Tag Archives: psychedelic rock

All Souls/Fatso Jetson – Album Review

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All Souls/Fatso Jetson – Live from Total Annihilation

Ripple Music

Release date: 19/08/2022

Running time: TBC

Review by: Alun Jones

8.5/10

Well, bloody flipping heck – this is pretty good, innit?  A split album, recorded during the pandemic in L.A.’s Total Annihilation Studios, light on the production and heavy on the creative purpose.  We have, for your enjoyment, a collection of songs from alt rockers All Souls and desert rock pioneers Fatso Jetson.

All Souls deliver five songs here (that’s all of Side A to the connoisseur), all of which offer a dark yet epic character.  ‘Who Holds the Answer’ is a mid-tempo, infectious rocker and ‘You Can’t Win’ has a melancholy start that grows into a moody, Spaghetti Western tinged piece.  The American Gothic vibe is showcased further on ‘Winds’, again utilising a sparse, melodic approach to generate a cinematic soundscape.  The final two tracks, ‘Sentimental Rehash’ and ‘Timebomb’ are both faster paced and more abrasive, with robot like, post punk riffs – but both still have menace.

Side B belongs to Fatso Jetson, and their first song ‘Drifting off to Storybook Deth’ is my personal favourite of this entire recording.  It welds the gloomy heaviness of the Melvins with the atmosphere of classic Soundgarden into an ominous monster of a track.  ‘Monoxide Dreams’ takes a hypnotic trip off into a windswept, barren horizon.  The repetitive, mesmeric ‘Dream Homes’ is a robot riff instrumental like Sabbath jamming Devo tunes, whilst ‘Long Deep Breaths’, the final track, is an exploration of dark psychedelia.            

Further proving that “desert rock” has more than one style, both of the bands here are adept at taking that expected template and weaving other influences and ideas into their songs.  Both dark and beautiful, All Souls and Fatso Jetson’s efforts are all fascinating.  “Live from Total Annihilation” is ideal music for watching the sun fade and the night creep in.

Have a gander at Fatso Jetson on their various web presences: Facebook, Bandcamp, Instagram and Spotify.

All Souls also have webby business on Facebook, Bandcamp, Instagram and Spotify.

This review is presented to you by Platinum Al in cooperation with Ever Metal. Go and check out Ever Metal now!

Nebula – Album Review

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Nebula – Transmissions from Mothership Earth

Heavy Pysch Sounds Records

Release date: 22.07.2022

Running time: 39 minutes

Review by: Alun Jones

9/10

As I write this, we’re sweltering in a record-breaking heatwave.  North Wales, which is where I’m based – and also where the nerve centre of Ever Metal can be found – has had some of the highest temperatures in the whole of the UK.  It’s crazy.  And so, a new album from desert rock titans Nebula seems extremely apt right now.  “Transmissions from Mother Ship Earth” has arrived at exactly the right time.

And it arrives with a welcome burst of fuzz drenched psych rock, exactly as expected, in first track, ‘Highwired’.  Big fat riff, dashes of space rock and a whiff of herbal cigarettes: classic Nebula, really.  Up next is the title track, which adds some nice, sixties secret agent vibes to the melting pot, together with a punishingly heavy section.

‘Wilted Flowers’ begins with a mellow guitar section before exploding into a thunderous head tripper.  There’s a feel of Mudhoney and the Stooges with Nebula’s best work, as evidenced here and with ‘Melt Your Head’.  Other tracks like ‘Warzone Speedwulf’ and “The Four Horseman’ sound like early Monster Magnet dripped in acid fried Steppenwolf and left to dry in a Tarantino desert landscape.    

No surprises then with this latest Nebula release, and with titles like ‘I Got So High’ you can guess exactly what to expect.  But who cares?  “Transmissions from Mothership Earth” is a solid album of pounding rhythms and spaced-out fuzz rock.  It’s bound to make my end of year best of list, and right now it’s the perfect soundtrack for summer.  Enjoy, fellow explorers – it’s gonna piss it down with rain tomorrow.

Talking about nebula and space and galaxies and all that, did I tell you about the great telescope trick we played on Bill Ward once?  It was at Brian May’s house, and he’s well into all that astrology business.  Bri’s got this huge telescope for star gazing.  So Tony, Ozzy, Geezer and me persuaded Bill to take a look.  What he didn’t know was that Brian had put black paint inside the lens, so Bill ended up with a great big, black monocle on his face.  Bill didn’t realise, and walked round like that all night – extremely paranoid as to why all the guests were laughing at him.  Great fun!

