UK Subs – XXIV/Yellow Leader Album Review

UK Subs – XXIV/Yellow Leader

Captain Oi/Cherry Red Records

Release date: 27/05/2022 and 08/07/2022

Running time: 38 mins and 52 mins

Review by: Alun Jones

9/10 and 8.5/10

Recap time: regular readers may remember that yours truly recently reviewed the re-issue of “Work in Progress” by punk veterans UK Subs.  You may also recall that that album covered the letter W in the bands ongoing mission to release an album for every letter of the alphabet.  Well, the good news is that Captain Oi/Cherry Red Records are also releasing the next two instalments in the series – that’s the letters X and Y (but you knew that).

Working through chronologically, we have “XXIV” – which the lovely record company peeps have released on drool-worthy double 10” vinyl, one green, one clear.  Yummy.  Our first song is an absolute belter: the full-on turbo romp ‘Implosion 77’.  Hold on tight and buckle up!  There’s plenty more fast’n’nasty thrills on offer too: ‘Speed’ has a merciless UK82 vibe; ‘Monkeys’ has a classic Subs singalong chorus; ‘Garden of Good & Evil’ is another pogo-till-your-pants-fall-off rocker.

There’s some well-placed variety too, with the harmonica adorned political thrust of ‘Coalition Government Blues’; and Bo Diddley swagger of ‘Wreckin’ Ball’ – both showing hints of the bands R’n’B origins (like as in, what R’n’B used to be).  Lyrically there are plenty of targets for Charlie to attack, both politically and socially.  ‘Memento Mori’ finishes the album off with one most aggressive tunes on offer, leaving us with a great album of 14 adrenaline infused songs.

“Yellow Leader” follows in a similar fashion, featuring 18 songs (whereas the original vinyl was cut to just 14 due to running times).  To be released on slinky, divine double 10” vinyl (one red, one turquoise here), it’ll be a feast for the eyes and ears.  Again, the album is crammed with more relentless punk rock shenanigans like ‘Sick Velveteen’, ‘Chemical’ and ‘Heathens’, all of which will have you jumping around the room like a monkey on a lava stream.

As the previous record, there’s plenty of other sounds and ideas here: single ‘Sin City Blues’ has a killer rockabilly feel; and ‘Rebellion Song’ breaks out the acoustic guitar.  The only mis-step is ‘Archaeology’, a strange post -punk/goth style experiment that while not awful, isn’t a total success.  All in all, the quality of music is impressively high and the recordings sound excellent.

And there you go, music lovers: not one, but TWO albums of mighty UK Subs songs, lovingly compiled and curated by those nice folks at Captain Oi/Cherry Red Records.  You lucky people.  Pick ‘em up while you can, nobody is this fortunate twice.    

You can find UK Subs on Facebook and Twitter.

Cherry Red Records have a website. Plus you can find them on FacebookTwitter, Instagram and Bandcamp.

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

Brown Acid: The Fourteenth Trip – Album Review

Various Artists – Brown Acid: The Fourteenth Trip

RidingEasy Records

Release date: 20/04/2022

Running time: 34 minutes (approx.)

Review by: Alun Jones

7.5/10

Well, that’s it, it’s over – I thought to myself on first perusing this latest entry in the Brown Acid series.  The well has finally run dry.  The RidingEasy Records archaeologists have eventually reached the end of their previously rich vein of rare, obscure and undiscovered proto-metal and vintage hard rock.  How had I arrived at this conclusion?  There are only eight songs, compared to the usual ten; with a running time of just 26 minutes. 

Then I realised that the final track, an 8-minute-long number by a band called Raven, was missing from the press review download I had.  So that extra track would even things out nicely, with a decent longer running time.  Though I wouldn’t be able to review every song, at least the existential crisis of NO MORE ROCK had been avoided!

