Witnere (their name is Olde English for tormentor: so far, so cool) are a British metal band comprised of Jason Taylor on drums and Declan Doyle on the guitar and bass. Vocals are shared, and also aided with the assistance of their comrade Scott. This is their second album, produced and released by the band themselves.
“Albion Aflame” is rooted in a solid, defined concept: Britain in the Dark Ages, and the myth – or history, maybe – concerning King Arthur. Immediately, this foundation elevates Witnere to a higher standing, with plenty to explore. First track ‘410 AD’ is a folky number that captures the theme brilliantly, dropping the listener right into the frame.
From there, it’s an album of magic, prophecy and bloody battles amidst a collection of powerful songs. ‘Merlin’s Warning’ gallops off in an Iron Maiden style, relentless drums and guitars roaring. Great melodic instrumental section, fiery lead – all top quality, with a riff you can hum (this is v important). ‘Furor Saxonicus’ is a fast paced, face ripper – and again also very catchy. You can head bang and chant along, waving your air sword at imaginary enemies.
‘King of the Britons’ features another agile, speedy riff that conjures the melodic approach of Thin Lizzy. The rest of the songs follow in this style – without losing their appeal – until we reach the epic ‘Avalon’. Our story is almost over: acoustic guitar intro gives way to a more sombre, though still awesome, finale that builds on quieter verses and rousing choruses.
There’s a lot to take in lyric wise (a lyric sheet would be great), but the vocals across the album – whoever they’re delivered by – are varied and confident.
The production on this recording is extremely impressive: it’s crisp and clear, without sounding “nice”. ‘Albion Aflame’ benefits from excellent musicianship and performances, too. What’s most impressive, though, is the level of story telling detail that Witnere are able to create. There’s a lot of care and passion gone into every element of this album, from the research to the execution. ‘Albion Aflame’ surprised me with its professionalism and depth. You don’t have to use sorcery to track this album down, but I suggest you waste no time in doing so.
Yeah, yeah – I know! Just keep quiet and probably no one will notice. Ok, this review should’ve been written weeks ago, but if you just keep schtum and play along, I might just get away with it, OK? OK??!! Right, they’re coming – remember the plan!
Hello there, ladies and gentlemen! Yes ‘tis I, your humble scribe, with another review of a new (ahem) album that I’m sure will tantalise your aural orifices. This time, a piece of musical majesty entitled “The Ever-Living Fire”, by a superb group of musicians known as Slumbering Sun. Comprised of members of Destroyer of Light, Monte Luna and Temptress, the pedigree is certainly top notch.
Musically, Slumbering Sun offer a collection of melodic, progressive doom that drags numerous styles into its bubbling cauldron of influences.
Opening song ‘Morgenröte‘ starts with an ethereal blend of female vocal, guitar and violin, conjuring the sort of misty morning amongst druidic stones that I might encounter on the mystical isle of Anglesey in Wales. Two and half minutes in, and a huge megalithic guitar erupts into the proceedings, and over the course of the remaining 10 minutes the band are more like an orchestra than a typical rock band – passages ebb and flow, heavy and light, revisiting themes on their journey.
Track 2, ‘Liminal Bridges’, commences with a mellow intro, before the song explodes into a shinier, brighter – dare I say, uplifting? – vibe. It’s like Thin Lizzy composed a mega Sabbath epic and decided to hurtle off into the forest with it. ‘Love in a Fallen World’ reverts to a more sombre feel again, but features a great guitar melody and builds slowly and satisfactorily.
‘Dream Snake’ is my personal highlight of the record: unsurprisingly, as it’s the most Sabbath of all the tunes here (even down to the Ozzy-like vocals). Finally, there’s just over 9 minutes of lumbering, doom laden exploration on the title track, which manages to cover massive prog metal sections and a huge “na na na” backing vocal.
Track by track then, that’s your overview of “The Ever-Living Fire” by Slumbering Sun. The band certainly don’t aim low, throwing in a varied collection of sounds and ideas from classic doom to Celtic folk. I mean, they’re from the southern states of the USA, they’ve probably never been to Llandudno! The album is hugely creative, but it is somewhat dense – it’ll take a few listens to appreciate. Magical stuff when it falls into place, though.
