Continuing our explorations of ancient sites around the Isle of Anglesey, earlier this year we paid a return visit to Barclodiad y Gawres. Not far from our regular haunt in Rhosneigr, on the road to Aberffraw, this ancient tomb is one I’ve visited before – but it’s well worth another, better documented trip.
Barclodiad y Gawres means “The Giantess’s Apronful” in English. There are carparks nearby to reach the site, followed by a short walk along a pretty spectacular coastal path, with great views across the beaches towards Rhosneigr. The monument is visible from the road, and eventually you’ll reach it standing atop a hill.
The entrance is gated, though it is opened up to the public at certain times. You can see inside the tomb regardless, and discern some of the stones within. I’ve not been directly inside yet, but it’s certainly something I’d like to do. Some of the stones contained inside feature patterns made by the ancients – which would be a fantastic thing to see.
The location makes this site an atmospheric viewing. With Porth Trecastell on the far side, it’s surrounded by some wonderful scenery that really makes this a wonderful, magical place. Barclodiad y Gawres is an intriguing place and worth repeated visits – the Jones archeological team shall return.
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.
Over the last summer, my family and I spent some more time on the Isle of Anglesey in North Wales. Previously, we had visited the ancient burial chamber of Bryn Celli Ddu, which we all felt was an amazing, magical place. And so this year, we were keen to visit some more prehistoric sites on our travels around the island.
Staying as usual in Rhosneigr, our first destination was almost just around the corner, and easy to find. Heading out of Llanfaelog, taking a left turn and travelling along a small lane, Ty Newydd burial chamber was clearly sign posted and no problem to park close by. Hopping over a stone wall, the monument was visible immediately.
Ty Newydd stands in the corner of a field and though brick supports help to hold it up, the site is still impressive. It dates to the Neolithic age and was a communal place to bury the dead. With the capstone lying across the supports, Ty Newydd resembles a mini Stonehenge, and still awe inspiring.
Our first site was very straight forward to discover, encouraged by this and the wonder of standing close to something so unfathomably old, were decided to look for more.
Trefignath tomb was not as simple to locate, but it was definitely worth the effort. We headed up towards Trearddur Bay, and after a few wrong turns, found ourselves near a truck park. We knew the location was nearby, but coudn’t see any signage. With double yellows lining the road, parking was restricted. Pulling into a small turning space, we scouted about and – noticing a similar stone wall to Ty Newydd, could just see the top of the monument.
This site is actually three burial chambers constructed in close proximity throughout different periods of the Neolithic age. Although some of the construction has collapsed, the three chambers are still clearly identifiable and create quite a stirring experience. As per Bryn Celli Ddu, there’s obviously still some relevance here, with flowers and other items left on the site.
Our explorations came to an end eventually, it was time for the intrepid Jones archaeologists to retire. Both sites we had discovered were inspiring to visit, brilliantly magical places that were shrouded in mystery and history alike. There are plenty more ancient monuments to visit in the area, we’ll save those fpor another time.
Witnere (their name is Olde English for tormentor: so far, so cool) are a British metal band comprised of Jason Taylor on drums and Declan Doyle on the guitar and bass. Vocals are shared, and also aided with the assistance of their comrade Scott. This is their second album, produced and released by the band themselves.
“Albion Aflame” is rooted in a solid, defined concept: Britain in the Dark Ages, and the myth – or history, maybe – concerning King Arthur. Immediately, this foundation elevates Witnere to a higher standing, with plenty to explore. First track ‘410 AD’ is a folky number that captures the theme brilliantly, dropping the listener right into the frame.
From there, it’s an album of magic, prophecy and bloody battles amidst a collection of powerful songs. ‘Merlin’s Warning’ gallops off in an Iron Maiden style, relentless drums and guitars roaring. Great melodic instrumental section, fiery lead – all top quality, with a riff you can hum (this is v important). ‘Furor Saxonicus’ is a fast paced, face ripper – and again also very catchy. You can head bang and chant along, waving your air sword at imaginary enemies.
‘King of the Britons’ features another agile, speedy riff that conjures the melodic approach of Thin Lizzy. The rest of the songs follow in this style – without losing their appeal – until we reach the epic ‘Avalon’. Our story is almost over: acoustic guitar intro gives way to a more sombre, though still awesome, finale that builds on quieter verses and rousing choruses.
There’s a lot to take in lyric wise (a lyric sheet would be great), but the vocals across the album – whoever they’re delivered by – are varied and confident.
The production on this recording is extremely impressive: it’s crisp and clear, without sounding “nice”. ‘Albion Aflame’ benefits from excellent musicianship and performances, too. What’s most impressive, though, is the level of story telling detail that Witnere are able to create. There’s a lot of care and passion gone into every element of this album, from the research to the execution. ‘Albion Aflame’ surprised me with its professionalism and depth. You don’t have to use sorcery to track this album down, but I suggest you waste no time in doing so.
The highlight of my family holiday to Anglesey, North Wales this year was my visit to the ancient burial chamber, Bryn Celli Ddu.
The island of Anglesey (Ynys Môn in Welsh) is famously associated with the druids and ancient Celtic society. Many prehistoric sites can be found dotted around the whole of the island, from standing stones to burial chambers such as this. These sites blend myth and legend with actual history.
Bryn Celli Ddu dates back to around 3,000 BC, where originally it comprised of a henge – consisting of a bank, ditch and circle of standing stones. This was replaced around a thousand years later by a mound concealing a tomb, with a passageway leading to the centre. On the summer solstice, light shines directly down the passage to illuminate the central chamber.
