Dozer Album Reviews

Not one, but three album reviews for you this week: Re-released by Heavy Psych Sounds, these three albums from Dozer are back and bouncing.  Here’s my review, as it originally appeared on Ever Metal and now here for your perusal:

Dozer – In the Tail of a Comet/Madre de Dios/Call it Conspiracy

Heavy Psych Sounds

Release date: 13/03/2020, 20/03/2020

Running time: 38 mins, 40 mins, 56 mins

Review by: Alun Jones

8.5/10, 9/10, 9.5/10

Don’t you just love it when you find a new band to obsess about?  Music so awesome, so perfect that it just lights up your life.  Well, Dozer have filled that gap in my existence recently – I can’t believe how I endured without them before.  Though these three albums are all reissues from the early part of the 21st century, so fuck knows what I’ve been up to for the last 20 years.  Seriously, what was I doing back then that meant I missed out on this?

Hailing from the wonderful land of Sweden, a place which must have some kind of genetic master code for musical excellence, Dozer are a mighty stoner rock collective delivering heavy, intense and groove laden tunes.  I don’t know how or why the Swedes are so good at this – is it the long, dark winter isolation?  The never-ending day light in summer?  Agnetha Falkstog’s tight pants?  There’s something magical happening there, that’s for sure.

Italian label Heavy Psych Sounds have done the world a remarkable, philanthropic favour by re-issuing these three albums by the band.  And, praise Tony Iommi, on beautiful, sexy vinyl too.  This really is a wondrous, benevolent gift to bestow upon us.

So, what does the music sound like, you ask (at least you do if, like me, you were clueless enough to be unaware of Dozer previously)?  First album “In the Tail of a Comet” (8.5/10) erupts into beautiful, head nodding, rolling riffs from the off.  Layers of fuzzy, psychedelic invention and heavy rhythms usher us into their world.  A particular highlight is the finale, “High Roller”, where although the band take their foot off the gas a little, they create a trippy, vast soundscape to get lost in.

Nay-sayers may choose to point out Dozer’s obvious similarity to Kyuss; hell, even singer Fredrik Nordin sounds like a carbon copy John Garcia.  With their second album, “Madre de Dios” (9/10), that influence becomes less pronounced as their own creativity develops.  This second album seems more brutal, more aggressive.  It doesn’t take long, however, to reveal more textures and experiments with the formula – see “Earth Yeti”.  Album number 2 is a faster, heavier, punkier version of Dozer – yet still expanding on the desert rock template.

By the time we get to the final album of this reissued trio – the immense “Call It Conspiracy” (9.5/10) – Dozer have developed their own sound and personality yet further.  The Kyuss/FU Manchu influence is still there, but Dozer have grown into something of their own.  This album is the heaviest, most “metal” work – but still creative as it stretches those stoner boundaries into new, warped shapes.  Whether it’s full throttle rock’n’roll with lead track “The Hills Have Eyes” or groove laden head-nodder “Man Made Mountain”, there’s much to explore here.

Gushing praise, indeed: but if you, dear reader, are a fan of the crushing riffs, unrestrained groove and sonic washes of stoner/desert rock – these Dozer albums are highly recommended.  Tune in, turn on and explore these revived classics now.

Check out Dozer on Facebook.

Check out Heavy Psych Sounds on Facebook and on the interweb here.

Randy Holden – Population II Album Review

Randy Holden – Population II

Riding Easy Records

Release date: 28/02/2020

Running time: 32 mins

Review by: Alun Jones

8.5/10

 

First of all, an important note for all readers: Randy Holden is NOT the name of a winning hand in strip poker.  I used the phrase at a recent gathering at my Rock’n’Roll Naturist Society club, and nearly got a bunch of fives from Ozzy as a thank you.  Tommy Lee was up for it though, as you can probably imagine.

Anyway, Randy Holden is actually a guitar pioneer who served some time with proto-metal giants Blue Cheer, before splitting to take the helm of his own project.  Population II was the result – a far ahead of it’s time Big Bang of doom and sludge metal.

Originally receiving a limited release in 1969, this album has earned cult status with afficionados of early heavy rock.  And it’s no surprise why; “Population II” is a huge sounding, riff driven behemoth that sounds like it simply can’t have been created in that time period.

