Another busy weekend for Daughtertron and I – last week Metallica in Cardiff, this week a shorter trip to Manchester to see Joan Jett & The Blackhearts. We’re both big fans of this Rock’n’Roll icon, and as this was the band’s first headline tour of the UK for many a year, the decision to attend didn’t take much mulling over.
Our support band tonight were The Meffs, and the Academy seemed fairly lively and busy for their slot. I’ve head of The Meffs, but knew nothing else – I was to learn that they’re from Essex and they’re a two piece band (vocals/guitar and drums) – all of which was news to me. I was aware that they are highly regarded though, and their short but energetic set was ample proof of that. Covers of ‘Breathe’ by The Prodigy and ‘Identity’ by X-Ray Spex nestled comfortably next to their own raucous tracks like ‘Stamp It Out’ and ‘Deathwish’. Great noisy fun, plenty of attitude and something to say – a superb set.
July 4th being Independence Day in the once mighty realm of the Orange Chimp had slipped my mind, but I guess Joan and her band probably weren’t bothered either. Instead the massive audience were amped up and ready to rock out with a genuine icon, celebrating 45 years since the release of Joan’s earliest solo recordings. Starting things off with the rowdy ‘Victim of Circumstance’ followed with a very welcome rendition of The Runaways’ ‘Cherry Bomb’ was a confident, bouncy, sing-along success.
After that, we got ‘Do You Wanna Touch Me (Oh Yeah)’ – a Gary Glitter cover that left me confused and a bit queasy. I know Joan’s been covering this song for years, but it still seems surprisingly tone deaf. I don’t even want to type that guy’s name in this review! We were soon back on track though with ‘You Drive Me Wild’ (another Runaways number), ‘The French Song’ and ‘Fake Friends’ – all diamonds that are often overlooked by the casual listener.
More recent output was showcased with ‘(Make The Music Go) Boom’ and ‘If You’re Blue’ the former being a real highlight. Predictably, it’s the final run of mega hits that lights up the entire performance. From ‘Everyday People’ the energy in the room rises, then explodes for the legendary anthem ‘I Love Rock’n’Roll’. But that’s not all, kids! With ‘Crimson and Clover’ (Daughtertron’s favourite), ‘I Hate Myself For Loving You’ and ‘Bad Reputation’, Joan Jett & The Blackhearts unleash a tsunami of powerful, unforgettable Rock that lifts spirits and moves the bodies of all those gathered.
The sound was also very impressive throughout: Joan’s rapport with the audience and unmistakeable voice, along with the band’s instruments – never seemed to waver. It was a solid performance, expertly put together by a bunch of total professionals. Joan Jett & The Blackhearts’ music was all the fireworks and all the party we needed in Manchester tonight. A legendary artist and a classic gig!
Cardiff city centre was literally swarming with people, nearly every single one of them wearing a Metallica t-shirt from one era of the band or another. Fans of all ages crowded the streets and bars, as music poured from the speakers. I’ve never witnessed anything like it before. And the atmosphere was crackling as soon as we got there.
Last time I saw Metallica live was at Sheffield Arena in 1993, on their Nowhere Else to Tour tour. I was a student, 21 years of age, seeing them for the first time and having been a fan for several years already. Metallica were rising in popularity on the back of their mega selling, self titled album.
Thirty three years later, I was finally going to see a Metallica gig again, this time with my old friend of fifty years. Joining us were our fifteen year old daughters, as we set about passing the torch to the next generation. We met up with another old pal and his family, ate some great burgers and headed to the venue. It was set to be a special event.
The Principality Stadium is bloody huge, let’s put it that way. Mightily impressive, the air was still full of excitement as we bumbled around to find out seats and get our bearings. Feeling like a mountaineer as I climbed to my seat, it was dizzying seeing the acres of people below. From my eagle like vantage point, the circular “in the round” stage was clearly visible, surrounded by huge poles supporting cylindrical screens.
The first band of the day, Knocked Loose, were already on stage as we entered the stadium, earlier than expected (probably due to a Sunday curfew, I guessed). Described as a Hardcore Punk band, their distinct crunch and harsh vocals gave them a more Metalcore sound. They came across well from what I saw, appearing confident and happy to be there. A band to keep an eye on.
