Mold is a small, quaint market town in the north east region of Wales. Typical of settlements in this Celtic country, it has roots going back may hundreds of years. Nowadays, there are numerous good pubs and restaurants and a really good record shop (among many other businesses). Though why The Death Wheelers decided to write an album dedicated to the town, I have no idea. Mold is, however, only the English name – in Welsh it is Yr Wyddgrug, which sounds much more metal.
“Ecstasy of Möld” is a new album by The Death Wheelers, their fourth for RidingEasy Records. They originate from Quebec, and if you’re not familiar with the band, they create hard rockin’ instrumentals that sound like a soundtrack for a long lost, scuzzy grindhouse flick about zombie bikers.
Following the short first track ‘Loud Pipes Take Lives’, which sets out the style template succinctly, we have ‘Homicycle Maniacs’. It’s a full on, throttle revving gas guzzler not a million miles away from Motorhead or even Entombed. Other tracks such as ‘Hella Hammered’ and ‘Blood, Bikes and Barbiturates’ are variations on the same inspirations, interjected with samples from obscure motorcycle exploitation movies.
It’s all very cool, and the instrumental nature of the songs adds a whole different layer of gonzoid escapism. Some different avenues are explored at points, such as the title track’s outro which shimmers with a surf guitar sound. ‘The Heretic Rites of Count Choppula’ slows to rumbling doom metal, and the last song ‘Get Laid… To Rest’ ends on a more sombre, mellow note.
With Ecstasy of Möld, The Death Wheelers have delivered an album that roars along the highway and easily retains the listener’s attention, vocals be damned. ‘Cos let’s be honest, the singer is always the least important member of any band. This album has a sleezy charm and plenty of fuel in the tank, I suggest you take it for a spin.
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.
Friday night. I’ve just been down to the local video shop, had a scan of the horror section, took my time deciding which film to rent. If it’s good I’ll watch it at least three times before I bring it back tomorrow. Go for the one with the craziest sounding name and the most gonzoid image on the cover. Doesn’t matter who’s in it, I just want to know which offers the most brain destroying, off the wall, lurid descent into madness.. Pay up and leg it home, video tape in hand. Urgently load the clunky VHS player and wait for the image on screen to stop crackling and reveal its gory beauty…
‘Brain Cells’ by horror metal deviants Torso bursts forth with a frantic commotion. This is album number two from ex-Possessor frontman/guitarist Graham Bywater in his new guise as the Dark Lord of Grindhouse Schlock Terror. APF records haven’t so much released this album, as unlocked the gates, stood well back and unleashed it upon the world in a tidal wave of bloody fury.
Starting with the intense thrash of ‘You Belong in Hell’, the lo-fi atmosphere is captured perfectly. Not that the production is poor, but this whole album has the vibe of an ancient cassette that’s been used and re-used many times. Probably starting with Huey Lewis, then taped over with some early Maiden, then repeatedly re-recorded on again until it features Carcass and Entombed.
As before, songs are peppered with random movie samples (good luck tracking the sources down, I’m stumped already), though there’s noticeably less of the John Carpenter-inspired keyboard instrumentals this time around. No matter, the drive-in B-movie atmosphere is ever present here – both ‘Savage Magic’ and ‘Brain Cells’, in particular, help see to that.
Key highlights you won’t want to miss include ‘Deep Space Death Trap’ with its unforgiving, virulent chorus and raw, fuzzed up riffs; and ‘Hex Pest’, which roars along as if possessed by a filthy, NWOBHM-obsessed demon biker.
“Brain Cells” is an underground garage-metal thrill ride from opening act to final curtain. It’s glorious, murderous fun for all – you’ll want to rewind and go from the start again, as soon as it’s finished. A nasty, blood splattered triumph for Torso and a Top Ten of 2024 album for me.
Live albums, as I’ve stated before, are something of an issue for me. They should be devoured ravenously, but sometimes, like vegetable pizza, they just don’t live up to expectations.
Too often, live albums suffer with poor sound, ruining the immersive experience. Other times, they’re just a cynical cash-in to milk fans of more money, when there’s no new product to flog.
Occasionally, a live recording will deliver the goods – and even I have to admit that this album from Entombed is pretty damn impressive.
What we have here is Entombed celebrating the 25th anniversary of their classic “Clandestine” album with a performance of the work in full, from start to finish. Original members Nicke Andersson (drums), Uffe Cederlund (guitar) and Alex Hellid (guitar) are joined by Robert Andersson (vocals) and Edvin Aftonfalk (bass) – both from Morbus Chron. These five musicians recreate a mighty masterpiece which is both exciting and vital.
“Clandestine” was Entombed’s second album, and followed in the footsteps of its predecessor to help breathe life into Death Metal. With this concert performance, the sound is great – those buzzsaw guitars really attack the senses – showing the band are on top form. Audience noise is present, but not intrusive, actually helping put the record in context nicely.
The songs are still just as savage, just as brutal – serving as a fine reminder of just how great “Clandestine” was. Or is. All of the tracks are meticulously recreated, but it sounds as intended – as a tribute and celebration, not a cash in. “Left Hand Path” (from the debut album), tagged on at the end, makes the listener crave more.
Great live recordings should enable the listener to feel like they were actually there. The performance and sound must be both representative of the studio material, yet also have the power to immerse the listener in the experience. Entombed have succeeded in capturing a great performance and atmosphere with “Clandestine Live”. Fans will be rabid for this; for the uninitiated it’s well worth investigating.
Still, I can only award 8 out of 10 – because as good as this is, I can’t help wishing we had new material from Entombed to gorge on.
Fun live album fact: if you play Iron Maiden’s “Live After Death” backwards, you’ll hear Bruce Dickinson rehearsing voice-overs for Lucozade adverts. FACT!
Platinum Al's Virtual Hot Tub 