on a grinding, Alice in Chains style rhythm, whilst ‘Magnum Opus’ ups the pace with a full-on, diesel-powered Mad Max urgency.  Both tracks demonstrate the feel and sheer talent of the rhythm section, Karl Meyer on bass and Richard Lee Mears on drums. 

‘Chainsaw Saviour’ is another stand out track, with a menacing, pummelling riff.  No prizes for guessing who inspired that lyric!  The final song, ‘Under the Sun’, has yet another pulverising pace, tempered with mellower verses that remind me of the epic song writing of classic Soundgarden. 

So is it any good, then??!!  Well yeah – “March of the Gods” promised a huge amount and it delivers in spades.  King Kraken have obviously worked hard here, striving to push their musicianship and their song writing to a higher level than ever before.  It’s a gripping listen, with new ideas and dynamics aplenty.  We’re only a third of the way through the year, and we could have a contender for Best Album of 2025. 

But don’t just heed this old seadog’s tall tales, go and catch this monster yourself. 

Visit King Kraken here. You can also check them out on Facebook, Instagram, Twitter, Spotify and YouTube.

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

Pentre Fest 2025

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Pentre Fest 2025

Mclean’s Pub, Pentre, Deeside

Friday 21st & Saturday 22nd February 2025

Here we go with another Pentre Fest, the absolute highlight of my musical calendar! This is the crowning glory of North East Wales Metal Productions‘ festivals – and a huge deal to both the bands and the fans. I couldn’t wait to get to Mclean’s in Deeside and enjoy the music!

This year, another stellar line-up of bands from both near and far, with a good spread of genres. Ever Metal was in full force, with Beth and Mare joining myself for the festivities. With all of us in attendance, we split reporting duties to cover as much as possible as easily as we could.

And so, here are the reviews I composed all by my lonesome, concentrating on musicians that I wanted to contribute to (rather than all of them).

If you want to read the full review, try this here link to Ever Metal.

Friday 

Mother Thunder 

I saw Mother Thunder play in Pentre a few months back, they were superb.  This time around, they were even better.  MT play a hard hitting, groove laden take on classic rock/metal – think Thin Lizzy twin guitars with a bit of Maiden chug – and sublime female vocals.  Heavy rock with irresistible riffs, Mother Thunder lit up the room and could’ve (should’ve) been higher up the bill.  

Apollyon Rising 

Filling in last minute, Apollyon Rising were a man down as their bass player was on holiday in Morocco.  The selfish git.  But with a bit of soundboard wizardry, the remainder of the band confidently gave us a set of prime thrash metal that didn’t shame their reputation one iota.  I knew they could pull it off.  As a wise man once said, never doubt a band with a killer logo (and the talent to match). 

Saturday 

DXRK Winter 

Thankfully, I managed to catch the latter half of DXRK Winter’s set and I glad I did.  They were on first on the main stage in the afternoon, their brutal metal attack was brilliantly performed and went down really well with a crowd that could’ve been chilling, but didn’t.  A worthy act to play higher up the bill. 

Cry for Mercy 

You can’t go wrong with the blues based classic rock swagger of Cry for Mercy.  Great tunes, all built around the majesty of the riff and a persuasive groove.  I loved every second, it’s a shame they were on so early.  Never miss a chance to see Cry For Mercy if you get it.  Their new songs were just as good as old, new album is out soon! 

Victim of Damp 

Frank Williams, aka Victim of Damp, is becoming a popular mainstay of Pentre gigs.  His bipolar set comprises one half of mellow, hangover curing melody followed by a series of playful, Pythonesque parodies.  And he gets more confident every time. 

Bad Earth 

It just wouldn’t be Pentre Fest without these guys!  Bad Earth delivered a reliably ferocious set of raucous biker rock and despite sound hiccups on the first couple of songs, soldiered on admirably.  This was take-no-prisoners rock’n’roll to make Lemmy proud.  Their acoustic set was also a blinder, cooking up some awesome sing-a-long responses from the crowd outside. 

