Various Artists – Brown Acid: The Thirteenth Trip

Brown Acid: The Thirteenth Trip Album Cover Art

Various Artists – Brown Acid: The Thirteenth Trip
RidingEasy Records
Release date: 31/10/2021
Running time: 34:49

Review by: Alun Jones

Back in early 1970, I was in LA working for Jim Morrison, singer of the Doors.  Morrison was a pretentious, drunken bore – but we did have a few old laughs.  This one time, Jimbo was mid-liaison with a young lady in her upstairs apartment, and I had to pick him up in his new car before the pair were interrupted by her husband.  Parked in a gleaming white Dodge Challenger under the first-floor window, there was no fire escape and Jim had to jump out of the window onto the roof of his car.  It was a hard top, not a cabriolet, and Jim’s fat arse flattened it like an egg box when he hit it.  He wasn’t in the best shape at that point.  Wrecked that beautiful car, too.  Luckily, I could still see out of the window, and drove off in hysterics, while chubby Jim tried to squeeze into his tiny leather trousers. 

Great days, indeed.  And the memories of that time always come flooding back when I spin one of these Brown Acid compilations from RidingEasy Records.  Yet again, the guys have dug out some long-lost treasures of the early Hard Rock and Proto Metal variety, to return phoenix like from the netherworld.

Things get underway splendidly with ‘Run Run’ by Max, a funky riff rocker that will light up your lava lamp straight away.  It’s probably my favourite on another strong collection.  Next is ‘Dark Street’ by Ralph Williams and the Wright Brothers – fuzzy guitars and great vocal melodies with a faint air of menace.  Geyda provide ‘Third Side’, another pacey rocker, reminiscent of the MC5.

Following that, there’s Gary Del Vecchio, who’s apparently ‘Buzzin’.  But then, who wasn’t in those days?!  It’s party time Blues Rock in the vein of early Zep.  John Kitko is suffering from ‘Indecision’, as proven by the Psychedelic jam of the start contrasting with the speedy, aggressive main body of the song – with Alice Cooper-like vocals.    

‘Hope’ by Bacchus reminded me of old Jimbo’s band doing ‘Roadhouse Blues’.  Master Danse are up next with a very heavy blues number, ‘Feelin’ Dead’.  It’s a slow, ponderous song with a melancholy vibe – which I’ll swear was stolen by The Cult for their obscure B-side ‘Wolf Child’s Blues’.

Orchid offer up the weakest track on the album, ‘Go Big Red’, a fairly unexceptional Garage Rock number.  It’s fun and still has some charm, though.  Then you’ve got Dry Ice and ‘Don’t Munkey with the Funky Skunky’, a crazy fast paced number that’s like The Monkees and Jimi Hendrix jamming a Eurovision novelty song.  On drugs.  Finally, a strong final track from Good Humore, ‘Detroit’ – a catchy tribute with a sprinkling of MC5 at their most Rock ‘n’ Roll.

And there we have it: another fine collection of Rock fossils unearthed and displayed for our enjoyment, never to be forgotten again.  It may be “The Thirteenth Trip”, but this ain’t unlucky for some – it’s gold all the way.

01. Max – ‘Run Run’
02. Ralph Williams – ‘Dark Street’
03. Geyda – ‘Third Side’
04. Gary Del Vecchio – ‘Buzzin’’
05. John Kitko – ‘Indecision’
06. Bacchus – ‘Hope’
07. Master Danse – ‘Feelin’ Dead’
08. Orchid – ‘Go Big Red’
09. Dry Ice – ‘Don’t Munkey With The Funky Skunky’
10. Good Humore – ‘Detroit’


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.

Various Artists – C Squared Music: Underground Music Special

C Squared Underground Music Special Cover

Various Artists – C Squared Music: Underground Music Special
C Squared Music
Release Date: 17/09/2021
Running Time: 68:42
Review by Dark Juan

Greetings and salutations, succubi and satyrs! I do so hope you all have been indulging your baser desires in increasingly perverse and chemically fuelled ways and that your various spouses and significant others are now laid gasping and sated upon their chaises longues, sipping fine wines and libations from jewelled goblets. I myself am enjoying a splendid mug of chai, congratulating Mrs Dark Juan upon her recent accession to and acceptance by the Oak and Ash and Thorn Art Collective (mainly because her creations are now scaring the fuck out of the RIGHT people) and trying to ignore the fact that the Dread Lord Sir Igor Egbert Brian Clown-Shoe Cleavage-Hoover, recently christened as Beelzepup by my good friend Adam, has dropped a number of toys on my foot as a prelude to a bit of a rumble. He is utilizing the feared Paw of Doom upon my forearm and shouting wildly at me. I shall be back shortly…

Thank you for your patience. Now that the Small Evil Canine One has been sated by having what could only be described as an old-school straightener and has drawn my august blood I can return to my mission, which is to talk to all you poor fuckers who read this about the music I am listening to. Thusly, I am listening to a 14-track sampler from Canadian Rock/Metal PR & Marketing Company C-Squared Music, who are a quite musically promiscuous outfit, considering some of the bands on their roster – the music runs the gamut from the classic female-fronted gothic metal blueprint to some quite interesting and esoteric electronic music. As this is a collection by fourteen different artists, I shall not bore you with extensive descriptions of songs, merely keeping it as brief and factually interesting as possible. Neither will I be finding out the names of the members of fourteen different bands and listing them at the end of this pile of shite you’re reading. If you can wipe your own arses, you can use the power of the internet to do your own research, right?

With your permission I am going to plunge right in…

The Inferno Doll – ‘Ghost Waltz’. Very pleasingly this is in waltz time on the introduction. If it wasn’t I might have become upset and been unpleasant to the band. Ethereal female vocals soar above swirling keyboards, chunky guitars and one of the strangest mixes I have ever heard, where the vocals are waspish and clear and everything else is a muddy mess – the guitar sound is awful, but the song itself is fucking banging. With a producer who knows what they are doing, this could be magnificent.

Lutharo – ‘Will To Survive’. Power metal intro with extraordinarily clear bass line crashes into technical riffage and vocalist trying to vomit up their own lungs, however, she also has a cracking set of pipes for clean and powerful singing and an extraordinary range. The rest of the band are clearly fuelled by amphetamines and play at a breakneck pace. Try moshing to this and you’ll guarantee yourself a stay in hospital. Super clear production adds to the enjoyment of the song. An excellent effort and a good, if not exceptional, heavy metal tune.

