Wax Mekanix – Mobocracy

Mobocracy Album Cover Art

Wax Mekanix – Mobocracy
Electric Talon Records
Release Date: 20/11/2020
Running Time: 26:59
Review by Alun Jones
9/10

“Who the fuck is Wax Mekanix?” You may well ask. Who is this enigmatic troubadour, this mysterious master musician, who has concocted this art for us to absorb? Well, I’m not sure I can answer those questions, but I have done some research. A bit late, I know, as this album was first released back in November. But hey, I can’t be cutting edge all of the time. Sometimes a scribe such as I must admit that changes of seismic consequence occur without my usual omniscient vision. Hard to believe, I know.

And yet here we are. Six tracks of exploration and wonder that plough a beguiling path through musical genres, from classic hard rock to folky musings, with an added sprinkle of the unexpected and alternative.

If you want big full-on metal with groove, you’ll find it with ‘Blood In My Eyes’. Huge chants and choruses? Try the gladiatorial detonation of ‘Victorious’, where you’ll also witness Brandon Yeagley and Chris Bishop of the very awesome Crobot playing the funky, infectious riffs that they’re famed for.

Wax himself is something of a renaissance man: writing, singing and playing on all tracks. Possessing a voice that can change from a warm country croon to a caramel Maynard James Keenan earnestness to a classic Alice Cooper roar, Wax morphs easily from one to another. He’s like Mike Patton with a folk fixation, but dressed even more dapper.

‘Mad World’ is one of my favourite tracks here, starting off with some Mexican guitars before erupting in a NWOBHM stampede that also recalls The Crüe at their pop metal best.

The absolute highlight, though, is the final track ‘Black’. This song is all eerie acoustic guitar and minimal percussion, with a catchy melody that creates something hypnotic and other worldly. Despite also reminding me of Johnny Nice Painter form the Fast Show (do a Google) on the chorus, this song exudes atmosphere.

Although this album is a little short, there’s plenty to investigate. Listeners will be rewarded with additional revelations each time they delve into it.

When I first heard “Mobocracy”, I rated it as good. After a couple of listens, I’ve upgraded it to GREAT. A welcome amalgamation of styles and influences, as well as exemplary song writing and musicianship, don’t let the endeavours of Wax Mekanix pass you by. Who is Wax Mekanix? The real question should be: “What’s next?”

Speaking of wax, did I ever tell you about that time when Ozzy and I decided to do a séance with some candles he pilfered from some hippies? That did not end well. There’s a little B&B in Carlisle that still has scorch marks up the walls. Tony was not impressed in the slightest. And I still have a phobia of barbecues to this day.

‘Black’ (Official Video)

TRACKLISTING:
01. Blood In My Eyes
02. Victorious
03. All Freaks
04. Mad World
05. Ghostland
06. Black

LINE-UP
Wax Mekanix – Lead and Backing vocals, Acoustic & Electric Guitars, Drums, Percussion (Tracks 1-6)
Lectriq – Backing vocals, Percussion (Tracks 1-6)
Brandon Yeagley – Backing vocals (Tracks 1-6)
Chris Bishop – Electric & Acoustic Guitars (Tracks 2, 3, 6)
Tom Altman – Guitar, Bass (Tracks 1, 2 , 3, 5)
Wendell PoPs Sewell – Guitar, Bass (Tracks 1, 2, 3, 5)
John Hazel – Guitar, Bass (Track 4)
Raje Shwari – Backing vocals (Track 3)
M11SON – Backing vocals (Track 2)
Tommy Conwell – Backing vocals (Track 2)
Nataliya Odud – Backing vocals (Track 2)
Eli Goldman – Backing Vocals (Track 2)

LINKS:

Wax Mekanix Promo Pic

Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Bloody Hammers – Songs Of Unspeakable… Terror

Songs Of Unspeakable... Terror Album Cover Art

Bloody Hammers – Songs Of Unspeakable… Terror
Napalm Records
Release Date: 15/01/2021
Running Time: 32:13
Review by Alun Jones
8.5/10

Outside, the nights are starting to get lighter and Spring is on its merry way. The birds chirp merrily and warmth is returning to the land. Which is completely inappropriate for a review of the new album by Bloody Hammers, “Songs Of Unspeakable Terror”. It should be Halloween instead: gloomy and dark with the bizarre and uncanny just outside your door.