All hail the return of the forgotten kings! Yes, it’s another instalment of long lost and forgotten classics with the second “Scrap Metal” collection from RidingEasy Records! Much like their Brown Acid series, which compiles obscure late 60’s/early 70’s psych hard rock, here we’re delving into the murky depths of early 80’s metal. This is the realm of studded belts, band patch covered denim jackets and of course, mullets: prepare to ROCK!
We begin with ‘Running for the Line’ by JJ’s Powerhouse – a lightning-fast ripper that reminded me of Judas Priest playing a cover of Budgie’s ‘Breadfan’. It’s a great, energetic start to the proceedings. Next is Storm Queen, with another fast-paced attack in ‘Raising the Roof’. Furious fun from this Welsh power house.
‘It’s a Crime’ declare Jameson Raid, and it is indeed a crime that these Brummie bruisers didn’t achieve more in rock’n’roll. A.R.C. have a punk’n’roll edge that makes their song ‘Homemade Wine’ something to savour, it’s the rawest track here so far. Metropolis hail from San Jose, and their track ‘The Raven’ has a dark, mid eighties thrash sound and killer intro riff.
Staying with the USA, Prowler from San Diego offer up ‘Temporary Insanity’ – more mid-eighties thrash infused metal that recalls early Anthrax. Following that, Christian Steel deliver ‘Need Your Love’ – a fairly cliched, but still fun, banger. If these guys are Christians, I’ll bet their church group won’t be impressed with what they’d like to do to a lady (outside of matrimony too, I suspect). ‘Sidewinder’ is one of the best tracks gathered here, a punchy rocker from Black Rose.
‘Star Trippin’’ is by Dark Age. Dark Age are apparently a band of youngsters: the guitarist was jut 12, and his brother on vocals two years younger when this song was written. It’s fun, but very strange listening to the helium high-pitched voices. It’s like Alvin & The Chipmunks playing Crue covers. Finally, we have Sorcery with their mystical Zep-a-thon ‘Whales’. Crazy title for a crazy tune. There’s a mellow hippyish intro, which is obliterated by the crushing mega riff which powers the song along. Over the top magnificence.
From NWOBHM inspired tracks, to proto thrash and full-on goof ball metal ragers, Scrap Metal Vol 2 has plenty of variety. Maybe not so much depth, but it’s not for want of trying with some of these bands. At the end of the day, all of these songs are fun and it’s great to know they’ve been rescued from oblivion. Now, raise those horns and roar!
BLEEAUURRRGH!!! It’s a jump scare to wake anyone out of hibernation, running for safety behind the sofa. What a way to start the year! APF records present “A Crash Course in Terror”, the debut album from TORSO. Formed from the smouldering corpse of Possessor by that band’s Graham Bywater (frontman/guitarist), TORSO skulk in a murky Grindhouse nightmare.
Are you sitting comfortably? Then we’ll begin. ‘Heads Start to Roll’ introduces the album with a John Carpenter-esque, menacing, keyboard-led theme which immediately unsettles the listener. Then the chainsaw guitars cut through, the song erupts, and the listener is dragged along by the scalp in a ferociously paced fairground ride from hell.
The retro, electro keyboard themes dotted throughout help to set this album apart in its own fuzzy VHS world. Spooky instrumentals like ‘Pranks’, ‘Depth Charge’ and ‘Death TV’ add a dread atmosphere, part prog and part video nasty soundtrack.
‘Sinking Spell’ is like The Melvins rocking out to a Texas Chainsaw Massacre back projection. The lo-fi, raw sound of the heavier numbers keeps everything within the TORSO world: ‘Precious Blood’ could be a punked up hybrid of Angel Witch and Electric Wizard. Finally, the epic ‘Circuit Breaker Breaker’ has a B-movie, doom metal fury that sounds as if the final survivor is running for their life from a vicious psycho killer.
My only complaint with this album is that at just 30 minutes, it’s a little short – I’d have loved another 5 minutes of mayhem. But at least “A Crash Course in Terror” is to the point. That’s much preferable to yet another 80 minute Metallica album – I haven’t finished listening to all the songs on their last record yet…
“A Crash Course in Terror” by TORSO. A fantastic, gruesome recording and a perfect start to the year. Can 2023 get any better?