Torn Between Two Worlds – ‘All Eyes On Me’. A song I had been waiting for with some anticipation as it is the latest effort from the legendary Sarah Jezebel Deva (ex-Cradle of Filth, ex-Angtoria) and Chris Rehn. As we know with her work with Angtoria, Sarah has pretty much cornered the market in melancholy gothic metal and Torn Between Two Worlds have not moved particularly far from that successful blueprint. A languid, relaxed vocal is underpinned by slow, poignant riffs and ubergoth keyboards. Think ‘Alone’ by Heart in a heavier, more gothic style and you have the style of this song nailed down. It’s a grower. On my first listen I was sorely disappointed, but on repeated listenings, you begin to pick out delicate little flourishes, the things that turn run of the mill into extraordinary. Not Sarah or Chris’ finest hour (that’s still “God Has A Plan For Us All”), but a fine tune to drive to in the middle of a storm.

Disconnected Souls – ‘Emergence + Divergence’. British genre-benders offer up a beguiling slice of synthwave influenced tech metal with a decided Eastern influence in the break and face melting vocal gymnastics ranging from wispy, enchanting female alto to clean male harmonies and the kind of rasping roar normally reserved for metalcore. The guitars are sharp and brutally accurate, the bass used almost as a third rhythm guitar and the drumming spectacularly demented. Punchy, original and fucking brilliant. To get an idea of the sound of this band, think about a filthy musical orgy between Within Temptation, Master Boot Record and Killswitch Engage. But not Adam D’s shorts. That would be perverse.

Lycanthro – ‘Mark Of The Wolf’. Oh, so fucking Eighties, complete with self-referencing song title, histrionic, high-pitched vocals and the kind of riffs that Accept would have found…acceptable. Fucking nice twin guitar lines throughout the song though. The bass really comes through on the song and it is nice to hear it sinuously wrapping itself around the guitar work. Also includes the kind of galloping guitar and bass playing that Iron Maiden pioneered in the middle of the song, and there’s some tasty soloing if you like that sort of thing. Apparent simplicity in arrangement is disingenuous and the song is rather splendid if you like your metal classic in nature.

Book Of Wyrms – ‘Weatherworker’. A total step change in sound and mood from the previous track. Instead, we have classic influenced (Ten Years After, Wishbone Ash) superfuzz doom, with a classically trained female vocal. Languid, relaxed grooves abound and the song oozes a palpable sense of danger with a fucking groovy middle eight and solo where the pace picks up and the band slot into a slightly higher gear. The drum sound is fucking mightily produced and takes the form of a lead instrument, being the percussive engine of the whole thing. The vocals are set a little too far back in the mix for me, but the bass is front and centre and fucking brilliant. In fact, this song is absolutely fucking excellent.

Herr Nox – ‘Where Shadows Fade’. Spikily technical intro gives way to second rate HIM worship with added industrial and metal bits welded haphazardly and ineptly on. My opinion on Herr Nox is well known, and if you don’t know it, feel free to read my review on Herr Nox’s album on It wasn’t complimentary. I maintain my opinion that Herr Nox has tried to meld too many influences together and his music is disjointed and jarring, which is a shame because he has a smooth and captivating voice.

In Veil – ‘Lunatic’. Rather more interesting is this Mindless Self Indulgence/Zombie Girl/Human Waste Project/Rob Zombie analogue that describes themselves as gothic industrial synth-pop. Percussive, speedy and pretty unique, keyboards, guitar and sequenced drums smoothly link together and the listening experience is not unlike being at a circus where the performers are all malformed madmen playing with chainsaws and have zero regard for the personal safety of the audience. Never have a front row of people been so trepidacious. Well worth your time and I can’t wait to review their album, which is on my review list. They had better be good though because this has whetted my appetite for In Veil very nicely.

Synesthema – ‘Apollo’s Voyage’. This is where we temporarily leave the realm of heavy metal in all its myriad forms and dive headfirst into electronic music. Synesthema are rather interesting, being a mélange of vapourwave and techno – rather like a combination of Scorn and Pertubator with a bit of Jean Michel Jarre thrown in for good measure. Out and out metal fans will not enjoy this tune. A lack of vocals leaves it to the music to hold your attention to give you an idiosyncratic listening experience that references classic 80’s electropop, VNV Nation and The Anachronist. I rather like it because it’s a step-change to what I normally listen to.

Gaia Guarda (featuring Lindsay Schoolcraft) – ‘I Didn’t Break’. Electronic gothic moodiness enhanced considerably by the august presence of the splendid Canadian multi-instrumentalist and singer, whose ethereal presence adds to the ambience of the quite sparse musicianship of the song. Her simple, lilting delivery allows the music to breathe and the whole piece is a clear case of less is more as simple lines intertwine to devastating effect. Not so much a song as an emotional journey that remarkably doesn’t overstay its welcome and leaves you wanting more.

Chalk Portraits – ‘In Flight’. Very mellow keyboards take their time to get going and it is easy to imagine yourself being suspended in warm water with headphones on and this piece of music allowing you to let go of everything and just float there, relaxed and in a universe composed entirely of you. The sound (with the same simple repeated few notes throughout) is reminiscent of Kraftwerk, but with considerably less Teutonic shiny pop and rather more emotion. For some reason I find this tune both relaxing and ineffably sad at the same time. Its problem is that it meanders about and doesn’t actually seem to go anywhere, musically speaking, which is a shame because I rarely get such an obvious emotional reaction to electronic music. I’d say it was a great record had it had some sort of musical direction.

Spacegoat – ‘Nothing’. Ah, we return to the holy grail of guitar, bass and drums after a brief sojourn elsewhere. Crunchy riffs and a wailing lead line take us to a vocal that owes as much to punk attitude as it does to gothic metal, being as it is clearly not classically trained, but you can hear the effort the vocalist is putting into her delivery. The band sound like they have recorded on classic equipment, having the kind of warmth that only valves can provide and the guitarists even use an e-bow in the middle eight. I haven’t used one of those since the mid-nineties. I do have a problem with the production of the cymbals. The crash cymbal is ever-present and overwhelming in my right ear and it detracts from what is an engaging mélange between gothic metal and math metal and an excellent, emotional vocal performance. Also, an object lesson on why you should name your band carefully. Spacegoat conjures up images of hyperstoned bearded dudes playing the same riff for ten minutes straight, not technical metal.