Up next were Gojira, who were definitely comfortable on the huge circular stage. Their confidence shone through in the exquisite delivery of their technical yet emotional music. I’m not hugely familiar with their work, though I have listened to Gojira albums in the past. Based on this performance, I’m intrigued to revisit their albums and investigate further. With a sound that covers various Metal genres – Thrash, Death, Progressive – and an enticing lyrical content, I enjoyed what I heard and I’m keen for more.
Anticipation was set to boil over as AC/DC’s ‘It’s a Long Way to the Top’ teased the audience. By the time the traditional intro song, ‘The Ecstasy of Gold’ played (I’d warned my daughter that this tune heralded the main event), I was full of fire and ready to burn. The four members of Metallica appeared like tiny demons, miles away on the huge stage, and burst into ‘Creeping Death’. Perfect!
This diamond quality start was followed by a ferocious ‘For Whom the Bell Tolls’, and both Daughtertron and I were very happy. The band hopped about through time, performing tracks from various albums – I’d forgotten how great the riff to ‘Cyanide’ actually is – the most recent being ’72 Seasons’ from their most recent offering. Two tracks from “Reload” were aired, ‘The Memory Remains’ and a blistering, explosive ‘Fuel’ that lit up the entire stadium and with pyrotechnics that warmed our faces.
Rob and Kirk’s now familiar ‘doodle’ spot gave us a surprise treat with a rendition of Tom Jones’ ‘Delilah’ – I’d never had expected that back in the early 90’s! But it was the “Black” album that dominated the setlist, with five tracks including ‘Sad But True’, ‘The Unforgiven’ and an emotional ‘Nothing Else Matters’, played in a darkened stadium with thousands of phone lights gently bobbing like fireflies. The song may divide hardcore metal fans, but you’d need a heart of stone not to feel the magic this evening.
As is expected, the band rotate around the stage and James seemed particularly on fine form, absorbing the audience energy. The set official presumably ended with ‘One’ which was truly engrossing and showed off some great Thrash skills from Lars. There was no “off they go and come back in ten minutes for the encore” – Metallica raged straight through with the classic ‘Seek and Destroy’. ‘Master of Puppets’ was justifiably held back till the end before it was aired, given the respect that defining song deserves. Finally ‘Enter Sandman’ wrapped things up in a glorious, euphoric crescendo.
Manging to cover most of their albums wasn’t going to be easy for a band with as many enduring tracks as Metallica have, but that was a damn fine setlist. Both Daughtertron and I were very satisfied, being able to hear some of our favourites in a live setting.
For over forty years, Metallica have been at the forefront of what they do. That a bunch of guys in their sixties can put on that good a show is encouraging enough – but the real success of this was seeing the multitudes of fans, of all ages and walks of life, coming together and loving the music. So many of us grew up with Metallica and we’re in the midst of introducing the next generation to this passionate, life-affirming music. This gig was genuinely exciting, moving, inclusive and more important than I expected.
Autumn in the UK seems like the ideal time of year for a new release from Warlockhunt. The days are getting shorter and cooler, the leaves turning to orange and yellow and falling to the ground. The veil between this world and the next is at its thinnest, and the dark melancholy of nature can be best observed.
Warlockhunt is a three-piece band, consisting of Chris on drums, and two bass players: Mark and Lorraine (who also handles vocals). This choice of instrumentation allows Warlockhunt to exist as something very different from the rest of the Doom Metal crowd. The absence of crunching guitar allows the music to explore a more atmospheric, though no less heavy, landscape.
The album begins with a lengthy intro of synthesised bass, which thaws out the beginning of ‘Turn Away’. Slowly, a pulsing bass emerges, punctuated with stark, precise drumming. The dreamlike female vocals blossom and float alongside the melody, rather than dominating it. ‘Diary of Hate’ has a more direct but no less minimal approach, with a simple bass sound and thumping percussion creating a hypnotic ground for the vocals, till the pace increases for a frenzied finale.
