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.
Here we go with another Pentre Fest, the absolute highlight of my musical calendar! This is the crowning glory of North East Wales Metal Productions‘ festivals – and a huge deal to both the bands and the fans. I couldn’t wait to get to Mclean’s in Deeside and enjoy the music!
This year, another stellar line-up of bands from both near and far, with a good spread of genres. Ever Metal was in full force, with Beth and Mare joining myself for the festivities. With all of us in attendance, we split reporting duties to cover as much as possible as easily as we could.
And so, here are the reviews I composed all by my lonesome, concentrating on musicians that I wanted to contribute to (rather than all of them).
If you want to read the full review, try this here link to Ever Metal.
Friday
Mother Thunder
I saw Mother Thunder play in Pentre a few months back, they were superb. This time around, they were even better. MT play a hard hitting, groove laden take on classic rock/metal – think Thin Lizzy twin guitars with a bit of Maiden chug – and sublime female vocals. Heavy rock with irresistible riffs, Mother Thunder lit up the room and could’ve (should’ve) been higher up the bill.
Apollyon Rising
Filling in last minute, Apollyon Rising were a man down as their bass player was on holiday in Morocco. The selfish git. But with a bit of soundboard wizardry, the remainder of the band confidently gave us a set of prime thrash metal that didn’t shame their reputation one iota. I knew they could pull it off. As a wise man once said, never doubt a band with a killer logo (and the talent to match).
Saturday
DXRK Winter
Thankfully, I managed to catch the latter half of DXRK Winter’s set and I glad I did. They were on first on the main stage in the afternoon, their brutal metal attack was brilliantly performed and went down really well with a crowd that could’ve been chilling, but didn’t. A worthy act to play higher up the bill.
Cry for Mercy
You can’t go wrong with the blues based classic rock swagger of Cry for Mercy. Great tunes, all built around the majesty of the riff and a persuasive groove. I loved every second, it’s a shame they were on so early. Never miss a chance to see Cry For Mercy if you get it. Their new songs were just as good as old, new album is out soon!
Victim of Damp
Frank Williams, aka Victim of Damp, is becoming a popular mainstay of Pentre gigs. His bipolar set comprises one half of mellow, hangover curing melody followed by a series of playful, Pythonesque parodies. And he gets more confident every time.
Bad Earth
It just wouldn’t be Pentre Fest without these guys! Bad Earth delivered a reliably ferocious set of raucous biker rock and despite sound hiccups on the first couple of songs, soldiered on admirably. This was take-no-prisoners rock’n’roll to make Lemmy proud. Their acoustic set was also a blinder, cooking up some awesome sing-a-long responses from the crowd outside.
Mike West & the Missing Links
It’s been a good few years since I saw Mike West play a solo acoustic show at Pentre. Mike’s brand of dark country and bluegrass is now augmented by a band of drums and fiddle, adding a certain folky, Levellers feel to the tracks. A brilliant diversion under the surprisingly blue skies of the late afternoon, this set was further proof that a metal festival can experiment with genres.
The Raging Mables
Now I was really looking forward to seeing this band. I’d enjoyed viewing their Pentre Fest pre-event interview with Beany, plus they have one of the best band names ever. No arguments. The Raging Mables were like the Ramones playing ZZ Top, a 200mph Zeke-like melodic explosion of punk’n’roll. One of the most perfect bands ever.
Toranaga
Back to some welcome thrash metal, it was indeed a huge bonus to get to witness the power of Toranaga at Pentre. These guys are exceptional musicians, their shredding guitars creating a sound akin to classic Bay Area Thrash from the likes of Exodus and Testament. And that is very, very good. Their cover of ‘Mad House’ by Anthrax warmed my ancient heart, too.
Stuntface
Stuntface hail from just up the road in Wrexham, and it was great to see them finally bring their brand of flat-out, relentless hardcore punk to Pentre Fest. Their songs are furious yet melodic, played super-fast and with a huge grin on bass player/vocalist Wayne’s face. An absolute treat – Stuntface must play here again!
