Back in October, London based heavy alt-rock band District 13 released “Step into the Fire”, their second album. Apologies District 13, this album has been hanging around for a little while. But in true Ever Metal “championing the underdog” style, we couldn’t let it slip by without a review. Not my fault for writing the review late for once, believe it or don’t. You don’t believe me, do you? Ah well, whatevs.
The prime motivators in District 13’s sound have been declared as Black Sabbath and The Ramones, two fine bands and exactly the type of thing that tickles my fancy. And it should yours, too. The crunchy metal riffs and gonzo punk attitude is obvious from the start, with opening track ‘Step into the Fire’ showing some hard rock guts and a big, hooky chorus.
‘Apologetic Trickster’ ups the punky pace somewhat, though there’s a vein of dark, melancholy longing running through all the tracks. One of the absolute highlights is ‘Burned out in Paradise’, which begins in an achingly morose fashion before bursting into an angst fuelled burner. If you dig Bleach era Nirvana, Therapy? and early QOTSA, I’m sure you’ll find something to love here: try ‘Emotive Addiction’ and ‘Red Flags’ for starters.
There’s plenty of melody mixed in with the ferocity. ‘Goodbye’ features a heart rending, uplifting chorus worthy of Seattle’s finest. That song and ‘Starry Eyes’ help to add texture to the album with a slower pace. The final song, the acoustic ‘Forever This Way’, is a really beautiful track that falls between Led Zep III, Bowie and REM. That one’ll melt your heart, if nothing else does.
“Step into the Fire” is definitely a solid album, full of great compositions and performances. My only complaint would be, with 14 songs running over an hour long, it’s a lot to take in. Trimming 3 or 4 songs off would make this feel more of a cohesive and easily absorbed album – though I wouldn’t like to be the one who had to decide which songs to drop. Otherwise, it’s great to hear music like this: District 13 have passion and ideas and are obviously not afraid to aim high.
Halloween ain’t over yet, kids – at least not while the arch druids of Occult Rock, GreenLung, are back in town! Yes, London’s finest purveyors of witchy, stoner incantations have a new album, “This Heathen Land” – released by Nuclear Blast Records, no less. So gather ye round, my acolytes, whilst we indulge in the ritual listening of this opus. Light some candles, burn some incense, imbibe potions of mind-expanding merriment. And take all your clothes off!
Album number three from Green Lung kicks off with a suitably 1970s intro, setting the magickal vibe right away. ‘The Forest Church’ is the first track proper, which takes its inspiration from Danzig-approved cult folk horror classic “The Blood on Satan’s Claw”. It’s a riffalicious chunk of doomy wonder, built around an organ drenched, moody base.
‘Mountain Throne’ blasts out as a Sabbath style rocker, awash with those lush, skronky keyboards. Then GL add some sauce to their sorcery with their ode to ‘Maxine (Witch Queen)’, an ecstatically catchy slice of psychedelic, garage rock-infused debauchery. ‘The Ancient Ways’ and ‘Hunters in the Sky’ are both powerful yet groovy rock that’s reminiscent of the greats and gleefully conjures up its own aura.
Green Lung really stretch themselves on ‘One for Sorrow’, which features huge, doom riffs and atmospheric synths with an epic chorus. The mellow, folky sound of ‘Song of the Stones’ adds yet more colour to the palette, and still sounds essential – just like those more refined tracks on early Black Sabbath records. The melodic, drama infused ‘Oceans of Time’ – inspired by Coppola’s “Bram Stoker’s Dracula” – adds a suitably bombastic and ambitious climax to the album.
A word of wisdom for the initiate: the vinyl version of “This Heathen Land” shows exactly why physical media is still so important and potent. My copy is green vinyl, in a gatefold sleeve with lyric booklet and a map of the UK, showing various otherworldly sites that have inspired the album. This obsessive attention to detail is fascinating and illustrates just how much care and attention has been poured into the whole work!