‘Mourn’ has an almost folky, medieval character, still prevalent when the drums crash in with a marching rhythm. The tribal drumbeats have a Post Punk crispness that are as much a feature as that moody bass – see ‘Fake’ as a prime example. On the title track, those drums reach Killing Joke-like intensity, leading the dark revelry as much as underpinning it. And over all of that are the vocals, both sombre and enchanting.
Warlockhunt have been called Doom Pop in the past (most notably by me, haha!) and the description still stands. This is less the onslaught of Cathedral or Trouble, and more like Joy Division creating a soundtrack for a folk horror movie – with Nancy Sinatra singing. “Prey” is an exercise in climate, in ambience – though still heavy with the air of dark melancholy. Watch the sun go down and enjoy the darkness.
OK kids: listen up, and listen up good. There’s a new release from those revved up, lightning charged Derbyshire hell-riders known as Syncolima, and we need to talk business. The three piece, consisting of Josh on guitar/vocals, Stoff on bass duties and drums courtesy of he-who-shall-be-known-as Harry, have gone full warp speed ahead and dropped their third full album release. I’ve been checking it out like an eager little monkey and here’s what I have to share.
“Move Mountains” plays to Syncolima’s considerable strengths, and delivers a tasty, chewy platter that’s a step up from previous. Launching with the furious and interestingly titled ‘Gluten Free Toast’, there’s an immediate declaration of Metal intent. Loaded with a sneering disdain, this full-on rocker sets the tone for the album in uncompromising fashion. ‘Shipwrecked’ bounces out of the speakers like a runaway galleon on a stormy sea, and ‘Kill All the Billionaires’ bursts at the seams with obvious contempt. If they put this song title on a t-shirt, I’ll be front of the queue for one.
Aggression isn’t the only trick in the bag though, as Syncolima nimbly intertwine other shades and shifts in pace. This is particularly evident in what I consider the album highlight, ‘Mistakes Were Made’. Here, the band meld angst driven riffs, mellow sections and a blinding melody. ‘Ouroboros’ also delves into the band’s Grunge influences with an ear friendly marriage of tuneful musicality and chugging Rock.
Syncolima’s exploration of different genres, from groovy Stoner to nasty Metal and on to gritty Grunge helps to elevate their songcraft to higher levels. Rather than cherry pick in an obvious manner, they’re mature and clever enough to absorb influences rather than merely ape them. Which is why songs like ‘The House We Build’ can stand on their own, rather than sound derivative. And it’s why “Move Mountains” is more than a satisfying release, it’s essential. Quality of a very high order.
And lo, there shall come a time when the barbarians shall storm the gates of the fortress city, and congregate within its ancient walls in search of enlightenment. Great would be the merry making, for the barbarians will come not with weapons of war, but with musical instruments and tales of hard-won valour.
That time came, and it was known as: North West Doom Fest III.
Yes, after the runaway success of previous events, Chester’s premier/only Rock pub The Saddle was host to another weekend of the heaviest, the Doomiest, the Sludgiest of bands from around the UK. Such was the demand, the event was sold out well in advance. Personally, I was really looking forward to NWD Fest and very thankful to be there!
Friday 10th April 2026
The first band of the entire weekend was Ghozer, who are a four piece band from the Midlands. Sadly, they don’t appear to be Ghostbusters fans, as that Gozer is spelt differently. They are, however, a mighty and hugely impressive Alternative Metal band, with solid, catchy riffs and crazy, psychedelic lead guitar working nimbly through captivating, proggy epics. They reminded me of a sludgy High On Fire with wild Hendrix lead. A perfect start to the weekend, I was massively impressed.
Up next were Bristol’s Froglord, one of my personal favourites and a band I was excited to see again. I’d seen these guys previously at the same venue, for the Warlockhunt album launch gig. I immediately fell in love with their swampy, psyche Doom with its perfect riffs and incessant grooves. Froglord really put on a show too, there’s nothing in their approach that hasn’t been meticulously prepared – swamp noises between songs? Masks? These amphibious Dark Masters are a true revelation, and I seriously urge readers to check them out soon!