Mike West & the Missing Links 

It’s been a good few years since I saw Mike West play a solo acoustic show at Pentre.  Mike’s brand of dark country and bluegrass is now augmented by a band of drums and fiddle, adding a certain folky, Levellers feel to the tracks.  A brilliant diversion under the surprisingly blue skies of the late afternoon, this set was further proof that a metal festival can experiment with genres. 

The Raging Mables 

Now I was really looking forward to seeing this band.  I’d enjoyed viewing their Pentre Fest pre-event interview with Beany, plus they have one of the best band names ever.  No arguments.  The Raging Mables were like the Ramones playing ZZ Top, a 200mph Zeke-like melodic explosion of punk’n’roll.  One of the most perfect bands ever.  

Toranaga 

Back to some welcome thrash metal, it was indeed a huge bonus to get to witness the power of Toranaga at Pentre.  These guys are exceptional musicians, their shredding guitars creating a sound akin to classic Bay Area Thrash from the likes of Exodus and Testament.  And that is very, very good.  Their cover of ‘Mad House’ by Anthrax warmed my ancient heart, too.    

Stuntface 

Stuntface hail from just up the road in Wrexham, and it was great to see them finally bring their brand of flat-out, relentless hardcore punk to Pentre Fest.  Their songs are furious yet melodic, played super-fast and with a huge grin on bass player/vocalist Wayne’s face.  An absolute treat – Stuntface must play here again! 

What a blast that was! The guys at NEW Metal Productions always put on a heck of a show and this was no exception. Didn’t get tickets for the Black Sabbath gig this summer? Get yourselves out there and support underground metal, you’ll feel better.

My favourite Pentre Fest so far? Only time will tell…

UK Subs – Jet Age Review

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UK Subs – 2006 – 2016 The Jet Age

Cherry Red Records

Release date: 25/08/2023

Running time: 5 CDs – 220 mins approx

Review by: Alun Jones

9/10

Welcome back, folks, to Platinum Al’s Punk Rock Corner, here at Ever Metal HQ.  The eagle eyed and elephant brained amongst you will recall that we’ve already reviewed some of these UK Subs albums, although that was in their delicious vinyl form.  This time around, our mates at Cherry Red have lovingly curated a 5 CD set of Subs albums, together with a healthy bunch of bonus tracks to make this a tantalising package.

We’ve already discussed, in previous reviews, how UK Subs mastermind Charlie Harper has overseen an alphabetical run of albums with titles from A to Z.  This compilation gathers together the final parts of that run, from W to Z (though to be honest, these Subs nutters didn’t even stop at Z, they kept going).  Thus, listeners are gifted with an indispensable collection that covers output from the exceptionally strong line up of Harper, Jet Taniguchi, Alvin Gibbs and Jamie Oliver (not that one).

I’d be a pretentious fool if I didn’t tackle these albums in alphabetical/chronological order, so let’s jump in with “Work in Progress”.  This is probably my favourite of all the albums in this collection, though accepting the high standard on offer, I have no reason why.  It’s a rambunctious bundle of high-speed punk rock: ‘Creation’, ‘All Blurs into One’; coupled with clever ventures into rockabilly (‘Eighteen Wheels’) and more.  The wonderful ‘Hell is Other People’ has become something of a personal anthem for me, and it will for you, too!  This disc includes seven bonus tracks, comprising some old Subs classics and new bruisers such as the joyously MC5 sounding ‘666 Yeah’.    

From W we’re on to X, with “XXIV” – and more fast’n’furious punk rock shenanigans with ‘Implosion 77’, ‘Monkeys’ and ‘Momento Mori’ – just for example.  The Subs aren’t afraid to go off tangent with the jangly acoustic guitar with attitude of ‘Coalition Government Blues’ and R&B energy of ‘Wreckin’ Ball’.  There’s just one bonus track this time, the riotous and righteous co-operative anthem of ‘Workers Beer Company’, rounding off another solid and varied album.

