Rongeur Premiere “Wellpisser” from An Asphyxiating Embrace

Posted in audiObelisk on March 7th, 2018 by JJ Koczan


Norwegian sludgetossers Rongeur will issue their debut album, An Asphyxiating Embrace, on March 9. They’ve aligned themselves to no fewer than three separate labels for the occasion: Poacher Records has the initial digital release — that’s this week — late Spring (May or June, depending on whom you ask) will see cassette and vinyl out through Poacher, as well as Ampmandens Records and Aonair Records. Complicated? Don’t worry, by the time you make it through the track premiere for “Wellpisser” below, you’ll feel like you were hit over the head and you won’t remember anything anyway. It’ll be like the confusion never happened. Thud.

An Asphyxiating Embrace — or as I’ve enjoyed thinking of it, ‘the bear-hug that kills you’ — offers claustrophobia worthy of it title, and for that reason one might try to to peg it as post-metal, but that’s hardly even the surface level of the melting pot formed by the eight-track/30-minute offering, throughout which songs like “The Weight of Guilt” blend punishing low end and soaring guitars and keys for an effect that offsets the ultra-pissed noise punk of the earlier “Special Needs” or the everybody-scream-at-the-same-time onslaught of “Mr. Hands.” A catchall like “noise rock” ultimately applies no less than a catchall like “progressive” to what the Oslo three-piece put together in their material, but I don’t think there’s any denying that from the opening lumber of “Weltschmerz” through the rawer bass and feedback interplay of “Chained to a Dead Horse,”rongeur an asphyxiating embrace the core of the album is in its aggressive thrust.

That said, there are moments of flourish one finds throughout, like the keyboards that arrive and come to the fore on “Wellpisser,” the trio of bassist/vocalist Dag Ole, guitarist/vocalist Ken-Robert and drummer/backing vocalist Jon incorporating more spacious guitar leads and keys amid the by-then-familiar rumble of low end beneath. Followed by the chugging and more bare-bones arrangement of “The Deconstructionist,” “Wellpisser” is a standout from much of An Asphyxiating Embrace, but nonetheless representative when it comes to the spirit of the full-length overall, which is to operate with efficient brutality — a kind of thoughtful onslaught playing out over its course that presents itself with deceptive variety through songs like the rolling “Friendsliebe” and the Mellotron-laced creeper-riff-into-aggro-explosion in “The Weight of Guilt,” on which High on Fire-style gallop meets with ’90s hardcore in only the cruelest of presentations.

Their first full-length, An Asphyxiating Embrace follows behind the 2015 demo collection, The Catastrophist and As the Blind Strive Demos (review here), and benefits from the lessons learned across those 2013 and 2014 shorter releases in terms of its fluidity, diversity of approach and general level of craft and production. It is the proverbial impressive debut from a band who’ve obviously given thought to how they want to direct the weapon that is their sound.

You can stream the premiere of “Wellpisser” below, followed by the idiomatic origin story of the title — if anyone needs me I’ll be trying to work the word into daily conversation — and more info from the PR wire. Please enjoy:

Dag Ole on An Asphyxiating Embrace:

The album An Asphyxiating Embrace is in essence a frustrated observation of the human inadequacy to make rational choices. It dwells on the metaphysical aspects of social norms, religion and politics, but without being dogmatic about any of these. Rather it poses more questions than it offers answers. So hope and relief has to be found elsewhere. If anywhere.

The song title “Wellpisser” is derived from old norse “brunnmigi” or “brønnpisser,” meaning to urinate in somebody’s well, i.e. drinking water. It is today used as a derogatory expression in modern political discourse to portray political opponents as fraudulent and false, and is a means to disguise one’s real intentions. However, it should come as no surprise that this phenomenon of dishonesty in regards to intentions appears in all spheres of human interaction. This song is thus about deceit.

Rongeur’s first release was a compilation of demos, the Catastrophist (2013) and As the Blind Strive (2014), issued on cassette by the British label Aonair Productions in December 2015. These demo recordings were then released on compact disc by Disiplin Media (now defunct) in April 2015 with a worldwide distribution deal. In March 2015 Rongeur entered the studio of Jørgen Karlstrøm (ex-Hexed) at PhatCat Studios in Oslo to record four crushing tracks. Two of these were released as a digital split release with Ampmandens Døtre in September 2015, and the remaining two tracks were released as the “God and I/Good War” 7” vinyl single via Ampmandens Records in April 2016.