Friday night’s headliners were Cardiff based Atmospheric Doom band, Pantheist. This band enraptured the audience with an almost symphonic take on Doom, complete with ethereal, operatic female vocals. They’re obviously exquisite musicians and put on a great performance. However, it was too symphonic and operatic for my tastes – like Katherine Jenkins singing along to Ghost in her bedroom. What do I know, though?! Everyone else – and I mean absolutely everyone else – loved Pantheist, so you should ignore me and check them out.
Some of us kind of over did it on Friday night, socialising with other North West Doom Fest attendees and enjoying the karaoke in the main bar of the Saddle. Well, it was Frank’s (from North East Wales Metal Productions) birthday, so no excuses needed. Happily, I managed to make it back for the start of Day Two of the fest on time and with no trouble, which is highly unusual.
Warming things up for Day Two were Warlockhunt, festival organisers Mark and Lorraine’s Doom Pop band. Their dual lead bass sound was now augmented with a new drummer, who had the unenviable task of filling out the sound with apocalyptic, post punk tribal rhythms. Drums are front and centre in this band, right up there with the bass and dreamy vocals – so there’s nowhere to hide. The sound was meticulous, no need to worry – an accomplished start to the day’s proceedings.
One of the amazing things about this festival is the sheer variety of music evident within the genre of Doom. Cruel Mother was a great example: they looked at first like people LARPing Robin of Sherwood, but they delivered a magnificent set of Doom based on Olde English (and Scottish) folk songs. Brilliantly performed and utterly captivating. I would’ve loved a lyric sheet to read along and explore the stories and themes! They’re London based, if Cruel Mother are playing near you – go see them and enjoy the magick. The outfits were cool, by the way.
Helve were up next – a five piece from Leeds who unleashed a set of very heavy, sludgy Doom metal. The performance was intense and unforgiving, with harsh, growled vocals over crushing riffs and huge soundscapes. They reminded me a little of last year’s headliners (and one of my fanboy faves), Son of Boar. Absolutely no complaints from me, a winning set from a great band.
I had no expectations at all regarding Sleeping Mountain, and so I was very pleasantly surprised to witness a superb band that I can add to the favourites list! They’re a three piece, London based, and extremely effective at creating enormous Stoner Rock grooves with psychedelic and progressive overtones. There’s some classic 70s inspiration here, with a foot planted firmly in the now, as well. Like a grinding, cinematic early Monster Magnet. I loved them, and made sure I picked up a copy of their excellent self-titled album on vinyl.
When Goat Major were announced on this bill, I practically shit my shoes off in excitement. I’m already a massive fan, having reviewed their debut album, “Ritual”, for Ever Metal a while back – awarding it a solid 9/10 score. Getting the chance to see them live was a big draw for me in attending NW Doom Fest. And Goat Major did not disappoint, their awesome Occult Doom dripped thunderous and powerful riffage with eerie, spectral undercurrents. Absolutely unmissable and a true highlight of the weekend!
And then we had Goblin Smoker, another band I was really enthused to experience firsthand! With releases on Sludgelord and APF Records, these guys have a quality pedigree. Their music is classic Sabbath based Doom, with raspy, Death Metal vocals that set them apart from other bands this weekend. This was an epic, brutalising set, taking the intensity of Death Metal into slower and fuzzier realms. I’m just glad I was there.
Mage are a band I’ve seen live previously, they played Pentre Fest a while back. They were amazing last time I saw them and they were even better this time around. Seriously, Mage are the perfect Stoner/Doom Metal band, as far as I’m concerned: they cover it all, from in-you-face rockers to tripped out psyche-athons. They remind me of a British Corrosion of Conformity, and I can think of no higher praise than that. Their performance was riveting, even in the restricted space of the G21. If you’re not following this band like a hungry dog, you need to be.
And finally, then – our Saturday headliners, Old Horn Tooth: a three piece proudly representing the London Doom Collective. Musically, this power trio deliver slow and heavy yet mesmerising Doom metal, unhurried in their approach they create something not far removed from a soundtrack to a supernatural, occult thriller. When the riffs crash in, they are utterly devastating – and the whole experience is pulverising, yet hypnotic. Thrilling stuff and a fitting end to a weekend of pure, definitive Doom Metal.
