Tag Archives: musician

KASP – Gig Review

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KASP

Friday 11th July 2025

The Crown & Liver, Ewloe

The good old Crown & Liver in Ewloe used to be my home from home for many years. In fact, it was utilised as a club house of sorts not just by myself, but the members of KASP and a large chunk of tonight’s audience. Quite apt, then, to see these guys crank out some tunes that effortlessly recreated the sounds of the 1990s in this venue. The Crown may have been jazzed up over the decades, but it’s the same old boozer at heart.

KASP are four mates who got themselves together and formed a band, performing well known and appreciated cover songs. They’ve been gigging in the local area for a while, but this was the first time I’d caught up with them. It was a nice reunion of sorts with several welcome faces and a good atmosphere.

Wouldn’t you just know it, things didn’t get off to a stellar start: the set opener was ‘Rock’n’Roll Star’ by Oasis, and I’m not a big fan! To be fair, it’s one of the better Gallagher brothers songs, and KASP rattled the song out in confident fashion. Simon on lead vocals and guitar slotted right into the role with ease. Next up was ‘You Stole the Sun From My Heart’, a killer Manics cover where Adam ably took over lead vocals from Si and still delivered a formidable guitar part. Now we were starting to get bouncing!

Solid musicianship all round to be fair, meaning that a couple songs I’m not a fan of (that James monstrosity, ‘Sit Down’, being a prime offender) were superbly delivered with self assured style. Of course, this means that the quality songs in the rest of the set couldn’t really go wrong – especially with genuine energisers from Green Day, Stereophonics and even Steppenwolf’s old evergreen, ‘Born to be Wild’!

A special shout out to the closing song of the first set, a devastatingly great rendition of ‘Hate to Say I Told You So’ by The Hives. Classic track, rendered brilliantly by KASP. Kev’s nimble bass playing was particularly impressive, shining in that solo middle section; and Pete’s drums managing to keep everyone on track with all cylinders firing .

The band returned for part 2 after a short break, though I have to admit that my memories of the second set started to get a bit fuzzy…

I do remember a rousing version of Lenny Kravitz’s ‘Are You Gonna Go My Way’ getting the crowd moving. And a nice dedication for yours truly from Si in his introduction for Foo Fighters’ ‘Times Like These’ (thanks!). There was more dancing for this set as the audience started to really warm up. More first rate tunes by White Stripes, Kings of Leon and Stereophonics kept the mood high and feet moving as everyone sang along.

KASP at the Crown turned out to be a fun night of solid musicianship and camaraderie. A great band who possess some real skills, delivering a non-stop run of hit songs for all to enjoy. It was kind of cool to have that gig with that band in that pub, too. The evening wasn’t just about nostalgia, though. It was about good times with good people, and that’s what live music’s all about, right?

Check out KASP on Facebook.

Jonathan Hultén – Album Review

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Jonathan Hultén – Eyes of the Living Night 

Kscope Records 

Release date: 31st January 2025 

Running time: 43 mins approx 

Review by: Alun Jones 

9/10 

WARNING: This is NOT a Heavy Metal album.  If you’re the type of listener that only wants to hear the loudest of pummelling riffs and ear slashing vocal roars, this may not be for you.  And that’s fine.  We all like to rage like Satan with a stubbed toe.  This is Ever METAL, after all.  If, on the other hand, you’re the kind of discerning listener who likes to temper the ferocity with atmosphere and introspection, take a seat. 

Jonathan Hultén is a Swedish singer-songwriter who first arrived on my radar as the support act for The Cult on their 84/24 tour last year.  Hultén was not what I anticipated at all for a major rock show: his music, performed solo, is a dark yet beautiful expression of acoustic, gothic melody and ethereal charm.   

This second album, “Eyes of the Living Night”, takes the listener on another fairy tale like walk in enchanted woods.  Beginning with ‘The Saga and the Storm’, the music is more soundtrack for a folk horror movie than a typical rock album.  This opening track is like a lost Morricone classic and builds to a gloriously uplifting finale.  Just wait for that mid song moment when your neck hairs will raise to the sky. 

