Pentagram - Lightning in a Bottle (2025)

Country: USA
Style: Psychedelic Doom Metal
Rating: 8/10
Release Date: 31 Jan 2025
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It's great to hear Pentagram again and with such a strong return. This is their first studio album in ten years and they clearly want to Live Again, given how bouncy the opener of that title is. This is doom metal for sure, but it's also a lot of other things. There's a punk attitude to a lot of it. There are all sorts of nods back to the classic rock era, not only to the seventies and eighties but back to the sixties as well. Bobby Liebling is on vocals, as we expect, having apparently cleaned up his act personally—part of the band's absence was due to his jail sentence for elder abuse—but the rest of the band is brand new, everyone else having joined in 2024.

Live Again is a strong opener, but it's not my favourite track here for a number of reasons. One is a very memorable repeated section that's lifted from UFO's Lights Out, just instead of rolling on as Michael Schenker solos, the riff is given a way to stop and start again. I wasn't expecting that on a Pentagram album, but it shouldn't be that surprising. Their particular brand of doom was always a fluid thing, trawling in influences from all over the musical map. Another is the odd drop right at the end of the song, which doesn't work for me, unlike every other drop on the album.

I should note as an aside, given that it's absolutely not a third reason, that I also mishear one line of lyrics every time. "I'm walking the tightrope," sings Liebling. "Never gonna fall, like a cat with Maine Coon paws." It's a great line, but I could swear blind that he actually sings "like a cat with Maine Coon balls." Now, that subtle alteration really says the same thing, but in a very different way, one that arguably features far more attitude.

The first half is very strong, with guitarist Tony Reed delivering a good solo on Live Again and even better ones on In the Panic Room and Dull Pain. There are more on the second half, in I'll Certainly See You in Hell and Lightning in a Bottle, but they're sparser. Liebling is also on top form here, not least on Lady Heroin, the album's standout track, which feels acutely heartfelt. He isn't singing a set of lyrics here; he's pouring out his soul.

Lady Heroin is an unusual song, because it truly revolves around the vocal performance instead of a killer riff. I've never shot up with heroin, but I wonder if the songwriting mimics what Liebling is feeling when he does. Initially, the music barrels along behind him, led by Henry Vasquez's drums, like a nightmarish rotoscope. Later it drops into a mellow section, as if the fury has abated and an element of welcoming calm replaces it. Eventually, it finds a doomy grind, as if the calm is always a transitory thing and that's the catch to the whole thing. Liebling starts out channelling Ozzy, as he sometimes does, and that returns during the mellow section, but he moves beyond that into some sort of dark soul outpouring far more bleakly and honestly than Glenn Danzig ever managed.

Given that it's as much psychedelic or even progressive rock as it is doom metal, I should point out that there's plenty of psychedelic rock here. The delicious drop in In the Panic Room is right out of psychedelic rock and the one in I Spoke to Death isn't far from it. I adore this drop, though it's only one reason why this is my favourite song. The opening riff is the best one on the album for me and it does have competition. I appreciate Vasquez's patience too, because I expect him to kick in hard much sooner than he does and he catches me out every time. This is the most traditional Sabbath-esque the album gets and that's not a bad thing.

Talking of old school influences, the second half kicks off with I'll Certainly See You in Hell, which is even older. It reminds me just how long this band's been active, Liebling and Geof O'Keefe putting it together in 1971, while this grandfather of ten was busy being born. It's doom with a strong punk attitude and a drive that comes straight out of Love. Remember Seven and Seven Is? Love put that out in 1966 and it's still inspiring new songs almost sixty years later.

I don't find the second half as strong, but that's an exception, as is the title track, which is calm in the verses and jaunty in the chorus. The tempo picks up, of course, but it's another good one. And then there's the other real surprise for me, namely the closer, Walk the Sociopath. It's a very slow song, which might sound redundant for a doom metal album, but remember this is a lot of things as well as doom. It's shockingly slow, in comparison to the ten songs before it. It does pick up late and it's a very good song, but it feels like an odd and surprisingly isolated way to wrap up.

All in all, this is a strong return for Pentagram and I'm going to go with an 8/10 but only just. Some of it is clearly not up to the quality of the rest, not necessarily filler material but songs that aren't ever going to hit as hard as the others around them. The new fish are great, not just Vasquez and Reed but bass player Scooter Haslip too, whose playing is easily delineated in this excellent mix. A more surprising note perhaps is that Liebling sounds fantastic here, given how much he's been his own worst enemy for a long, long time (and one to others too, including former bandmates). Lady Heroin may be his finest single performance ever. So it's more like a 7.5/10 but I'm rounding up not down.