In late January 2017 the band recorded nine new tracks at Norsk Lydstudio to be featured in their debut full length album “An Asphyxiating Embrace”. The record is mixed and mastered by Ruben Willem at Caliban Studios. The digital version will be released on Poacher Records on the 9th of March 2018, and will also be released on physical format (vinyl and cassette) in May/June 2018 via Poacher Records, Ampmandens Records and Aonair Records.

Rongeur is:
Dag Ole: bass and vocals
Ken-Robert: guitar and vocals
Jon: drums and vocals less

Rongeur on Bandcamp

Rongeur on Thee Facebooks

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Rongeur Set March 9 Release for An Asphyxiating Embrace

Posted in Whathaveyou on March 1st, 2018 by JJ Koczan


Head over to the Bandcamp page for Norwegian sludgers Rongeur and the story seems pretty complicated, but here’s the upshot so far as I can gather: The band is heavy as fuck and their debut album, An Asphyxiating Embrace, is coming out March 9 digitally with physical pressings to follow at some point thereafter. The good news is that if you feel so inclined you can check out the track “Weltschmerz” now — at the bottom of this post, even! — and see if you can resist the urge to punch yourself in the head while listening. I could not, but to be fair, neither was I really trying to. So it goes.

More to come on this one I think before the release, so stay tuned. Until then, the PR wire has info:

rongeur an asphyxiating embrace

Rongeur – Norwegian Sludge Trio Announce Debut Album “An Asphyxiating Embrace”

Oslo-based stoner/sludge trio Rongeur will finally unleash their first full-length album “An Asphyxiating Embrace” after releasing a couple of eps and split releases over the last six years.

Scheduled for release on March 9th digitally via Poacher Records and on vinyl/cassette in early June via Poacher Records, Ampmandens Records and Aonair Records, “An Asphyxiating Embrace” was recorded by Rongeur and mixed and mastered by Ruben Willem at Caliban Studios. Pre-orders for the physical versions will be announced soon.

We offer the album “An Asphyxiating Embrace” in a limited run of three different vinyl colours: clear, white or standard black vinyl (100 copies of each colour). The LP is housed in a beautiful single jacket cover designed by Ole Nymoen Design (Sibiir, Naga Siren, Hexed, Ieatheartattacks), with a high quality protective inner sleeve. All copies will be hand numbered by the band. Includes a digital download of the whole album made available on the date of release March 9. 2018.

We offer a very limited run of 50 hand numbered cassette tapes of the album “An Asphyxiating Embrace”. The cassette comes with exclusive artwork done by the talented french illustrator Alexandre Bodecot, and the bonus track “Sunk Costs”. Includes a digital download of the whole album made available on the date of release March 9. 2018.

The dystopian stoner/sludge/doom metal trio Rongeur was formed in the autumn of 2012. The band is known for playing loud, having a shared love for old tube amps, feedback, distortion, Neurosis, Seigmen and Black Sabbath. Rongeur therefore offer varying levels of angst, and batter you with their unique brand of heavy.

Rongeur is:
Dag Ole: bass and vocals
Ken-Robert: guitar and vocals
Jon: drums and vocals less

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Lonely Kamel Premiere “Fascist Bastard” from New Album Death’s-Head Hawkmoth

Posted in audiObelisk, Reviews on February 9th, 2018 by JJ Koczan

lonely kamel

We live in an age of hyperspecialization. If a band isn’t playing vintage-style proto-progresssive boogie, they’re delving into semi-psychedelic heavy space doom with traditionalist metal elements. Microgenres emerge and disappear as quickly as hashtags and Bandcamp trends will allow, and while in many ways this signals a greater creative flux and that’s not something I’m about to disparage, every now and then it’s nice to be reminded that there was already a single sound that could be all of these things and more besides. It’s called rock and roll, and that’s kind of been the point of the thing all along.

Oslo’s Lonely Kamel play rock and roll, and in the decade since they released their self-titled debut, they’ve played plenty of it. With their fifth long-player, Death’s-Head Hawkmoth, the Oslo fivesome make their debut on Stickman Records after two records on Napalm, and from the opening gong and thickened fuzz sing-along hook of “Fascist Bastard” to the stomping forward thrust of “Inside,” the bouncing verses and later drift in “Psychedelic Warfare” and the start-stop blues of “The Day I’m Gone” that hits after the album’s mega-hook in “Inebriated,” they recall the best of turn of the century European heavy rock and roll: one foot in the heavy ’70s in terms of their influences,Lonely Kamel Deaths Head Hawkmoth and the other firmly engaged in the business of kicking their audience’s collective ass.

