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The Cult – Gig Review

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The Cult + Jonathan Hultén

Friday 25th October 2024

02 Apollo Manchester

November 25 1991, Manchester G-MEX. That was the last (and first) time I saw The Cult perform live. They were my favourite band and being there to witness them in person was a hell of a thrill, I was barely 19 years old and I’d never been to a gig of that scale before. Years go by, and I’m finally going to see The Cult again, this time at the far more atmospheric Apollo, rather than the cavernous aircraft hanger of the old G-MEX.

Yes indeed, it had been a long time since I saw my old mates Billy and Ian up on a stage. A lot had happened during that time – for all of us – but the music was always there.

Our support act this evening, in a seemingly incongruous move, was Jonathan Hultén. Standing solo on stage, swathed in veils and enigmatic face paint, Hultén was not what many were expecting to open the show. His music was dark, ethereal folk, with acoustic guitar and haunting vocals. At first I was intrigued, as the music continued I became thoroughly engaged. Just a few days before Halloween, this Scandinavian folk horror and gothic bombast was entirely appropriate to open this event.

More surprises, even more pleasant, revealed themselves when The Cult took to the Apollo stage – accompanied by a sample of ‘Ride of the Valkyries’ from Apocalypse Now (a genius move in itself). Launching into an earth-shaking ‘In The Clouds’, followed by ‘Rise’, from the insanely underrated “Beyond Good and Evil” album, this was not what I was expecting at all. Both songs are later entries in the band’s cannon, and sit gloriously at the heavier end of their repertoire. I adore both tracks – this was going to be interesting.

“Electric” album cut ‘Wildflower’ was next. One of my favourite Cult songs, I could’ve left at that point and been satisfied. More hard hitting classics followed with the swagger of ‘Star’ and Charlie Jones’s thudding bass introducing ‘The Witch’. New track ‘Mirror’ slots in seamlessly, then we get another mighty song from “Beyond Good and Evil”, ‘War (The Process’). All well known songs to Cult freaks like me, but not obvious choices by any means.

Billed as “The Cult 8424” – a 40 year anniversary tour – I’d expected a Greatest Hits set, culled mainly from the bands mid 80’s days. Early non-album single ‘Resurrection Joe’ was therefore no surprise, otherwise, this set spanned eras and albums confidently. Next was an acoustic ‘Edie (Ciao Baby)’ – I’ve always preferred this song in stripped down form to the “Sonic Temple” production.

‘Sweet Soul Sister’ was my chance for a quick “comfort break” – I’ve never been a huge fan. Great riff, overblown chorus! Another surprise followed, with ‘Lucifer’ from the “Choice of Weapon” record. The huge, epic riff of this song has made it one of my favourites, so a real bonus to hear live. John Tempesta on drums really powered all these songs home flawlessly, with both groove and power.

The latter part of the set delivered all the big crowd pleasers; an anthemic ‘Firewoman’, a truly captivating ‘Rain’ (surely one of the greatest rock riffs of the era), the tribal beauty of ‘Spiritwalker’. Billy Duffy, playing to a home town crowd, performed guitar magic throughout: from gutsy, gritty riffs to mesmerising yet direct, never fancy melodies. Lightning bolt energy from Ian Astbury galvanised the audience, as he revelled in the role of shamanic leader. And with a final roar through ‘Love Removal Machine’, it’s over.

Except it isn’t! Of course not, we all know The Cult will be back for an encore. But what will it be? Any more surprises?

‘Brother Wolf, Sister Moon’ is a classic track from the wonderful “Love” album, but wasn’t a single and so a very welcome reward. Finally, of course, the legendary ‘She Sells Sanctuary’ rings out and unites the crowd in a euphoric shared moment – Astbury’s air raid siren vocals leading the throng. I swear that man doesn’t need a microphone.

My return visit to The Cult’s sonic temple took a few years longer than anticipated. It was great to see them on such fine form, revelling in the classics and confident in their position as genuine, treasured heroes. What really made the gig for me though, was the sheer joy of hearing a very generous helping of less obvious, but very beloved tracks that I wasn’t expecting. No ‘Lil’ Devil’, but the rest of the set made up for it. I’ll return sooner next time.

PS: we need “Beyond Good and Evil” re-releasing on vinyl, please lads!

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.

