Tag Archives: sludge

Battalions – Album Review

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Battalions – King of a Dead World

APF Records

Release date: 21/10/2022

Running time: 31 mins

Review by: Alun Jones

9.5/10

Battalions return with a pummelling new album, “King of a Dead World” from APF Records.  THE APF label can be relied upon for quality releases, and there’s no doubting that here.  Born of Hullfire – well, they come from Hull – and unleashed in streams of molten lava from the deepest catacombs, here Battalions are channelling all of their experience into a recording of sheer, elemental power.

It falls on the humbled shoulders of yours truly to attempt some journalistic summary of what we have here.  But in short – if you’re already a fan of (or just familiar) with Battalions, just go ahead and buy this now.  If you’re a new or curious listener, be prepared for a lesson in dense, thick Sludge.  With a capital ‘S’.

The music Battalions let loose on the world combines the heaviosity of Sludge with a persistent groove, underlined with the unrelenting intensity of hardcore.  First track ‘Green Boots’ demonstrates this perfectly, with a crushing riff that can make the listener nod their head and scream along.

Phil Wilkinson’s vocals are a harsh growl, well suited to the ferocity of tracks like ‘Parasite’.  The guitars of Pete Cross are punishing but also full of variety, as shown on ‘Coughing Nails’ (great title).  Meanwhile, Matthew Dennett on bass and Simon Harrison on drums manage to keep it all on track with precision.

‘Bones to Dust’ was another track that particularly impressed; a calmer start (by comparison) that erupts into a huge, bouncing riff which will sandpaper your face off.

“King of a Dead World” is chock full of great ideas and delivers on all of them.  Though relatively short at 31 minutes, the album wastes nothing and doesn’t out stay it’s welcome – you’ll want to replay it again and again.  It’s unforgiving, powerful and noisy – there’s no slumber on the Humber here.  Instead, join Battalions on the Highway to Hull, it’s a full on, exciting ride and you won’t regret it.      

Check out Battalions on Facebook, Twitter and Bandcamp.

Have a gander at the APF Records website, or Facebook, Bandcamp or Twitter.

This review is proudly presented by Platinum Al and 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.

Dayglo Mourning – Album Review

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Dayglo Mourning – Dead Star

Black Doomba Records (Dewar PR)

Release date: 12/02/2021

Running time: 35 minutes

Review by: Alun Jones

9/10

It was late afternoon when I woke.  Sunlight was pouring through the blinds like cheap bourbon into a cracked glass, and my mouth was as healthy as a well-worn shoe.  Still aching, I reached for a half-finished bottle of warm beer to contemplate the previous nights events.  How had I ended up in this mess again?

The culprit was there before me: all innocent now, but I knew the power that lurked inside.  A new album by a band called Dayglo Mourning was to blame.  I had spent the night lost in a haze of booze and infernal doom metal, my reverie spiralling out of control by the minute.

“Dead Star”, this work was called.  An ode to sludgy riffs, apocalyptic drums and earth-shaking riffs in the traditional, old school style.  Right up my strasse, then.

Dayglo Mourning are three barbarian bruisers from Atlanta, Georgia: Joe Mills (guitar and vocals), Jerimy McNeil (bass, vocals) and Ray Miner (drums).  Together they have created a huge, monolithic prayer to the riff, with a hint of space rock and some fine bluesy flourishes for good measure.

Songs such as the title track and “Faithful Demise” also offer up a warm groove, whilst “The Offering” has more of a blues feel.  “Bloodghast” and “Witches Ladder” feature a more direct, pummelling attack, and “Ashwhore” features some spooky, satanic choir work to up the occult ante before ushering in another hefty riff.

Thundering vocals; a great, thick guitar tone and powerful rhythm section teamwork are enhanced with a fine production that’s crisp and clear, yet doesn’t sacrifice the traditional feel.

