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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.

Singles Night at the Virtual Hot Tub #26

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Welcome, music lovers! Yes, we’re back at Platinum Al’s Virtual Hot Tub for another leisurely evening of spinning 45 rpm records and drinking a hell of a load of cocktails. It is on, brothers and sisters!

So what’s going down? It’s pretty simple. I have a stack of vinyl singles (hence “Singles Night”) and I’m playin’ ’em in order, side A then B, just for the heck of it. Because it’s fun. And you might just hear some great tunes. No cheating: play each single in the pile, with no skipping (even if it’s a dud).

Here’s the latest playlist. Grab a drink, this is gonna be fun…

  1. Dread Zeppelin – “Stairway to Heaven” / “Jailhouse Rock”
  2. INXS – “Suicide Blonde” / “Everybody Wants U Tonight”
  3. Creedence Clearwater Revival – “Bad Moon Rising” / “Lodi”
  4. Rainbow – “All Night Long” / “Weiss Heim”
  5. AC/DC – “Heatseeker” / “Go Zone”
  6. INXS – “New Sensation” / “Do Wot You Do”
  7. Budgie – “Keeping a Rendezvous” / “Apparatus”
  8. Eagles – “New Kid in Town” / “Victim of Love”
  9. Free – “My Brother Jake” / Only My Soul”
  10. Village People – “In the Navy” / “Manhattan Woman”
  11. Mike Post ft. Larry Carlton – “The Theme from Hill Street Blues” / “Aaron’s Tune”
  12. Sammy Davis Jnr – “What Kind of Fool Am I” / “Gonna Build a Mountain” / “Someone Nice Like You” / “Once in a Lifetime”
  13. Giorgio Moroder w/ Philip Oakey – “Together in Electric Dreams” / “Together in Electric Dreams (Instrumental)”
  14. S’Express – “Superfly Guy” / “Funky Killer”
  15. Sting – “Demolition Man (Soulpower Radio Mix)” / “Demolition Man (Film Version”
  16. Slade – “Far Far Away” / “OK Yesterday Was Yesterday”
  17. Shakatak – “Feels Like the Right Time” / “Corina”
  18. Roy Orbison – “Only the Lonely” / “Here Comes That Song Again”
  19. Earth Wind & Fire – “In the Stone” / “Africano”
  20. Little Eva – “The Loco-Motion” / “He is the Boy”

And were there any duds in this selection? Well, nothing disastrous, though “Hill Street Blues” was a bit of a mood changer.

But just look at the strength of the list over all: some absolute beauties from AC/DC, Free, Rainbow, CCR and double INXS. Plus that Budgie single (which is a really nice 7 inch picture disc, by the way) is totally cool.

Some great pop classics in there, too. Village People and Giorgio Moroder? Floor fillers!

Thanks for joining me for another Singles Night at the Virtual Hot Tub. Let’s do it again soon. In the meantime, keep your media physical and your drinks cool.

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.       

Lugosi – Album Review

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Lugosi – Video Nasty

Self-released (BJF PR)

Release date: 12/03/2021

Running time: 27 minutes

Review by: Alun Jones

8.5/10

OK, here we go!  The clue’s in the title, folks – you can probably figure out where we’re headed with a band called Lugosi straight off the (vampire) bat.  If not, let me give you some pointers…

To get to Lugosi’s haunted house, depart from the Ramones’ basement, travel up Misfits Avenue, take a left at Danzig Drive, head on past Lemmy’s Bar’n’Grill till you get to 1313 Mockingbird Lane.  And you’ve arrived: horror themed punk’n’roll with fast’n’furious tunes and daft lyrics about dodgy old horror and sci-fi movies.  In other words, exactly the kind of goth rock Halloween shindig that your ol’ Uncle Al loves to crash.

