The Cult – Gig Review

The Cult + Jonathan Hultén

Friday 25th October 2024

02 Apollo Manchester

November 25 1991, Manchester G-MEX. That was the last (and first) time I saw The Cult perform live. They were my favourite band and being there to witness them in person was a hell of a thrill, I was barely 19 years old and I’d never been to a gig of that scale before. Years go by, and I’m finally going to see The Cult again, this time at the far more atmospheric Apollo, rather than the cavernous aircraft hanger of the old G-MEX.

Yes indeed, it had been a long time since I saw my old mates Billy and Ian up on a stage. A lot had happened during that time – for all of us – but the music was always there.

Our support act this evening, in a seemingly incongruous move, was Jonathan Hultén. Standing solo on stage, swathed in veils and enigmatic face paint, Hultén was not what many were expecting to open the show. His music was dark, ethereal folk, with acoustic guitar and haunting vocals. At first I was intrigued, as the music continued I became thoroughly engaged. Just a few days before Halloween, this Scandinavian folk horror and gothic bombast was entirely appropriate to open this event.

More surprises, even more pleasant, revealed themselves when The Cult took to the Apollo stage – accompanied by a sample of ‘Ride of the Valkyries’ from Apocalypse Now (a genius move in itself). Launching into an earth-shaking ‘In The Clouds’, followed by ‘Rise’, from the insanely underrated “Beyond Good and Evil” album, this was not what I was expecting at all. Both songs are later entries in the band’s cannon, and sit gloriously at the heavier end of their repertoire. I adore both tracks – this was going to be interesting.

“Electric” album cut ‘Wildflower’ was next. One of my favourite Cult songs, I could’ve left at that point and been satisfied. More hard hitting classics followed with the swagger of ‘Star’ and Charlie Jones’s thudding bass introducing ‘The Witch’. New track ‘Mirror’ slots in seamlessly, then we get another mighty song from “Beyond Good and Evil”, ‘War (The Process’). All well known songs to Cult freaks like me, but not obvious choices by any means.

Billed as “The Cult 8424” – a 40 year anniversary tour – I’d expected a Greatest Hits set, culled mainly from the bands mid 80’s days. Early non-album single ‘Resurrection Joe’ was therefore no surprise, otherwise, this set spanned eras and albums confidently. Next was an acoustic ‘Edie (Ciao Baby)’ – I’ve always preferred this song in stripped down form to the “Sonic Temple” production.

‘Sweet Soul Sister’ was my chance for a quick “comfort break” – I’ve never been a huge fan. Great riff, overblown chorus! Another surprise followed, with ‘Lucifer’ from the “Choice of Weapon” record. The huge, epic riff of this song has made it one of my favourites, so a real bonus to hear live. John Tempesta on drums really powered all these songs home flawlessly, with both groove and power.

The latter part of the set delivered all the big crowd pleasers; an anthemic ‘Firewoman’, a truly captivating ‘Rain’ (surely one of the greatest rock riffs of the era), the tribal beauty of ‘Spiritwalker’. Billy Duffy, playing to a home town crowd, performed guitar magic throughout: from gutsy, gritty riffs to mesmerising yet direct, never fancy melodies. Lightning bolt energy from Ian Astbury galvanised the audience, as he revelled in the role of shamanic leader. And with a final roar through ‘Love Removal Machine’, it’s over.

Except it isn’t! Of course not, we all know The Cult will be back for an encore. But what will it be? Any more surprises?

‘Brother Wolf, Sister Moon’ is a classic track from the wonderful “Love” album, but wasn’t a single and so a very welcome reward. Finally, of course, the legendary ‘She Sells Sanctuary’ rings out and unites the crowd in a euphoric shared moment – Astbury’s air raid siren vocals leading the throng. I swear that man doesn’t need a microphone.

My return visit to The Cult’s sonic temple took a few years longer than anticipated. It was great to see them on such fine form, revelling in the classics and confident in their position as genuine, treasured heroes. What really made the gig for me though, was the sheer joy of hearing a very generous helping of less obvious, but very beloved tracks that I wasn’t expecting. No ‘Lil’ Devil’, but the rest of the set made up for it. I’ll return sooner next time.