“Empires of Ash” is the new album from Heron, and if you like the sludge, this is gonna be one for you. It’s the band’s third full length album, and you’ll know when you listen that there’s a whole mountain load of experience brewed up in this mighty concoction. Experience, plus what seems like a lifetime’s worth of melancholy and frustration given voice through huge, expansive slabs of atmospheric thunder.
Starting with ‘Rust and Rot’, Heron take us on a 9 minute plus odyssey encompassing thudding drums and menacing guitar. Vocals are guttural and brutal, the end result is a thrilling wade through a sludgey mire. Contrast this to the second track, ‘The Middle Distance’: a sombre yet beautiful (yes, you read that right) epic, which only erupts into molten fury after the three-minute mark. When the vocals come in, you’ll drop your pint.
‘Hauntology’ is another epic, and very aptly titled. Eerie yet calm and pensive, till again it builds to an enthralling outburst. ‘Hungry Ghosts’ is a more ruthless amalgamation of Conan with later period Danzig guitar flash. The final track, ‘With Dead Eyes’ has a melodic entrance, and once more decimates with a powerful vocal.
Whether it’s doom, sludge, post-rock or any other shade of metal, there’s a wide variety of styles and influences on this album. I was lulled into a relaxed haze before being startled awake with fiery exultations on several occasions. Heron have really gone all out with “Empires of Ash” to create a record that is unique and imaginative.
Ozzy had trouble with a heron. He’d just had a new pond built on his farm, and one bird kept gorging on Oz’s expensive ornamental Koi carp. One night, we decided to lay ambush and surprise the heron with a siren and a shot gun when it flew in at dawn for breakfast. Bill Ward fell asleep, so we floated him out on the water on an inflatable raft, as he snored under the moonlight. When the heron arrived, I sounded the siren, Oz fired his gun into the air and Bill woke up startled, then fell into the pond screaming “I can’t swim!”. Oh, we did laugh. The bird flew off, never to be seen again.
Confession time: I don’t actually like Power Metal. Widdly and flashy guitars; superfluous keyboards washing over everything; histrionic, high-pitched vocals – no thanks. I mean, I can dig Iron Maiden and Judas Priest – do they count? But otherwise, this particular metal sub-genre is not for me.
Vis Mystica are a Power Metal band. But they’re a Star Wars themed Power Metal band, and no one is more steeped in Star Wars lore than me. No one. You know the cantina scene in Episode IV? I can name all the aliens in that scene, what planet they’re from, and what they’re doing there. I’ve collected the action figures since 1978. I can beat anyone – anyone – at Original Trilogy Trivial Pursuit. Ask my other half, I’ve ruined a couple of dinner parties playing that game.
It’s not a huge claim to fame, but Star Wars fandom is all I have to offer in life.
So, let’s put my knowledge to use. To be fair, musically “Celestial Wisdom” is far better than I feared. The widdly guitars and pointless keyboards are present, but the music is fast and furious like a T-16 race in Beggar’s Canyon. The vocals are solid and not overly dramatic, not Gungan-level annoying at all. In fact, the first two tracks, ‘Whispering Winds of Fate’ and ‘Legacy of the Builders’ had me headbanging along like a Wookiee on a runaway Bantha.
Everything was going well till Track 4, ‘Lux Et Veritas’, when xylophone style plinky-plonk noises threatened to sink things faster than a proton torpedo in a two-metre-wide exhaust port. It all suddenly sounds like Christmas music. Thrashy, hyper-space speed guitars on ‘Beyond the Gates of Fury’ engage the nav-computer and manage to steer us back on course, thankfully.
Without a lyric sheet, it’s kind of hard to tell how much actual Star Wars nerd obscurities are present within these songs. There are no lightsaber or R2 unit samples to add context, so I found the theme lacking a bit. “Celestial Wisdom” is based around the Knights of the Old Republic comics/video games – alas, not my area of expertise – rather than the movies, so I may not have the wisdom I need to fully judge.
Whilst Power Metal may not be my usual cup of blue milk, I’ve got to give credit to the musicianship and imagination of Vis Mystica for this endeavour. The world needs more of this sort of thing. It’s far more fun than I thought it would be: genuine fans of the Power Metal genre will probably get a lot out of it. A bit more Star Wars next time, though, please lads? I can help with the reference material if you like.
