Spelljammer – Album Review

Spelljammer – Abyssal Trip

RidingEasyRecords (UsThem Group, Palmer Turner Overdrive)

Release date: 26/02/2021

Running time: 44 minutes

Review by: Alun Jones

8/10

A slow build of distortion, punctuated by air raid sirens, heralds the onslaught of “Bellweather”, the first track on the latest Spelljammer opus.  These guys are in no rush.  Instead, the listener sinks slowly into the mire, as first guitars and bass, then drums, stealthily enter.  Over the course of six plus minutes, the track builds beautifully, setting the style for the album to follow. 

Spelljammer are from Stockholm, Sweden – and comprise Niklas Olsson (bass and vocals); Robert Sörling (guitar) and Jonatan Rimsbo (drums).  It’s been five long years since their last album, but now they’re back with a huge, ponderous collection of sludgy, doom laden music.

Second track, “Lake”, follows the hypnotic incline of the opener with a brutal riff and throaty vocals, before descending into a medium paced headbanger.  This track nicely encapsulates the contrasts between heavy, thunderous ferociousness and trancelike wonderment.

The band composed these songs in the seclusion of a remote house in the country.  The various shifting sections of the songs obviously reflect that concentrated effort, with a perfect ebb and flow.  Sections wind intricately between the monstrous and the calm. 

“Among the Holy” starts with a creeping pace before erupting into the album’s biggest rocker.  The title track opens with a sample from some obscure horror movie, and I need to know which!  After that, it’s crawling doom which picks up speed a little in a Sabbathy manner – complete with distorted vocals.

Talking of Sabbath, “Peregrin” feels like one of those Tony Iommi instrumentals on “Master of Reality”.  It’s actually quite wonderful.  Finally, “Silent Rift” is over ten minutes of all that’s gone before, ramped up even higher.  The pace is slow, there’s no haste, Spelljammer take their time and let the music grow and breathe.

The listener will also need to take their time and truly absorb this album.  Stick on your ear goggles, turn the lights down low and bask in the inventiveness.  “Abyssal Trip” is a record that’s been carefully composed and nurtured.  The enjoyment here is in the journey and all its interwoven elements.      

As we’re talking of jam, I’m reminded of an episode with my old Black Sabbath mates.  We were at legendary Rockfield studios in Wales, and following a late night in the studio and an even later nights boozing, the band were relaxing on the lawns on a gorgeous summer day.  Bill fell asleep on the grass, and Ozzy decided to take the remains of the strawberry jam from breakfast and smear it all over Bill’s beard.  Sure enough, ten minutes later, Bill woke with a scream – brushing wasps from his face.  He jumped up and ran to a nearby pond, jumping in face first.  When he emerged, Bill looked like a Sasquatch.  He spent days rubbing ointment on his face and was finding dead insects in his beard for ages.   

Seek out more Spelljammer info on Bandcamp, Facebook and Instagram.

RidingEasy Records are also on the web, Bandcamp, Facebook and TubeYou.

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

Platinum Al’s Top 10 Rock & Metal Albums of 2021

Over the last year, I’ve reviewed a fair few albums for my pals at Ever Metal, and also continued on my never ending odyssey to explore new music. Old bands, new bands, from the big hitters to the up and comers. But what Rock and Metal albums were my favourites from 2021?

This list answers that question: here are the albums that I enjoyed the most from last year:

10. Stoner – Stoners Rule

9. Here Lies Man – “Ritual Divination”

8. Bloody Hammers – “Songs of Unspeakable Terror”

7. Melvins – “Working with God”

6. Acid Mammoth – “Caravan”

5. Barbarian Hermit – “One”

4. Red Fang – “Arrows”

3. Son of Boar – “Son of Boar”

2. Green Lung – “Black Harvest”

  1. 1968 – “Salvation, if you need…”

Another strong year for new music, 2021 managed to deliver that much, at least. There were plenty of other great releases from other artists, this is just my pick of the best – and it certainly wasn’t easy to narrow down to just this ten.

All of the above are superb records, and I’d strongly advise you to check them out. Read the full reviews on Ever Metal (where applicable) and also on here too, in the near future.

Let’s raise a glass to more great music in 2022 – and who knows, maybe some more gigs?!