PS: we need “Beyond Good and Evil” re-releasing on vinyl, please lads!

Black Tusk – The Way Forward Album Review

Black Tusk – The Way Forward

Season of Mist

Release date: 26/04/2024

Running time: 35:54

Review by: Alun Jones

9/10

Black Tusk return with their seventh album (no, I can’t believe it, either), which they’ve entitled “The Way Forward”. It’s their first as a four piece, with Andrew Fidler (guitar/vocals) and drummer James May now augmented by guitarist Chris “Scary” Adams and bassist Derek Lynch.

The past few years have been tough for the band members, but their indestructible determination and formidable will has seen them stride onward regardless. It’s this perseverance that provides the album with its title and its unifying theme. Undeniably, the sludge metal sound is there as expected, but with additional guitar parts and a feeling of relentless tenacity.

Lead track ‘Out of Grasp’ and ‘Brushfire’ are both furious samples of big, dirty riffs played with furious conviction. It’s a fast paced set of aggressive yet entertaining energy – as a listener, I was dragged along with the band and could appreciate their steadfast refusal to let the ills of the world conquer them.

Many of the songs are around the three-minute mark, meaning we rarely get chance for a breather. ‘Breath of Life’ and the title track both have the opportunity to expand a little, though neither relinquishes their sheer intensity. The instrumental ‘Ocean of Obsidian’ is the slowest, trippiest number here, featuring a cavernous, cathedral-like sound.

So welcome back, Black Tusk. With “The Way Forward” they’ve dredged the swamp and pulled up a steaming, ruthless slab of metal that sounds unforgiving but positive. Absolutely bloody great!

For more Black Tusk, check out their website, Facebook, Instagram, Twitter, Bandcamp and Spotify.

This review is presented by Platinum Al and Ever Metal.

Acid Mammoth – Album Review

Acid Mammoth – Supersonic Megafauna Collision

Heavy Psych Sounds

Release date: 05/04/2024

Running time: 41 mins approx

Review by: Alun Jones

9/10

Your scribe is beleaguered. Beset by enemies on all fronts, every step forward an excruciating endeavour that may only force me further back than when I started. Such is life as my trusty steed, my desktop PC, has been sabotaged by scurvy knaves, and died at the side of the track. This unfortunate scenario has resulted in yours truly patching together a network of ancient laptop (unused these last four years); a dodgy Word type program that might not even be recognised by the notoriously fussy Ever Metal website; and an iPod to complete this review.

Because I’m a professional, goddamnit. I don’t quit. Not when I could actually finish a review before the album release date and avoid yet more scorn from my EM peers. This review is on, mofos – oh yes, it is on.

And what is this review? Why, none other than a spanking new release from the mighty pachyderms of Doom Metal, the wonderful Acid Mammoth. Hailing from Athens in Greece, this four piece trample everything else under their hefty hooves, with just over forty minutes of heavy riff based, crushing rock music.

Acid Mammoth consist of Chris Babalis Jr (vocals and guitar) and Chris Babalis Sr – Junior’s dad – also on guitar. So it’s an unusual, but obviously well functioning, band of family members. Rounding out the Mammoth are Dimosthenis Varikos on bass and Marios Louvaris on drums. This is their fourth full album, and it won’t disappoint any previous fans.

Thundering tribal drums open our first track, the brilliantly named ‘Supersonic Megafauna Collision’ (also the title track, obvs). Fuzzy guitars are soon added to the mix, with a pulverising pace that’s set at head nod/foot stomp. It’s a template that the album sticks to, but then this Doom Metal is of the true kind – with riffs this good, progressive excursions aren’t required.

“Come feel the fuzz”, then, on ‘Fuzzorgasm’: where the band throw in a groovetastic riff that will get your body moving like a caveman in an itchy loincloth. Great lead guitar too. The behemoth lumbers on through the ‘Garden of Bones’, where an ominous bass takes the front of the herd. The vocals remind me of Tobias Forge of Ghost, which is no bad thing.