The crowds were thin at first at The Tivoli in Buckley, North Wales, for this evening’s entertainment – but that changed soon enough. Happily, the situation started to develop during the opening set, meaning that support band Red or Dead were able to play to fair sized crowd.
I say happily, ‘cos Red or Dead deserved to play to a decent size audience. Hailing from a bit further up the road in Conwy, the fourpiece are an accomplished group of musicians who are obviously inspired by classic 70’s punk, such as The Clash. Very impressive, with catchy tunes and a message, Red or Dead easily grabbed my attention and refused to hand it back. Definitely a band to keep an eye on, there’s a variety in sound and musicianship that hinted at an even wider repertoire – some research reveals they often play acoustic sets, which sounds very tempting.
Anti Nowhere League shouldn’t really require any introduction. I became aware of these deviants thanks to their association with The Damned many years ago, tales of debauchery spreading ahead of them like a bushfire. Now with just head lunatic Animal remaining in the band, he’s backed by a great, well tenured group of musicians who can really deliver on the band’s legacy, performing it with the respect – and ferocity – it deserves.
Hit singles aren’t really the order here, but of course ANL give us their wonderfully raucous treatment of “Streets of London” (yes, that one) in a set riddled with classics. That songs infamous B-side, the still unbelievably filthy “So What” makes an appearance too, earlier than I’d expected, complete with a concise history lesson from Animal, covering police raids and the later Metallica renaissance. The song still raises a smile and rocks like a nun on a washing machine.
The whole band play brilliantly, the result being a set that was even better than expected. For the uninitiated, Anti Nowhere League live in the corner of punk that’s largely UK Subs with a big, fat dollop of Motorhead. From “I Hate People”, “Let’s Break the Law”, a cover of Del Shannon’s “Runaway” (my Mother-in-Law wouldn’t dig it) and through to “We Are The League”, song after song is fast and furious with never a dud.
As anticipated, the audience loved it and the atmosphere in the Tiv was one not to be missed. Classic punk rock from Anti Nowhere League, who gave us quality tunes performed with the zeal and attitude it deserved. So glad I was there.
Battalions return with a pummelling new album, “King of a Dead World” from APF Records. THE APF label can be relied upon for quality releases, and there’s no doubting that here. Born of Hullfire – well, they come from Hull – and unleashed in streams of molten lava from the deepest catacombs, here Battalions are channelling all of their experience into a recording of sheer, elemental power.
It falls on the humbled shoulders of yours truly to attempt some journalistic summary of what we have here. But in short – if you’re already a fan of (or just familiar) with Battalions, just go ahead and buy this now. If you’re a new or curious listener, be prepared for a lesson in dense, thick Sludge. With a capital ‘S’.
The music Battalions let loose on the world combines the heaviosity of Sludge with a persistent groove, underlined with the unrelenting intensity of hardcore. First track ‘Green Boots’ demonstrates this perfectly, with a crushing riff that can make the listener nod their head and scream along.
Phil Wilkinson’s vocals are a harsh growl, well suited to the ferocity of tracks like ‘Parasite’. The guitars of Pete Cross are punishing but also full of variety, as shown on ‘Coughing Nails’ (great title). Meanwhile, Matthew Dennett on bass and Simon Harrison on drums manage to keep it all on track with precision.
‘Bones to Dust’ was another track that particularly impressed; a calmer start (by comparison) that erupts into a huge, bouncing riff which will sandpaper your face off.
“King of a Dead World” is chock full of great ideas and delivers on all of them. Though relatively short at 31 minutes, the album wastes nothing and doesn’t out stay it’s welcome – you’ll want to replay it again and again. It’s unforgiving, powerful and noisy – there’s no slumber on the Humber here. Instead, join Battalions on the Highway to Hull, it’s a full on, exciting ride and you won’t regret it.
A weekend of full on metal and hard rock, Pentre Fest is a highlight of my musical calendar. Held at McLean’s pub in Pentre, Deeside, North Wales over two days, the event always showcases some of the best bands from around a vast area of the UK.
This year I missed Friday’s gig as I was otherwise engaged. However, I was raring to go for Day 2, and a whole load of awesome music. Here’s my review for Ever Metal, covering everything I could of that day’s entertainment.
