Tag Archives: doom metal

Giant Dwarf – Giant Dwarf Album Review

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And now, I present an album review I wrote for Ever Metal; a recording that became one of my favourites of 2019:

Giant Dwarf – Giant Dwarf

Self Released

Release date: 09/04/2019

Running Time: 36 minutes

Review by: Alun Jones

9.5/10

 

I’ve never been to Australia.  Don’t need to go there really, I know exactly what it’s like.  It’s like that David Bowie video where he’s inside a big concrete block in the middle of nowhere.  “Let’s Dance” – that’s the one.  Or it’s like Mad Max 2: all arid desert, people surviving on dog food and a struggle to exist without civilisation.

So, it’s quite apt that such a barren, isolated place has decided to gift us with an album that is, quite frankly, a masterpiece of desert rock.  Or outback rock, if you will.

This is “Giant Dwarf”, by the band Giant Dwarf, who hail from somewhere called Perth in Western Australia.

Right from the start, with opener “Golden Walrus”, the album bursts from the speakers like Gandalf after a month-long Charles Atlas course.  The songs are tough and uncompromising, yet cerebral.  “Black Thumb” and “Kepler” in particular will make you put your foot down on the accelerator and bang your head – whilst absorbing the intricate tapestry of the universe.

It’s all pounding rhythms and hypnotic, repeating riffs.  On first encounter, the album seems very – shall we say, inspired by – Kyuss and the first Queens of the Stone Age album.  Aaron Soppo (vocals) can even do a pretty convincing Josh Homme impersonation.  Which is no bad thing, in my book – in fact, it’s a sure fired recipe for success.

Further investigation reveals far more than this obvious comparison, however.  As well as a more fuzzed-up guitar sound – not unlike a particularly fried Fu Manchu – there’s a trippy, psychedelic sheen to the muscular groove.  There’s even sitar and didgeridoo on here, in wave after wave of glorious chunky riff and rolling beats.

“The Deluge” illustrates this breadth of feeling with a six minute plus track that undulates between exuberant rocker and introspective meander in just one epic song.

If I have one small criticism, I’d like to hear a track like “Strange Wool” – a mind melting instrumental track that’s quite brilliant – dragged out to three times it’s two-minute length.  Even more development and experimentation would really push Giant Dwarf further into a new dimension.  But keep the edge-of-the-seat rockers too, OK guys?

“Giant Dwarf” comes within a koala’s cock of perfection.  Powerful like the venom of a Death Adder, yet enticing like Natalie Imbruglia.  It really is that good: from out of nowhere, an album that will surely be in my end of year Top Five.

Find Giant Dwarf on Facebook and on Bandcamp.

Check Giant Dwarf out on Spotify here.

There’s some cool stuff on YouTube here and here, too.

PS: apologies for the dig at Australia, it’s just a joke.  I’m sure it’s nice there really.

Platinum Al’s Top 10 Rock/Metal Albums of 2019

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2019 has been an exceptional year for new music.  It started off slowly, but by the end of the year I was struggling to keep up.

As per last year, Ever Metal asked me to produce a Top Ten of my favourite rock and metal albums of the year.  So here we go:

  1. Mammoth Weed Wizard Bastard – Yn Ol I Annwn
  2. Speedealer – Blue Days Black Nights
  3. Obey – Swallow The Sun
  4. Acid Reign – The Age of Entitlement
  5. Sunn O))) – Life Metal
  6. Earth – Full Upon Her Burning Lips
  7. Admiral Sir Cloudesley Shovel – Very Uncertain Times
  8. Giant Dwarf – Giant Dwarf
  9. Monolord – No Comfort
  10. Crobot – Motherbrain

All fantastic records.  Honorable mentions this time to Kadavar, Firebreather, L7, Wizard Rifle and Duel.

For more rock reviews, interviews and top tens, head over to Ever Metal.

Happy New Year everybody – wishing you a very healthy and prosperous 2020!

And thanks for vising Platinum Al’s Virtual Hot Tub!  Make sure you come back next year, and if you’ve got any requests or suggestions, please get in touch.

Duel – Valley of Shadows Album Review

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Duel – Valley of Shadows

Heavy Psych Sounds (Purple Sage PR)

Release date: 17/05/2019

Running Time: 38 mins

Review by: Alun Jones

8/10

 

Duel have been on my radar for quite a while.  Despite hearing a few tracks via the band’s social media, I’d never sat down, ear goggles locked in place, to listen to a full album.   So, I was pretty stoked to have the opportunity to review their latest album: “Valley of Shadows”, released recently by Heavy Psych Sounds.

