Dear old Jimbo Morrison, he was a clueless fool indeed. Many times, I used to drive Jim out to the desert so he could commune with shamanistic spirits in the sun-baked wilderness. Jimbo would spend hours out of his gourd, murmuring into the ether. Of course, what I used to do, was stop at a truck stop and load up on whiskey and other supplies on the way. Then when we got into the desert, ply Jimbo with the booze and feed him leaves of spinach out of a tin, telling him it was “good gear”. I’d wear a kid’s Native American fancy dress costume and mumble nonsense. Morrison never did wise up to it.
If you’re planning on a mind-expanding trip into the remote wastelands, you’d be much better off with this new album from Yawning Balch for company. The band is comprised of Fu Manchu’s Bob Balch on guitar, together with stoner rock legends Yawning Man, here consisting of Gary Arce (guitar), Mario Lalli (bass) and Bill Stinson (drums). This is volume three of a series of experiments that these gentlemen have produced, released by Heavy Psych Sounds.
Truth be told, this is a tough review to write. This is an instrumental album, consisting of just two songs. Both tracks are formed from experimental jam sessions, expansive psychedelic explorations that meander along like the Silver Surfer exploring a vast, distant galaxy. This is not an album of incendiary riffs and barking vocals.
First track ‘The Taos Hum’ is just over twenty minutes long. It will take you on an interstellar journey of shimmering guitars and rumbling percussion, resulting in a mesmerising encounter. The lack of vocals, or even a standard verse-chorus structure, doesn’t matter at all. Same story with ‘Winter Widow’, the second track: slightly shorter at 14 minutes, this is all about the journey and getting lost along the way.
“Volume Three” is a cinematic soundtrack for any road you’re on. Mellow and cerebral, this album by Yawning Balch grabbed me from the start, this is the first recording of 2025 that has captivated my senses and will be a Top Ten of the year contender. Magical and highly recommended.
The good old Crown & Liver in Ewloe used to be my home from home for many years. In fact, it was utilised as a club house of sorts not just by myself, but the members of KASP and a large chunk of tonight’s audience. Quite apt, then, to see these guys crank out some tunes that effortlessly recreated the sounds of the 1990s in this venue. The Crown may have been jazzed up over the decades, but it’s the same old boozer at heart.
KASP are four mates who got themselves together and formed a band, performing well known and appreciated cover songs. They’ve been gigging in the local area for a while, but this was the first time I’d caught up with them. It was a nice reunion of sorts with several welcome faces and a good atmosphere.
Wouldn’t you just know it, things didn’t get off to a stellar start: the set opener was ‘Rock’n’Roll Star’ by Oasis, and I’m not a big fan! To be fair, it’s one of the better Gallagher brothers songs, and KASP rattled the song out in confident fashion. Simon on lead vocals and guitar slotted right into the role with ease. Next up was ‘You Stole the Sun From My Heart’, a killer Manics cover where Adam ably took over lead vocals from Si and still delivered a formidable guitar part. Now we were starting to get bouncing!
Solid musicianship all round to be fair, meaning that a couple songs I’m not a fan of (that James monstrosity, ‘Sit Down’, being a prime offender) were superbly delivered with self assured style. Of course, this means that the quality songs in the rest of the set couldn’t really go wrong – especially with genuine energisers from Green Day, Stereophonics and even Steppenwolf’s old evergreen, ‘Born to be Wild’!
A special shout out to the closing song of the first set, a devastatingly great rendition of ‘Hate to Say I Told You So’ by The Hives. Classic track, rendered brilliantly by KASP. Kev’s nimble bass playing was particularly impressive, shining in that solo middle section; and Pete’s drums managing to keep everyone on track with all cylinders firing .
The band returned for part 2 after a short break, though I have to admit that my memories of the second set started to get a bit fuzzy…
I do remember a rousing version of Lenny Kravitz’s ‘Are You Gonna Go My Way’ getting the crowd moving. And a nice dedication for yours truly from Si in his introduction for Foo Fighters’ ‘Times Like These’ (thanks!). There was more dancing for this set as the audience started to really warm up. More first rate tunes by White Stripes, Kings of Leon and Stereophonics kept the mood high and feet moving as everyone sang along.
