Tag Archives: NWOBHM

Ilex – Mutatio Album Review

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Ilex – Mutatio

Self released

Release date: 05/04/2024

Running time: 47 minutes

Review by: Alun Jones

8/10

There I was, just casually chilling between sets at McLeans in Pentre, when Frank – AKA Victim of Damp – said to me: “Hey Al, you should check this band out. They’re a Spanish Metal band, and they’re really good.” Frank sent me a link, and I gave said Spanish Metal band a listen. They’re called ILEX, and the album is called “Mutatio”, and he wasn’t wrong, to be fair.

“Mutatio” was actually written and worked on beginning some years ago, and eventually released back in April 2024. Even though it’s not a new release, I figured it was worth a review. What we have here is some fine thrash metal, with plenty of groove and some gargled Death vocals, with a nice experimental edge to set it off.

We start with some fine acoustic guitar on ‘Ardet Nec Consumitur’. a moody piece which erupts into the furious death-thrash of ‘F.P.T.S’. This track is fast, with a brutal chugging riff and growled vocals. Next is ‘Changing the Archetype’, where Ilex play with some contrasting tempos and sections. As we listen through the album, they’ve obviously challenged themselves to create progressive, expansive soundscapes and channel different styles.

‘Iceberg’ then begins with a slow, melodic intro: it’s an extended, progressive piece that really starts to evolve the sound. The aggressive metal in this track diverges brilliantly from the excellent, mellow middle section. The crunchier, ruthless riffs of tracks like ‘Rubble Survivor’ manage to comfortably nestle next to the spooky sound of instrumental ‘Omnia Mutantor, Nihil Interit’, as well as the bouncy groove of ‘Eyes of the Messiah’.

There’s the old school Metallica/Testament Thrash of ‘Cambrian Explosion’, but one of the highlights of the album is ‘The Pilgrimage’. Here the vocals are cleaner. but it’s the almost NWOBHM gallop of the track that really captures the groove here. Nice Purple style skronky organ at the end, too!

The production on “Mutatio” is really impressive, everything sounds clear but also has plenty of guts. The real success though is the mix of genres that Ilex are comfortable in exploring, whether that be Hardcore/Crossover, trad Thrash, Death or Groove metal – as well as the exquisite delicate moments. “Mutatio” has been maturing for a while, it’s well worth seeking out and dusting off.

Check out Ilex on Facebook, Spotify and Bandcamp.

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.

Singles Night at the Virtual Hot Tub #35

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

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

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

Grab a drink and settle in with my latest playlist:

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

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

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

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

Another successful night spinning vinyl. More to come soon.

N.E.W. Metal Productions Alldayer

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N.E.W. Metal Productions Alldayer  

McLean’s Pub, Pentre, Deeside 

08/06/2024 

Live review by Alun Jones 

Photos by Rachel Sian Photography 

Following in the wake of Pentre Fest earlier this year, McLean’s Pub in Pentre, Deeside North Wales was again the home of a bunch of raging metal/rock bands for a day. The good chaps at North East Wales Metal Productions held one of their fantastic alldayers, featuring several bands from all over, gracing up with their magnificent music. 

Sadly, a couple of bands couldn’t make it on the day. I was gutted that Master Charger dropped out (great band), and also The Human Condition have sadly decided to call it a day. But never mind, we soldier on, and there was plenty of music still to enjoy. 

Kicking things off in good style was Victim of Damp, aka Frank – a long-time supporter at NEW Metal Prods events. VOD opened with some lovely Pink Floyd acoustic guitar, before launching into a rousing set consisting of amusing anecdotes, shots of booze for the crowd, and sing-a-long humour. And yes, Bean’s car is still full of shit. 

Check out Victim of Damp on Facebook.