Hailing from Austin, Texas, these four fiends are responsible for an almighty stoner doom racket; full on heavy rifferama with psychedelic and classic metal references.  In case that description alone doesn’t grab you like a graveyard ghoul on the way to an unholy shindig, their whole aesthetic is tripped out in the sort of late-night, B-movie gore that’s lurid enough to make your eyes pop.

It’s like Dracula Has Risen from the Grave soundtracked by a bunch of longhair ne’er-do-wells, and that’s just how I like it.

“Black Magic Summer” opens up the proceedings with some appropriate rain-soaked sound effects, before launching into the heavy-as-a-crypt-door attack.  There’s a brilliantly melodic middle section too, adding some light to the gloom.

Second track “Red Moon Forming” has a direct, driving pace that’s infectious and purposely concocted to inspire the raising of horns.  “Drifting Alone” has a real classic desert rock vibe, with a cool head shaker riff.

“Strike and Disappear” comes on like the vampire Western that Tarantino needs to make.  A slower, bluesy pace with a dusty feel, it’s the first taste we get of a very different – and effective – approach. It melts into a ferocious, face pummelling section that screams blood and violence.

Songs like “Tyrant on the Throne” have a classic metal, almost (gasp!) Iron Maiden feel to them.  Otherwise, the sound explores more of the head-banging, smoke induced groove of bands like Trouble and The Obsessed.

But just like the best stoner metal movers and shakers, there’s always room for some ZZ Top-style boogie, which particularly comes to the fore in the final track, “The Bleeding Heart”.

As always, my sound comparisons are only meant as genuine compliments.  Duel manage to create an album full of their own spirit and character, and it’s one hell of a fun ride.  At turns hypnotic, fist pummelling, and sombre; “Valley of the Shadows” pulls the stake out of the stoner doom corpse and brings it back to bloody life again.

The last time I actually was involved in a duel, it was a case of duelling banjos.  I was on a canoeing trip with some buddies out in the Appalachian back country.  We ran into some unsavoury redkneck types, one of whom challenged me to a banjo showdown.  Of course, I threw in some licks that my old mentor Jimi Hendrix had shown me, and the creepy little weirdo had no chance: I was victorious.

Unfortunately, the locals weren’t too happy and we had a bit of a run-in of sorts with ‘em later.  It was all fun and games really, and we were on our way home soon enough.  But I tell you: just whatever you do, don’t mention piggies to my buddy Bobby.

This review originally appeared on the Ever Metal website, please pay them a visit!

Duel are on Facebook here.

The Duel Bandcamp page is here.

Visit the Heavy Psych Sounds website here.

Heavy Psych Sounds are on Facebook here.

Heavy Psych Sounds are on Bandcamp here.

Obey – Swallow the Sun Album Review

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Obey – Swallow the Sun

Self-released, Enso Music Management

Release date: 05/04/2019

Running Time: 37 mins

Review by: Alun Jones

8.5/10

 

OBEY!  CONSUME!  CONFORM!  Have you seen John Carpenter’s masterpiece of paranoid sci-fi, “They Live”?  It’s out standing.  Rowdy Roddy Piper puts on some special sunglasses and is able to see the aliens living amongst us, brainwashing and controlling society.  With the constant subliminal media messages exposed, Rod and his mates attempt to destroy the conspiracy and free the human race from subjugation.

I don’t know if Obey – the band – have ever seen this awesome movie, but these guys have definitely (to paraphrase Roddy) come here to chew bubblegum and kick ass…  And they’re all out of bubblegum.

“Swallow the Sun” is the fourth album from Obey and it doesn’t disappoint.  The listener gets more thunderous, rhythmic riffing that bridges across hard rock and metal, courtesy of Steve Pickin (guitar/vocals), Dan Ryder (guitar/bass) and Ryan Gillespie (Drums).  Add in a progressive, exploratory approach that’s open to wide influences, and what we have here is an album full of ideas that constantly reveals new depths with repeated listens.

Take bombastic opening track “Back Home”: it starts out in familiar crunching guitar riff territory, but unleashes a huge chorus that’s catchier than Velcro underpants.  I wasn’t convinced on first listen, but this melody works so hard that despite being a surprise it’s a winner.

“Drive” offers more of the brutal riffing that Obey are known for, but with lush, melodic moments – not to mention a total classic rock lead.