“Yellow Leader” may or not have been written concerning a certain political party leader, you’ll have to listen and decide for yourself.  What I do know is that this album kicks off in supreme style with the frenetic pace of ‘Sick Velveteen’, bouncy thump of ‘Artificial’ and blues punk of ‘Bordeaux Red’.  ‘Chemical’ sounds almost metal, ‘Rebellion Song’ is an acoustic punk protest song and ‘Sin City Blues’ throws in some welcome Rockabilly, creating another multi-faceted and accomplished recording. 

Eventually, Charlie and the lads completed their mission from A to Z, with the monster that is “Ziezo”.  The end may be in sight, but the UK Subs don’t take their foot off the gas – as proven by tracks such as ‘Oligarchy’, ‘Banksy’ and ‘This Machine’ fulfilling the full throttle end of the punk rock promise.  The pallet is embellished by the punk-blues of ‘Disclosure’ and jaunty ska of ‘City of the Dead’, delivering a fine album that’s accomplished and enjoyable.

So we’ve reached the end of the alphabet, kids – but that’s not quite the end of our story here.  The set also includes “Acoustic XXIV”, an album comprising of acoustic tracks that were originally packaged with a limited edition version of “XXIV”.  I had assumed the songs here would merely be acoustic versoins of songs from that parent album, but far from it.  There are 13 songs making a surprisingly great change of pace.  Comprising of folk punk (‘Sleeping Rough’)’ and protest songs (‘Stop Global War’), it’s an accomplished and satisfying listen in it’s own right.  I could image Johnny Cash having a go at ‘Higher Tide’, and I think that’s some compliment indeed.

Who would’ve guessed that the UK Subs would actually fulfil their aim and complete this bonkers endeavour, releasing an album for every letter of the alphabet?  Punk rock wasn’t supposed to burn this brightly for so long, but it has.  What’s more, the UK Subs haven’t let their standards slip – these final albums in the run are as strong as anything they’ve released in their long career.  Genuinely brilliant.  Ladies and gentlemen, I present to you – UK SUBS.

Try and keep up with UK Subs on the web, Facebook and Twitter.

This review is presented by Platinum Al in co-operation with Ever Metal.

Grande Fox – Album Review

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Grande Fox – Empty Nest

Self-released

Release date: 19/2/2023

Running time: 41 minutes

Review by: Alun Jones

8/10

Thessaloniki, Greece: the home of Grande Fox, a psychedelic heavy stoner rock band – who have presented us with this, their fourth released project “Empty Nest”.  The band have been in existence for ten years, though they’re a new find for this listener.  I was intrigued to see what sort of feast these Titans would bring to the table.

Yes, the music on offer here is essentially stoner rock, as evidenced best by the Kyuss meets Clutch thunder of ‘Backstab’ and ‘Route 99’.  There’s some swirly psychedelia on display in the calmer moments of ‘Brutal Colors’, whilst final track ‘Birth of an Embryo’ has a doomy, Pantera feel.  The highlight of the album is ‘Hangman’, which features a folky blues element – the description might not entice readers, but believe me – it’s magnificent in its Dionysian glory.

So, there’s plenty of experimentations in this album, which for the most part works very well.  The only exceptions being vocals that move close to rap on ‘Rottenness of Youth’ and the riff of ‘Golden Ratio’ resembling Audioslave’s ‘Cochise’ too closely.  Now I love me some Rage Against the Machine, but sometimes these explorations veer too near Nu Metal for my tastes.

Running at around 41 minutes, the only promo copy I had of the album was a YouTube video, which made it difficult to keep track of which song was which.  However, despite my minor criticisms, I found “Empty Nest” to be an enjoyable and intricately crafted album.  Grande Fox are certainly ones to keep an eye on: they impress with their heroics enough here that one day they could be sitting on top of Mount Olympus themselves.  Yamas!   

Check out Grande Fox online, on Facebook, Instagram, Bandcamp, Spotify and YouTube.

