Album Review – Judas Priest / Firepower (2018)

The Metal Gods are firing on all cylinders with their majestic new album of pure and highly inspired Heavy Metal.

When British Heavy Metal legends Judas Priest announced they were just about to release their 18th studio record, the magnificent Firepower, I already knew it was going to be an epic album. Not only it’s the first studio album since their 1988 release Ram It Down to be produced by Tom Allom and the first ever with the always precise and competent Andy Sneap as co-producer, but the entire band (Rob Halford on vocals, Glenn Tipton and Richie Faulkner on the guitars, Ian Hill on bass and Scott Travis on drums) is absolutely on fire throughout the album’s almost one hour of the purest form of “British steel” that will beautifully and powerfully pierce your ears and control your mind, compelling you to bang your head nonstop and raise your horns to the iconic Metal Gods. By the way, the amazing album art, created by Chilean artist Claudio Bergamin, breathes scorching fire like an enraged dragon, fully in line with the unparalleled history of one of the most formidable bands in heavy music.

Although their 2014 opus Redeemer of Souls was already fantastic, showcasing a veteran band at the top of their form, the metallic extravaganza found in Firepower is so majestic and inspiring that not even the terrible news of Glenn Tipton being diagnosed with Parkinson’s disease, which unfortunately for all lovers of true metal music won’t allow him to tour as much as before with the band (being replaced by Andy Sneap during the upcoming Firepower 2018 World Tour), could ruin the magic crafted by the band in Firepower, and Glenn in his most humble “the show must go on” mode had a few nice words to say about his situation, encouraging the band to continue with the tour. “I want everyone to know that it’s vital that the Judas Priest tour go ahead and that I am not leaving the band – it’s simply that my role has changed. I don’t rule out the chance to go on stage as and when I feel able to blast out some Priest! So at some point in the not too distant future I’m really looking forward to seeing all of our wonderful metal maniacs once again”, said one of the greatest guitarists in the history of Heavy Metal.

Getting back to the album, five seconds are all that the mighty Judas Priest need to explode our senses with their incomparable metal music in the title-track Firepower, where Glenn and Richie begin their flammable riff-fest before the Metal God Rob Halford comes crushing with his unique metallic vocals. Put differently, the band offers us a high-octane, electrifying and straightforward 80’s-style version of themselves for our absolute delectation. And without wasting a single second the Metal Gods fire another superb hymn titled Lightning Strike, a mid-tempo, rumbling composition led by the always precise Scott Travis, with the rip-roaring way Halford declaims the lyrics being beyond thrilling (“I’ll bring you the head of the demon / I’m peeling the skin from his face / The life that you lead is inhuman / Its cause and effects a disgrace / You’re sowing the seeds of a nightmare from hell / Your prayers and your demons are tolling the bell / Walking through fire, fate’s in my hands / Waiting for lightning to strike / Man on a wire, bearing the brand / Waiting for lightning to strike / Lightning to strike”). Then darker riffs by Glenn and Richie permeate the air while Halford tells a somber story in Evil Never Dies, a sonic masterpiece perfect for hitting the road that will urge you to bang your head and scream together with Halford every single time you listen to its flawless lines.

Slowing down the pace a bit, but still sounding vibrant and epic, Never the Heroes brings forward lyrics about the fortunes of war and all the darkness that fills the heart of a soldier (“We were fearless but so afraid / Though in our hearts we still felt pain / We’re on fire but on a leash / We only ever wanted peace”), with the solos by both Glenn and Richie being a thing of beauty. Needless to say, this battle hymn will sound stunningly powerful when played live. Following such touching song we have Necromancer, a solid display of Heavy Metal infused with Stygian elements and nuances (mainly due to the nature of the song), closer to the band’s  sonority from the albums Angel of Retribution and Redeemer of Souls; and Children of the Sun, another song to sing along with Halford & Co., presenting a headbanging rhythm led by Scott with his steady beats and the simple but effective bass lines by Ian Hill. As usual,  the band’s guitar duo does an amazing job with their crisp solos, enhancing the song’s punch considerably.

Their metal feast goes on with a gentle piano bridge named Guardians, warming our ears and minds up for the powerful Rising from Ruins, displaying an elegant sonority where Halford has a titanic performance, stealing the spotlight with his deep and passionate vocals, not to mention how Scott keeps the music flowing smoothly with his classic beats. And what to say about the next tune, aggressively titled Flame Thrower? When I first saw the name of the song I was more than sure it was going to be ass-kicking, and guess what? It is indeed a true rockin’ extravaganza ignited by the slashing guitars by Glenn and Richie, in a blend of their own music from albums like British Steel and Ram It Down mixed with Halford’s solo career. Also uniting old school and modern Judas Priest, the quintet delivers the gripping Spectre, where Richie adds a touch of modernity to the band’s trademark sound with his guitar while Halford once again impersonates a “dark poet of metal”. Then a melancholic intro quickly morphs into a flammable and adventurous metal hymn entitled Traitors Gate, showcasing all elements we learned to love from NWOBHM, and, as a consequence, being tailored for admirers of the more epic side of the band. Furthermore, the guitars by Glenn and Richie are in total sync with Scott’s beats and especially with Halford’s potent roars and high-pitched screams, making it a true exhibit of classic metal.

The last batch of songs in Firepower is quite interesting, as if the band decided not to release them as bonus tracks of a deluxe edition of the album despite their uniqueness, but instead they added them to the regular version of it as a gift to all metal maniacs who have been supporting the band since their inception. No Surrender is straightforward Rock N’ Roll infused with Heavy Metal nuances highly inspired by the band’s own 80’s musicality, or in other words, if this was part of British Steel, Defenders of the Faith or Screaming for Vengeance it would have been a metal classic today. Hence, can you feel their guitars penetrating deep inside your heart? Then the superb Lone Wolf feels like they wanted to pay a stylish tribute do Black Sabbath, Pantera and Down all at once in a fusion of top-notch Heavy Metal with the dementia and aggression of Stoner and Doom Metal. Even the usually quiet Ian Hill delivers some thunder through his bass, with Richie and Glenn stealing the spotlight with the heaviest riffs of the entire album while Halford is simply astounding on vocals. And last but not least, how about a touching and majestic ballad titled Sea of Red, closing this grandiose album in great fashion, with Halford’s voice sounding even more impactful together with the fiery guitars by Richie and Glenn? And don’t forget to pay very good attention to the lyrics as they’re simple but very potent.

In summary, Judas Priest are all fired up in Firepower, delivering everything we love and expect in their classic and always incendiary Heavy Metal, therefore proving once again they’re not called the Metal Gods in vain. There are several retailers where you can purchase this masterpiece of old school and contemporary metal perfectly united, such as iTunes, Amazon, Best Buy and Walmart, providing you the most exciting soundtrack for anything you need to do in life. After such brilliant job done in Firepower, let’s hope now that Glenn can somehow overcome Parkinson’s disease, and that we can see him sooner than anyone can expect on stage with the rest of the band, firing some of their biggest classic together with the new combustible songs from the new album, because that’s where a talented and hardworking guitar god like him should always be.