‘Atomic Shaman’ provides more Sabbath worship, though with a slightly faster approach. ‘One with the Void’ adds a melancholic, ethereal feel that actually gave me early Soundgarden vibes. Finally, ‘Tusko’s Last Trip’ is a nearly twelve minute long opus that takes all the heavy drama we’ve already encountered and dials it right up, with some of the most crushing playing yet.

Huge is the word to describe this album. Just like the bands namesake, “Supersonic Megafauna Collision” is a gigantic, powerful beast from another age that could flatten all that stand in it’s way. Another great release for 2024, I’ve got the vinyl copy on order and Acid Mammoth look set for a high end of year Top Ten placing.

I can’t believe I’ve managed to get this review finished. In the end, the worst part was that little paper clip guy popping up. Thought he was long gone? Not on this ancient Antikythera device.

Check out Acid Mammoth on their website, Facebook, Bandcamp, Instagram and Spotify.

This review is presented to you by Platinum Al and Ever Metal.

N.E.W. Metal Productions Alldayer

N.E.W. Metal Productions Alldayer  

McLean’s Pub, Pentre, Deeside 

08/06/2024 

Live review by Alun Jones 

Photos by Rachel Sian Photography 

Following in the wake of Pentre Fest earlier this year, McLean’s Pub in Pentre, Deeside North Wales was again the home of a bunch of raging metal/rock bands for a day. The good chaps at North East Wales Metal Productions held one of their fantastic alldayers, featuring several bands from all over, gracing up with their magnificent music. 

Sadly, a couple of bands couldn’t make it on the day. I was gutted that Master Charger dropped out (great band), and also The Human Condition have sadly decided to call it a day. But never mind, we soldier on, and there was plenty of music still to enjoy. 

Kicking things off in good style was Victim of Damp, aka Frank – a long-time supporter at NEW Metal Prods events. VOD opened with some lovely Pink Floyd acoustic guitar, before launching into a rousing set consisting of amusing anecdotes, shots of booze for the crowd, and sing-a-long humour. And yes, Bean’s car is still full of shit. 

Check out Victim of Damp on Facebook.

Any Given Reason were on stage next, a six headed monster of a band with two (two! Count ’em!) vocalists. Neither vocalist stayed on stage for long, preferring to take their brand of in your face metalcore right out into the audience. Great musicians too, giving us prime chunky riffs with dynamic skills. One to watch for, AGR are very entertaining with a super confident delivery all round. 

Any Given Reason on Facebook.

All the way from Belfast, Northern Ireland, to good ol’ Deeside were Nomadus – on the last date of their tour before returning home. If they were tired, it didn’t show at all – these guys are a devastating live band that left us all exhausted. A powerful combination of groove and thrash metal, with songs that are mature and progressive, make sure you see Nomadus live whenever you can. 

Nomadus on Facebook.

Surprise of the day was Crisis, who I was embarrassingly oblivious of. I was tipped off that Crisis were a NWOBHM band, which was true but doesn’t explain enough. The bands playing was razor sharp, and the songs varied from aggressive rockers to more epic, expansive numbers. This ability to let the songs breathe and grow, explore ideas and still remain in musical control set Crisis apart. If Iron Maiden were a Rush covers band, they would be Crisis.  

Crisis on Facebook.

There’s been a bit of a buzz about Warlockhunt recently, so I was very happy to finally get to see them. This band are unlike anything else: a three-piece consisting of two bass players (one singing) and drums. It’s the gloomiest of treacly doom metal decorated with beautiful, ethereal female vocals, like a dark fairy tale that may not end happy ever after. Doom pop, anyone? It’s enthralling stuff: I loved it and you need to check them out asap. 

Warlockhunt on Facebook.

Finally, our headliners for tonight, the mighty Scarfoot were back, and justly bumped to top of the bill. These guys were not fazed at all, powering through another set of intense stoner rock with a hint of grunge (at least to my ears!). The electric steel and 12 string guitars lend Scarfoot a characteristic edge, but the whole band pounding away is like Godzilla knocking at the front door. As well as being joyously heavy, Scarfoot’s songs are also epic and engrossing. Scarfoot did a superb job and closed the evening with conviction. 