Midway through the album is “Esmeralda and the Dam Blues”, a track that begins with a mellower, supernatural sound – giving way to a massive, chunky chorus.  These songs are extremely well constructed, taking the listener on a stellar journey that’s refreshing and far from obvious cliché.

Some of Obey’s influences appear to froth to the surface with the album’s title track, which has a feel of Mastodon about it.  Mix in some vintage Prong rifferama and the melodic tendencies of Alice in Chains and you’re a tiny step closer to understanding which star system the planet Obey revolves in.

Obey’s ability to meld face smashing heavy with unexpectedly tuneful moments gives this album it’s unique identity.  “Swallow the Sun” is the kind of album that you can rock out to (can’t wait to see these guys live again), or take your time and listen on headphones to savour the detail.

If anything, I’d like to see further experimentation from Obey as the band grows.  “Star Crusher” is an obscenely huge yet groovy COC style track, but sadly lasts less than a minute.  More experimentation with different interludes and variations of pace and intensity can only add more colour to their cosmic palate.

There’s very little to grumble about with “Swallow the Sun” though.  What we have is an intricately created collection of songs with maximum power and thoughtful embellishments.  Obey are a British band with real talent and ambition – check them out and lend them your support.

And beware of those ugly, skull faced aliens.  They want to keep you in line and be part of the system.  Get yourself some sunglasses and see what’s going on.  Open your eyes and fight!

This review appeared on the Ever Metal website and is reproduced here for your enjoyment.  Click here to visit the Ever Metal website.

www.facebook.com/obeyuk
www.youtube.com/obeyuk
www.instagram.com/obey_ bandpage
obeyuk.bandcamp.com 

Bring Your Own Vinyl Night #16

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Bring Your Own Vinyl Night

The Queen’s Head, Mold

Friday 25th January 2019

January is a bloody miserable month, so it was nice to have an event to look forward to.  The event in question was Bring Your Own Vinyl Night – the first one I’d been able to attend (for various reasons) for quite some time.

There was a loose Scottish theme for those who chose to indulge, with it being Burns Night.  Personally I didn’t bother as I had other plans for my setlist.

As it’s been a while, here’s a recap on what Vinyl Night is all about:

Organised by the awesome chaps from Halcyon Dreams and VOD Music, Bring Your Own Vinyl Night is held in The Queen’s Head, a dependable boozer in Mold.  Aspiring DJs can play a fifteen minute set of any songs they choose, but the format must be vinyl.

Here’s the selection I made:

1968 – Devilswine

This is the opening track from the superb debut album by 1968, “Ballads of the Godless”.  That behemoth of a record was one of my favourites of 2018 – a stoner rock classic in the making.  The song is a heavy, riff fuelled monster with a groove that will make your head nod.  Psychedelic biker rock, retro metal, fuzzed up grunge; call it what you will – these Chester lads know how to rock.

Jim Jones & The Righteous Mind – Dream

I’ve long been a fan of Jim Jones’ previous bands like Thee Hypnotics and Jim Jones Revue, so I swiped a copy of this latest musical venture as soon as I could.  The album “Supernatural” is amazing, full of swampy, bluesy rock’n’roll that’s part Stooges, part Screamin’ Jay Hawkins.  “Dream” is also the opening track, and it’s lethal.  HIghly recommended.

1968
Jim Jones

The Incredible Bongo Band – Bongo Rock

This is a 7″ single that I was lucky to pick up for a few pence in a charity shop.  I really need the album too.  This is early seventies funky soul-pop and extremely groovy.  It will make you want to wear a polo neck jumper and huge flares whilst sporting a gaucho moustache, Beastie Boys style.  The Incredible Bongo Band are an integral part of the story of how Cliff Richard invented hip-hop.  If you don’t believe me, Google it.

RL Burnside – Goin’ Down South

My final track was another opener, this time from RL Burnside’s amazing “A Ass Pocket of Whiskey” LP.  When I first heard this heavy blues stomper on a CD compilation, I knew it had to be mine one day.  An infectious collaboration with The Jon Spencer Blues Explosion, this was recorded in the nineties but sounds timeless.

Bongo
RLB

In retrospect, it seems that my set inadvertently did have a theme after all – though I swear that the suggestive images of ladies on record covers was purely incidental.

With thanks to Halcyon Dreams and VOD Music, hope to see you all again soon.

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.