Art Of Departure – ‘Art Of Departure’. Ooooh, this is interesting and immediately reminds me of a band I reviewed recently called Dead Coyote, being piano and harpsichord led extragothic rock. As I am a sad old goff, I am immediately drawn to this and am enjoying being transported back to The Batcave and The Banshee, where ladies with terrifying make up and even more terrifyingly tight basques would ethereally wave their hands in front of their face after seven pints of snakebite or several Bloody Marys. Crooning male vocals overlay ghostly female backing vocals and the solo is performed by violin and violoncello rather than guitar. Pretty Damned (“Phantasmagoria” era The Damned were an obvious influence on Art Of Departure) good, actually. Not one for the metal purist, though, which is ironic as this is the solo project of the drummer from Tristania.

Duncan Evans – ‘Breathe’. We return to the world of electronic music for the final cut on this compilation of the delights of C-Squared Music, with Leeds-based WaxWorm founder Duncan Evans singing an impassioned vocal over a background of quasi-industrial synthwave. Duncan’s performance here reminds me of a more gothic Ultravox or OMD and proves more than satisfactorily that electronic music CAN have a soul and be dripping raw red emotion and stand easily up to metal for power. A short song, lasting just two minutes and forty-two seconds, ‘Breathe’ easily beguiles and draws you into a world of pain and sadness and is a fine, passionate end to this compilation.

So, there we have it, fourteen tracks ranging from gothic splendour to metal power and bleak electronic perfection. There are a couple of missteps along the way but in general this is a very, very good album indeed and more than adequately showcases a roster bursting with raw talent and promising futures. I’d have a punt on it if I were you, folks.

The Patented Dark Juan Blood Splat Rating System awards C-Squared Music’s Underground Special 9/10. As an exploration of the underground of the extreme music scene, it is worth its weight in gold. As a record it has a mark deducted because I feel it could have been more carefully curated as some of the transitions between metal and electronic are quite jarring. However, that’s just me being a bit of a snobbish cunt. Bonsoir, mes petits enfants terribles!!!

01. Ghost Waltz – The Inferno Doll
02. Will To Survive – Lutharo
03. All Eyes On Me – Torn Between Two Worlds
04. Emergence + Divergence – Disconnected Souls
05. Mark Of The Wolf – Lycanthro
06. Weatherworker – Book Of Wyrms
07. Where Shadows Fade – Herr Nox
08. Lunatic – In Veil featuring Sam Astaroth
09. Apollo’s Voyage – Synesthema
10. I Didn’t Break – Gaia Guarda featuring Lindsay Schoolcraft
11. In Flight – Chalk Portraits
12. Nothing – Spacegoat
13. Art Of Departure – Art Of Departure
14. Breath – Duncan Evans

The Inferno Doll


Torn Between Two Worlds


Disconnected Souls

Book Of Wyrms

Herr Nox

IN Veil feat. Sam Astaroth


Gaia Guarda feat. Lindsay Schoolcraft

Chalk Portraits


Art Of Departure

Duncan Evans

C Squared Music:

Disclaimer: This review is solely the property of ‘Dark Juan’ 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.

Various Artists – Brown Acid: The Twelfth Trip

Brown Acid The Twelfth Trip Album Cover Art

Various Artists – Brown Acid: The Twelfth Trip
RidingEasy Records
Release Date: 20/04/2020
Running Time: 32:23
Review by: Alun Jones

Well, who’d have thought it? Here’s the twelfth instalment of the Brown Acid series from RidingEasy Records, their ongoing exploration of rare, lost and forgotten treasures from the late 60’s and early70’s. These proto-metal, hard rock and heavy psych riches are continuing to turn up, thankfully curated and shared with a new, wider audience. They still haven’t run out of steam, which is very good news.

This time, the Professors of Rock (“Prockfessors”, anyone? Nah, never mind) have released ten more crazily good tracks from the past. As can be expected, the bands are deep fried and the guitars are fuzzier than a McDonald’s burger-flipper’s chin.

And so, we commence with ‘Mother Samwell’ by The Waters: a blinding, acid-drenched rocker from 1969. How can this have been lost for so long? Up next is ‘Vibrations’ by Village S.T.O.P., featuring Hendrix style guitar in another pacey rocker. Though very much of their time, these songs pack a ton of energy – you’re gonna want to freak out. Right out.

‘1930’ was quite a year, claim White Lightning, with a funky, chunky marauder of a tune that’s like Grand Funk, on the rare occasions GF got it right. Shane serves up some proper skronky organ with ‘Woman (Don’t You Go)’, reminiscent of a shrieky, early Purple. Then the keyboards get even skronkier with Ace Song Service’s ‘Persuasion’, though the attack is harsher.

Opus Est really kick out the jams with ‘Bed’, which has a killer riff that would please Gibbons or Page.  The Mopptops have a terrible band name (maybe that’s why they disappeared), but their song ‘Our Lives’ is one of the heavier, more vicious sounding tracks here. It’s a punk rock bruiser that seems totally out of time – surely this can’t be 1968?

A bland band name, but Artist inject their song ‘Every Lady Does It’ with enough hip-shaking Hendrix raunch to raise the roof. Great chorus too; this is faultless. Then it’s more, great lo-fi garage ZZ Top, with ‘Comin’ Home’ by Stagefright, before we finish with Dickens (great name!) and their weird fuzz metal with minimal production, ‘Don’t Talk About My Music’.

Whether they’re discovering hidden gems in dusty tombs, or exhuming abandoned corpses and bringing them back to life – pick your metaphor: the RidingEasy Forensics Department have managed to surprise yet again. Their quest seems never rending, but we can be thankful that these dedicated scholars continue to discover hitherto abandoned sonic delights.

It’s harder to pick out gems which shine brighter than the others this time around, but “Brown Acid: the Twelfth Trip” manages to reach a high standard across the board. Very enjoyable, and recommended listening for when Jimi and Janis pop round for some mushroom tea.

Brown Acid: The Twelfth Trip (Official Album Stream)

01. The Waters – Mother Samwell
02. Village S.T.O.P. – Vibrations
03. White Lightning – 1930
04. Shane – Woman (Don’t You Go)
05. Ace Song Service – Persuasion
06. Opus Est – Bed
07. The Mopptops – Our Lives
08. Artist – Every Lady Does It
09. Stagefright – Comin’ Home
10. Dickens – Don’t Talk About My Music


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.