KASP at the Crown turned out to be a fun night of solid musicianship and camaraderie. A great band who possess some real skills, delivering a non-stop run of hit songs for all to enjoy. It was kind of cool to have that gig with that band in that pub, too. The evening wasn’t just about nostalgia, though. It was about good times with good people, and that’s what live music’s all about, right?
There I was, just casually chilling between sets at McLeans in Pentre, when Frank – AKA Victim of Damp – said to me: “Hey Al, you should check this band out. They’re a Spanish Metal band, and they’re really good.” Frank sent me a link, and I gave said Spanish Metal band a listen. They’re called ILEX, and the album is called “Mutatio”, and he wasn’t wrong, to be fair.
“Mutatio” was actually written and worked on beginning some years ago, and eventually released back in April 2024. Even though it’s not a new release, I figured it was worth a review. What we have here is some fine thrash metal, with plenty of groove and some gargled Death vocals, with a nice experimental edge to set it off.
We start with some fine acoustic guitar on ‘Ardet Nec Consumitur’. a moody piece which erupts into the furious death-thrash of ‘F.P.T.S’. This track is fast, with a brutal chugging riff and growled vocals. Next is ‘Changing the Archetype’, where Ilex play with some contrasting tempos and sections. As we listen through the album, they’ve obviously challenged themselves to create progressive, expansive soundscapes and channel different styles.
‘Iceberg’ then begins with a slow, melodic intro: it’s an extended, progressive piece that really starts to evolve the sound. The aggressive metal in this track diverges brilliantly from the excellent, mellow middle section. The crunchier, ruthless riffs of tracks like ‘Rubble Survivor’ manage to comfortably nestle next to the spooky sound of instrumental ‘Omnia Mutantor, Nihil Interit’, as well as the bouncy groove of ‘Eyes of the Messiah’.
There’s the old school Metallica/Testament Thrash of ‘Cambrian Explosion’, but one of the highlights of the album is ‘The Pilgrimage’. Here the vocals are cleaner. but it’s the almost NWOBHM gallop of the track that really captures the groove here. Nice Purple style skronky organ at the end, too!
The production on “Mutatio” is really impressive, everything sounds clear but also has plenty of guts. The real success though is the mix of genres that Ilex are comfortable in exploring, whether that be Hardcore/Crossover, trad Thrash, Death or Groove metal – as well as the exquisite delicate moments. “Mutatio” has been maturing for a while, it’s well worth seeking out and dusting off.
WARNING: This is NOT a Heavy Metal album. If you’re the type of listener that only wants to hear the loudest of pummelling riffs and ear slashing vocal roars, this may not be for you. And that’s fine. We all like to rage like Satan with a stubbed toe. This is Ever METAL, after all. If, on the other hand, you’re the kind of discerning listener who likes to temper the ferocity with atmosphere and introspection, take a seat.
Jonathan Hultén is a Swedish singer-songwriter who first arrived on my radar as the support act for The Cult on their 84/24 tour last year. Hultén was not what I anticipated at all for a major rock show: his music, performed solo, is a dark yet beautiful expression of acoustic, gothic melody and ethereal charm.
This second album, “Eyes of the Living Night”, takes the listener on another fairy tale like walk in enchanted woods. Beginning with ‘The Saga and the Storm’, the music is more soundtrack for a folk horror movie than a typical rock album. This opening track is like a lost Morricone classic and builds to a gloriously uplifting finale. Just wait for that mid song moment when your neck hairs will raise to the sky.
First single ‘Afterlife’ features swirling keyboards and angelic vocals, while ‘Riverflame’ has the plaintive ambience of a Nine Inch Nails/Alice in Chains mash up. The dreamy folk of ‘The Dream was the Cure’ offers a widescreen Scandinavian epic of reflection, and is a highlight of the album. Weaving genres further, ‘Through the Fog, Into the Sky’ is a wonderful classical piano piece whilst ‘Vast Tapestry’ sees Hultén n the role of gentle folk troubadour.