Any Given Reason were on stage next, a six headed monster of a band with two (two! Count ’em!) vocalists. Neither vocalist stayed on stage for long, preferring to take their brand of in your face metalcore right out into the audience. Great musicians too, giving us prime chunky riffs with dynamic skills. One to watch for, AGR are very entertaining with a super confident delivery all round. 

Any Given Reason on Facebook.

All the way from Belfast, Northern Ireland, to good ol’ Deeside were Nomadus – on the last date of their tour before returning home. If they were tired, it didn’t show at all – these guys are a devastating live band that left us all exhausted. A powerful combination of groove and thrash metal, with songs that are mature and progressive, make sure you see Nomadus live whenever you can. 

Nomadus on Facebook.

Surprise of the day was Crisis, who I was embarrassingly oblivious of. I was tipped off that Crisis were a NWOBHM band, which was true but doesn’t explain enough. The bands playing was razor sharp, and the songs varied from aggressive rockers to more epic, expansive numbers. This ability to let the songs breathe and grow, explore ideas and still remain in musical control set Crisis apart. If Iron Maiden were a Rush covers band, they would be Crisis.  

Crisis on Facebook.

There’s been a bit of a buzz about Warlockhunt recently, so I was very happy to finally get to see them. This band are unlike anything else: a three-piece consisting of two bass players (one singing) and drums. It’s the gloomiest of treacly doom metal decorated with beautiful, ethereal female vocals, like a dark fairy tale that may not end happy ever after. Doom pop, anyone? It’s enthralling stuff: I loved it and you need to check them out asap. 

Warlockhunt on Facebook.

Finally, our headliners for tonight, the mighty Scarfoot were back, and justly bumped to top of the bill. These guys were not fazed at all, powering through another set of intense stoner rock with a hint of grunge (at least to my ears!). The electric steel and 12 string guitars lend Scarfoot a characteristic edge, but the whole band pounding away is like Godzilla knocking at the front door. As well as being joyously heavy, Scarfoot’s songs are also epic and engrossing. Scarfoot did a superb job and closed the evening with conviction. 

Scarfoot on Facebook.

Variety was the secret spice for tonight’s event at McLean’s. Each band offered something unique and each played their hearts out. A thoroughly enjoyable event, thanks to all involved. If you couldn’t make it, readers – please try next time: nights like this need your support. 

N.E.W. Metal Productions on Facebook.

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

The Sound of Origin – Album Review

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The Sound of Origin – Man in the Arena
Self-released
Release date: 27/10/2023
Running time: 44 minutes (approx.)
Review by: Alun Jones
9/10

Right, let’s get down to business and get this review out into the world asap. This album has already been released, and as it’s pretty bloody good, let’s shout it from the rooftops as loudly as possible.

The Sound of Origin are from Huddersfield, and this is their sophomore album. I’d previously encountered the band thanks to their cover of ‘Sick Things’ on the quite bloody brilliant “Killer: 50 Years Later” Alice Cooper tribute album, released by Pale Wizard Records. I was keen to hear a full album from these Yorkshire Doom merchants and I wasn’t disappointed.

‘This Ain’t Free’ bursts from the speakers with a booming, catchy riff and a mix of screamy versus melodic vocals. It grinds, it rolls, it grooves: and that’s a fairly good summary of the whole album. Doom metal with a welcome varying pace, it’s brutal but hypnotic. First single ‘Birthright’ is an infectious bruiser and one of many tracks that remind me of the glory days of titans like Alice in Chains. Relentless, but still melodic.

‘Crown of the Cynic’ gives The Sound of Origin the chance to flex their progressive, doomy muscle with its longer run time and thudding power. I air guitarred along to this unashamedly! There’s some mighty passion here, notably in the anguished vocals.

Kyle Thomas of Exhorder and Trouble fame crops on two tunes, ‘Frail Old Bones’ and the title track. On the former, the band rock out in a fuzzy style not too dissimilar to Thomas’ day job or even good ol’ COC. The latter finds the band in a slower, pummelling pace and KT pushes the dramatics to hair raising levels.