Scarfoot on Facebook.

Variety was the secret spice for tonight’s event at McLean’s. Each band offered something unique and each played their hearts out. A thoroughly enjoyable event, thanks to all involved. If you couldn’t make it, readers – please try next time: nights like this need your support. 

N.E.W. Metal Productions on Facebook.

This review presented to you by Platinum Al and Ever Metal.

Green Goat – Album Review

Greengoat – A.I.

Self-released

Release date: 26/01/2024

Running time: 38 minutes

Review by; Alun Jones

8.5/10

Opening with a Bladerunner-style synth led track that features a spoken word delivery of Asimov’s Three Laws of Robotics, is a bold (and different) move for a Stoner/Doom band. In a genre where, thematically, we’re usually content to contemplate the joys of weed consumption and the mysteries of the occult – usually via a 1970s Hammer horror aesthetic – this sci-fi launching point is a welcome breath of fresh air.

This is where we enter the album “A.I.” by Spanish doomsters Greengoat. It’s a great band name, and one that harks back to those pot and patchouli, candles and Peter Cushing tropes we’re used to. But ‘The Void’ takes us on a different tangent, with the Rutger Hauer voice over. Second track ‘The Seed’ takes this mellow intro and runs with it, till 30 seconds in – yes, it’s big fat chunky riff time! And what a big, fat chunky riff it is – slow and grinding, developing an irresistible groove with the drums dropping in, eventually exploding into a full force rocker.

The line-up of singer/guitarist Ivan Flores and drummer Ruth “Kalypso” Moya invoke a moody soundscape that borrows from spacey, harmonic passages of Pink Floyd and adds crunchy hard rock. It’s a euphoric concoction as the music builds. And oh, how it builds…

A more traditional stoner groove pervades the other songs on the album, with groovy riff workouts showcased across tracks like the head-nodding, tripped out title track and the fuzzy, Fu Manchu-like ‘Burn the End’.

Throughout the album, Greengoat weld together a progressive, futurist theme with some good, old fashioned, retro Sabbath style rockin’. “A.I.” will no doubt entwine itself around my conscious all the more as I play it in the weeks to come. This is a fine album with great ideas – the analogue age and the digital age tentatively strolling forward together.

Find out more about Greengoat on Facebook and Bandcamp.

This review is brought to you by Platinum Al in association with Ever Metal.

Ron Coolen – Here to Stay Album Review

Ron Coolen – Here to Stay

Self released

Release date: 01/12/2023

Running time: 60 minutes

Review by: Alun Jones

7.5/10

Ron Coolen is a Dutch multi-instrumentalist with a passion for rock and metal. Working with vocalist Keith St John and with contributions from some amazing guitar wizards (George Lynch, Gus G and Christopher Amott to name just a few), we have here a new release that sounds contemporary, but also harks back to the glory days of 80’s metal.

With an opening track entitled ‘Heavy Metal Till I’m Dead’, it’s pretty obvious what we’re going to get. This song bursts out of the speakers, embellished with some furious shredding from Joey Concepcion, and I defy anyone not to raise the devil horns and sing along. It’s great fun, with ‘You’re Just a Bad Dream’ offering more of the same full-on energy. If you dig Van Halen, or any of the big stadium rock of the 80s, you’ll find plenty on here to enjoy (especially the VH style glory of ‘Shake Me to the Floor’).

My personal favourite song on “Here to Stay” is the start/stop ACDC-style riff of ‘Mr Jones’, though I don’t think this was written about me. Other tracks such as ‘Jaded Eyes’ offer a welcome change of pace, with an atmospheric feel that’s reminiscent of Sonic Temple era Cult.

I wasn’t sure whether I’d enjoy this particular release from Ron Coolen, but you’d have to be a cold-hearted ice demon not to be infected by the musicians’ reverence for metal. Some of the keyboards can grate a little, but the overall production is crisp and warm. Not all of the ideas work, but as a love letter to 80’s hard rock, it’s easy to enjoy. If you want to rock, then listening to “Here to Stay” is all you need to do, Ron Ron Ron. To do, Ron Ron.