Anders Manga (vocals, guitars, bass) and Devallia (keyboards/organ) are the Morticia and Gomez husband and wife team behind Bloody Hammers, a metal/rock/goth creation based in Transylvania county, North Carolina. How’s that for an address? Bet Glenn Danzig’s crying into his Count Chocula cereal.

On this opus, Lily and Herman have left behind their previous established sound of Alice Cooper-style hard rock, crunchy metal and Sisters of Mercy atmos. Entombed alive due to the pandemic, Bloody Hammers have exhumed the bloody corpse of horror punk, in a temporary tribute to the genre.

And it’s huge fun! Fast and furious tracks like ‘Night To Dismember’ and ‘Waking The Dead’ rocket from the crypt like the hounds of hell are on their tail. Huge “whoa-oh” Misfits choruses are of course present and correct. Rousing and energetic, these songs are obvious but loving celebrations of influences that have only been hinted at on previous albums.

There’s macabre melody on ‘We Are The Damned’, with a choir vocal effect to help power the camp horror feel. ‘Hands Of The Ripper’ and ‘Not Of This Earth’ are slower, more metal sounding with a grinding riff.

Little of the occasional Andrew Eldritch explorations exist on “Songs Of Unspeakable Terror”, though ‘Lucifers Light’ unites guitar and keys into a moody Danzig like ballad. A little more of this approach would still have fitted perfectly, however. I don’t know if Devallia can sing, but if she can this was a missed opportunity.

The listener never feels too far removed from the original Bloody Hammers style, however. Likewise, this isn’t a simple, derivative rip-off of “Walk Among Us”, even though ‘The Brain That Wouldn’t Die’ is a nice radioactive “Hatebreeders” mutation. But whereas the Misfits took their inspiration from monochrome B-movies, Bloody Hammers have changed gears to a Kensington gore-drenched 60’s Technicolor horror fest.

“Songs Of Unspeakable Terror” is an album of pure enjoyment, which is just what we need right now. With song titles taken directly from classic Hammer/Amicus movies, a warm rediscovery of horror punk style and some familiar Bloody Hammers rock, you can’t go wrong. Go dig out your Halloween fancy dress, find your “Plan 9 From Outer Space” VHS cassette and get ready for a ghouls night in!

‘A Night To Dismember’ (Official Video)

TRACKLISTING:
01. A Night To Dismember
02. Hands Of The Ripper
03. Witchfinder General
04. Not Of This Earth
05. The Ones Who Own The Dark
06. Waking The Dead
07. Night Of The Witch
08. We Are The Damned
09. The Brain That Wouldn’t Die
10. Lucifer’s Light
11. I Spit On Your Corpse

LINE-UP
Anders Manga – Vocals, Guitar, Bass
Devallia – Keyboards/Organ

LINKS:

Bloody Hammers Promo Pic (Photo Credit Courtesy Of Bloody Hammers)
Courtesy Of Bloody Hammers

Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Here Lies Man – Ritual Divination

Ritual Divination Album Cover Art

Here Lies Man – Ritual Divination
RidingEasy Records
Release Date: 22/01/2021
Running time: 61:00
Review by Alun Jones
8.5/10

OK: we have something very interesting here. Something quite special. Apparently, this is the fourth album from Here Lies Man, so I’ve got some catching up to do. The bands unique selling point is their amalgamation of Black Sabbath with Afrobeat, and it’s a refreshing interpretation of a genre that continues to morph and bewitch the listener.

On this release, founding members Marcos Garcia (vocals/guitar) and Geoff Mann (drums) are joined by Doug Organ on keyboards and JP Maramba on bass. Here Lies Man devoutly worship the riff in full-on Iommi style, but they’re piloting their space vessel on an exploratory course into previously uncharted galaxies.

Yes, there are chunky, heavy guitar riffs galore – but with a stroke of mad scientist genius the rhythms power the engine with a new force. Tracks like ‘I Wander’, ‘Night Comes’ and album highlight ‘Can’t Kill It’ don’t just rock, they don’t just groove: there’s something – dare I say it – danceable in the songs on “Ritual Divination”. So much so, that I might just have to go and shake my not inconsiderable booty right now.