We were able to park nearby and took a winding path which eventually opened up into a field. There in the middle of the field was the unmistakable mound of Bryn Celli Ddu. We were able to explore the site, and enter the small passageway to the tomb in the centre of the mound, crouching somewhat to negotiate the low height.
Light seeped in through the entrance, and through a gap in the opposite side. Inside the confined space, previous visitors had left various mementoes of religious or magickal importance, such as feathers, coins and flowers.
There was definitely a feeling that we were somewhere special, somewhere that although we may not understand why, held great significance. We were stood right in the heart of history itself, surrounded by questions and mysteries.
Bryn Celli Ddu is a fascinating place to visit. It made a huge impression on me, and I intend to visit similar sites in the future. If you’re in the area, make sure you turn off the main road and follow your way to this ancient and magical site.
There have been several murders in the village of Vandorf in Central Europe, where the victims bodies are turned to stone. Following the death of his son Bruno, Professor Heitz (Michael Goodliffe) suspects all is not as it seems, and decides to investigate what the locals are hiding – and what they are so afraid of.
The Professor believes something hideous from ancient Greek mythology stalks the area, and seeks the help of Doctor Namaroff (Peter Cushing). Namaroff will not cooperate and the Professor meets his end when he sees the terrible face of Megeara, the Gorgon. Heitz manages to write a letter to his son Paul (Richard Pasco), before he is turned to stone.
Paul Heitz arrives in Vandorf to pick up the investigation, where he finds Namaroff similarly unhelpful. Carla, Namaroff’s assistant, played by Barbara Shelley, promises to assist Paul. But is there any truth to the myth of the Gorgon, and will there be time to solve the mystery before any more deaths occur?
I was sceptical at first, but The Gorgon successfully manages to transplant Greek myth to the more typical Gothic Hammer style. Christopher Lee turns up as Paul’s mentor, Professor Meister, in a great role – and Barbara Shelley is captivating in every scene. The film looks gorgeous, the lighting and shadows creating a stylish atmosphere – you’ll find it hard to look away, even when the Gorgon is on screen! A slightly different, but very fulfilling horror from Hammer.
I remember being about nine or ten years old, and my Dad telling me he’d stayed up late watching a vampire film the night before. In it, the vampire hunters buried toads in the ground as a way to detect the undead. Fast forward to my late teens, and I saw this very scene was part of Captain Kronos – Vampire Hunter. That was pretty exciting, in a very nerdy way!
This film from Hammer studios was something of a departure, as they investigated ways to breathe new life into their usual formula. Brian Clemens of television’s Avengers fame took on writing and directing duties; adding numerous flourishes to refresh the vampire mythology.
Captain Kronos (Horst Janson) is the hero of the piece, roaming Europe with his companion Professor Grost (John Cater) and beautiful Carla (Caroline Munro) to rid the land of the undead. They receive a call for help from old friend Dr Marcus (John Carson), whose village is plagued by a strange form of vampirism. There follows a hybrid of classic Gothic Hammer horror and swashbuckling adventure, that is full to the brim with novel ideas and variations on traditional vampire folklore.
Originally planned as the first in a series, unfortunately this was not to be. Changing tastes in horror films led to a decline in the traditional Hammer approach; the studios waning success meant that Kronos was a one-off. It’s a great shame, as the new approach really pays off. It’s almost a prototype for Blade (or even the disastrous Van Helsing).
One of my favourite Hammer films, Captain Kronos – Vampire Hunter has everything you could want. The level of detail with regard to vampire lore and the new twist on the familiar are just some of the films strengths. This film is a true classic and should be enjoyed by all!
Furthermore, I usually hate sequels and remakes – but Captain Kronos would be a great franchise to rise from the dead. Apparently Tarantino is a fan. Now that would be interesting…
10/10
Did I mention that the stunning Caroline Munro appears in this film? Here’s some proof…
A group of students travel to a deserted town to investigate the apparent paranormal activity witnessed there. The story goes that the town doctor went mad, tortured and killed several inhabitants. As the group conduct their exploration, the supernatural begins to manifest itself – but who is the focus?
This Spanish (subtitled) film offers a cliched cast of characters, and can’t decide if it wants to be a dramatised version of Most Haunted or Saw. At first it’s a fairly clumsy mutation of the two, but stay with it and the actual story is worth experiencing.
Not essential viewing, but the twist is interesting (I didn’t see it coming, anyway).
7/10
The Company of Wolves (1984)
“Never stray from the path, never eat a windfall apple and never trust a man whose eyebrows meet in the middle.”
Neil Jordan’s dreamlike film is often explained as an updating of the Little Red Riding Hood tale. But there’s so much more to it than that.
Rosaleen (Sarah Patterson) hears tales of strange men with eyebrows that meet in the middle from her grandmother (Angela Lansbury). There are several elements of werewolf folklore, wrapped up in dreams and myths that provide a warning to young maidens – illustrating how people in years gone by were wary of the forest at night, the full moon and the howling wolves.
Although the effects are dated somewhat, the transformations from man into wolf are quite ingenious. However this isn’t really a horror movie, it ‘s a film heavy with symbolism that explores the loss of innocence and the onset of sexual maturity. There’s plenty to enjoy with the rich, surreal vision we are presented with, but far more to think about.
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