Check out Ron Coolen on Facebook, Instagram, Twitter, Bandcamp and YouTube.

This review is a joint presentation from Platinum Al and Ever Metal.

Pentre Fest 2024

Pentre Fest 2024

McLean’s Pub, Pentre, Deeside

Friday 23rd & Saturday 24th February 2024

Pentre Fest is a big deal to me.  And I’ll bet it means a lot to plenty of other people too, who are just as keen to enjoy this festival of underground – but not unloved – metal bands.  I look forward to this event every year.  I mean, after the Christmas festivities, how else are you gonna survive the misery of January? 

Yours truly was the lone representative for Ever Metal at Pentre this year, so all the reviews were my responsibility.  I tried to see as many acts as I could, but it wasn’t always possible.  And so I can cover as much ground as poss, the summaries will be short and sweet this year.  But trust me, I’ll keep you on the straight and narrow.

The festival began on Friday evening, Edd Case and his acoustic set on the new outdoor Keymo stage being my introduction.  It’s a proper stage this year, with steps and everything.  Edd played a great set of acoustic tracks, including some Maiden, Neil Young (nice Soundgarden segue/tribute) and plenty more.  Most impressive.

Heading inside, Omega Throne was on next.  Their set was an exciting blend of Death/Black Metal, with some intriguingly dark, gothic elements peppered through the songs.  A great set that combined power and fury with a little mystique. 

That was followed by the lunatic genius of Mad Spanner.  Now a one-man band of crazed thrash metal with a backing track, Mike aka Mad Spanner offers brilliant musicianship, wry humour and furious energy.  I’m still recovering from this set, God know how he does it.

Back inside and Bloodmores were up next.  This was a great set of pounding, heavy Thrash/Death metal, excellently played and with a surprising amount of foot stomping groove.

Tonight’s original headliners, I Saw The World Burn, were sadly unable to play.  We sincerely hope all is well in that camp.  At the final hour, however, Cadence Noir were able to fill the headline spot with their gothic tinged folk punk’n’roll.  Cadence can always be counted on to get everyone jumping and jigging around, and they did a fine job of finishing Day the First of Pentre Fest.  

Saturday’s wake-up call was DAM.G, alias Rob from Thrashatouille’s “grown up band” (not my observation, but one overheard on the day!).  A melting pot of progressive metal with Rob’s growl augmented by phenomenal female co-lead vocals, it was certainly a powerful and memorable set.

Outside was a pleasant surprise: the disco funk of Mrs Gizlo.  Who’d have expected that?  Not me, but it was great fun to hear something different and it certainly got the crowd moving. 

In Which It Burns took to the indoor stage next, and gave as a relentless set of thrash metal.  It was only mid-afternoon and these Pembrokeshire ragers delivered the goods with super-fast, aggressive tracks.  Nice work.

Liverpool’s Ogun were on the main stage next, with some meaty thrash metal of their own.  Fast and brutal, I really enjoyed these guys and their total take-no-prisoners approach.  Wish I’d bought a t-shirt. 

It was freezing outside, so deep apologies from me to the various artists I missed outside, whilst huddled inside with a pint.  North Wales Deathcore deviants Dystopian Sun kept the fires burning with some intense yet bouncy metal that roared by like a Sasquatch driving a stolen pick-up truck.

Rule of Six had an early start on Saturday morning.  Whilst most of us were still hiding from encroaching hangovers, these lads set off at 4am to get from Northern Ireland to North East Wales for this gig.  I’ve never seen so many guitars on stage (four plus a bass!) but all Rule of Six’s instruments were well employed, with their melodic metal proving an uplifting and thrilling experience.  Maiden comparisons are a bit obvious, but apt.  Great show and nice contrast to much of the bands so far.

From one band who crowded out the main stage, to another band who spent little time on it: Broken Jaw refused to be restrained and preferred to wander around the room!  Their blend of punk energy and attitude with metal riffery made sure no-one in the audience was allowed to put their feet up.

Afterward, I dared to make a rare venture outside to witness Skinflick, who I’d heard very good things about.  This two-piece outfit gave us some filthy Industrial EDM dripping with sleazy beats – another very cool divergence from the expected.