The Sounds of Origin can throw together elements of Stoner, Doom and Sludge with great style and enthusiasm. One welcome surprise though, was hearing final track ‘Lightbringer’ which reminded me of Angel Witch – head down, old school NWOBHM vibes all the way!

My preconceived ideas may always skew any observations I make on a band’s influences. The Sound of Origin’s “Man in the Arena” is a great album that is bigger than the sum of its parts, and builds on the classic inspirations. A solid effort, this album will no doubt be a contender to make my Top 10 of the year. Just a shame it’s not available on vinyl.

Check out The Sound of Origin on Facebook, Instagram, Spotify and Bandcamp.

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

Scrap Metal Vol. 2 – Album Review

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Various Artists – Scrap Metal Vol 2

RidingEasy Records

Release date: 10/02/2023

Running time: 41 mins

Review by: Alun Jones

8.5/10

All hail the return of the forgotten kings!  Yes, it’s another instalment of long lost and forgotten classics with the second “Scrap Metal” collection from RidingEasy Records!  Much like their Brown Acid series, which compiles obscure late 60’s/early 70’s psych hard rock, here we’re delving into the murky depths of early 80’s metal.  This is the realm of studded belts, band patch covered denim jackets and of course, mullets: prepare to ROCK!

We begin with ‘Running for the Line’ by JJ’s Powerhouse – a lightning-fast ripper that reminded me of Judas Priest playing a cover of Budgie’s ‘Breadfan’.  It’s a great, energetic start to the proceedings.  Next is Storm Queen, with another fast-paced attack in ‘Raising the Roof’.  Furious fun from this Welsh power house.

‘It’s a Crime’ declare Jameson Raid, and it is indeed a crime that these Brummie bruisers didn’t achieve more in rock’n’roll.  A.R.C. have a punk’n’roll edge that makes their song ‘Homemade Wine’ something to savour, it’s the rawest track here so far.  Metropolis hail from San Jose, and their track ‘The Raven’ has a dark, mid eighties thrash sound and killer intro riff.

Staying with the USA, Prowler from San Diego offer up ‘Temporary Insanity’ – more mid-eighties thrash infused metal that recalls early Anthrax.  Following that, Christian Steel deliver ‘Need Your Love’ – a fairly cliched, but still fun, banger.  If these guys are Christians, I’ll bet their church group won’t be impressed with what they’d like to do to a lady (outside of matrimony too, I suspect).  ‘Sidewinder’ is one of the best tracks gathered here, a punchy rocker from Black Rose.      

‘Star Trippin’’ is by Dark Age.  Dark Age are apparently a band of youngsters: the guitarist was jut 12, and his brother on vocals two years younger when this song was written.  It’s fun, but very strange listening to the helium high-pitched voices.  It’s like Alvin & The Chipmunks playing Crue covers.  Finally, we have Sorcery with their mystical Zep-a-thon ‘Whales’.  Crazy title for a crazy tune.  There’s a mellow hippyish intro, which is obliterated by the crushing mega riff which powers the song along.  Over the top magnificence.

From NWOBHM inspired tracks, to proto thrash and full-on goof ball metal ragers, Scrap Metal Vol 2 has plenty of variety.  Maybe not so much depth, but it’s not for want of trying with some of these bands.  At the end of the day, all of these songs are fun and it’s great to know they’ve been rescued from oblivion.  Now, raise those horns and roar!

Check out RidingEasy Records online, on Bandcamp, Facebook, Twitter and Instagram.

This review is presented by Platinum Al in partnership with Ever Metal.

Scrap Metal Vol 1 – Album Review

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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.

