Tag Archives: Occult rock

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.

Pentagram – Lightning in a Bottle Album Review

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Pentagram – Lightning in a Bottle 

Heavy Psych Sounds Records 

Release date: 31/01/2025 

Running time: 49 minutes  

Review by: Alun Jones 

8.75/10 

Pentagram are a band that refuse to die.  With roots going back some fifty years, and every kind of catastrophe from band splits, arrests and hard drug addiction, it’s some feat that we’re here to discuss a new album at all.  Like a bizarre hybrid of 80s slasher movie antagonists, Pentagram keep coming back to life.  Now, with “Lightning in a Bottle”, the band are back: the life support has been thrown on, this time by mad scientists Heavy Psych Sounds.   

The band’s only constant member is founder/frontman/vocalist Bobby Liebling, a complex and controversial character.  On this excursion, he’s joined by a new bunch of musicians who are venturing to keep the name and legacy of Pentagram alive.  Tony Reed is on guitar and production duties, Henry Vasquez on drums and Scooter Haslip handles bass.  All three have sturdy pedigrees earned from other bands, and their contributions here make them light years past being mere hired hands. 

Liebling’s story is both chaotic and scandalous, but this isn’t the time or place to cast stones.  Interestingly, on the track ‘Lady Heroin’, the singer explores the theme of his addiction in a mournful, self-torturing manner.  There’s no bravado here, with Liebling openly pondering on the destruction that addiction has wrought.  Musically, the song marries a solid riff with a forlorn middle section. 

‘I’ll Certainly See You in Hell’ follows this track, with a strutting pace and Liebling wailing like a deranged preacher.  After that we get ‘Thundercrest’ with its ruthless, pounding riff – forming a triumvirate of the best songs in the middle of the album.  Not that the rest of “Lightning…” is lacking: whether its aptly titled opener ‘Live Again’ with its head nodding urgency or the crawling doom fest of ‘Walk the Sociopath’, Pentagram have all bases covered. 

The biggest fear was always going to be Pentagram pissing on their legacy.  They are, after all, one of the great Doom Metal bands that are responsible for the development of the sub-genre.  Absolutely no fear of that here, though: “Lightning in a Bottle” sees this version of Pentagram releasing a reassuringly strong album.  The musical reputation of Pentagram continues to thrive. 

Check out Pentagram on Facebook, Instagram, Spotify or their website.

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

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.

Platinum Al’s Top 10 Rock & Metal Albums of 2024

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2024 was a fantastic year for new music. As previous, I was asked to compile my Top 10 of the year for Ever Metal, which wasn’t easy. That list has already been published on the EM website, but I’ve replicated it here for anyone who missed it…

Every year, it’s a struggle to whittle down tons of superb albums to just ten.  This year has been just as difficult (if not more so) and I’ve had to leave off a few great releases that just didn’t make the cut, for one reason or another.  I’m sure I’ll regret leaving a few of those off the final 2024 list, even if it’s just because they’re still very new I’ve not had chance to grow into them yet.   

Anyway, here’s the best of 2024 as it feels right now: 

10. Goat Major – Ritual 

Released in March, this debut from Welsh Occult Doom Metal band Goat Major announced a formidable new talent to the scene.  Building on their love of the classic bands that defined the genre, Goat Major add plenty of their own character to a magnificent album. 

9. Crobot – Obsidian 

Crobot’s latest release certainly has a darker, heavier atmosphere than previous albums, but the unmistakeable groovy riffs are well in place and ready to unleash the Hard Rock mayhem.   

8. Acid Mammoth – Supersonic Megafauna Collision 

Greek Doom-mongers Acid Mammoth delivered another heavy weight slab of fuzzy Stoner Metal, with a variety of moods and hefty groove.  Neolithic Rock with a touch of the ethereal. 

7. Duel – Breakfast with Death 

Amazing album title.  Fantastic cover artwork to compliment said title.  And guess what?  This latest release by Texan Stoner Metal gang Duel is even better than first impressions would suggest: Doomy Stoner Biker Rock from hell! 

6. The Obsessed – Gilded Sorrow 

Wino’s legendary Doom Metal crew returned in early 2024, to remind everyone how it should be done.  Infectious, groovy riffs, heavy as shittery songcraft and head spinning melody collide in a perfect meltdown. 

5. Orange Goblin – Science, Not Fiction 

The definitive Orange Goblin album?  Could be.  This latest OG album demonstrates all of their strengths, welding together the various sounds and genres they’ve mastered over the years.  Bursting with energy and invention. 

4. Torso – Brain Cells 

More exhilarating chainsaw Garage Metal from Torso, this lo-fi masterpiece arrived with all the subtlety of a brick to the forehead.  Less John Carpenter this time, but definitely slasher-splatter death-mosh a go go! 