Let’s get the devil-locked elephant in the room dealt with first: ‘cos there’s going to be a Misfits reference in nearly every sentence I write of this review!  To be fair, although there’s an undoubted Misfits influence in Lugosi’s work, it’s more in the lyrical content: songs about vampires, Dawn of the Dead and devil worship are aplenty, but in a tongue in cheek, Hammer horror style rather than any serious Satanic pretence.  This is music made by fans of cheesy, campy horror classics for other fans of the same.

The music itself has less of the big “WOAH” Danzig choruses and a more Motorhead inspired punk’n’roll sound, like Supersuckers  or Zeke.  There’s even a really cool instrumental in the middle of “They Came from Outer Space” that has an Iron Maiden feel.  The riffs not too far from Clutch, and – is that a Thin Lizzy influence?  Well, I was surprised to learn that Lugosi are from Dublin – I imagined they were from a remote cabin in the Texas backwoods somewhere…

“Late Night Slasher Movie” starts things off perfectly, in the speedy rockin’ style I mentioned, with hilarious lyrics!  “We’re Here to Drink Blood” is one of the punkier paced, Ramones tracks – and it’s catchier than a zombie plague.  Then there’s “Soylent Green”, which reminds me of Jerry Only era Misfits (this is a good thing).  A heavier, Sabbath feel rocks right out of the grave on “The Vampyre” and “Hellfire Club”.  There’s an almost doom sound to “1313”, augmented by high-pitched, theremin like weirdness.  I think you get the idea.

“Video Nasty” is a great album, thoroughly enjoyable in many ways: a successful Frankenstein bolting together of B-movies, punk and heavy metal – ideal for your next gathering on All Hallows Eve.  Kitsch, ridiculous, over the top – and FUN.  Lugosi have really reanimated the corpse of horror punk, and – it’s alive!!!

Check out Lugosi on Facebook and Bandcamp.

This review was proudly presented by Platinum Al and Ever Metal.

Spelljammer – Album Review

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Spelljammer – Abyssal Trip

RidingEasyRecords (UsThem Group, Palmer Turner Overdrive)

Release date: 26/02/2021

Running time: 44 minutes

Review by: Alun Jones

8/10

A slow build of distortion, punctuated by air raid sirens, heralds the onslaught of “Bellweather”, the first track on the latest Spelljammer opus.  These guys are in no rush.  Instead, the listener sinks slowly into the mire, as first guitars and bass, then drums, stealthily enter.  Over the course of six plus minutes, the track builds beautifully, setting the style for the album to follow. 

Spelljammer are from Stockholm, Sweden – and comprise Niklas Olsson (bass and vocals); Robert Sörling (guitar) and Jonatan Rimsbo (drums).  It’s been five long years since their last album, but now they’re back with a huge, ponderous collection of sludgy, doom laden music.

Second track, “Lake”, follows the hypnotic incline of the opener with a brutal riff and throaty vocals, before descending into a medium paced headbanger.  This track nicely encapsulates the contrasts between heavy, thunderous ferociousness and trancelike wonderment.

The band composed these songs in the seclusion of a remote house in the country.  The various shifting sections of the songs obviously reflect that concentrated effort, with a perfect ebb and flow.  Sections wind intricately between the monstrous and the calm. 

“Among the Holy” starts with a creeping pace before erupting into the album’s biggest rocker.  The title track opens with a sample from some obscure horror movie, and I need to know which!  After that, it’s crawling doom which picks up speed a little in a Sabbathy manner – complete with distorted vocals.

Talking of Sabbath, “Peregrin” feels like one of those Tony Iommi instrumentals on “Master of Reality”.  It’s actually quite wonderful.  Finally, “Silent Rift” is over ten minutes of all that’s gone before, ramped up even higher.  The pace is slow, there’s no haste, Spelljammer take their time and let the music grow and breathe.

The listener will also need to take their time and truly absorb this album.  Stick on your ear goggles, turn the lights down low and bask in the inventiveness.  “Abyssal Trip” is a record that’s been carefully composed and nurtured.  The enjoyment here is in the journey and all its interwoven elements.      