The concluding track, ‘Starbather’, works more like a rock ballad and bookends the album with a final flourish of bright optimism.
“Eyes of the Living Night” won’t destroy your speakers, but it will take you to a mystical and unforgettable place. With its layers of gothic ambience and mood elevating nuance, this album deserves to be a part of the Ever Metal community’s world. The music of Jonathan Hultén will be there for you when you need to reach inside yourself, to heal and unwind. Or to transport your mind to another world. I genuinely love this album and heartily recommend it, I hope you’ll give it a chance.
You wanted it – you got it! Another Singles Night at the Virtual Hot Tub. This is where I spend an evening playing 7 inch singles that have found their way into my vinyl collection, from any number of different sources. None of the records have been played before, so I spend a few hours playing both sides and working through that pile.
There’s usually plenty of variety in the stack, with songs old and new, from any genre. Anything can happen, so just enjoy the ride.
Grab a drink and let’s check out the latest playlist:
The Beatles – “Now and Then” / “Love Me Do”
The Dickies – “Banana Splits” / “Hideous” / “Got It at the Store”
S.S.S. – “CDC” / “Bath Night” / “Thrash with a Small Moustache” / “Black Night White Light”
999 – “Little Red Riding Hood” / “Wait For Your Number to be Called” / “I Ain’t Gonna Tell Ya”
Roxy Music – “Jealous Guy” / “To Turn You On”
Ram Jam – “Black Betty” / “I Should Have Known”
Bee Gees – “Tragedy” / “Until”
ABBA – “One Of Us” / “Should I Laugh or Cry”
Sweet – “Love is Like Oxygen” / “Cover Girl”
The Alarm – “Spirit of ’76” / “Where Were You Hiding When the Storm Broke? (Live)”
Nancy Sinatra – “Love Eyes” / “Coastin'”
Kool & The Gang – “Joanna” / “Tonight”
Rick Dees & His Cast of Idiots – “Disco Duck (Pt. 1)” / “Disco Duck ({Pt. 2)”
Matthew Wilder – “Break My Stride” / “Break My Stride (Instrumental)”
Bee Gees – “Night Fever” / “Down the Road”
Dire Straits – “Romeo & Juliet” / “Solid Rock”
Nilsson – “Without You” / “Gotta Get Up”
Sinitta – “Right Back Where We Started From” / “I Just Can’t Help It”
Charlie Pride – “The Most Beautiful Girl” / Johnny Cash – “Ring of Fire” / Crystal Gayle – “Miss the Mississippi & You” / Tammy Wynette – “Stand By Your Man” / Bertie Higgins – “Key Largo”
Twenty one records this week, and enough variety to keep anyone on their toes. Disco, punk, pop and rock classics – this was one of my best Singles Nights yet.
Notes:
The Beatles single is their last ever song, released recently and backed with their first ever single. A must for the collection.
That Dickies single is on yellow vinyl, naturally. The 999 record is plain old black vinyl, but I’ve been after that for a very long time. It was one of the songs on the first punk/new wave compilation I heard, it confused me as it didn’t sound “punk” (or what I thought was punk at the time). Great song.
SSS stands for Short Sharp Shock, a hardcore/skate thrash band from Liverpool that I can’t believe I never saw live. The last track is dedicated to Metallica bass legend Cliff Burton.
That final 7″ country record i picked up for 50p in a charity shop. Plain sleeve, so very little information – some fantastic songs though. not least my all time hero, Johnny Cash.
Pentagram are a band that refuse to die. With roots going back some fifty years, and every kind of catastrophe from band splits, arrests and hard drug addiction, it’s some feat that we’re here to discuss a new album at all. Like a bizarre hybrid of 80s slasher movie antagonists, Pentagram keep coming back to life. Now, with “Lightning in a Bottle”, the band are back: the life support has been thrown on, this time by mad scientists Heavy Psych Sounds.
The band’s only constant member is founder/frontman/vocalist Bobby Liebling, a complex and controversial character. On this excursion, he’s joined by a new bunch of musicians who are venturing to keep the name and legacy of Pentagram alive. Tony Reed is on guitar and production duties, Henry Vasquez on drums and Scooter Haslip handles bass. All three have sturdy pedigrees earned from other bands, and their contributions here make them light years past being mere hired hands.