What a blast that was! The guys at NEW Metal Productions always put on a heck of a show and this was no exception. Didn’t get tickets for the Black Sabbath gig this summer? Get yourselves out there and support underground metal, you’ll feel better.
My favourite Pentre Fest so far? Only time will tell…
Two years ago, the album “This Sceptred Veil” by Sergeant Thunderhoof made such an impression on me that it topped my end of year Top 10 for Ever Metal. So this latest release has some pretty big boots to fill. The pressure is on, for the band and also for your friendly scribe: I’m gonna need some new adjectives in my arsenal to do this work justice.
A mellow guitar and whistle intro brings the listener into the world of “The Ghost of Badon Hill”. First track ‘Badon’ opens with an almost Folky feel, and in true Thunderhoof style, takes it’s time to grow and breathe. We’re nearly halfway through before the delicate, introspective section explodes into something epic, and the hairs on the back of your neck reach for the sky.
‘Blood Moon’ tricks the listener with a melodic intro, before a truly classic mega-riff gets the heart pounding. The guitars of Mark Sayer and new member Josh Gallup (who also recorded the album with the band) are multi textured throughout the album, expertly ranging from the mighty to the fragile. A pseudo-Blues introduces ‘The Orb of Octavia’, before settling on a melancholy, gentle feel. Augmented by Daniel Flitcroft’s soaring vocals (surely amongst the best in the UK), it’s not long before the heavy is unleashed.
‘Salvation for the Soul’ is the most immediate and Stoner/Doom related of this collection, and it quickly became a personal favourite. “For tonight, we ride!” – trust me, kids: THAT is a chorus!
I’ve favourably compared Sergeant Thunderhoof to Soundgarden previously – which holds true with ‘Sentinel’ – and there’s also a strong Floydian feel here too. The changes of pace on all the tracks ably demonstrate the expertise of the rhythm section, Jim Camp on bass and Darren Ashman on drums. Both are confident and play with finesse. All good things come to an end though, and our final song here, ‘Beyond the Hill’, is a ten-minute plus opus that builds through several stages on a monumental journey.
One element of this recording that’s obvious from the start, is the length of the album. The band made a conscious decision to lay down some boundaries and write a record that would fit on a single, rather than double, vinyl album. Whereas I could lament the shorter running time, it does make sense to condense what the band do best. And there’s still a cornucopia of sonic delights to enjoy regardless. I mean, I haven’t even discussed the lyric content of the record yet! There’s plenty enough folklore, legend and mystery to keep the audience engaged and coming back for more and more.
“The Ghost of Badon Hill” is mission accomplished for Sergeant Thunderhoof. A great new album, reigned in a little timewise, but sonically still delivering a cerebral and visceral punch. Another Top 10 contender, no problem.
Black Tusk return with their seventh album (no, I can’t believe it, either), which they’ve entitled “The Way Forward”. It’s their first as a four piece, with Andrew Fidler (guitar/vocals) and drummer James May now augmented by guitarist Chris “Scary” Adams and bassist Derek Lynch.
The past few years have been tough for the band members, but their indestructible determination and formidable will has seen them stride onward regardless. It’s this perseverance that provides the album with its title and its unifying theme. Undeniably, the sludge metal sound is there as expected, but with additional guitar parts and a feeling of relentless tenacity.
Lead track ‘Out of Grasp’ and ‘Brushfire’ are both furious samples of big, dirty riffs played with furious conviction. It’s a fast paced set of aggressive yet entertaining energy – as a listener, I was dragged along with the band and could appreciate their steadfast refusal to let the ills of the world conquer them.
Many of the songs are around the three-minute mark, meaning we rarely get chance for a breather. ‘Breath of Life’ and the title track both have the opportunity to expand a little, though neither relinquishes their sheer intensity. The instrumental ‘Ocean of Obsidian’ is the slowest, trippiest number here, featuring a cavernous, cathedral-like sound.
So welcome back, Black Tusk. With “The Way Forward” they’ve dredged the swamp and pulled up a steaming, ruthless slab of metal that sounds unforgiving but positive. Absolutely bloody great!