Living Colour – Gig Review

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Living Colour + Red Zephyr

Saturday 2nd December 2023

Buckley Tivoli

Yet another massive coup for the good ol’ Tiv! The Tivoli Venue in Buckley, North Wales is a legendary spot and has attracted some amazing, big names over the years. The latest to pay a visit and astonish us with their prowess were alt-rock icons Living Colour. This was, indeed, a big deal. I bought my ticket as soon as it was announced.

No surprise, the Tiv was packed to the rafters on this Saturday evening. It was a good atmosphere from the start, a feeling of warm anticipation in the air. I caught up with several friends old and new, but that meant I didn’t get much experience of support band Red Zephyr. What I did hear, they seemed to be a supremely capable and enjoyable hard rock band – one to investigate further in the future.

Now me and Living Colour go back some way. I still have an old 7 inch vinyl Sounds EP featuring the band that a friend gave me in 1988, which is where my fandom began. I’ve never seen them live though (ah, if only I’d been able to go to Lollapalooza 1991!), so this gig was really something to look forward to.

Opening with their infectious track “Middle Man” before launching into playing their “Stain” album in full, it was immediately obvious that Living Colour were still at the top of their game and playing exceptionally well. It was also nice to be reminded just how many great songs – and of varying styles and grooves – this band have in their repertoire. Crunchy metal provided by guitar maestro Vernon Reid on “Go Away” nestles up comfortably with the sublime pop of “Nothingness”. On all tracks, the Haribo fuelled voice of Corey Glover roared majestically and crooned sweetly.

Post “Stain” run-through saw a jigsaw of originals and covers, the highlight being a 50 years of Hip-Hop medley featuring “White Lines” and “The Message”. Doug Wimbish, the king of bass, shone here, although his skills dazzled all night. And drum master Will Calhoun gets a well deserved solo spot: he ably showed both relentless power and effortless grace throughout.

Of course, two of the big crowd pleasers are “Love Rears It’s Ugly Head” – which is uncannily well played – and the crushing, monster riff of “Cult of Personality”. All the songs sound great, with Corey’s vocals in particular sounding like they came direct off the vinyl.

Well done to all at the Tiv for making this happen, and huge thanks to Living Colour for turning up and playing their hearts out. They had the musical skills, they were vibrant and entertaining on stage – Living Colour absolutely ruled one of the best Tiv nights in a long, long time.

Living Colour are online here.

Check what’s on at Buckley Tivoli here.

Pentre Fest 2023

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Pentre Fest 2023

McLean’s Pub, Pentre, Deeside

Saturday 25th February 2023

A weekend of full on metal and hard rock, Pentre Fest is a highlight of my musical calendar. Held at McLean’s pub in Pentre, Deeside, North Wales over two days, the event always showcases some of the best bands from around a vast area of the UK.

This year I missed Friday’s gig as I was otherwise engaged. However, I was raring to go for Day 2, and a whole load of awesome music. Here’s my review for Ever Metal, covering everything I could of that day’s entertainment.

Day 2

Day 2 at Pentre fest – you could say I was a bit excited to get going.  The ever-reliable Edd Case was performing in the marquee outside as I arrived, so I missed a chunk of his set sadly, as I paid my hard earned coin to get in and neck my first ale.  Luckily, Edd did another slot of his excellent acoustic performance later on, so I got to catch him then.  I think he was filling in for some band called Trashatouille, who couldn’t be arsed to turn up and attempt to play their own acoustic effort.

Scarfoot

First band on the indoor main stage was Scarfoot, and they made a hell of an impression.  A three-piece band, they add an extra edge to their already formidable musicianship with the use of a 12 string guitar or a Dobro.  This gives the band a huge, Zep-epic and individual sound.  They all play with a convincing passion and were absolutely enthralling.  I’d never seen them before, but had caught singer/guitarist Oliver Carins last year doing a solo acoustic set.  Next time, these guys need to be higher up the bill!  Scarfoot also blazed all over the acoustic stage later on, with a similarly massive sounding set, even without the drums.

Frank Williams

Next on the second stage: a World Exclusive Live Debut!  Frank Williams in his first official live gig, though sadly not billed as Victim of Damp.  Frank is a Pentre Fest die hard, an unsung hero who has supported the event and pitched in with Fozzie and Beany from the beginning.  This afternoon, Frank graced us with some acoustic covers (nice bit of Floyd) and banter, then introduced some comrades to help with humorous originals such as ‘Beany’s Car is Full of Shit’.  Excellent crowd participation helped Frank’s set gallop home as a pedigree winner.