It’s hard to find fault with “Dead Star”.  Maybe the only thing is it’s a little too short?  But then, doom is perfect for vinyl, and 35 minutes is all anyone should need. 

The album even features a fantastically lurid cover, featuring some foxy space princesses in what looks like a 1970’s Marvel comic.  It was this image that had woken me from my stupor; the bright supernatural glow piercing my eyelids as they cracked open.  Cheers, Dayglo Mourning – fancy another pint?

Check out Dayglo Mourning on Facebook, Bandcamp and Twitter.

Visit the Black Doomba Records website, or find them on Facebook and Bandcamp.

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

Son of Boar – Album Review

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Son of Boar – Son of Boar

Stoned Rocka Records

Release date: 02/04/2021

Running time: 32 minutes

Review by: Alun Jones

9/10

Well, here we are then.  The debut album from Bradford based sonic butchers, Son of Boar.  And yes, I am quite excited about this release.  There are long lost civilisations existing in the South American jungle that, despite having no contact with the outside world, are aware that your pal, Platinum Al, has been desperate to hear this cacophonous compendium for some time.

So, is it any good?  Well yeah, obviously.  But just what kind of good I shall reveal.

There are five tracks on this eponymous release, across which Son of Boar attempt to cover as much ground as possible.  Yes, this is Stoner Doom – it is heavy, it has groove, it has a windswept musical vista that is both fierce and welcoming. 

I’ve already reviewed first track, “Stoned Wail”, when it was released as a single a while ago.  This mix is punchier though, and still satisfying regardless of any familiarity.  The calm wash of ocean waves accompanies a benign introduction; until, just over two minutes in, the full electric muscle of the band is released.  SOB hit their groove and plough relentlessly on, whilst vocalist Luke roars about some sweet girl called Mary.  I don’t know who Mary is, but she seems like a nice, compassionate lady.

The slow sludge of song number one is contrasted by “All in Your Head”, where SOB pick up the pace and gallop home with a Kyuss covering Maiden flourish.  Great rhythm work from Gaz (bass) and Luke D (drums).  “Satanic Panic” then devolves brilliantly into the sort of the Corrosion of Conformity style Sabbath worship that enthralled James Hetfield.  Powerful, even graceful, but remorseless.

“Snakes and Daggers” reminds me of Motorhead played too slow (33rpm not 45, for the fossils out there).  Here the pace varies, with a great, almost psychedelic melodic swash emerging like a surprise visit from a long-lost drinking buddy.  Then your old pal gets stinking drunk and kicks off in the taxi rank, and you’re desperately clutching your kebab in puzzlement.  What?

You should listen to “Cities of the Deadeyed Priestess” just because it’s a genius song title.  It also has some bizarro samples that I need to investigate.  Musically, this is another brutal head crusher: meat and potatoes riffs and fine melodic hues courtesy of guitarists Lyndon and Adam.

And there you have it: five songs, one debut album.  A fine band; they’re awesome live, have the best t-shirt designs I’ve seen in donkeys and are creating a real sense of cult-like, underground authenticity that is addictive.  If I could afford to buy a copy of this album for everyone reading this review, I would.  Even that weirdo at the back. 

And Son of Boar have only just begun their journey…

Check out Son of Boar on Bandcmap, Facebook and YouTube.

You can also find them on Twitter and Instagram as: @son_of_boar

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

Weed Demon – Crater Maker Album Review

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Weed Demon – Crater Maker

Electric Valley Records

Release date: 03/04/2020

Running time: 46 minutes

Review by: 9/10

 

“Crater Maker”, by Columbus Ohio rascals Weed Demon, begins with the warm and welcoming hiss and crackle of vinyl.  Then we’re into the first track “Atmospheric Drag”, and you’d be forgiven for thinking that you’re in the wrong section of the record shop.  It’s a dark, folky country number that sounds like you’ve just stumbled into a saloon in a God forsaken Western town.  I was taken by surprise, but this song is both awesome and a fitting introduction to an album that isn’t afraid to wander off the obvious path.