Terry Draper - Infinity (2025)

Country: Canada
Style: Psychedelic Pop
Rating: 7/10
Release Date: 17 Jan 2025
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If you don't know the name, Terry Draper was the drummer in the Canadian psychedelic pop band Klaatu, who released five studio albums in the late seventies and early eighties but are probably best remembered today for Calling Occupants of Interplanetary Craft, famously covered by, of all people, the Carpenters. Since they split up, he's put out a lot of solo albums, at least one per year since 2016 until now. I gather that they tend to come out right before Christmas but this one that was aimed for last Christmas is a little late because of illness.

I also gather that while it isn't entirely new material, it isn't a typical set of re-recordings of hits from yesteryear. Some of it is indeed brand new, written and recorded for this album, but some of it's Draper revisiting old demos that have sat around for a while and then updating some of them with a new spark of creativity. Mostly, I don't know which is which, which says something about the consistency of his material, but The Best Blues, my highlight from a first listen, was written in 1976 and the closer, The Sea, goes back to 1973. In other words, not all this is new to Draper but it's new to us.

Klaatu were a psychedelic pop band who crossed the boundary into progressive rock and it's clear from moment one that Draper has continued in the same vein. There's a psychedelic pop flavour to the opening title track, almost a Strawberry Alarm Clock vibe once it gets past its atmospheric prog intro, but with a side of Sgt. Pepper-era Beatles that was also so prevalent with Klaatu. The rest of the album, which fills a generous hour with fifteen tracks, never drifts too far away from it. It Must Be the Weather is right there.

The heaviest song is probably Leavin Day, which starts out with gritty guitar like it always wanted to be a rock song and that's the tone they use. Of course, it's entirely appropriate, because it's no bubblegum pop song about a happy faily move to a dream house; it's a breakup song and that's a gimme topic for rock music. There's rock guitar on Teacher Teacher, which is clearly rock over pop, even though it's light and even trawls in Beethoven's Ode to Joy. It's Your Love is old time rock 'n' roll with adornments. Draper tries a little for an Elvis approach but not too much.

Most of the rest of the album sits in between those two not particularly distant extremes. There are singer songwriter songs here, not least the ballad Brother of Mine, which leads in with piano and voice and is anchored so firmly in the seventies that this is surely another old demo revisited. There's plenty of that on I Close My Eyes too, but with added orchestration. It's halfway between Cat Stevens and the Alan Parsons Project. Talking of influences and the Beatles always being high on that list, Last Chance to Disagree is a story song that sounds like Ringo Starr, unusually because Draper tends to be closer to Paul McCartney's vibe.

Even within a relatively narrow framework, Draper brings in some diverse elements. (How Do You) Make Love Stay almost has an artificial hip hop beat to it, unusual for a drummer. The Best Blues is psychedelic blues pop but it has lovely touches all over it, saxophone here, organ there and plenty of fuzz on the guitar to trawl in some very light stoner rock. The most unusual song here, though, is Ubuntu, which has an interesting ethnic opening. I know this African word because I'm writing this on a computer running Ubuntu Maté rather than Windows. As you might imagine, there are ethnic African moments all over this one, not least in the African chorus, but some of it sounds Jamaican too, which is less expected.

The other song I'll happily call out as a highlight is one that's dug its way into my head, much to my surprise. I fell for the groove in The Best Blues immediately and then appreciated its extra depths, but Dance the Dance got me before I realised it. I liked it, but this is an easy album to like. I didn't initially like it in the way I'd expect for a highlight, but I found myself singing it while I was writing film reviews, which surprised me until I realised that the more I play it, the better it gets. It has an old time feel to it, its lyrics cleverly talking about not just one dance but many of them, the music hinting at them as it goes until it ends up with carnival music. It's a deceptively simple song with a lot of depth.

So that's my first Terry Draper album. I've heard his work before in Klaatu, but never solo before. He's not a one man band, as there are apparently seventeen guest musicians here, many of them fellow alumni of Klaatu, but I have no idea who does what. I figure Draper does the majority of it, writing the songs and bringing different people in where he feels like they'd fit. There are lots of textures here that are easy to gloss over on a first listen but which gradually emerge on repeats, making it a rich album to get to know over time. And hey, if this is your thing, Draper has a notably deep back catalogue to explore.