Volume 14 starts of with the great ‘Fever Games’ by The Legends: it’s a rampant, rollicking late 60’s ode to Blue Cheer, Hendrix and Cream.  Despite aping Jimi a little too closely, this song is a lively opener.  Next up is Mijal & White with ‘I’ve Been You’.  This track sounds like the Monkees cutting a particularly noisy song by The Who, which should encourage you to definitely give it a whirl on your gramophone. 

I don’t know who Henry is, but thanks to the chunky blues rock of Liquid Blue, I know that ‘Henry Can’t Drive’.  This is a more traditional heavy rock number, and as an album highlight it keeps the engine speeding along on a straight track.  There’s a fast rock’n’roll MC5 vibe to ‘Signs’ by San Francisco Trolly Co. This energetic song is followed by Blue Creed’s ‘Need a Friend’, a raw and rough brawler.  It’s a contrast to ‘Play It Cool’ by Transfer, which reminds me of a revved-up surf track. 

‘You’re Not the Only Girl (I’m Out to Get)’ by Appletree finally ushers in some much-needed cowbell.  Reminiscent of Grand Funk Railroad and – gasp – even early Kiss, it’s another quality highlight.  Ideal for playing in an old, rusty’n’trusty Camaro.

Cox’s Army gives us another Hendrix inspired number with ‘I’m Tired’, which bops along in a true groovy manner.  And that, for me, is my last track on my version of “Brown Acid: The Fourteenth Trip”, though as mentioned above, there is another song called

Check out RidingEasy Records at various site webs, such as their own, BandcampFacebooksTwidderChewTube and Insta.

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

UK Subs – Album Review

UK Subs – Work in Progress

Cherry Red Records

Release date: 22/04/2022

Running time: 41 minutes

Review by: Alun Jones

9/10

Ladies and gentlemen: the UK Subs.  A fine collective of upstanding, noble samurai and no mistake.  Led by the indomitable Charlie Harper, the band have roots stretching right back to the origin of the London punk scene (and actually, a fair bit further than that).   The band are still touring and recording all this time later, albeit with changing line ups throughout the years, so their integrity and passion should never be in any doubt. 

Casual observers may not be aware that the UK Subs have released an album for every letter of the alphabet (plus more).  That’s no mean feat.  What is somewhat daunting, is that’s a lot for any new fans who want to collect everyone of those releases!  Yet fear not, music lovers: Cherry Red records have been gracious enough to re-release the 2011 album “Work in Progress”, on sexy double 10” gold and silver vinyl.  For anyone struggling to keep up, that means the punters have no excuse to at least have the letter W from the list in the bag.

And what will discerning music fans find within this sumptuous collection?  Why, fourteen songs of the finest punk rock vintage, of course.  That means a blitzkrieg of blinding rockers like ‘Creation’, ‘Radio Unfriendly’ and the brilliantly titled ‘Hell is Other People’.  Some bloke called Lars Frederickson, from a band called Rancid, co-wrote ‘This Chaos’ – another brain melter – and you can even bang your head to ‘Children of the Flood’, if you want to.

Punk rock unbelievers, I say unto thee: these songs do not all sound the same.  They are not simply constructed, amateur-hour noise.  All the tracks are full of energy and have their own identity.  There’s a hint of rockabilly on ‘Eighteen Wheels’, R&B garage rock on the bouncy Sonics cover ‘Strychnine’ and ‘All Blurs into One’ has an almost psychedelic sheen. 

The only potential misfires are ‘Tokyo Rose’, which at first sounds a bit too Hollywood Sunset Strip (but redeems itself after a few listens) and ‘Rock’n’Roll Whore’, which could be a bit – well, dated lyrically.

This UK Subs album admirably highlights a classic band who are still fighting on, taking their music to the world.  It shows the roots of the band in R&B, whilst also providing a link from the Ramones to US hardcore bands like Circle Jerks and Descendents, and ever onwards.  After all these years, the UK Subs are still a “Work in Progress” and show no signs of stopping.