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

Bring Your Own Vinyl Night #19

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Bring Your Own Vinyl Night

The Queen’s Head, Mold

Saturday 22nd April 2023

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!

The Halcyon Dreams blogspot is here.

The Halcyon Dreams mixcloud page is here.

The Halcyon Dreams Facebook page is here.

The VOD music website is here.

Brown Acid: The Thirteenth Trip – Album Review

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Various Artists – Brown Acid: The Thirteenth Trip

RidingEasy Records

Release date: 31/10/2021

Running time: 35 minutes

Review by: Alun Jones

8.5/10

Back in early 1970, I was in LA working for Jim Morrison, singer of the Doors.  Morrison was a pretentious, drunken bore – but we did have a few old laughs.  This one time, Jimbo was mid-liaison with a young lady in her upstairs apartment, and I had to pick him up in his new car before the pair were interrupted by her husband.  Parked in a gleaming white Dodge Challenger under the first-floor window, there was no fire escape and Jim had to jump out of the window onto the roof of his car.  It was a hard top, not a cabriolet, and Jim’s fat arse flattened it like an egg box when he hit it.  He wasn’t in the best shape at that point.  Wrecked that beautiful car, too.  Luckily, I could still see out of the window, and drove off in hysterics, while chubby Jim tried to squeeze into his tiny leather trousers.

Great days, indeed.  And the memories of that time always come flooding back when I spin one of these Brown Acid compilations from RidingEasy Records.  Yet again, the guys have dug out some long-lost treasures of the early hard rock and proto metal variety, to return phoenix like from the netherworld.

Things get underway splendidly with “Run Run” by Max, a funky riff rocker that will light up your lava lamp straight away.  It’s probably my favourite on another strong collection.  Next is “Dark Street” by Ralph Williams and the Wright Brothers – fuzzy guitars and great vocal melodies with a faint air of menace.  Geyda provide “Third Side”, another pacey rocker, reminiscent of the MC5.

Following that, there’s Gary Del Vecchio, who’s apparently “Buzzin’”.  But then, who wasn’t in those days?!  It’s party time blues rock in the vein of early Zep.  John Kitko is suffering from “Indecision”, as proven by the psychedelic jam of the start contrasting with the speedy, aggressive main body of the song – with Alice Cooper-like vocals.   

“Hope” by Bacchus reminded me of old Jimbo’s band doing “Roadhouse Blues”.  Master Danse are up next with a very heavy blues number, “Feelin’ Dead”.  It’s a slow, ponderous song with a melancholy vibe – which I’ll swear was stolen by The Cult for their obscure B-side “Wolf Child’s Blues”.

Orchid offer up the weakest track on the album, “Go Big Red”, a fairly unexceptional garage rock number.  It’s fun and still has some charm, though.  Then you’ve got Dry Ice and “Don’t Munkey with the Funky Skunky”, a crazy fast paced number that’s like The Monkees and Jimi Hendrix jamming a Eurovision novelty song.  On drugs.  Finally, a strong final track from Good Humore, “Detroit” – a catchy tribute with a sprinkling of MC5 at their most rock’n’roll.

And there we have it: another fine collection of rock fossils unearthed and displayed for our enjoyment, never to be forgotten again.  It may be “the Thirteenth Trip”, but this ain’t unlucky for some – it’s gold all the way.

Remember that World Wide Web thing? Well, you can check out RidingEasy Records at various site webs, such as their own, Bandcamp, Facebooks, Twidder, ChewTube and Insta.

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

Scarecrow – Album Review

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Scarecrow – Scarecrow II

Wise Blood Records

Release date: 22/10/2021

Running Time: 44 mins

Review by: Alun Jones

8.5/10

You could say I was a little confused when I first heard “The Endless Ocean Overture”, the opening track on this second album from Scarecrow.  I know the clue’s in the song title, but this really is a big, full on orchestral piece – complete with moody storm sounds and crashing waves.  I thought the Ever Metal Delivery Monkey had sent me one of those symphonic metal monstrosities by mistake – there are NO GUITARS here.  At least not on the first song.