3. Zombina and the Skeletones – The Call of Zombina 

They’re back!  One of the most wonderful live bands I’ve ever witnessed, Zombina and crew finally returned with a non-stop Horror Punk party, just in time for Halloween.  Long may they continue!   

2. Fu Manchu – The Return of Tomorrow 

The only downside of a new Fu album is waiting for it to be released!  Their first new album in six years was everything I hoped for, a double album split between a first half of fuzzy rockers and a second of slower tempo groovers. RAD! 

1 Sergeant Thunderhoof – The Ghost of Badon Hill 

The ‘Hoofs last album was number 1 in my 2022 Top Ten – and whaddya know, they’ve done it again!  Slightly less bombastic then their previous, but even more engrossing, “The Ghost of Badon Hill” is a mature and thrilling record to get lost in. 

So that’s ten.  Honourable mentions go out to Melvins, Lucifer, Black Tusk, Alunah and Barbarian Hermit amongst many others.   

Here’s hoping 2025 can match this… 

Keep coming back to Ever Metal and Platinum Al’s Virtual Hot Tub for all the best rock and metal reviews!

Goat Major – Album Review

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Goat Major – Ritual

Ripple Music

Release date: 08/03/2024

Running time: 41 mins approx

Review by: Alun Jones

9/10

“Ritual” is the debut album of Occult Doom Metal band Goat Major. The band, comprising Jammie Arnold (guitar), Simon Bonwick (drums) and Tom Shortt (bass and vocals) came together as a three piece during the pandemic and the frustration of lockdown. They hail from Haverfordwest, Pembrokeshire in Wales, which makes a lot of sense. Wales is steeped in ancient legends, historic monuments and plenty of castles, druids, standing stones, devil dogs and faerie folk – a rich landscape for inspiration.

Musically, we have here eight songs that follow the classic doom/stoner template of fuzzy guitars, rumbling bass and crashing drums. The first track, ‘Snakes (Goddess of the Serpent)’ offers up a burning, slow riff before launching into a dirtier, groovy rhythm. The title track has a driving pace with a hypnotic feel, induced by backing vocals and a relentless grind.

The songs aren’t all just freaked out, fuzztastic trips though. There’s a palpable air of Dennis Wheatley and Hammer horror permeating the whole affair, best demonstrated by ‘Mountains of Madness’, with its slow, atmospheric start. Goat Major bring the gloom to the doom with a touch of malevolence.

Rounding off the album is a short, melodic track called ‘Lay Me Down’, which reminds me of the sort of mellow insert that Budgie (or Sabbath, for that matter) would employ. Appearing last, it’s a lovely oasis of calm after the preceding murkiness. It’s easy to compare the album to Electric Wizard, Uncle Acid and Cathedral, but the foreboding feel Goat Major have created shows they have ideas of their own.

Bubbling away in Goat Major’s coffin is a recipe for some classic Occult Doom Metal. They’ve taken the original sources, added some sinister seasoning of their own, and delivered a hell of a debut album. “Ritual” is easily qualified to make my end of year Top Ten.

PS: in no way has the fact that this band is from Wales influenced my high opinion of this excellent album. Diolch yn fawr, Goat major!

Check out Goat Major on Facebook, Instagram, YouTube and Spotify.

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

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.

Ancient VVisdom – Album Review

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Ancient VVisdom – Master of the Stone

Argonauta Rcords

Release date: 26/01/2024

Running time: 31 minutes

Review by: Alun Jones

9/10

Ancient VVisdom have never graced my ears before, so I was very keen to dive into their latest creation, “Master of Stone”, and share with you, good reader, my thoughts.

The band burst forth with ‘Sold My Soul to Satan’, which bounces along with a hook-riddled riff and captures the listener from the get-go. This song nicely encapsulates the style and theme for the album with absolutely no mercy. It’s a head banging, fuzz drenched rocker that’ll drag you along like a tin can hanging from the back of Lucifer’s wedding hearse.

That opener wasn’t a fluke, either: ‘The Adversary’ and ‘The Apollyon’ are both infectious blasts of hard rock with an air of the strange and arcane. The next track, ‘World’s Demise’, is a stomping, eerie acoustic number – all of a sudden Ancient VVisdom sound like Satanic troubadours heralding the end of the world. It’s a dramatic and clever display of skill and variety of musicianship.

If that acoustic approach reminded me of New Model Army, then ‘Ashes from On High’ is the most Metal track here. It chugs along like Slayer playing a retro style Sabbath cover. Brothers Nathan Opposition and Michael Jochum have obviously studied the masters well. If you like old school doom rock, maybe some Type O Negative and Danzig, right on up to modern scene stealers like Uncle Acid and the Deadbeats and Green Lung, you’re bound to love this album.