First single ‘Afterlife’ features swirling keyboards and angelic vocals, while ‘Riverflame’ has the plaintive ambience of a Nine Inch Nails/Alice in Chains mash up.  The dreamy folk of ‘The Dream was the Cure’ offers a widescreen Scandinavian epic of reflection, and is a highlight of the album.  Weaving genres further, ‘Through the Fog, Into the Sky’ is a wonderful classical piano piece whilst ‘Vast Tapestry’ sees Hultén n the role of gentle folk troubadour. 

The concluding track, ‘Starbather’, works more like a rock ballad and bookends the album with a final flourish of bright optimism.   

“Eyes of the Living Night” won’t destroy your speakers, but it will take you to a mystical and unforgettable place.  With its layers of gothic ambience and mood elevating nuance, this album deserves to be a part of the Ever Metal community’s world.  The music of Jonathan Hultén will be there for you when you need to reach inside yourself, to heal and unwind.  Or to transport your mind to another world.  I genuinely love this album and heartily recommend it, I hope you’ll give it a chance. 

Find out more about Jonathan Hultén on Facebook, Instagram, Spotify, YouTube and Bandcamp.

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

Miami Supercops – Album Review

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Jamie Spilsbury – Miami Supercops

Self released

Last September, I reviewed the debut album by a gentleman by the name of Jamie Spilsbury. Jamie is a multi-talented individual with a wide range of skills and hobbies – from author, artist, photographer to musician. Seriously, this guy puts most of us to shame. Previously I reviewed the album “Don’t Be Cruel”, an avant-garde mixture of musical genres and spoken word pieces that intrigues and thrills in equal measure. This time, something completely different is on offer.

‘Miami Suopercops’ is a tribute to the 1980’s movie of the same name, and is steeped in electronica of the time. It’s like an imaginary soundtrack for the film, with separate movements and styles to conjure the action on screen. Now I’ve never seen this particular movie, but I’ve seen many similar television programmes and movies from the time back in my youth. If you’ve ever seen Miami Vice, or heard the music of Vangelis or John Carpenter, you’ll feel right at home here in seconds.

‘Devil’s Reef’ starts us off with a throbbing bass and energetic rhythm (very Miami Vice) and sets an ominous tone. It’s totally evocative of themes from the era. The tracks are mostly instrumental, which adds to the authenticity that Jamie is striving for. ‘Morals’ is a more laidback, reflective number. whilst in ‘Sudden Impact’, the listener can feel the tension rise as the plot thickens.

‘Sunrise’ is another pleasantly moody piece, while ‘Target Locked’ is again a more action-orientated song. What’s great is you can imagine the “movie” in your mind’s eye as you listen along! On ‘Streets with no name’ I can just see the cops cruising the Miami highways in the dead of night, their Ferrari illuminated by the omnipresent neon. ‘Stealth’ begins just like a stakeout, and features some rare, but excellent female vocals. The credits roll with ‘Ghetto Blaster’ and the story is nearly over.

With an apt cover of Jan Hammer’s ‘Crockett’s Theme’ from Miami Vice added as a bonus track of sorts, we reach the end of “Miami Supercops”. I may not be the most knowledgeable when it comes to electronica, but I grew up watching films and TV shows of this type back in the day, and this work sounds completely authentic and immersive. Full marks Jamie, you’ve managed to recreate a time and genre with skill and an easily recognised affection.

Follow Jamie Spilsbury on X/Twitter for more info, and a link to “Miami Supercops”.

North West Doom Fest – Part 2

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North West Doom Fest 

4th – 5th April 2025 

The Saddle, Chester 

Saturday 5th April 

Following a blinder of an evening’s entertainment for Day the First of North West Doom Fest, I was rested and ready to go for Saturday.  Beginning at an earlier time in the afternoon, I unfortunately missed the first band of the bill, Hand of Omega, who played while I was still travelling into town.  Sincere apolgies for this to all, I must catch them again sometime. 

Arriving at the Saddle, the festivities were well and truly underway already.  A decent sized crowd were in attendance in the rear courtyard, cradling beers and nursing themselves back to full health.  There was no downer atmos that I could discern at all  however, everyone seemed amped for the music ahead. 