Well done to Lorraine and Mark, and thanks to the staff of G21/The Saddle for a spectacular festival. There’s a one dayer planned for this summer, so keep your eyes peeled – otherwise, I’ll see you at Noth West Doom Fest IV!
Pentre Fest – it’s no secret that I’m a fan of this two day Metal festival held in a pub/club down the road from me. Organised by the hard working and hard rocking people at North East Wales Metal Productions, it’s a non-stop feast of fine tunes, the very best of underground Metal from around the UK.
Here’s my write up my experiences from this years event. You can read a full account from Team Ever Metal over at their site.
Day 1
Hiraeth
My excitement had been steadily rising for weeks ahead of Pentre Fest. You just can’t beat this mini two-day festival in North Wales, it really is the gig highlight of the year for me. I arrived just in time to catch Hiraeth, a great Black Metal band who originate from not too far away in Wrexham. Taking the Black Metal template and weaving tales of ancient Welsh folklore and history, these sword wielding warriors bring a positive, inclusive vibe with their increasingly accomplished musicality. A great band and a real high point to start with.
Attic Theory
Liverpool’s Attic Theory were up next on the main stage, and though they were new to me, they really made a good impression. Full on, hard hitting alternative rock, Attic Theory ploughed through the room with a big riffs and anthemic vocals. I love me some Grunge and these guys had the power and a magnetic groove. Unfortunately they buggered off home before I could buy their delightful album on sexy vinyl!
Battalions
The band I was most excited to see at this year’s gathering was Battalions, who I’ve developed a bit of a fanboy adoration for. They’re on APF Records so that’s a mark of quality right there. Thankfully, Battalions’ monstrous, doomy, fuzzed out riffs were even more satisfying than their quite brilliant album ‘King of a Dead World’. They warmed my ancient, jaded soul with a sludgy set that really was a Pentre Fest highlight.
Miserable Sinner
Outside, the cold drizzle made viewing the Keymo stage a bit of a challenge – never mind actually playing on it! I did catch Geordie of Bad Earth performing his Miserable Sinner solo acoustic set in defiance of all the mighty Thor could unleash upon him, with AC/DC’s “Whole Lotta Rosie” being a particular favourite!
Basement Torture Killings
A brutal, Death Metal Grindcore band of lunatics who’ve watched too may serial killer documentaries, Basement Torture Killings certainly know how to entertain. It was a case of “Netflix and kill”, as they tore through a visceral set and eviscerated a huge cuddly teddy bear. Not my usual type of O Positive, but BTK served up a memorable, blood soaked show. Time for bed.
Day 2
Firefly
Running late as per usual, I actually wasn’t punished too badly this time as apparently Edd Case had declined his opening slot! Instead I arrived just in time to see Firefly, who had only just started their set. An amazing start to the festivities, Firefly brought their own brand of Industrial Goth Metal to give everyone a big wake up call. Like a mix of Rammstein, NIN, Gary Numan and Sisters of Mercy with the smoky vocals of Marianne Faithful (like what Mare said), this was pretty damn unmissable. Check ‘em out!
Victim of Damp
Opening proceedings on the outdoor stage was Victim of Damp, alias Pentre Fest die hard Frank Williams. His amalgamation of gentle covers and humorous originals improves with confidence every time. A free shot of the old alcohol helped warm us all up too!
Losing Light
This band sounded like an interesting premise, and indeed they were. Four guys from fairly close by, they have plenty of experience but are a relatively new proposition as Losing Light. Usually, their set would include a couple of covers, but these were dropped for this first Pentre appearance. Very confident and excellent musicians, their own self written songs were more than capable – Losing Light gave us an electric performance. Let’s hope they return soon.
Oliver Carins
Quick, no time to put your feet up – get out to the Keymo stage! Oliver Carins, usually part of Scarfoot (who are a hell of a band anyway) gave us a superb acoustic set with fine vocals and masterful guitar skills. Folky and warm, the songs still had that signature epic Scarfoot edge.
The Raging Mabels
Sadly, Any Given Reason were unable to play this afternoon, so the daring Raging Mabels parachuted in to save the day. And boy did they rage! A set of powerful yet tuneful rockers, the Mabels played an energetic non-stop set that rattled by like a rocket riding coyote chasing a roadrunner. Equally at home playing for fans of Motorhead or the Ramones, it’s no secret that this pretend rock journo is a mega fanboy – the Mabels are pure joy! And they (finally) brought some merch!!!
