Trouble – Album Review

Trouble – One for the Road/Unplugged

Hammerheart Records

Release date: 11/02/2022

Running time: 67 mins

Review by: Alun Jones

9/10

The mighty Trouble!  A release from these titans of doom metal is always worth celebration, and this is no exception.  Back in the early 90s, this cult band were verged on the edge of a mainstream breakthrough, with two albums on the Rick Rubin helmed Def American Records (also home to Slayer, Danzig, Black Crowes and others).  Alas, it was not to be: this eternal underground favourite was to remain just that. 

“One for the Road” followed the second, self-titled Def American album, as a limited-edition European tour EP.  This re-release bundles that with a full length “unplugged” album: remastered to provide a fully upgraded compilation.

The first five songs comprise that “One for the Road” EP, with first track ‘Goin’ Home’ bursting from the speakers with exactly the kind of exciting hard rock you’d expect as a Trouble opener.  ‘Window Pain’ offers a pulsating, mid paced doom rocker, whilst ‘Requiem’ brings the tempo down further with a melancholy, gloomy metal dirge.  The Black Sabbath influence is most obvious on ‘Another Day’, whilst ‘Doom Box’ raises the tempo a little but still holds a candle to Dio era Sabs.  Some of these songs would turn up in different form on later albums, but this EP brings together an excellent capsule that fits neatly into that mid 90s period.

Back in the early/mid 90’s, “unplugged” albums were all the rage.  Like others of that era, this Trouble entry into that genre isn’t always stripped down totally to just vocals and acoustic guitar: there’s still electric guitar, drums and more to embellish the tracks were necessary.  The strings added to this second version of ‘Requiem’ are exceptionally orchestrated and serve the mood of the piece brilliantly.  That said, ‘7.00 AM’ is a remarkably restrained and beautiful song, recalling Sabbath and also Trouble worshippers Soundgarden. 

Those songs – and the other tracks comprising the “Unplugged” part of this release – offer a relaxed side of the band that explores more of their psychedelic, sixties interests (see their cover of The Yardbirds’ ‘Heartful of Soul’).  It’s a release that even my eleven-year-old daughter appreciated.  The only mis-step is the jaunty jig of ‘Smile’, which is just too jangly and nice.  Yet have no fear, the version of ‘Misery’ showcased here (released as ‘The Misery Shows’ on the eponymous Def American release) reminds us just how great this band were.   

My only major issue is the cover art.  That may seem petty when this is a review of the band’s music, but as a long-term Trouble fan, I’m considering buying the vinyl copy for my collection.  And that vile cover may well deter me from doing so.  Trouble has a great logo, but the cover squanders this with nothing other than the title, in what looks like – GASP! – Comic Sans MS!  A font that should only be used by primary school teaching assistants, it dates and also ridicules the stature of the music.  It’s a truly vile and lazy cover – seemingly thrown together by a Johnny-No-Stars work experience boy on his lunchbreak.  Awful.  Couldn’t someone have redesigned it?

I’m docking points for that, ‘cos the cover mocks all I hold holy.  Beyond that, fantastic music and a must for any Trouble fan.

RIP Eric Wagner

For more info, check out the Trouble website, their Facebook page or Bandcamp page.

Hammerheart Records also have a website, Facebook and Bandcamp.

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

Wax Mekanix/Troll Teeth – EP Review

Wax Mekanix/Troll Teeth – Blunt (Split EP)

Electric Talon Records

Release Date: 22/10/2021

Running Time: 14.32

Review by: Alun Jones

9/10

Now the good folks at Electric Talon Records issued this split EP back in October last year, so yet again, apologies for my tardiness.  I’ll think of an excuse by the end of this review.  For now, let’s just cover some basic info: two bands, namely Troll Teeth and Wax Mekanix, with five songs split between them.  Style wise, we’re in for a journey – so stay sharp.

Wax Mekanix is an artist I’m already familiar with from his exceptional “Mobocracy” album from 2020.  That record covered a wide base genre wise, from hard rock to folky guitar and any number of surprises in between.  Wax hasn’t stood still, instead deciding to venture into yet newer fields with the three tracks shared here.  So first up we get “Head”, an enticing blend of acoustic guitar, tribal drums and percussion, and rowdy vocals.  There’s no ferocious riffage here, but the infectious rhythms and Eastern sounding chords will drag any listener along.

“Manchester Strawberry Blonde” is a short interlude, with almost Native American percussion, augmented with lyrics that recount a despairingly tragic incident.  The lyrics on all tracks are worth a read, particularly here.  Wax’s final offering is “Freak Boutique”, where the mellow acoustic guitar is embellished again with Eastern rhythms.  As a result, this is less campfire singalong and more a voyage across exotic lands.                 

Troll Teeth have the best band name I’ve heard in years.  Thankfully, they can also deliver some righteous music too.  “The Pigs are on Parade Today” has a dense, mid paced stoner rock approach that is instantly cinematic: perfectly appropriate for watching vast desert skies growing dark and the heavens lighting up.  “Barbs on a Wire” is more aggressive, but still retains a sense of melody along with the rolling, raucous riff.  It’s progressive in the best sense of the word, and also addictive with it’s relentless, undulating drive and fiery lead guitar.  If you dig Baroness, you’ll dig this.