Moss Valley were the first band of the day that I actually got to see, and they were pretty damn good.  This three piece straddled a retro seventies vibe with added desert rock Kyuss stylings.  Great riffs and warm female vocals adding to the melodies, Moss Valley really made a huge impression.  It’s tough to pick favourites at an event like this, but MV were definitely contenders. 

https://www.facebook.com/mossvalleyband/

Up next we had a visit from the Pagan lords of the north, Sabbat Wolf.  This Leeds based band featured exemplary musicianship, again with a commanding female vocalist.  What I enjoyed here were the Sabbath worshipping riffs augmented by beautifully tuneful, mellow passages that reminded me of Pink Floyd.  Sabbat Wolf really stood out with these psychedelic flourishes and their unashamed occult theme – their song ‘Pagan Bloody Pagan’ tells you all you need to know! 

https://www.facebook.com/sabbatwolf/

Warpstormer had travelled up from Londonium to the ancient, walled city of Chester. These guys mix full throttle Metal with their Doom, think Orange Goblin rocking out at their trippiest.  It’s a Stoner Metal attack that could have been related somewhere to Entombed or Motorhead, but had enough power and groove to fit in perfectly at this gig. Warpstomer were real crowd pleasers and also really nice guys. 

https://www.facebook.com/Warpstormer/

Get your flat caps on and forget your fear of heights, it’s time for Shred Dibnah!  The world’s premier Steeple Jack Rock band graced the stage of NW Doom Fest, amid clouds of smoke and a pummelling performance.  With a portable chimney on stage belching out clouds, Shred Dibnah demolished the audience with roaming riffs and contrasting mellow sections that added to the hypnotic drill. 

https://www.facebook.com/shreddibnah/?locale=en_GB

Borehead were the next band of the day, and again a different take on the Doom template.  In contrast to other bands, these Londoners were largely instrumental – except for some weird and wonderful samples – with slow, fuzzy riffs more spaced out than Buck Rogers on a Venusian hookah pipe.  Cerebral stuff that you’d assume would be better appreciated on headphones with some refreshment, but it went over very well. 

https://www.facebook.com/boreheadofficial/

I was already familiar with the mighty Deathfiend – I caught them live a while back, and was happily smashed to pieces with their ferocious onslaught.  With elements of Death Metal and even Hardcore Punk in the Deathfiend sound, I wasn’t sure if they’d be too damn nasty for this festival, but they slotted right in neatly.  Outrageously heavy Doom riffs delivered with a fiery intensity, this band are a force to be reckoned with. 

https://www.facebook.com/DeathFiend1/?locale=en_GB

You know how sometimes you see a band that looks so cool, you want to join up?  Kill The Witch were that band at NW Doom Fest.  These guys meld together the Sludgiest of Stoner and Doom Metal, traversing varying tempos and styles but always remaining true to The Riff.  Roaring vocals top off a faster, more furious Sabbath sound that’s not without its clever invention and serpent-like surprises, throwing in some brutal hardcore along the way. 

https://www.facebook.com/killthewitchband/

Finishing off NW Doom Fest 2025 were the mighty Amon Acid. Another Yorkshire based band, their distorted Doom Metal was part Electric Wizard style occult Metal, with hypnotic, psychedelic passages added for kicks.  Yet again a different take on Doom with Hawkwind Space Rock and amazing Middle Eastern sounding passages seeping through the acid drenched fuzzy guitar, Amon Acid were a thoroughly entertaining musical experience, finishing the event in style. 

https://www.facebook.com/amonacidband/?locale=en_GB

And that, kids, was your lot.  Everything was wrapped up in a timely fashion so that the punters could make buses and trains home, all of us with beaming, happy faces – gorged on the joy of The Riff.  North West Doom Fest was a resounding success and I have to say I enjoyed every band I saw.  All of them had their own unique identities, whichever winding track they took from the original concept of Doom.  Cool venue, too.  Now I feel really stupid for not going last year.            

https://www.facebook.com/Thesaddleinnchester/?locale=en_GB

North West Doom Fest – Part 1

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North West Doom Fest 

4th – 5th April 2025 

The Saddle, Chester 

Friday 4th April 

Friday 4th April 

The Saddle is the number one – and surely only – Rock based pub in the City of Chester.  A town more famed for drunken shenanigans and expensive outfits for the Races, this is the playground of the Cheshire Set and the wannabes.  A home of Metal it is not.  Not usually, anyway – except for the welcoming haven of The Saddle. 

And for one weekend in April, the tiny G21 venue at the back of the pub hosted the second North West Doom Fest: two days of the heaviest, doomiest metal in the land.  Absolutely fan-fucking-tabulous! 