Right, see you later.  I’m off to hang around in a graveyard with my old mate Dave Vanian.  Captain and Rat, you can only come if you promise to stop setting fire to mattresses.

You can find UK Subs on Facebook and Twitter.

Cherry Red Records have a website. Plus you can find them on Facebook, Twitter, Instagram and Bandcamp.

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

Toyah – Album Review

Toyah – Toyah! Toyah! Toyah! (2021 Remaster)

Cherry Red Records

Release date: 13/05/2022

Running time: 61 mins

Review by: Alun Jones

8.5/10

Now, your first question may well be: “How did Platinum Al manage to slip a Toyah review onto a Rock/Metal website?”  Well, dear reader, let me tell you a story.  The first time I ever saw Toyah live was at a local club, where the dynamic lady herself was backed by the mighty Girlschool.  All of these fearsome females put on an explosive show, comprising of ultra-rocked-up originals from both artists and classic rock covers.  So yes, Toyah is more rock’n’roll than you (or I) will ever be.

To be fair, despite her pop pedigree, Toyah Willcox has always been more Bowie than Kylie.  And on this reissue of the 1980 live album, Cherry Red have presented us with a vibrant – even, dare I say it, rocking – bunch of post punk songs that show Toyah and her band in full flight.  The expanded deluxe CD set is packaged with a DVD featuring a contemporary documentary.  For this review though, we’re focussing purely on the music.

Happily, the production is top notch.  Remastered by Nick Watson from the original master tapes, the sound is formidable.  The instruments come through crisp and clear, and the vocals are excellent, as shown on ‘Victims of the Riddle’ where keyboards maintain a steady melody while lead guitar erupts with energy.  Likewise, bass and drums shine on ‘Love Me’ – it’s particularly impressive considering we’re dealing with a 40-year-old live album.

Highlights on “Toyah! Toyah! Toyah!” include ‘Bird in Flight’, ‘Danced’ (which reminded me of the Skids) and the occult war chant of ‘Ieya’.  Never truly dark enough to be goth, the songs here are more “Scary Monsters” with a generous helping of Hawkwind space rock, especially on ‘Race Through Space’.

Through it all, Toyah’s one-of-a-kind voice soars.  Toyah has never stopped writing and performing music, acting, presenting and so on; these days she’s famous for her lockdown YouTube videos performing kitchen-based rock covers with husband, King Crimson legend, Robert Fripp.  It’s great to hear “Toyah! Toyah! Toyah!” remastered and in pristine condition.  Even speaking as a vinyl purist, it looks like my ancient vinyl copy has had its day.

Check out Toyah on Facebook, Twitter, Instagram, YouTube or her own website thingy.

You can also investigate the many wonders offered by Cherry Red Records on Facebook, Instagram, Twitter, Bandcamp and their own webalicious site.

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

Trouble – Album Review

Trouble – One for the Road/Unplugged

Hammerheart Records

Release date: 11/02/2022

Running time: 67 mins

Review by: Alun Jones

9/10

The mighty Trouble!  A release from these titans of doom metal is always worth celebration, and this is no exception.  Back in the early 90s, this cult band were verged on the edge of a mainstream breakthrough, with two albums on the Rick Rubin helmed Def American Records (also home to Slayer, Danzig, Black Crowes and others).  Alas, it was not to be: this eternal underground favourite was to remain just that. 

“One for the Road” followed the second, self-titled Def American album, as a limited-edition European tour EP.  This re-release bundles that with a full length “unplugged” album: remastered to provide a fully upgraded compilation.

The first five songs comprise that “One for the Road” EP, with first track ‘Goin’ Home’ bursting from the speakers with exactly the kind of exciting hard rock you’d expect as a Trouble opener.  ‘Window Pain’ offers a pulsating, mid paced doom rocker, whilst ‘Requiem’ brings the tempo down further with a melancholy, gloomy metal dirge.  The Black Sabbath influence is most obvious on ‘Another Day’, whilst ‘Doom Box’ raises the tempo a little but still holds a candle to Dio era Sabs.  Some of these songs would turn up in different form on later albums, but this EP brings together an excellent capsule that fits neatly into that mid 90s period.