When track two, “Birthquake” lumbers in, we’re in familiar doomy Sabbath territory.  It’s a stark contrast to the opening song, but brilliant as that was, this is what we came for.  Big, dirty riffage that’s slow yet powerful, the result is an instrumental song that relies purely on dynamics to excite and uplift.  This is bloody great stuff.

The next track, “Serpent Merchant”, is even heavier and more relentless – with growling vocals making a demonic appearance.  It all descends into a masterful, psychedelic break before the pummelling returns.  The album’s title track delivers a groove laden sludge, which again dissolves into a mellow passage at pretty much exactly the halfway mark.  Gradually becoming fuzzier, this soon explodes into a frenzied, aggressive section.

The remaining tracks offer more crunching guitars, thudding bass, booming vocals and pounding rhythms, always concentrating on the all-important doom riff.  Final track “Sporelord” wanders through several segments, before briefly fading away and returning with a quirky reggae style outro.

With four of the six songs here over the 8 minute mark, there’s a lot to explore and digest with “Crater Maker”.  Weed Demon have created a dense album that I enjoyed from the first listen and I’m still returning to weeks later.  Meandering into psychedelic space rock, groovy doom, country and ear-splitting sludge ensures “Crater Maker” is a complex release that’s worth hearing.

All this talk of weeds reminds me of a funny little escapade with my old mate Keith Moon.  Moony lived next door to his big pal Ollie Reed, who asked the loony drummer to keep an eye on his mansion while he was in Europe, filming some naff horror/arthouse nonsense.  Moon had a party, got totally blitzed and remembered at about 4am that he hadn’t mowed Ollie’s lawn for him.  Well, you can imagine the laughs we had, as Keith tried to start the ride-on petrol mower in the dark.  Without going into too much detail, a split fuel pipe and a discarded cigarette resulted in most of Reed’s garden looking like it had been napalmed.

Ollie wasn’t best pleased when he returned to see the unholy mess Keith had left him with.  But Moon just blamed Ringo Starr, who made a quick exit when drunken Ollie brought out his shotgun.  Ringo had the last laugh though, by marrying the most beautiful woman in the world.  Jammy git.

Weed Demon are on Facebook and Bandcamp, plus find them on Instagram here.

Check out Electric Valley Records here.

And go have a gander at Ever Metal, tell ’em Platinum Al sent you.

Desert Storm – Omens Album Review

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Time for another album review: as originally published by Ever Metal, now here for your enjoyment too…

Desert Storm – Omens

APF Records

Release date: 01/05/2020

Running time: 40 mins

Review by: Alun Jones

9.5/10

Put your feet up, relax – pour yourself a drink and take the weight off your feet.  All you need to do is chill – I’ve already done the hard work.  I’ve found your new favourite band: they’re called Desert Storm, and their latest album has just been released by APF records.

If you’re new to the name, Desert Storm are from merry old Oxford; and since forming in 2007, have been building their following formidably.  They’ve appeared at major rock festivals; plus supported and toured with some personal heroes of mine (Corrosion of Conformity, The Atomic Bitchwax amongst others).  I saw Desert Storm a few years ago supporting the mighty Karma to Burn; they managed to steal the show from the headliners, as far as I was concerned.

Opening with a sombre, haunting spoken word piece, Omens proceeds to take the listener on a journey that is powerful, yet also introspective.  It’s an otherworldly trip that’s both visceral and immediate, but also demands greater exploration.

“Black Bile” demonstrates the strategy perfectly: heavy, grinding and relentless – with moments of melody that blend into the whole without jarring.  In absolute basics, this is the sludge of Down combined with the aspirational progressiveness of Mastodon.  Thudding, head banging riffs adorn “Vengeful Gods”, but there’s also an almost Morricone-like cinematic sensation as the song develops and grows.