Chain of Survival
Theigns and Thrawls did a brilliant acoustic set oustide next, but more about them later. Let’s skip forward a little to Chain of Survival. Another Liverpool based band, this time we have a Hardocre Thrash Punk four piece who are utterly uncompromising. If you ever played DRI or Sick of It All casettes from a boombox while skateboarding in a local supermarket carpark (as I still do) then you’ll love COS too.
Fallen North
These guys have played McLeans gigs before, but they showed up in full force – this was not a dress rehearsal! Full on, no apologies modern metal with crunchy riffs and soaring vocals, Fallen North soon had the crowd won over. They stepped down from the stage to join a fan on the dancefloor, still playing, and giving one of the most heartwarming moments of the weekend. Well played all round.
Kevin Plant (Cry For Mercy)
Blues rock royalty Cry For Mercy weren’t playing this weekend, but vocalist/bass maestro Kev Plant braved the elements outside on the acoustic stage for a solo performance. Great playing augmented with Kev’s trademark soulful, Paul Rogers like voice was an oasis of calm. It takes some cojones to tackle Chris Cornell’s vocals, but Kev’s version of Audioslaves ‘I Am The Highway’ was respectful and stirring.
Ogun
The world needs more authentic Thrash Metal. Thankfully Liverpool’s Ogun delivered a rousing set of the genuine article at Pentre Fest. Not dated or old fashioned in anyway, just modern thrash in the spirit of Testament, Exodus and even Slayer. Speed but without compromising on songcraft or melody, there’s plenty to enjoy in Ogun’s set. Not their first time here and hopefully not their last either.
Bad Earth
OK, so I’ve seen Bad Earth before – but they’re always exciting. And loud! Playing their own, patented Rockcore (TM), this three piece always seem to be ready to decimate wherever they play. It’s dirty biker rock dialled to eleven and kept up way past it’s bedtime, as Geordie, Karl and Ben assault their instruments like they’ve insulted their mothers. Always a pleasure to be in the crowd for a Bad Earth gig!
Edd Case
Closing the Keymo stage outside, this wasn’t the first I’d seen of Edd this Fest. He’d already played a blinder the day before, and this time gave us a very welcome rendition of ‘Mother’ (note to bands everywhere: play more Danzig) amongst some select covers. Original material also got an airing, including the magnificent ‘Letters Back Home’, a moving and sadly still relevant masterpiece. Edd, you truly are a poet.
Theigns and Thralls
Earlier in the day, I witnessed an eye opening and refreshing performance by Theigns and Thralls on the outside acoustic stage. I always enjoy a trip into different genres at Pentre Fest and this folk set was a definite highlight. In the evening, they plugged in fully to give us a real taste of Folk Metal, the energy of which had the audience jumping and dancing around. Glorious fun for all!
Fury
This year’s esteemed headline act, there was a fair buzz around the venue for Fury’s set. And to be fair, they were worth waiting for. Specialising in the unrecycled, sheer joy of Heavy Metal in all its Iron Maiden/Judas Priest glory, these guys were undoubtedly on top form. The dual female/male lead vocals of Nyah and Julian help the band transcend any Hard Rock cliches with an outstanding, individual sound. Fury are undoubtedly excellent musicians, and have the performance and songcraft to back up their reputation. I can’t really think of a bone to pick with them. Other than if they don’t make a return visit one day, we’ll all be very upset.
And that’s it: the end of another Pentre Fest. A wonderful weekend of fine music and great company, I’m already counting down to next year. I’ve definitely got post Pentre Fest blues.
The wild and wonderful world of Spider Kitten: a place, a frame of mind, an attitude – there is nowhere else like it. Both welcoming and confrontational at the same time, this band follow their own desires and to hell with the consequences. There are no rules in this lawless land, just an exploration of whatever realm of consciousness the band happen to be channelling at any one point. But it all makes perfect sense.
