The wild and wonderful world of Spider Kitten: a place, a frame of mind, an attitude – there is nowhere else like it. Both welcoming and confrontational at the same time, this band follow their own desires and to hell with the consequences. There are no rules in this lawless land, just an exploration of whatever realm of consciousness the band happen to be channelling at any one point. But it all makes perfect sense.
APF records have released this latest album by Spider Kitten, entitled “The Truth is Caustic to Love”. Within its sonic walls are a myriad of styles and journeys, encompassing everything from the gloomiest of doom, sludgy grunge, magnificent acoustic ballads and Spaghetti Westerns. Plus everything else you can think of.
Now that’s probably the most pretentious intro to a review I’ve ever written, so I’d better back it up with some serious wordology. The menacing crawl of ‘13 of 6’ is our first destination, its crushing heavy sections contrasted with sparse ambient passages, tense with expectation. First single ‘The Dose’ is next, coming on like a Death Metal Melvins; followed by the delightful acoustic guitars and Mexican sunset of ‘Sueño’. Then it’s back to the heavy, with ‘The Spoiler’ sounding like Alice in Chains on a major comedown.
This contrast in light and dark isn’t necessarily a new idea, but with Spider Kitten, the experimental, melodic and melancholy moments seem more extreme.
‘Three Shots’ is a central track here, and a personal favourite, with its moody, dusty Ennio Morricone soundtrack vibe. ‘Woe Betide Me’ and the closer, ‘Guilty’, both have a weeping blues feel and offer some calmer moments. These songs are surrounded by noisier relations, such as ‘Revelation #9’, ‘Crying Towel’, and ‘Wretched Evergreen’, all of which are gloriously abrasive and aggressive.
Surprisingly, it doesn’t take multiple listens to appreciate “The Truth is Caustic to Love”. This is because the heavy is beguilingly heavy and the mellower moments shine in the murk, and together it’s a fascinating smorgasbord of sounds and ideas. Spider Kitten are beyond easy prediction, best just enjoy wherever they take us.
This is a tough review to write. It’s tough, because I need to write around 400 words about this release – but all I need to say, really, is something like “do not miss this awesome new album by Master Charger, it’s great”. There’s nothing else that needs to be said. So, let’s see if I can pad that out for another few hundred words, shall we?
Yes indeed, the new release from Midlands, UK based Doom Lords, the one and only Master Charger. I’ve been anxiously waiting for this to drop, as I became a convert to their cause when I saw these filth hounds live at Pentre Fest a while back. Superb band. An unholy amalgamation of Sludgey Doom and fuzzy Stoner with a heart-warming affection for Blues based Rock’n’Roll, I’m proud to wear the T-shirt and be an advocate for this three-piece from hell.
We start with the rumbling, echoey drums of ‘Thy Kingdom Polluted’, which is quickly adorned by dirty, fuzzy guitars and trippy wah-wah lead. The riifs have groove and it’s easy to get dragged along and nod that head. ‘Only My Eyes See, Empires Rust’ follows this with a colossal doom riff that fries your brain, then it’s off on a ten minute plus odyssey with the title track. Passing through different sections, this monster is the evil offspring of Sabbath and Cathedral.
After all that full on Doom Metal savagery, even I could do with a little break. And that respite is gifted to us in the form of ‘Fallen Angel Painted Doll’, an instrumental track that begins with some quite beautiful acoustic guitar. Starting just like those genius Tony Iommi mellow moments on the early Sabbath albums, though this grows into full band folky ramble complete with harmonica. Perfect.
Before long we’re back in real business though: ‘When Hell Rode In’ and ‘Head Into The Sun’ sound like a Satanic ZZ Top jamming Venom songs. Freaky acid tipped wah-wah heralds the start of ‘The Awakening’, which grows into another filthy groover. ‘Mass Produced Mass Destroyed’ keeps on bringing the heavy, a brutal track that conjures ideas of both legendary Black bands, Sabbath and Flag.
Finally, ‘Upon Roads Less Travelled’ cools things down – a short but classy instrumental that is the calm after the storm. “Posthumous Resurrection” reaches its finale, and what a ride it’s been. Visceral, muscley Doom Metal with outrageous riffs, thoughtfully composed variations – all the promises are delivered on, tenfold. The only slight issue here is the lack of a vinyl release, which is patently criminal with an album this good. But Master Charger have given us a killer album – another one for the end of year Best Of list. Go buy it, NOW.