With songs that are catchy and memorable, and also dripping with a melancholy other-worldliness, ‘Master of Stone’ is a fantastic album. The only true wisdom is in knowing you know nothing. This may be true in my case, but Ancient VVisdom are here to educate us all.

Find out more about Ancient VVisdom on Facebook, Instagram and Spotify.

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

Green Goat – Album Review

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Greengoat – A.I.

Self-released

Release date: 26/01/2024

Running time: 38 minutes

Review by; Alun Jones

8.5/10

Opening with a Bladerunner-style synth led track that features a spoken word delivery of Asimov’s Three Laws of Robotics, is a bold (and different) move for a Stoner/Doom band. In a genre where, thematically, we’re usually content to contemplate the joys of weed consumption and the mysteries of the occult – usually via a 1970s Hammer horror aesthetic – this sci-fi launching point is a welcome breath of fresh air.

This is where we enter the album “A.I.” by Spanish doomsters Greengoat. It’s a great band name, and one that harks back to those pot and patchouli, candles and Peter Cushing tropes we’re used to. But ‘The Void’ takes us on a different tangent, with the Rutger Hauer voice over. Second track ‘The Seed’ takes this mellow intro and runs with it, till 30 seconds in – yes, it’s big fat chunky riff time! And what a big, fat chunky riff it is – slow and grinding, developing an irresistible groove with the drums dropping in, eventually exploding into a full force rocker.

The line-up of singer/guitarist Ivan Flores and drummer Ruth “Kalypso” Moya invoke a moody soundscape that borrows from spacey, harmonic passages of Pink Floyd and adds crunchy hard rock. It’s a euphoric concoction as the music builds. And oh, how it builds…

A more traditional stoner groove pervades the other songs on the album, with groovy riff workouts showcased across tracks like the head-nodding, tripped out title track and the fuzzy, Fu Manchu-like ‘Burn the End’.

Throughout the album, Greengoat weld together a progressive, futurist theme with some good, old fashioned, retro Sabbath style rockin’. “A.I.” will no doubt entwine itself around my conscious all the more as I play it in the weeks to come. This is a fine album with great ideas – the analogue age and the digital age tentatively strolling forward together.

Find out more about Greengoat on Facebook and Bandcamp.

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

Green Lung – “This Heathen Land” Album Review

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Green Lung – This Heathen Land 

Nuclear Blast Records 

Release date: 03/11/2023 

Running time: 43 minutes 

Review by: Alun Jones 

9.75/10 

Halloween ain’t over yet, kids – at least not while the arch druids of Occult Rock, Green Lung, are back in town!  Yes, London’s finest purveyors of witchy, stoner incantations have a new album, “This Heathen Land” – released by Nuclear Blast Records, no less.  So gather ye round, my acolytes, whilst we indulge in the ritual listening of this opus.  Light some candles, burn some incense, imbibe potions of mind-expanding merriment.  And take all your clothes off!  

Album number three from Green Lung kicks off with a suitably 1970s intro, setting the magickal vibe right away.  ‘The Forest Church’ is the first track proper, which takes its inspiration from Danzig-approved cult folk horror classic “The Blood on Satan’s Claw”.  It’s a riffalicious chunk of doomy wonder, built around an organ drenched, moody base. 

‘Mountain Throne’ blasts out as a Sabbath style rocker, awash with those lush, skronky keyboards.  Then GL add some sauce to their sorcery with their ode to ‘Maxine (Witch Queen)’, an ecstatically catchy slice of psychedelic, garage rock-infused debauchery.  ‘The Ancient Ways’ and ‘Hunters in the Sky’ are both powerful yet groovy rock that’s reminiscent of the greats and gleefully conjures up its own aura.   

Green Lung really stretch themselves on ‘One for Sorrow’, which features huge, doom riffs and atmospheric synths with an epic chorus.  The mellow, folky sound of ‘Song of the Stones’ adds yet more colour to the palette, and still sounds essential – just like those more refined tracks on early Black Sabbath records.  The melodic, drama infused ‘Oceans of Time’ – inspired by Coppola’s “Bram Stoker’s Dracula” – adds a suitably bombastic and ambitious climax to the album.   

A word of wisdom for the initiate: the vinyl version of “This Heathen Land” shows exactly why physical media is still so important and potent.  My copy is green vinyl, in a gatefold sleeve with lyric booklet and a map of the UK, showing various otherworldly sites that have inspired the album.  This obsessive attention to detail is fascinating and illustrates just how much care and attention has been poured into the whole work!   

Green Lung is completely fearless, their ability to rise to the challenge and create art this meticulous is highly impressive.  And I should know, I’ve seen The Wicker Man and I own a black cat.  Seriously, my children: “This Heathen Land” is essential. 

You can put your clothes back on now.    

Find out more about Green Lung on Facebook, Instagram, Twitter and their website.

This review is joint presentation by Platinum Al and Ever Metal.