As we’re talking of jam, I’m reminded of an episode with my old Black Sabbath mates.  We were at legendary Rockfield studios in Wales, and following a late night in the studio and an even later nights boozing, the band were relaxing on the lawns on a gorgeous summer day.  Bill fell asleep on the grass, and Ozzy decided to take the remains of the strawberry jam from breakfast and smear it all over Bill’s beard.  Sure enough, ten minutes later, Bill woke with a scream – brushing wasps from his face.  He jumped up and ran to a nearby pond, jumping in face first.  When he emerged, Bill looked like a Sasquatch.  He spent days rubbing ointment on his face and was finding dead insects in his beard for ages.   

Seek out more Spelljammer info on Bandcamp, Facebook and Instagram.

RidingEasy Records are also on the web, Bandcamp, Facebook and TubeYou.

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

Ungraven/Slomatics – EP Review

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Ungraven/Slomatics – Split EP

Blackbow Records

Release date: 05/03/2021

Running time: 31 minutes

Review by: Alun Jones

8/10

How did you spend your time during the pandemic?  Did you learn a new language or a musical instrument?  Did you get out there running, hammering marathons and getting super fit?  Or, like most of us, did you hang on there by your finger nails, just about keeping it together and escaping the monotony?  Well luckily for us, these two bands – Ungraven and Slomatics – decided to put their talents to creative use and deliver some music to keep us all sane in these bizarre times.

This is one EP, two bands and six songs in total.  First off, we have Ungraven, who despite only being formed in 2019 feature musicians of fine pedigree: Jon Davis (Conan), David Ryley (Fudge Tunnel) and Tyler Hodges (Tuskar).   “Defeat the Object”, their first offering, features a reliably sturdy riff to nod your head to.  Next track, “Onwards She Rides to a Certain Death” comes galloping out of the gates like an armour covered battle horse – it’s no nimble dressage, more like a cavalry charge into a frenzied battle.  Ungraven’s final song, “Blackened Gates of Eternity”, has a grinding intensity that has an industrial feel.

Slomatics pick up the baton and start off with the brutally heavy, atmospheric “Kaan”, which seems to move sideways rather than forwards.  Slow and hefty, I’ve seen ox bow lakes form quicker than the pace of this monster.  “Proto Hag” follows a similar style, but you’ll be glad to learn that it’s even more intense.  Slomatics have been building their reputation for some years now, and these tracks confirm their prominence.  Their final song, “Monitors” – probably my favourite on the whole EP, though I feel bad singling out one track – only pushes their reputation further.  The music is almost trancelike, with a magnetic melodic element.

This split EP is dense and compelling.  Both Ungraven and Slomatics impress with their conviction and integrity.  The only down side is that 31 minutes just isn’t enough.  This is a very enjoyable starter, but it just makes me hunger for a full plate of whatever these two immense bands can serve up.  Please sir, can I have some more?

Check out Ungraven on Facebook and Bandcamp.

You can find Slomatics on the interweb, Bandcamp, Facebook and Twitter.

Visit Blackbow Records here or on Bandcamp.

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

Barbarian Hermit – Album Review

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Barbarian Hermit – One (Reissue)

APF Records (For the Lost PR)

Release date: 29/01/2021

Running time: 49 minutes

Review by: Alun Jones

9.5/10

Writing these reviews for Ever Metal isn’t easy, you know.  I’m sure I speak for the whole writing team when I say that we pour our heart and soul into all our prose.  Each of us lives with the fear of the dreaded Writer’s Block, gnawing at our bones.  So, I decided that my review of this reissue of the 2016 debut album by Barbarian Hermit, released by the mighty APF Records, would need some help. 

But who could assist with such a task?  Why none other than my old friend, Volkrugg the Decimator – barbarian warlord of Ages Long Forgotten.  Of course: no-one is better qualified!  And seeing as I’ve basically been a hermit for the last year, between us we should have it covered.

