Tag Archives: Stoner band

North West Doom Fest – Part 2

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North West Doom Fest 

4th – 5th April 2025 

The Saddle, Chester 

Saturday 5th April 

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. 

https://www.facebook.com/mossvalleyband/

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! 

https://www.facebook.com/sabbatwolf/

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. 

https://www.facebook.com/Warpstormer/

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. 

https://www.facebook.com/shreddibnah/?locale=en_GB

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. 

https://www.facebook.com/boreheadofficial/

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. 

https://www.facebook.com/DeathFiend1/?locale=en_GB

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. 

https://www.facebook.com/killthewitchband/

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. 

https://www.facebook.com/amonacidband/?locale=en_GB

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.            

https://www.facebook.com/Thesaddleinnchester/?locale=en_GB

Orange Goblin – Album Review

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Orange Goblin – Science, Not Fiction 

Peaceville 

Release date: 19/07/2024 

Running time: 51 minutes approx 

Review by: Alun Jones 

9/10 

Pointless review of the month time!  But why, pray tell, is this review of the new Orange Goblin album “pointless”?  Because, old pal, literally everyone knows that Orange Goblin are a BIG THING.  And they haven’t released an album for seven years.  So this release, surely, will be near the top of everyone’s wish list for 2024.  Especially in the case of our esteemed Ever Metal readers, who as we all know, are a cut above the rest of the uncultured rabble out there. 

Without patronising our dear readership in anyway, a new release from these London doom/stoner/heavy metal scoundrels is, and should be, a BIG THING. 

Anyone who’s already a fan of Orange Goblin can expect more of what has come before, but it’s safe to say, “Science, Not Fiction” is amped up a little more than usual.  The same killer riffs, powerful delivery, ace musicianship, clever style variations are all in place as expected, but tweaked just a little higher.  Right from first listen, it’s obvious that quality control has been merciless on this recording, resulting in a collection of peak songcraft.    

‘The Fire at the Center of the Earth is Mine’ opens the engines in fine form.  After a cacophonous intro marked by belching bass, the riff kicks in and the ride begins.  A furious “death boogie” with a super catchy, uplifting chord structure for the chorus, this is prime Goblin. 

There’s no room for a breather, with second track ‘(Not) Rocket science’ bolting out next – a relentless hell ride that features a killer lead bass break (courtesy of new four stringer Harry Armstrong).  It’s probably my favourite song on the album: Ben Ward’s voice booming and Joe Hoare’s guitar threatening to jump the gate and roar off into the night on its own. 

An epic, mid-seventies Sabbath-doom vibe pervades ‘False Hope Diet’, with its bouncing groove and changes.  ‘Cemetary Rats’ starts with a gloomy, gothic vibe before exploding into something akin to old school thrash a la Testament.  Through all tracks, Chris Turner’s drums are dependably solid and thunderous. 

‘The Justice Knife’ is another fast rocker that benefits from some outer space wah-wah guitar, though generally speaking, the latter half of the album doesn’t quite have the heights of invention that earlier tracks possess.  The last song, ‘End of Transmission’, fields a suitably epic and raucous finale, however – soaring through sections with determined power. 

My only slight gripe with “Science, Not Fiction” is that the bonus track ‘Eye of the Minotaur’ appears to be CD only – which means vinyl fanatics like yours truly will miss out.  Nevermind, this album is a devastating power house of modern metal.  Orange Goblin have created a record that demonstrates all we love them for, and ladled on a good-sized helping of extra sauce to sweeten the deal.  One of THE albums of 2024, “Science, Not Fiction” will be guaranteed a place in my annual Top10.      

Check out Orange Goblin on Facebook, Instagram, Spotify and Bandcamp.

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

Goat Major – Album Review

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Goat Major – Ritual

Ripple Music

Release date: 08/03/2024

Running time: 41 mins approx

Review by: Alun Jones

9/10

“Ritual” is the debut album of Occult Doom Metal band Goat Major. The band, comprising Jammie Arnold (guitar), Simon Bonwick (drums) and Tom Shortt (bass and vocals) came together as a three piece during the pandemic and the frustration of lockdown. They hail from Haverfordwest, Pembrokeshire in Wales, which makes a lot of sense. Wales is steeped in ancient legends, historic monuments and plenty of castles, druids, standing stones, devil dogs and faerie folk – a rich landscape for inspiration.