Not that it’s a bad track – it’s actually very atmospheric and very bloody clever.  Just a bit of a surprise, that’s all.

Scarecrow are a Russian doom rock band, taking their inspirations from the classic seventies masters like Sabbath and Zeppelin.  When track 2 – “Blizzard” – kicked in, I realised my mistake.  Yes, here we have it: blues based heavy rock that could have easily been produced in 1973.  Groovy riffs, batteringly good drum breaks, high pitched wailing vocals – all the tropes are present and correct.  “Blizzard” has all these, plus relentless changes of pace which means the listener can bang their head or swing their bell bottom jeans all in one song.

“Magic Flower” has a slower, doom blues sound with some mouth organ for additional retro stylings.  There’s even a folky mid-section with some Plant-esque banshee screams.  Up next is “Spirit Seducer”, a rocker that’s more of the Iommi sound already hinted at, and some pounding rhythm. 

Scarecrow are nothing if not ambitious.  “The Moors” is a hell of an epic: warm acoustic guitar intro; doom laden heavy riff, ethereal keys: all the ingredients are here, and happily we reach another Sabbath like peak in the middle of the song.  Some of the orchestral feel of the opener makes a well-judged return here, adding to the bombast. 

When I heard the intro to “The Golden Times”, it was easy to make the comparison to Sabbath tracks like “Orchid” and “Fluff”.  This song flows along serenely, with the vocals making me think I’d started listening to a new Wolfmother recording.  Another multi part piece, best to just mellow out and enjoy the ride – till the increasing pace runs off with your ears.

The range and scope of this album really is very impressive.  “Scarecrow II” is an accurate love letter to the giants of yester year, whilst firmly placing the bands feet alongside contemporaries like Uncle Acid and Graveyard.  Scarecrow has delivered an album that features new spins on the old ideas co-existing with brave, surprising augmentations.     

Check out Scarecrow on Bandcamp and Facebook.

You can find Wise Blood Records on Bandcamp, Facebook and the interweb.

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

Wino – Forever Gone Album Review

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WINO – Forever Gone

Ripple Music (Purple Sage PR)

Release date: 26/06/2020

Running time: 46 mins

Review by: Alun Jones

8/10

Who remembers that old TV programme, The Fall Guy?  You know, the one where the Six Million Dollar Man becomes a stuntman/bounty hunter, getting into all kinds of daredevil scrapes whilst pursuing the bad guys?  At the end of every episode, old Lee Majors (for it was he) would be seen chilling in his backyard hot tub, mulling over events whilst drinking a cold beer and smoking a big, fat cigar.

Well let it be known that I, too, like to relax in the tub with a beer after a long, hard day of whatever-the-fuck-it-is-I-do.  None of your business, really.  Just take it from me, I need to unwind in a mass of bubble bath, with candles and refreshment.  And of course, some music, just to add to the ambience.

This might not sound very metal to you, but let me tell ya: this new album from doom metal originator Scott “Wino” Weinrich would make ideal tunes for chilling in the tub.  Or pondering lost loves and fortunes in a dusty bar.  Or sound tracking a lonely drive across the desert, escaping an inevitable encounter.  But to be honest, I like the bathtub metaphor best, ‘cos I’ve not used it before.

“Forever Gone” is stripped down and intimate; the title song itself is just Wino the man, plus acoustic guitar.  Beautifully melancholic, the listener can really get lost in this.  “Taken” also ploughs a lonesome path, with Wino’s voice revealing a soulfulness that I’d never appreciated before.  

For any fans of The Obsessed or Saint Vitus who were hoping for something louder and more aggressive, there’s not too much of a leap from familiar ground really.  Other than the sonics, the emotions of loss and despair are what unifies Wino’s other output to this endeavour.  “Dark Ravine” brings a more Americana style to the proceedings, but it’s all still intense as hell, whether the guitars are turned right up or not.    

It’s not all gloom, though: “You’re So Fine” introduces a laid back, country blues number that sounds almost boogie-ish.  Throw in a great cover of Joy Division’s “Isolation” and this is an album that’s certainly full of surprises.