Green Lung is completely fearless, their ability to rise to the challenge and create art this meticulous is highly impressive. And I should know, I’ve seen The Wicker Man and I own a black cat. Seriously, my children: “This Heathen Land” is essential.
Here we go again, my little Hot Tub amigos! Yes it’s time for another Singles Night at Platinum Al’s Virtual Hot Tub – grab a cocktail and jump right in, we’ve got some listening to do!
Do I really need to explain what we’re up to, here? OK, well very quickly then: I have a pile of 7 inch singles that I’ve acquired from various places, all of different artists and genres. On Singles Night, I play through a stack of ’em in order, A side then B side, and we go on a musical odyssey.
Sound like fun? Well it is. Drink up and let’s rock with this latest selection:
The Cult – “She Sells Sanctuary” / “No. 13”
Iron Maiden – “Infinite Dreams (Live)” / “Killers (Live)”
Rod Stewart – “Lost in You” / “Almost Illegal”
Steve Miller Band – “Rock’n’Me” / “The Window”
Bob Marley & The Wailers – “Mr Chatterbox” / “Mr Chatterbox (Version)”
Wizzard – “Rock’n’Roll Winter (Loony’s Tune)” / “Dream of Unwin”
Hot Chocolate – “A Child’s Prayer” / “Everything Should Be Funky”
Mud – “Show Me You’re a Woman” / “Don’t You know”
Bay City Rollers – “I Only Wanna Be With You” / “Rock’n’Roller”
The Kartoon Krew – “Inspector Gadget” / “Inspector Gadget Dub”
Snap! – “The Power” / “The Power (Dub)”
Nicole – ” A Little Peace” / “Thank You, Mercy”
Bob Marley & The Wailers – “Stir It Up (Alt. Jamaican Version)” / “Stir It Up (Alt. Jamaican Instrumental)”
Katrina & The Waves – “Walking on Sunshine” / “Going Down to Liverpool”
Hot Chocolate – “Disco Queen” / “You’re a Natural High”
UK Subs – “She’s Not There” / “Kicks” / “Victim” / “The Same Thing”
Run DMC – “Walk This Way” / “Walk This Way (Instrumental)”
Iron Maiden – “Run to the Hills” / “Total Eclipse”
The Nolans – “Attention to Me” / “Old Feelings Again”
Chas & Dave – “Gertcha” / “The Banging in Your Head”
Another twenty 45 rpm slabs of varying quality there, but I’m not including Katrina (great song!) or Chas & Dave (who can do no wrong) in the dodgy list.
We started with possibly my favourite song of all time, the wonderful “She Sells Sanctuary”. Love that tune. I never had the 7″ as a kid, I bought the 12″ as it had an extra track on it, as I was always obsessed with collecting B sides. That was in 1989, however, well after the single was originally released in ’85.
Other highlights included a double dose of Iron Maiden, a UK Subs EP and the classic Run DMC single “Walk This Way”. Not to mention a couple of very cool Bob Marley singles, both of which were Record Store Day purchases.
As I said, Singles Night is always a journey, from well known paths to the very different excursions. I can recommend it as a fun evening.
Just as per last year, I compiled my Top 10 Rock & Metal albums for Ever Metal, which was published on the site. Now you lucky devils over here at the Virtual Hot Tub get to take a look too!
Absolutely ridiculous, that’s what it’s been like trying to pick just 10 albums to make my “Best of the Year” list. There’s been a ton of great music in 2023. Here’s my attempt to pick out my favourites:
Sludgy, Grungy, Stoner Metal from Huddersfield, this album features Trouble’s Kyle Thomas on a couple of tracks adding even more class to a solid record.
Folk Metal, flute infused Occult Rock that sounds both ancient and modern at the same time, we waited a long time but this album will cast a spell on you.
I was one of many waiting anxiously for the third Green Lung album, and it didn’t disappoint. Exquisite Occult Rock that’s doomy and hook filled, Green Lung have exploded with this record.