Your scribe is beleaguered. Beset by enemies on all fronts, every step forward an excruciating endeavour that may only force me further back than when I started. Such is life as my trusty steed, my desktop PC, has been sabotaged by scurvy knaves, and died at the side of the track. This unfortunate scenario has resulted in yours truly patching together a network of ancient laptop (unused these last four years); a dodgy Word type program that might not even be recognised by the notoriously fussy Ever Metal website; and an iPod to complete this review.
Because I’m a professional, goddamnit. I don’t quit. Not when I could actually finish a review before the album release date and avoid yet more scorn from my EM peers. This review is on, mofos – oh yes, it is on.
And what is this review? Why, none other than a spanking new release from the mighty pachyderms of Doom Metal, the wonderful Acid Mammoth. Hailing from Athens in Greece, this four piece trample everything else under their hefty hooves, with just over forty minutes of heavy riff based, crushing rock music.
Acid Mammoth consist of Chris Babalis Jr (vocals and guitar) and Chris Babalis Sr – Junior’s dad – also on guitar. So it’s an unusual, but obviously well functioning, band of family members. Rounding out the Mammoth are Dimosthenis Varikos on bass and Marios Louvaris on drums. This is their fourth full album, and it won’t disappoint any previous fans.
Thundering tribal drums open our first track, the brilliantly named ‘Supersonic Megafauna Collision’ (also the title track, obvs). Fuzzy guitars are soon added to the mix, with a pulverising pace that’s set at head nod/foot stomp. It’s a template that the album sticks to, but then this Doom Metal is of the true kind – with riffs this good, progressive excursions aren’t required.
“Come feel the fuzz”, then, on ‘Fuzzorgasm’: where the band throw in a groovetastic riff that will get your body moving like a caveman in an itchy loincloth. Great lead guitar too. The behemoth lumbers on through the ‘Garden of Bones’, where an ominous bass takes the front of the herd. The vocals remind me of Tobias Forge of Ghost, which is no bad thing.
‘Atomic Shaman’ provides more Sabbath worship, though with a slightly faster approach. ‘One with the Void’ adds a melancholic, ethereal feel that actually gave me early Soundgarden vibes. Finally, ‘Tusko’s Last Trip’ is a nearly twelve minute long opus that takes all the heavy drama we’ve already encountered and dials it right up, with some of the most crushing playing yet.
Huge is the word to describe this album. Just like the bands namesake, “Supersonic Megafauna Collision” is a gigantic, powerful beast from another age that could flatten all that stand in it’s way. Another great release for 2024, I’ve got the vinyl copy on order and Acid Mammoth look set for a high end of year Top Ten placing.
I can’t believe I’ve managed to get this review finished. In the end, the worst part was that little paper clip guy popping up. Thought he was long gone? Not on this ancient Antikythera device.
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.
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.
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.
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.
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.
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.
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.
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.
Pentre Fest is a big deal to me. And I’ll bet it means a lot to plenty of other people too, who are just as keen to enjoy this festival of underground – but not unloved – metal bands. I look forward to this event every year. I mean, after the Christmas festivities, how else are you gonna survive the misery of January?
Yours truly was the lone representative for Ever Metal at Pentre this year, so all the reviews were my responsibility. I tried to see as many acts as I could, but it wasn’t always possible. And so I can cover as much ground as poss, the summaries will be short and sweet this year. But trust me, I’ll keep you on the straight and narrow.
The festival began on Friday evening, Edd Case and his acoustic set on the new outdoor Keymo stage being my introduction. It’s a proper stage this year, with steps and everything. Edd played a great set of acoustic tracks, including some Maiden, Neil Young (nice Soundgarden segue/tribute) and plenty more. Most impressive.
Heading inside, Omega Throne was on next. Their set was an exciting blend of Death/Black Metal, with some intriguingly dark, gothic elements peppered through the songs. A great set that combined power and fury with a little mystique.
