Tag Archives: metal music

Singles Night at the Virtual Hot Tub #35

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For the first time of 2025, let’s indulge in another Singles Night. A night of spinning records, having a few drinks and enjoying the vibes.

The “singles” in the event title refers to vinyl singles: the 7 inch, 45 rpm discs that were once the pocket money swallowing masters of the weekly music chart. Now I have a massive stack of said singles, and on some nights I dig a load of ’em out, and play ’em. Both sides – A then B – and onto the next.

There are many wonders to be found amongst the hefty pile of 7″ records. And a few oddities. But the randomness and variety always an entertaining night.

Grab a drink and settle in with my latest playlist:

  1. Generation X – “King Rocker” / “Gimme Some Truth”
  2. David Bowie – “Modern Love” / “Modern Love (Live Version)”
  3. Motorhead/Girlschool – “Please Don’t Touch” / “Bomber” / “Emergency”
  4. The Alarm – “Presence of Love (Laugharne)” / “Knife Edge”
  5. Depeche Mode – “See You” / “Now, This Is Fun”
  6. Dana – “All Kinds of Everything” / “Channel Breeze”
  7. The Steve Gibbons Band – “Eddy Vortex” / “Little Suzie”
  8. Shirley Bassey – “So In Love” / “As Long As He Needs Me”
  9. Darts – “Don’t Let It Fade Away” / “Early In The Morning”
  10. Elvis Costello & The Attractions – “Oliver’s Army” / “My Funny Valentine”
  11. David Bowie – “Blue Jean” / “Dancing With The Big Boys”
  12. AC/DC – “Guns For Hire” / “Landslide”
  13. ABC – “The Look of Love” / “The Look of Love (Part 2)”
  14. The Jam – “Start” / “Liza Radley”
  15. Jimmy Cliff – “Reggae Night” / “Love Heights”
  16. The Sweet – “Little Willy” / “Man From Mecca”
  17. Propaganda – “Duel” / “Jewel”
  18. Patrick MacNee & Honor Blackman – “Kinky Boots” / “Let’s Keep It Friendly”
  19. A-Ha – “Hunting High and Low (Remix)” / “The Blue Sky (Demo Version)”
  20. The Creatures – “Miss The Girl” / “Hot Springs in The Snow”
  21. Queen – “Somebody To Love” / “White Man”
  22. Ike & Tina Turner – “Nutbush City Limits” / “Help Him”

Twenty two records this week, and a few strange ones are still creeping in – some are the remains of a bundle of singles I bought at a car boot sale for a fiver. I kept Dana in the collection due to the Eurovision connection, but Shirley is a superstar.

Punk and New Wave genres are nicely represented in this selection, with great songs from Generation X, The Jam and Elvis Costello. A-Ha, Depeche Mode and ABC bring in some pop classics, while good old rock’n’roll is delivered by AC/DC, Motorhead and Girlschool.

Two great 1980s Bowie discs made the playlist and there’s a favourite from Queen (though it’s one of my least favourite songs of theirs). Adding to the 70s vintage is a cheeky number from Sweet, which never fails to raise a smile!

Another successful night spinning vinyl. More to come soon.

Uncle Slam – Album Review

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Uncle Slam – Will Work for Food/When God Dies 

Dissonance/Cherry Red Records 

Release date: 26/07/2024 

Running time: 2 CD compilation 21 tracks 

Review by: Alun Jones 

7.5/10 

Wow, was I asleep or something there?  How did I manage to miss Uncle Slam back in the late 80s/early 90s heyday of crossover?  At that point in time, I was 100% in this bands target demographic: young skateboarder with a love of hardcore punk and thrash metal.  And yet Uncle Slam and I never crossed paths till now.  Thanks to Dissonance/Cherry Red records, we have this double album compilation of the bands second and third albums, and I can fill in some gaps. 

The obvious starting point here is Suicidal Tendencies.  It’s a lazy option to begin here, but the similarities in sound and style between Uncle Slam and ST are so abundant that we can’t ignore them.  Both bands are from the Venice, LA scene, with various members of Suicidal appearing within the ranks of Uncle Slam at one point or another.  Anyone (like me) just arriving to this mosh pit will be astounded how the Slam guys seem to have been largely forgotten. 

The first album, “Will Work For Food”, features a satisfying metal crunch along with the punk energy.  To be fair, the influence of ST, early COC and DRI mingle with the classic thrash of Testament and Nuclear Assault pretty seamlessly.  Fans of any of those bands will dive straight into ‘Left for Dead’ and ‘Roadkill’ right from the off.  The rest of disc 1 follows in a similar frenzy of crunching metal guitars and aggressive pace, and it’s all great fun.  The only oddity is a re-working of Led Zeppelin’s ‘Dazed and Confused’, barely recognisable as it’s been reimagined so drastically – but brilliant for it. 