Lullaby for a Unicorn

It really wouldn’t be Pentre Fest without these guys.  With a line-up change – or should I say, addition – in the shape of new vocalist, Gaz (who used to be the drummer.  Come on, keep up!).  This latest incarnation of Lullaby for a Unicorn was a refreshed and fun stallion, rather than a lame pony.  There’s a little work to do to settle the new line-up in, but it was the same boisterous energy as ever as the Unicorn boys turned Pentre into a beautiful, rainbow adorned meadow.  Or blood-soaked battle field of metal mayhem, you choose.

Scarfoot was next on the second stage.  I’ve already covered that, go back and read it again.

The Human Condition

Despite a tech issue with the bass throwing a wangler with the first song, The Human Condition kept their shit together and provided another surprise.  I had done no research whatsoever and didn’t know what to expect.  By Odin’s beard, The Human Condition are a megalithic, doom metal colossus!   Doom in the vein of Candlemass, or think Geoff Tate screaming for Trouble.  Riffs are drip fed, leaving the audience begging for each new note.  Add the most powerful live vocals I’ve heard in eons, and you have a force of biblical proportions.  I bought a CD.  You should check them out NOW.

Back to the Second stage for an acoustic Pelugion set – but we’ll get to them later.

Portrayal of Ruinn

A melodic deathcore band from Manchester way, Portrayal of Ruinn isn’t quite my thing on paper, but fucking awesome live.  Possibly the most energetic band on stage at Pentre Fest all day, their combination of gutsy, nasty metal and bouncy, yet ferocious vocals proved a winner.  They also know how to pace their set brilliantly – a few mellow sections lull the crowd into a comfy security blanket, only to have it ripped maliciously away.  It’s the audio equivalent of a Video Nasty psycho killer – you’re never safe, Portrayal of Ruinn will never stop – and they will get you in the end!

Syncolima

Reading back my notes here, and I can’t make a thing out of them.  All I can fathom is that I REALLY liked this band: “Syncolima = great!” is about all I’ve got.  They were excellent.  Some kind of biker/stoner super heavy rock, they have groove aplenty and massive fuzzed out riffs.  This three-piece from Mansfield, Notts were unmissable.  New album “Wavelengths” is out soon, you’d be wise to watch out for it.

Miserable Sinner

Wait a minute – it’s that bloke from Bad Earth doing an acoustic set!  Yes, it’s Steve from one of Pentre Fest’s favourite bands, backed with the other two ‘orrible ‘erberts, Karl and Ben (so semi acoustic, then?).  The Bad Earth songs translate surprisingly well to the stripped-down sound, though they can’t compare to the full force fury of the full trio amped up and going for it.  But then, what could?   A great set that also included some cruel (ie hilarious) comedy signage behind Steve’s head, it also delivered a much needed bongo workout that was otherwise sadly lacking this year.

King Kraken

Mind.  Blown.  Thank the trident of Posiedon, King Kraken travelled up from South Wales (a right old trek) to play Pentre Fest, and I’m so glad they did.  The Kraken are a huge, boisterous metal machine with crushing riffs and awash with an almost psychedelic lead guitar.  My favourite band of the day, despite fierce competition – I made off with some booty from the merch desk and toasted their performance with a tankard of ale.  Please check this band out, you will not regret it.  Magnificent!        

Leatherback

Last year, one man electronica fiend Leatherback was first on the Pentre Fest main stage.  This year, it’s a second stage headlining slot, which worked well.  Nine Inch Nails comparisons are obvious, but relevant when there’s a cover of a Reznor classic included.  Leatherback ripped through a roaring set that went down extremely well with the lively crowd, even though it was freezing outside – receiving a well-deserved, enthusiastic reception.   

Pelugion

Pelugion had performed an excellent acoustic set on the second stage earlier, which seems to have been a great way for them to warm up for their main stage appearance.  I’ve seen these guys before at Pentre Fest and they never disappoint.  Skull smashing mega riffs, born from Sabbath and with a dose of Alice in Chains and early Soundgarden – a stoner/alt metal monster – is what you can expect.  These guys are super professional, but with grit and determination that keeps the performance compelling.

The K*nts

Headliners on the final day of Pentre Fest, The K*nts drove over five hours from down Essex way to entertain us.  With hits such as that Christmas favourite ‘Boris Johnson is a F*cking C*nt’ and ‘F*ck the Tories’, we knew we were in for a treat.  Hilariously, the Green Room reserved for the bands had been double booked with a meeting for a local Masonic Lodge.  I wonder how The K*nts and this bunch of blazer-and-badge wearing eighty-year-olds got along back stage.  Honestly, you can’t make this shit up.  It’s like Phoenix Nights on crack.