NWOCR – The Official New Wave Of Classic Rock – Volume 1

NWOCR - Volume One Album Cover Art

NWOCR – The Official New Wave Of Classic Rock – Volume 1
Release Date: 23/07/2021
Running Time: 153:11
Review by Beth Jones

I love a bit of Rock – I mean who doesn’t? But do you ever have those mornings where you just can’t decide which CD to stick on in your car, and you end up running 10 minutes late because you’ve been indecisively pulling out and replacing albums from your CD rack? Okay, I admit if you’re one of the youngsters your answer to that is probably “Err… that’s why Spotify shuffle exists, duh!” But I’m old and I like physical copies. And I am, of course, doing it correctly – none of this new-fangled gadgetry, I don’t care if it is there to make my life easier, I know what I like, and I like what I know. Harumph.

Anyway, back to the point. If like me, your musical indecisiveness makes you late for shit, then I have the answer! You need to pick yourself up a copy of the about to be released “The Official New Wave Of Classic Rock – Volume 1”, a canny, and not so little, compilation featuring the best of the new kids on the block (no, not those ones) in the classic rock field.

The force is strong with this genre right now. There are some absolutely superb bands popping up to rock our socks off, and at 42 tracks long, this double album certainly gives you a veritable smorgasbord to listen to. Now, I’m not going to do a rundown of every song, because, quite frankly, you may all have died of boredom by the time I finished waxing lyrical, and I don’t want to be responsible for starting a new wave of deadly tedium (although, that does have a good ring to it…) so, I’m just going to give you a little overview, and then highlight some of the tracks that I think stand out.

There is nothing fancy or surprising about the album. It does exactly what it says on the tin. It’s meat and two veg classic rock, done by the new guys, and done bloody well. There are some lapses into Southern and Blues Rock in places. But, on the whole, if you like the classic sounds of good old fashioned, leather clad, hard rocking, then you’ll love this album. That’s basically it for the overview. Just a stonkingly good listen.

So, onto the highlights. Top of the list, and possibly no surprise to people who’ve read my reviews before, are Mason Hill, with rip-roaring track ‘DNA’, from their recently released debut album “Against The Wall”. I adore Mason Hill, and the debut album, with this track being my joint favourite, alongside the title track. It pleased me a lot to see it on here.

The Hot Damn’s ‘Dance Around’ took me back to the 80’s (most of which I missed because I was only a nipper, and shielded from the horrors of the world, like TV advertising and Rock ‘n’Roll… but not Jim’ll Fix It… Terrible misjudgement by my parents there. However, I broke free, *evil laugh* and then had to do a bit of catching up). Great powerful vocals, and a nice groove.

‘Hideaway’ from Tomorrow Is Lost is a little more modern, and heavy, but it’s another banging tune. It’s taken from their 2020 album, “Therapy”, which I was lucky enough to review, and was one of my favourite albums of the weirdest year in all of our lifetimes. Ironically, most of us probably now need therapy, but music will do for the interim, because it is a sort of therapy.

If you want a lesson on how to play some mean, face melting guitar, then listen to ‘The World Is Calling Me’ by Shape Of Water. Man, they have more licks than an ice-cream parlour on a hot summer’s day! Great 70’s sludgy vibe going on too.

Gin Annie round off CD1, with ‘Devil In Me’. I do like a little Gin Annie for the afternoon chill vibes, and this song is great for that. Nice cold beer, in a field with your mates, listening to a rock band and just generally being happy to be alive, kind of feel. God, I miss that…

Kicking off CD2 is possibly one of the last bands I saw live in a field, Phil Cambell and the Bastard Sons, with ‘Son Of A Gun’. Pedal to the metal rock at its best. Simples. It smacks you in the face like a freight train with its thunderously rhythmic ROCKKKK. Hell yes! That’s followed by The Dust Coda, with ‘When The Tide Comes In’, which is the epitome of Classic Rock. Sultry vocals, a steady bass line, a catchy chorus, and some great hooks. Love it.

Another firm favourite here at camp Ever Metal are Bad Touch, and they feature with their track ‘I Get High’. Again, I’m back in the field, although maybe not with just a beer now, given the track name!

King Creature come along to make everything a bit more down tuned and dirty, with ‘Captives’. This one has more of a 90’s feel about it, but not in a bad way! (The 90’s I do remember – the marmite generation, with us youngsters loving this new grungy sound, and all the classic folks hanging their heads, and wishing the facepalm had been invented…)

Doomsday Outlaw’s ‘Turn Me Loose’ has me heading down route 66 in a convertible just for shits and giggles. I mean honestly, there are some sweet Southern sounds happening here. And then directly after them, another of our Ever Metal favourites, Ashen Reach, pop up with ‘Fighting For My Life’, from their 2020 album ‘Homecoming’, which I also had the pleasure of reviewing.

Ryders Creed appear too, with ‘Cut Me Down’. I love this band. The powerful clean vocals and sweeping melodies are superb, and they have such a great groove. Then, to finish off my pick of the best (which admittedly is a pretty long list) we have a bit of Ward XVI, with ‘Broken Toys’. They are in a league of their own in my opinion. What they do is mesmeric, and their brand of ‘Shock Rock’ is perfect for my slightly warped mind. Again, I reviewed their album, “Metamorphosis”, when it graced our ever-growing review list last year, and was blown away by it.

So, yeah. That, in a nutshell, is what this album’s all about. Good, solid, no messing, New Wave Of Classic Rock. You need this in your CD Collection (or Spotify playlist, if you must, but only if you’re under 40, or haven’t yet learnt how sacrosanct the compact disc is)!