Disc 2 presents us with Uncle Slam’s third and final album, ”When God Dies”, released in 1995.  By this time, dominant musical genres had fluctuated, and this record shows Uncle Slam developing their sound.  The title track opener thus delivers more chunky metal, but shoe-horns some funky breaks in the style of (Suicidal off-shoot) Infectious Grooves.  It’s a less thrash, more punk and alt rock influenced sound, but although something of a departure, it still works for the most part.  As a result, songs like ‘Procreation’ still rock, but ‘Summer in Space’ is just silly. 

For some, this collection will be too similar to good old Suicidal Tendencies to stand on its own merit.  I would disagree: there are plenty of other influences here, not just the main offenders.  And who cares, anyway?  This isn’t just a sound, it’s a whole vibe – Venice beach, Dogtown, punk rock and skateboarding on a never-ending summer vacation.  Uncle Slam deserve their moment in the spotlight, and I’m not gonna deprive them of it.  Neither should you. 

There’s some Uncle Slam on Spotify for you to check out.

This review is presented by Platinum Al and Ever Metal.

Orange Goblin – Album Review

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Orange Goblin – Science, Not Fiction 

Peaceville 

Release date: 19/07/2024 

Running time: 51 minutes approx 

Review by: Alun Jones 

9/10 

Pointless review of the month time!  But why, pray tell, is this review of the new Orange Goblin album “pointless”?  Because, old pal, literally everyone knows that Orange Goblin are a BIG THING.  And they haven’t released an album for seven years.  So this release, surely, will be near the top of everyone’s wish list for 2024.  Especially in the case of our esteemed Ever Metal readers, who as we all know, are a cut above the rest of the uncultured rabble out there. 

Without patronising our dear readership in anyway, a new release from these London doom/stoner/heavy metal scoundrels is, and should be, a BIG THING. 

Anyone who’s already a fan of Orange Goblin can expect more of what has come before, but it’s safe to say, “Science, Not Fiction” is amped up a little more than usual.  The same killer riffs, powerful delivery, ace musicianship, clever style variations are all in place as expected, but tweaked just a little higher.  Right from first listen, it’s obvious that quality control has been merciless on this recording, resulting in a collection of peak songcraft.    

‘The Fire at the Center of the Earth is Mine’ opens the engines in fine form.  After a cacophonous intro marked by belching bass, the riff kicks in and the ride begins.  A furious “death boogie” with a super catchy, uplifting chord structure for the chorus, this is prime Goblin. 

There’s no room for a breather, with second track ‘(Not) Rocket science’ bolting out next – a relentless hell ride that features a killer lead bass break (courtesy of new four stringer Harry Armstrong).  It’s probably my favourite song on the album: Ben Ward’s voice booming and Joe Hoare’s guitar threatening to jump the gate and roar off into the night on its own. 

An epic, mid-seventies Sabbath-doom vibe pervades ‘False Hope Diet’, with its bouncing groove and changes.  ‘Cemetary Rats’ starts with a gloomy, gothic vibe before exploding into something akin to old school thrash a la Testament.  Through all tracks, Chris Turner’s drums are dependably solid and thunderous. 

‘The Justice Knife’ is another fast rocker that benefits from some outer space wah-wah guitar, though generally speaking, the latter half of the album doesn’t quite have the heights of invention that earlier tracks possess.  The last song, ‘End of Transmission’, fields a suitably epic and raucous finale, however – soaring through sections with determined power. 

My only slight gripe with “Science, Not Fiction” is that the bonus track ‘Eye of the Minotaur’ appears to be CD only – which means vinyl fanatics like yours truly will miss out.  Nevermind, this album is a devastating power house of modern metal.  Orange Goblin have created a record that demonstrates all we love them for, and ladled on a good-sized helping of extra sauce to sweeten the deal.  One of THE albums of 2024, “Science, Not Fiction” will be guaranteed a place in my annual Top10.      

Check out Orange Goblin on Facebook, Instagram, Spotify and Bandcamp.

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

Nebula/Black Rainbows – Album Review

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Nebula/Black Rainbows – “In Search of the Cosmic Tale: Crossing the Galactic Portal” Split 

Heavy Psych Sounds 

Release date: 28/06/2024 

Running time: 32 minutes 

Review by: Alun Jones 

8.5/10 

What’s that old saying?  Oh yeah, “I get by with a little help from my friends”.  Now neither Nebula or Black Rainbows could possibly fail on their own, so together these cosmic psychonaut supertroopers should absolutely RULE.  These guys aren’t leaning on each other, they’re building each other up to stratospheric heights. 

“In Search of the Cosmic Tale: Crossing the Galactic Portal” is the longest title I’ve ever had to type (thank the gods for copy and paste).  It’s a six-track album split between those two bands, and released by one of the most on-the-money record companies around at the moment, Heavy Psych Sounds.  So the pedigree is off the charts. 

The first three tracks are from our old buddies, the psychedelic warriors, Nebula.  There are three brand new tracks here, of which ‘Acid Drop’ is the pinnacle – a chugging, unstoppable mammoth tune that’s fuzzier than a caveman’s armpits.  ‘Eye pf the Storm’ chills the mood out a bit with an infectious, spaced-out groove that fits perfectly.  Things get a bit weirder with ‘Ceaser XXXIV’, with a lolloping riff that wiggles into your mind. 