A strange choice to headline a metal festival for some, never the less The K*nts put on a top show and had the audience on their side before the first song was even finished.  Delightfully obscene, but with a political edge that helps retain a tiny bit of highbrow cred too, it’s like Sham 69 with Tourette’s.  Most of the song titles are unrepeatable for a family website like Ever Metal, but let’s just say that The K*nts and their filthy brand of punk rock and humour were a mad but genius way to finish Pentre Fest off.  And it probably will be finished off, if those old Masonic dudes have anything to say about it.

Oh, and yeah – Fuck the Tories.

It was my absolute pleasure to cover Pentre Fest for Ever Metal again this year. Huge thanks to the bands, the audience, and the staff at McLean’s for putting this on. And finally, thanks to Fozzy and Beany for daring to dream it up and make it happen.

I just wish Pentre Fest could be every weekend. Or once a month, at least.

Catch up with news at the following pages: N.E.W. Metal Productions, Goodfor Audio, McLeans Pentre.

Trouble – Live in Stockholm Album Review

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Trouble – Live in Stockholm

Hammerheart Records

Release date: 02/09/2022

Running time: 77 minutes

Review by: Alun Jones

8/10

Stockholm, Sweden: sometime in the early 1990s.  At this point in their career, legendary doom metal instigators Trouble were signed to Def American records and starting to shift a few extra units.  The Chicago band were invited to play in Sweden by fellow pioneers Candlemass, and it’s this gig that provides the music for this double LP live extravaganza.

The release covers the never before available, complete set from that evening.  Fully remastered by Erwin Hermsen at Toneshed Studio , it’s now unleashed as a double album on seductive, alluring vinyl.    

Track wise, the PR blurb casts this as a “greatest hits” set, and rightly so.  Of course, there’s a healthy selection from the Def American albums, such as a blistering ’Come Touch the Sky’, the brilliant ‘Memory’s Garden’ and a crushing ‘End of My Days’.  Older tracks also get a fair showcase too, with ‘Psalm 9’ and ‘The Skull’, amongst others, proving how this band achieved their legendary status.

So, this live collection is a great overview of Trouble’s music at this point int time.  What’s also encouraging is that the sound really is impressive, the remastering has done a fine job of polishing these tracks.  Unlike many live offerings, this album has a reassuringly clear – yet still live and raw – finish.  ‘The Misery Shows (Act II) is a great example – the mellower parts shimmer, though the crunch is still present when needed.

“Live in Stockholm” is indeed a good place to dive in for anyone who wants to sample Trouble’s catalogue.  For the long-term fans, the performance and sound both offer a worthwhile addition to the collection.  Personally, there’s nothing new, song wise, here for me – so I really can’t mark this release any higher – but a solid release nonetheless.

You might think that characters like Ozzy, Tommy Lee or Lemmy would’ve been terrible for getting me in trouble in the past, but they were all sweethearts really.  The person who got me in more trouble with crazy antics than anyone was actually, believe it or not, new wave pop princess Belinda Carlisle. She was a total deviant.  Scary.  I can’t tell you any more because she still thinks I died of an overdose in a Tijuana brothel in 1985.  And quite frankly, I’m scared of her.

Please check out Trouble’s website, their Facebook and Bandcamp – buy their stuff and make them famous.

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

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.

Sergeant Thunderhoof – Album Review

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Sergeant Thunderhoof – This Sceptred Veil

Pale Wizard Records

Release date: 03/06/2022

Running time: 69 minutes

Review by: Alun Jones

9.5/10

OK: so for once, I’m kinda stuck for words.  How do I tackle this album, the new offering from Sergeant Thunderhoof?  I mean, we can go through a song-by-song overview; try to describe the listening experience for the reader, make comparisons to other bands in a lame attempt to get the message across.  But what I really need – or want – to do, is SELL it.  Because I care about you, Ever Metal readers, and I don’t want you to miss out.  “This Sceptred Veil” is a fantastic record.

Our opening song ‘You’ve Stolen the Words’ lays Sergeant Thunderhoof’s wares out on the table from the off.  A mammoth, heavy riff erupts from the speakers and drags the listener along like a tin can in a hurricane.  This is a big sound.  Mark Sayers guitars are momentous, epic on a biblical scale.  Comparisons to Soundgarden are obvious but apt, particularly considering the Olympian vocals of Daniel Flitcroft, soaring on every song.