Best moments of the album: Firepower, Lightning Strike, Evil Never Dies, No Surrender and Lone Wolf.

Worst moments of the album: None.

Released in 2018 Epic Records

Track listing
1. Firepower 3:27
2. Lightning Strike 3:29
3. Evil Never Dies 4:23
4. Never the Heroes 4:23
5. Necromancer 3:33
6. Children of the Sun 4:00
7. Guardians 1:06
8. Rising from Ruins 5:23
9. Flame Thrower 4:34
10. Spectre 4:24
11. Traitors Gate 5:34
12. No Surrender 2:54
13. Lone Wolf 5:09
14. Sea of Red 5:51

Band members
Rob Halford – vocals
Glenn Tipton – guitar
Richie Faulkner – guitar
Ian Hill – bass guitar
Scott Travis – drums


Album Review – Magick Touch / Blades, Chains, Whips & Fire (2018)

A “magickal” music journey to the golden years of rock and metal, reminding us all why we love those electrifying sounds so much.

In these times where trends seem to come and go on an almost monthly basis, sometimes it’s never more satisfying than to simply sit back and rock out. And that’s exactly what Norwegian Hard Rock/Rock N’ Roll power trio Magick Touch will make you do with their highly anticipated second full-length album, entitled Blades, Chains, Whips & Fire, a beyond exciting follow-up to their critically acclaimed debut endeavor Electrick Sorcery, released in 2015. In other words, there are no tricks, no special effects nor any other type of shenanigans in Blades, Chains, Whips & Fire, just three skillful musicians declaring all their passion for classic rock and metal through their music.

Formed in 2014 in Bergen, a southwestern coastal town in Norway, Magick Touch are HK Rein on guitar and vocals, Christer Ottesen on bass and vocals, and Bård Nordvik on drums, blending in their music several elements from the most classic forms of Heavy Metal and Rock N’ Roll with a strong focus on the synchronicity between their vocal lines and the slashing power of their guitar riffs. This Norwegian trinity of rock will take you on a journey to the golden years of rock music through the 10 electrifying tunes featured in Blades, Chains, Whips & Fire, always reminding you why you love the gripping sounds of rock so much in your life.

And the Rock N’ Roll running through their veins becomes latent in the opening track, the upbeat Under The Gun, bringing the purest form of rockin’ riffs and the high-pitched, electrified vocals by HK, with the bass punches by Christer knocking us out within seconds, and keep banging your freakin’ heads nonstop and raising your beers to the soulful guitar lines by HK in The Great Escape, while Bård keeps pounding his drum kit mercilessly. Following such electrified start to the album we have Midnite Sadusa and its Cat Scratch Fever-inspired main riff, an ode to 70’s and 80’s Rock N’ Roll where Christer and Bård are responsible for creating a massive wave of rumbling tones perfect for the classic vocals by HK. Put differently, this is one of those songs that would have been an all-time classic if written 30 years ago.

Leaning towards more contemporary Hard Rock with hints of the sonority by bands like Nickelback and Breaking Benjamin (but also showcasing the band’s old school core essence), Believe In Magick is a song tailored for dancing together with your boyfriend or girlfriend at a rock n’ roll party; whereas the roaring bass by Christer takes the lead in this potent fusion of Southern Rock, Stoner Metal and Hard Rock titled Polonium Blues, which will certainly please all fans of the golden years of Southern Rock. In Siren Song we’re treated to a thrilling intro that keeps growing in intensity until groovy Rock N’ Roll fills our ears, presenting sharp guitar lines with psychedelic elements while the vocal lines sound hard and heavy just the way we all love in rock music. And speeding up their pace, Magick Touch deliver a flammable rockin’ chant named Lost With All Hands, with its guitar and bass slashing our brains while the beats by Bård don’t let us stop dancing for a single second.

Slowing down again and bringing elements from Blues Rock to their sonority, the band offers us After The Fire, a radio-friendly composition with a solid drumming and a catchy rhythm, despite losing its grip after a while, followed by Electrick Sorcery, the second to last Hard Rock comet by Magick Touch and, more important than that, their personal tribute to 70’s and 80’s Rock N’ Roll and Heavy Metal, showcasing amazing performances by all band members (especially HK with his passionate vocals and spot-on riffs), and with its backing vocals adding an extra touch of awesomeness to the overall result. Furthermore, the last part of the song is absolutely fantastic, with the band paying homage to KISS, Judas Priest, AC/DC, Dio, Motörhead and other rock and metal idols through the song’s clever lyrics. At long last we have a song which name could have been easily used by Manowar in one of their songs, the title-track Blades, Chains, Whips & Fire, a mid-tempo heavy-as-hell hybrid of pure Rock N’ Roll with the most rumbling form of Southern Rock and Metal, also displaying an amazing chorus accompanied by the lowering bass by Christer and the slow, steady and fierce beast by Bård, even presenting some Iron Maiden-ish moments effectively inserted throughout its faster and more complex passages.

I guess I don’t need to say you should definitely let your rockin’ heart be touched by the electrifying and magical waves crafted by Magick Touch in Blades, Chains, Whips & Fire, and in order to do that simply go visit their Facebook page, YouTube channel, Spotify and SoundCloud for news, tour dates, videos and, above all that, first-class Rock N’ Roll. Blades, Chains, Whips & Fire, which is already on sale through several online stores such as the band’s own BandCamp page, the Edged Circle Productions’ webstore (in CD or LP format) and the Season of Mist’s webstore, as well as on Amazon, on iTunes or at Discogs, doesn’t aim at revolutionizing rock and metal music. Quite the contrary, Magick Touch’s main goal with their new album is simply to remind the whole world how awesome our good old Rock N’ Roll is and will always be, and the band not only nailed it, but they also provided us all a “magick” soundtrack to our days and moments on the road, at work, at school or anywhere else good music is needed.

Best moments of the album: Under The Gun, Midnite Sadusa and Electrick Sorcery.

Worst moments of the album: After The Fire.

Released in 2018 Edged Circle Productions

Track listing
1. Under The Gun 2:53
2. The Great Escape 2:56
3. Midnite Sadusa 3:39
4. Believe In Magick 3:36
5. Polonium Blues 4:17
6. Siren Song 4:30
7. Lost With All Hands 3:13
8. After The Fire 4:10
9. Electrick Sorcery 4:26
10. Blades, Chains, Whips & Fire 6:18

Band members
HK Rein – guitar, vocals
Christer Ottesen – bass, vocals
Bård Nordvik – drums, vocals

Album Review – Temptation’s Wings / Skulthor Ebonblade (2017)

Follow the epic adventures of the mighty warrior Skulthor, told by a relentless American power trio through their vibrant fusion of Stoner and Southern Metal.