There you go, over 500 words – no problem. Reviews are easy when the music is this good.
Well 2025 certainly delivered the goods for new music. As in previous years, Ever Metal asked me to compile a list of my Top Ten albums from the worlds of Rock and Metal, so I did. The list has already been published over on EM, but I’ve reproduced it here for anyone who missed it…
You know what? It would be easier to pick my All Time Top 20 Albums than a Top 10 for the year. I know I say this every year, but 2025 has been a really strong one for new releases. Whatever the genre, there have been some beauties. So here are ten of my favourites, listed from one to ten, but to be honest – the ranking between these exemplary specimens doesn’t mean that much.
Admittedly, I was late on the bandwagon with this band, but I don’t care. Pigs x7 dropped this Stoner Metal monster and I shamelessly joined the admiring throng. “Death Hilarious” is crazy riffage for a good time.
This album of dreamy Doom Pop has been played relentlessly chez moi since its release. Mournful bass, crashing drums and reflective vocals create an otherworldly tapestry.
A beguiling soundtrack for a strange world, Spider Kitten knit the heaviest of sludgy riffs, avant garde Doom and Spaghetti Western music into something truly original and unforgettable.
I saw Froglord live and immediately fell in love with their sludgy, amphibious grooves. “Metamorphosis” is a masterclass in swampy riffage and it has constantly cheered me up since it oozed into my possession.
This band go from strength to strength, and their “Move Mountains” album became one of my most played albums of the year. A full-on Stoner Rock, Grunge and Metal hybrid that always drags you back for another listen.
The second album from King Kraken builds on the triumphs of its predecessor, but adds an even tougher, uncompromising Metal edge and daring new textures.
The absolute Overlords of fuzzy Doom Boogie, Master Charger’s 2025 masterpiece delivers everything that you could ask for, plus more. Extremely infectious in every good way. Essential!
Right from the first spin, I knew this glorious album would be a contender for the best of the year list. A stunning album that isn’t afraid to branch out in new directions, whilst staying true to the core of what 1968 do.
And there you go, ten superb albums that I’ve loved this year. Honourable mentions go to Supersuckers, Melvins, Toranaga and Jonathan Hultén for releasing top quality music that nearly made the cut.
Happy New Year all – here’s to the new sounds of 2026!
Don’t forget to keep visiting Ever Metal – and Platinum Al’s Virtual Hot Tub – for the best music!
By now, you’ll know my love of Mclean’s Pub in Pentre, Deeside, North Wales – from all the Pentre Fest gigs and so on I’ve covered from there. Thankfully, rather than make us all wait till February 2026 for the next full weekend festival, North East Wales Metal Productions have set up some “All Dayer” gigs at the same, friendly venue to keep us going. Plus, even more live events at XS, Wrexham.
Sadly, two bands had to drop out of this particular event. But no matter: the show would go on! And first up was our valiant comrade, Steve AKA Geordie from Bad Earth, performing a solo set in his Miserable Sinner guise. Now Bad Earth have been regulars at Mcleans for aeons, and it’s always great to welcome them back – or at least, one of them! Much merriment was had as the Sinner launched the afternoon’s proceedings. Key songs were covers of Billy Idol and Foo Fighters tracks that successfully got the crowd moving. Plus, a couple of older, now sadly retired Bad Earth tracks – ‘120 on the 55’ receiving a much appreciated airing!
Up next, a new band on my radar, Fallen North. These boys have had a couple of new guitarists join recently, and if anything, they all seem really energised by the injection of new blood. Fallen North’s sound is a crunchy, riff laden heavy rock/metal creation, with pounding rhythm section, exemplary guitars and off-the-charts vocals. Very professional, yet still crazy good fun, these guys gave us a stunning set and even threw in a couple of cheeky covers (like RATM’s ‘Killing In The Name Of…’). This approach gave Fallen North the chance to enjoy themselves as much as the audience did!
HollowKin had travelled all the way up from the South West England area to play this gig, and it was a trip well worth it. These guys have had an EMQs featured on Ever Metal, so it was nice to actually catch them in the flesh. HollowKin gave us a set of utterly uncompromising, metalcore fury. Part speedy thrash, part bludgeoning, cold riffs and guttural vocals, the band haven’t been together all that long, but you’d never guess. An assured performance and solid musicianship.