If I was gonna make more lazy comparisons, there’s a hint of spacey Monster Magnet raunch on ‘King Beyond the Gates’ and maybe even some Maiden gallop on ‘Show Don’t Tell’.  Both tracks testify that the rhythm section – Jim Camp on bass and Darren Ashman on drums – have the skills to rev the engine as well as groove along on the more cerebral tracks.

Speaking of the cerebral, it’s the lengthy prog work outs that differentiate Thunderhoof from other similar artists.  As much as I love the rockin’ numbers (shout out too for ‘Devil’s Daughter’), these guys are extremely comfortable wandering into the realms where Mastodon rule.  Witness ‘Avon and Avalon’ Parts I and II: two tracks that, whilst not exactly mellow, certainly take their time to explore and build a musical soundscape.  It’s thrilling.

Running at around the 69-minute mark, there is a lot to discover here.  You’re going to need to devote some time to this baby, but don’t fret – you’ll be massively rewarded if you do.  So please forgive the hard sell.  I only mention similar bands in an attempt to reach out to fans who I know will dig this, too.  Sergeant Thunderhoof have created a superb album in “This Sceptred Veil” – one of the best of the year, so far.  Don’t miss it.   

Check out Sergeant Thunderhoof on Facebook, Bandcamp and Instagram.

You can find Pale Wizard Records on Facebook, Bandcamp and their interwebs page.

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

UK Subs – XXIV/Yellow Leader Album Review

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UK Subs – XXIV/Yellow Leader

Captain Oi/Cherry Red Records

Release date: 27/05/2022 and 08/07/2022

Running time: 38 mins and 52 mins

Review by: Alun Jones

9/10 and 8.5/10

Recap time: regular readers may remember that yours truly recently reviewed the re-issue of “Work in Progress” by punk veterans UK Subs.  You may also recall that that album covered the letter W in the bands ongoing mission to release an album for every letter of the alphabet.  Well, the good news is that Captain Oi/Cherry Red Records are also releasing the next two instalments in the series – that’s the letters X and Y (but you knew that).

Working through chronologically, we have “XXIV” – which the lovely record company peeps have released on drool-worthy double 10” vinyl, one green, one clear.  Yummy.  Our first song is an absolute belter: the full-on turbo romp ‘Implosion 77’.  Hold on tight and buckle up!  There’s plenty more fast’n’nasty thrills on offer too: ‘Speed’ has a merciless UK82 vibe; ‘Monkeys’ has a classic Subs singalong chorus; ‘Garden of Good & Evil’ is another pogo-till-your-pants-fall-off rocker.

There’s some well-placed variety too, with the harmonica adorned political thrust of ‘Coalition Government Blues’; and Bo Diddley swagger of ‘Wreckin’ Ball’ – both showing hints of the bands R’n’B origins (like as in, what R’n’B used to be).  Lyrically there are plenty of targets for Charlie to attack, both politically and socially.  ‘Memento Mori’ finishes the album off with one most aggressive tunes on offer, leaving us with a great album of 14 adrenaline infused songs.

“Yellow Leader” follows in a similar fashion, featuring 18 songs (whereas the original vinyl was cut to just 14 due to running times).  To be released on slinky, divine double 10” vinyl (one red, one turquoise here), it’ll be a feast for the eyes and ears.  Again, the album is crammed with more relentless punk rock shenanigans like ‘Sick Velveteen’, ‘Chemical’ and ‘Heathens’, all of which will have you jumping around the room like a monkey on a lava stream.

As the previous record, there’s plenty of other sounds and ideas here: single ‘Sin City Blues’ has a killer rockabilly feel; and ‘Rebellion Song’ breaks out the acoustic guitar.  The only mis-step is ‘Archaeology’, a strange post -punk/goth style experiment that while not awful, isn’t a total success.  All in all, the quality of music is impressively high and the recordings sound excellent.

And there you go, music lovers: not one, but TWO albums of mighty UK Subs songs, lovingly compiled and curated by those nice folks at Captain Oi/Cherry Red Records.  You lucky people.  Pick ‘em up while you can, nobody is this fortunate twice.    

You can find UK Subs on Facebook and Twitter.

Cherry Red Records have a website. Plus you can find them on Facebook, Twitter, Instagram and Bandcamp.

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

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.