Back in the early/mid 90’s, “unplugged” albums were all the rage.  Like others of that era, this Trouble entry into that genre isn’t always stripped down totally to just vocals and acoustic guitar: there’s still electric guitar, drums and more to embellish the tracks were necessary.  The strings added to this second version of ‘Requiem’ are exceptionally orchestrated and serve the mood of the piece brilliantly.  That said, ‘7.00 AM’ is a remarkably restrained and beautiful song, recalling Sabbath and also Trouble worshippers Soundgarden. 

Those songs – and the other tracks comprising the “Unplugged” part of this release – offer a relaxed side of the band that explores more of their psychedelic, sixties interests (see their cover of The Yardbirds’ ‘Heartful of Soul’).  It’s a release that even my eleven-year-old daughter appreciated.  The only mis-step is the jaunty jig of ‘Smile’, which is just too jangly and nice.  Yet have no fear, the version of ‘Misery’ showcased here (released as ‘The Misery Shows’ on the eponymous Def American release) reminds us just how great this band were.   

My only major issue is the cover art.  That may seem petty when this is a review of the band’s music, but as a long-term Trouble fan, I’m considering buying the vinyl copy for my collection.  And that vile cover may well deter me from doing so.  Trouble has a great logo, but the cover squanders this with nothing other than the title, in what looks like – GASP! – Comic Sans MS!  A font that should only be used by primary school teaching assistants, it dates and also ridicules the stature of the music.  It’s a truly vile and lazy cover – seemingly thrown together by a Johnny-No-Stars work experience boy on his lunchbreak.  Awful.  Couldn’t someone have redesigned it?

I’m docking points for that, ‘cos the cover mocks all I hold holy.  Beyond that, fantastic music and a must for any Trouble fan.

RIP Eric Wagner

For more info, check out the Trouble website, their Facebook page or Bandcamp page.

Hammerheart Records also have a website, Facebook and Bandcamp.

This review has been brought to you by Platinum Al in partnership with Ever Metal.

Scrap Metal Vol 1 – Album Review

Various Artists – Scrap Metal Volume 1

RidingEasy Records

Release date: 12/11/221

Running time: 34 mins

Review by: Alun Jones

9/10

Recently I’ve been razzing around this rundown town in Platinum Al’s Pimp Mobile (a 1980 Chrysler Cordoba, of course), blasting out this new compilation from those hard rockin’ duderinos at RidingEasy records.  And I haven’t had this much honest-to-rockness fun in goddamn ages!

You may recall RidingEasy’s previous comps, as reviewed by yours truly, from their Brown Acid collections of long lost proto-metal/stoner rock artifacts of the late 60s/early 70s.  Well, with Scrap Metal, they’ve taken the same approach (unearthing long-forgotten rare tracks, and releasing a carefully restored sonic document of said tunes) – but this time, applied it to the age of 70s/80s classic Heavy Metal. 

Listeners will discover a variety of styles of HM here, as the genre splits into numerous offshoots.  So, we get to hear the blossoming styles of NWOBHM, thrash, doom and glam at a time when they all still share a generous amount of DNA.  It’s classic metal, folks – and to be honest, I didn’t find that much difference between the “styles” on offer.  What I did find was ten blinding tracks of fun (and slightly dumb) rock’n’roll monsters.

Witness, for example, the wonder of “Headbang” by Rapid Tears.  Fast paced, dumb ass, dingus brained heavy rock for you to race to the chippy in a Trans-Am.  It’s glorious.  Then, with barely a rest, we’re assaulted by Air Raid’s “69 in a 55”: like early Maiden (even down to the Paul Di’Anno vocals) but with a cucumber stuffed down the spandex pants.

