Metalon

Previous guitarist Sean O'Reilly is replaced on Metalon by David Mitchell of the 3Ds, bringing the sonic links between the two groups a touch closer. There are hints of the more immediately wired guitar energy from the 3Ds on a couple of tracks, while another member, Denise Roughan, adds vocals to "Good Morning Midnight." Chug are their own thing, though, and Metalon follows in the overall vein of Sassafras, blending a variety of influences to create an even better overall album. The hints of late-'60s psychedelia that cropped up more than once on Sassafras come through here even more strongly, but in a way that doesn't feel like pointless nostalgia — whatever Chug do, they have fire rather than a lazy retracing of what's been done. Heavy fuzztone action crosses the boundary between garage and proto-heavy metal sounds more than once, while there's a crispness in the production that adds just enough of a modern touch to it, despite all the feedback. Songs like "Easy Beat," with its weird electronic loop providing heavily producing percussion, and the more straightforward drum machine pulse on the title track keep things from simply being retro. Norma O'Malley is now the main singer, her attractive singing growing ever stronger and more quietly confident; she hands off keyboard duties to Alf Danielson, who adds the occasional vocals here and there. In the meantime, O'Malley does some brilliant work with Mitchell on guitar — the deceptively simple joint soloing on "Catbag" is powerful stuff, shifting from acid groove to full-on crunch. It's major rockfest action throughout — whether it's the perfectly appropriate riffs and dark chiming matching the warning lyrics on "Water Torture" or the lengthy, crumbling soloing on the perhaps appropriately entitled "Detuned." Add to this a stronger presence this time out from drummer Shaun Broadley, who turns in some fine performances throughout, and Metalon is Chug fully coming into their own.