Ungraven/Slomatics – EP Review

Ungraven/Slomatics – Split EP

Blackbow Records

Release date: 05/03/2021

Running time: 31 minutes

Review by: Alun Jones

8/10

How did you spend your time during the pandemic?  Did you learn a new language or a musical instrument?  Did you get out there running, hammering marathons and getting super fit?  Or, like most of us, did you hang on there by your finger nails, just about keeping it together and escaping the monotony?  Well luckily for us, these two bands – Ungraven and Slomatics – decided to put their talents to creative use and deliver some music to keep us all sane in these bizarre times.

This is one EP, two bands and six songs in total.  First off, we have Ungraven, who despite only being formed in 2019 feature musicians of fine pedigree: Jon Davis (Conan), David Ryley (Fudge Tunnel) and Tyler Hodges (Tuskar).   “Defeat the Object”, their first offering, features a reliably sturdy riff to nod your head to.  Next track, “Onwards She Rides to a Certain Death” comes galloping out of the gates like an armour covered battle horse – it’s no nimble dressage, more like a cavalry charge into a frenzied battle.  Ungraven’s final song, “Blackened Gates of Eternity”, has a grinding intensity that has an industrial feel.

Slomatics pick up the baton and start off with the brutally heavy, atmospheric “Kaan”, which seems to move sideways rather than forwards.  Slow and hefty, I’ve seen ox bow lakes form quicker than the pace of this monster.  “Proto Hag” follows a similar style, but you’ll be glad to learn that it’s even more intense.  Slomatics have been building their reputation for some years now, and these tracks confirm their prominence.  Their final song, “Monitors” – probably my favourite on the whole EP, though I feel bad singling out one track – only pushes their reputation further.  The music is almost trancelike, with a magnetic melodic element.

This split EP is dense and compelling.  Both Ungraven and Slomatics impress with their conviction and integrity.  The only down side is that 31 minutes just isn’t enough.  This is a very enjoyable starter, but it just makes me hunger for a full plate of whatever these two immense bands can serve up.  Please sir, can I have some more?

Check out Ungraven on Facebook and Bandcamp.

You can find Slomatics on the interweb, Bandcamp, Facebook and Twitter.

Visit Blackbow Records here or on Bandcamp.

This review was presented to you by Platinum Al in association with Ever Metal.

Barbarian Hermit – Album Review

Barbarian Hermit – One (Reissue)

APF Records (For the Lost PR)

Release date: 29/01/2021

Running time: 49 minutes

Review by: Alun Jones

9.5/10

Writing these reviews for Ever Metal isn’t easy, you know.  I’m sure I speak for the whole writing team when I say that we pour our heart and soul into all our prose.  Each of us lives with the fear of the dreaded Writer’s Block, gnawing at our bones.  So, I decided that my review of this reissue of the 2016 debut album by Barbarian Hermit, released by the mighty APF Records, would need some help. 

But who could assist with such a task?  Why none other than my old friend, Volkrugg the Decimator – barbarian warlord of Ages Long Forgotten.  Of course: no-one is better qualified!  And seeing as I’ve basically been a hermit for the last year, between us we should have it covered.

Take it away, Volkrugg…

“Greetings, people of the 21st century!  I am Volkrugg the Decimator – warlord of the Mist Realm, conqueror of the Thorspian cities, leader of the barbarian hordes of Vossk.  My good friend, Al, has begged me for my musings concerning the recorded work of Barbarian Hermit, and lo – shall I render it unto thee with vicious glee!

“From the very start, these seven songs burst forth like an army of Ionian Thrask Vandals!  They wield their war axes with vengeful power, surging down from the mountains on thundering hooves of hell.  The brief respite of sometime calmer moods offer shelter from the maelstrom of war, yet always the majesty and power of conflict lurks temptingly!

“Verily, hearing these odes, I was mindful of my fallen brothers from glorious battles past – gone but ne’er forgotten, proudly drinking and brawling in Valhalla!”

There you go, I couldn’t have said it better myself.   “One” is a great, sludgy, fuzzy celebration of relentless force and mesmerising intricacies.  Both Volkrugg, his band of berserker warriors and myself are all big fans.  You’d be a fool of mythic proportions to miss this album, and be warned – Volkrugg fed his last court jester to a tiger.  Barbarian Hermit reviewed by a barbarian and a hermit – you can’t get a more honest opinion than that.

Seek Barbarian Hermit on Bandcamp, Facebook and Twitter.

Heed the word of APF Records on the internet here, or visit them on Facebook, Bandcamp or Twitter.