And the surprises keep on coming.  Hades are simply brilliant, their track “Girls Will Be Girls” venturing toward speed metal.  Resless have a crap name, but “The Power” is a Priest like power-thon that is bound to excite.  “Enemy Ace” by The Beast is a definite unrefined highlight; almost in the realms of crossover, it’s a particularly aggressive track that’s totally unsuitable for polite tea parties with grandma.

The compilation isn’t perfect: Don Cappa’s “Steel City Metal” ticks all the cliché boxes, but plods.  Yet adrenaline infused, urgent rockers like “Can’t Stop” by Dead Silence, “Iron Curtain” by Czar and “Viking Queen” by Real Steel keep the fists punching the air and a grin on the face.    

As with the Brown Acid series, it’s bewildering how at least some of the bands on Scrap Metal Volume 1 didn’t get any further.  I’ve heard a lot worse.  However, careers are built on consistently great song writing and performance – we only have one (admittedly brilliant) song by each band to testify here.

The lyrics and themes may wallow in the murky depths of the tired and obvious, but I challenge any of you to not enjoy the music on offer.  Park any pretentions of sophistication you may hold, the energy to be heard on these tracks is pure pleasure.  Pull on your super tight jeans, bullet belt and patch covered battle vest, let your hair down (if you still can), and rejoice in a simpler time.  Scrap Metal Vol 1 is a full on, beer swilling triumph of an album.  HEADBANG!!!

Visit the RidingEasy Records website here.

Or check them out on Facebook, Twitter, YouTube, Insta or Bandcamp.

Today’s review is brought to you by Platinum Al in association with Ever Metal.

Wax Mekanix/Troll Teeth – EP Review

Wax Mekanix/Troll Teeth – Blunt (Split EP)

Electric Talon Records

Release Date: 22/10/2021

Running Time: 14.32

Review by: Alun Jones

9/10

Now the good folks at Electric Talon Records issued this split EP back in October last year, so yet again, apologies for my tardiness.  I’ll think of an excuse by the end of this review.  For now, let’s just cover some basic info: two bands, namely Troll Teeth and Wax Mekanix, with five songs split between them.  Style wise, we’re in for a journey – so stay sharp.

Wax Mekanix is an artist I’m already familiar with from his exceptional “Mobocracy” album from 2020.  That record covered a wide base genre wise, from hard rock to folky guitar and any number of surprises in between.  Wax hasn’t stood still, instead deciding to venture into yet newer fields with the three tracks shared here.  So first up we get “Head”, an enticing blend of acoustic guitar, tribal drums and percussion, and rowdy vocals.  There’s no ferocious riffage here, but the infectious rhythms and Eastern sounding chords will drag any listener along.

“Manchester Strawberry Blonde” is a short interlude, with almost Native American percussion, augmented with lyrics that recount a despairingly tragic incident.  The lyrics on all tracks are worth a read, particularly here.  Wax’s final offering is “Freak Boutique”, where the mellow acoustic guitar is embellished again with Eastern rhythms.  As a result, this is less campfire singalong and more a voyage across exotic lands.                 

Troll Teeth have the best band name I’ve heard in years.  Thankfully, they can also deliver some righteous music too.  “The Pigs are on Parade Today” has a dense, mid paced stoner rock approach that is instantly cinematic: perfectly appropriate for watching vast desert skies growing dark and the heavens lighting up.  “Barbs on a Wire” is more aggressive, but still retains a sense of melody along with the rolling, raucous riff.  It’s progressive in the best sense of the word, and also addictive with it’s relentless, undulating drive and fiery lead guitar.  If you dig Baroness, you’ll dig this.

At first listen, the two bands here seem somewhat different – but it becomes obvious that they’re tied together by their expansive, wide view of the world – and it’s sounds.  Wax Mekanix and Troll Teeth are both visionaries.  Here’s to hearing a new full length from each, soon.