Liebling’s story is both chaotic and scandalous, but this isn’t the time or place to cast stones. Interestingly, on the track ‘Lady Heroin’, the singer explores the theme of his addiction in a mournful, self-torturing manner. There’s no bravado here, with Liebling openly pondering on the destruction that addiction has wrought. Musically, the song marries a solid riff with a forlorn middle section.
‘I’ll Certainly See You in Hell’ follows this track, with a strutting pace and Liebling wailing like a deranged preacher. After that we get ‘Thundercrest’ with its ruthless, pounding riff – forming a triumvirate of the best songs in the middle of the album. Not that the rest of “Lightning…” is lacking: whether its aptly titled opener ‘Live Again’ with its head nodding urgency or the crawling doom fest of ‘Walk the Sociopath’, Pentagram have all bases covered.
The biggest fear was always going to be Pentagram pissing on their legacy. They are, after all, one of the great Doom Metal bands that are responsible for the development of the sub-genre. Absolutely no fear of that here, though: “Lightning in a Bottle” sees this version of Pentagram releasing a reassuringly strong album. The musical reputation of Pentagram continues to thrive.
Celavi are a Goth, Industrial Nu-Metal project created by Sarah and Gwion, two spirited individuals from Bangor in North Wales. I picked up a copy of their new EP, “Anima”, which is a surprisingly fresh and fierce attack on all of the above genres, not to mention a whole load more.
The first track is ‘lowercase’ which opens with an Electro Rock flourish and hammers the listener with a mix of danceable beats and aggro power chords. The rest of the EP follows in a similar vein, with satisfyingly crushing Metal guitar melded to infectious Electro and embellished with glorious female vocals that run from sweet to tormented.
‘Bite My Tongue’ features whispered vocals over a restrained, pulsing beat before an enormous chorus crashes out of the speakers. ‘Iodine’ is a fast paced, punch the air rocker with a relentlessly infectious chorus and ‘Eyeliner’ is the most uncompromising track here. The catchiest song though is probably ‘Lullaby’, an Industrial Pop Metal confection that’s equal parts magnificent melodies and brutal guitar riff.
“Anima” wasn’t on my radar, but thanks to being in the right place at the right time, I’ve been able to absorb this work and enjoy it immensely. Anyone who’s a fan of Nine Inch Nails, Linkin Park, Lacuna Coil or Rammstein should be able to find something to get stuck into here. Ideal music for an unhinged time in a vampire night club, Celavi are ones to watch.
Following a blinder of an evening’s entertainment for Day the First of North West Doom Fest, I was rested and ready to go for Saturday. Beginning at an earlier time in the afternoon, I unfortunately missed the first band of the bill, Hand of Omega, who played while I was still travelling into town. Sincere apolgies for this to all, I must catch them again sometime.
Arriving at the Saddle, the festivities were well and truly underway already. A decent sized crowd were in attendance in the rear courtyard, cradling beers and nursing themselves back to full health. There was no downer atmos that I could discern at all however, everyone seemed amped for the music ahead.
Moss Valley were the first band of the day that I actually got to see, and they were pretty damn good. This three piece straddled a retro seventies vibe with added desert rock Kyuss stylings. Great riffs and warm female vocals adding to the melodies, Moss Valley really made a huge impression. It’s tough to pick favourites at an event like this, but MV were definitely contenders.
Up next we had a visit from the Pagan lords of the north, Sabbat Wolf. This Leeds based band featured exemplary musicianship, again with a commanding female vocalist. What I enjoyed here were the Sabbath worshipping riffs augmented by beautifully tuneful, mellow passages that reminded me of Pink Floyd. Sabbat Wolf really stood out with these psychedelic flourishes and their unashamed occult theme – their song ‘Pagan Bloody Pagan’ tells you all you need to know!