Great music can create images in your head for your own movie; “Forever Gone” is one of those.  Melodic yet mournful, intense and introspective, there are dozens of stories to be told within the grooves of this record. 

Check out Wino on Facebook, Twitter and Bandcamp.

Visit the Ripple music website here, or check ’em out on Facebook or Bandcamp.

And make sure you visit Ever Metal for more reviews of awesome music!

Pentre Fest 2020

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Pentre Fest 2020

McLean’s Pub, Pentre Deeside

21st & 22nd February 2020

I’m sure everyone who was there will agree that this year’s Pentre Fest was the best yet.  The bands were fantastic; the were more people; the vibe was magnificent.

Held at McLean’s in Pentre, Deeside, North Wales, this festival features underground, unsigned rock and metal from near and far.

I attended the full two days this year, and saw most of the acts performing.  I only wrote up a few though, so if you want to read the full review, visit the Ever Metal website here.

There were many highlights.  Witchtripper had been on my “must see” list for a while – they didn’t disappoint.  Old favourites Impavidus and Lullaby for a Unicorn were superb as always.  Cry for Mercy, Stormrider and Womenowar were some of the newly viewed bands that I was very impressed by.

The whole weekend was unmissable and I was genuinely sad when it was all over.  A brilliant, positive experience – well done to Fozzy, Beany, Frank and all the McLean’s staff.

You have to be there next year!

Ryuko

Ryuko presented a couple of surprises on Friday night’s acoustic stage.  First off, they were fully plugged in and electric.  Second, they play more of an alternative rock sound, which was something of a contrast to the majority of other Pentre Fest bands.  Readers may not be aware, though, that I am in fact King of Grunge, with my 90’s credentials well proven.  Ryuko’s set included some melody and even jangly pop along with heavier riffs, which was an enjoyable diversion in a Dinosaur Jr/Nirvana style.  Well performed, Ryuko just need to test their audience further and throw in additional surprises in either a “Negative Creep” or “About a Girl” vein.

Rhiannon and Rachel

Sadly Pentre Fest suffered a few casualties this year.  One such example was on the acoustic stage, where half of duo Rhiannon and Rachel was hospitalised and (obviously) unable to perform.  But the show must go on: and Rhiannon performed a short but enjoyable set on the acoustic stage.  Admittedly out of her comfort zone, playing guitar as well as singing, she soldiered on and won plaudits for her effort.  Only a few minor mistakes were noticed – and easily forgiven.  A beautiful singing voice that even managed to add a ghostly, ethereal sheen to a cover of Michael Jackson’s “Bad” – making it sound good for the first time ever.

Mike West

If the connection between metal and outlaw country isn’t obvious to any readers, I can only pity you.  I’ve never witnessed Mike West before, but his amalgamation of southern rock, dusty country and swampy blues was a delight to my old whiskey-soaked soul.  Mike delivers his songs with a hard rockin’ swagger, as if he’s just busted out of Tombstone jail and is riding across the plains, lamenting women and fortunes lost.  A great voice and an outstanding presence, Mike is one to catch when you can.  Has anyone done a “Wild West” gag yet?  If not, there’s a headline for us there!

OMV

On the main stage, OMV entered dressed like a bunch of West Coast gangsters in masks and bandanas.  Introduced as “hardcore street metal”, these guys definitely showed some great musical skills and energy.  Somewhere between Bodycount, Suicidal Tendencies and Biohazard is where I’d stack them.  Either way, OMV delivered some brutal songs and bounced around with massive crossover riffs.  OMV were very entertaining, although hugely confrontational onstage – I wasn’t sure if they actually were going to pistol whip the audience into submission.  The music has enough intensity and power to speak for itself.