Musically, we have here eight songs that follow the classic doom/stoner template of fuzzy guitars, rumbling bass and crashing drums. The first track, ‘Snakes (Goddess of the Serpent)’ offers up a burning, slow riff before launching into a dirtier, groovy rhythm. The title track has a driving pace with a hypnotic feel, induced by backing vocals and a relentless grind.

The songs aren’t all just freaked out, fuzztastic trips though. There’s a palpable air of Dennis Wheatley and Hammer horror permeating the whole affair, best demonstrated by ‘Mountains of Madness’, with its slow, atmospheric start. Goat Major bring the gloom to the doom with a touch of malevolence.

Rounding off the album is a short, melodic track called ‘Lay Me Down’, which reminds me of the sort of mellow insert that Budgie (or Sabbath, for that matter) would employ. Appearing last, it’s a lovely oasis of calm after the preceding murkiness. It’s easy to compare the album to Electric Wizard, Uncle Acid and Cathedral, but the foreboding feel Goat Major have created shows they have ideas of their own.

Bubbling away in Goat Major’s coffin is a recipe for some classic Occult Doom Metal. They’ve taken the original sources, added some sinister seasoning of their own, and delivered a hell of a debut album. “Ritual” is easily qualified to make my end of year Top Ten.

PS: in no way has the fact that this band is from Wales influenced my high opinion of this excellent album. Diolch yn fawr, Goat major!

Check out Goat Major on Facebook, Instagram, YouTube and Spotify.

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

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.

Green Goat – Album Review

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Greengoat – A.I.

Self-released

Release date: 26/01/2024

Running time: 38 minutes

Review by; Alun Jones

8.5/10

Opening with a Bladerunner-style synth led track that features a spoken word delivery of Asimov’s Three Laws of Robotics, is a bold (and different) move for a Stoner/Doom band. In a genre where, thematically, we’re usually content to contemplate the joys of weed consumption and the mysteries of the occult – usually via a 1970s Hammer horror aesthetic – this sci-fi launching point is a welcome breath of fresh air.

This is where we enter the album “A.I.” by Spanish doomsters Greengoat. It’s a great band name, and one that harks back to those pot and patchouli, candles and Peter Cushing tropes we’re used to. But ‘The Void’ takes us on a different tangent, with the Rutger Hauer voice over. Second track ‘The Seed’ takes this mellow intro and runs with it, till 30 seconds in – yes, it’s big fat chunky riff time! And what a big, fat chunky riff it is – slow and grinding, developing an irresistible groove with the drums dropping in, eventually exploding into a full force rocker.

The line-up of singer/guitarist Ivan Flores and drummer Ruth “Kalypso” Moya invoke a moody soundscape that borrows from spacey, harmonic passages of Pink Floyd and adds crunchy hard rock. It’s a euphoric concoction as the music builds. And oh, how it builds…

A more traditional stoner groove pervades the other songs on the album, with groovy riff workouts showcased across tracks like the head-nodding, tripped out title track and the fuzzy, Fu Manchu-like ‘Burn the End’.

Throughout the album, Greengoat weld together a progressive, futurist theme with some good, old fashioned, retro Sabbath style rockin’. “A.I.” will no doubt entwine itself around my conscious all the more as I play it in the weeks to come. This is a fine album with great ideas – the analogue age and the digital age tentatively strolling forward together.

Find out more about Greengoat on Facebook and Bandcamp.

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

Green Lung – “This Heathen Land” Album Review

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Green Lung – This Heathen Land 

Nuclear Blast Records 

Release date: 03/11/2023 

Running time: 43 minutes 

Review by: Alun Jones 

9.75/10 

Halloween ain’t over yet, kids – at least not while the arch druids of Occult Rock, Green Lung, are back in town!  Yes, London’s finest purveyors of witchy, stoner incantations have a new album, “This Heathen Land” – released by Nuclear Blast Records, no less.  So gather ye round, my acolytes, whilst we indulge in the ritual listening of this opus.  Light some candles, burn some incense, imbibe potions of mind-expanding merriment.  And take all your clothes off!  

Album number three from Green Lung kicks off with a suitably 1970s intro, setting the magickal vibe right away.  ‘The Forest Church’ is the first track proper, which takes its inspiration from Danzig-approved cult folk horror classic “The Blood on Satan’s Claw”.  It’s a riffalicious chunk of doomy wonder, built around an organ drenched, moody base. 