Platinum Al’s Top 10 Rock/Metal Albums of 2018

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2018 was a great year for music.  So much so, that I struggled condensing all those tasty new tunes into a top ten – and I’m still not sure I’ve got it right.  There are several other albums that could have featured in an annual top ten, but for reason or other didn’t make the cut.

Anyway, those cool folks at Ever Metal asked me to put together a list of my ten favourite rock and metal releases for the year.  I did so, Ever Metal posted it, and I thought I’d share with my Virtual Hot tub readers too.

So here we go, in reverse order:

  1. Ghost – “Prequelle”
  2. Gama Bomb – “Speed Between the Lines”
  3. Orange Goblin – “The Wolf Bites Back”
  4. Earthless – “Black Heaven”
  5. 1968 – “Ballads of the Godless”
  6. Uncle Acid & The Deadbeats – “Wasteland”
  7. Monster Magnet – “Mindfucker”
  8. Corrosion of Conformity – “No Cross No Crown”
  9. Fu Manchu – “Clone of the Universe”
  10. Clutch – “Book of Bad Decisions”

Hope you did a Smashy and Nicey voice in your head whilst you counted that down.

Some classic albums there, in my opinion at least.  Honorable mentions are due for Sleep, High on Fire and Satan’s Satyrs (amongst others) who just missed out.  Who knows, next week I might have changed my mind.

Finally, a big thanks to the Ever Metal team for having me on board.  It’s a real honour to be part of the team, and writing for the site has been one of my highlights of last year. Here’s to contributing more in 2019.  Cheers!

Visit the Ever Metal site here and check out some cool music!

Krull – The Black Coast Album Review

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Here’s my latest album review from EVER METAL, reproduced here with permission.  Enjoy! 

Krull – The Black Coast

Iron Shield Records

Release date: 27/04/2018

Running Time: 42.32

Review by: Alun Jones

6/10 

KRULL!  Did you ever see the movie?  It’s GREAT!  On the ancient world of Krull, Prince Colwyn brings together a band of scoundrels to help him rescue Princess Lyssa from the clutches of the evil Beast, who threatens to conquer the planet.  It’s a sci-fi fantasy adventure with a Cyclops, cool weapons, vile baddies, Tucker Jenkins and Lysette Anthony.  I mean seriously, you need to see this film.  How metal does it sound?  Even the bad guys are called “Slayers”!

The band Krull occupy a musical space which is openly very inspired by fantasy, battles and all things sword and sorcery.  And right from the off, it’s a whole lot of fun.  The atmospheric intro “In the Woods” grabs the listener and plunges them into the ethereal world that Krull have concocted, and it’s pretty much full on from there.

Pace-wise, “The Black Coast” is like riding shotgun in a barbarian’s chariot, charging an army of Orcs.  Stand out tracks for me included “By Steel” and “The King and the Sword”, but the whole album is energetic traditional metal.  If you’re a fan of Priest, Maiden and the mighty Manowar you’ll find something to enjoy here.  Only midway track “Valhalla” slows things down a little, otherwise it’s a fast and brutal campaign.

So why only 6 out of 10?  Well there are lots of plus points with this album.  The vocals are suitably bonkers, ranging from powerful cries, deep growls to a high pitched, witchy cacophony.  The musicianship is great, and the rhythm section successfully keep the march relentless.  The songs are fast and filled with fantastic tales of battles and bravery.

But the guitar tone was just off for me.  I like something with more crunch; more skull smashing intensity.  After the cool intro, first track “The Witch”, whilst a great song, suffers from a languid guitar sound that slices the records hamstrings before the fight is really on.

Don’t misunderstand me, the playing is great – it’s the production that’s slightly lacking.  The guitars should be much more axe in the face, blood and brains everywhere.

There’s still a lot to recommend Krull’s “The Black Coast” though.  Especially if you dig your metal as a soundtrack to a rampaging berserker, attacking a horde of evil ghouls.

Oh, and get down to your local Blockbuster and rent the Krull video.  You won’t regret it.  It makes Lord of the Rings look like a bad Dungeons and Dragons game in a crack den.