But it was.  The era that popular culture tells us was the age of peace and love also birthed this unholy slab of heavy noise.  Randy Holden, like his previous bandmates in Blue Cheer, was happily stomping all over flower power.

Of course, “Population II” is totally over the top.  “Guitar Song” is the first track, featuring the somewhat unimaginative opening line “I love the sound of a guitar playing” – so no marks for lyrical finesse.  If you’re after poetry, this probably ain’t for you.  Instead it’s six minutes of slow, heavy driving riff-based rock that sets the tone for the album.

 “Fruit Icebergs” is an outstanding name for any song; in fact, I might steal it for a band name.  Slow like cooling lava, with a doom-laden melancholic sound –  It’s dark in a Sabbath way.  Whereas the shorter “Between Time” picks up the pace a little and borrows a chorus from “Jumpin’ Jack Flash”.

“Blue My Mind” is less gloomy, but certainly taps into the blues with a hint of Hendrix.  The final song, “Keeper of my Flame” is over 10 minutes of pulsating, repetitive riff wrestling that doesn’t out stay it’s welcome.  Ol’ Randy stretches for the epic here and pretty much nails it, strangling that guitar and taking the listener on a heroic journey.

Yet another history lesson for which we can thank the scholars at Riding Easy Records, Randy Holden’s “Population II” is back in circulation and worth taking time to investigate.  You’ll wonder how this was lost for so long.

Visit Riding Easy records on the interweb here.

Or on Bandcamp, Facebook, Twitter, YouTube or Instagram.

Don’t forget to visit Ever Metal – where this review first appeared  for all your rock and metal news.

Brown Acid: the Ninth Trip – Album Review

Various Artists – Brown Acid: The Ninth Trip

Riding Easy Records

Release date: 31/10/2019

Running time: 36 mins

Review by: Alun Jones

7.5/10 

Archaeologists of rock from Riding Easy Records have once again delved into the depths of the forgotten to present this, the ninth instalment of their “Brown Acid” series.  They have unearthed yet more obscure gems from the past, in order to entertain and enlighten those obsessives who love to investigate the DNA of rock.

Call it heavy rock, proto metal, garage rock – whatever, these Brown Acid compilations offer a wealth of hard to find material.

The songs may be long lost relics, but they sure ain’t amateur.  In fact, it’s surprising how well they’ve cleaned up – and how well produced some of them were in the first place.  Take the first track, White Lightning’s “Prelude to Opus IV”, which is surprisingly grand and opulent.

I won’t play favourites, but Peacepipe’s “The Sun Won’t Shine Forever” has an almost Stooges like sound, filtered through Californian psychedelia.  Magi’s “Win or Lose” sounds like Grand Funk playing an MC5 song, while Stonewall’s “Outer Spaced” holds the most outrageous riff of the set, with perhaps a touch of Hendrix.

Elsewhere, the fantastically named Fibreglass Vegetables offer up a more laid back, groovy but still heavy song with “Pain”.  “Rebel Woman” by Erik (a simpler name, but that’s cool) is another superb rocker that demonstrates some real song writing and arranging talent.

Not as bluesy as Zeppelin or as heavy as Sabbath, the songs on offer are a fine example of rock’n’roll of the time.  It doesn’t take much to imagine the guys from Fu Manchu listening to these pre-stoner rock goodies, sat in their van waiting for the cry of “surf’s up”.

This 9th edition of the Brown Acid compilation offers retro quality, never kitsch or silly, with tons of infectious music.  It’s easy to wonder why some of these bands never became more famous.  At least Riding Easy have done the hard work for us, dusting off the artefacts and preserving them for all to enjoy.

Track list:

  1. White Lightning – “Prelude to Opus IV”
  2. Peacepipe – “The Sun Won’t Shine Forever”
  3. Magi – “Win or Lose”
  4. Fibreglass Vegetables – “Pain”
  5. Erik – “Rebel Woman”
  6. Stonewall – “Outer Spaced”
  7. Ice – “Running High”
  8. Spacerock – “Going Down the Road”
  9. Buckshot – “Barstar”
  10. 9 – “Paradiddle Blues”

Visit Riding Easy records on the interweb here, they also have a Bandcamp page.