You can find Nebula on Facebook, Twitter and Instagram.

Check out Heavy Psych Records online and on Bandcamp.

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

Brown Acid: The Fourteenth Trip – Album Review

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Various Artists – Brown Acid: The Fourteenth Trip

RidingEasy Records

Release date: 20/04/2022

Running time: 34 minutes (approx.)

Review by: Alun Jones

7.5/10

Well, that’s it, it’s over – I thought to myself on first perusing this latest entry in the Brown Acid series.  The well has finally run dry.  The RidingEasy Records archaeologists have eventually reached the end of their previously rich vein of rare, obscure and undiscovered proto-metal and vintage hard rock.  How had I arrived at this conclusion?  There are only eight songs, compared to the usual ten; with a running time of just 26 minutes. 

Then I realised that the final track, an 8-minute-long number by a band called Raven, was missing from the press review download I had.  So that extra track would even things out nicely, with a decent longer running time.  Though I wouldn’t be able to review every song, at least the existential crisis of NO MORE ROCK had been avoided!

Volume 14 starts of with the great ‘Fever Games’ by The Legends: it’s a rampant, rollicking late 60’s ode to Blue Cheer, Hendrix and Cream.  Despite aping Jimi a little too closely, this song is a lively opener.  Next up is Mijal & White with ‘I’ve Been You’.  This track sounds like the Monkees cutting a particularly noisy song by The Who, which should encourage you to definitely give it a whirl on your gramophone. 

I don’t know who Henry is, but thanks to the chunky blues rock of Liquid Blue, I know that ‘Henry Can’t Drive’.  This is a more traditional heavy rock number, and as an album highlight it keeps the engine speeding along on a straight track.  There’s a fast rock’n’roll MC5 vibe to ‘Signs’ by San Francisco Trolly Co. This energetic song is followed by Blue Creed’s ‘Need a Friend’, a raw and rough brawler.  It’s a contrast to ‘Play It Cool’ by Transfer, which reminds me of a revved-up surf track. 

‘You’re Not the Only Girl (I’m Out to Get)’ by Appletree finally ushers in some much-needed cowbell.  Reminiscent of Grand Funk Railroad and – gasp – even early Kiss, it’s another quality highlight.  Ideal for playing in an old, rusty’n’trusty Camaro.

Cox’s Army gives us another Hendrix inspired number with ‘I’m Tired’, which bops along in a true groovy manner.  And that, for me, is my last track on my version of “Brown Acid: The Fourteenth Trip”, though as mentioned above, there is another song called

Check out RidingEasy Records at various site webs, such as their own, Bandcamp, Facebooks, Twidder, ChewTube and Insta.

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

Trouble – Album Review

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Trouble – One for the Road/Unplugged

Hammerheart Records

Release date: 11/02/2022

Running time: 67 mins

Review by: Alun Jones

9/10

The mighty Trouble!  A release from these titans of doom metal is always worth celebration, and this is no exception.  Back in the early 90s, this cult band were verged on the edge of a mainstream breakthrough, with two albums on the Rick Rubin helmed Def American Records (also home to Slayer, Danzig, Black Crowes and others).  Alas, it was not to be: this eternal underground favourite was to remain just that. 

“One for the Road” followed the second, self-titled Def American album, as a limited-edition European tour EP.  This re-release bundles that with a full length “unplugged” album: remastered to provide a fully upgraded compilation.

The first five songs comprise that “One for the Road” EP, with first track ‘Goin’ Home’ bursting from the speakers with exactly the kind of exciting hard rock you’d expect as a Trouble opener.  ‘Window Pain’ offers a pulsating, mid paced doom rocker, whilst ‘Requiem’ brings the tempo down further with a melancholy, gloomy metal dirge.  The Black Sabbath influence is most obvious on ‘Another Day’, whilst ‘Doom Box’ raises the tempo a little but still holds a candle to Dio era Sabs.  Some of these songs would turn up in different form on later albums, but this EP brings together an excellent capsule that fits neatly into that mid 90s period.

Back in the early/mid 90’s, “unplugged” albums were all the rage.  Like others of that era, this Trouble entry into that genre isn’t always stripped down totally to just vocals and acoustic guitar: there’s still electric guitar, drums and more to embellish the tracks were necessary.  The strings added to this second version of ‘Requiem’ are exceptionally orchestrated and serve the mood of the piece brilliantly.  That said, ‘7.00 AM’ is a remarkably restrained and beautiful song, recalling Sabbath and also Trouble worshippers Soundgarden. 