The evening began with Druid’s Cross, from not far away at all Liverpool.  I’ve seen this band before, and knew they would be ideal to commence the festivities.  Harsh vocals lead relentless, dynamic riffs with a traditional metal feel as well as a slow, doomy pace.  There’s a dark, gothic edge to the music as well, resulting in a compelling sound that grabbed everyone’s attention from the start.. 

https://www.facebook.com/druidscrossband/?locale=en_GB

Festival organisers Lorraine and Mark were up next, with their amazing three-piece band, Warlockhunt.  I’d also seen this band before, and I’m always amazed by the complexity of their dual bass and tribal drums sound.  The other worldly female vocals have led to this band being described as Doom Pop (I coined that phrase, actually, thank you very much) and it’s easy to see why.  Always different and always captivating. 

https://www.facebook.com/warlockhunt/

Grim skeletal figures flanking the stage, inverted crosses and a duo wearing dark cloaks: Tumanduumband aren’t exactly shy of revelling in their ominous personas.  What they are, is a West Midlands based Satanic Doom band, and their music is both atmospheric and heavy as hell itself.  Fuzzed out, crushing riffs mean that the visuals aren’t inappropriate – this band is growing a cult based on their own dark riff-tuals. 

https://www.facebook.com/tumanduumband/

Headlining tonight, and admittedly one of my favourite bands out there these days, the mighty Son of Boar rightfully took their place at the top of the bill.  I became a big fan after seeing them play Pentre Fest some years ago.  Bass wrangler Gaz is also an Ever Metal scribe, not that I’m biased at all, honest!  Son of Boar played a set that was tight and forceful, with ear-worm riffs and thundering rhythms.  Tusks up!  The boys brought the HEH-VEEE, then slept the night on the floor of the venue, ‘cos they rock that hard.      

https://www.facebook.com/SonOBoar/

That’s it for Day One. Stay tuned for Day 2 – which will follow very soon!

The Saddle is on Facebook.

Brown Acid: the Nineteenth Trip – Album Review

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Various Artists – Brown Acid: The Nineteenth Trip 

Riding Easy Records 

Release date: 31/10/2024 

Running time: 35 minutes approx. 

Review by: Alun Jones 

8.5/10 

Back in the very early 70’s, I accidentally missed getting on the bus with Black Sabbath (or was deliberately left behind, you choose), and found myself stranded in Sweden.  Luckily, I had a few contacts and was able to get by, eventually meeting up with a couple of young Swedish lads in Stockholm.  They were into folk music, but I could tell they were great musicians with an ear for a melody.  After some persuasion, they agreed to try something new and join me in a new band, part heavy metal, part rock’n’roll, with a bit of folk thrown in to keep them happy. 

Our jam sessions were going really well, with me handling the vocals and devil worshipping lyrics, and the lads on guitar and piano.  We had numerous tracks rehearsed, with some killer riffs inspired by my old mentor, Tony Iommi. 

Then one day, it was all over.  The two lads decided metal wasn’t for them, and they hooked up with two Swedish girls in an attempt to make something more commercial.  A great shame, I thought, as we had potential.  Never mind, I’d saved up some cash to get back home and off I went.  No idea what happened to those Swedes though.  I think they could’ve gone far. 

All this reminiscing brings me round to discussing the latest Brown Acid compilation from RidingEasy records – the nineteenth, if you can believe it.  It’s been a while since I last reviewed one of these releases, so to summarise briefly for any late comers, Brown Acid compiles long lost gems from the late 60s through the early 70s as a document of the early days of hard rock and proto-metal from the time.  Most of these tracks – and the groups who performed them – have been lost to mists of time, but it’s always a joy to rediscover them in the 21st century. 

Our first song on this volume is “You Come on Like a Train” by the brilliantly named Dick Rabbit.  Just under three minutes of Hendrix infused fuzz rock with clattering drums, it’s a high energy opener to get us moving.  Next up is Blizzard with “Be Myself”, which has a killer intro riff that then dominates the song.  Think Cream or Mountain and you’ll be on the right avenue.   