What was that?  What was my excuse for this review being so late?  Well, ah… I had completed it ages ago, honest, but Ozzy Osbourne ate it.

Find Wax Mekanix doing some online stuff on Facebook, Instagram, Twitter and Bandcamp.

Troll Teeth are waiting to meet you on Facebook, Instagram, Twitter and Bandcamp.

And you can check out Electric Talon records here.

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

Brown Acid: The Thirteenth Trip – Album Review

Various Artists – Brown Acid: The Thirteenth Trip

RidingEasy Records

Release date: 31/10/2021

Running time: 35 minutes

Review by: Alun Jones

8.5/10

Back in early 1970, I was in LA working for Jim Morrison, singer of the Doors.  Morrison was a pretentious, drunken bore – but we did have a few old laughs.  This one time, Jimbo was mid-liaison with a young lady in her upstairs apartment, and I had to pick him up in his new car before the pair were interrupted by her husband.  Parked in a gleaming white Dodge Challenger under the first-floor window, there was no fire escape and Jim had to jump out of the window onto the roof of his car.  It was a hard top, not a cabriolet, and Jim’s fat arse flattened it like an egg box when he hit it.  He wasn’t in the best shape at that point.  Wrecked that beautiful car, too.  Luckily, I could still see out of the window, and drove off in hysterics, while chubby Jim tried to squeeze into his tiny leather trousers.

Great days, indeed.  And the memories of that time always come flooding back when I spin one of these Brown Acid compilations from RidingEasy Records.  Yet again, the guys have dug out some long-lost treasures of the early hard rock and proto metal variety, to return phoenix like from the netherworld.

Things get underway splendidly with “Run Run” by Max, a funky riff rocker that will light up your lava lamp straight away.  It’s probably my favourite on another strong collection.  Next is “Dark Street” by Ralph Williams and the Wright Brothers – fuzzy guitars and great vocal melodies with a faint air of menace.  Geyda provide “Third Side”, another pacey rocker, reminiscent of the MC5.

Following that, there’s Gary Del Vecchio, who’s apparently “Buzzin’”.  But then, who wasn’t in those days?!  It’s party time blues rock in the vein of early Zep.  John Kitko is suffering from “Indecision”, as proven by the psychedelic jam of the start contrasting with the speedy, aggressive main body of the song – with Alice Cooper-like vocals.   

“Hope” by Bacchus reminded me of old Jimbo’s band doing “Roadhouse Blues”.  Master Danse are up next with a very heavy blues number, “Feelin’ Dead”.  It’s a slow, ponderous song with a melancholy vibe – which I’ll swear was stolen by The Cult for their obscure B-side “Wolf Child’s Blues”.

Orchid offer up the weakest track on the album, “Go Big Red”, a fairly unexceptional garage rock number.  It’s fun and still has some charm, though.  Then you’ve got Dry Ice and “Don’t Munkey with the Funky Skunky”, a crazy fast paced number that’s like The Monkees and Jimi Hendrix jamming a Eurovision novelty song.  On drugs.  Finally, a strong final track from Good Humore, “Detroit” – a catchy tribute with a sprinkling of MC5 at their most rock’n’roll.

And there we have it: another fine collection of rock fossils unearthed and displayed for our enjoyment, never to be forgotten again.  It may be “the Thirteenth Trip”, but this ain’t unlucky for some – it’s gold all the way.

Remember that World Wide Web thing? Well, you can check out RidingEasy Records at various site webs, such as their own, Bandcamp, Facebooks, Twidder, ChewTube and Insta.

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

Scarecrow – Album Review

Scarecrow – Scarecrow II

Wise Blood Records

Release date: 22/10/2021

Running Time: 44 mins

Review by: Alun Jones

8.5/10

You could say I was a little confused when I first heard “The Endless Ocean Overture”, the opening track on this second album from Scarecrow.  I know the clue’s in the song title, but this really is a big, full on orchestral piece – complete with moody storm sounds and crashing waves.  I thought the Ever Metal Delivery Monkey had sent me one of those symphonic metal monstrosities by mistake – there are NO GUITARS here.  At least not on the first song.