New Wave of Classic Rock – Volume One (Official Trailer)


01. Massive Wagons – Tokyo
02. Mason Hill – DNA
03. Hollowstar – All I Gotta Say
04. These Wicked Rivers – Shine On
05. Anchor Lane – Fame Shame
06. Empyre – New Republic
07. Daxx & Roxane – Without You
08. Sons Of Liberty – Fire And Gasoline
09. The Hot Damn! – Dance Around
10. Massive – Rise
11. Everyday Heroes – Find My Way
12. Elles Bailey – Woman Like Me
13. Scarlet Rebels – No One Else To Blame
14. Wolf Jaw – I Ain’t Ready
15. Tomorrow Is Lost – Hideaway
16. Dead Man’s Whiskey – War Machine
17. Dig Lazarus – Tell Me Why
18. The New Roses – Whiskey Nightmare
19. Shape Of Water – The World Is Calling Me
20. Revival Black – So Alive
21. Gin Annie – Devil In Me

01. Phil Campbell And The Bastard Sons – Son Of A Gun
02. The Dust Coda – When The Tide Comes In
03. Skam – Iron Cross
04. Collateral – Merry Go Round
05. Bad Touch – I Get High
06. Gorilla Riot – Still Doing Time
07. Thundermother – Driving In Style
08. King Creature – Captives
09. Rews – Today We’re Warriors
10. Twister – Call To Arms
11. South Of Salem – The Hate In Me
12. Jack J Hutchinson – World On Fire
13. Bootyard Bandits – Hoedown Showdown
14. Haxan – Killing Time
15. Doomsday Outlaw – Turn Me Loose
16. Ashen Reach – Fighting For My Life
17. Bastette – Talk About It
18. Ryders Creed – Money
19. Takeaway Thieves – This Is Rock N Roll
20. Ward XVI – Broken Toys
21. Blackwater Conspiracy – Soul Revolutionaries


Disclaimer: This review is solely the property of Beth 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.

Various Artists – Sounds Of Hell Volume II

Sounds Of Hell volume 2 Cover Art

Various Artists – Sounds Of Hell Volume II
Sounds Of Hell Records
Release Date: 29/12/2020
Running Time: 66:11
Review by Dark Juan

Greetings, salutations, hello, good afternoon and welcome, my dear acolytes and denizens of the world. I trust I find you all hale, hearty and eagerly grasping the somewhat limited opportunities that lockdown life offers you? Good, good… Always remember to look after yourselves and those closest to you, no matter how irritating the fuckers are being considering you have basically been under house arrest with them for nearly a year and the steak knives have been tactically removed for reasons of safety and you never signed up for this because you expected the bastards/ bitches to actually occasionally go to fucking work or something instead of eating their own body weight in Maltesers and re-watching Blade Runner for the four millionth time simply because they like Roy Batty (if they were something of a Sean Young fan, that would be an entirely different kettle of fish. Sigh…) Doubtless there are some of you who might like to kick Roy Batty’s bottle blond arse right through the Tannhauser Gate and watch attack ships on Orion glittering c-beams at his fucking peroxided square head, the pretentious twerp.

I’m sorry. I had my COVID vaccination yesterday. It’s kicked my arse to be frank. I can’t eat anything and only Yorkshire tea appears to be an acceptable beverage. Yes, there is beer in Dark Juan Terrace that lies unconsumed. This is such an unusual state of affairs I have the BBC news round at 4pm to report on it. I’ve fallen asleep 27 times just writing the above paragraph and have the same level of concentration as a 14-year-old boy doing online schoolwork who secretly has Pornhub open on another tab. Long division is much less interesting when there’s ladies having sex. I am desperately hoping that the mighty and puissant power of metal might keep me awake long enough to give you my opinions on this compilation record from Sounds Of Hell Records. As this is a compilation of the artists on the roster of this label, I’m going to dispense with my usual verbose style and tortured metaphors (370 words in and nothing about the music so far. So Much for curtailing the verbose style) and just write a short paragraph on each song… All of the bands on this compilation are either Dutch or Belgian, so it will be most interesting to see how they compare to the French, Greek and Italian metal scenes. Obviously, The Netherlands have given us the utterly wonderful The Gathering (with the glorious Anneke Van Giersbergen – I’ll be reviewing her latest soon too), the equally wonderful Within Temptation and the tour de force that is Floor Jansen. So, the Dutch have pretty much sewn up the gothic operatic metal scene, but what have the Belgians done? Well, they gave us one of the greatest industrial/ EBM bands there has ever been in Front 242 and also melodic deathsters Ancient Rites (who I actually saw live supporting Cradle Of Filth one time, and whose vocalist amused me greatly by doing his between song raps in exactly the same voice as his singing in a classic case of trying much too hard).

So, let’s crack on then… I’m going to put whether the bands are Belgian or Dutch next to the titles.

Malfested – Masked With The Skulls Of The Fallen (Belgium)

Gothic tinged death metal encompassing a sneaky black metal vibe in the middle eight with an absolute beast of a vocalist. Punchy, aggressive and fast and mightily pleasing to the ears of your favourite speaker of absolute nonsense. Worth checking out.

Cathobodua – Hydra (Belgium)

Operatically trained female singer takes on Luca Turilli influenced power metal. Think a less polished and considerably more speedy Nightwish while holding the image of Floor Jansen fronting Rhapsody in your mind. Actually, that sounds negative because this is a bloody good song of several parts and by god Sara Vanderheyden can fucking belt out a tune. They have my interest, and they should have yours…

Ashturn – Changes (Belgium)

When nu-metal meets the modern version of metal. Derivative and uninteresting unless you like Slipknot’s less manic moments. Imagine the polish of Avenged Sevenfold’s later releases with the aggressiveness of Slipknot and Unearth, complete with wholly overdone roaring and the obligatory breakdown in the middle. Sounds like every band did in 2015. I could literally predict everywhere this song was going to go. Unimpressive apart from their fucking excellent drummer who’s wasted on this band.

Los Fantasmas – El Rey (Belgium)

This is more like it. A bizarre mix of rock and psychobilly taking on a classic instrumental tune and making it their bitch. Quite, quite mad and fucking brilliant. However, there is a slight concern that Los Fantasmas may be a bit of a one trick pony as playing Mexican music when you’re from one of the Benelux Countries might be an odd choice limiting your fanbase.

Bacon Fat – 110% (Belgium)

Band wins award for best band name on this compilation. Bluesy, hard edged Southern Rock with elements of Volbeat, Kyuss and Down to their sound. As a song, it’s competent and enjoyable but it would come into its own on a hot summer night when you’re on a four hour drive to see your girl/ boy/ significant other for the weekend. A song that would exceed the sum of its parts in certain circumstances with a too long, drawn out ending that ruins the vibe of the whole thing and would have you scrabbling for the skip button at the end.