Duel – Album Review

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Duel – In Carne Persona

Heavy Psych Sounds (Purple Sage PR)

Release date: 01/10/2021

Running Time: 39 mins

Review by: Alun Jones

8.5/10

Wait, it can’t be time for a new Duel album, surely?  It only seems like yesterday that I reviewed their last work for Ever Metal.  Time flies when you’re having fun, eh?  Well, that last album “Valley of Shadows”, also from Heavy Psych Sounds, was released back in 2019 – so yes, it’s time for more Duel.  My cryo-freeze unit must have kept me out of trouble for longer than I thought.

Austin, Texas is where they came from, though Duel’s real home is good ol’ heavy metal and greasy hard rock.  Whereas with the previous record review, I made comparisons to stoner rock and 70’s proto metal, this time around, “In Carne Persona” has a much more trad metal approach.  Thundering out of the gates on the very first track, “Children of the Fire” has a galloping, early Maiden sound. 

The NWOBHM influence rages throughout the album, with some classic Sabbath heaviness and Thin Lizzy style melody for good measure.  Second track “The Veil” illustrates both sides of those 70s references with a pounding riff and laser sharp solo.

Tracks like “Anchor” and “Bite Back” take the intensity of Trouble or Saint Vitus and ramp up the pace with a ferocious Priest-like power.  “Lizard Tongue” delivers the boogie, whilst final track “Blood on the Claw” provides an epic finish to the proceedings.  Bringing the album to a huge and satisfying conclusion; it builds slowly, contrasting heavy chugging sections with refrained passages.

Superb bombastic vocals crown masterful musicianship that evokes the past masters, making “In Carne Persona” another triumphant album from Duel.  Throughout it all, Duel create a dark and brooding atmosphere, that effectively stamps their own authenticity on the old template.  Dark but never grim, it’s always exciting.

I remember a duel of sorts in my days with Purple.  One night whilst on tour somewhere, we decided to have a game of beer Russian roulette.  Thirty cans of lager on the table, one had been shaken up by yours truly and placed randomly back amongst the others.  Participants would then open one can at a time next to their ear; one unlucky player would obviously suffer the frothy consequences.

Gillan, Lord and Blackmore all started well – springing open cans next to their heads which didn’t explode, so they could drink them down.  Eventually, and inevitably, it was Ritchie who took the shaken beer to the head, he was soaked and screamed petulantly at Gillan, blaming the singer for his misfortune.  It wasn’t like he didn’t know what to expect!  Blackmore stormed off leaving the rest of us in hysterics.  What was really funny was, when Ritchie wasn’t looking, I’d switched cans on him with another frothed up bullet.  Ha!

Check out Duel on Facebook, Bandcamp and Spotify.

Heavy Psych Sounds are cool and you should check them out here. Plus, they have Facebook, Bandcamp and YouTube.

This hard rockin’ review was brought to you by Platinum Al and Ever Metal.

Wax Mekanix – Album Review

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Wax Mekanix – Mobocracy

Electric Talon Records (Dewar PR)

Release date: 20/11/2020

Running time: 30 mins approx

Review by: Alun Jones

9/10

“Who the fuck is Wax Mekanix?” You may well ask.  Who is this enigmatic troubadour, this mysterious master musician, who has concocted this art for us to absorb?  Well, I’m not sure I can answer those questions, but I have done some research.  A bit late, I know, as this album was first released back in November.  But hey, I can’t be cutting edge all of the time.  Sometimes a scribe such as I must admit that changes of seismic consequence occur without my usual omniscient vision.  Hard to believe, I know.

And yet here we are.  Six tracks of exploration and wonder that plough a beguiling path through musical genres, from classic hard rock to folky musings, with an added sprinkle of the unexpected and alternative.

If you want big full-on metal with groove, you’ll find it with “Blood in my eyes”.  Huge chants and choruses?  Try the gladiatorial detonation of “Victorious”, where you’ll also witness Brandon Yeagley and Chris Bishop of the very awesome Crobot playing the funky, infectious riffs that they’re famed for.