There…that’s better. Just had to groove on out there, people – but I’m back now. Here Lies Man have crafted something very infectious. Snippets of 70’s style heavy rock (‘Collector Of Vanities’), dizzy space rock (‘In These Dreams’) and incessant beats (everywhere) create something that’s heavy AND fun.

If I have one criticism, it’s that the album feels slightly too long. All this inventiveness is sometimes hard to keep up with, despite its addictive nature. Over time, however, I’m guessing the additional length of the recording will probably deliver greater rewards.

“Ritual Divination” by Here Lies Man: boldly rocking where no one has rocked before.

My old mates in Black Sabbath used to enjoy going off in random directions, too (usually because of the, er…substances). One time, Bill Ward decided to play yet another prank on diminutive vocal god Ronnie James Dio by taking an axe to all the furniture in Ron’s hotel room and hacking off eight inches from the bottom of everything, to make it all smaller. Chair legs, table legs, bed – the lot. Moved the pictures – and the mirror on the wall – lower down by a foot, etc etc.

When Ronnie arrived, not only did he not get the joke, he really didn’t get the joke at all. He thought it was a special room for the vertically challenged, congratulated the Hotel Manager and gave me a big cash bonus for booking him such a fabulous room. Cheers, Bill!

TRACKLISTING:
01. In These Dreams
02. I Told You (You Shall Die)
03. Underland
04. What You See
05. Can’t Kill It
06. Run Away Children
07. I Wander
08. Night Comes
09. Come Inside
10. Collector Of Vanities
11. Disappointed
12. You Would Not See From Heaven
13. The Fates Have Won
14. Out Goes The Night
15. Cutting Through The Tether

LINE-UP:
Marcos Garcia – Vocals, Guitar
Geoff Mann – Drums
Doug Organ – Keyboards
JP Maramba – Bass

LINKS:

Here Lies Man Promo Pic

Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Son Of Boar – Son Of Boar

Son Of Boar Album Cover Art

Son Of Boar – Son Of Boar
Stoned Rocka Recordings
Release Date: 02/04/2021
Running Time: 31:10
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…

TRACKLISTING:
01. Stoned Wail
02. All In Your Head
03. Satanic Panic
04. Snakes And Daggers
05. Cities Of The Deadeyed Priestess

LINE-UP
Luke Oliver – Vocals
Adam Waddell – Guitar
Lyndon Birchall – Guitar
Gaz Bates – Bass
Luke Doran – Drums

LINKS:

Son Of Boar Promo Pic

Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Dayglo Mourning – Dead Star

Dead Star Album Art

Dayglo Mourning – Dead Star
Black Doomba Records
Release Date: 12/02/2021
Running Time: 35:07
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 that 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?

Witch’s Ladder (Official Video)

TRACKLISTING:
01. Dead Star
02. The Offering
03. Bloodghast
04. Faithful Demise
05. Ashwhore
06. Witch’s Ladder

LINKS:

Dayglo Mourning Promo Pic

Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Misty Grey – Chapter II

Misty Grey Chapter II cover art

Misty Grey – Chapter II
Interstellar Smoke Records
Release Date: 20 November 2020
Running Time: 37:51
Review by Alun Jones
9/10

Can you think of a more apt genre than doom metal for the times we live in? It’s crazy out there. From a global pandemic, civil unrest, ecological destruction and lunatics on the most powerful seats in the world, the 21st century becomes more and more apocalyptic day by day. Party music doesn’t seem right. On the other hand, the retro stylings of bands like Misty Grey hark back to cosier times of the seventies and eighties when we just had nuclear destruction – and yet more lunatics in power – to contend with.

Misty Grey is not the name of a US mattress actress (don’t bother Googling it, just in case), they are in fact a four-piece doom metal band from Spain. They deal in extremely authentic, good old fashioned heavy rock in the Black Sabbath/Pentagram/Saint Vitus vein. We’re in thundering, enormo riff territory, and by ‘eck it’s good stuff.

Originally receiving a CD release back in 2018, “Chapter II” is now available on vinyl from Interstellar Smoke Records. And a very welcome re-release it is, as “Chapter II” could well have been lost in an Atlantean cataclysm of some type, which would be shameful.