Hailing from the mountains of North Carolina, in the United States, more specifically from the city of Asheville, here comes a bludgeoning power trio known as Temptation’s Wings, who since the band’s inception in 2005 has been blasting an old school fusion of Stoner and Southern Metal full of raw power, crushing riffs and epic vocals with influences ranging from Amon Amarth to ZZ Top, from Candlemass to Iced Earth, and so on. All that passion for heavy music culminated with the release of a demo titled Destruction of Another Dimension, in 2010, and the EP’s WarMallet: An EP of Brutality, in 2011, and Legends of the Tusk, in 2013, leading the band to play several concerts in support of their releases, including opening for metal legends Iced Earth in their hometown’s biggest venue, The Orange Peel. However, it’s now in 2017 that the trio aims at spreading their metallic wings over the entire world with the release of their debut full-length album, the rip-roaring Skulthor Ebonblade.

Showcasing a comic-inspired artwork by Minneapolis-based artist David Paul Seymour (the “Artist of Doom”), Skulthor Ebonblade is a doom-thrashing sonic representation of battles, berserkers, bizarre beasts and bashing skulls by the trio comprised of Micah on vocals and guitars, Chad on bass and Jason on drums, who above all things love to tell us epic tales of bloodshed and conquest through their music. With each one of its songs being a crushing narrative of brutality from start to finish, Skulthor Ebonblade can be considered a concept album that keeps the level of epicness and adventure always at the highest possible level. Having said that, simply grab your sword, ax and shield and head into the battlefield together with Temptation’s Wings to the sound of the glorious anthems found in the album’s 48 minutes of unrelenting metal.

Blazing fires in the intro Burning of Hjalmar warn the listener a monumental war of Sludge and Stoner Metal is about to begin in I’ Destroyer, where Micah and Chad build a wall of sound with their strings, being powerfully joined by Jason and his smashing beats. In addition, Micah impersonates the main character of the story in a gripping manner, while Chad and his bass sound as thunderous as they can be throughout the entire song. And the rumbling tunes by Chad kick off another heavy and potent creation by Temptation’s Wings entitled Into the Maelstrom, presenting top-tier Southern Doom with an epic atmosphere in the background, together with faster passages interspersed with darker, slower moments that end up turning it into a full-bodied experience for the listener.

And it seems that the skies are getting darker and darker as the music in Skulthor Ebonblade evolves, which is the case in To Forge a Legend (Ulfbehrt). Micah fires spot-on enraged vocals in perfect sync with the pounding drums by Jason, exhibiting a more melodic side of Temptation’s Wings with highlights to its sustained epic vibe. Then we’re treated to one of the most thrilling, razor-edged chants of the whole album, Lair of the Gorgon Queen, where Micah not only slashes our ears with his riffs, but his vocal performance is beyond heroic and vibrant. Furthermore, this flammable chant is also full of breaks, variations and nuances of several different music styles, not to mention Micah’s fantastic guitar solos; followed by Treachery of the Blind Raven, which by the way has a superb name for a metal song, where they continue their quest for Southern Metal in great fashion, with guitar and bass sounding as metallic as they can be and with all spaces being filled with the dense sounds of all instruments.

Witches of Dredmoor offers our avid ears almost 10 minutes of melancholic passages, low-tuned bass punches and passionate performances by all band members (in special Micah with his gripping story-telling vocal lines). It’s by far the darkest of all songs, presenting more of their stunning guitar solos and rhythmic beats to make the whole composition even more exhilarating; before the closing tune of the album, titled My Name Was Skulthor, brings forward an anguished anti-hero Skulthor with his dark thoughts and evil feelings consuming his mind, with all that negativity flowing from the song’s low-tuned bass lines and obscure vocals. There’s no happiness in sight, only the melancholy and sadness of a fallen warrior beautifully turned into first-class Doom Metal by Temptation’s Wings, concluding the album majestically. Actually, if you buy the CD version of the album, you get as a nice bonus from the band a 2-minute acoustic instrumental track named Solitude (inserted between “Lair of the Gorgon Queen” and “Treachery of the Blind Raven”), a simple but very positive extra touch to the album in my opinion.

You can take a detailed listen at Skulthor Ebonblade on YouTube, follow the band on Facebook, and purchase the epic, rumbling adventures of Temptation’s Wings through their BandCamp page or official website, as well as on iTunes. Although no one truly knows what lies ahead for Skulthor, we all know for sure that, no matter what destiny brings to our fallen warrior, the skillful minstrels of Heavy Metal known as Temptation’s Wings will be there to tell us another gripping story of violence, death and revenge through their kick-ass music.

Best moments of the album: I’ Destroyer, Lair of the Gorgon Queen and My Name Was Skulthor.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Burning of Hjalmar 1:24
2. I’ Destroyer 7:03
3. Into the Maelstrom 6:25
4. To Forge a Legend (Ulfbehrt) 7:46
5. Lair of the Gorgon Queen 6:03
6. Treachery of the Blind Raven 4:40
7. Witches of Dredmoor 9:40
8. My Name Was Skulthor 6:44

CD bonus track
6. Solitude 2:18

Band members
Micah – vocals, guitars
Chad – bass
Jason – drums


Interview – Andreas Slocinski (Stone Cadaver)

Andreas Slocinski, the talented bass player for Danish Stoner Rock/Metal power trio Stone Cadaver, talks to The Headbanging Moose about the band’s brand new album Reject Remove Replace, their passion for the music from the 70’s and all things metal, and the flourishing metal scene in Denmark, among other topics, in one of our most interesting interviews ever.

Andreas Slocinski (Stone Cadaver)

The Headbanging Moose: Could you please introduce yourselves to our readers? Who are Stone Cadaver, how was the band formed, what’s your goal with your music, and any other details you want to share with us about the band?

Andreas Slocinski (Stone Cadaver): Stone Cadaver is a Danish stoner metal threepiece from Aarhus, Denmark. The gentlemen that wield the instruments and compose the music are Anders Bech Nielsen (guitar and vocals), Jesper Hauptmann (drums) and yours truly, Andreas Slocinski, on bass. The band’s history is relatively short, so it’s easy to sum up. Stone Cadaver rose from the ashes of Chosen Legacy, a metal cover band that featured all of us. It was fun and all, but eventually we all got fed up with playing other people’s stuff, so we decided to abandon Chosen Legacy and start focusing on writing our own material in an attempt to satisfy our creative need. That was back in 2014. Chosen Legacy was all about thrash and groove metal (we played songs by Pantera, Slayer, even Cannibal Corpse), but none of us were interested in writing that kind of music, and, as it turned out, we all harbored a secret desire to play some dirty, 70s inspired stonerish metal, so we just said to each other, “hey, let’s give it a shot and see what happens”, and started jamming on a few riffs. The first song we wrote was “Black Magick” off the self-titled EP, and things just started growing from thereon. As for the goal or purpose of Stone Cadaver, well, it’s just to have a good time and write some cool music. We don’t plan to make a living from it, we’re too old for that now, but the idea of creating music and performing it under the moniker of Stone Cadaver, a beast that’s totally our own creation, appeals to us very much, and it’s definitely a cool way to spend your spare time.

THM: How was the writing and recording process of your new album, Reject Remove Replace, and what’s the main difference between it and your debut self-titled EP from 2014?