Three years ago, Desert Storm were number 2 in my 2020 Top 10, after a little band called AC/DC. This year they deservedly take the top spot, with a massive album that I’m still enjoying months later, up against some stiff competition.
Plus some honourable mentions:
Baroness, who’s latest album “Stone” probably would’ve made the top 10 if I’d listened to it sooner.
The Damned – their “Darkedelic” album may not be for all of Ever Metal’s audience, but it’s bloody great all the same.
Metallica – that “72 Seasons” thing was good but too long. Nice try.
Keep coming back to Ever Metal and Platinum Al’s Virtual Hot Tub for all the best rock reviews!
BLEEAUURRRGH!!! It’s a jump scare to wake anyone out of hibernation, running for safety behind the sofa. What a way to start the year! APF records present “A Crash Course in Terror”, the debut album from TORSO. Formed from the smouldering corpse of Possessor by that band’s Graham Bywater (frontman/guitarist), TORSO skulk in a murky Grindhouse nightmare.
Are you sitting comfortably? Then we’ll begin. ‘Heads Start to Roll’ introduces the album with a John Carpenter-esque, menacing, keyboard-led theme which immediately unsettles the listener. Then the chainsaw guitars cut through, the song erupts, and the listener is dragged along by the scalp in a ferociously paced fairground ride from hell.
The retro, electro keyboard themes dotted throughout help to set this album apart in its own fuzzy VHS world. Spooky instrumentals like ‘Pranks’, ‘Depth Charge’ and ‘Death TV’ add a dread atmosphere, part prog and part video nasty soundtrack.
‘Sinking Spell’ is like The Melvins rocking out to a Texas Chainsaw Massacre back projection. The lo-fi, raw sound of the heavier numbers keeps everything within the TORSO world: ‘Precious Blood’ could be a punked up hybrid of Angel Witch and Electric Wizard. Finally, the epic ‘Circuit Breaker Breaker’ has a B-movie, doom metal fury that sounds as if the final survivor is running for their life from a vicious psycho killer.
My only complaint with this album is that at just 30 minutes, it’s a little short – I’d have loved another 5 minutes of mayhem. But at least “A Crash Course in Terror” is to the point. That’s much preferable to yet another 80 minute Metallica album – I haven’t finished listening to all the songs on their last record yet…
“A Crash Course in Terror” by TORSO. A fantastic, gruesome recording and a perfect start to the year. Can 2023 get any better?
“Empires of Ash” is the new album from Heron, and if you like the sludge, this is gonna be one for you. It’s the band’s third full length album, and you’ll know when you listen that there’s a whole mountain load of experience brewed up in this mighty concoction. Experience, plus what seems like a lifetime’s worth of melancholy and frustration given voice through huge, expansive slabs of atmospheric thunder.
Starting with ‘Rust and Rot’, Heron take us on a 9 minute plus odyssey encompassing thudding drums and menacing guitar. Vocals are guttural and brutal, the end result is a thrilling wade through a sludgey mire. Contrast this to the second track, ‘The Middle Distance’: a sombre yet beautiful (yes, you read that right) epic, which only erupts into molten fury after the three-minute mark. When the vocals come in, you’ll drop your pint.
‘Hauntology’ is another epic, and very aptly titled. Eerie yet calm and pensive, till again it builds to an enthralling outburst. ‘Hungry Ghosts’ is a more ruthless amalgamation of Conan with later period Danzig guitar flash. The final track, ‘With Dead Eyes’ has a melodic entrance, and once more decimates with a powerful vocal.
Whether it’s doom, sludge, post-rock or any other shade of metal, there’s a wide variety of styles and influences on this album. I was lulled into a relaxed haze before being startled awake with fiery exultations on several occasions. Heron have really gone all out with “Empires of Ash” to create a record that is unique and imaginative.