Take it away, Volkrugg…

“Greetings, people of the 21st century!  I am Volkrugg the Decimator – warlord of the Mist Realm, conqueror of the Thorspian cities, leader of the barbarian hordes of Vossk.  My good friend, Al, has begged me for my musings concerning the recorded work of Barbarian Hermit, and lo – shall I render it unto thee with vicious glee!

“From the very start, these seven songs burst forth like an army of Ionian Thrask Vandals!  They wield their war axes with vengeful power, surging down from the mountains on thundering hooves of hell.  The brief respite of sometime calmer moods offer shelter from the maelstrom of war, yet always the majesty and power of conflict lurks temptingly!

“Verily, hearing these odes, I was mindful of my fallen brothers from glorious battles past – gone but ne’er forgotten, proudly drinking and brawling in Valhalla!”

There you go, I couldn’t have said it better myself.   “One” is a great, sludgy, fuzzy celebration of relentless force and mesmerising intricacies.  Both Volkrugg, his band of berserker warriors and myself are all big fans.  You’d be a fool of mythic proportions to miss this album, and be warned – Volkrugg fed his last court jester to a tiger.  Barbarian Hermit reviewed by a barbarian and a hermit – you can’t get a more honest opinion than that.

Seek Barbarian Hermit on Bandcamp, Facebook and Twitter.

Heed the word of APF Records on the internet here, or visit them on Facebook, Bandcamp or Twitter.

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

Fields of the Nephilim – Gig Review

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Fields of the Nephilim + The Faces of Sarah

Friday 10th September 2021

Buckley Tivoli

It had been a good 18 months since I last attended a gig, and leaving the house to join a throng of fans enjoying live music seemed like a very strange proposition. I’d actually forgotten all about the concert, as tickets had been booked long before lockdown. Heading up to the Tiv was both exciting and, if I’m honest, a little unnerving.

On entering the venue, it was just like old times: a great vibe as the crowd drank and awaited the bands. As life was getting back to normal, the Goths had crept from the shadows near and far, ready to witness Fields of the Nephilim.

The support band, The Faces of Sarah, were already attempting to breathe life into the evening. Unfortunately, and unusually for the Tiv, they could hardly be heard. I wasn’t too far away, but could barely make out the sound of the instruments. The guitarist looked to be going for it, throwing shapes like a crazed gibbon, but to no avail. The dual lead vocals were extremely impressive, however the poor sound made them come across like an AOR outfit.

Had my old copy of the Usborne Book of Goths been on my person, I could’ve ticked off several obvious dark rock tropes from the moment Fields of the Nephilim took the stage. There was so much dry ice the band could barely be seen, just a group of grey silhouettes in dusty cowboy hats. They begin in true over the top, cinematic style with “The Harmonica Man”. Atmosphere is poured on with no restraint.

And that’s exactly what I paid my money for: I wanted the full experience without any subtlety, and by God, that’s what the audience got.

FOTN erupted into “Preacher Man” and we all loved it. There’s no onstage frontman/audience banter (till the very end) and that, again, is just how I expected it. The songs bounce along like little Goth demons knowing Halloween isn’t far away.

“Moonchild” was an obvious highlight, with its slow, moody intro leading into the searing guitar and rumbling bass. The whole set is all treat, no tricks – I got the feeling that this is exactly how FOTN would’ve performed 30 years ago. The whole set is absolutely note perfect and full of every excess that the audience could devour.

I’d also forgotten how much I enjoy live music. This evening was a fantastic reminder of what we’ve been missing – can’t wait for more.

Wax Mekanix – Album Review

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Wax Mekanix – Mobocracy

Electric Talon Records (Dewar PR)

Release date: 20/11/2020

Running time: 30 mins approx

Review by: Alun Jones

9/10

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

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

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

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

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

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

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

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

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

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

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