Those songs – and the other tracks comprising the “Unplugged” part of this release – offer a relaxed side of the band that explores more of their psychedelic, sixties interests (see their cover of The Yardbirds’ ‘Heartful of Soul’).  It’s a release that even my eleven-year-old daughter appreciated.  The only mis-step is the jaunty jig of ‘Smile’, which is just too jangly and nice.  Yet have no fear, the version of ‘Misery’ showcased here (released as ‘The Misery Shows’ on the eponymous Def American release) reminds us just how great this band were.   

My only major issue is the cover art.  That may seem petty when this is a review of the band’s music, but as a long-term Trouble fan, I’m considering buying the vinyl copy for my collection.  And that vile cover may well deter me from doing so.  Trouble has a great logo, but the cover squanders this with nothing other than the title, in what looks like – GASP! – Comic Sans MS!  A font that should only be used by primary school teaching assistants, it dates and also ridicules the stature of the music.  It’s a truly vile and lazy cover – seemingly thrown together by a Johnny-No-Stars work experience boy on his lunchbreak.  Awful.  Couldn’t someone have redesigned it?

I’m docking points for that, ‘cos the cover mocks all I hold holy.  Beyond that, fantastic music and a must for any Trouble fan.

RIP Eric Wagner

For more info, check out the Trouble website, their Facebook page or Bandcamp page.

Hammerheart Records also have a website, Facebook and Bandcamp.

This review has been brought to you 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.

Brown Acid: The Thirteenth Trip – Album Review

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Various Artists – Brown Acid: The Thirteenth Trip

RidingEasy Records

Release date: 31/10/2021

Running time: 35 minutes

Review by: Alun Jones

8.5/10

Back in early 1970, I was in LA working for Jim Morrison, singer of the Doors.  Morrison was a pretentious, drunken bore – but we did have a few old laughs.  This one time, Jimbo was mid-liaison with a young lady in her upstairs apartment, and I had to pick him up in his new car before the pair were interrupted by her husband.  Parked in a gleaming white Dodge Challenger under the first-floor window, there was no fire escape and Jim had to jump out of the window onto the roof of his car.  It was a hard top, not a cabriolet, and Jim’s fat arse flattened it like an egg box when he hit it.  He wasn’t in the best shape at that point.  Wrecked that beautiful car, too.  Luckily, I could still see out of the window, and drove off in hysterics, while chubby Jim tried to squeeze into his tiny leather trousers.

Great days, indeed.  And the memories of that time always come flooding back when I spin one of these Brown Acid compilations from RidingEasy Records.  Yet again, the guys have dug out some long-lost treasures of the early hard rock and proto metal variety, to return phoenix like from the netherworld.

Things get underway splendidly with “Run Run” by Max, a funky riff rocker that will light up your lava lamp straight away.  It’s probably my favourite on another strong collection.  Next is “Dark Street” by Ralph Williams and the Wright Brothers – fuzzy guitars and great vocal melodies with a faint air of menace.  Geyda provide “Third Side”, another pacey rocker, reminiscent of the MC5.

Following that, there’s Gary Del Vecchio, who’s apparently “Buzzin’”.  But then, who wasn’t in those days?!  It’s party time blues rock in the vein of early Zep.  John Kitko is suffering from “Indecision”, as proven by the psychedelic jam of the start contrasting with the speedy, aggressive main body of the song – with Alice Cooper-like vocals.   

“Hope” by Bacchus reminded me of old Jimbo’s band doing “Roadhouse Blues”.  Master Danse are up next with a very heavy blues number, “Feelin’ Dead”.  It’s a slow, ponderous song with a melancholy vibe – which I’ll swear was stolen by The Cult for their obscure B-side “Wolf Child’s Blues”.

Orchid offer up the weakest track on the album, “Go Big Red”, a fairly unexceptional garage rock number.  It’s fun and still has some charm, though.  Then you’ve got Dry Ice and “Don’t Munkey with the Funky Skunky”, a crazy fast paced number that’s like The Monkees and Jimi Hendrix jamming a Eurovision novelty song.  On drugs.  Finally, a strong final track from Good Humore, “Detroit” – a catchy tribute with a sprinkling of MC5 at their most rock’n’roll.