Wax himself is something of a renaissance man: writing, singing and playing on all tracks.  Possessing a voice that can change from a warm country croon to a caramel Maynard James Keenan earnestness to a classic Alice Cooper roar, Wax morphs easily from one to another.  He’s like Mike Patton with a folk fixation, but dressed even more dapper.

“Mad World” is one of my favourite tracks here, starting off with some Mexican guitars before erupting in a NWOBHM stampede that also recalls The Crue at their pop metal best.

The absolute highlight, though, is the final track “Black”.  This song is all eerie acoustic guitar and minimal percussion, with a catchy melody that creates something hypnotic and other worldly.  Despite also reminding me of Johnny Nice Painter form the Fast Show (do a Google) on the chorus, this song exudes atmosphere.

Although the album is a little short, there’s plenty to investigate.  Listeners will be rewarded with additional revelations each time they delve into it.    

When I first heard Mobocracy, I rated it as good.  After a couple of listens, I’ve upgraded it to GREAT.  A welcome amalgamation of styles and influences, as well as exemplary song writing and musicianship, don’t let the endeavours of Wax Mekanix pass you by.  Who is Wax Mekanix?  The real question should be: “What’s next?”

Speaking of wax, did I ever tell you about that time when Ozzy and me decided to do a séance with some candles he pilfered from some hippies?  That did not end well.  There’s a little B&B in Carlisle that still has scorch marks up the walls.  Tony was not impressed in the slightest.  And I still have a phobia of barbecues to this day.

You can check out Wax Mekanix on Facebook, Twitter and Bandcamp.

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

The Night I Played Bass for Diamond Head

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DHLive

Diamond Head + The Heretic Order + Kuru + Cathar

Thursday 25th June 2015

The Live Rooms, Chester

Yes, you read that right.  For one night I played bass guitar for British Heavy Metal legends Diamond Head, and this is how it happened.

Diamond Head had three support bands, which is pretty good value for money in my book.  First up were Cathar, who were a Symphonic Metal band with two singers.  Solid musicians but not really my cup of mead; good vocals though.

Next were Kuru, who were more in the Death Metal vein.  Brutal riffs and the rhythm section were impressive.  Ferocious vocals, though I’m not a massive fan of the Death Metal Grunt.

The Heretic Order merged a more trad metal (Maiden, Priest) approach with some more thrashy elements.  Think Venom with some Sepultura and melody thrown in; they do a nice line in comedy Satanic Metal too.  At least I think it’s comedy; if not I mean no offence, honest…

Diamond Head can rock with the best of them.  Their NWOBHM anthems have become hugely popular due to their influence on those who followed.  The famous songs – “Am I Evil”, “The Prince”, “Helpless” – can be regarded as amongst the foundation stones of classic metal.  This is the music that helped shape today’s rock just as much as “Breaking the Law”, “Run to the Hills” or “Ace of Spades”.

In addition you’ve got those big, epic Zeppelin inspired songs like “To Heaven From Hell” and “To the Devil His Due”.  Monolithic tracks that really add another dimension to Diamond Head’s catalogue.

They play all the greats at the Live Rooms, and have a fantastic time doing it.  Brian Tatler is safely in the driving seat, in control and playing brilliantly.  Vocalist Rasmus Anderson has a hell of a voice on him, confidently delivering gem after gem.  The rhythm section of Karl Wilcox (drums) and Eddie Moohan (bass) are locked in and having a whale of a time.  Then you’ve got guitarist Abbz, who looks like the happiest bloke on the planet.

It’s a packed and professional set with plenty of conviction.  At the very end, I was down the front for the encore when Eddie offered his bass to the audience to strum.  So I hit a few strings – and so did half a dozen other people.  But now I’ll claim to have played bass for Diamond Head, and you can’t call me a liar.

Great gig.  My interest and respect for this band was renewed.  It was great to see a band who have accomplished so much – and still have so much to give – on my door step.  Legends.

The Diamond Head web site is here.

The Live Rooms web site is here.