“Some Good Riffs” is an album title by our next band, Melted Messiah. Somewhat amusingly, they took this title from an Ever Metal review a couple of years back. It’s not often I get called out at these gigs, but I did. Luckily, I escaped unscathed! Melted Messiah are in fact a very, very cool blend of Stoner, Doom and Black Metal, and they belched out a brilliantly furious set with tongue firmly in cheek. Their sludgy thrash had many “good riffs” indeed and I became an instant fan of this two-piece of Scottish nutters. They travelled far to be with us, I really hope they come back!
Our final band of the evening was Syncolima, headlining the show – and justifiably so. They played at Pentre Fest a couple of years ago and I loved them then – seeing Syncolima agaiin, it’s easy to understand why. A superb blend of stoner rock, grunge and chugging metal, they had powerful riffs and catchy melodies. Heavy music with depth, performed by excellent musicians, means you can’t really go wrong with this Mansfield, Notts three piece. Magnificent stuff, no complaints from me! They’re on tour and come highly recommended by moi.
That’s almost it – but I nearly forgot to mentioned the well intentioned N.E.W. Metal Prod Ozzy tribute that the guys threw in the middle of the evening. With the Prince of Darkness sadly departing this mortal recently, a memorial to the great Oz was nicely timed. Our mates from Fallen North led the tribute, with ‘Crazy Train’ and ‘Mr Crowley’ before a group sing along to ‘War Pigs’. I made sure I got up front for that one, hoping it would be my moment to be discovered, but sadly it never happened. No one asked me to join a band, despite my fantastic performance. Oh, well…
Despite this insult, I had a thoroughly enjoyable time and came away with several new favourite bands. So a good result, regardless. Well done to Fozzy and Beany (and Frank and Kelly!), plus the Mclean’s staff, for putting this show on. More gigs soon – BE THERE!
Pentagram are a band that refuse to die. With roots going back some fifty years, and every kind of catastrophe from band splits, arrests and hard drug addiction, it’s some feat that we’re here to discuss a new album at all. Like a bizarre hybrid of 80s slasher movie antagonists, Pentagram keep coming back to life. Now, with “Lightning in a Bottle”, the band are back: the life support has been thrown on, this time by mad scientists Heavy Psych Sounds.
The band’s only constant member is founder/frontman/vocalist Bobby Liebling, a complex and controversial character. On this excursion, he’s joined by a new bunch of musicians who are venturing to keep the name and legacy of Pentagram alive. Tony Reed is on guitar and production duties, Henry Vasquez on drums and Scooter Haslip handles bass. All three have sturdy pedigrees earned from other bands, and their contributions here make them light years past being mere hired hands.
Liebling’s story is both chaotic and scandalous, but this isn’t the time or place to cast stones. Interestingly, on the track ‘Lady Heroin’, the singer explores the theme of his addiction in a mournful, self-torturing manner. There’s no bravado here, with Liebling openly pondering on the destruction that addiction has wrought. Musically, the song marries a solid riff with a forlorn middle section.
‘I’ll Certainly See You in Hell’ follows this track, with a strutting pace and Liebling wailing like a deranged preacher. After that we get ‘Thundercrest’ with its ruthless, pounding riff – forming a triumvirate of the best songs in the middle of the album. Not that the rest of “Lightning…” is lacking: whether its aptly titled opener ‘Live Again’ with its head nodding urgency or the crawling doom fest of ‘Walk the Sociopath’, Pentagram have all bases covered.
The biggest fear was always going to be Pentagram pissing on their legacy. They are, after all, one of the great Doom Metal bands that are responsible for the development of the sub-genre. Absolutely no fear of that here, though: “Lightning in a Bottle” sees this version of Pentagram releasing a reassuringly strong album. The musical reputation of Pentagram continues to thrive.
Following a blinder of an evening’s entertainment for Day the First of North West Doom Fest, I was rested and ready to go for Saturday. Beginning at an earlier time in the afternoon, I unfortunately missed the first band of the bill, Hand of Omega, who played while I was still travelling into town. Sincere apolgies for this to all, I must catch them again sometime.
Arriving at the Saddle, the festivities were well and truly underway already. A decent sized crowd were in attendance in the rear courtyard, cradling beers and nursing themselves back to full health. There was no downer atmos that I could discern at all however, everyone seemed amped for the music ahead.