Not that it’s a bad track – it’s actually very atmospheric and very bloody clever.  Just a bit of a surprise, that’s all.

Scarecrow are a Russian doom rock band, taking their inspirations from the classic seventies masters like Sabbath and Zeppelin.  When track 2 – “Blizzard” – kicked in, I realised my mistake.  Yes, here we have it: blues based heavy rock that could have easily been produced in 1973.  Groovy riffs, batteringly good drum breaks, high pitched wailing vocals – all the tropes are present and correct.  “Blizzard” has all these, plus relentless changes of pace which means the listener can bang their head or swing their bell bottom jeans all in one song.

“Magic Flower” has a slower, doom blues sound with some mouth organ for additional retro stylings.  There’s even a folky mid-section with some Plant-esque banshee screams.  Up next is “Spirit Seducer”, a rocker that’s more of the Iommi sound already hinted at, and some pounding rhythm. 

Scarecrow are nothing if not ambitious.  “The Moors” is a hell of an epic: warm acoustic guitar intro; doom laden heavy riff, ethereal keys: all the ingredients are here, and happily we reach another Sabbath like peak in the middle of the song.  Some of the orchestral feel of the opener makes a well-judged return here, adding to the bombast. 

When I heard the intro to “The Golden Times”, it was easy to make the comparison to Sabbath tracks like “Orchid” and “Fluff”.  This song flows along serenely, with the vocals making me think I’d started listening to a new Wolfmother recording.  Another multi part piece, best to just mellow out and enjoy the ride – till the increasing pace runs off with your ears.

The range and scope of this album really is very impressive.  “Scarecrow II” is an accurate love letter to the giants of yester year, whilst firmly placing the bands feet alongside contemporaries like Uncle Acid and Graveyard.  Scarecrow has delivered an album that features new spins on the old ideas co-existing with brave, surprising augmentations.     

Check out Scarecrow on Bandcamp and Facebook.

You can find Wise Blood Records on Bandcamp, Facebook and the interweb.

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

TOOM – EP Review

TOOM – Behold the Basilisk EP

APF Records (For The Lost PR)

Release date: 01/10/2021

Running Time: 22 minutes

Review by: Alun Jones

8/10

Let’s start with a history lesson.  The “Behold the Basilisk” EP by TOOM is a dug-up time capsule, having been recorded in January 2010.  The band themselves were formed in 2007, and split not long after this recording.  What could have been a long-lost curio, to be spoken of fondly by the few who had inside knowledge, has now been reanimated and set loose by APF records.

What we have is an EP consisting of four stoner doom tracks from an extinct trio.  Like those ape dudes at the start of “2001: A Space Odyssey”, Teddy-James Driscoll, Jus Smith and Jack Newnham have been enlightened by a big, Black Sabbath obelisk – the legacy of which has been excavated for our enjoyment.

“Snake Chalmers” opens things up, with an acoustic guitar intro that’s highly reminiscent of those mellow Iommi passages from “Master of Reality”.  It’s a beautiful, yet deceptive beginning to a collection of crushingly heavy music.   Play it for Granny, she’ll be surprised as fuck when the lethal riffage of “There’s Nothing Cute About Cobras” revs up and creates utter destruction.  Growling vocals and gruesome, pounding guitars are where we’re at here.

Similar approach for “Mandark”, though this track throws in some variations in riffs and tempo, with a short, but killer “quieter” section.  Here and on the final song, “Decapodiformes”, there’s a hint of influence from the likes of Sleep, High On Fire and Mastodon – with relentless, mighty riffs powering through.       

Gone but not forgotten, then: it’s introducing and welcoming back TOOM on this impressive EP.  Makes you wonder what might have been…

Check out APF Records on Bandcamp and online.

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