And there we have it: another fine collection of rock fossils unearthed and displayed for our enjoyment, never to be forgotten again.  It may be “the Thirteenth Trip”, but this ain’t unlucky for some – it’s gold all the way.

Remember that World Wide Web thing? Well, you can check out RidingEasy Records at various site webs, such as their own, Bandcamp, Facebooks, Twidder, ChewTube and Insta.

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

Scarecrow – Album Review

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Scarecrow – Scarecrow II

Wise Blood Records

Release date: 22/10/2021

Running Time: 44 mins

Review by: Alun Jones

8.5/10

You could say I was a little confused when I first heard “The Endless Ocean Overture”, the opening track on this second album from Scarecrow.  I know the clue’s in the song title, but this really is a big, full on orchestral piece – complete with moody storm sounds and crashing waves.  I thought the Ever Metal Delivery Monkey had sent me one of those symphonic metal monstrosities by mistake – there are NO GUITARS here.  At least not on the first song.

Not that it’s a bad track – it’s actually very atmospheric and very bloody clever.  Just a bit of a surprise, that’s all.

Scarecrow are a Russian doom rock band, taking their inspirations from the classic seventies masters like Sabbath and Zeppelin.  When track 2 – “Blizzard” – kicked in, I realised my mistake.  Yes, here we have it: blues based heavy rock that could have easily been produced in 1973.  Groovy riffs, batteringly good drum breaks, high pitched wailing vocals – all the tropes are present and correct.  “Blizzard” has all these, plus relentless changes of pace which means the listener can bang their head or swing their bell bottom jeans all in one song.

“Magic Flower” has a slower, doom blues sound with some mouth organ for additional retro stylings.  There’s even a folky mid-section with some Plant-esque banshee screams.  Up next is “Spirit Seducer”, a rocker that’s more of the Iommi sound already hinted at, and some pounding rhythm. 

Scarecrow are nothing if not ambitious.  “The Moors” is a hell of an epic: warm acoustic guitar intro; doom laden heavy riff, ethereal keys: all the ingredients are here, and happily we reach another Sabbath like peak in the middle of the song.  Some of the orchestral feel of the opener makes a well-judged return here, adding to the bombast. 

When I heard the intro to “The Golden Times”, it was easy to make the comparison to Sabbath tracks like “Orchid” and “Fluff”.  This song flows along serenely, with the vocals making me think I’d started listening to a new Wolfmother recording.  Another multi part piece, best to just mellow out and enjoy the ride – till the increasing pace runs off with your ears.

The range and scope of this album really is very impressive.  “Scarecrow II” is an accurate love letter to the giants of yester year, whilst firmly placing the bands feet alongside contemporaries like Uncle Acid and Graveyard.  Scarecrow has delivered an album that features new spins on the old ideas co-existing with brave, surprising augmentations.     

Check out Scarecrow on Bandcamp and Facebook.

You can find Wise Blood Records on Bandcamp, Facebook and the interweb.

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

Live in the Mojave Desert – Album Review

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Various Artists – Live in the Mojave Desert

Heavy Psych Sounds Records

Release date: Various

Running time: Various

Review by: Alun Jones

Rating: see below

Hello there!  Remember me?  It’s me, that bloke who occasionally reviews albums for Ever Metal and spins ropey old yarns about rock’n’roll.  Yeah, him.  Sorry I’ve been absent for a while, had a few things on my all-you-can-eat buffet plate recently.  More about that another time (if the lawyers allow me).  For now, recline in your favourite easy chair, and let’s review.  With me?  Good.

Right then, bit of a mammoth task, this one.  “Live in the Mojave Desert” is actually a series of five albums, each recorded live (of course) amongst the sand and rocks of the Californian desert.  It’s probably like Star Trek, when Kirk and crew are roaming around the cliffs and valleys – but in the dark, and with guitars and lights and stuff – and no one dies (hopefully).