You can also find them on Facebook, Twitter, Instagram and YouTube.

And don’t forget to check out Ever Metal, which is where this review originally appeared.

Pentre Fest 2020

Pentre Fest 2020

McLean’s Pub, Pentre Deeside

21st & 22nd February 2020

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

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

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

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

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

You have to be there next year!

Ryuko

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

Rhiannon and Rachel

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

Mike West

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

OMV

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

Luke Appleton

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

Son of Boar

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

Pentre Fest on Facebook.

N.E.W Metal Productions on Facebook.

Goodfor Audio Entertainment on Facebook

Mcleans Pub Live on Facebook.

Speedealer – Blue Days Black Nights Album Review

Here’s another review I wrote for Ever Metal, which I can share with you now.  This album was also one of my Top 10 of 2019…

Speedealer – Blue Days Black Nights

Rise Up and Fall Records

Release date: ?

Running time: 30 mins

Review by: Alun Jones

9/10

Curse you, Speedealer!  I had pretty much decided on my Top 10 albums for 2019, and then these guys turn up with this rocket fuelled bruiser of a record.  The year had started off slowly, to be honest – but great new music has been arriving at a rapid pace recently.  And just when I was about to bed down for a long winter nap, Speedealer turned everything up to 11 and ruined my plans.

The album is called “Blue Days, Black Nights”.  It’s fast, crazy, adrenaline pumped rock’n’roll and it never stops pounding home the righteous sounds till it’s brief-but-beautiful 30 minute lifespan is over.  At which point, I tend to just start again from the beginning.

The first song is called “Never New” and it smashes in, steals your whiskey and is gone in under a minute and a half.  That’s reckless by anyone’s standards.

It ain’t all super-fast punk’n’roll though, there’s many a change of pace to be heard.  “Rheumatism” and “War Nicht Genug” both feature riffs that are heavy and brutal.  Elsewhere, in “Sold Out”, the band unleash a tortured performance of a song that would be a blues rocker, but is far too dense and violent for that phrase to fit snugly.

Never mess with Texas, goes the old saying.  And these Texan boys do not fanny about AT ALL on this fine collection of tunes.  Instead, “Blue Days Black Nights” will drag you along like an out of control stag party: full of booze-filled fun, ridiculous antics and dangerous detours.  I’m deducting half a point for the terrible cover art, otherwise this one’s a killer.

FUN FACT: Speedealer used to be called REO Speedealer – which let’s face it, is a much better name – until REO Speedwagon got wind of it and issued a cease and desist.  Anyone with a sense of humour would surely take that name as an homage, right?   You’d think the miserable old bastards would’ve enjoyed being put back on the map.

What’s that?  Ever Metal’s lawyers are on the phone?  Court order from who?  Oops…

Speedealer can be found online at: speedealerband.com

You can also find Speedealer on Facebook here, Twitter here and Instagram here.

And don’t forget to check out Ever Metal here.

Firebreather – Under a Blood Moon Album Review

Firebreather – Under a Blood Moon

RidingEasy Records

Release date: 27/09/2019

Running time: 49 mins

Review by: Alun Jones

8.5/10

 

You’ve got to hand it to the Swedes.  They’re pretty damn good at whatever they turn their hands to.  Cheese with holes in, chocolate, clocks… No wait, that’s the Swiss.  The Swedes are the ones who are awesome at flatpack furniture and – most importantly for us – music.

Firebreather are a trio of doom-mongers from Gothenburg in Sweden.  Comprising Mattias Noojd on vocals and guitar, Kyle Pitcher on bass and drummer Axel Wittbeck, these riff-lords are adept at creating massive, epic songs that are both brutal and beautiful.

The music pounds and pummels, but as in opening track “Dancing Flames”, the churning riff becomes hypnotically entrancing.  “Our Souls They Burn” is unleashed with a super-heavy grind that’s underpinned by a powerful groove.

It’s hard to pick a stand-out or favourite track, though the relentless structure of the songs creates a vast tapestry of music that blends together.  This is savage and also seductive, like the wilderness of their native Scandinavia.  Hence, we get the thunderous beat of title track “Firebreather” and the contrast of the slow rhythmic build and almost melancholic vibe of “The Siren”.