Deceptively pretty Spanish guitar opens the album with a laid-back space-jazz feel, before ‘Spellbound’ erupts with Juan’s raw, grinding guitar. The chugging riff is illustrative of what to expect from this album; it’s Iommi worship all the way (and bless Misty Grey for it).

If that first track is the first Sabbath album, ‘Strangers On A Train’ is a missing Masters of Reality cut. It rolls and grooves along, powered by Robin’s bass and Javi’s drums. On the other hand, ‘Rebecca’ is more like The Obsessed or Saint Vitus, there’s a rough, organic, yet aggressive feel to it.

The musicianship is great, the production has atmosphere and pays homage in a credible, affectionate manner to the band’s influences – without becoming a parody. The vocals of Beatriz Castillo really help define an individual sound for Misty Grey, she is both tender and terrifying in equal, devastating measure.

I apologise to the band for my crass comparisons to the old masters. But hey, I don’t listen to this type of music for radical innovation. The last thing anyone wants to hear is some kind of nu-doom, with samplers and turntables. Keep it slow, keep it weird, keep it trippy – but most of all, keep it riffy. Heavy, repetitive and riffy. Misty Grey do just that on “Chapter II” and it’s all kinds of awesome.

TRACKLISTING:
01. Spellbound
02. Strangers on a Train
03. Psycho Vox
04. Rebecca
05. Frenzy
06. The Wrong Man
07. Among the Dead

LINE-UP:
Juan – Guitar
Javi – Drums
Robin – Bass
Beatriz Castillo – Vocals

LINKS:

Check out our EMQ’s interview with Misty Grey

Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Alun’s Top Ten Releases Of 2020

Alun’s Top Ten Releases Of 2020
By Alun Jones

Hi Everyone, Rick Here
Here are Alun’s top ten releases of 2020. I’d just like to thank him for all the reviews he has submitted throughout the year and also for his help at Pentre Fest, back in February, before the world went to shit and all gigs/festivals stopped! Thanks Al.

10. The Goners – Good Mourning (March 2020)

www.facebook.com/thegonestgoners

“Good Mourning” (Official Album Stream)


9. Supersuckers – Play That Rock N’ Roll (February 2020)

www.facebook.com/supersuckers

‘Play That Rock N’ Roll’ (Audio Track)


8. Testament – Titans Of Creation (April 2020)

www.facebook.com/testamentlegions

‘Children Of The Next Level’ (Official Video)


7. Weed Demon – Crater Maker (April 2020)

www.facebook.com/weeddemonsludge

‘Serpent Merchant’ (Audio)


6. The Atomic Bitchwax – Scorpio (August 2020)

www.facebook.com/The-Atomic-Bitchwax-86002001659

‘Scorpio’ (Official Video)


5. Volcanova – Radical Waves (August 2020)

www.facebook.com/volcanova

‘Super Duper Van’ (Official Video)


4. The Brothers Keg – Folklore, Myths & Legends of the Brothers Keg (September 2020)

www.facebook.com/thebrotherskeg

‘Moorsmen’ (Official Video)


3. Son of Boar – Stoned Wail EP (June 2020)

www.facebook.com/SonOBoar

‘Stoned Wail’ (Audio)


2. Desert Storm – Omens (May 2020)

www.facebook.com/desertstormuk

‘Black Bile’ (Official Video)


1. AC/DC – Power Up (November 2020)

www.facebook.com/acdc

‘Demon Fire’ (Official Video)


To read the original reviews, were available, follow these links:

Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Interview with Ryuko

Interview with Ryuko
By: Alun Jones

“Grandpa, what’s a gig?”

“Well son, a gig was what we used to call a band playing live music, in front of an audience.”

“What, people watching musicians play their instruments? Crazy!”

“I know it seems like a strange idea to you youngsters, but it used to be a fantastic experience. Actually being able to gather with friends and strangers to enjoy hearing music. It was another world.”

That’s what the situation seems like right now: no gigs, no gatherings for entertainment – the old days sometimes feel like a lifetime ago. At least it seemed a whole different world back in February 2020, before the pandemic, when I caught up with Chester based band Ryuko at Pentre Fest.

The three piece – comprising The Bobfather (guitars/vocals), Captain Andy (bass) and MattMan (drums) were something of an anomaly at the metal-centric Pentre Fest.  Not that Ryuko don’t rock out, but their brand of punky, alternative rock was a little different from the other bands on show. I found their style of honest, yet far from pretentious rock’n’roll refreshing and it added a vital tone to the proceedings.