Up first in my sequence of albums is the legendary Earthless, a band who should need no introduction.  I listened to their offering whilst on a trip to North Wales; sadly the surf was flat, but the sonic musings of this three piece fitted perfectly the rolling roads between green valleys and big skies.  In the land of druids and standing stones, witches and warriors, this was a perfect soundtrack.  The songs are a journey in themselves, awash with psychedelic Hendrix style explorations.  Only three songs, but they’re plenty lengthy and offer huge scope.  It’s actually quite beautiful. (9/10)

Next on the list was Mountain Tamer, a band I’m not familiar with previously, but a cool name.  And a cool name goes a long way with me.   The Mountain Tamer sound is raw and in-your-face, with mighty, meaty riffs that clunk around in full-on doom style.  There’s also a mind expanding, trippy element to their music, leaving me with the impression of Black Flag in a collision with Hawkwind.  This unique approach is best exemplified by stand out tracks “Black Noise” and “Scorched Earth”, but it’s all damn fine. (8/10)

An offering in this series from my old buddies Nebula was very welcome, their brand of psych drenched sci-fi hard rock being something I’m somewhat partial to.  This is the album with the most obviously “live” feel – not that it’s sloppy at all, the very occasional tiny imperfections and wall of fuzz give a genuine and celebratory vibe.  Opening track “To the Centre” is a feedback drenched, blistering explosion.  “Giant” is another standout track with a bouncing, crazy gonzo riff. (8/10)

Spirit Mother are another band I’ve not heard before, and they were a real surprise.  Their first song, “Tonic (Exodus Inc)” is straight off the soundtrack of some forgotten Italian/Turkish 1970s horror movie.  The band take the standard desert/doom rock and add violin, and everything veers off in a totally unexpected direction.  From mournful 70s rock on “Ether” to creating their own genre of gothic Spaghetti Western (“Dead Cells”), it’s like Morricone on peyote orchestrating The Exorcist.  Strangely beguiling. (8.5/10)

The album I listened to last in the collection was the debut release of STÖNER, the very aptly named stoner rock “supergroup” which features Brant Bjork (Kyuss, Fu Manchu, solo etc) and Nick Oliveri (Kyuss, QOTSA, Mondo Generator etc etc).  With Brant’s drummer, Ryan Güt whacking the tubs.  As a fan of these rogues’ other bands, I was definitely curious about this release.  No fear here: this is exactly what I hoped it would be: desert rock royalty.  “Rad is Rad” features a relentless, rolling bassline that drags the listener along on a head-nodding journey whilst Brant croons in his laid-back manner.  The big, groovy bass continues in “The Older Kids”, and the tracks develop a trancelike vibe as it progresses.  And strap yourself in for the final song, “Tribe/Fly Girl” – over 13 minutes that will melt your eyeballs.  Definitive. (9/10)

That’s it: five albums, five bands, and a mind-blowing excursion into the remote desert valleys.  Whether showcasing how it should be done, or abducting the listener in a smoke-filled UFO to be probed in new realms, these live collections are a trip.

Here’s a ton of links! Click away for more info on this awesome music…

Start with Heavy Psych Sounds, they have a website, Bandcamp, Facebook and Instagram.

Earthless do the web thing here, with some Facebook and Twitter.

Mountain Tamer kick in the sky with Facebook and Bandcamp.

Go crazy with Nebula via Facebook.

Spirit Mother have you covered with some weberation, Facebook, Bandcamp and Insta.

Finally, have a look at Stoner’s web presence here and Facebook it too.

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

Brown Acid: The Twelfth Trip – Album Review

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Various Artists – Brown Acid: The Twelfth Trip

RidingEasy Records

Release date: 20/04/2020

Running time: 33 minutes

Review by: Alun Jones

8.5/10

Well, who’d have thought it?  Here’s the twelfth instalment of the Brown Acid series from RidingEasy Records, their ongoing exploration of rare, lost and forgotten treasures from the late 60s and early seventies.  These proto-metal, hard rock and heavy psych riches are continuing to turn up, thankfully curated and shared with a new, wider audience.  They still haven’t run out of steam, which is very good news.   

This time, the Professors of Rock (“Prockfessors”, anyone?  Nah, never mind) have released ten more crazily good tracks from the past.  As can be expected, the bands are deep fried and the guitars are fuzzier than a Macdonalds burger-flipper’s chin.

And so, we commence with “Mother Samwell” by The Waters: a blinding, acid-drenched rocker from 1969.  How can this have been lost for so long?  Up next is “Vibrations” by Village S.T.O.P.; featuring Hendrix style guitar in another pacey rocker.  Though very much of their time, these songs pack a ton of energy – you’re gonna want to freak out.  Right out.

“1930” was quite a year, claim White Lightning, with a funky, chunky marauder of a tune that’s like Grand Funk, on the rare occasions GF got it right.  Shane serves up some proper skronky organ with “Woman (Don’t You Go)”, reminiscent of a shrieky, early Purple.  Then the keyboards get even skronkier with Ace Song Service’s “Persuasion”, though the attack is harsher.