“Sun City – Part II” is a gritty, raw rocker from the less imaginatively named Fox – the catchy riff is a beauty.  Next up, Sweet Wine give us “Bringing Me Back Home”, a boogie, rock’n’roll bar-room brawl number that injects some Southern Rock into proceedings.  It’s an unusual move for a Brown Acid comp, but it works well.  Finishing off Side One is Enoch Smokey and their cover of the Chuck Berry classic, “Roll Over Beethoven”.  A cover is also an atypical move for Brown Acid, but this rendition has enough apocalyptic hard rock mayhem to warrant its inclusion. 

Side Two commences with “Get You” by Flight, a Grand Funk style rocker that’ll get your head noddin’.  “Indian” from Quick Fox offers a more cerebral lyrical approach, lamenting the fate of Native Americans (no surprise there).  It does have a late 60s psychedelic shine that gives the song a different feel and identity.  Then it’s back to some full-on hard rock with “The Fury in Your Eyes” by Bonjour Aviators – a spectacular band name, great riff and almost punk vocals. 

Cedric delivers “I’m Leaving” next, which is lo-fi garage rock that’s simple but damn effective – like The Kinks covering The White Stripes in a Detroit dive bar.  Finally, we have the brain destroying proto–Space Rock of Zane with “Step Aside”, which sounds like Hawkwind sound tracking classic 70s dystopian sci-fi movie, Logan’s Run.  If you don’t think that sounds cool, your life clock must’ve already died. 

And that’s that: another ten songs saved from the wilderness and given a new lease of life, a second chance of glory thanks to the caring curatorship of RidingEasy records.  And all the bands get paid, which is super cool.  Brown Acid: the Nineteenth Trip is very much recommended for anyone who worships at the altar of early 70s rock – and also a great soundtrack to any party.  Get it on! 

Check out the RidingEasy Records website, plus Facebooks, Twidder, ChewTube and Insta.

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

Sergeant Thunderhoof – The Ghost of Badon Hill Album Review

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Sergeant Thunderhoof – The Ghost of Badon Hill 

Pale Wizard Records 

Release date: 15/11/2024 

Running time: 45 minutes 

Review by: Alun Jones 

9.5/10 

Two years ago, the album “This Sceptred Veil” by Sergeant Thunderhoof made such an impression on me that it topped my end of year Top 10 for Ever Metal.  So this latest release has some pretty big boots to fill.  The pressure is on, for the band and also for your friendly scribe: I’m gonna need some new adjectives in my arsenal to do this work justice.  

A mellow guitar and whistle intro brings the listener into the world of “The Ghost of Badon Hill”.  First track ‘Badon’ opens with an almost Folky feel, and in true Thunderhoof style, takes it’s time to grow and breathe.  We’re nearly halfway through before the delicate, introspective section explodes into something epic, and the hairs on the back of your neck reach for the sky.   

‘Blood Moon’ tricks the listener with a melodic intro, before a truly classic mega-riff gets the heart pounding.  The guitars of Mark Sayer and new member Josh Gallup (who also recorded the album with the band) are multi textured throughout the album, expertly ranging from the mighty to the fragile.  A pseudo-Blues introduces ‘The Orb of Octavia’, before settling on a melancholy, gentle feel.  Augmented by Daniel Flitcroft’s soaring vocals (surely amongst the best in the UK), it’s not long before the heavy is unleashed. 

‘Salvation for the Soul’ is the most immediate and Stoner/Doom related of this collection, and it quickly became a personal favourite.  “For tonight, we ride!” – trust me, kids: THAT is a chorus!   

I’ve favourably compared Sergeant Thunderhoof to Soundgarden previously – which holds true with ‘Sentinel’ – and there’s also a strong Floydian feel here too.  The changes of pace on all the tracks ably demonstrate the expertise of the rhythm section, Jim Camp on bass and Darren Ashman on drums.  Both are confident and play with finesse.  All good things come to an end though, and our final song here, ‘Beyond the Hill’, is a ten-minute plus opus that builds through several stages on a monumental journey. 

One element of this recording that’s obvious from the start, is the length of the album.  The band made a conscious decision to lay down some boundaries and write a record that would fit on a single, rather than double, vinyl album.  Whereas I could lament the shorter running time, it does make sense to condense what the band do best.  And there’s still a cornucopia of sonic delights to enjoy regardless.  I mean, I haven’t even discussed the lyric content of the record yet!  There’s plenty enough folklore, legend and mystery to keep the audience engaged and coming back for more and more. 