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

EMQs with… Platinum Al

Last year, in the depths of lockdown and with no live entertainment to review, the glorious website that is Ever Metal was kind enough to open up their Ever Metal Questions series to the reviewers. As an EM contributor I was finally able to fulfil a lifelong ambition – and satisfy my enormous ego – by being interviewed for the site.

The questions were pretty much what we ask musicians, only I had the privilege of answering them myself. And now, in a move that confirms that I really have no shame, I proudly re-present the same interview here, at the Virtual Hot Tub. Well, it is my birthday this month…

Enjoy!

What is your name, what do you do, and can you tell us a little bit about how you ended up doing it?

My name’s Alun, AKA Platinum Al.  I write some reviews for Ever Metal, which came about through meeting Rick and Beth at Pentre Fest a while back.  “I can write!” I lied, and they’ve been too kind to bin me off ever since.

What Country/Region are you from and what is the Metal/Rock scene like there?

North Wales in the UK.  We seem to be a bit out in the wilderness to the outsider, but thankfully there are a few venues that put good bands on in Chester and Wrexham (both nearby) and of course, the good old Tivoli in Buckley (just up the road).  Liverpool and Manchester are both accessible.  The big win for us though is Pentre Fest – and all the other events that North East Wales Metal Productions put on.  It’s introduced me to loads of new music and it’s right on my doorstep. 

What is your favourite latest release? (Album, EP, Single, Video)

Desert Storm’s “Omens” on APF Records is album of the year so far.  Beyond that, I’m still reeling from the wonder of Giant Dwarf’s self-titled master piece, my album of 2019.

Who have been your greatest influences, in music or in life?

George Lucas, for Star Wars – which influenced me more than anything since I was five years old.  Stan Lee and Marvel comics have also been a big inspiration.  Skateboarding in general has opened my eyes and ears to the wonder of the world since my teens. 

In music, there’s dozens: Johnny Cash, Motorhead, AC/DC, Ramones, the Damned, The Misfits, Black Sabbath, The Cult, Soundgarden, Led Zeppelin, Queen, Monster Magnet, COC, Melvins, Jimi Hendrix etc etc.

What first got you into music?

I listened to the Star Wars soundtrack first of all; it still has an amazing emotional response on me even now.  The next big development was seeing the film Highlander, which I loved.  A friend of mine recommended the Queen album A Kind of Magic as it featured several songs from the film, and it’s been downhill from there.  Thankfully, through skateboarding I was introduced to music that was a bit off the beaten track, shall we say.

Which current bands or musicians would you like to see collaborate on a record?

Good question!  How about Shakin’ Stevens – the Welsh Elvis – fronting the Misfits?  Danzig can write the songs.

If you could go to any festival in the world, which would you choose and why?

Pentre Fest!

What’s the weirdest music related thing you own?

I have some pretty weird vinyl in my collection, like Roland Rat, the Wurzels and an album called “How to Strip for Your Husband”.   Oh, and a Joan Collins work out record.

If you had one message for your Ever Metal readers, what would it be?

Never ever bloody anything ever.

If you could bring one rock star back from the dead, who would it be?

So many greats to choose from (sadly).  I’ll nominate my old mate Lemmy, as I probably embarrassed myself when I met him by talking bollocks.

If you could change one thing about the music industry, what would it be?

Stop developing new formats – you lied to us about CDs when vinyl was the ultimate.  There are some albums I own on vinyl, tape, CD and download – and I’ve had to buy every single one.  Can we all just agree to not buy whatever new garbage format they try and lumber us with in the future? 

Name one of your all-time favourite albums?

Never Mind the Bollocks, Here’s the Sex Pistols.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Vinyl, obviously!

What’s the best gig that you have been to, and why?

Black Sabbath at Birmingham Genting Arena on their “The End” tour is up there.

What do you get up to when you’re not writing/ taking photos?

Working the day job and being a dad mostly.  Then listening to music, skateboarding, riding my bike, watching old Hammer horror movies, collecting toys, drinking beer.

Which five people would you invite to a dinner party?

Sir Christopher Lee, Johnny Cash, Jimi Hendrix, Joey Ramone and Lemmy.

If they have to be alive, then James Hetfield, Glenn Danzig, Dave Vanian, Henry Rollins and pro skateboarder Mike Vallely.

Jaffa Cakes? Are they a cake or a biscuit?

I don’t know, but I had cherry ones in Greece and they were amazing!

Thank you for your time. Is there anything else that you would like to add?