Repeated listens are definitely recommended: familiarity with “Under a Blood Moon” coaxes the songs to open up and reveal more treasures each time.  The listeners’ mind can imagine patterns and shapes cascading, like watching flames burn and dance.  It’s a solid album from Firebreather that only promises to grow and endure.

All this talk about fire-breathing brings back memories of my old mate Ronnie James Dio’s fascination with the Dungeons and Dragons board game.  Back in the early 80’s, when he was fronting Black Sabbath, Ronnie was obsessed with it.  He’d constantly badger the band to play it with him, which they did – begrudgingly.

Tony and Geezer amiably played along to humour their titan-voiced tiny singer.  I recall one time though, when Bill Ward had really had enough of elves and dragons – he threw a huge pitcher of ale over the game.  Ronnie was livid, Tony and Geezer were trying to stifle laughter.  Especially when Bill kicked the table, banged his big toe and fell about screaming in agony, ripping a hole in his wife’s tights.  Bill was always wearing his wife’s tights.  I think they kept him warm.

You can find Firebreather on Facebook and Twitter: @FIREBREATHERGBG.

Check them out on Bandcamp here.

This review originally appeared on the Ever Metal site, which you can visit here.

Wizard Rifle – Album Review

Time for another review I wrote for Ever Metal, which you can now read at the Virtual Hot Tub:

Wizard Rifle – Wizard Rifle

Svart Records

Release date: 30/08/2019

Running Time: 45 mins

Review by: Alun Jones

8.5/10

 

Right, about time I got back to business with these album reviews for my pals at Ever Metal.  But how do you define the indefinable?  ‘Cos that’s basically the issue I’ve had with this review (not writer’s block, honest).  Comparing Wizard Rifle to other bands in myopic, lazy journo style just doesn’t seem to cut it with these guys.

There’s too much going on with Wizard Rifle’s self-titled album to accurately pin down a clumsy similarity to someone else.  It’s a mixture of loud, obnoxious metal, post rock, screamy hardcore punk and grungy sludge; with waves of psychedelic beauty tying it together.

Despite the unholy wall of noise that the band produce there are just two of them – guitarist/vocalist Max Dameron and drummer/vocalist Sam Ford.  That’s a hell of a racket for just two people.  They’re not short of ideas either, as the genre blending demonstrates.  Maybe that’s an advantage of just two minds, rather than several – Dameron and Ford display some ingenious telepathy weaving their creations together.

Loads of energy too – “Rocket to Hell” (great title) is a glorious, shouty opener, and “Caveman Waltz” is a possible contender for Riff of the Year.  It chugs like a drug fuelled locomotive trying to jump the Grand Canyon.

There are only five songs on this record, but as none of them are under seven minutes in length, there’s plenty of value for money.  The guys have learnt to expand a song and explore its possibilities in a way that keeps the ear engaged.  Like on the 12 minute epic “Funeral of the Sun”, which stretches out hypnotically but loses none of its heavy intensity.

Wizard Rifle are from the Portland, Oregon area – which as it’s the Pacific North West, must surely be Big Foot country.  So, I’m gonna coin a lazy journo phrase and label this sound Big Foot Rock.  Remember, you read it here first.  And yes, when this band are huge and Big Foot Rock takes over Western Civilization, I’ll be claiming the royalties for inventing that label.

Big Foot Rock T-shirt, sir?  That’ll be £19.99.  “Now That’s What I Call Bigfoot Rock, Vol 1” vinyl compilation?  Just £27.99.  Can I change a fifty?  Oh, keep the change?  Thank you very much.

The Wizard Rifle Facebook page is here.

You can find Wizard Rifle on Bandcamp here.

The Ever Metal website is here.

Giant Dwarf – Giant Dwarf Album Review

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.

The Electric Mud – Burn the Ships Album Review

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

The Electric Mud – Burn the Ships

Self Released (Dewar PR)

Release date: 23/08/2019

Running time: 38 minutes

Review by: Alun Jones

8/10

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

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

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

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

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

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

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

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

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

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

The Electric Mud website is here.

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

Find The Electric Mud on Bandcamp here.

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

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.