Halloween ain’t over yet, kids – at least not while the arch druids of Occult Rock, GreenLung, are back in town! Yes, London’s finest purveyors of witchy, stoner incantations have a new album, “This Heathen Land” – released by Nuclear Blast Records, no less. So gather ye round, my acolytes, whilst we indulge in the ritual listening of this opus. Light some candles, burn some incense, imbibe potions of mind-expanding merriment. And take all your clothes off!
Album number three from Green Lung kicks off with a suitably 1970s intro, setting the magickal vibe right away. ‘The Forest Church’ is the first track proper, which takes its inspiration from Danzig-approved cult folk horror classic “The Blood on Satan’s Claw”. It’s a riffalicious chunk of doomy wonder, built around an organ drenched, moody base.
‘Mountain Throne’ blasts out as a Sabbath style rocker, awash with those lush, skronky keyboards. Then GL add some sauce to their sorcery with their ode to ‘Maxine (Witch Queen)’, an ecstatically catchy slice of psychedelic, garage rock-infused debauchery. ‘The Ancient Ways’ and ‘Hunters in the Sky’ are both powerful yet groovy rock that’s reminiscent of the greats and gleefully conjures up its own aura.
Green Lung really stretch themselves on ‘One for Sorrow’, which features huge, doom riffs and atmospheric synths with an epic chorus. The mellow, folky sound of ‘Song of the Stones’ adds yet more colour to the palette, and still sounds essential – just like those more refined tracks on early Black Sabbath records. The melodic, drama infused ‘Oceans of Time’ – inspired by Coppola’s “Bram Stoker’s Dracula” – adds a suitably bombastic and ambitious climax to the album.
A word of wisdom for the initiate: the vinyl version of “This Heathen Land” shows exactly why physical media is still so important and potent. My copy is green vinyl, in a gatefold sleeve with lyric booklet and a map of the UK, showing various otherworldly sites that have inspired the album. This obsessive attention to detail is fascinating and illustrates just how much care and attention has been poured into the whole work!
Green Lung is completely fearless, their ability to rise to the challenge and create art this meticulous is highly impressive. And I should know, I’ve seen The Wicker Man and I own a black cat. Seriously, my children: “This Heathen Land” is essential.
The Sound of Origin – Man in the Arena Self-released Release date: 27/10/2023 Running time: 44 minutes (approx.) Review by: Alun Jones 9/10
Right, let’s get down to business and get this review out into the world asap. This album has already been released, and as it’s pretty bloody good, let’s shout it from the rooftops as loudly as possible.
The Sound of Origin are from Huddersfield, and this is their sophomore album. I’d previously encountered the band thanks to their cover of ‘Sick Things’ on the quite bloody brilliant “Killer: 50 Years Later” Alice Cooper tribute album, released by Pale Wizard Records. I was keen to hear a full album from these Yorkshire Doom merchants and I wasn’t disappointed.
‘This Ain’t Free’ bursts from the speakers with a booming, catchy riff and a mix of screamy versus melodic vocals. It grinds, it rolls, it grooves: and that’s a fairly good summary of the whole album. Doom metal with a welcome varying pace, it’s brutal but hypnotic. First single ‘Birthright’ is an infectious bruiser and one of many tracks that remind me of the glory days of titans like Alice in Chains. Relentless, but still melodic.
‘Crown of the Cynic’ gives The Sound of Origin the chance to flex their progressive, doomy muscle with its longer run time and thudding power. I air guitarred along to this unashamedly! There’s some mighty passion here, notably in the anguished vocals.
Kyle Thomas of Exhorder and Trouble fame crops on two tunes, ‘Frail Old Bones’ and the title track. On the former, the band rock out in a fuzzy style not too dissimilar to Thomas’ day job or even good ol’ COC. The latter finds the band in a slower, pummelling pace and KT pushes the dramatics to hair raising levels.
The Sounds of Origin can throw together elements of Stoner, Doom and Sludge with great style and enthusiasm. One welcome surprise though, was hearing final track ‘Lightbringer’ which reminded me of Angel Witch – head down, old school NWOBHM vibes all the way!
My preconceived ideas may always skew any observations I make on a band’s influences. The Sound of Origin’s “Man in the Arena” is a great album that is bigger than the sum of its parts, and builds on the classic inspirations. A solid effort, this album will no doubt be a contender to make my Top 10 of the year. Just a shame it’s not available on vinyl.
Deathchant – Thrones RidingEasy Records Release date: 13/10/2023 Running time: 37 minutes Review by: Alun Jones 8.5/10
OK, so this one’s a grower. This is the third album by Deathchant, and it started as “good” but progressed to “great!” pretty smoothly after a couple of listens. There’s a lot going on with “Thrones”, and it wasn’t necessarily what I’d assumed beforehand. Yes, there’s heavy, sludgy grooves and psychedelic shine as would be expected, but it’s tempered with a classic rock sensibility that adds both power and gravitas.