AS: RRR differs musically from the EP in a lot of ways, although there are also a lot of similarities. The EP is more doomy and, perhaps, slightly more metal overall. RRR is more dirty and fresh. We have always tried, though, to mix the 70s with more modern elements to create some varied music, and although RRR is more varied than the EP that whole idea of mixing newer and older stuff in an effort to create some exciting material that stays interesting to the listener throughout, is sort of the red thread that runs through all our compositions. I am into bands like Electric Wizard and I always to try to get some really heavy, slow stuff into the stew. Anders digs bands like Led Zeppelin and Deep Purple and likes to add faster paced stuff akin to those bands to the recipe. The end result is almost always a compromise and thus amalgamation of all those things, heavy, doomy elements coupled with faster parts. Naturally, all of us love Black Sabbath, and the mantra WWBSD (What Would Black Sabbath Do?) act as a sort of litmus test if we’re stuck in a song and don’t know how to finish it or get from one part to the next. Ah, that might be a stretch, but Sabbath are very important to all of us and most definitely act as a shared key inspiration. The album was recorded over a week or so at our old rehearsal space, which we shared with another band, Magnified Eye, probably one of the oldest Danish stoner bands. Torben Egebjerg, lead singer and guitarist in the ol’ Eye, recorded and produced the songs in collaboration with us. A guy named Michael Larsen, who’s been part of the local music scene as a booker and all-round technical guy for many years, helped us get the sound of the instruments just right for the recording. The album was then mixed by Stefan Krey, who also plays in Magnified Eye. He has another band, Alkymist, which is a new name on the Danish metal scene. It’s progressive doom metal and very cool. Definitely worth checking out! Lastly, the album was mastered by James Plotkin. We chose him, because he worked on Electric Wizard’s “Time To Die”, so if he’s good enough for the Wizard, he’s good enough for us. A very helpful and cool guy!

THM: In our review for Reject Remove Replace, we quoted a sentence from you stating it’s a concept album, with the concept being “a unified, musical whole”. Can you elaborate more on that? Why do you consider it a concept album? What’s the main storyline that guides the album from start to finish?

Album Review – Stone Cadaver / Reject Remove Replace (2017)

AS: It’s true that we call it a concept album, but it’s not a concept album in the sense that there’s an overarching storyline or theme guiding everything. Albums from the 60s and 70s are often as good as they are, because a lot them work as albums. Today, there’s a tendency to just slap a bunch of songs together without really paying much attention to how they work in relation to each other and the album as a whole. We wanted to create an album that really works as an album, and not just a collection of songs. To this effect, RRR was actually only intended to be released on vinyl, because we “designed” it for vinyl, and because vinyl, at least as far as we are concerned, is a superior way of enjoying an album. An example of what we mean when we say that it was designed for vinyl is the small instrumental interlude “Ruins In The Sand” at the end of side A, a short, atmospheric piece with acoustic guitars. This segment is very different from the preceding and following songs, which have a lot more bang for the buck. “Ruins” was placed at the end of side A very intentionally. As you know, once the A-side is finished, you have to lift the vinyl, flip the disc over and lower the pickup in order to start the B-side. While you’re doing this, there’s obviously no music playing. “Ruins” ends softly, so you could argue that it actually segues into the musical void that accompanies the lifting and flipping of the disc. Likewise, the B-side also ends on a soft note with the instrumental piece “Omega”, which is part 2 of the song “Dead Horses, pts. I & II”. The soft endings of both sides create unity and bind both sides together nicely, we think. This obviously doesn’t work as well on the CD. Combined with the varied nature of the rest of the songs themselves, the album, as a whole, has the feel of one those good albums from the 70s. That’s the intention, anyways. Hopefully, there are people out there who have picked up on it.

THM: The official video for the opening track of the album, the heavy and groovy Sscum, is in my humble opinion really entertaining, just like those old low-budget, catchy-as-hell horror and suspense movies from the 70’s and 80’s. Can you tell us more about the story behind the song and how you decided to shoot the video? Will there be a sequel for it?

AS: We’re glad you like the video and that you dig the 70s low-budget vibe, because that kind of vibe was exactly what writer/director Ulrik Haenschke was aiming for. The lyrical content of the song and the storyline in the video actually have nothing in common. The song is about neo-nazis and how fucking stupid they are, but it wasn’t important to us or Ulrik that the video dealt with that topic at all. Ulrik was involved in the video for Magnified Eye’s “Legion”, which was done very professionally and we all liked it, so Anders chatted him up at a concert, and, as it turned out, Ulrik was interested in doing a video for “Sscum”. He had heard the song at one of our gigs and, basically, wrote the entire script in his head right there on the spot. For some reason, he envisioned this psycho redneck in a really cool car who picks up a hot blonde that he brings home to kill in a twisted, misguided attempt to get back at his girlfriend, who left him because he cheated on her. A pretty simple plot, but very effective nonetheless. The entire process was one of those things where everything just came together very smoothly. Ulrik wrote the script, consulted with us, auditioned the actors and procured all the equipment, lamps, cameras etc. He’s attending some sort of film school and he did the video for a project, which enabled him to use all the equipment for free. Otherwise, it would have been an extremely expensive shoot. The camera alone, a Red which is the same kind of camera used by Peter Jackson on “The Hobbit”, costs between 60-80,000 CAD, so if we had had to rent it, it would have been costly. We also got hold of the car, a ‘69 Torino, for free (thank you Susan!). The video was shot over the course of two weekends in a barn close to Aarhus. The exterior shots were also done not too far away. Ulrik then spent a few weeks editing the material and in late 2016 we were able to premiere it at a local hard rock and metal bar. It was a fun and drunken night. There’s no plan for a sequel, but, you know what, none of us has thought about making one, and it might actually just be a very cool thing to do. Let’s see what happens …

THM: Talking about heavy music made in your gorgeous homeland Denmark, the average metalhead usually knows only the classic metal by King Diamond and Mercyful Fate, and more recently the hybrid of metal and rock by Volbeat, but no other Danish bands are part of his regular playlist. With that said, how’s the current Heavy Metal scene in Denmark? Is the scene getting stronger, with new bands booming all over the country, or do you feel it’s stagnated like in many other countries?

AS: The metal scene in Denmark is alive and thriving. It may not be booming per se, but it’s definitely not on the decline. Denmark is a small country, but we have a lot of metal festivals, Copenhell, Aalborg Metalfestival, Metal Royale, Metal Magic to name some of the bigger ones, and there are metal concerts in almost all Danish cities, big and small. That being said, it’s not always easy to land gigs, for some reason. You really have to put a lot of effort into landing gigs and it’s boring work.

THM: Which new bands from Denmark do you recommend to our listeners? It can be in the same Stoner Metal and Rock vein as Stone Cadaver, or any other style like Black Metal, Metalcore or Power Metal. How bright do you think the future is for those bands?

