Yawning Man are one of, if not THE, originators of Desert Rock. Born from jam-style generator parties way out in the desert, this band pioneered the sound that would later be adopted by Kyuss, Fu Manchu and many others. Ripple Music are reissuing the “Pot Head” EP, on vinyl and CD, for the first time in like, eons, man. And it’s a great listen.
“Pot Head” consists of four instrumental tracks, illuminating the template that others would follow. Free form, jammed compositions that stretch out into the vast, starry night. Awash with psychedelic flourishes, there’s a cinematic feel to songs like ‘Manolete’ and ‘Digital Smoke Signal’. The listener can grasp the improvisational vibe, close your eyes and you’re a world away from anywhere as the music spirals endlessly into the universe.
Wow, I was off in the moment there for a moment reader. How unprofessional – I do apologise. I love the fact that all four songs are instrumental, ‘cos as we all know that the singer is the least important member of any band. No vocals equals a psyche freak out that incorporates samba rhythms, wailing reverb drenched guitar and no distractions from the dusty, spaced out shenanigans.
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.
Welcome back, folks, to Platinum Al’s Punk Rock Corner, here at Ever Metal HQ. The eagle eyed and elephant brained amongst you will recall that we’ve already reviewed some of these UK Subs albums, although that was in their delicious vinyl form. This time around, our mates at Cherry Red have lovingly curated a 5 CD set of Subs albums, together with a healthy bunch of bonus tracks to make this a tantalising package.
We’ve already discussed, in previous reviews, how UK Subs mastermind Charlie Harper has overseen an alphabetical run of albums with titles from A to Z. This compilation gathers together the final parts of that run, from W to Z (though to be honest, these Subs nutters didn’t even stop at Z, they kept going). Thus, listeners are gifted with an indispensable collection that covers output from the exceptionally strong line up of Harper, Jet Taniguchi, Alvin Gibbs and Jamie Oliver (not that one).
I’d be a pretentious fool if I didn’t tackle these albums in alphabetical/chronological order, so let’s jump in with “Work in Progress”. This is probably my favourite of all the albums in this collection, though accepting the high standard on offer, I have no reason why. It’s a rambunctious bundle of high-speed punk rock: ‘Creation’, ‘All Blurs into One’; coupled with clever ventures into rockabilly (‘Eighteen Wheels’) and more. The wonderful ‘Hell is Other People’ has become something of a personal anthem for me, and it will for you, too! This disc includes seven bonus tracks, comprising some old Subs classics and new bruisers such as the joyously MC5 sounding ‘666 Yeah’.
From W we’re on to X, with “XXIV” – and more fast’n’furious punk rock shenanigans with ‘Implosion 77’, ‘Monkeys’ and ‘Momento Mori’ – just for example. The Subs aren’t afraid to go off tangent with the jangly acoustic guitar with attitude of ‘Coalition Government Blues’ and R&B energy of ‘Wreckin’ Ball’. There’s just one bonus track this time, the riotous and righteous co-operative anthem of ‘Workers Beer Company’, rounding off another solid and varied album.
“Yellow Leader” may or not have been written concerning a certain political party leader, you’ll have to listen and decide for yourself. What I do know is that this album kicks off in supreme style with the frenetic pace of ‘Sick Velveteen’, bouncy thump of ‘Artificial’ and blues punk of ‘Bordeaux Red’. ‘Chemical’ sounds almost metal, ‘Rebellion Song’ is an acoustic punk protest song and ‘Sin City Blues’ throws in some welcome Rockabilly, creating another multi-faceted and accomplished recording.
Eventually, Charlie and the lads completed their mission from A to Z, with the monster that is “Ziezo”. The end may be in sight, but the UK Subs don’t take their foot off the gas – as proven by tracks such as ‘Oligarchy’, ‘Banksy’ and ‘This Machine’ fulfilling the full throttle end of the punk rock promise. The pallet is embellished by the punk-blues of ‘Disclosure’ and jaunty ska of ‘City of the Dead’, delivering a fine album that’s accomplished and enjoyable.
So we’ve reached the end of the alphabet, kids – but that’s not quite the end of our story here. The set also includes “Acoustic XXIV”, an album comprising of acoustic tracks that were originally packaged with a limited edition version of “XXIV”. I had assumed the songs here would merely be acoustic versoins of songs from that parent album, but far from it. There are 13 songs making a surprisingly great change of pace. Comprising of folk punk (‘Sleeping Rough’)’ and protest songs (‘Stop Global War’), it’s an accomplished and satisfying listen in it’s own right. I could image Johnny Cash having a go at ‘Higher Tide’, and I think that’s some compliment indeed.
Who would’ve guessed that the UK Subs would actually fulfil their aim and complete this bonkers endeavour, releasing an album for every letter of the alphabet? Punk rock wasn’t supposed to burn this brightly for so long, but it has. What’s more, the UK Subs haven’t let their standards slip – these final albums in the run are as strong as anything they’ve released in their long career. Genuinely brilliant. Ladies and gentlemen, I present to you – UK SUBS.
Here we go again, my little Hot Tub amigos! Yes it’s time for another Singles Night at Platinum Al’s Virtual Hot Tub – grab a cocktail and jump right in, we’ve got some listening to do!
Do I really need to explain what we’re up to, here? OK, well very quickly then: I have a pile of 7 inch singles that I’ve acquired from various places, all of different artists and genres. On Singles Night, I play through a stack of ’em in order, A side then B side, and we go on a musical odyssey.