Moss Valley were the first band of the day that I actually got to see, and they were pretty damn good. This three piece straddled a retro seventies vibe with added desert rock Kyuss stylings. Great riffs and warm female vocals adding to the melodies, Moss Valley really made a huge impression. It’s tough to pick favourites at an event like this, but MV were definitely contenders.
Up next we had a visit from the Pagan lords of the north, Sabbat Wolf. This Leeds based band featured exemplary musicianship, again with a commanding female vocalist. What I enjoyed here were the Sabbath worshipping riffs augmented by beautifully tuneful, mellow passages that reminded me of Pink Floyd. Sabbat Wolf really stood out with these psychedelic flourishes and their unashamed occult theme – their song ‘Pagan Bloody Pagan’ tells you all you need to know!
Warpstormer had travelled up from Londonium to the ancient, walled city of Chester. These guys mix full throttle Metal with their Doom, think Orange Goblin rocking out at their trippiest. It’s a Stoner Metal attack that could have been related somewhere to Entombed or Motorhead, but had enough power and groove to fit in perfectly at this gig. Warpstomer were real crowd pleasers and also really nice guys.
Get your flat caps on and forget your fear of heights, it’s time for Shred Dibnah! The world’s premier Steeple Jack Rock band graced the stage of NW Doom Fest, amid clouds of smoke and a pummelling performance. With a portable chimney on stage belching out clouds, Shred Dibnah demolished the audience with roaming riffs and contrasting mellow sections that added to the hypnotic drill.
Borehead were the next band of the day, and again a different take on the Doom template. In contrast to other bands, these Londoners were largely instrumental – except for some weird and wonderful samples – with slow, fuzzy riffs more spaced out than Buck Rogers on a Venusian hookah pipe. Cerebral stuff that you’d assume would be better appreciated on headphones with some refreshment, but it went over very well.
I was already familiar with the mighty Deathfiend – I caught them live a while back, and was happily smashed to pieces with their ferocious onslaught. With elements of Death Metal and even Hardcore Punk in the Deathfiend sound, I wasn’t sure if they’d be too damn nasty for this festival, but they slotted right in neatly. Outrageously heavy Doom riffs delivered with a fiery intensity, this band are a force to be reckoned with.
You know how sometimes you see a band that looks so cool, you want to join up? Kill The Witch were that band at NW Doom Fest. These guys meld together the Sludgiest of Stoner and Doom Metal, traversing varying tempos and styles but always remaining true to The Riff. Roaring vocals top off a faster, more furious Sabbath sound that’s not without its clever invention and serpent-like surprises, throwing in some brutal hardcore along the way.
Finishing off NW Doom Fest 2025 were the mighty Amon Acid. Another Yorkshire based band, their distorted Doom Metal was part Electric Wizard style occult Metal, with hypnotic, psychedelic passages added for kicks. Yet again a different take on Doom with Hawkwind Space Rock and amazing Middle Eastern sounding passages seeping through the acid drenched fuzzy guitar, Amon Acid were a thoroughly entertaining musical experience, finishing the event in style.
And that, kids, was your lot. Everything was wrapped up in a timely fashion so that the punters could make buses and trains home, all of us with beaming, happy faces – gorged on the joy of The Riff. North West Doom Fest was a resounding success and I have to say I enjoyed every band I saw. All of them had their own unique identities, whichever winding track they took from the original concept of Doom. Cool venue, too. Now I feel really stupid for not going last year.
The Saddle is the number one – and surely only – Rock based pub in the City of Chester. A town more famed for drunken shenanigans and expensive outfits for the Races, this is the playground of the Cheshire Set and the wannabes. A home of Metal it is not. Not usually, anyway – except for the welcoming haven of The Saddle.
And for one weekend in April, the tiny G21 venue at the back of the pub hosted the second North West Doom Fest: two days of the heaviest, doomiest metal in the land. Absolutely fan-fucking-tabulous!
The evening began with Druid’s Cross, from not far away at all Liverpool. I’ve seen this band before, and knew they would be ideal to commence the festivities. Harsh vocals lead relentless, dynamic riffs with a traditional metal feel as well as a slow, doomy pace. There’s a dark, gothic edge to the music as well, resulting in a compelling sound that grabbed everyone’s attention from the start..