AS: There are loads of Danish bands. Some cool names to check out are the curly haired troupe of death metal jugglers in BAEST. They are definitely on the rise, and will probably make it big. Bersærk is another band who also enjoys a lot of success. They sing in Danish and call their music “hedningehegn”, which is a pretty cool, self-invented word for “pagan noise” (that’s probably what comes closest). Alkymist, as mentioned before, are definitely also worth checking out as are Magnified Eye. Currently, there’s talk of a New Wave Of Danish Black Metal spearhedead by bands such as Myrkur, Solbrud and Orm. They are also very worthy of your attention, if black metal is your thing. An older black metal band, or black n roll, is Horned Almighty, which you may have heard of. Smaller interesting names include Disrule, Fusskalt, Drön, ThunerWhip, Impalers and Fordærv.

Stone Cadaver

THM: In regards to your influences and idols in music, what would be your top metal or even non-metal artists and albums, the ones that have a strong influence in the music by Stone Cadaver, that helped shape your musicality and fuel your creativity?

AS: As previously mentioned, Ozzy-era Black Sabbath is a major shared influence. On a more individual level, Anders always cites Alice In Chains and Jerry Cantrell as some of his key influences. “Dirt” ranks really high on his personal list of faves as does Deep Purple’s “Fireball”. Jesper is in love with Iron Maiden and Satyricon. Frost’s drumming in particular on “Nemesis Divina”, one of Jesper’s top favorite albums, has had a major impact on his playing as can be heard on RRR. My own main influences include Geezer Butler, Steve Harris and Jaco Pastorius and some of my all-time favorite bands include Electric Wizard and Pink Floyd. All of us dig all kinds of metal and rock, though. It’s important to listen to a lot of music, when you’re in a band, so we try to keep our minds and ears open.

THM: What about your current tour dates to promote Reject Remove Replace? How have the concerts been so far? In addition, as the summer is considered “festival season” all over Europe, have you guys been able to play any major or even smaller festivals, and if so, how was the experience? Did you play alongside any of your music idols in any of those festivals?

AS: We actually haven’t played a lot of gigs in 2017 so far. We played three in May and we don’t have anything planned until October. Jesper recently became a dad for the first time, so that naturally put a dampener on things, but we’re slowly starting to get the gears grinding again. The 2017 gigs we’ve played so far, however, have been cool. We played the inaugural Children Of The Sun festival in Copenhagen, two days of stoner, doom and space rock. We shared the stage with bands such as Dead Witches, Yuri Gagarin and Dopelord. We opened the second day to a rather small crowd and the sun was baking through some overhead windows, so it was not the easiest of gigs, but it was fun and we had a swell time afterwards, drinking with some of the other bands. Dead Witches in particular was a fun crowd to hang with and we would love to meet with them again at another festival or concert at some point. In October we’ll play Copenhagen again with Drön and French band Dot Legacy. We are working on landing gigs for 2018 and so far things are looking bright.

THM: What’s next for Stone Cadaver after the Reject Remove Replace tour is over? As Stoner Rock and Metal is a type of music widely appreciated in North America and in the UK, do you have any plans to further explore those regions in a not-so-distant future with perhaps a combined tour with a well-established band?

AS: We have started writing material for a new album, but it’ll be some time before we’ll get to record anything. The album will be fucking killer! As for touring outside of Denmark, that’s definitely something we’d love to do. There are no plans yet, though, but hopefully, one day, we’ll get a chance to go on a smaller tour abroad with some other bands. As previously stated, we handle all the booking ourselves, so putting together a “world tour” would be quite taxing. A booking agency might be worth considering at some point, but right now that’ll have to wait.

THM: Thanks a lot for your time, we really appreciate that. Please feel free to send a final message to our readers in Canada and all over the world.

AS: Thanks for taking your time to read this interview. Remember to keep the underground alive and support the bands you like by buying their albums and not downloading them.

Stone Cadaver Facebook | YouTube | Instagram | BandCamp


Album Review – Olde / Temple (2017)

Putting society and personality in its crosshairs, attacking the traits that make people hide behind various masks in order to survive, here comes a Canadian Doom Metal brigade ready to crush our skulls with their heavy-as-hell new album.

Inspired by a recording session with long-time Stoner Metal stalwarts Sons of Otis, guitarist and producer Greg Dawson (Cunter, Grift, BWC Studios) began to handpick and assemble Canadian Doom/Stoner Metal brigade Olde, emphasizing a powerful and economic approach to doom music. Enlisting the help of drummer Ryan Aubin (Sons of Otis), bassist Cory McCallum (Five Knuckle Chuckle), guitarist Chris “Hippy” Hughes (Moneen) and vocalist Doug McLarty (Jaww), this Malton-based band began to take form, releasing their debut full-length album simply titled I, in 2014, followed by the EP Shallow Graves, in 2016.

Always true to their heavy, bludgeoning roots, Olde are back in 2017 with a brand new full-length instalment, the pungent and resonant Temple, an album where Olde put society and personality in its crosshairs, attacking the traits that make people hide behind various masks in order to survive, and how the ranks of the disguised, with their ulterior motives, aren’t exacting worried about the average Joe in their quest for self-preservation and “progress”. Olde’s sound has also grown since the band’s inception, encompassing more abstraction and harmony, whilst never forgetting to bludgeon their fans, as needed, with riff after riff, driven by the sophisticated-caveman drums of Aubin and the harsh, yet always clear, vocals of lyricist McLarty. Featuring an eye-catching artwork by Joshua Wilkinson, Temple will undoubtedly punch you in the face with all its doomed strength, like it or not.

Heavy, sluggish and thunderous from the very first second thanks to the amazing stringed trio comprised of Chris, Greg and Cory, the opening track Subterfuge is an excellent Doom and Stoner Metal composition, bringing the best elements of both genres to our avid ears, but it’s when Doug begins vociferating the lyrics that things get really dark and serious (“The blood you seek is out there, / On the frayed edges of town / Just point your boots, and follow… / Your rotten heart”). Ryan kicks off the following tune, the obscure Now I See You, with his pounding, damned beats, before Doug offers more of his grumpy and raspy vocals perfect for the music being played. Furthermore, I love when it’s possible to listen to those metallic bass punches like the ones blasted by Cory due to the album’s crisp production, but of course without losing the band’s amazing rawness. Also, if I were you, I would check Olde playing this excellent song at the NP music studio for the National Post Sessions, in order to fully enjoy the band’s catchy sonority and refined technique.

The Ghost Narrative is an excellent depiction of the most sluggish and deranged form of Stoner Metal, where Chris and Greg are kicking ass on guitars with their riffs and solos in an overdose of heaviness flowing from all instruments, which is also present in Doug’s enraged vocals; followed by the title-track Temple, the longest of all songs, starting in a somber manner through the bass sounds crafted by Cory and quickly morphing into a neck-breaking Sludge and Stoner Metal hymn. Its hostile sounding, led by the beats by Ryan, only gets more belligerent when joined by the vocals by Doug, hitting you hard and mercilessly until its dark ending. And increasing their aggressiveness and speed, Centrifugal Disaster presents modern and poetic lyrics (“The world heaves under the weight of our existence / A population siphoned from, stretched beyond all reason / Exploit everything for a fraction of what it’s worth / Rallying cry of modern Man: / Give me convenience, or give me Death”), piercing guitars and rumbling bass lines boosted by the intricate drumming by Ryan, culminating in a Stoner Metal extravaganza highly recommended for fans of the genre.