Black Rainbows present us with ‘The Secret’, which really shouldn’t be a secret to anyone: it’s a boisterous, Sabbath style good time and probably my favourite track here.  Ah, I shouldn’t pick – but there you go.  The galactic groove continues with ‘Thunder Lights on the Greatest Sky’, another joyous ode to fuzz.  ‘Dogs of War’ wraps things up nicely with a psych wander through the sky that gradually builds to exhilarating levels.   

At just over half an hour long, this mini album/EP or whatever simply isn’t long enough.  The quality of music is fantastic though, as well it should be.  No surprises there.  Both Nebula and Black Rainbows are awesome bands that you can trust to conjure up the goods.  This beauty’s available on several different versions of sexy vinyl too, so worth shelling out for.

Check out Nebula on Facebook, Instagram, Spotify and their own website here.

Check out Black Rainbows on Facebook, Instagram, Spotify, Bandcamp and their own website here.

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

Devil Moon Risen – Album Review

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Devil Moon Risen – Fissures of Men 

Self-released 

Release date: 06/06/2024 

Running time: 36 minutes approx 

Review by: Alun Jones  

7.5/10 

Ready for something a little different?  Something born from the familiar, but tantalisingly different?  Then step right this way, Platinum Al has a musical odyssey that will intrigue you.  We’re talking about the debut album from Devil Moon Risen, a trio out of Phoenix, Arizona, and it’s all kinds of unexpected. 

We’re starting in the realm of desert rock, but Devil Moon Risen have added some spice to their chimichanga with elements of punk, sludge and doom metal.  So, off we go with a thuddingly heavy, groovy chugger in ‘Bad Sketch of a Killer’ that twists into a creepy waltz and back again. 

Like Primus playing QOTSA songs on an album produced by the late great Steve Albini, the songs feature unpredictable, powerful bass and thrashing guitars.  It doesn’t always quite gel, ‘The Rim’ is more of a challenge to get into, but “Fissures of Men” is always surprising and brave.  

When everything falls into place though, the results are superb, as with the full-on rock-out distorted delight that is ‘Shaun Powell’.  Elsewhere, there’s more Frankenstein-like craziness such as ‘D.T.T.B.O.W.T.B.’, which launches like later era Danzig before offering some more laid-back grooves, then morphing to a black metal wail. 

“Fissures of Men” is a journey and then some: Devil Moon Risen have taken the obvious starting point and run off in a totally different direction (or three).  Whether it’s noise rock or some as yet uncharted genre of music, the album is sometimes demanding and always unpredictable.  If – or when – you’re ready, “Fissures of Men” could be just the education you need. 

Check out Devil Moon Risen on Facebook, Instagram, Twitter, Spotify and Bandcamp.

This review is brought to you by Platinum Al and Ever Metal. You’re welcome.

The Cult – Gig Review

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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

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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

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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.

Goat Major – Album Review

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Goat Major – Ritual

Ripple Music

Release date: 08/03/2024

Running time: 41 mins approx

Review by: Alun Jones

9/10

“Ritual” is the debut album of Occult Doom Metal band Goat Major. The band, comprising Jammie Arnold (guitar), Simon Bonwick (drums) and Tom Shortt (bass and vocals) came together as a three piece during the pandemic and the frustration of lockdown. They hail from Haverfordwest, Pembrokeshire in Wales, which makes a lot of sense. Wales is steeped in ancient legends, historic monuments and plenty of castles, druids, standing stones, devil dogs and faerie folk – a rich landscape for inspiration.

Musically, we have here eight songs that follow the classic doom/stoner template of fuzzy guitars, rumbling bass and crashing drums. The first track, ‘Snakes (Goddess of the Serpent)’ offers up a burning, slow riff before launching into a dirtier, groovy rhythm. The title track has a driving pace with a hypnotic feel, induced by backing vocals and a relentless grind.

The songs aren’t all just freaked out, fuzztastic trips though. There’s a palpable air of Dennis Wheatley and Hammer horror permeating the whole affair, best demonstrated by ‘Mountains of Madness’, with its slow, atmospheric start. Goat Major bring the gloom to the doom with a touch of malevolence.

Rounding off the album is a short, melodic track called ‘Lay Me Down’, which reminds me of the sort of mellow insert that Budgie (or Sabbath, for that matter) would employ. Appearing last, it’s a lovely oasis of calm after the preceding murkiness. It’s easy to compare the album to Electric Wizard, Uncle Acid and Cathedral, but the foreboding feel Goat Major have created shows they have ideas of their own.

Bubbling away in Goat Major’s coffin is a recipe for some classic Occult Doom Metal. They’ve taken the original sources, added some sinister seasoning of their own, and delivered a hell of a debut album. “Ritual” is easily qualified to make my end of year Top Ten.

PS: in no way has the fact that this band is from Wales influenced my high opinion of this excellent album. Diolch yn fawr, Goat major!

Check out Goat Major on Facebook, Instagram, YouTube and Spotify.

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

N.E.W. Metal Productions Alldayer

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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.