Opus Est really kick out the jams with “Bed”, which has a killer riff that would please Gibbons or Page.  The Mopptops have a terrible band name (maybe that’s why they disappeared), but their song “Our Lives” is one of the heavier, more vicious sounding tracks here.  It’s a punk rock bruiser that seems totally out of time – surely this can’t be 1968?

A bland band name, but Artist inject their song “Every Lady Does It” with enough hip-shaking Hendrix raunch to raise the roof.  Great chorus too; this is faultless.  Then it’s more great lo-fi garage ZZ Top with “Comin’ Home” by Stagefright, before we finish with Dickens (great name!) and their weird fuzz metal with minimal production, “Don’t Talk About My Music”.

Whether they’re discovering hidden gems in dusty tombs, or exhuming abandoned corpses and bringing them back to life – pick your metaphor: the RidingEasy Forensics Department have managed to surprise yet again.  Their quest seems never ending, but we can be thankful that these dedicated scholars continue to discover hitherto abandoned sonic delights.

It’s harder to pick out gems which shine brighter than the others this time around, but “Brown Acid: the Twelfth Trip” manages to reach a high standard across the board.  Very enjoyable, and recommended listening for when Jimi and Janis pop round for some mushroom tea.

Why not do some internets with RidingEasy records on their website, Bandcamp, Facebook, Twitter, YouTube, or Insta?

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

1968 – Album Review

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1968 – Salvation, If You Need…

Self-released & No Profit Recordings

Release date: 20/04/2021

Running time: 44 minutes

Review by: Alun Jones

9.5/10

For this review of “Salvation, If You Need…”, the second album from UK stoner rock titans 1968, I promise that there will be no messing about, no silly stories, no nonsense whatsoever.  I’m not even drinking.  Rather, I will endeavour to write a serious review that treats this album with the respect it deserves.  Not enough respect to get the article written on schedule, mind; but hey – I never said I was perfect.

Anyone familiar with 1968 from their previous efforts will not be disappointed to learn that the band’s strengths are in full flow here.  Thankfully, they’ve also pushed boundaries and explored their psychedelic tendencies further than ever before.  Witness opening track “Railroad Boogie”, which teases a funky Blaxploitation groove before unleashing the glorious big riff sound that we expect.

Comparing 1968 to Kyuss is far too obvious and lazy.  Jimi Ray’s voice has some of that gruff John Garcia sound (with a little later-period TSOL vocalist Joe Wood), though his vocals have matured to a sincere, soulful timbre.  See also, guitarist Sam Orr: schooled in Sabbath riffology and Lizzy attitude, here his Hendrix aspirations are allowed to fly unrestrained.  Magnificent washes of sound cascade and add colour everywhere, without being obtrusive.

“Blackwing” is the highlight for me: a refrain that’ll slip into your ears and lodge there.  It’s pointless trying to remove it.  Whether happy accident or hard slog, this is an epic riff.  “Eastern Wind” follows a similar path, but offers enough of its own controlled chaos to stand on its own two feet. 

Tom Richards’ bass warms up “Here It Lies” and expertly keeps the vibe dialled on a grungy, early Soundgarden pace.  The raw, unrefined blues of “Small Victories” and “God Bless” also allow drummer Dan Amati to show he can play refined and delicate, as well as thundering and determined.    

Yes, 1968 are undoubtedly still inspired by the classic rock of the late 60s/early 70’s, but we’re also drinking beers in Satan’s Dive Bar, somewhere in Seattle, with a jukebox that’s stuck on Badmotorfinger.  And some Budgie, too, based on the solid cover of that band’s “Guts” that shows up here.   

Look, I’ve tried to be serious for once, and I hope you appreciate it, reader.  “Salvation, If You Need…” is a truly magnificent piece of work.  I’ve been playing it for ages and it hasn’t aged.  I’m still discovering little delights everywhere.  It has scale and pace that other bands don’t dare trifle with.  A contender for Album of the Year, so long as I can get hold of the imminent vinyl release.

Now, who wants to hear about the time Ozzy, Belinda Carlisle and me gate-crashed Venom’s Satanic picnic?

I lied about not drinking, by the way.     

You can find 1968 on Bandcamp, and also follow their social media adventures on Facebook, Twitter and Instagram.

This Platinum Al review has been produced with the aid of Ever Metal.