Bringing hints of Southern Rock and old school Rock N’ Roll, Maelstrom reminds me of some of the classic tunes by Down, with highlights to the excellent job done once again by Chris and Greg on guitars. Put differently, this is a song perfect for enjoying a cold beer and banging your head vigorously together with the band, presenting an excellent guitar solo at the end as the icing on the cake. And lastly, closing the album Olde brings forward an ode to darkness titled Castaway, reaching deep into our most deviant thoughts. This low-tuned and slow composition is led by the potent drumming by Ryan and the rabid, deep growls by Doug, while the rest of the band makes sure the atmosphere remains as cold-hearted, gloomy and unhappy as possible.

You can always keep up to date with everything Olde are doing, including their tour dates (especially if you live in the Greater Toronto Area), by following them on Facebook, and purchase your copy of Temple through their BandCamp page, the STB Records’ BandCamp page or Big Cartel, or the Medusa Crush Recordings’ BandCamp page. Temple is not only a top-notch album of Stoner and Doom Metal made in Canada, but it also cements Olde’s name in the Canadian independent scene, opening the doors for the band to reach new heights and to properly explore new markets in a not-so-distant future, like the United States and the UK, where their music style is extremely appreciated. And, of course, to support Olde in their mission to crush everyone’s head with their heavy-as-hell damned music wherever they go.

Best moments of the album: Subterfuge, Now I See You and Centrifugal Disaster.

Worst moments of the album: None.

Released in 2017 STB Records/Medusa Crush Recordings

Track listing
1. Subterfuge 4:06
2. Now I See You 4:27
3. The Ghost Narrative 4:17
4. Temple 7:48
5. Centrifugal Disaster 5:04
6. Maelstrom 6:16
7. Castaway 7:05

Band members
Doug McLarty – vocals
Chris Hughes – guitars
Greg Dawson – guitars
Cory McCallum – bass
Ryan Aubin – drums, guitar solo on “Maelstrom”

Guest musician
Simon Talevski – guitar solo on “Castaway”



Album Review – Floating Widget / The Sounds of Earth EP (2017)

One of the most celebrated bands from the Canadian independent scene is finally back in action after 13 years with an electrifying EP of old school Stoner Rock and Metal.

One of the most celebrated bands from the independent rock and metal scene from Montreal is finally back in action after 13 years with brand new material and the same rebellious attitude that made then famous among the Québécois fans of alternative music. I’m talking about Stoner Rock/Metal druids Floating Widget, who are ready to crush with their new EP The Sounds of Earth, their first original release since their 2004 debut album Praises To The Riff Monolith and a lesson in how our good old Rock N’ Roll sounds even better when the right amount of extra heaviness, speed and groove is added to the music.

Formed by vocalist and bassist Vincent Peake, who’s also the founder of the first Alternative Rock band in Quebec called Groovy Aardvark (which existed between 1986 and 2005) and who also played with bands such as GrimSkunk, Sabbath Café and even Voivod, Floating Widget are more than ready to regain their momentum with The Sounds of Earth, playing in the renowned Montebello RockFest this year with Queens of the Stone Age, Rammstein, At the Drive In, The Offspring, and many other bands, and there’s no secret formula for the band receiving all that love from the underground scene. Featuring a classy artwork displaying a “ceramic astronaut” by artist Brett Kern, The Sounds Of Earth exhales pure Stoner Rock and Rock N’ Roll, getting straight to the point without any shenanigans or artificial elements.

Vicent and his crew don’t waste a single second and begin blasting piercing Rock N’ Roll that will put everyone to dance in the opening track Rock & Roll Jubilee, just like in its official video, with guitarists Alex Leclerc and Stéphane Vigeant exhaling pure electricity through their metallic strings. And their guitars ignite another rockin’ chant, titled Psy Walker, with Vicent not only delivering awesome harsh vocals but also thunderous and groovy bass punches, while Matt Demon makes everything more rhythmic and appealing with his beats. Matt keeps the momentum going by kicking off the Stoner Rock tune I Am the Temple, with hints of Rockabilly and Hard Rock added to its upbeat rhythm, also showcasing another great performance by Vincent on vocals, as well as the perfect sync between Alex and Stéphane with their riffs.

Groovier and more melodic, Albatross (Nobody Loves an) is a solid Stoner Rock and Metal chant with a Blues-ish twist where Matt delivers some traditional, steady and sluggish beats while Vincent tells one of those fun, odd stories only found in this type of music. In other words, this is a song highly recommended for banging your head while enjoying a cold beer during the band’s live performances. And lastly, featuring the iconic Snake from Voivod as a guest vocalist, we have the very rhythmic and modern Stoner Metal tune Spiderzilla closing the EP on a high note, with longtime friends Vincent and Snake making a great vocal duo (which ends up enhancing the song’s taste even more), not to mention Vincent’s low-tuned rumbling bass.

Let’s hope it doesn’t take another 13 years for Floating Widget to release new material, because based on the amazing quality of the music found in The Sounds of Earth (which can be enjoyed in its entirety on YouTube or on Spotify), Vincent and his crew have all it takes to quickly reclaim their status as one of the most electrifying names in the underground rock and metal scene hailing from Quebec, and to remain sitting in their throne of Rock N’ Roll for many years to come. And if you live in Quebec or by any chance are going to visit the province anytime soon, keep an eye on their Facebook page for their live dates and all things Floating Widget. You can purchase The Sounds of Earth in digital format through the band’s own BandCamp page, on iTunes or on Amazon, as well as the cassette version through the GBS Records’ BandCamp page, with this version bringing on its second side 19 minutes of the famous recordings named “Sounds Of Earth” that NASA sent into space aboard Voyager 1 in 1977.

Best moments of the album: Rock & Roll Jubilee and I Am the Temple.

Worst moments of the album: None.

Released in 2017 Independent

Track listing 
1. Rock & Roll Jubilee 2:52
2. Psy Walker 3:16
3. I Am the Temple 3:26
4. Albatross (Nobody Loves an) 4:05
5. Spiderzilla (feat. Snake) 2:40

Band members
Vincent Peake – vocals, bass
Alex Leclerc – guitar
Stéphane Vigeant – guitar
Matt Demon – drums

Guest musician
Snake – additional vocals on “Spiderzilla”


Album Review – Dö / Astral: Death/Birth EP (2017)

A cathartic 20-minute experience in the form of a concept EP inspired by things happening around us at this very moment, and the future that does not look that bright for mankind, brought forth by the Finnish propagators of “Dööm Metal”.

There’s a wicked phenomenon that has been happening once a year in the city of “Hellsinki”, Finland for the past few years, when a trio of ill-tempered creatures that goes by the uncanny name of  leaves their secret, somber den to unleash upon us mere mortals all their wrath and negativity in the form of raw Doom and Stoner Metal, or simply “Dööm Metal”, as christened by Dö themselves. It first happened in 2014 with the release of their self-titled EP, then again in 2015 with an EP titled Den, and once again in 2016 with the full-length Tuho. Now in 2017 it’s time for this eerie tradition (or perhaps I should call it an annual ritual) to strike us again with the release of their brand new scathing EP Astral: Death/Birth.