Warpstormer had travelled up from Londonium to the ancient, walled city of Chester. These guys mix full throttle Metal with their Doom, think Orange Goblin rocking out at their trippiest. It’s a Stoner Metal attack that could have been related somewhere to Entombed or Motorhead, but had enough power and groove to fit in perfectly at this gig. Warpstomer were real crowd pleasers and also really nice guys.
Get your flat caps on and forget your fear of heights, it’s time for Shred Dibnah! The world’s premier Steeple Jack Rock band graced the stage of NW Doom Fest, amid clouds of smoke and a pummelling performance. With a portable chimney on stage belching out clouds, Shred Dibnah demolished the audience with roaming riffs and contrasting mellow sections that added to the hypnotic drill.
Borehead were the next band of the day, and again a different take on the Doom template. In contrast to other bands, these Londoners were largely instrumental – except for some weird and wonderful samples – with slow, fuzzy riffs more spaced out than Buck Rogers on a Venusian hookah pipe. Cerebral stuff that you’d assume would be better appreciated on headphones with some refreshment, but it went over very well.
I was already familiar with the mighty Deathfiend – I caught them live a while back, and was happily smashed to pieces with their ferocious onslaught. With elements of Death Metal and even Hardcore Punk in the Deathfiend sound, I wasn’t sure if they’d be too damn nasty for this festival, but they slotted right in neatly. Outrageously heavy Doom riffs delivered with a fiery intensity, this band are a force to be reckoned with.
You know how sometimes you see a band that looks so cool, you want to join up? Kill The Witch were that band at NW Doom Fest. These guys meld together the Sludgiest of Stoner and Doom Metal, traversing varying tempos and styles but always remaining true to The Riff. Roaring vocals top off a faster, more furious Sabbath sound that’s not without its clever invention and serpent-like surprises, throwing in some brutal hardcore along the way.
Finishing off NW Doom Fest 2025 were the mighty Amon Acid. Another Yorkshire based band, their distorted Doom Metal was part Electric Wizard style occult Metal, with hypnotic, psychedelic passages added for kicks. Yet again a different take on Doom with Hawkwind Space Rock and amazing Middle Eastern sounding passages seeping through the acid drenched fuzzy guitar, Amon Acid were a thoroughly entertaining musical experience, finishing the event in style.
And that, kids, was your lot. Everything was wrapped up in a timely fashion so that the punters could make buses and trains home, all of us with beaming, happy faces – gorged on the joy of The Riff. North West Doom Fest was a resounding success and I have to say I enjoyed every band I saw. All of them had their own unique identities, whichever winding track they took from the original concept of Doom. Cool venue, too. Now I feel really stupid for not going last year.
The Saddle is the number one – and surely only – Rock based pub in the City of Chester. A town more famed for drunken shenanigans and expensive outfits for the Races, this is the playground of the Cheshire Set and the wannabes. A home of Metal it is not. Not usually, anyway – except for the welcoming haven of The Saddle.
And for one weekend in April, the tiny G21 venue at the back of the pub hosted the second North West Doom Fest: two days of the heaviest, doomiest metal in the land. Absolutely fan-fucking-tabulous!
The evening began with Druid’s Cross, from not far away at all Liverpool. I’ve seen this band before, and knew they would be ideal to commence the festivities. Harsh vocals lead relentless, dynamic riffs with a traditional metal feel as well as a slow, doomy pace. There’s a dark, gothic edge to the music as well, resulting in a compelling sound that grabbed everyone’s attention from the start..
Festival organisers Lorraine and Mark were up next, with their amazing three-piece band, Warlockhunt. I’d also seen this band before, and I’m always amazed by the complexity of their dual bass and tribal drums sound. The other worldly female vocals have led to this band being described as Doom Pop (I coined that phrase, actually, thank you very much) and it’s easy to see why. Always different and always captivating.
Grim skeletal figures flanking the stage, inverted crosses and a duo wearing dark cloaks: Tumanduumband aren’t exactly shy of revelling in their ominous personas. What they are, is a West Midlands based Satanic Doom band, and their music is both atmospheric and heavy as hell itself. Fuzzed out, crushing riffs mean that the visuals aren’t inappropriate – this band is growing a cult based on their own dark riff-tuals.