Festival organisers Lorraine and Mark were up next, with their amazing three-piece band, Warlockhunt. I’d also seen this band before, and I’m always amazed by the complexity of their dual bass and tribal drums sound. The other worldly female vocals have led to this band being described as Doom Pop (I coined that phrase, actually, thank you very much) and it’s easy to see why. Always different and always captivating.
Grim skeletal figures flanking the stage, inverted crosses and a duo wearing dark cloaks: Tumanduumband aren’t exactly shy of revelling in their ominous personas. What they are, is a West Midlands based Satanic Doom band, and their music is both atmospheric and heavy as hell itself. Fuzzed out, crushing riffs mean that the visuals aren’t inappropriate – this band is growing a cult based on their own dark riff-tuals.
Headlining tonight, and admittedly one of my favourite bands out there these days, the mighty Son of Boar rightfully took their place at the top of the bill. I became a big fan after seeing them play Pentre Fest some years ago. Bass wrangler Gaz is also an Ever Metal scribe, not that I’m biased at all, honest! Son of Boar played a set that was tight and forceful, with ear-worm riffs and thundering rhythms. Tusks up! The boys brought the HEH-VEEE, then slept the night on the floor of the venue, ‘cos they rock that hard.
Pointless review of the month time! But why, pray tell, is this review of the new Orange Goblin album “pointless”? Because, old pal, literally everyone knows that Orange Goblin are a BIG THING. And they haven’t released an album for seven years. So this release, surely, will be near the top of everyone’s wish list for 2024. Especially in the case of our esteemed Ever Metal readers, who as we all know, are a cut above the rest of the uncultured rabble out there.
Without patronising our dear readership in anyway, a new release from these London doom/stoner/heavy metal scoundrels is, and should be, a BIG THING.
Anyone who’s already a fan of Orange Goblin can expect more of what has come before, but it’s safe to say, “Science, Not Fiction” is amped up a little more than usual. The same killer riffs, powerful delivery, ace musicianship, clever style variations are all in place as expected, but tweaked just a little higher. Right from first listen, it’s obvious that quality control has been merciless on this recording, resulting in a collection of peak songcraft.
‘The Fire at the Center of the Earth is Mine’ opens the engines in fine form. After a cacophonous intro marked by belching bass, the riff kicks in and the ride begins. A furious “death boogie” with a super catchy, uplifting chord structure for the chorus, this is prime Goblin.
There’s no room for a breather, with second track ‘(Not) Rocket science’ bolting out next – a relentless hell ride that features a killer lead bass break (courtesy of new four stringer Harry Armstrong). It’s probably my favourite song on the album: Ben Ward’s voice booming and Joe Hoare’s guitar threatening to jump the gate and roar off into the night on its own.
An epic, mid-seventies Sabbath-doom vibe pervades ‘False Hope Diet’, with its bouncing groove and changes. ‘Cemetary Rats’ starts with a gloomy, gothic vibe before exploding into something akin to old school thrash a la Testament. Through all tracks, Chris Turner’s drums are dependably solid and thunderous.
‘The Justice Knife’ is another fast rocker that benefits from some outer space wah-wah guitar, though generally speaking, the latter half of the album doesn’t quite have the heights of invention that earlier tracks possess. The last song, ‘End of Transmission’, fields a suitably epic and raucous finale, however – soaring through sections with determined power.
My only slight gripe with “Science, Not Fiction” is that the bonus track ‘Eye of the Minotaur’ appears to be CD only – which means vinyl fanatics like yours truly will miss out. Nevermind, this album is a devastating power house of modern metal. Orange Goblin have created a record that demonstrates all we love them for, and ladled on a good-sized helping of extra sauce to sweeten the deal. One of THE albums of 2024, “Science, Not Fiction” will be guaranteed a place in my annual Top10.
2024 was a fantastic year for new music. As previous, I was asked to compile my Top 10 of the year for Ever Metal, which wasn’t easy. That list has already been published on the EM website, but I’ve replicated it here for anyone who missed it…
Every year, it’s a struggle to whittle down tons of superb albums to just ten. This year has been just as difficult (if not more so) and I’ve had to leave off a few great releases that just didn’t make the cut, for one reason or another. I’m sure I’ll regret leaving a few of those off the final 2024 list, even if it’s just because they’re still very new I’ve not had chance to grow into them yet.