‘Mountain Throne’ blasts out as a Sabbath style rocker, awash with those lush, skronky keyboards.  Then GL add some sauce to their sorcery with their ode to ‘Maxine (Witch Queen)’, an ecstatically catchy slice of psychedelic, garage rock-infused debauchery.  ‘The Ancient Ways’ and ‘Hunters in the Sky’ are both powerful yet groovy rock that’s reminiscent of the greats and gleefully conjures up its own aura.   

Green Lung really stretch themselves on ‘One for Sorrow’, which features huge, doom riffs and atmospheric synths with an epic chorus.  The mellow, folky sound of ‘Song of the Stones’ adds yet more colour to the palette, and still sounds essential – just like those more refined tracks on early Black Sabbath records.  The melodic, drama infused ‘Oceans of Time’ – inspired by Coppola’s “Bram Stoker’s Dracula” – adds a suitably bombastic and ambitious climax to the album.   

A word of wisdom for the initiate: the vinyl version of “This Heathen Land” shows exactly why physical media is still so important and potent.  My copy is green vinyl, in a gatefold sleeve with lyric booklet and a map of the UK, showing various otherworldly sites that have inspired the album.  This obsessive attention to detail is fascinating and illustrates just how much care and attention has been poured into the whole work!   

Green Lung is completely fearless, their ability to rise to the challenge and create art this meticulous is highly impressive.  And I should know, I’ve seen The Wicker Man and I own a black cat.  Seriously, my children: “This Heathen Land” is essential. 

You can put your clothes back on now.    

Find out more about Green Lung on Facebook, Instagram, Twitter and their website.

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

The Sound of Origin – Album Review

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The Sound of Origin – Man in the Arena
Self-released
Release date: 27/10/2023
Running time: 44 minutes (approx.)
Review by: Alun Jones
9/10

Right, let’s get down to business and get this review out into the world asap. This album has already been released, and as it’s pretty bloody good, let’s shout it from the rooftops as loudly as possible.

The Sound of Origin are from Huddersfield, and this is their sophomore album. I’d previously encountered the band thanks to their cover of ‘Sick Things’ on the quite bloody brilliant “Killer: 50 Years Later” Alice Cooper tribute album, released by Pale Wizard Records. I was keen to hear a full album from these Yorkshire Doom merchants and I wasn’t disappointed.

‘This Ain’t Free’ bursts from the speakers with a booming, catchy riff and a mix of screamy versus melodic vocals. It grinds, it rolls, it grooves: and that’s a fairly good summary of the whole album. Doom metal with a welcome varying pace, it’s brutal but hypnotic. First single ‘Birthright’ is an infectious bruiser and one of many tracks that remind me of the glory days of titans like Alice in Chains. Relentless, but still melodic.

‘Crown of the Cynic’ gives The Sound of Origin the chance to flex their progressive, doomy muscle with its longer run time and thudding power. I air guitarred along to this unashamedly! There’s some mighty passion here, notably in the anguished vocals.

Kyle Thomas of Exhorder and Trouble fame crops on two tunes, ‘Frail Old Bones’ and the title track. On the former, the band rock out in a fuzzy style not too dissimilar to Thomas’ day job or even good ol’ COC. The latter finds the band in a slower, pummelling pace and KT pushes the dramatics to hair raising levels.

The Sounds of Origin can throw together elements of Stoner, Doom and Sludge with great style and enthusiasm. One welcome surprise though, was hearing final track ‘Lightbringer’ which reminded me of Angel Witch – head down, old school NWOBHM vibes all the way!

My preconceived ideas may always skew any observations I make on a band’s influences. The Sound of Origin’s “Man in the Arena” is a great album that is bigger than the sum of its parts, and builds on the classic inspirations. A solid effort, this album will no doubt be a contender to make my Top 10 of the year. Just a shame it’s not available on vinyl.

Check out The Sound of Origin on Facebook, Instagram, Spotify and Bandcamp.

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

Deathchant – Album Review

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Deathchant – Thrones
RidingEasy Records
Release date: 13/10/2023
Running time: 37 minutes
Review by: Alun Jones
8.5/10

OK, so this one’s a grower. This is the third album by Deathchant, and it started as “good” but progressed to “great!” pretty smoothly after a couple of listens. There’s a lot going on with “Thrones”, and it wasn’t necessarily what I’d assumed beforehand. Yes, there’s heavy, sludgy grooves and psychedelic shine as would be expected, but it’s tempered with a classic rock sensibility that adds both power and gravitas.