Featuring a minimalist but meaningful cover art by the band’s own guitarist Big Dog, Astral: Death/Birth brings all the traditional elements found in their previous albums without forgetting to move forward in their already solid career. “Over a year has passed since we released Tuho, and now we’re back with a brand new two song EP called Astral: Death/Birth. It’s a concept EP inspired by things happening around us at this very moment, and the future that does not look that bright for mankind. The songs were recorded live during one session at our rehearsal den, as we wanted to capture the intensive live feeling and maintain their roughness. The tracks are basically individual, but we highly recommend you to enjoy Astral: Death/Birth as one cathartic 20 minute experience”, said the band about the album. I guess I don’t need to say more, right? Just relax and join Dö in their doomed astral voyage of life and death, feeling every second of their coarse sounds penetrating deep into your mind.

One interesting fact about the EP is that the band itself has already provided their own “review” of each one of the two songs. According to Dö, the first track of the EP, titled Astral Death, is “a song that’s heavy as the burden we carry with us when scuffing towards the inevitable end”, and let’s say they’re spot-on with their description of this tune perfect for breaking your already damaged neck into pieces. The distorted guitar lines by Big Dog, together with the damned drums by Joe E. Deliverance, kick off this beyond obscure Doom Metal hymn, before reaching a sluggish, heavy feast of demonic riffs that flawlessly support the hellish raspy vocals by Deaf Hank. Moreover, Big Dog blasts one of his traditional guitar solos while Deaf Hank shakes the earth with his ominous bass, resulting in a thrilling thunderstorm of sounds.

“A cosmic rebirth in form of a song. Starts as calm, mantra-like levitation, until it transforms into vicious, unstoppable force of nature.” Those are their words to describe the metallic extravaganza titled Astral Birth, where their demented sounds intoxicate the air throughout the song’s 12 minutes of melodious Doom and Stoner Metal. Deaf Hank and Big Dog align their strings powerfully, while Joe fires his steady and rhythmic old school beats. The vocals never get too harsh in the beginning, sounding arcane and hypnotizing, but that lasts for only around four minutes. After a gripping display of dark music, the band’s demonic vein arises again with Deaf Hank gnarling in a bestial way, being effectively complemented by the song’s tribal beats, wicked distortions and pure psychedelia, with all those sounds and noises invading our ears until the song’s harrowing ending.

The full EP is already available for a detailed listen on YouTube and on Spotify, and you can always keep updated with all things Dö through their Facebook page as usual. And, of course, you can support the most villainous power trio of the entire Scandinavia by purchasing Astral: Death/Birth through their BandCamp page or on iTunes. Now that their yearly rite of “Dööm Metal” has been successfully consummated, it’s time for Dö to spread their damned sounds across the earth with their live performances before they get back to their lair and start working again on new material, for the delight of admirers of obscure, sluggish and low-tuned music.

Best moments of the album: Astral Death is my favorite of the two songs, but Astral Birth is also pretty amazing.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Astral Death 7:46
2. Astral Birth 12:16

Band members
Deaf Hank – vocals, bass
Big Dog – guitar, backing vocals
Joe E. Deliverance – drums, backing vocals


Album Review – Stone Cadaver / Reject Remove Replace (2017)

Proudly raising the flag of Stoner Metal high in their beautiful homeland, this Danish power trio delivers a catchy, raw and filthy album inspired by the amazing Hard Rock and Heavy Metal of the 70’s.

Old school proto-metal guitar and gritty, distorted bass combine with fat, organic drums to concoct an evil gumbo of dirty 70’s-inspired stoner riffs, topped off with a few pinches of catchy doom grooves that is bound to fill that empty hole in your stomach. If none of that makes sense to you, it’s because you don’t know Danish Stoner Rock/Metal power trio Stone Cadaver, a band formed in 2013 in the city of Aarhus, Denmark that’s all about heavy and groovy Stoner Metal set within a compositional framework inspired by the Hard Rock and early metal of the 1970’s. Mixing the likes of Pentagram, Black Sabbath, Deep Purple and Electric Wizard in their music, the power trio comprised of lead singer and guitarist Anders Bech Nielsen, bassist Andreas Slocinski and drummer Jesper Hauptmann Christensen has finally released their debut album, entitled Reject Remove Replace, an album that was, for all intents and purposes, recorded live in the studio, beautifully crystallizing the band’s raw and filthy sound.

As a whole, Reject Remove Replace comprises the band’s most focused material to date, as explained by Anders. “We have tried to create an album like in the old days. You know, one that you’ll want to listen to from beginning to end. In this regard, you could call it a concept album, the concept being a unified, musical whole.” Despite not being a regular concept album like what several other bands usually do, what Anders says about Reject Remove Replace somehow makes sense, because instead of telling the story of a battle, a specific moment in the history of mankind or a fantasy story based on a book, Stone Cadaver tell the story of the album itself through their music. And if not even after reading all this you have any idea of what Stone Cadaver are, simply listen to the music found in Reject Remove Replace and take your own conclusions about the band and their acid musicality.

The initial riff by Anders in the opening track, titled Sscum, sets the tone for the entire album, being sluggish, dirty and raw. It takes us on a journey back to the 70’s, with Jesper delivering precise heavy beats during the whole song, while its lyrics are as demented as possible (“Misguided cause / On a course to nowhere / The snapping jaws / Of a beast with walleyed stare / You wear the signs / Of genocide and minds’ decay / The six straight lines / You’re so eager to display”). In We Need Your Fucking Blood, Andreas begins smashing his bass mercilessly, emanating a rumbling metallic sound, before the music evolves to a potent blend of Stoner Metal and Rock N’ Roll also presenting soulful guitar solos and a thunderous atmosphere. Moreover, Anders not only kicks ass with his crude riffs, but he also thrives with his psychedelic vocal lines.

Suffer The Scorn brings forward more whimsical words by Stone Cadaver (“The problem is you seem to forget / That time is what you make of it / It’s possible to carve it up / And take command to an extent / But it’s not your fault / Life’s so tough, you can’t help it / To reverse the failure / All I have to do is break the mould”), enhanced by the song’s headbanging, pounding rhythm led by Jesper, while Anders and Andreas keep slashing their strings beautifully. Then we have the instrumental bridge Ruins In The Sand, where acoustic guitars and sharp bass lines warm up the listener for the rockin’ anthem Hands Of Death, with the power trio being simply on fire, blasting cutting riffs and solos, low-tuned bass punches and intricate beats nonstop. Furthermore, the level of acidity and progressiveness in this composition is way above average, with Stone Cadaver providing all that’s needed to break your fuckin’ neck into tiny pieces.