Post gig, I caught up with the band to pose some questions and contemplate the meaning of life.

Alun: First off, the cliched yet crucial discussion on influences:

Bob: It’s weird, ‘cos we’ve got influences from all over. If you listen to one of our sets, it has stages: it starts off punky, then it goes alternative rock. Then it goes a little metal/grungy, then back to punk at the end.

Matt: Drop D then back to punk! I’m a huge fan of Motorhead and Metallica, the list goes on, so me being the drummer, I was always doing these thrash beats. To go from that to stepping into this, this was more fun to me. I really enjoy myself when I’m behind the kit with these guys.

Bob: When I write the songs, I listen to quite a broad variety of music, so I think that becomes apparent in my songs. I don’t like to write the same song twice. As far as when I started out, I would say when I was a teenager, I first started listening to Nirvana, Carter USM. I also drew influences from a lot of electro – The Prodigy and stuff like that – so sometimes I’d try and work out how to play dance songs on a guitar. And then that would give me the influence to write more interesting songs. I like to try and fuse a bunch of different genres together, make it more interesting.

Andy: I listen to a lot of Neil Young; I think he’s a very diverse artist. He’s done folk, he’s also done electric stuff.

Alun: How do you promote yourselves?

Matt: I’m more into social media than these guys are. We’re promoting ourselves on Facebook, we’re gonna make a new YouTube account. That’s kind of going up and down at the moment…

Bob: We don’t know how to work it!

Alun: Where does the name Ryuko come from?

Bob: I’m really into anime and all things Japanese, Japanese music…At the time I was watching an anime called Kill la Kill. The main character is called Ryuko Matoi and I just thought it was a really cool name. Some really fun facts: Ryuko is one of the least popular names in Japan. It basically means “rebirth”, start over. So, I thought, we’re starting again, it’s a really cool name.

Andy: Well, it’s not a cool name in Japan, is it?

Bob: It’s cool to me! I think it’s cool!

Andy: I do wish we’d chosen a name that’s easier to spell and pronounce.

Bob: People can never say it.

Alun: Your cover of the Madness classic ‘Baggy Trousers’ tonight was a surprising choice, but great!

Matt: We decided to spruce that up to make it ours. The original is completely different to how I play it, I add extra little bits just to make it more funky.

Alun: Do you feel you’ve got the right band dynamic between the three of you?

Bob: We’re pretty good as we are. More people add more complications cos you’ve got to think – are they free; do they drive, are they going to be available…

Matt: I’ve got a son, he’s 9, we discuss upcoming gigs before we agree to it. If I’ve got my son and he comes along with us, if he’s allowed in the venue we play – he’s got his little ear defenders, he just sits in the corner and watches us or plays his game.

Bob: I’ve got three jobs…

Alun: Sounds like a positive environment to work in.

All: It’s got to be positive, if it’s not it just doesn’t work. If no-one’s happy, nothing gets done.

Alun: So, what’s next? What are your plans?

Bob: World domination!  One step at a time…

Andy: We’ve been working on re-doing our EP, we’ve been recording on and off. Recording, playing as many gigs as we can.

And there you have it: an enjoyable chat with the gentlemen of Ryuko. Make sure you check them out live, as and when we can return to the experience of live music. If grungy, punky alt rock with some metallic crunch is your thing, then Ryuko will be just the antidote you need in these dreary times.

With apologies to Ryuko, who have waited months for this interview to see the light of day.

Check the band out here:

Disclaimer: This interview is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Various Artists – Brown Acid: The Eleventh Trip

Various Artists – Brown Acid: The Eleventh Trip
RidingEasy Records
Release Date: 31/10/2020
Running Time: 32:42
Review by Alun Jones
8/10

One of the best things about the Brown Acid series is imagining the alternate reality where these songs, long forgotten in the mists of rock’n’roll legend, actually attained the success so many of them deserve. A world where these long-lost bands are as equally revered as BÖC, Grand Funk or the MC5. The same world, probably, where Lemmy’s still alive, Trump never got near the White House and the last Star Wars film came out in 1983.