Day 2
Day 2 at Pentre fest – you could say I was a bit excited to get going. The ever-reliable Edd Case was performing in the marquee outside as I arrived, so I missed a chunk of his set sadly, as I paid my hard earned coin to get in and neck my first ale. Luckily, Edd did another slot of his excellent acoustic performance later on, so I got to catch him then. I think he was filling in for some band called Trashatouille, who couldn’t be arsed to turn up and attempt to play their own acoustic effort.
First band on the indoor main stage was Scarfoot, and they made a hell of an impression. A three-piece band, they add an extra edge to their already formidable musicianship with the use of a 12 string guitar or a Dobro. This gives the band a huge, Zep-epic and individual sound. They all play with a convincing passion and were absolutely enthralling. I’d never seen them before, but had caught singer/guitarist Oliver Carins last year doing a solo acoustic set. Next time, these guys need to be higher up the bill! Scarfoot also blazed all over the acoustic stage later on, with a similarly massive sounding set, even without the drums.
Frank Williams
Next on the second stage: a World Exclusive Live Debut! Frank Williams in his first official live gig, though sadly not billed asVictim of Damp. Frank is a Pentre Fest die hard, an unsung hero who has supported the event and pitched in with Fozzie and Beany from the beginning. This afternoon, Frank graced us with some acoustic covers (nice bit of Floyd) and banter, then introduced some comrades to help with humorous originals such as ‘Beany’s Car is Full of Shit’. Excellent crowd participation helped Frank’s set gallop home as a pedigree winner.
It really wouldn’t be Pentre Fest without these guys. With a line-up change – or should I say, addition – in the shape of new vocalist, Gaz (who used to be the drummer. Come on, keep up!). This latest incarnation of Lullaby for a Unicorn was a refreshed and fun stallion, rather than a lame pony. There’s a little work to do to settle the new line-up in, but it was the same boisterous energy as ever as the Unicorn boys turned Pentre into a beautiful, rainbow adorned meadow. Or blood-soaked battle field of metal mayhem, you choose.
Scarfoot was next on the second stage. I’ve already covered that, go back and read it again.
Despite a tech issue with the bass throwing a wangler with the first song, The Human Condition kept their shit together and provided another surprise. I had done no research whatsoever and didn’t know what to expect. By Odin’s beard, The Human Condition are a megalithic, doom metal colossus! Doom in the vein of Candlemass, or think Geoff Tate screaming for Trouble. Riffs are drip fed, leaving the audience begging for each new note. Add the most powerful live vocals I’ve heard in eons, and you have a force of biblical proportions. I bought a CD. You should check them out NOW.
Back to the Second stage for an acoustic Pelugion set – but we’ll get to them later.
A melodic deathcore band from Manchester way, Portrayal of Ruinn isn’t quite my thing on paper, but fucking awesome live. Possibly the most energetic band on stage at Pentre Fest all day, their combination of gutsy, nasty metal and bouncy, yet ferocious vocals proved a winner. They also know how to pace their set brilliantly – a few mellow sections lull the crowd into a comfy security blanket, only to have it ripped maliciously away. It’s the audio equivalent of a Video Nasty psycho killer – you’re never safe, Portrayal of Ruinn will never stop – and they will get you in the end!
Reading back my notes here, and I can’t make a thing out of them. All I can fathom is that I REALLY liked this band: “Syncolima = great!” is about all I’ve got. They were excellent. Some kind of biker/stoner super heavy rock, they have groove aplenty and massive fuzzed out riffs. This three-piece from Mansfield, Notts were unmissable. New album “Wavelengths” is out soon, you’d be wise to watch out for it.
Wait a minute – it’s that bloke from Bad Earth doing an acoustic set! Yes, it’s Steve from one of Pentre Fest’s favourite bands, backed with the other two ‘orrible ‘erberts, Karl and Ben (so semi acoustic, then?). The Bad Earth songs translate surprisingly well to the stripped-down sound, though they can’t compare to the full force fury of the full trio amped up and going for it. But then, what could? A great set that also included some cruel (ie hilarious) comedy signage behind Steve’s head, it also delivered a much needed bongo workout that was otherwise sadly lacking this year.
Mind. Blown. Thank the trident of Posiedon, King Kraken travelled up from South Wales (a right old trek) to play Pentre Fest, and I’m so glad they did. The Kraken are a huge, boisterous metal machine with crushing riffs and awash with an almost psychedelic lead guitar. My favourite band of the day, despite fierce competition – I made off with some booty from the merch desk and toasted their performance with a tankard of ale. Please check this band out, you will not regret it. Magnificent!