“The Ghost of Badon Hill” is mission accomplished for Sergeant Thunderhoof.  A great new album, reigned in a little timewise, but sonically still delivering a cerebral and visceral punch.  Another Top 10 contender, no problem.  

Check out Sergeant Thunderhoof on their website, Facebook, Instagram and Spotify.

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

Torso – Brain Cells Album Review

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Torso – Brain Cells 

APF Records 

Release date: 13/09/2024 

Running time: 31 minutes 

Review by: Alun Jones 

9.5/10 

Friday night.  I’ve just been down to the local video shop, had a scan of the horror section, took my time deciding which film to rent.  If it’s good I’ll watch it at least three times before I bring it back tomorrow.  Go for the one with the craziest sounding name and the most gonzoid image on the cover.  Doesn’t matter who’s in it, I just want to know which offers the most brain destroying, off the wall, lurid descent into madness..  Pay up and leg it home, video tape in hand.  Urgently load the clunky VHS player and wait for the image on screen to stop crackling and reveal its gory beauty… 

‘Brain Cells’ by horror metal deviants Torso bursts forth with a frantic commotion.  This is album number two from ex-Possessor frontman/guitarist Graham Bywater in his new guise as the Dark Lord of Grindhouse Schlock Terror.  APF records haven’t so much released this album, as unlocked the gates, stood well back and unleashed it upon the world in a tidal wave of bloody fury. 

Starting with the intense thrash of ‘You Belong in Hell’, the lo-fi atmosphere is captured perfectly.  Not that the production is poor, but this whole album has the vibe of an ancient cassette that’s been used and re-used many times.  Probably starting with Huey Lewis, then taped over with some early Maiden, then repeatedly re-recorded on again until it features Carcass and Entombed.   

As before, songs are peppered with random movie samples (good luck tracking the sources down, I’m stumped already), though there’s noticeably less of the John Carpenter-inspired keyboard instrumentals this time around.  No matter, the drive-in B-movie atmosphere is ever present here – both ‘Savage Magic’ and ‘Brain Cells’, in particular, help see to that. 

Key highlights you won’t want to miss include ‘Deep Space Death Trap’ with its unforgiving, virulent chorus and raw, fuzzed up riffs; and ‘Hex Pest’, which roars along as if possessed by a filthy, NWOBHM-obsessed demon biker. 

“Brain Cells” is an underground garage-metal thrill ride from opening act to final curtain.  It’s glorious, murderous fun for all – you’ll want to rewind and go from the start again, as soon as it’s finished.  A nasty, blood splattered triumph for Torso and a Top Ten of 2024 album for me.   

Find out more about Torso on Bandcamp and their APF Records page.

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

Berenice – EP Review

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Berenice – Berenice 

APF Records 

Release date: 16/08/2024 

Running time: 13 minutes 

Review by: Alun Jones 

8.5/10 

Over the last couple of days, I’ve noticed I’ve had a cold coming on.  Sore throat starting, slight cough, feeling tired and achy.  This morning I did a Covid test – no, I didn’t know that was still a thing, either – and what do ya know, I’ve got the Vid.  Double bars on the tester, I’m in full Vid mode and suffering more by the minute.  What I need is medication.  Something to clear the fog from my head.  Luckily, I have this new EP by Berenice to help. 

This self-titled release from APF records is the debut from East Anglia based noise wizards Berenice.  It’s a wild, untamed, raw release that’s a brew of hardcore, crust, sludge and grind.  The five piece have delivered a five song EP to launch their musical manifesto and it’s every bit as uncompromising as you’d expect. 

First track ‘Problems’ unleashes a screaming, thrashing beast stampeding at 100mph.  ‘Reflection’ slows the tempo slightly, but rides on a chugging riff and guttural, screaming vocals.  The remaining tracks follow in a similarly brutal style, with only last song ‘Sorrow’ breaking the three-minute barrier. 

If melody and finesse are your thing, then Berenice might not be what you’re looking for.  Instead, if you want fast, loud, aggressive music infused with the rage of living in the modern world, the Doctor prescribes a regular dose of Berenice – to be taken as often as possible. 

This EP certainly picked me up! 

Check out Berenice on Facebook, Instagram, Bandcamp and at APF Records.

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.