But maybe that’s just me. What I do know, is that the Brown Acid series from RidingEasy Records offers up another batch of ten proto heavy rockers that have been excavated from the depths of memory and given new purpose. Lovingly curated and nursed back to life; then unleashed upon a musical landscape that didn’t know it needed the songs, but by Jimi – we’re thankful for them.

The first track on this compilation, ‘Something Else’ by Adam Wind, didn’t flip my switch much at first. After a couple of plays, however, the Hendrix style guitar frenzy did the trick. Then the marvellously named Grump rock out with ‘I’ll Give You Love’, reminiscent of the mighty Steppenwolf with skronky organs and scratchy guitar.

‘Diamond Lady’ from Larry Lynn is a fantastic punchy, psychedelic number. Then midway through the album, we get ‘In Wyrd’ by Renaissance Fare. This track sounds like the Doors being particularly annoying when they’re on the wrong drugs. Thankfully, at under 3 minutes, it avoids some of Jimbo and pals’ lengthier exasperations; it’s the only challenge on an otherwise album of rock’n’roll killers.

My highlight of the collection is ‘Just Can’t Say’ by Day Break – a boogie influenced groover with desert rock swagger. Debb Johnson contribute ‘Dancing In The Ruin’, which packs Stax style brass to great effect, and finally Crazy Jerry rounds things off with the riff-tastic ‘Every Girl Gets One’.

The Eleventh Trip in this series continues to surprise and entertain. It’s a compilation that’s so solid you’d need a forklift to move it. Dig out your flares and love beads, heat up the lava lamp – it’s party time again!

By the way, I invented the term “skronky organs” and I’m trademarking it.

TRACKLISTING:
01. Adam Wind – Something Else
02. Grump – I’ll Give You Love
03. Bagshot Row – Turtle Wax Blues
04. Larry Lynn – Diamond Lady
05. Renaissance Fair – In Wyrd
06. Zendik – Mom’s Apple Pie Boy
07. Day Break – Just Can’t Say
08. West Minist’r – I Want You
09. Debb Johnson – Dancing in the Ruin
10. Crazy Jerry – Every Girl Gets One

LINKS:

Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

The Gates Of Slumber – Live In Tempe Arizona

The Gates Of Slumber – Live In Tempe Arizona
Self-Released
Release Date: 28/02/2020
Running Time: 37:40
Review by Alun Jones
8/10

Right then, who’s up for some big, fat riffs played at a crawling, slow pace? You know I am. Never more ready. So, let’s plunge in and have a listen to this live opus from The Gates Of Slumber! I can promise you that TGOS not only have one of the best band names ever invented – they also do magnificently heavy, Sabbath influenced doom.

This gig was recorded live at the Clubhouse, in Tempe, Arizona – back in 2011, supporting the mighty Orange Goblin. You can almost feel the heat and smell the beer at the venue on this recording.

Starting out with ‘Bastards Born’, the riff is slow and menacing, with mournful vocals. Second track ‘Ice Worm’ ups the tempo a little, with a chugging groove. The highlight of the album is possibly the gloomy ‘Day Of Farwell’, which is allowed to breathe and sprawl, featuring some spellbinding guitar. ‘Coven Of Cain’ rocks out, before the band slow down to a monolithic pace for ‘The Wretch’.  Moving those stones from South Wales to Salisbury to create Stonehenge was probably faster. Finally, the band are at their most Sabbath with the crunching ‘The Jury’.

Audience reaction is very low in the mix, and the sound is very clear, with no studio or soundboard trickery. What the listener is left with is a very honest representation of The Gates Of Slumber – those guitars and drums are free to go straight for the jugular. It might not be the sort of album that will blow the mind of the casual listener, but for anyone who’s schooled in the melancholy beauty of Saint Vitus and The Obsessed, this is a short but sweet treat.

Will that do for the review, guys? I’m knackered myself after last night. I wasn’t partying with Ozzy and Slash again, honest. I was up all night with Brian May, going on about his bloody astronomy. “Really Brian? That is fascinating. You don’t say? Yawn.” Didn’t get a wink of sleep.

TRACKLISTING:
01. Bastards Born
02. Ice Worm
03. Day Of Farewell
04. Coven Of Cain
05. The Wretch
06. The Jury

LINKS:

Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.