Click here for the EVER METAL website, where you’ll find tons more reviews of albums and gigs by awesome bands!

www.facebook.com/krullheavymetal/

https://krullofficial.bandcamp.com/

www.instagram.com/krull.official/

1968 – Ballads of the Godless album review

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My review of the new 1968 album, “Ballads of the Godless”, has just appeared on EVER METAL.  Here’s the review again, just because:

 

1968 – Ballads of the Godless 

Release date: 06/07/2018

Running Time: 38:24

8/10

Sometimes, without warning, it all comes flooding back and I’m thrust into the nightmare of that jungle.  Thirty days on patrol with no chopper cover.  The heat, unbearable; sweat running in rivers down my spine.  Cradling my M16 like a good luck charm, praying under my breath that there ain’t no VC gonna unload a torrent of lead at me and my buddies.  Trudging on, hour after hour, waiting to get back to the LZ for evac.  Chukka-chukka-chukka, the Hueys overhead and the rush of wind from the blades.

Maybe these guys from 1968 were in Nam too.  Maybe this debut album, “Ballads of the Godless” is actually a lost relic from those days that’s just been unearthed.  Maybe 1968 invented heavy, psychedelic rock after hearing Hendrix and Cream and some of those old blues guys.  Certainly seems crazy enough to be true.

Opening with “Devilswine”, 1968 lay out their ground plan confidently.  It’s a mighty power groove that makes your head nod, setting the tone for the whole album.  “Screaming Sun” follows and adds a more psychedelic shine, Jimi Coppack’s vocals soaring while the riffs hammer.  “Temple of the Acid Wolf” adds further intricate detail, with shades of vintage Soundgarden.  1968 set about laying waste to all in it’s sights like Ozzy manning the Air Cav machine gun on a strafing run.

It’s not all Ride of the Valkyries mayhem however.  Last track on Side 1 (vinyl lovers!), “S.J.D.” is an instrumental that provides a more reflective tone.  Acoustic guitar and piano feature, in a stylistically fine salute to the classics of the genre.

This bleeds nicely into Side 2, track 1 – “Chemtrail Blues”, where guitarist Sam Orr gets chance to unleash Hendrixian guitar flourishes over a bluesy beat.  It’s like that time me and my buddy chewed acid in a fox hole while under fire.  The rocket traces in the sky lit up like God’s neon veins.

“McQueen” opens with some infectious bass, before melting out of a mellow vibe and into a crushing chorus.  The bottom end is nice and heavy throughout, The Bear delivering pummelling yet warm playing.

Rhythms are also tight and show a groove more contagious than jungle malaria.  Dan Amati on drums shines on “The Hunted” in particular.  Final track “Mother of God” brings on a deceptively laid back, acid dripping feel as we finally get some R’n’R in Saigon.

“Ballads of the Godless” reveals more and more depth, thought and intricacy with each listen.  On this first album, the band make good on a lifetime studying from the past masters.  My only question is how will 1968 continue to evolve and add to their sound?  I can’t wait to find out.

For now, it’s back to reality.  No more choppers overhead, cries in the jungle and that oppressive, relentless heat.  Until I spin “Ballads of the Godless” again…

 

You can read more about all things metal at the Ever Metal site.

Pentre Fest 2018

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Pentre Fest

Friday 23rd – Saturday 24th February 2018

McClean’s Pub, Pentre, Deeside

And lo, the marauding hordes converged once more, reconvening from their travels far and wide.  In the Great Hall they would gather, trading tales of daring and adventure, as they caroused with rebellious abandon.  Much ale would be drunk, for tomorrow many a skull would be split asunder.

So began the revelry of Pentre Fest, wherein the brave and mighty warriors celebrated their many victories and remembered comrades long fallen.

The first of the tribes to address the throng were The Forgotten Age, young but mighty in their conviction.  Hailing from the Western Shores of Bangor, their stories were exciting yet accomplished, embellished with some fine melodies.  An exceptional and heartening start to the evening’s merriment.

Next to command the stage were Obey, who were indeed a revelation to behold.  Their immense riffs were sheer brutality, heeding no compromise as they delivered tales of destruction.  Obey were champions of the event to my ears; voraciously did I consume their merchandise (CD and patch!).  May the wind fill their sails and carry them to successful conquests aplenty.

Our next heroes were Torqued, a merciless crew who had engaged in a gruelling voyage from the far kingdom of Devon to regale us with their musical fables.  The clash of metal was devastating, the battle cries rousing.  A superb performance.  Safe voyage home, brothers – for ye shall be missed for now and welcomed warmly again.

The night’s final victors were the relentless, uncompromising Foetal Juice.  Looming over all with a malevolent thunder, the band decimated all in their path.  With grim intent they vanquished the unworthy, leaving only the gratefully redeemed in their wake.