Just thanks for giving me the opportunity to flaunt my massive ego by doing an interview, it’s something I’ve always wanted to do!  HAHA!

Oh, and to the readers of Ever Metal: thanks for reading, and never forget that we are fans just like you and we do this for the love of the music.  Never say die!

Read more Ever Metal staff EMQs here.

Wax Mekanix – Album Review

Wax Mekanix – Mobocracy

Electric Talon Records (Dewar PR)

Release date: 20/11/2020

Running time: 30 mins approx

Review by: Alun Jones

9/10

“Who the fuck is Wax Mekanix?” You may well ask.  Who is this enigmatic troubadour, this mysterious master musician, who has concocted this art for us to absorb?  Well, I’m not sure I can answer those questions, but I have done some research.  A bit late, I know, as this album was first released back in November.  But hey, I can’t be cutting edge all of the time.  Sometimes a scribe such as I must admit that changes of seismic consequence occur without my usual omniscient vision.  Hard to believe, I know.

And yet here we are.  Six tracks of exploration and wonder that plough a beguiling path through musical genres, from classic hard rock to folky musings, with an added sprinkle of the unexpected and alternative.

If you want big full-on metal with groove, you’ll find it with “Blood in my eyes”.  Huge chants and choruses?  Try the gladiatorial detonation of “Victorious”, where you’ll also witness Brandon Yeagley and Chris Bishop of the very awesome Crobot playing the funky, infectious riffs that they’re famed for.

Wax himself is something of a renaissance man: writing, singing and playing on all tracks.  Possessing a voice that can change from a warm country croon to a caramel Maynard James Keenan earnestness to a classic Alice Cooper roar, Wax morphs easily from one to another.  He’s like Mike Patton with a folk fixation, but dressed even more dapper.

“Mad World” is one of my favourite tracks here, starting off with some Mexican guitars before erupting in a NWOBHM stampede that also recalls The Crue at their pop metal best.

The absolute highlight, though, is the final track “Black”.  This song is all eerie acoustic guitar and minimal percussion, with a catchy melody that creates something hypnotic and other worldly.  Despite also reminding me of Johnny Nice Painter form the Fast Show (do a Google) on the chorus, this song exudes atmosphere.

Although the album is a little short, there’s plenty to investigate.  Listeners will be rewarded with additional revelations each time they delve into it.    

When I first heard Mobocracy, I rated it as good.  After a couple of listens, I’ve upgraded it to GREAT.  A welcome amalgamation of styles and influences, as well as exemplary song writing and musicianship, don’t let the endeavours of Wax Mekanix pass you by.  Who is Wax Mekanix?  The real question should be: “What’s next?”

Speaking of wax, did I ever tell you about that time when Ozzy and me decided to do a séance with some candles he pilfered from some hippies?  That did not end well.  There’s a little B&B in Carlisle that still has scorch marks up the walls.  Tony was not impressed in the slightest.  And I still have a phobia of barbecues to this day.

You can check out Wax Mekanix on Facebook, Twitter and Bandcamp.

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

Bloody Hammers – Album Review

Bloody Hammers – Songs of Unspeakable Terror

Napalm Records

Release date: 15/01/2021

Running time: 32 mins approx

Review by: Alun Jones

8.5/10

Outside, the nights are starting to get lighter and Spring is on its merry way.  The birds chirp merrily and warmth is returning to the land.  Which is completely inappropriate for a review of the new album by Bloody Hammers, “Songs of Unspeakable Terror”.  It should be Halloween instead: gloomy and dark with the bizarre and uncanny just outside your door.

Anders Manga (vocals, guitars, bass) and Devallia (keyboards/organ) are the Morticia and Gomez husband and wife team behind Bloody Hammers, a metal/rock/goth creation based in Transylvania County, North Carolina.  How’s that for an address?  Bet Glenn Danzig’s crying into his Count Chocula cereal. 

On this opus, Lily and Herman have left behind their previous established sound of Alice Cooper-style hard rock, crunchy metal and Sisters of Mercy atmos.  Entombed alive due to the pandemic, Bloody Hammers have exhumed the bloody corpse of horror punk, in a temporary tribute to the genre.

And it’s huge fun!  Fast and furious tracks like “Night to Dismember” and “Waking the Dead” rocket from the crypt like the hounds of hell are on their tail.  Huge “whoah-oh” Misfits choruses are of course present and correct.  Rousing and energetic, these songs are obvious but loving celebrations of influences that have only been hinted at on previous albums. 