Sound like fun? Well it is. Drink up and let’s rock with this latest selection:
The Cult – “She Sells Sanctuary” / “No. 13”
Iron Maiden – “Infinite Dreams (Live)” / “Killers (Live)”
Rod Stewart – “Lost in You” / “Almost Illegal”
Steve Miller Band – “Rock’n’Me” / “The Window”
Bob Marley & The Wailers – “Mr Chatterbox” / “Mr Chatterbox (Version)”
Wizzard – “Rock’n’Roll Winter (Loony’s Tune)” / “Dream of Unwin”
Hot Chocolate – “A Child’s Prayer” / “Everything Should Be Funky”
Mud – “Show Me You’re a Woman” / “Don’t You know”
Bay City Rollers – “I Only Wanna Be With You” / “Rock’n’Roller”
The Kartoon Krew – “Inspector Gadget” / “Inspector Gadget Dub”
Snap! – “The Power” / “The Power (Dub)”
Nicole – ” A Little Peace” / “Thank You, Mercy”
Bob Marley & The Wailers – “Stir It Up (Alt. Jamaican Version)” / “Stir It Up (Alt. Jamaican Instrumental)”
Katrina & The Waves – “Walking on Sunshine” / “Going Down to Liverpool”
Hot Chocolate – “Disco Queen” / “You’re a Natural High”
UK Subs – “She’s Not There” / “Kicks” / “Victim” / “The Same Thing”
Run DMC – “Walk This Way” / “Walk This Way (Instrumental)”
Iron Maiden – “Run to the Hills” / “Total Eclipse”
The Nolans – “Attention to Me” / “Old Feelings Again”
Chas & Dave – “Gertcha” / “The Banging in Your Head”
Another twenty 45 rpm slabs of varying quality there, but I’m not including Katrina (great song!) or Chas & Dave (who can do no wrong) in the dodgy list.
We started with possibly my favourite song of all time, the wonderful “She Sells Sanctuary”. Love that tune. I never had the 7″ as a kid, I bought the 12″ as it had an extra track on it, as I was always obsessed with collecting B sides. That was in 1989, however, well after the single was originally released in ’85.
Other highlights included a double dose of Iron Maiden, a UK Subs EP and the classic Run DMC single “Walk This Way”. Not to mention a couple of very cool Bob Marley singles, both of which were Record Store Day purchases.
As I said, Singles Night is always a journey, from well known paths to the very different excursions. I can recommend it as a fun evening.
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!
Yes, I’m on Instagram too. And I did that thing where you can get a snapshot of your most “liked” Insta posts of the year. To be honest, my engagement on that social media platform is plummeting, but I still decided to check out the stats. It’s a bit of a trend for me, this year, looking into the numbers.
Usually my Instagram posts are pics of vinyl from my collection, or beer (I’ve got a massive backlog of beer photos I haven’t posted yet). Other than that, you might get to see some skateboards, Star Wars toys or other action figures, comics and so on.
In the image below you’ll see the Top 9 images.
For your information, here’s a breakdown of what those images are. Top left is most popular, bottom right is least.
Glamour model and Page 3 Legend, Tracey Coleman, in a bunny girl outfit. I posted this at Easter. It was the most popular photo (though I didn’t take it, obviously).
Racquel Welch: posted after she sadly passed away in 2023. One of my idols.
Cliff Burton Reaction Figure: action figure of the legendary Metallica bass player.
Bryn Celli Ddu: a photo of this awe inspiring, ancient burial site on Anglesey, Wales.
Spud: our new cat, Spud.
Me in a Barbie box, pretending to be a doll.
My latest tattoo: the tiger head.
Robinson’s Trooper Beer, in an appropriate glass, with a copy of Iron Maiden’s “The Number of the Beast” LP on viinyl.
Headgirl 10″ picture disc: Record Store Day reissue of the classic Motorhead/Girlschool collaboration.
I posted dozens of other images in 2023, but those ones were the most popular from the thirty or so people who bother to interact with me on there.
Thanks for sharing these moments with me. If you like, you can follow me on Instagram: platinum_al.official.
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.
Let’s talk about Tankzilla. To start, what a rad name! According to the band’s PR, “Satan fucked a Panzer and the offshoot is Tankzilla”. Which pretty much sums everything up nicely. So nicely, in fact, that the rest of this review is a bit pointless.
Tankzilla are actually a duo consisting of Peter Van Elderen (guitar and vocals) and Marcin Hurkmans (drums), who started jamming together after their previous bands split. Before you get clever and assume that these guys are gonna be just like Royal Blood, they’re not. They have a whole lot more Motorhead in their dirty DNA.
‘Lucifer’, the first track, proves this nicely, with an opening riff reminiscent of ‘Deaf Forever’ by Lemmy’s crew. The song quickly erupts into a bludgeoning juggernaut all of its own, crushing everything in its path and setting the course for the rest of this slab of sonic destruction.
Yes, the power of the mighty riff rules in Tankzilla’s blitzkrieg campaign. ‘Crossroad’ drops more loud bombs adding a funky feel, while tracks such as ‘Wolfpack’ and ‘Soulsurfer’ have a hard rocking edge. The assault slows a little with ‘Brother from Another Mother’, but keeps unleashing maximum firepower. Bonus points for the sample from The Mandalorian too in ‘Mutant Freak’. This is the way!
The final song, ‘Hard Way’, has a Melvins vibe to it – something else which makes me very happy indeed. Whether firing on all cylinders or easing off the gas a little here and there, this debut album is devastatingly excellent. Tankzilla are a relentless, riff loaded monster and nothing can resist their onslaught. Definite Top Ten of the year list for me.
No time now, but remind me to tell you about that time with Motorhead in Europe, when we took the band to visit a military museum on a day off. Philthy was hungover, so Lem let him sleep it off in an old Russian tank. We closed the hatch and scarpered, leaving Phil in there all day. He only just made it to the next gig in Copenhagen by the skin of his teeth.
Platinum Al's Virtual Hot Tub 