Beyond Salvation made their way to Pentre from Manchester, and pretty much laid waste to all with a blistering set of thrash metal.  The band were both brutal and energetic, with superb playing, that kept the gig going on full steam.  There was no chance for the audience to flag here!

I’m actually gutted that I missed SOOTO out on the Keymo Stage.  Blame the cold, blame the drink, blame me for being useless: I should’ve been there, sorry.  Can we get SOOTO back please?  I promise I’ll pay attention this time.

Every year at Pentre Fest, there’s at least one band that I go full-on Fan Boy for.  This year’s recipients of the accolade were the amazing Struck/Down, who played huge sounding groove metal riffs that immediately had me hooked like a fish.  For me, Struck/Down were the best band of the weekend by a distance.  T-shirt purchase?  Tick.  CD purchase?  Tick.

Finally, our last band of a fantastic event were Extreme Metal leviathans Krysthla.  The foot was down on the pedal as Krysthla hurtled us through the last set of the weekend with a rapid fire, unrelenting batch of songs.

And that was it, Pentre Fest was over for another year.  I’ve been downhearted ever since, missing the camaraderie and fell-good vibes of the event – not to mention the out of this world music.  Thanks and huge respect to Fozzy and Beany, North East Wales Metal Productions, McClean’s, and all the bands and crew who made this happen.

I wish it could be Pentre Fest every day.    

Catch up with news at the following pages: N.E.W. Metal ProductionsGoodfor AudioMcLeans Pentre.

This review is brought to you by Platinum Al in association with Ever Metal.   

Bongzilla – Album Review

Bongzilla – Dab City

Heavy Psych Sounds

Release date: 02/06/2023

Running time: 57 minutes

Review by: Alun Jones

8.75/10

What’s that lumbering out of the murky haze?  Why, it’s none other than Bongzilla, trampling everything in their path with gargantuan, sludgy riffs whilst surrounded by billows of smoke.  No need to run, citizens – these dudes move too slow to pose any physical threat, you’ll outrun them easily.  This music is not about speed.  It’s about being refreshed beyond all recognition.

“Dab City” is the sixth album for Bongzilla, and their second for the Heavy Psych Sounds label.  They’ve been firmly established as a three piece for some time, comprising of Mike “Muleboy” Makela on bass and vocals, Jeff “Spanky” Schultz on guitar and Mike “Magma” Henry on drums.  Unsurprisingly, the album was recorded with the assist of various “mood enhancements”, right onto analogue tape.

There are seven songs here, with several of them hovering around (or over) the ten-minute mark.  You’re definitely getting your money’s worth.  Title track and opener ‘Dab City’ clocks in at 11.51 of super heavy, psychedelic sludge.  ‘Cannonbong (The ballad of Burnt Reynolds as lamented by Dixie Dave Collins)’ rolls in at nearly 14 minutes of slow’n’steady, frazzled doom metal.  And what a song title!

Other tracks offer more fried and fuzzed out rock, with ‘Hippie Stick’ and ‘American Pot’ revealing a groove and swing to their sound.  Vocals are less smoky and strangled and more like a zombie from The Walking Dead, but it all melts together well.  I don’t think there are any shocks on “Dab City”, but who cares?  Bongzilla have concocted a ripe batch of stoner, sludgy metal that will satisfy the righteous.

And remember, kids – don’t do drugs!      

Check out Bongzilla on their website, Facebook, Bandcamp, Instagram and Spotify.

This review is brought to you by Platinum Al in association with Ever Metal.

Tankzilla – Album Review

Tankzilla – Tankzilla

Heavy Psych Sounds

Release date: 19/05/2023

Running time: 44 minutes

Review by: Alun Jones

9.5/10

Let’s talk about Tankzilla.  To start, what a rad name!  According to the band’s PR, “Satan fucked a Panzer and the offshoot is Tankzilla”.  Which pretty much sums everything up nicely.  So nicely, in fact, that the rest of this review is a bit pointless.