This is personified most obviously in tracks such as ‘Mirror’ and ‘Chariot’, both of which come ferociously pounding out of the gates and boast a melodic lead guitar that reminded me (very pleasantly) of Thin Lizzy. There’s also plenty of crunch in those tracks, and the doomier sections of the title track, which builds brilliantly within its 7 minutes and 40 seconds of contrasting ooze and fast paced rock.

It was the track ‘Mother Mary’ that first grabbed my attention, though. This relaxed, more introspective track, tucked away at number 4 on the playlist, immediately convinced me that there was much more going on with Deathchant than I’d immediately suspected. Anyone with any class can tell you that Sabbath’s ‘Planet Caravan’ is a momentous, pivotal track on ”Paranoid”, and it’s the same here. ‘Mother Mary’ quietly entices the listener into a different, dream-like realm.

‘Hoax’ does the opposite, waking the listener up with a jolt – and the album closes with the heaviest song of the lot, ‘Tomb’, part doom march and part striding, muscular beast. The vocals can sometimes seem a little low in the mix, but overall the finished work has enough twists and turns to ensure we’re always engaged.

As an album, ‘Thrones’ teases at first and will full-on deliver if you give this album a little time. Crafting together gloomy proto metal and snazzy classic rock frills, Deathchant have created something original – it’s thrilling and cathartic at the same time.

Fins out more about Deathchant on their website, Bandcamp, Instagram and YouTube.

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

Dopelord – Album Review

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Dopelord – Songs for Satan

Blues Funeral Recordings

Release date: 06/10/2023

Running time: 39 minutes

Review by: Alun Jones

8.5/10

Poland’s mighty Dopelord return with a humongously heavy album of slow rolling, occult driven doom on “Songs for Satan”.  Released via Blues Funeral Recordings, they’re celebrating the work of Lucifer in their temple of stoner sludge, and you’re invited.  Throw on your hooded robes and join the throng! 

Of course the songs are slow and heavy, and Dopelord manage to stamp their mark on the stoner-doom template by adding melody to their powerful, drawn out compositions.  Whilst the music rumbles along demonically, the vocals add a surprising, idiosyncratic sheen.  ‘Night of the Witch’ is executed in perfect, scuzzy doom style.  ‘Evil Spell’ is skull crushingly heavy, but both tracks feature sing along choruses that will steal your soul as well.

It’s difficult to get all the lyrical intent on this album without a lyric sheet, but it’s safe to say that the message here is a direct and scathing criticism of the Catholic church in Dopelord’s home country.  Whereas many a doom band is content to revel in Hammer Horror/Dennis Wheatley themes, Dopelord have taken this typical 1970s influence and added a real-world attack on religion too.

The album is book-ended by instrumentals, the latter of which, ‘Return to the Night of the Witch’, comfortably re-establishes “Songs for Satan” in the dreamlike, mellotron-soaked occult realm.  It’s a fine album, melding inexorable, fuzzy doom with themes of devil worship and hellfire.  Dopelord’s latest is genuinely well crafted, spell binding stuff.  I wouldn’t bother sending them a Christmas card, though.

Check out Dopelord on Facebook, Instagram, Spotify and Bandcamp.

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

Yawning Man – EP Review

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Yawning Man – Pot Head

Ripple Music

Release date: 22/09/2023

Running time: 24 minutes

Review by: Alun Jones

9/10

Yawning Man are one of, if not THE, originators of Desert Rock.  Born from jam-style generator parties way out in the desert, this band pioneered the sound that would later be adopted by Kyuss, Fu Manchu and many others.  Ripple Music are reissuing the “Pot Head” EP, on vinyl and CD, for the first time in like, eons, man.  And it’s a great listen.    

“Pot Head” consists of four instrumental tracks, illuminating the template that others would follow.  Free form, jammed compositions that stretch out into the vast, starry night.  Awash with psychedelic flourishes, there’s a cinematic feel to songs like ‘Manolete’ and ‘Digital Smoke Signal’.  The listener can grasp the improvisational vibe, close your eyes and you’re a world away from anywhere as the music spirals endlessly into the universe.

Wow, I was off in the moment there for a moment reader.  How unprofessional – I do apologise.  I love the fact that all four songs are instrumental, ‘cos as we all know that the singer is the least important member of any band.  No vocals equals a psyche freak out that incorporates samba rhythms, wailing reverb drenched guitar and no distractions from the dusty, spaced out shenanigans.

Yeah.  Breathe out, breathe in.  Enjoy.

Find out more about Yawning Man on Facebook, Spotify, Instagram, Bandcamp and their website.

This review is brought to you by Platinum Al in conjunction with Ever Metal.