This is personified most obviously in tracks such as ‘Mirror’ and ‘Chariot’, both of which come ferociously pounding out of the gates and boast a melodic lead guitar that reminded me (very pleasantly) of Thin Lizzy. There’s also plenty of crunch in those tracks, and the doomier sections of the title track, which builds brilliantly within its 7 minutes and 40 seconds of contrasting ooze and fast paced rock.
It was the track ‘Mother Mary’ that first grabbed my attention, though. This relaxed, more introspective track, tucked away at number 4 on the playlist, immediately convinced me that there was much more going on with Deathchant than I’d immediately suspected. Anyone with any class can tell you that Sabbath’s ‘Planet Caravan’ is a momentous, pivotal track on ”Paranoid”, and it’s the same here. ‘Mother Mary’ quietly entices the listener into a different, dream-like realm.
‘Hoax’ does the opposite, waking the listener up with a jolt – and the album closes with the heaviest song of the lot, ‘Tomb’, part doom march and part striding, muscular beast. The vocals can sometimes seem a little low in the mix, but overall the finished work has enough twists and turns to ensure we’re always engaged.
As an album, ‘Thrones’ teases at first and will full-on deliver if you give this album a little time. Crafting together gloomy proto metal and snazzy classic rock frills, Deathchant have created something original – it’s thrilling and cathartic at the same time.
Poland’s mighty Dopelord return with a humongously heavy album of slow rolling, occult driven doom on “Songs for Satan”. Released via Blues Funeral Recordings, they’re celebrating the work of Lucifer in their temple of stoner sludge, and you’re invited. Throw on your hooded robes and join the throng!
Of course the songs are slow and heavy, and Dopelord manage to stamp their mark on the stoner-doom template by adding melody to their powerful, drawn out compositions. Whilst the music rumbles along demonically, the vocals add a surprising, idiosyncratic sheen. ‘Night of the Witch’ is executed in perfect, scuzzy doom style. ‘Evil Spell’ is skull crushingly heavy, but both tracks feature sing along choruses that will steal your soul as well.
It’s difficult to get all the lyrical intent on this album without a lyric sheet, but it’s safe to say that the message here is a direct and scathing criticism of the Catholic church in Dopelord’s home country. Whereas many a doom band is content to revel in Hammer Horror/Dennis Wheatley themes, Dopelord have taken this typical 1970s influence and added a real-world attack on religion too.
The album is book-ended by instrumentals, the latter of which, ‘Return to the Night of the Witch’, comfortably re-establishes “Songs for Satan” in the dreamlike, mellotron-soaked occult realm. It’s a fine album, melding inexorable, fuzzy doom with themes of devil worship and hellfire. Dopelord’s latest is genuinely well crafted, spell binding stuff. I wouldn’t bother sending them a Christmas card, though.
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.
Emergency! Emergency! Quick – this is urgent! Due to a slight administrative cock-up (that might be my fault, I’m not telling), a review for this reissue of Trouble’s classic third album almost slipped through the net. But there is no way I’m going to let that happen. Absolutely everything Trouble related should be treated with total respect and receive the maximum coverage. Hence, here’s my review to commemorate the re-release of this landmark album.
Metal Blade, who released the original version of “Run to the Light” in 1987, have been gracious enough to give us all a chance to rediscover this album from Chicago metal legends Trouble. Trouble is, as I’m sure you know, one of the great doom metal bands that originated the style back in the eighties – before the sub-genre even had a name. Whilst everyone else was speeding up and thrash metal was coming to the fore, Trouble were one of the few bands who took their inspiration from early Black Sabbath. They played slower, griding riffs resonating with melancholic power.
‘On Borrowed Time’, with its funereal intro and gloomy pace, illustrates the Trouble template well: and features a revved-up section in the latter half. The title track has a bouncy intro riff reminiscent of ‘Symptom of the Universe’ that’s married to a crushing, slower section. It’s this multi part approach to song writing, contrasting sections of heavy and light, that most recalls Tony Iommi and crew. Trouble isn’t directly stealing guitar lines or concepts, it’s the spirit and craft of Sabbath that they emulate.
The bonus tracks in this Expanded Edition include three demos of album tracks that are interesting, but for fans only. The real curio is the cover of The Beatles classic ‘Come Together’, which originally appeared on “The Best of Metal Blade Vol. 2” in 1987. Fans of the band will be aware of Trouble’s affection for 60s psychedelia, so this track will make perfect sense. ‘Come Together’ is no real surprise – it sounds exactly how you’d imagine it would – but it’s a nice temptation for the faithful.
“Run to the Light” offers little in the way of new gems, but to lament that would be to miss the point. It’s incredibly important to have albums like this in circulation, available for all to investigate and add to their collection. I can only apologise to the band and record label for the tardiness of my review; if it’s any consolation, I’ve already bought a vinyl copy to cherish (to go alongside my ancient CD copy). I’d encourage readers to buy a copy of this Trouble album and indulge in the joy of doom.
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.