APF records have released this latest album by Spider Kitten, entitled “The Truth is Caustic to Love”. Within its sonic walls are a myriad of styles and journeys, encompassing everything from the gloomiest of doom, sludgy grunge, magnificent acoustic ballads and Spaghetti Westerns. Plus everything else you can think of.
Now that’s probably the most pretentious intro to a review I’ve ever written, so I’d better back it up with some serious wordology. The menacing crawl of ‘13 of 6’ is our first destination, its crushing heavy sections contrasted with sparse ambient passages, tense with expectation. First single ‘The Dose’ is next, coming on like a Death Metal Melvins; followed by the delightful acoustic guitars and Mexican sunset of ‘Sueño’. Then it’s back to the heavy, with ‘The Spoiler’ sounding like Alice in Chains on a major comedown.
This contrast in light and dark isn’t necessarily a new idea, but with Spider Kitten, the experimental, melodic and melancholy moments seem more extreme.
‘Three Shots’ is a central track here, and a personal favourite, with its moody, dusty Ennio Morricone soundtrack vibe. ‘Woe Betide Me’ and the closer, ‘Guilty’, both have a weeping blues feel and offer some calmer moments. These songs are surrounded by noisier relations, such as ‘Revelation #9’, ‘Crying Towel’, and ‘Wretched Evergreen’, all of which are gloriously abrasive and aggressive.
Surprisingly, it doesn’t take multiple listens to appreciate “The Truth is Caustic to Love”. This is because the heavy is beguilingly heavy and the mellower moments shine in the murk, and together it’s a fascinating smorgasbord of sounds and ideas. Spider Kitten are beyond easy prediction, best just enjoy wherever they take us.
Running time: Well it’s 3 CDs of Rock’n’Roll goodness, so it’s good vfm
Review by: Alun Jones
9/10
Hey all you Rock’n’Rollers, you are in for a well deserved treat! Cherry Red records have compiled all of the output from legendary Bad Girls of Rock, The Donnas, into one neat and sweet boxed set. Between 2002 and 2005, The Donnas were signed to major label Atlantic, and their star was on the rise like a comet – the label marketing the band in movies, games ad infinitum. Surely The Donnas would conquer the world?
The first disc in the set covers the absolute must-have “Spend the Night” album. Take it from me, “Spend the Night” is a total Rock’n’Roll classic – one of the greatest guitar Rock albums of the 21st century. The perfect collision of supersonic, Ramones and Runaways pop punk power with AC/DC riffology – this is a 10 out of 10 timeless wonder that anyone who loves Rock’n’Roll should treasure.
I mean. ‘It’s on the Rocks’, ‘Take it off’, ‘Who Inviited You’ – the rockin’ starts and it just doesn’t stop. And when you’re invited to a Donnas shindig, you’d better be prepared – these girls know how to party. With songs about drinking, partying, staying up all night and peer group alienation, The Donnas are total, unfiltered ROCK STARS. There’s not a bad song here, it’s diamond class all the way, cheekily witty lyrics included. Two bonus tracks add to the fun, and with songs like “Too Bad About Your Girl” you’re gonna annoy the hell out of the neighbours till ‘5 O’clock in the Morning’!
Hopes were high for the follow up album, “Gold Medal”, but sadly this doesn’t quite hit the same heights. The sound was augmented with acoustic guitars and a wider ranging approach to songwriting, which is to be applauded. For the most part this works well, and nothing has changed that much really. Overall, the thrill isn’t quite the same, however.
With songs like ‘I Don’t Want to Know (If You Don’t Want Me)’ and ‘Don’t Break Me Down’ we’re in familiar Donnas territory, and the lyrics are sharpened up and more mature. ‘Fall Behind Me’ is the justifiable stand out song here, rolling along as The Donnas snarl defiantly in what is one of the best songs in the entire compilation. With a bonus track tagged on, it’s a solid collection – but it’s a house-trained version of its predecessor.
Disc 3 cobbles together everything else that was left in the Atlantic catacombs. There’s a handful of great but not excellent unreleased tracks, some acoustic versions of songs from “Gold Medal”, a batch of pretty bloody electrifying live tracks and a fun cover of Billy Idol’s ‘Dancing With Myself’. Nothing completely indispensable, but a fine way to complete the collection for the die hards.