Last year, one man electronica fiend Leatherback was first on the Pentre Fest main stage. This year, it’s a second stage headlining slot, which worked well. Nine Inch Nails comparisons are obvious, but relevant when there’s a cover of a Reznor classic included. Leatherback ripped through a roaring set that went down extremely well with the lively crowd, even though it was freezing outside – receiving a well-deserved, enthusiastic reception.
Pelugion had performed an excellent acoustic set on the second stage earlier, which seems to have been a great way for them to warm up for their main stage appearance. I’ve seen these guys before at Pentre Fest and they never disappoint. Skull smashing mega riffs, born from Sabbath and with a dose of Alice in Chains and early Soundgarden – a stoner/alt metal monster – is what you can expect. These guys are super professional, but with grit and determination that keeps the performance compelling.
Headliners on the final day of Pentre Fest, The K*nts drove over five hours from down Essex way to entertain us. With hits such as that Christmas favourite ‘Boris Johnson is a F*cking C*nt’ and ‘F*ck the Tories’, we knew we were in for a treat. Hilariously, the Green Room reserved for the bands had been double booked with a meeting for a local Masonic Lodge. I wonder how The K*nts and this bunch of blazer-and-badge wearing eighty-year-olds got along back stage. Honestly, you can’t make this shit up. It’s like Phoenix Nights on crack.
A strange choice to headline a metal festival for some, never the less The K*nts put on a top show and had the audience on their side before the first song was even finished. Delightfully obscene, but with a political edge that helps retain a tiny bit of highbrow cred too, it’s like Sham 69 with Tourette’s. Most of the song titles are unrepeatable for a family website like Ever Metal, but let’s just say that The K*nts and their filthy brand of punk rock and humour were a mad but genius way to finish Pentre Fest off. And it probably will be finished off, if those old Masonic dudes have anything to say about it.
Oh, and yeah – Fuck the Tories.
It was my absolute pleasure to cover Pentre Fest for Ever Metal again this year. Huge thanks to the bands, the audience, and the staff at McLean’s for putting this on. And finally, thanks to Fozzy and Beany for daring to dream it up and make it happen.
I just wish Pentre Fest could be every weekend. Or once a month, at least.
The atmosphere in the Buckley Tivoli was lively and positive, as the crowd gathered in anticipation of the evening’s entertainment. One of the biggest and best audiences I’ve seen for a long while were waiting for an appearance by 80s ska legends: Bad Manners. There was definitely a feel-good factor in the air, and not just because it was Friday night.
I missed the first support, but arrive just as 50 Hertz took to the stage. A local band, they performed a set comprised of originals and covers, including well known songs by The Jam and Sex Pistols. They sounded note perfect, and knew how to warm the audience up and keep them interested, ready for the headliners. A rousing cover of Ten Pole Tudor’s “Swords of a Thousand Men” was a highlight and justifiably went down very well.
Bad Manners are an eight piece band, comprising three man brass section along with the standard guitar, bass, keyboards and drums. The band enter the stage and launch right into a fabulous rhythm, the audience begin moving along. The unmistakeable Buster Bloodvessel joins the musicians before long to rapturous applause, and the celebration begins.
Starting with a killer rendition of “This is Ska”, the band are tight and clearly enjoying every note. Seeing Buster on stage, I can’t help but be reminded of those classic Top of the Pops appearances from “when I were a lad”. He’s slightly less animated nowadays, of course – but the joyous two-tone tunes can do most of the work for him. And the band aren’t shy, merrily bopping along without any rest.
It’s so easy to move to the music – call it dancing if you will, I’m not sure in my case – as the irresistible pull of “Special Brew”, “Lip Up Fatty” and “Walking in the Sunshine” keep the crowd entranced. When the band hit a groove, they let it breathe and keep the audience captivated.
With a final encore of “Can Can”, it’s all over – and I don’t think there can be a single complaint from anyone in the Tiv tonight. The band could have played all night and we’d have asked for more. Bad Manners don’t rely on nostalgia and don’t rest on their laurels; they rely on creating a wonderful, fun night of music for all ages.
Platinum Al's Virtual Hot Tub 