Anyway, here’s the best of 2024 as it feels right now:
Released in March, this debut from Welsh Occult Doom Metal band Goat Major announced a formidable new talent to the scene. Building on their love of the classic bands that defined the genre, Goat Major add plenty of their own character to a magnificent album.
Crobot’s latest release certainly has a darker, heavier atmosphere than previous albums, but the unmistakeable groovy riffs are well in place and ready to unleash the Hard Rock mayhem.
Greek Doom-mongers Acid Mammoth delivered another heavy weight slab of fuzzy Stoner Metal, with a variety of moods and hefty groove. Neolithic Rock with a touch of the ethereal.
Amazing album title. Fantastic cover artwork to compliment said title. And guess what? This latest release by Texan Stoner Metal gang Duel is even better than first impressions would suggest: Doomy Stoner Biker Rock from hell!
Wino’s legendary Doom Metal crew returned in early 2024, to remind everyone how it should be done. Infectious, groovy riffs, heavy as shittery songcraft and head spinning melody collide in a perfect meltdown.
The definitive Orange Goblin album? Could be. This latest OG album demonstrates all of their strengths, welding together the various sounds and genres they’ve mastered over the years. Bursting with energy and invention.
More exhilarating chainsaw Garage Metal from Torso, this lo-fi masterpiece arrived with all the subtlety of a brick to the forehead. Less John Carpenter this time, but definitely slasher-splatter death-mosh a go go!
They’re back! One of the most wonderful live bands I’ve ever witnessed, Zombina and crew finally returned with a non-stop Horror Punk party, just in time for Halloween. Long may they continue!
The only downside of a new Fu album is waiting for it to be released! Their first new album in six years was everything I hoped for, a double album split between a first half of fuzzy rockers and a second of slower tempo groovers. RAD!
The ‘Hoofs last album was number 1 in my 2022 Top Ten – and whaddya know, they’ve done it again! Slightly less bombastic then their previous, but even more engrossing, “The Ghost of Badon Hill” is a mature and thrilling record to get lost in.
So that’s ten. Honourable mentions go out to Melvins, Lucifer, Black Tusk, Alunah and Barbarian Hermit amongst many others.
Here’s hoping 2025 can match this…
Keep coming back to Ever Metal and Platinum Al’s Virtual Hot Tub for all the best rock and metal reviews!
Nebula/Black Rainbows – “In Search of the Cosmic Tale: Crossing the Galactic Portal” Split
Heavy Psych Sounds
Release date: 28/06/2024
Running time: 32 minutes
Review by: Alun Jones
8.5/10
What’s that old saying? Oh yeah, “I get by with a little help from my friends”. Now neither Nebula or Black Rainbows could possibly fail on their own, so together these cosmic psychonaut supertroopers should absolutely RULE. These guys aren’t leaning on each other, they’re building each other up to stratospheric heights.
“In Search of the Cosmic Tale: Crossing the Galactic Portal” is the longest title I’ve ever had to type (thank the gods for copy and paste). It’s a six-track album split between those two bands, and released by one of the most on-the-money record companies around at the moment, Heavy Psych Sounds. So the pedigree is off the charts.
The first three tracks are from our old buddies, the psychedelic warriors, Nebula. There are three brand new tracks here, of which ‘Acid Drop’ is the pinnacle – a chugging, unstoppable mammoth tune that’s fuzzier than a caveman’s armpits. ‘Eye pf the Storm’ chills the mood out a bit with an infectious, spaced-out groove that fits perfectly. Things get a bit weirder with ‘Ceaser XXXIV’, with a lolloping riff that wiggles into your mind.
Black Rainbows present us with ‘The Secret’, which really shouldn’t be a secret to anyone: it’s a boisterous, Sabbath style good time and probably my favourite track here. Ah, I shouldn’t pick – but there you go. The galactic groove continues with ‘Thunder Lights on the Greatest Sky’, another joyous ode to fuzz. ‘Dogs of War’ wraps things up nicely with a psych wander through the sky that gradually builds to exhilarating levels.
At just over half an hour long, this mini album/EP or whatever simply isn’t long enough. The quality of music is fantastic though, as well it should be. No surprises there. Both Nebula and Black Rainbows are awesome bands that you can trust to conjure up the goods. This beauty’s available on several different versions of sexy vinyl too, so worth shelling out for.
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