And that’s about it for The Donnas. They released one more album – “Bitchin’” – on their own label, and called it a day. The Donnas will never reform. They’ve all moved on to other things. But for a short while in the early part of this century, they were perfection. This release testifies to that. If nothing else, you need “Spend the Night” – you’ll never party the same without it. You’ll love it, like I do, and you’ll want as much other music by The Donnas as you can find. Start here.
Now listen here, chosen ones. Sometimes, I get a whiff of opinions like “Thrash Metal is stuck in the 80s” or “It’s old fashioned”. I am here today to proclaim that any views such as this are completely and utterly wrong. And I can prove it to you: the evidencecis in this new release from Toranaga UK.
Toranaga (nowadays with UK affixed) began their Metal onslaught back in the prime days of Thrash: yes, the 1980s. They were reasonably successful: records with Peaceville and Chrysalis, tours with big names. Sadly, the band folded – but they’re back now, and seemingly stronger than ever.
Witness the opening track here, ‘Desecration’. Commencing with a fiery lead, the full force riff soon barges in. It’s fast, it gets faster, a thundering runaway locomotive kept under strict rhythmic control. Track 2, ‘A New Order’, has a disarming melodic intro, before the crunching, super solid riff bludgeons its way in.
This EP delivers Thrash in the classic sense, straight out of the 80s heyday. But Toranaga UK also sound totally contemporary: the production is flawless; the arrangements are just as thrilling as anyhting else out there right now. ‘The Shrine’ and ‘Sword of Damacles’ complete this EP with power and authenticity.
All in all, this “A New Order” EP is a classy offering. Superb, katana-sharp musicianship (the vocals are awesome) and masterful composition, the only crime here is that the audience needs a full album. Toranaga UK are everything that Thrash could and should be – don’t miss out on them this time around.
Well 2025 certainly delivered the goods for new music. As in previous years, Ever Metal asked me to compile a list of my Top Ten albums from the worlds of Rock and Metal, so I did. The list has already been published over on EM, but I’ve reproduced it here for anyone who missed it…
You know what? It would be easier to pick my All Time Top 20 Albums than a Top 10 for the year. I know I say this every year, but 2025 has been a really strong one for new releases. Whatever the genre, there have been some beauties. So here are ten of my favourites, listed from one to ten, but to be honest – the ranking between these exemplary specimens doesn’t mean that much.
Admittedly, I was late on the bandwagon with this band, but I don’t care. Pigs x7 dropped this Stoner Metal monster and I shamelessly joined the admiring throng. “Death Hilarious” is crazy riffage for a good time.
This album of dreamy Doom Pop has been played relentlessly chez moi since its release. Mournful bass, crashing drums and reflective vocals create an otherworldly tapestry.
A beguiling soundtrack for a strange world, Spider Kitten knit the heaviest of sludgy riffs, avant garde Doom and Spaghetti Western music into something truly original and unforgettable.
I saw Froglord live and immediately fell in love with their sludgy, amphibious grooves. “Metamorphosis” is a masterclass in swampy riffage and it has constantly cheered me up since it oozed into my possession.
This band go from strength to strength, and their “Move Mountains” album became one of my most played albums of the year. A full-on Stoner Rock, Grunge and Metal hybrid that always drags you back for another listen.
The second album from King Kraken builds on the triumphs of its predecessor, but adds an even tougher, uncompromising Metal edge and daring new textures.
The absolute Overlords of fuzzy Doom Boogie, Master Charger’s 2025 masterpiece delivers everything that you could ask for, plus more. Extremely infectious in every good way. Essential!
Right from the first spin, I knew this glorious album would be a contender for the best of the year list. A stunning album that isn’t afraid to branch out in new directions, whilst staying true to the core of what 1968 do.
And there you go, ten superb albums that I’ve loved this year. Honourable mentions go to Supersuckers, Melvins, Toranaga and Jonathan Hultén for releasing top quality music that nearly made the cut.
Happy New Year all – here’s to the new sounds of 2026!
Don’t forget to keep visiting Ever Metal – and Platinum Al’s Virtual Hot Tub – for the best music!
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