Thus was the first part of Pentre Fest concluded.  Sadly I would embark on a personal quest of my own the next day; therefore being unable to rejoin the ceremony.

Regardless, though our warriors’ hearts were sated, for yet more metal majesty do we crave.  Till the next Pentre Fest, my brothers (and sisters) – stay strong and may your adventures be praised in Valhalla.

The McClean’s Pub Live FB page is here. 

Pentre Fest 2017

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Pentre Fest

Friday 23rd – Sunday 25th June 2017

McLean’s Pub, Deeside

Three days of the heaviest of metal, featuring underground, unsigned bands from across the UK, walking distance from my house.  How could I resist?

I’ve been to McLean’s pub in Pentre, Deeside several times over the years – usually for functions such as birthdays.  I had no idea, though, that they were regularly hosting gigs of the rock/metal variety.  Pentre Fest came out of the blue, but I managed to make it down for Saturday evening.

Pentre is a small area within Deeside, North Wales – and McLeans a fairly well known pub/function place.  Take it from me, the fact that Pentre Fest existed was a surprise at first.

As I was late arriving, I missed the first few bands, including the excellent Bad Earth.  I’ve seen them a while ago supporting Karma to Burn and they were excellent.  A bad start for me, I fully intend to see Bad Earth again sometime.

The first band I witnessed were Pelugion – they were a great introduction to the festival.  A metal band with a healthy element of stoner/doom, Pelugion rocked out in a Judas Priest or Megadeth vein.  They also excelled when they got into a slower, Sabbath like groove – bringing to mind Alice in Chains or Soundgarden.  Really impressive.

Outside the actual venue was a marque hosting acoustics acts.  This was proved handy between bands, especially on a sunny day like this when you could sip a beer outside with some live entertainment.

I saw Pelugion again performing a great acoustic set, which culminated in a heartbreakingly good version of Soundgarden’s “Black Hole Sun”.  Serious hairs standing up on back of the neck time.  Wonderful stuff – the Pelugion singer has pipes indeed.

The names of other acts in the acoustic tent escaped me (sorry everyone), but I did see a fantastic one-man rendition of Tenacious D’s “Tribute”, and a band doing some classic rock covers.  And I do love me some classic rock.

Back inside, next up were Impavidus from Manchester way.  Their set consisted of some incredibly locked in, expertly performed and aggressive metal.  With a sound not too far away from Carcass, the pleasant surprise with this band is the amazing singer, who happens to be female.  There just aren’t enough girls in rock/metal, but Michelle impressed with a vocal ranging from slinky Siouxsie Sioux to a commanding metal growl.  Excellent show from all of the band, across the board – and a decent bunch of folks, too.

Up next on the indoor main stage were thrash titans Incinery.  Their scorching hot set of purest thrash metal glistened with speed and precision.  Obvious comparisons would be Slayer at their fastest, with the riffs of Testament or even Sepultura.  Absolutely no fucking about delivery and really gripping viewing, Incinery bring back the best of old school thrash and drag it with them into the future.

Amusingly, in a very Phoenix Nights kind of way, whilst all this blistering metal was being unleashed on the main stage, there was 60th birthday party in the next room.  Absolutely bloody hilarious!  I wonder what Granny made of it…?

But back to the music, and next on the bill were Haerken (apologies for the spelling, I can’t find the right symbol on my keyboard).  A different tale altogether from what we’ve experienced so far, Haerken introduced some Medieval themed mayhem with a killer presentation.  Dressed like knights or druids etc, their Olde Worlde death fest was brilliantly presented and featured some intricate musicianship.  Sharp as a gleaming sword and just as lethal.

Finally, headlining Saturday night, were the exquisitely named Sodomized Cadaver, from good old South Wales.  With a band name and song titles in the classic controversy baiting death metal style, it was obvious what we would be getting.  The heaviest band of the day, with a brutal rip-your-face-off  musical attack, these boys mercilessly slaughtered the gathered metal hordes.  Vastly entertaining, their savage yet brilliantly played Metel Angau* was murderously superb.

And that was it.  At least for me, as I could only attend Saturday.  Next year, I’m attending all three days and YOU’RE COMING TOO.

Awesome live music from the metal underground, Pentre Fest also delivered a great atmosphere and camaraderie amongst some very cool people.  Let’s have another!

The Facebook page for Pentre Fest is here.  There are links to all the bands over the full weekend – do the research, it’s worth it.

The McLeans Pub Live FB page is here.

* I am reliably informed that this is Welsh for Death Metal.