Ozzy had trouble with a heron. He’d just had a new pond built on his farm, and one bird kept gorging on Oz’s expensive ornamental Koi carp. One night, we decided to lay ambush and surprise the heron with a siren and a shot gun when it flew in at dawn for breakfast. Bill Ward fell asleep, so we floated him out on the water on an inflatable raft, as he snored under the moonlight. When the heron arrived, I sounded the siren, Oz fired his gun into the air and Bill woke up startled, then fell into the pond screaming “I can’t swim!”. Oh, we did laugh. The bird flew off, never to be seen again.
A weekend of full on metal and hard rock, Pentre Fest is a highlight of my musical calendar. Held at McLean’s pub in Pentre, Deeside, North Wales over two days, the event always showcases some of the best bands from around a vast area of the UK.
This year I missed Friday’s gig as I was otherwise engaged. However, I was raring to go for Day 2, and a whole load of awesome music. Here’s my review for Ever Metal, covering everything I could of that day’s entertainment.
Day 2
Day 2 at Pentre fest – you could say I was a bit excited to get going. The ever-reliable Edd Case was performing in the marquee outside as I arrived, so I missed a chunk of his set sadly, as I paid my hard earned coin to get in and neck my first ale. Luckily, Edd did another slot of his excellent acoustic performance later on, so I got to catch him then. I think he was filling in for some band called Trashatouille, who couldn’t be arsed to turn up and attempt to play their own acoustic effort.
First band on the indoor main stage was Scarfoot, and they made a hell of an impression. A three-piece band, they add an extra edge to their already formidable musicianship with the use of a 12 string guitar or a Dobro. This gives the band a huge, Zep-epic and individual sound. They all play with a convincing passion and were absolutely enthralling. I’d never seen them before, but had caught singer/guitarist Oliver Carins last year doing a solo acoustic set. Next time, these guys need to be higher up the bill! Scarfoot also blazed all over the acoustic stage later on, with a similarly massive sounding set, even without the drums.
Frank Williams
Next on the second stage: a World Exclusive Live Debut! Frank Williams in his first official live gig, though sadly not billed asVictim of Damp. Frank is a Pentre Fest die hard, an unsung hero who has supported the event and pitched in with Fozzie and Beany from the beginning. This afternoon, Frank graced us with some acoustic covers (nice bit of Floyd) and banter, then introduced some comrades to help with humorous originals such as ‘Beany’s Car is Full of Shit’. Excellent crowd participation helped Frank’s set gallop home as a pedigree winner.
It really wouldn’t be Pentre Fest without these guys. With a line-up change – or should I say, addition – in the shape of new vocalist, Gaz (who used to be the drummer. Come on, keep up!). This latest incarnation of Lullaby for a Unicorn was a refreshed and fun stallion, rather than a lame pony. There’s a little work to do to settle the new line-up in, but it was the same boisterous energy as ever as the Unicorn boys turned Pentre into a beautiful, rainbow adorned meadow. Or blood-soaked battle field of metal mayhem, you choose.
Scarfoot was next on the second stage. I’ve already covered that, go back and read it again.
Despite a tech issue with the bass throwing a wangler with the first song, The Human Condition kept their shit together and provided another surprise. I had done no research whatsoever and didn’t know what to expect. By Odin’s beard, The Human Condition are a megalithic, doom metal colossus! Doom in the vein of Candlemass, or think Geoff Tate screaming for Trouble. Riffs are drip fed, leaving the audience begging for each new note. Add the most powerful live vocals I’ve heard in eons, and you have a force of biblical proportions. I bought a CD. You should check them out NOW.
Back to the Second stage for an acoustic Pelugion set – but we’ll get to them later.
A melodic deathcore band from Manchester way, Portrayal of Ruinn isn’t quite my thing on paper, but fucking awesome live. Possibly the most energetic band on stage at Pentre Fest all day, their combination of gutsy, nasty metal and bouncy, yet ferocious vocals proved a winner. They also know how to pace their set brilliantly – a few mellow sections lull the crowd into a comfy security blanket, only to have it ripped maliciously away. It’s the audio equivalent of a Video Nasty psycho killer – you’re never safe, Portrayal of Ruinn will never stop – and they will get you in the end!