That was followed by the lunatic genius of Mad Spanner. Now a one-man band of crazed thrash metal with a backing track, Mike aka Mad Spanner offers brilliant musicianship, wry humour and furious energy. I’m still recovering from this set, God know how he does it.
Back inside and Bloodmores were up next. This was a great set of pounding, heavy Thrash/Death metal, excellently played and with a surprising amount of foot stomping groove.
Tonight’s original headliners, I Saw The World Burn, were sadly unable to play. We sincerely hope all is well in that camp. At the final hour, however, Cadence Noir were able to fill the headline spot with their gothic tinged folk punk’n’roll. Cadence can always be counted on to get everyone jumping and jigging around, and they did a fine job of finishing Day the First of Pentre Fest.
Saturday’s wake-up call was DAM.G, alias Rob from Thrashatouille’s “grown up band” (not my observation, but one overheard on the day!). A melting pot of progressive metal with Rob’s growl augmented by phenomenal female co-lead vocals, it was certainly a powerful and memorable set.
Outside was a pleasant surprise: the disco funk of Mrs Gizlo. Who’d have expected that? Not me, but it was great fun to hear something different and it certainly got the crowd moving.
In Which It Burns took to the indoor stage next, and gave as a relentless set of thrash metal. It was only mid-afternoon and these Pembrokeshire ragers delivered the goods with super-fast, aggressive tracks. Nice work.
Liverpool’s Ogun were on the main stage next, with some meaty thrash metal of their own. Fast and brutal, I really enjoyed these guys and their total take-no-prisoners approach. Wish I’d bought a t-shirt.
It was freezing outside, so deep apologies from me to the various artists I missed outside, whilst huddled inside with a pint. North Wales Deathcore deviants Dystopian Sun kept the fires burning with some intense yet bouncy metal that roared by like a Sasquatch driving a stolen pick-up truck.
Rule of Six had an early start on Saturday morning. Whilst most of us were still hiding from encroaching hangovers, these lads set off at 4am to get from Northern Ireland to North East Wales for this gig. I’ve never seen so many guitars on stage (four plus a bass!) but all Rule of Six’s instruments were well employed, with their melodic metal proving an uplifting and thrilling experience. Maiden comparisons are a bit obvious, but apt. Great show and nice contrast to much of the bands so far.
From one band who crowded out the main stage, to another band who spent little time on it: Broken Jaw refused to be restrained and preferred to wander around the room! Their blend of punk energy and attitude with metal riffery made sure no-one in the audience was allowed to put their feet up.
Afterward, I dared to make a rare venture outside to witness Skinflick, who I’d heard very good things about. This two-piece outfit gave us some filthy Industrial EDM dripping with sleazy beats – another very cool divergence from the expected.
Beyond Salvation made their way to Pentre from Manchester, and pretty much laid waste to all with a blistering set of thrash metal. The band were both brutal and energetic, with superb playing, that kept the gig going on full steam. There was no chance for the audience to flag here!
I’m actually gutted that I missed SOOTO out on the Keymo Stage. Blame the cold, blame the drink, blame me for being useless: I should’ve been there, sorry. Can we get SOOTO back please? I promise I’ll pay attention this time.
Every year at Pentre Fest, there’s at least one band that I go full-on Fan Boy for. This year’s recipients of the accolade were the amazing Struck/Down, who played huge sounding groove metal riffs that immediately had me hooked like a fish. For me, Struck/Down were the best band of the weekend by a distance. T-shirt purchase? Tick. CD purchase? Tick.
Finally, our last band of a fantastic event were Extreme Metal leviathans Krysthla. The foot was down on the pedal as Krysthla hurtled us through the last set of the weekend with a rapid fire, unrelenting batch of songs.
And that was it, Pentre Fest was over for another year. I’ve been downhearted ever since, missing the camaraderie and fell-good vibes of the event – not to mention the out of this world music. Thanks and huge respect to Fozzy and Beany, North East Wales Metal Productions, McClean’s, and all the bands and crew who made this happen.
