APF Records re-releases Folklore, Myths and Legends of The Brothers Keg, the debut album (originally released in 2020, and following a taster EP) by London-based Stoner/Doom Metal band The Brothers Keg. Formed in 2018, the band is made up of the rhythm section of Psych/Stoner mainstays Stubb. Tom Fyfe is on drums, Tom Hobson on guitar and vocals, and Paul Rosser on bass and vocals. The album follows the origin story of The Brothers Keg, three ancient folk characters. It was produced by Wayne Adams and recorded at Bear Bites Horse Studio in London. The Brothers Keg have supported the likes of Colour Haze, Toundra, and Mother Engine, and made an appearance at 2019’s Bloodstock Festival. In 2022 they will play the Desertfest London...

Tom Hobson states: “We imagined the record as akin to a fantasy film soundtrack, with cinematic voiceovers and a nod to sci-fi classics. Expect heavy riffing psyched-out sci-fi doomageddon. HP Lovecraft meets Queen’s Flash Gordon listening to Jeff Wayne’s War of the Worlds at the wrong speed smoking a medieval spliff dipped in poppers.” This comment proves the band has a sense of humour, and their material isn’t all pretentious nonsense. In fact, this has staying power from the outset.

'Moorsmen' opens with a tense introductory narration: “…White hooves tear in sodden mud, teaming with surging seas of psychic power. Skeletal forms burn toxic green, vacant eyes lit with everlasting hellfire…” It has low and raunchy guitar, rumbling bass and raw, hollow drums. The pace is moderate, simple but melodic. The vocals that continue the story are clearly shouted and tinged with reverb, as if calling from a distance. Halfway through it changes to a different beat and corresponding melody. This will become the chorus. I’m not a fan of overly long songs, but this style persuades you to invest by revealing additional layers and therefore mixing it up. The guitar solo is suitably psychedelic to the point of Space Rock. A very nice start.

'From the Records of Arthur Shnee' is a very short linking narrative that could just as easily have been the lead-in to 'No Earthly Form' – which has shades of Doom Metal. I love the heavy moderate riff; it sounds so atmospheric, warm and moody. The vocals on this one are close to being chanted, offering a monks-in-a-monastery feel. The quieter moments remind me of Tiamat – but The Brothers Keg have a sound all of their own. The track fades out with a full keyboard sound. 'The Ice Melteth' opens with a pensive semi-acoustic opening and a nice quote from HP Lovecraft, one of my favourite writers of all time: “That is not dead that can eternal lie, and with strange eons even death may die.” The story narration continues with female vocals. The feel of this track is dreamy and reflective.

'Introducing The Brothers Keg' returns to the fuzz and overdriven guitar sound, incorporating heavy and lighter moments. Shades of early Black Sabbath about the feel, but the instrumental passage echoes and turns psychedelic. It ends with a mystical whistling and bell-ringing. 'Brahman' begins with Electronica and affected male vocals. Narration is joined by ringing guitar before the great warm heaviness of the band returns, with background wind effects and a rooted melody. It has a very hypnotic structure. The guitar solo comes in the form of a slow but shrieking wah-wah effect. A weird drum pattern heralds a slightly different format to see-out the longest track on the album. Ironically, this is probably the weakest of a very strong and affective bunch.

'The Army of the Thirsty Blade Approaches' has horn sounds, battle cries and clashing steel as another linking piece – this time into 'Castle Keg'. This personifies their style by including elements from the opening number, with low bass and detuned guitars, plus the slightly removed shouted vocals. This example buzzes right through you, having purpose and direction. 'Epilogue' has narration over acoustic guitar to close this opus with style. This is my first visit to The Brothers Keg and I’m very impressed. There is storytelling, singing and deep-rooted music – parts of which wouldn’t be out of place on a fantasy or SF soundtrack. I’m intrigued to know where the band goes from here.

10

Ty Power