At times anthemic, there are also magnificently effective sections of the songs that contrast beautifully with the hard driving doom metal.  “Pain, Grief and Suffering” features an extended mid-section that is beguilingly serene.  When the heavy re-enters, it’s all the more neck-breakingly persuasive.  Throw in a captivating solo and you’re on to a highlight.

“The Path of Most Resistance” builds from humble beginnings to a massive groove riff of Sabbathian splendour; whilst “Lockjaw” is short and brutal.  This leads us to the final track, “Rebirth”: a masterpiece that is heavy only in sentiment.  What a song.  Despite a medieval vibe, it’s the ideal soundtrack to spin whilst driving through the desert in a stolen Dodge Challenger as the sun sets, with Smokey on your tail.

Every song on Omens can be enjoyed on its own merits, but as a whole plays as a genuine compendium that the listener can enjoy from start to finish.  I knew Desert Storm were good, but I didn’t expect them to have grown so much.  Or deliver a new album with so much scope.  Here’s a British band that could step up into national – and then international – consciousness.  They just need your support.  Do it.  I’m off to buy the vinyl version.

Talking about deserts – did I tell you about that infamous escapade on one of my legendary soul-searching soirees into the Mojave?  I crept into my usual cave to seek shelter, only to encounter Jim bloody Morrison hogging it.   He was out of his gourd on peyote and mumbling about Aldous Huxley or some such.  There was no way I could meditate with that loon around, so I threw him out.  Break through that to the other side, Jimbo!  My Yaqui shaman and I needed the space to contact Atlantis.

STOP PRESS: Putting my money where my mouth is, I stumped up hard earned cash for a vinyl copy of this album.  I am very glad that I did!

Find Desert Storm on Facebook.

Buy their stuff on Bandcamp.

Find the band on Twitter and Instagram.

For APF records, check out their expertly crafted website here.

Ir find them on Facebook and Bandcamp, you won;t regret it.

Spacetrucker – Smooth Orbit Album Review

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Spacetrucker – Smooth Orbit

Self released, Dewar PR

Release Date: 17/08/2018

Running Time: 51 mins

Review by: Alun Jones

9.5/10

“Have a listen to Spacetrucker!  I think you’ll like them,” came the recommendation from Rick at Ever Metal HQ.  So I did.  And he was right – the “Smooth Orbit” album is one of the most exciting listens I’ve had for a long, long time.

These psychedelic space monkeys have created a superb stoner rock classic that’s right up my space lane.   Throw in some fuzzy grunge and classic rock and Spacetrucker have achieved the almost impossible: put a huge, acid-warped grin on my ancient, grumbly mug.

First track “Sample of a Sample” warms the jets up nicely for take-off with a trippy lead and some bongos.  Yes, bongos!  Past the two-minute mark it erupts into a face-melter of a riff that had my cranium nodding like an Easter Island statue after some herbal refreshment.

Mike Owen (guitar/vocals), Rob Wagoner (bass/vocals) and Del Toro (drums) seem to be able to magically conjure up the grooves with uncanny ease.  “Meat Wagon” is another brilliant track with a pulsating, infectious riff.

In true lazy journo style (hey, I’ve had a few), Spacetrucker combine the stoner slouch of Fu Manchu and early QOTSA with classic Sabbath and Purple, mixing in some Mudhoney and Melvins fuzzy sludge on the way.  Perfect, in other words.  If any of those bands get your hyper drive firing, this is for you.

There are some Iommi-esque shorter numbers and experimental sounds that add a further dimension to the proceedings, constantly keeping the listener on their toes.  “Vanishing Point, Science of Us” has an almost Nirvana Unplugged vibe before bursting into a crushing rocker.  This is followed by another monster riff with “Pulling Teeth”.

Plus the final track, “Lost in the Sauce”, is over ten minutes long!  An extended jam floats in and builds beautifully, never rushing but enticing the listener along on every step.