Bullet N’ Arrow – Heaven And Hell (Belgium)

I’ve always fucking hated that “n’” thing that bands do. Just fucking say “and,” you shitbags!!! Bullet N’ Arrow are interesting as the music is modern (even though they say they are 80’s influenced) but the powerful female vocal appears to have emanated from the general area of 1987-1993, being very kind of Robin Beck, Lita Ford and Doro Pesch-esque. A curious song that attempts to weld two distinct styles and times of rock and metal with a limited degree of success. Even the solo is an anachronism. I love Astrid Laekeman’s voice though. I could listen to her all day. The song is two minutes too long.

Demenzia Mortis – Antikult (Belgium)

Dialling up the heaviness again, Demenzia Mortis appear to have taken early 2000’s Rotting Christ as their blueprint for the start of this song before kicking up into high gear with some extremely primal black metal, and we are off into high-speed savagery, although the production does eschew the usual black metal wasp in a jam jar in a soundproofed room four miles away from the 70p microphone sound we normally enjoy from BM bands. Very Emperor and early Dimmu Borgir in sound and execution. Rather good.

Ars Veneficium – Devour The Light (Belgium)

More super primal black metal but of an order of magnitude heavier than Demenzia Mortis. This is fucking superb black metal very reminiscent of Anaal Nathrakh’s sound on “When Fire Rains Down From The Sky Mankind Shall Reap What It Has Sown”. I like this song. A LOT. Utterly murderous and uncompromising.

Instriumae – Ab Initio (Belgium)

Oooh. Instrumental metal with violins. Even though I am sure that Instriumae are capable of arranging a song better than this because the arrangement of the music is frankly all over the fucking place it’s still jolly good fun and goosebump inducing. Metal needs more fucking violin solos!

Fat Bastard – Blood, Sweat And Beer (Belgium)

Bacon Fat don’t have the best name, as it turns out. In other news, hello Belgian Motorhead. I need say no more. Damn good rock and roll bringing back the memory of the Lord Our God Lemmy. Raise your Jack and Coke high.

Ossebolle O – Den Ouwe (Netherlands)

Dutch old school punk rock reminiscent of 70’s Britain, but sung in their own language. Clash-esque and of marginal interest to a metal fan unless you like repetitive shouting in the background of your music. Strictly average and about as frightening as a teddy bear.

Odd Obsessions – Mistify (Netherlands)

There appears to be a kind of obsession with 80’s power metal in the Benelux region. This song could have been written by Helloween as long as they had Adrian Vandenberg and Rudolf Schenker on guitar. Gang vocals, extended lead lines and a desire to “fuck you up” (try it you long haired jessies, I’ll smear your pansy arses all over the wall.) Epic, in a super 80’s way. Old men in denim cutoffs wearing original Accept t-shirts will adore it.

Valkyre featuring Liv Kristine – Buried Alive (Belgium)

As soon as you look at the band name and who’s guesting on this record, you know what it’s going to sound like. Did you guess Nightwish mixed with Epica and Leaves Eyes? Well done, have a fucking cookie because I can’t eat them right now. Good, because I like symphonic gothic metal with operatic female vocals but absolutely unoriginal. However, the band has a drummer whose mind appears to have cracked, judging by the amount of time he spends either double bass drumming or skipping merrily along at the gait of a galloping horse.

Carrion – Supreme (Belgium)

Let’s play guess the genre again with this band. Did you guess old school death metal? WRONG! Give me back my fucking cookies. Instead, Carrion play technical melodic death metal and appear to worship at the shrine of shiny Scandinavian melodic death, and especially at the chapel of At The Gates. Good, solid tune but another style of music that dearly needs some innovation injecting into it. It sounds like every other melodic tech death record done in the past ten years. Uninspiring.

Exoto – Absolution In Death (Belgium)

Another band whose drummer appears to fucking adore cardio day at the gym. Exoto offer us an unusual fusion of blackened death, thrash and the odd proggy element which is very good indeed. A good, fun, fast slab of solid metal and a fine closer to the album.

So, there we have it. The best of two thirds of the Benelux in one compact package for your perusal. Standouts for me on this record were Cathobodua, Ars Veneficium and Instriumae with an honourable mention for Bullet N’ Arrow, strictly because I like Astrid Laekeman’s voice so much as it transports me back to when I was a mere teenage neophyte and had a VHS videotape, “Kerrang! Ladykillers”, which had Vixen (Jan Kuehnemund was a young Dark Juan’s crush), Romeo’s Daughter (so was Leigh Matty), Femme Fatale, Saraya, Robin Beck and Lisa Dominique among others on it.

Belgium and The Netherlands appear to have a rich and varied metal scene encompassing many different styles, then, and aren’t just the homes of electronic industrial and gothic symphonic metal. This is a worthy and well-priced compilation CD at a paltry 7.50EUR and is obtainable through the label or featured bands’ sites, and it is well worth your time and effort to acquire.

The Patented Dark Juan Blood Splat Rating System (Het gepatenteerde Dark Juan-classificatiesysteem voor bloedspatten OR le système breveté d’évaluation des éclaboussures de sang Dark Juan – I’m sorry, I don’t know Flemish and neither does Google Translate. I checked) awards this Sounds Of Hell compilation 7/10. When it’s good it’s very very good but when it’s bad it’s rubbish! Fare thee well. May ye gang faur and fare waur. I’m returning to my bed of pain and suffering.


Disclaimer: This review is solely the property of ‘Dark Juan’ 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.

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

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.

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


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.

Various Artists – Fangs: Volume 2

Various Artists – Fangs: Volume 2
Mongrel Records
Release Date: 25/09/2020
Running Time 71:41
Review by Chris Galea

Unfailingly ubiquitous and adaptable, Metal always finds a way to reach every part of the planet, but some areas’ contributions tend to get overlooked. “Fangs: Volume 2” is an attempt to address that transgression by shining some light on a few Metal bands from Africa. Most of the bands in this sampler are from South Africa (which is where its label, Mongrel Records, is based) but there are also tracks from the opposite extremity of the continent.

Here’s a quick rundown of the album’s contents…

Facing The Gallows is a Hardcore band from South Africa and ‘Small Hands’ sounds furious if a tad unimaginative.

Papang are from Réunion, a small volcanic island in the Indian Ocean. I didn’t quite like the singing style and guitar solos in ‘My Engine Burns’ but the track contains some great Stoner Metal riffs.

Dividing The Element are a Nu Metal band from Zimbabwe. The band’s track has Limp Bizkit written all over it. Some hand percussion sounds give the song a nice touch. Despite straining my ears, I couldn’t understand the lyrics – then I discovered that Dividing The Element sing in a native Shona language.