There’s macabre melody on “We Are the Damned”, with a choir vocal effect to help power the camp horror feel.  “Hands of the Ripper” and “Not of This Earth” are slower, more metal sounding with a grinding riff.

Little of the occasional Andrew Eldritch explorations exist on “Songs of Unspeakable Terror”, though “Lucifers Light” unites guitar and keys into a moody Danzig like ballad.  A little more of this approach would still have fitted perfectly however.  I don’t know if Devallia can sing, but if she can this was a missed opportunity.   

The listener never feels too far removed from the original Bloody Hammers style, however.  Likewise this isn’t a simple, derivative rip-off of “Walk Among Us”, even though “The Brain That Wouldn’t Die” is a nice radioactive “Hatebreeders” mutation.  But whereas the Misfits took their inspiration from monochrome B-movies, Bloody Hammers have changed gears to a Kensington gore-drenched 60’s Technicolor horror fest. 

“Songs of Unspeakable Terror” is an album of pure enjoyment, which is just what we need right now.  With song titles taken directly from classic Hammer/Amicus movies, a warm rediscovery of horror punk style and some familiar Bloody Hammers rock, you can’t go wrong.  Go dig out your Halloween fancy dress, find your “Plan 9 From Outer Space” VHS cassette and get ready for a ghouls night in!   

Check out Bloody Hammers on Bandcamp, Facebook and Instagram.

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

Here Lies Man – Album Review

Here Lies Man – Ritual Divination

RidingEasy Records (Us/Them Group)

Release date: 22/01/2021

Running time: 61 minutes

Review by: Alun Jones

8.5/10

OK: we have something very interesting here.  Something quite special.  Apparently, this is the fourth album from Here Lies Man, so I’ve got some catching up to do.  The bands unique selling point is their amalgamation of Black Sabbath with Afrobeat, and it’s a refreshing interpretation of a genre that continues to morph and bewitch the listener.

On this release, founding members Marcos Garcia (vocals/guitar) and Geoff Mann (drums) are joined by Doug Organ on keyboards and JP Maramba on bass.  Here Lies Man devoutly worship the riff in full-on Iommi style, but they’re piloting their space vessel on an exploratory course into previously uncharted galaxies.

Yes, there are chunky, heavy guitar riffs galore – but with a stroke of mad scientist genius the rhythms power the engine with a new force.  Tracks like “I Wander”, “Night Comes” and album highlight “Can’t Kill It” don’t just rock, they don’t just groove: there’s something – dare I say it – danceable in the songs on Ritual Divination.  So much so, that I might just have to go and shake my not inconsiderable booty right now.

There.  That’s better.  Just had to groove on out there, people – but I’m back now.  Here Lies Man have crafted something very infectious.  Snippets of 70s style heavy rock (“Collector of Vanities”), dizzy space rock (“In These Dreams”) and incessant beats (everywhere) create something that’s heavy AND fun.

If I have one criticism, it’s that the album feels slightly too long.  All this inventiveness is sometimes hard to keep up with, despite its addictive nature.  Over time, however, I’m guessing the additional length of the recording will probably deliver greater rewards.   

Ritual Divination by Here Lies Man: boldly rocking where no one has rocked before.

My old mates in Black Sabbath used to enjoy going off in random directions, too (usually because of the, er… substances).  One time, Bill Ward decided to play yet another prank on diminutive vocal god Ronnie James Dio by taking an axe to all the furniture in Ron’s hotel room and hacking off eight inches from the bottom of everything, to make it all smaller.  Chair legs, table legs, bed – the lot.  Moved the pictures – and the mirror on the wall – lower down by a foot, etc etc.

When Ronnie arrived, not only did he not get the joke, he really didn’t get the joke at all.  He thought it was a special room for the vertically challenged, congratulated the Hotel Manager and gave me a big cash bonus for booking him such a fabulous room.  Cheers, Bill!

Check out Here Lies Man website, on Bandcamp and Facebook.

Visit RidingEasy Records website and on Bandcamp.

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

Dayglo Mourning – Album Review

Dayglo Mourning – Dead Star

Black Doomba Records (Dewar PR)

Release date: 12/02/2021

Running time: 35 minutes

Review by: Alun Jones

9/10

It was late afternoon when I woke.  Sunlight was pouring through the blinds like cheap bourbon into a cracked glass, and my mouth was as healthy as a well-worn shoe.  Still aching, I reached for a half-finished bottle of warm beer to contemplate the previous nights events.  How had I ended up in this mess again?