Reading back my notes here, and I can’t make a thing out of them. All I can fathom is that I REALLY liked this band: “Syncolima = great!” is about all I’ve got. They were excellent. Some kind of biker/stoner super heavy rock, they have groove aplenty and massive fuzzed out riffs. This three-piece from Mansfield, Notts were unmissable. New album “Wavelengths” is out soon, you’d be wise to watch out for it.
Wait a minute – it’s that bloke from Bad Earth doing an acoustic set! Yes, it’s Steve from one of Pentre Fest’s favourite bands, backed with the other two ‘orrible ‘erberts, Karl and Ben (so semi acoustic, then?). The Bad Earth songs translate surprisingly well to the stripped-down sound, though they can’t compare to the full force fury of the full trio amped up and going for it. But then, what could? A great set that also included some cruel (ie hilarious) comedy signage behind Steve’s head, it also delivered a much needed bongo workout that was otherwise sadly lacking this year.
Mind. Blown. Thank the trident of Posiedon, King Kraken travelled up from South Wales (a right old trek) to play Pentre Fest, and I’m so glad they did. The Kraken are a huge, boisterous metal machine with crushing riffs and awash with an almost psychedelic lead guitar. My favourite band of the day, despite fierce competition – I made off with some booty from the merch desk and toasted their performance with a tankard of ale. Please check this band out, you will not regret it. Magnificent!
Last year, one man electronica fiend Leatherback was first on the Pentre Fest main stage. This year, it’s a second stage headlining slot, which worked well. Nine Inch Nails comparisons are obvious, but relevant when there’s a cover of a Reznor classic included. Leatherback ripped through a roaring set that went down extremely well with the lively crowd, even though it was freezing outside – receiving a well-deserved, enthusiastic reception.
Pelugion had performed an excellent acoustic set on the second stage earlier, which seems to have been a great way for them to warm up for their main stage appearance. I’ve seen these guys before at Pentre Fest and they never disappoint. Skull smashing mega riffs, born from Sabbath and with a dose of Alice in Chains and early Soundgarden – a stoner/alt metal monster – is what you can expect. These guys are super professional, but with grit and determination that keeps the performance compelling.
Headliners on the final day of Pentre Fest, The K*nts drove over five hours from down Essex way to entertain us. With hits such as that Christmas favourite ‘Boris Johnson is a F*cking C*nt’ and ‘F*ck the Tories’, we knew we were in for a treat. Hilariously, the Green Room reserved for the bands had been double booked with a meeting for a local Masonic Lodge. I wonder how The K*nts and this bunch of blazer-and-badge wearing eighty-year-olds got along back stage. Honestly, you can’t make this shit up. It’s like Phoenix Nights on crack.
A strange choice to headline a metal festival for some, never the less The K*nts put on a top show and had the audience on their side before the first song was even finished. Delightfully obscene, but with a political edge that helps retain a tiny bit of highbrow cred too, it’s like Sham 69 with Tourette’s. Most of the song titles are unrepeatable for a family website like Ever Metal, but let’s just say that The K*nts and their filthy brand of punk rock and humour were a mad but genius way to finish Pentre Fest off. And it probably will be finished off, if those old Masonic dudes have anything to say about it.
Oh, and yeah – Fuck the Tories.
It was my absolute pleasure to cover Pentre Fest for Ever Metal again this year. Huge thanks to the bands, the audience, and the staff at McLean’s for putting this on. And finally, thanks to Fozzy and Beany for daring to dream it up and make it happen.
I just wish Pentre Fest could be every weekend. Or once a month, at least.