And they still have a lot of Rock N’ Roll fuel to burn, offering the listener more of their piercing Stoner Rock and Metal in Removal Of The Eye, showcasing a high-speed musicality led by Jesper and his unstoppable beats, while Anders and Andreas give a lesson in lunatic guitar and bass sounds. And lastly, Dead Horses (pts. I & II), the longest of all tracks, brings the spirit of a mighty horse inside it,sounding almost tribal at times, with its primeval aura together with the old school Stoner Rock by Stone Cadaver making the whole musical voyage even more interesting. As if the journey wasn’t already crazy enough, the song’s last two and a half minutes are simply a smooth, psychedelic amalgamation of bass and guitar sounds, taking the listener to a different dimension.

Not even the way Stone Cadaver name their instruments is ordinary. Anders is responsible for the “6-String Demonic Vocalizer”, Andreas Slocinski takes care of the “4-String Detuned Low-End Slaughter”, and Jesper is the man behind the “Tactical Assault Battery”, which connects to how crude and visceral their music sounds. If you like to explore the rough grounds of Stoner Metal, Stone Cadaver and their Reject Remove Replace are a highly recommended option, and you can get more details on the band through their Facebook page, listen to their music on YouTube or on Spotify, and grab your copy of the album through their BandCamp page, Record Heaven, Kicktrack Music StoreiTunes or Amazon. And then you might finally understand the purpose of the music by Stone Cadaver, who are definitely raising the flag of Stoner Metal and Rock high in their beautiful homeland.

Best moments of the album: We Need Your Fucking Blood, Hands Of Death and Removal Of The Eye.

Worst moments of the album: None.

Released in 2017 LongLife Records

Track listing
1. Sscum 5:37
2. We Need Your Fucking Blood 6:48
3. Suffer The Scorn 5:16
4. Ruins In The Sand 1:53
5. Hands Of Death 6:32
6. Removal Of The Eye 4:32
7. Dead Horses (pts. I & II) 8:45

Band members
Anders Bech Nielsen – vocals, guitar
Andreas Slocinski – bass
Jesper Hauptmann – drums


Album Review – OHHMS / The Fool (2017)

Spanning the course of 60 minutes and focusing on corporate and personal politics, the first full-length album by this British quintet is not only a huge step forward in their career, but also a lesson in Sludge and Progressive Metal.

Armed with the thickest riffs and fieriest will, Sludge/Progressive Metal act OHHMS was formed in 2014 in Kent, a county in South East England, aiming at blowing our minds with their monolithic, doomed music. After the release of their debut EP Bloom in 2014, followed by another EP title Cold in 2015, OHHMS started to build a strong reputation in their homeland’s underground scene, playing big festivals such as Desertfest and Temples, and also sharing the stage with acts like The Skull, Conan and Rolo Tomassi. Now, three years after their thunderous beginnings, the band is back with their debut full-length album, the heavy and sludgy The Fool, another step forward in their short but solid career.

Spanning the course of 60 minutes of hard-hitting, progressive music, The Fool delivers five thunderous songs that focus on corporate and personal politics, all wrapped up in an elegant tarot-inspired packaging designed by Black Sails Design. With two of its songs going over the barrier of 10 minutes (one of them having over 20 minutes in duration, by the way), something inconceivable for any regular radio station or TV show, The Fool won’t provide any sort of “music for the masses” to you, but an introspective and very peculiar journey through the minds of the five talented musicians behind OHHMS, and that’s in my opinion what makes this album so distinct and impactful.

The acoustic intro Shuffle, Cut and Reveal slowly introduces us to the sluggish and heavy The Magician,  which after a fast-paced beginning smoothly flows into traditional Stoner Metal, with Max Newton smashing his drum set while lead singer Paul Waller blasts sheer anguish through his vocals. The Hanged Man is a top-notch musical voyage, flowing from an ominous intro into 13 minutes of progressiveness, slow-paced passages and a somber ambience. Max adds endless intricacy to the music with his beats, while guitarists Daniel Sargent and Marc George alternate between heavier riffs and gentle lines, with the overall result being so compelling you won’t notice the length of the song at all. Even more progressive than its predecessor, The World is a song that combines in a potent way the heaviness of Stoner Metal with the experimentations of Progressive Metal, not to mention its hints of several other styles such as Industrial and Doom Metal, with Max and bassist Chainy Chainy building a more-than-thunderous atmosphere with their respective instruments.

The superb The Lovers is beautiful and thrilling from start to finish, with all instruments creating the perfect ambience for Paul and a mysterious (and wonderful) female voice to complement each other’s lines flawlessly. It’s a slow and serene ballad recommended for true lovers, or in other words, simply close your eyes and feel your significant other’s embrace while listening to this awesome composition. And as the icing on the cake OHHMS present to us The Hierophant, a bold, complex and mind-blowing 21-minute extravaganza, where the whole band is able to display all their skills as great musicians they are. After over two minutes of initial dissonant noises, Paul arrives with his somber vocals, and this eccentric atmosphere goes on until at around six minutes the rest of the band joins him, becoming a sonic experimentation through the realms of Sludge and Stoner Metal, with highlights to the bestial, crushing riffs by both Daniel and Marc (in special during the song’s final part).

One might say The Fool is not an album for the average listener, but in my humble opinion I think this album is a great opportunity for newcomers to the world of the lengthy and sluggish sounds of Stoner and Doom Metal to explore the uniqueness of this subgenre of heavy music. Well, newcomer or not, you should definitely go check what OHHMS are up to at their Facebook page and, if you’re already hooked on their music, purchase The Fool through their BandCamp page, at the Holy Roar Records’ webshop, on iTunes, on Amazon or at Discogs.

Best moments of the album: The World and The Lovers.

Worst moments of the album: None.

Released in 2017 Holy Roar Records

Track listing
1. Shuffle, Cut and Reveal 1:15
2. The Magician 8:10
3. The Hanged Man 13:24
4. The World 6:42
5. The Lovers 8:03
6. The Hierophant 21:49

Band members
Paul Waller – vocals
Daniel Sargent – guitars
Marc George – guitars
Chainy Chainy – bass
Max Newton – drums


The Headbanging Moose Show – Thursdays @ 20:00 UTC exclusively at Midnight Madness Metal e-Radio


Attention, metalheads!

It’s time to rumble with THE HEADBANGING MOOSE SHOW every Thursday @ 20:00 UTC (with a reprise on Saturdays @ 19:00 UTC) exclusively at Midnight Madness Metal e-Radio, your London-based web radio blasting the best of heavy music nonstop 24/7!

Presented by Gustavo Scuderi, The Headbanging Moose Show will bring to you the cream of underground metal music, giving you a short and sweet background on every band played on the show. No silly jokes, no shenanigans… THIS IS PURE F****N’ METAL!

So remember, EVERY THURSDAY @ 20:00 UTC (with a reprise on Saturdays @ 19:00 UTC) tune into Midnight Madness Metal e-Radio to enjoy one hour of kick-ass underground metal from all over the world, courtesy of The Headbanging Moose!

Here are all the options where can blow your speakers with Midnight Madness:

Official website
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Don’t forget to follow The Headbanging Moose on Facebook to know beforehand which bands will be played on the show every week.

And if you want to have your new album reviewed at The Headbanging Moose AND played at Midnight Madness Metal e-Radio, simply get in touch with us through our CONTACT US page.