The culprit was there before me: all innocent now, but I knew the power that lurked inside.  A new album by a band called Dayglo Mourning was to blame.  I had spent the night lost in a haze of booze and infernal doom metal, my reverie spiralling out of control by the minute.

“Dead Star”, this work was called.  An ode to sludgy riffs, apocalyptic drums and earth-shaking riffs in the traditional, old school style.  Right up my strasse, then.

Dayglo Mourning are three barbarian bruisers from Atlanta, Georgia: Joe Mills (guitar and vocals), Jerimy McNeil (bass, vocals) and Ray Miner (drums).  Together they have created a huge, monolithic prayer to the riff, with a hint of space rock and some fine bluesy flourishes for good measure.

Songs such as the title track and “Faithful Demise” also offer up a warm groove, whilst “The Offering” has more of a blues feel.  “Bloodghast” and “Witches Ladder” feature a more direct, pummelling attack, and “Ashwhore” features some spooky, satanic choir work to up the occult ante before ushering in another hefty riff.

Thundering vocals; a great, thick guitar tone and powerful rhythm section teamwork are enhanced with a fine production that’s crisp and clear, yet doesn’t sacrifice the traditional feel.

It’s hard to find fault with “Dead Star”.  Maybe the only thing is it’s a little too short?  But then, doom is perfect for vinyl, and 35 minutes is all anyone should need. 

The album even features a fantastically lurid cover, featuring some foxy space princesses in what looks like a 1970’s Marvel comic.  It was this image that had woken me from my stupor; the bright supernatural glow piercing my eyelids as they cracked open.  Cheers, Dayglo Mourning – fancy another pint?

Check out Dayglo Mourning on Facebook, Bandcamp and Twitter.

Visit the Black Doomba Records website, or find them on Facebook and Bandcamp.

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

Misty Grey – Album Review

Misty Grey – Chapter II

Interstellar Smoke Records

Release date: 20 November 2020

Running time: 39 mins

Review by: Alun Jones

9/10

Can you think of a more apt genre than doom metal for the times we live in?  It’s crazy out there.  From a global pandemic, civil unrest, ecological destruction and lunatics in the most powerful seats in the world, the 21st century becomes more and more apocalyptic day by day.  Party music doesn’t seem right.  On the other hand, the retro stylings of bands like Misty Grey hark back to cosier times of the seventies and eighties when we just had nuclear destruction – and yet more lunatics in power – to contend with.

Misty Grey is not the name of a US mattress actress (don’t bother Googling it, just in case), they are in fact a four-piece doom metal band from Spain.  They deal in extremely authentic, good old fashioned heavy rock in the Black Sabbath/Pentagram/Saint Vitus vein.  We’re in thundering, enormo riff territory, and by ‘eck it’s good stuff.

Originally receiving a CD release back in 2018, “Chapter II” is now available on vinyl from Interstellar Smoke Records.  And a very welcome re-release it is, as “Chapter II” could well have been lost in an Atlantean cataclysm of some type, which would be shameful.

Deceptively pretty Spanish guitar opens the album with a laid-back space-jazz feel, before “Spellbound” erupts with Juan’s raw, grinding guitar.  The chugging riff is illustrative of what to expect from this album; it’s Iommi worship all the way (and bless Misty Grey for it).

If that first track is the first Sabbath album, “Strangers on a Train” is a missing Masters of Reality cut.  It rolls and grooves along, powered by Robin’s bass and Javi’s drums.  On the other hand, “Rebecca” is more like The Obsessed or Saint Vitus, there’s a rough, organic, yet aggressive feel to it.

The musicianship is great, the production has atmosphere and pays homage in a credible, affectionate manner to the band’s influences – without becoming a parody.  The vocals of Beatriz Castillo really help define an individual sound for Misty Grey, she is both tender and terrifying in equal, devastating measure.

I apologise to the band for my crass comparisons to the old masters.  But hey, I don’t listen to this type of music for radical innovation.  The last thing anyone wants to hear is some kind of nu-doom, with samplers and turntables.  Keep it slow, keep it weird, keep it trippy – but most of all, keep it riffy.  Heavy, repetitive and riffy.  Misty Grey do just that on “Chapter II” and it’s all kinds of awesome.  

Check out Misty Grey on: Bandcamp, Facebook, Instagram, Spotify and YouTube.

This has been a Platinum Review for Ever Metal.