This little beauty threw off it’s shackles and ran for the hills, almost without me noticing. I’m blaming the societal breakdown caused by Corona virus, obviously not an oversight on my part. No, sir. “Good Mourning” – the debut album from The Goners – was released back in March 2020; just before the world turned into a 1970’s Charlton Heston dystopian sci-fi movie.
The Goners are comprised of Nate Gone – formerly of Salem’s Pot – on vocals, with four dudes from Swedish rock band Yvonne. “Good Mourning” is a throw-back to zoned-out good times and bizarro occult rock, with absolutely no regret the morning after.
First song “Are You Gone Yet” sets the pace nicely: fuzzy 60’s garage rock with a proto metal ferocity. With the next track, “High, Low and Never In Between”, the Goners throw in more of their other specialty – 70s doom with groovy, care-free freak outs.
Wonderfully out of time, this retro feast also sounds totally now. You can throw this on your portable music system and liven up any social gathering (so long as you stay far enough apart). Press play and jump around all crazy-style to “Evil (Is Not Enough)” and “The Little Blue” – this is Black Sabbath if they were a Stones cover band.
Plus – and this seals the deal – a couple of fine, desert bleached songs in “Good Ol’ Death” and “Dead in the Saddle” that rattle with a dread atmosphere. Absolutely essential for your next David Lynch/rockabilly/goth themed horror party.
“Good Mourning” by The Goners, then: if you’re a werewolf biker trapped in a cursed world you never made, but like to let your scraggy hair down with chicks from a Russ Meyer movie – this is for you. Great cover art, too.
I’ve thought I was a goner myself, on a few occasions: most of them involving my old mucker Ozzy Osbourne. One time, we were drinking in a golf club in LA and got thrown out, as you can imagine. So, Ozzy decided to go for a joyride in a golf buggy, with me on shotgun. He was flooring it, but we were only going at a jogging pace, so the golfers soon caught us up and were ready to brain us with their hitty-stick things.
All of a sudden, Oz drove the buggy over a hill and we toppled into a sand dune (bunker?). We were lucky we were thrown clear and the buggy just managed to avoid crushing the pair of us. The golfers took pity and consoled us with a nice brandy in the clubhouse. Till the cops turned up, and dragged Ozzy and me off to jail. The whole time, we were both wearing Sharon’s dresses.
“Crater Maker”, by Columbus Ohio rascals Weed Demon, begins with the warm and welcoming hiss and crackle of vinyl. Then we’re into the first track “Atmospheric Drag”, and you’d be forgiven for thinking that you’re in the wrong section of the record shop. It’s a dark, folky country number that sounds like you’ve just stumbled into a saloon in a God forsaken Western town. I was taken by surprise, but this song is both awesome and a fitting introduction to an album that isn’t afraid to wander off the obvious path.
When track two, “Birthquake” lumbers in, we’re in familiar doomy Sabbath territory. It’s a stark contrast to the opening song, but brilliant as that was, this is what we came for. Big, dirty riffage that’s slow yet powerful, the result is an instrumental song that relies purely on dynamics to excite and uplift. This is bloody great stuff.
The next track, “Serpent Merchant”, is even heavier and more relentless – with growling vocals making a demonic appearance. It all descends into a masterful, psychedelic break before the pummelling returns. The album’s title track delivers a groove laden sludge, which again dissolves into a mellow passage at pretty much exactly the halfway mark. Gradually becoming fuzzier, this soon explodes into a frenzied, aggressive section.
The remaining tracks offer more crunching guitars, thudding bass, booming vocals and pounding rhythms, always concentrating on the all-important doom riff. Final track “Sporelord” wanders through several segments, before briefly fading away and returning with a quirky reggae style outro.
With four of the six songs here over the 8 minute mark, there’s a lot to explore and digest with “Crater Maker”. Weed Demon have created a dense album that I enjoyed from the first listen and I’m still returning to weeks later. Meandering into psychedelic space rock, groovy doom, country and ear-splitting sludge ensures “Crater Maker” is a complex release that’s worth hearing.