At first listen, the two bands here seem somewhat different – but it becomes obvious that they’re tied together by their expansive, wide view of the world – and it’s sounds.  Wax Mekanix and Troll Teeth are both visionaries.  Here’s to hearing a new full length from each, soon.

What was that?  What was my excuse for this review being so late?  Well, ah… I had completed it ages ago, honest, but Ozzy Osbourne ate it.

Find Wax Mekanix doing some online stuff on Facebook, Instagram, Twitter and Bandcamp.

Troll Teeth are waiting to meet you on Facebook, Instagram, Twitter and Bandcamp.

And you can check out Electric Talon records here.

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

Scarecrow – Album Review

Scarecrow – Scarecrow II

Wise Blood Records

Release date: 22/10/2021

Running Time: 44 mins

Review by: Alun Jones

8.5/10

You could say I was a little confused when I first heard “The Endless Ocean Overture”, the opening track on this second album from Scarecrow.  I know the clue’s in the song title, but this really is a big, full on orchestral piece – complete with moody storm sounds and crashing waves.  I thought the Ever Metal Delivery Monkey had sent me one of those symphonic metal monstrosities by mistake – there are NO GUITARS here.  At least not on the first song.

Not that it’s a bad track – it’s actually very atmospheric and very bloody clever.  Just a bit of a surprise, that’s all.

Scarecrow are a Russian doom rock band, taking their inspirations from the classic seventies masters like Sabbath and Zeppelin.  When track 2 – “Blizzard” – kicked in, I realised my mistake.  Yes, here we have it: blues based heavy rock that could have easily been produced in 1973.  Groovy riffs, batteringly good drum breaks, high pitched wailing vocals – all the tropes are present and correct.  “Blizzard” has all these, plus relentless changes of pace which means the listener can bang their head or swing their bell bottom jeans all in one song.

“Magic Flower” has a slower, doom blues sound with some mouth organ for additional retro stylings.  There’s even a folky mid-section with some Plant-esque banshee screams.  Up next is “Spirit Seducer”, a rocker that’s more of the Iommi sound already hinted at, and some pounding rhythm. 

Scarecrow are nothing if not ambitious.  “The Moors” is a hell of an epic: warm acoustic guitar intro; doom laden heavy riff, ethereal keys: all the ingredients are here, and happily we reach another Sabbath like peak in the middle of the song.  Some of the orchestral feel of the opener makes a well-judged return here, adding to the bombast. 

When I heard the intro to “The Golden Times”, it was easy to make the comparison to Sabbath tracks like “Orchid” and “Fluff”.  This song flows along serenely, with the vocals making me think I’d started listening to a new Wolfmother recording.  Another multi part piece, best to just mellow out and enjoy the ride – till the increasing pace runs off with your ears.

The range and scope of this album really is very impressive.  “Scarecrow II” is an accurate love letter to the giants of yester year, whilst firmly placing the bands feet alongside contemporaries like Uncle Acid and Graveyard.  Scarecrow has delivered an album that features new spins on the old ideas co-existing with brave, surprising augmentations.     

Check out Scarecrow on Bandcamp and Facebook.

You can find Wise Blood Records on Bandcamp, Facebook and the interweb.

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

Duel – Album Review

Duel – In Carne Persona

Heavy Psych Sounds (Purple Sage PR)

Release date: 01/10/2021

Running Time: 39 mins

Review by: Alun Jones

8.5/10

Wait, it can’t be time for a new Duel album, surely?  It only seems like yesterday that I reviewed their last work for Ever Metal.  Time flies when you’re having fun, eh?  Well, that last album “Valley of Shadows”, also from Heavy Psych Sounds, was released back in 2019 – so yes, it’s time for more Duel.  My cryo-freeze unit must have kept me out of trouble for longer than I thought.

Austin, Texas is where they came from, though Duel’s real home is good ol’ heavy metal and greasy hard rock.  Whereas with the previous record review, I made comparisons to stoner rock and 70’s proto metal, this time around, “In Carne Persona” has a much more trad metal approach.  Thundering out of the gates on the very first track, “Children of the Fire” has a galloping, early Maiden sound. 

The NWOBHM influence rages throughout the album, with some classic Sabbath heaviness and Thin Lizzy style melody for good measure.  Second track “The Veil” illustrates both sides of those 70s references with a pounding riff and laser sharp solo.

Tracks like “Anchor” and “Bite Back” take the intensity of Trouble or Saint Vitus and ramp up the pace with a ferocious Priest-like power.  “Lizard Tongue” delivers the boogie, whilst final track “Blood on the Claw” provides an epic finish to the proceedings.  Bringing the album to a huge and satisfying conclusion; it builds slowly, contrasting heavy chugging sections with refrained passages.