Next are Ill System, from South Africa, who keep the Nu Metal vibes flowing but in a creative and original way.

We remain in South Africa with the next track, ‘Shadow Beast’ from Monstroid. I’m hearing some catchy Fuzz in the footsteps of Kyuss and Fireball Ministry. Decent stuff.

State Dependency, from South Africa, ply a sort of generic Groove Metal with occasional atmospheric spells.

Albinobeach are an instrumental band from South Africa…the band provides the music and as a listener you let your mind provide the lyrics. Groovy, sometimes psychedelic, ‘Jugga’ hovers back and forth between Progressive and Alternative Rock.

Vielikan seem to have their own brand of Black Metal. The vocals sound intense and the band says they’re inspired by Russian and Slavic folklore, which is odd coming from a band based in Tunisia.

Next door to Tunisia at the Northernmost regions of Africa is Algeria, which is where Lelahell are from. Lelahell was the only band in this compilation whose existence I was already aware of. The band plays classic and brutal Death Metal. A technical, well-recorded and incisive track.

It’s back to South Africa with Demogoroth Satanum, whose Black Metal sounds raw and chaotic with weak riffs often overshadowing the vocals and other instruments.

We remain in South Africa next with Ethyl Ether and there‘s a significant difference in style. Is this Psychedelic Blues, Stoner Rock or Alternative Rock? I’m undecided where to pigeon-hole this music but the band calls their style Agro-Pop so Agro-Pop it is. To be honest it’s not something I’d usually be caught listening to, but all instruments are well-played and the songwriting is pretty decent too.

Vulvodynia, from South Africa, play a Death Metal that is brutal, filthy and visceral. Apparently ‘vulvodynia’ is a chronic, severe vaginal pain with no identifiable cause. Charming.

Kishi are from Angola…a Portuguese-speaking country on the South West coast of Africa. The band describe themselves as Stoner Rock but what I’m actually hearing is a soul-crushing atmospheric Doom Death. I sense that Kishi really seem to grasp the essence of Doom.

Rounding off this sampler are Scarab and with a moniker like that the band can only come from Egypt. It’s hard to compartmentalise the band’s music but Dimmu Borgir comparisons probably wouldn’t be too far off the mark. Dramatic, intense and epic Death Metal with great guitar melodies and a very professional sound.

I know that Metal in the African continent is much richer and more diverse than this compilation might suggest. Nevertheless, “Fangs…” provides a useful insight for Metal communities beyond Africa. So, Kudos to Mongrel Records for putting it out.

My overall impressions are that some bands seem intent on doing what standards require but need to inject more freshness into the music. Others have interesting ideas but haven’t yet developed them well. A couple of bands are already on their way to greatness. Of course, it’s hard to be objective by listening to just 1 track. So, head over to the bands’ sites, check out anything that has piqued your fancy and make up your own minds. Links are provided.

“Fangs Volume 2” official sampler promo:

01. Facing The Gallows – Small Hands
02. Papang – My Engine Burns
03. Dividing The Element – Pakaipa
04. Ill System – Ego Check
05. Monstroid – Shadow Beast
06. State Dependency – Bridges
07. Albinobeach – Jugga
08. Vielikan – God(s), Love And Life
09. Lelahell – Adam The First
10. Demogoroth Satanum – The Apostate
11. Ethyl Ether – Ode
12. Vulvodynia – Anthropophagus
13. Kishi – Kianda
14. Scarab – Coffin Texts
















Disclaimer: This review is solely the property of Chris Galea 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.

Various Artists – Brown Acid: The Ninth Trip

Various Artists – Brown Acid: The Ninth Trip
RidingEasy Records
Release Date: 31/10/2019
Running Time: 36:00
Review by Alun Jones

Archaeologists of rock from RidingEasy Records have once again delved into the depths of the forgotten to present this, the ninth instalment of their “Brown Acid” series. They have unearthed yet more obscure gems from the past, in order to entertain and enlighten those obsessives who love to investigate the DNA of rock.

Call it heavy rock, proto metal, garage rock – whatever, these Brown Acid compilations offer a wealth of hard to find material.

The songs may be long lost relics, but they sure ain’t amateur. In fact, it’s surprising how well they’ve cleaned up – and how well produced some of them were in the first place. Take the first track, White Lightning’s ‘Prelude To Opus IV’, which is surprisingly grand and opulent.

I won’t play favourites, but Peacepipe’s ‘The Sun Won’t Shine Forever’ has an almost Stooges like sound, filtered through Californian psychedelia. Magi’s ‘Win Or Lose’ sounds like Grand Funk playing an MC5 song, while Stonewall’s ‘Outer Spaced’ holds the most outrageous riff of the set, with perhaps a touch of Hendrix.

Elsewhere, the fantastically named Fibreglass Vegetables offer up a more laid back, groovy but still heavy song with ‘Pain’. ‘Rebel Woman’ by Erik (a simpler name, but that’s cool) is another superb rocker that demonstrates some real song writing and arranging talent.

Not as bluesy as Zeppelin or as heavy as Sabbath, the songs on offer are a fine example of Rock’n’Roll of the time. It doesn’t take much to imagine the guys from Fu Manchu listening to these pre-stoner rock goodies, sat in their van waiting for the cry of “surf’s up”.

This ninth edition of the Brown Acid compilation offers retro quality, never kitsch or silly, with tons of infectious music. It’s easy to wonder why some of these bands never became more famous. At least RidingEasy have done the hard work for us, dusting off the artefacts and preserving them for all to enjoy.


01. White Lightning – “Prelude to Opus IV”
02. Peacepipe – “The Sun Won’t Shine Forever”
03. Magi – “Win or Lose”
04. Fibreglass Vegetables – “Pain”
05. Erik – “Rebel Woman”
06. Stonewall – “Outer Spaced”
07. Ice – “Running High”
08. Spacerock – “Going Down the Road”
09. Buckshot – “Barstar”
10. 29.9 – “Paradiddle Blues”


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.

Various – MetalMessage VII: Respect The Steel

MetalMessage VII, Respect The Steel Cover Top

Various – MetalMessage VII: Respect The Steel
Release Date: 14/10/2019
Running Time: 56:59
Review by Mark Pritchard and Rick Tilley

Hi Everyone, it’s Rick.