Headlining tonight, and admittedly one of my favourite bands out there these days, the mighty Son of Boar rightfully took their place at the top of the bill. I became a big fan after seeing them play Pentre Fest some years ago. Bass wrangler Gaz is also an Ever Metal scribe, not that I’m biased at all, honest! Son of Boar played a set that was tight and forceful, with ear-worm riffs and thundering rhythms. Tusks up! The boys brought the HEH-VEEE, then slept the night on the floor of the venue, ‘cos they rock that hard.
Back in the very early 70’s, I accidentally missed getting on the bus with Black Sabbath (or was deliberately left behind, you choose), and found myself stranded in Sweden. Luckily, I had a few contacts and was able to get by, eventually meeting up with a couple of young Swedish lads in Stockholm. They were into folk music, but I could tell they were great musicians with an ear for a melody. After some persuasion, they agreed to try something new and join me in a new band, part heavy metal, part rock’n’roll, with a bit of folk thrown in to keep them happy.
Our jam sessions were going really well, with me handling the vocals and devil worshipping lyrics, and the lads on guitar and piano. We had numerous tracks rehearsed, with some killer riffs inspired by my old mentor, Tony Iommi.
Then one day, it was all over. The two lads decided metal wasn’t for them, and they hooked up with two Swedish girls in an attempt to make something more commercial. A great shame, I thought, as we had potential. Never mind, I’d saved up some cash to get back home and off I went. No idea what happened to those Swedes though. I think they could’ve gone far.
All this reminiscing brings me round to discussing the latest Brown Acid compilation from RidingEasy records – the nineteenth, if you can believe it. It’s been a while since I last reviewed one of these releases, so to summarise briefly for any late comers, Brown Acid compiles long lost gems from the late 60s through the early 70s as a document of the early days of hard rock and proto-metal from the time. Most of these tracks – and the groups who performed them – have been lost to mists of time, but it’s always a joy to rediscover them in the 21st century.
Our first song on this volume is “You Come on Like a Train” by the brilliantly named Dick Rabbit. Just under three minutes of Hendrix infused fuzz rock with clattering drums, it’s a high energy opener to get us moving. Next up is Blizzard with “Be Myself”, which has a killer intro riff that then dominates the song. Think Cream or Mountain and you’ll be on the right avenue.
“Sun City – Part II” is a gritty, raw rocker from the less imaginatively named Fox – the catchy riff is a beauty. Next up, Sweet Wine give us “Bringing Me Back Home”, a boogie, rock’n’roll bar-room brawl number that injects some Southern Rock into proceedings. It’s an unusual move for a Brown Acid comp, but it works well. Finishing off Side One is Enoch Smokey and their cover of the Chuck Berry classic, “Roll Over Beethoven”. A cover is also an atypical move for Brown Acid, but this rendition has enough apocalyptic hard rock mayhem to warrant its inclusion.
Side Two commences with “Get You” by Flight, a Grand Funk style rocker that’ll get your head noddin’. “Indian” from Quick Fox offers a more cerebral lyrical approach, lamenting the fate of Native Americans (no surprise there). It does have a late 60s psychedelic shine that gives the song a different feel and identity. Then it’s back to some full-on hard rock with “The Fury in Your Eyes” by Bonjour Aviators – a spectacular band name, great riff and almost punk vocals.
Cedric delivers “I’m Leaving” next, which is lo-fi garage rock that’s simple but damn effective – like The Kinks covering The White Stripes in a Detroit dive bar. Finally, we have the brain destroying proto–Space Rock of Zane with “Step Aside”, which sounds like Hawkwind sound tracking classic 70s dystopian sci-fi movie, Logan’s Run. If you don’t think that sounds cool, your life clock must’ve already died.
And that’s that: another ten songs saved from the wilderness and given a new lease of life, a second chance of glory thanks to the caring curatorship of RidingEasy records. And all the bands get paid, which is super cool. Brown Acid: the Nineteenth Trip is very much recommended for anyone who worships at the altar of early 70s rock – and also a great soundtrack to any party. Get it on!
Platinum Al's Virtual Hot Tub 