All this talk of weeds reminds me of a funny little escapade with my old mate Keith Moon. Moony lived next door to his big pal Ollie Reed, who asked the loony drummer to keep an eye on his mansion while he was in Europe, filming some naff horror/arthouse nonsense. Moon had a party, got totally blitzed and remembered at about 4am that he hadn’t mowed Ollie’s lawn for him. Well, you can imagine the laughs we had, as Keith tried to start the ride-on petrol mower in the dark. Without going into too much detail, a split fuel pipe and a discarded cigarette resulted in most of Reed’s garden looking like it had been napalmed.
Ollie wasn’t best pleased when he returned to see the unholy mess Keith had left him with. But Moon just blamed Ringo Starr, who made a quick exit when drunken Ollie brought out his shotgun. Ringo had the last laugh though, by marrying the most beautiful woman in the world. Jammy git.
Time for another album review: as originally published by Ever Metal, now here for your enjoyment too…
Desert Storm – Omens
APF Records
Release date: 01/05/2020
Running time: 40 mins
Review by: Alun Jones
9.5/10
Put your feet up, relax – pour yourself a drink and take the weight off your feet. All you need to do is chill – I’ve already done the hard work. I’ve found your new favourite band: they’re called Desert Storm, and their latest album has just been released by APF records.
If you’re new to the name, Desert Storm are from merry old Oxford; and since forming in 2007, have been building their following formidably. They’ve appeared at major rock festivals; plus supported and toured with some personal heroes of mine (Corrosion of Conformity, The Atomic Bitchwax amongst others). I saw Desert Storm a few years ago supporting the mighty Karma to Burn; they managed to steal the show from the headliners, as far as I was concerned.
Opening with a sombre, haunting spoken word piece, Omens proceeds to take the listener on a journey that is powerful, yet also introspective. It’s an otherworldly trip that’s both visceral and immediate, but also demands greater exploration.
“Black Bile” demonstrates the strategy perfectly: heavy, grinding and relentless – with moments of melody that blend into the whole without jarring. In absolute basics, this is the sludge of Down combined with the aspirational progressiveness of Mastodon. Thudding, head banging riffs adorn “Vengeful Gods”, but there’s also an almost Morricone-like cinematic sensation as the song develops and grows.
At times anthemic, there are also magnificently effective sections of the songs that contrast beautifully with the hard driving doom metal. “Pain, Grief and Suffering” features an extended mid-section that is beguilingly serene. When the heavy re-enters, it’s all the more neck-breakingly persuasive. Throw in a captivating solo and you’re on to a highlight.
“The Path of Most Resistance” builds from humble beginnings to a massive groove riff of Sabbathian splendour; whilst “Lockjaw” is short and brutal. This leads us to the final track, “Rebirth”: a masterpiece that is heavy only in sentiment. What a song. Despite a medieval vibe, it’s the ideal soundtrack to spin whilst driving through the desert in a stolen Dodge Challenger as the sun sets, with Smokey on your tail.
Every song on Omens can be enjoyed on its own merits, but as a whole plays as a genuine compendium that the listener can enjoy from start to finish. I knew Desert Storm were good, but I didn’t expect them to have grown so much. Or deliver a new album with so much scope. Here’s a British band that could step up into national – and then international – consciousness. They just need your support. Do it. I’m off to buy the vinyl version.
Talking about deserts – did I tell you about that infamous escapade on one of my legendary soul-searching soirees into the Mojave? I crept into my usual cave to seek shelter, only to encounter Jim bloody Morrison hogging it. He was out of his gourd on peyote and mumbling about Aldous Huxley or some such. There was no way I could meditate with that loon around, so I threw him out. Break through that to the other side, Jimbo! My Yaqui shaman and I needed the space to contact Atlantis.
STOP PRESS: Putting my money where my mouth is, I stumped up hard earned cash for a vinyl copy of this album. I am very glad that I did!
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