We don’t often get asked to review a Label/PR Company compilation and if we do receive them they often get put to one side as there are just too many other albums arriving, but they are definitely not pointless. Personally, I tend to listen to them in car going to or from other gigs and have discovered some really great bands on them that I would otherwise have missed.

German PR Agency METALMESSAGE are one of the many companies we deal with to bring you news, features, interviews and reviews and their owner Markus Eck is one of the nicest people you could wish to deal with so when he asked Mark if he could write a few words about the latest compilation album he had put together called METALMESSAGE VII: Respect The Steel” I said it was fine.

The following paragraph belongs to Mark and I have to say I pretty much agree with him on everything. You could certainly do a lot worse than checking out any one of the bands on this sampler, even the artwork by Serbian illustrator Dusan fabulous, and you should definitely check out METALMESSAGE too, a company that does things the right way!

The other day I was asked by METALMESSAGE owner and friend Markus Eck to have a listen to a compilation album he has spent months putting together with the possibility of me writing a small review and I can only say that I jumped at the chance! Ladies and Gentlemen, what we have here is an awesome album called “METALMESSAGE VII: Respect The Steel” which is comprised of thirteen tracks from thirteen different metal bands who come from various countries and there isn’t just one genre of metal being portrayed. ”VII: Respect The Steel” is, in my own words, a masterpiece of metal combinations all rolled up into one awesome album. With the likes of Invictus, Hell’s Guardian & Atrium Noctis, to name but three bands featured, ”VII: Respect The Steel” just entices to be heard and listened to. My album rating is an easy 9 out of 10 and I want to say a huge thank you to METALMESSAGE main man Markus for the huge amount of time he put into making the compilation and for asking if i would like to write a small review.

Below is a tracklist and links for all the bands and for METALMESSAGE.

01. ASH OF ASHES (Germany) ‘Down The White Waters’ (Unreleased Single Edit)

02. HELL’S GUARDIAN (Italy) ‘Blood Must Have Blood’

03. INVICTUS (Germany) “Burst The Curse”

04. REVEREND HOUND (Germany) “War Of The Wolves”

05. DAWN AHEAD (Germany) “Sinister Thoughts”

06. WOLVES DEN “Nachtmahr”

07. AFTERMATH (USA) “Diethanasia”

08. ONTBORG (Italy) “Within The Depths Of Oblivion”

09. HOLLOWED (Germany) “Sick Society”

10. MISANTHROPIA (Germany) “Mirror”

11. ATRIUM NOCTIS (Germany) “Leviathan”

12. HANGATYR (Germany) “Blick aus Eis”

13. FORGE (Switzerland) “The Death Of A Warrior”




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

Various Artists – Brown Acid: The Eighth Trip

Brown Acid - The Eighth Trip Cover

Various Artists – Brown Acid: The Eighth Trip
RidingEasy Records
Release date: 20/04/2019
Running time: 29 mins
Review by: Alun Jones

Back in ’68, I believe it was, though a lot of my memory remains hazy. It was a small London jazz club, in Chelsea I think, and Hendrix spontaneously got up to jam. Moon was on drums, John Paul Jones picked up the bass, and Clapton and Pagey jumped up to run through a few blues numbers. I was in the audience, somewhat refreshed, with a quality geezer who worked as a roadie for Hendrix. His name was Ian, though everyone called him “Lemmy”.

Anyway, I might have overindulged in something or other, but it was a fantastic night. I mean, musicians of that calibre sharing the same stage! Incredible! Until, that was, Jagger decided he wanted to join in on vocals. Brian Jones decided to bring his bandmate down a peg or two, and lobbed a huge quiche at old rubber lips. Bosh, hit him straight in the mush. Jagger was not happy. The next thing you know, Moon chucks his sticks at Mickey Dolenz and all hell breaks loose!

There was cake and vol-au-vents everywhere. It took me days to clean the sausage rolls out of Pagey’s pick-ups. But that was the sixties, you know? All good fun!

“Brown Acid: The Eighth Trip” does a great job of bringing back the vibes from that time. Compiled by RidingEasy Records and Permanent Records, it consists of ten rare shots of proto-metal and stoner rock from the late 60’s and early 70’s. These tracks are so long lost, whoever raided the tombs they were in probably received an ancient curse for disturbing them.

The songs on offer aren’t really of the sheer riff heavy variety that Black Sabbath would perfect, but if you’re interested in hearing how Rock’n’Roll was deep fried in LSD and pushed to the limit, there are some fine nuggets here.

The first track, ‘School Daze’ by Attack! has a real MC5 hell-for-leather Rock’n’Roll feel. That greasy, take-no-prisoners Detroit approach serves them well. Up next is White Rock with ‘Please Don’t Run Away’, a glorious fuzzed out, scuzzy rocker. The brilliantly named Luke and the Apostles give us ‘Not Far Off’, featuring fabulous throaty vocals over a dynamite slab of blues rock.

There’s plenty more psychedelic, acid drenched fare that will resonate with fans of Hendrix, Cream, Mountain and even early Alice Cooper. ‘I Need My Music’ by the Tourists is another highlight, along with Moloch’s ‘Cocaine Katy’. There’s a reassuring low-fi sound to the whole thing, with occasional faint vinyl crackles even, that gives the enterprise some charm.

Of the two covers on offer here, Inside Experience’s ‘Tales of Brave Ulysses’ is fine but doesn’t challenge the original. On the other hand, the wonderfully named Grump take the King’s ‘Heartbreak Hotel’ out on a glorious, whiskey fuelled Leo Sayer and don’t hand it back till it’s puked it’s kebab up in the back of the taxi.

The tracks compiled for “Brown Acid: The Eighth Trip” may not change your life, but there’s plenty to enjoy. If you’re not already a fan of rock music from this period, then think of this as a history lesson and indulge yourself. Just be careful what you indulge yourself in, eh?

Right then, gin and tonic, anyone?

01. Attack! – “School Daze”
02. White Rock – “Please Don’t Run Away”
03. River Side – “Wayfarer”
04. Luke and the Apostles – “Not Far Off”
05. Tourists – “I Need My Music”
06. Bartos Brothers Band – “Gambler”
07. Inside Experience – “Tales of Brave Ulysses”
08. Karma – “New Mexico”
09. Moloch – “Cocaine Katy”
10. Grump – “Heartbreak Hotel”



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.