This might not be the most critical review I’ve composed, but I don’t care.  “Smooth Orbit” is a triumph of an album and I love it.  The only reason it didn’t get ten out of ten is it needs more references to skateboards and 1970s muscle cars.  Other than that, I need a vinyl version, please.

If any of the above references to sub-genre labels and other bands resonates with you, I urge you do a Boba Fett and track this album down now.

All of this “space trucking” talk reminds me my days working with Deep Purple back in the early seventies.  I was working as the band’s roadie/driver when one time, in the middle of the night in the Arizona desert, we got a flat.  I left the Purps partying in the back whilst I went out in to the freezing, dusty highway to change the tire.  I was distracted for a moment, and I swear bling that I saw several lights zipping about in the sky at unbelievable speeds.  “UFOs!” I thought.

I rushed back onto the bus and dragged the band out to take look (all except Roger Glover, who was busy knitting).  Except when we got outside, the lights had vanished.  The Purps weren’t amused and blamed it on me overindulging in peyote.  Gillan was very gentlemanly about it all and even gave me a hand with the tyre.  Blackmore had a tantrum about the delay and docked me a day’s pay.  The bastard.

 

This review appeared on the Ever Metal website and is reproduced here for your enjoyment.  Click here to visit the Ever Metal website.

Melvins – Gig Review

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Melvins + Big Business

Friday 9th October 2015

Gorilla, Manchester

I had been waiting for this for a long time.  As a long time fan of the Melvins, it seems inexplicable that I’ve never seen them live before.  But then I rarely travel to Manchester for gigs.  2015 has been the year of live music for Platinum Al; as such the planets aligned, the tickets were bought, the wheels were rolling towards the big city and it was on.  Finally, I would witness the wonder of the Melvins.

And not just the Melvins – the support slot went to Big Business, a two piece of bass and drums in a similar mould to the mighty headliners.  Of course, anyone who knows their Black Flag from their Black Sabbath will tell you that Jared and Coady of this band also perform with Buzz and Dale to create the steaming sonic soup with lumpy riff croutons that is the Melvins. Melvins

The Big Business set was extremely impressive in it’s own right.  As I said, the band is just bass and drums, yet the almighty noise they make is astounding for a two piece.  They play a solid set that could’ve been a main course of the evening’s entertainment.  Big grooves, pounding drums and awesome sound scapes create a fine appetiser.

Gorilla in Manchester is some sort of restaurant/bar thing, with a stage at the back for live shows.  It’s seems more in scale with stand up comedy gigs, but despite the modest size it’s a great place to see the band – close up, good views and sound.  The beer is a bit expensive, but I got a Melvins (official!) t-shirt for a tenner!  Yeah!!!

So anyway, the Melvins arrive on stage as a four piece – Buzz, Dale, Jared and Coady – and we’re off.  It’s a gig unlike any I’ve experienced ever before.  There’s no breaks; no chat with the audience; no introducing the songs – the band just plough through their catalogue of fantastic songs and drag the audience along with them.  The audience follow willingly, of course – and the band don’t ignore us – it’s a unique unspoken agreement that we’re all along for a hell of a musical journey.

The music is heavy, sludgy, intense – exactly what I expected and wanted.  There are several songs from newer albums (“The Water Glass”, “Evil New War God” – both superb).  Older classics like “Sweet Willy Rollbar” and “It’s Shoved” are given a welcome play too.  The absolute high light for me though is “Civilised Worm” – what a riff!

The power of the riff is what the Melvins are all about.  Buzz’s guitar is astoundingly heavy, yet also shines with artistic flourishes and strange sounds to keep the listener guessing.  The bass is relentless yet groovy, hammering home the riffs.  Add dual drummers and ears were ringing for days.

It was a truly intense live experience and one I’m really glad I saw.  Unlike anything else and worthy of the hype, the Melvins are a unique band and I love them.

Did I mention I got a t-shirt for a tenner??!!