Superb bombastic vocals crown masterful musicianship that evokes the past masters, making “In Carne Persona” another triumphant album from Duel.  Throughout it all, Duel create a dark and brooding atmosphere, that effectively stamps their own authenticity on the old template.  Dark but never grim, it’s always exciting.

I remember a duel of sorts in my days with Purple.  One night whilst on tour somewhere, we decided to have a game of beer Russian roulette.  Thirty cans of lager on the table, one had been shaken up by yours truly and placed randomly back amongst the others.  Participants would then open one can at a time next to their ear; one unlucky player would obviously suffer the frothy consequences.

Gillan, Lord and Blackmore all started well – springing open cans next to their heads which didn’t explode, so they could drink them down.  Eventually, and inevitably, it was Ritchie who took the shaken beer to the head, he was soaked and screamed petulantly at Gillan, blaming the singer for his misfortune.  It wasn’t like he didn’t know what to expect!  Blackmore stormed off leaving the rest of us in hysterics.  What was really funny was, when Ritchie wasn’t looking, I’d switched cans on him with another frothed up bullet.  Ha!

Check out Duel on Facebook, Bandcamp and Spotify.

Heavy Psych Sounds are cool and you should check them out here. Plus, they have Facebook, Bandcamp and YouTube.

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

Live in the Mojave Desert – Album Review

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.

1968 – Album Review

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.       

Platinum Al’s Top 10 Rock & Metal Albums of 2021

Over the last year, I’ve reviewed a fair few albums for my pals at Ever Metal, and also continued on my never ending odyssey to explore new music. Old bands, new bands, from the big hitters to the up and comers. But what Rock and Metal albums were my favourites from 2021?

This list answers that question: here are the albums that I enjoyed the most from last year:

10. Stoner – Stoners Rule

9. Here Lies Man – “Ritual Divination”

8. Bloody Hammers – “Songs of Unspeakable Terror”

7. Melvins – “Working with God”

6. Acid Mammoth – “Caravan”

5. Barbarian Hermit – “One”

4. Red Fang – “Arrows”

3. Son of Boar – “Son of Boar”

2. Green Lung – “Black Harvest”

  1. 1968 – “Salvation, if you need…”

Another strong year for new music, 2021 managed to deliver that much, at least. There were plenty of other great releases from other artists, this is just my pick of the best – and it certainly wasn’t easy to narrow down to just this ten.

All of the above are superb records, and I’d strongly advise you to check them out. Read the full reviews on Ever Metal (where applicable) and also on here too, in the near future.

Let’s raise a glass to more great music in 2022 – and who knows, maybe some more gigs?!

Dayglo Mourning – Album Review

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

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.

Moths/The Stone Eye – EP Review

Moths/The Stone Eye – Split

Self-released (Dewar PR)

Release date: 21/08/2020

Running time: 26 minutes

Review by: Alun Jones

8/10

Variety, as they say, is the spice of life.  Which is why I like to mix my drinks.  And my strippers.   Why stick to just one, when you can explore everything life has to offer?  This split EP offers two bands and four tracks in total, showcasing a considerable amount of musical diversity and talent.

First up is Puerto Rican band Moths, with their track “Intervention”.  Beginning deceptively calm, restrained and quite beautiful, it soon builds and descends from a chunky stoner riff.  And then, at pretty much the halfway mark, “Intervention” erupts into a full-on aggressive growl fest, though still portraying an adept progressive spirit.  

The meandering intrigue of the opening track is followed by a less surprising cover of the Black Sabbath classic “Hand of Doom”.  A great song, but I was hoping for more original material or an unusual cover.  No fear though, Moths inject the Sabs tune with plenty of atmosphere, the powerhouse vocals of Damaris Rodriguez helping to make their own mark on the song.  Not easy with a genuine metal standard like this, Moths have the class to pull it off.

Then it’s over to The Stone Eye, for their track “Prescence of the Mind”.  These guys are from Philadelphia, PA in the USA.  A little harder to pin a style on, they journey on a stoner path that adds in psychedelic detours akin to some of the best 90s alternative rock – but never abandoning a gutsy garage rock swagger.

A cover of the old trad ballad “Wayfaring Stranger” is next from The Stone Eye.  Delivered in a bluesy style, it contrasts nicely with the other songs.  It both delights and begs for another play.

And there you have it: four songs, different in style but each displaying a sound that seems to well define both bands.  An excellent endeavour from both Moths and The Stone Eye, you’d be well rewarded in tracking this down.

And while we’re on the subject of moths: Glenn Danzig – remember him?  Singer/visionary with the Misfits, Samhain, and of course, Danzig.  Body builder, martial arts master and expert on the occult.  Scared to death of moths, I shit you not.  Always running around with his hands over his face, hiding under tables if there was one around.  Eventually, I learned to calm Glenn down by telling him that moths were simply goth butterflies.  Amazingly, it worked.

Check out Moths on Facebook, Twitter and Bandcamp.

Check out The Stone Eye on Facebook, Twitter and Bandcamp.

This review was brought to you by Platinum Al’s Virtual Hot Tub in association with Ever Metal.