Luke Appleton

A really fantastic set was delivered by Mr Luke Appleton on the acoustic stage.  In truth, this was a duo performance with Rishi Mehta (of Babylon Fire) playing too, and it was a genuine highlight of Pentre Fest 2020.  Dubbed “acoustic metal”, the songs were both suitably laidback, yet delivered with a metal edge.  Expertly performed, we had tunes from Luke’s solo “Snake Eyes” project, plus of course some Iced Earth and Absolva numbers.  Not to mention a bit of Dio and Tenacious D for good measure!  A real class act in every sense of the word, and both very talented and down-to-earth gentlemen.

Son of Boar

They have a cool name, and they looked pretty cool on stage in matching denim battle-vests.  And from the very first notes of the bass rumbling on the very first song, I had a feeling that Son of Boar would be something special.  I wasn’t wrong.  These Bradford bruisers have everything in spades: they’re unfeasibly heavy; they have slow, doomy riffs with a Sabbath-like infectiousness; they have a sludgy, swampy groove that can pack an aggressive punk punch.  The best band of Pentre Fest 2020 as far as I was concerned, Son of Boar were superb.  I even bought a t-shirt.

Pentre Fest on Facebook.

N.E.W Metal Productions on Facebook.

Goodfor Audio Entertainment on Facebook

Mcleans Pub Live on Facebook.

The Electric Mud – Burn the Ships Album Review

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Another album review that appeared not too long ago on EVER METAL – now catching up on my site:

The Electric Mud – Burn the Ships

Self Released (Dewar PR)

Release date: 23/08/2019

Running time: 38 minutes

Review by: Alun Jones

8/10

Let’s get the important stuff covered off first.  For any of you who thought this band were something to do with that lot from the seventies who sang “Tiger Feet”, you’re wrong.  The Electric Mud have very little in common with their glam rock similar-name sakes.  Of course, a professional such as myself would never make a mistake like that.

The Electric Mud hail from Fort Myers, Florida – and specialise in a making a steaming hot gumbo of stoner rock and dense, swampy blues.

“Burn the Ships” is the Electric Mud’s second album.  Through the course of seven songs, the listener travels from the sweltering everglades through time and space – as vintage sounds melt with modern.

Opening track “Call the Judge” oozes an irresistible Southern rock’n’roll groove, starting proceedings with a triumphant swagger.  Grab a beer and a whiskey chaser, you know it’s going to be a lively night in the Roadhouse.

The Electric Mud show their stoner credentials on tracks like “Priestess”, which melds inventive riffs with pace and dynamics.  “Good Monster” weaves funky, head bobbing grooves and “Reptile” lunges out of the depths, attacking like a gator whose mother’s been made into a pair of shoes.

There’s some stunning musicianship on display here; the guitars of Constantine Grim and Pete Kolter are crunchy yet nimble when required.  Tommy Scott’s bass rumbles and glides perfectly.  Pierson Whicker’s drums can smash and bang yet can be refined when necessary.  Kolter’s voice, smoky yet soulful, is an addictive asset in itself.

Songs range from rocking brawlers to heartfelt blues with awesome proficiency.  “Black Wool” and “Terrestrial Birds” showcase these slower moments really well, allowing the music to breathe and worm its way under your skin.

The variety of sound – together with the confident delivery and clever song writing – is what makes “Burn the Ships” engaging and successful.  In the best tradition of stoner rock, The Electric Mud can combine old and new, fast and smooth, dirty and graceful.  Their Southern charm, marinated in the blues, give this band their unique identity.

Although it feels maybe one song too short, “Burn the Ships” is full of character and demands repeat listens.

By the way, I used to see quite a bit of Mud – and lots of other glam rock bands – in the early seventies.  Mud used to take a paddling pool everywhere with them, to do some backstage mud wrestling.  Hence the name, you see?  Though it never worked.  Not once did they persuade lovely dance troupe Pan’s People to get involved.  Or Suzi Quatro.  It usually just ended with the band in the mud bath, drunk on Babycham and fighting with Slade.

The Electric Mud website is here.

The Electric Mud Facebook page is here; Twitter is here and Instagram is here.

Find The Electric Mud on Bandcamp here.