Yet another massive coup for the good ol’ Tiv! The Tivoli Venue in Buckley, North Wales is a legendary spot and has attracted some amazing, big names over the years. The latest to pay a visit and astonish us with their prowess were alt-rock icons Living Colour. This was, indeed, a big deal. I bought my ticket as soon as it was announced.
No surprise, the Tiv was packed to the rafters on this Saturday evening. It was a good atmosphere from the start, a feeling of warm anticipation in the air. I caught up with several friends old and new, but that meant I didn’t get much experience of support band Red Zephyr. What I did hear, they seemed to be a supremely capable and enjoyable hard rock band – one to investigate further in the future.
Now me and Living Colour go back some way. I still have an old 7 inch vinyl Sounds EP featuring the band that a friend gave me in 1988, which is where my fandom began. I’ve never seen them live though (ah, if only I’d been able to go to Lollapalooza 1991!), so this gig was really something to look forward to.
Opening with their infectious track “Middle Man” before launching into playing their “Stain” album in full, it was immediately obvious that Living Colour were still at the top of their game and playing exceptionally well. It was also nice to be reminded just how many great songs – and of varying styles and grooves – this band have in their repertoire. Crunchy metal provided by guitar maestro Vernon Reid on “Go Away” nestles up comfortably with the sublime pop of “Nothingness”. On all tracks, the Haribo fuelled voice of Corey Glover roared majestically and crooned sweetly.
Post “Stain” run-through saw a jigsaw of originals and covers, the highlight being a 50 years of Hip-Hop medley featuring “White Lines” and “The Message”. Doug Wimbish, the king of bass, shone here, although his skills dazzled all night. And drum master Will Calhoun gets a well deserved solo spot: he ably showed both relentless power and effortless grace throughout.
Of course, two of the big crowd pleasers are “Love Rears It’s Ugly Head” – which is uncannily well played – and the crushing, monster riff of “Cult of Personality”. All the songs sound great, with Corey’s vocals in particular sounding like they came direct off the vinyl.
Well done to all at the Tiv for making this happen, and huge thanks to Living Colour for turning up and playing their hearts out. They had the musical skills, they were vibrant and entertaining on stage – Living Colour absolutely ruled one of the best Tiv nights in a long, long time.
“Empires of Ash” is the new album from Heron, and if you like the sludge, this is gonna be one for you. It’s the band’s third full length album, and you’ll know when you listen that there’s a whole mountain load of experience brewed up in this mighty concoction. Experience, plus what seems like a lifetime’s worth of melancholy and frustration given voice through huge, expansive slabs of atmospheric thunder.
Starting with ‘Rust and Rot’, Heron take us on a 9 minute plus odyssey encompassing thudding drums and menacing guitar. Vocals are guttural and brutal, the end result is a thrilling wade through a sludgey mire. Contrast this to the second track, ‘The Middle Distance’: a sombre yet beautiful (yes, you read that right) epic, which only erupts into molten fury after the three-minute mark. When the vocals come in, you’ll drop your pint.
‘Hauntology’ is another epic, and very aptly titled. Eerie yet calm and pensive, till again it builds to an enthralling outburst. ‘Hungry Ghosts’ is a more ruthless amalgamation of Conan with later period Danzig guitar flash. The final track, ‘With Dead Eyes’ has a melodic entrance, and once more decimates with a powerful vocal.
Whether it’s doom, sludge, post-rock or any other shade of metal, there’s a wide variety of styles and influences on this album. I was lulled into a relaxed haze before being startled awake with fiery exultations on several occasions. Heron have really gone all out with “Empires of Ash” to create a record that is unique and imaginative.
Ozzy had trouble with a heron. He’d just had a new pond built on his farm, and one bird kept gorging on Oz’s expensive ornamental Koi carp. One night, we decided to lay ambush and surprise the heron with a siren and a shot gun when it flew in at dawn for breakfast. Bill Ward fell asleep, so we floated him out on the water on an inflatable raft, as he snored under the moonlight. When the heron arrived, I sounded the siren, Oz fired his gun into the air and Bill woke up startled, then fell into the pond screaming “I can’t swim!”. Oh, we did laugh. The bird flew off, never to be seen again.
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