Tankzilla are actually a duo consisting of Peter Van Elderen (guitar and vocals) and Marcin Hurkmans (drums), who started jamming together after their previous bands split.  Before you get clever and assume that these guys are gonna be just like Royal Blood, they’re not.  They have a whole lot more Motorhead in their dirty DNA.

‘Lucifer’, the first track, proves this nicely, with an opening riff reminiscent of ‘Deaf Forever’ by Lemmy’s crew.  The song quickly erupts into a bludgeoning juggernaut all of its own, crushing everything in its path and setting the course for the rest of this slab of sonic destruction.

Yes, the power of the mighty riff rules in Tankzilla’s blitzkrieg campaign.  ‘Crossroad’ drops more loud bombs adding a funky feel, while tracks such as ‘Wolfpack’ and ‘Soulsurfer’ have a hard rocking edge.  The assault slows a little with ‘Brother from Another Mother’, but keeps unleashing maximum firepower.  Bonus points for the sample from The Mandalorian too in ‘Mutant Freak’.  This is the way!

The final song, ‘Hard Way’, has a Melvins vibe to it – something else which makes me very happy indeed.  Whether firing on all cylinders or easing off the gas a little here and there, this debut album is devastatingly excellent.  Tankzilla are a relentless, riff loaded monster and nothing can resist their onslaught.  Definite Top Ten of the year list for me.

No time now, but remind me to tell you about that time with Motorhead in Europe, when we took the band to visit a military museum on a day off.  Philthy was hungover, so Lem let him sleep it off in an old Russian tank.  We closed the hatch and scarpered, leaving Phil in there all day.  He only just made it to the next gig in Copenhagen by the skin of his teeth.

Check out Tankzilla on Facebook, Instagram, Bandcamp and Spotify.

This review has been brought to you by Platinum Al and Ever Metal.

Living Colour – Gig Review

Living Colour + Red Zephyr

Saturday 2nd December 2023

Buckley Tivoli

Yet another massive coup for the good ol’ Tiv! The Tivoli Venue in Buckley, North Wales is a legendary spot and has attracted some amazing, big names over the years. The latest to pay a visit and astonish us with their prowess were alt-rock icons Living Colour. This was, indeed, a big deal. I bought my ticket as soon as it was announced.

No surprise, the Tiv was packed to the rafters on this Saturday evening. It was a good atmosphere from the start, a feeling of warm anticipation in the air. I caught up with several friends old and new, but that meant I didn’t get much experience of support band Red Zephyr. What I did hear, they seemed to be a supremely capable and enjoyable hard rock band – one to investigate further in the future.

Now me and Living Colour go back some way. I still have an old 7 inch vinyl Sounds EP featuring the band that a friend gave me in 1988, which is where my fandom began. I’ve never seen them live though (ah, if only I’d been able to go to Lollapalooza 1991!), so this gig was really something to look forward to.

Opening with their infectious track “Middle Man” before launching into playing their “Stain” album in full, it was immediately obvious that Living Colour were still at the top of their game and playing exceptionally well. It was also nice to be reminded just how many great songs – and of varying styles and grooves – this band have in their repertoire. Crunchy metal provided by guitar maestro Vernon Reid on “Go Away” nestles up comfortably with the sublime pop of “Nothingness”. On all tracks, the Haribo fuelled voice of Corey Glover roared majestically and crooned sweetly.

Post “Stain” run-through saw a jigsaw of originals and covers, the highlight being a 50 years of Hip-Hop medley featuring “White Lines” and “The Message”. Doug Wimbish, the king of bass, shone here, although his skills dazzled all night. And drum master Will Calhoun gets a well deserved solo spot: he ably showed both relentless power and effortless grace throughout.

Of course, two of the big crowd pleasers are “Love Rears It’s Ugly Head” – which is uncannily well played – and the crushing, monster riff of “Cult of Personality”. All the songs sound great, with Corey’s vocals in particular sounding like they came direct off the vinyl.

Well done to all at the Tiv for making this happen, and huge thanks to Living Colour for turning up and playing their hearts out. They had the musical skills, they were vibrant and entertaining on stage – Living Colour absolutely ruled one of the best Tiv nights in a long, long time.

Living Colour are online here.

Check what’s on at Buckley Tivoli here.