Now here’s a great album to play next time the vicar pops round for a cup of tea. Invite him in, sit him down; offer a nice cuppa, custard cream perched tenderly on the side of the saucer, engage in some small talk about replacing the glass windows in the vestry. “What’s this delightful music?” the padre is sure to enquire. “Why, it’s the new album by Loose Sutures,” you reply helpfully, “it’s called “Sado Sex for Dummies””.
Of course, you’ll then be able to tell your friendly priest that Loose Sutures are a band from Sardinia, Italy – and that this is their third album. They’re a threesome, (oo-er), consisting of Antonio Pilo (guitars/vocals), Marcello Meridda (bass/percussion) and Marco Angius (drums/vocals). And what pleasant, well mannered young men they must be.
Their music is a divinely fuzzy, scuzzy stoner rock with an intoxicating slather of punk attitude. You can both bop along enthusiastically together in your armchairs to the rolling, out of control ‘Highway Shooter’, or bounce about gleefully to ‘Sadism and Gallows’. The fun continues with the sleazy punkorama of ‘White Line’, while ‘Kinky Katy’ (featuring Alain Johannes) and ‘He’s My Friend’ (featuring Nick Oliveri) offer cheap thrills and menacing rock, in that order.
If you, or your fellow upstanding members of society are fans of Kyuss, the first QOTSA album, fuzzy Mudhoney or maybe even a little Electric Wizard distorted doom, you’re sure to love this. Loose Sutures have recorded an album of wholesome, frolicking rock’n’roll that’s drenched in filth. Invite the neighbours round to sample it with coffee and a slice of Victoria sponge. Maybe leave the gimp locked in the under stairs cupboard for now, though.
Just as per last year, I compiled my Top 10 Rock & Metal albums for Ever Metal, which was published on the site. Now you lucky devils over here at the Virtual Hot Tub get to take a look too!
Absolutely ridiculous, that’s what it’s been like trying to pick just 10 albums to make my “Best of the Year” list. There’s been a ton of great music in 2023. Here’s my attempt to pick out my favourites:
Sludgy, Grungy, Stoner Metal from Huddersfield, this album features Trouble’s Kyle Thomas on a couple of tracks adding even more class to a solid record.
Folk Metal, flute infused Occult Rock that sounds both ancient and modern at the same time, we waited a long time but this album will cast a spell on you.
I was one of many waiting anxiously for the third Green Lung album, and it didn’t disappoint. Exquisite Occult Rock that’s doomy and hook filled, Green Lung have exploded with this record.
Three years ago, Desert Storm were number 2 in my 2020 Top 10, after a little band called AC/DC. This year they deservedly take the top spot, with a massive album that I’m still enjoying months later, up against some stiff competition.
Plus some honourable mentions:
Baroness, who’s latest album “Stone” probably would’ve made the top 10 if I’d listened to it sooner.
The Damned – their “Darkedelic” album may not be for all of Ever Metal’s audience, but it’s bloody great all the same.
Metallica – that “72 Seasons” thing was good but too long. Nice try.
Keep coming back to Ever Metal and Platinum Al’s Virtual Hot Tub for all the best rock reviews!
It’s Christmas time, there’s no need to be afraid… Certainly not when North East Wales Metal Productions are having their Christmas party! Yes, it’s Chrismosh, an annual celebration featuring awesome metal bands, playing live in McClean’spub in Pentre, North East Wales. Also the site of Pentre Fest, an event I regularly go crackers for – not to mention other gigs aplenty – this evening was a special seasonal gathering.
First up were Divinitas, from over in Manchester, who stepped in to fill the bill at the last minute, saving the day like Prince Charming on a steed of steel. These lads are loud and ferocious, unleashing chunky riffs that made the room bounce. The songs (particularly the closer, ‘Mirror Fiction’ – if I recall the name correctly) feature harsh vocals wrapped in torment and frustration. Divinitas played a devastating set that was energetic and performed with admirable conviction.
Next up were Liverpudlian metal titans Devil’s Henchmen, who not only have some of the best t-shirt designs I’ve seen in ages, they can also utterly destroy. These guys play music that reminds me why I loved thrash so much back in the eighties. Reminiscent of old school Slayer, Devil’s Henchmen are fast and utterly brutal. They even play a Misfits cover (‘Where Eagles Dare’, YEAH!!!) in a set that had usjumping around like the Krampus with his hooves on fire. Absolutely bloody marvellous.
Our final band of the night, the mighty, magnificent King Kraken, had travelled up from South Wales (a fair old trek, believe me) to deliver a sleigh full of Christmas cheer. Since they played at Pentre Fest back in February, I’ve waited impatiently for the return of this band and their groove metal machine. The boys don’t disappoint, with monsters like ‘Green Terror’ and ‘Devil’s Night’ as exciting and powerful as ever. We’re even treated to a couple of new tracks, never performed live before – truly, Christmas has arrived early! With a superb set, King Kraken are simply unstoppable, a perfect way to end the night.
Three great bands, a welcoming venue, organised by the ever-reliable NEW Metal Productions. Thank you. Merry Chrismosh to all, and to all, a good night.
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