It’s been four years since Lonely Kamel released their last album, Shit City, and as one might guess from the title, all was not well with the band. They’ve swapped out lead guitarists for Death’s-Head Hawkmoth, and if there are any residual doubts about Vegard Strand Holthe‘s contributions to the record, one need only listen to the extended instrumental build and solo-topped payoff off of “The Day I’m Gone” to get it. It ain’t hard to see where they’re coming from. Nor should it be. The prevailing lack of pretense is one of Death’s-Head Hawkmoth‘s great strengths, and it goes hand in hand with the classic-style frontman presence of vocalist/guitarist Thomas Brenna, the guiding riffs of guitarist Jøran Normann and the rhythm section of bassist Stian Helle and drummer Espen Nesset, which proves unshakable unless we’re talking about dancing.

And if we are talking about dancing, well, there’s the jangle early in the rolling verse of “Fascist Bastard,” or the almost-a-freakout space rock push of “Inside” that follows the positive-self-talk interlude of “Move On,” or the post-Queens of the Stone Age stutter-shuffle in the second half of “More Weed Less Hate,” Death’s-Head Hawkmoth isn’t exactly short on opportunities for it. Whatever statements Lonely Kamel may or may not be making about aesthetic specificity in the digital age — something in “Inebriated” tells me they have better things to think about — their bluesy core becomes just one of the means by which they pull the listener along with them on a journey varied and distinct enough to earn at least a couple of its own hashtags but which would seem to have little use for them in comparison to a solid, primary and overarching groove. The very sound of doing it right.

Lonely Kamel release Death’s-Head Hawkmoth March 23 via Stickman Records. Below, you can hear the premiere of “Fascist Bastard” and check out some background courtesy of Helle on how the album came together.

Please enjoy:

Stian Helle on Death’s-Head Hawkmoth:

Death’s-Head Hawkmoth was written over a relatively long period, due to various reasons. I remember Thomas brought a six-song demo tape back in April-May 2015, and four of these ideas were initially recorded during the Hawkmoth sessions, while only three of them ended up on the record. We were in a different place back then, so maybe that’s why it took a long time to finish them. Our previous record, Shit City, kind of summed it all up at the time.

One of these demo tunes was actually from way back in the days. The opening riff and chorus on “Psychedelic Warfare” was used as a middle part of a song we called “All Star Veteran.” We have a few rehearsal takes from 2007 with this riff in a totally different setting. The song was never released though.

Most of the new songs were potentially good ideas but we struggled to nail them… Our new single, “Fascist Bastard,” was the first one to come alive. We toured Europe for 10 days in June 2016, and played this live on that tour. When our former lead guitarist quit we started playing with a friend of ours, Vegard Strand Holthe. This was just three or four weeks before we would go on tour again in October 2016. We didn’t play much of these new songs on that tour but continued to do “Fascist Bastard” live, and were ‘shaping’ it each night. So it’s a fresh version of the song that finally ended up on the new album.

Vegard continued to play with us after the tour and we started working more focused on the other new songs as well. And he was a big influence on a lot of the songs and how they ended up on the record. All songs were and written and arranged by Lonely Kamel and Vegard, who eventually became a part of the band. Another addition to the Kamel family is Jøran Normann who recorded parts of the album. He played some guitar on the record and toured with us in 2017, stepping in, doing the lead guitar live while Vegard was occupied with other projects. From January 2018, Lonely Kamel is officially a five-piece.

We recorded totally nine songs for Death’s-Head Hawkmoth, or 10, depending on how you see it. Songs three and four on the new record, “Move On” and “Inside” — are actually one song, we just divided it into two during the mix. “Inebriated,” “More Weed Less Hate” and “The Day I’m Gone” are new songs, written the last couple of months before recording. Even though it’s written over a period of time the album feels like an entity. Thomas did the all lyrics so I leave that it to him.

Death’s-Head Hawkmoth was recorded at Schumann Lydbureau in oSlo, February 2017, by Jo Schumann and Jørann Normann. Mixed by Ruben Willem in June & mastered by Brian Gardner in November same year.

Thomas Brenna – vocals & guitar
Espen Nesset – drums & backing vox
Stian Helle – bass & backing vox
Vegard Strand Holthe – guitar & backing vox
Jøran Normann – guitar & backing vox

Lonely Kamel on Thee Facebooks

Lonely Kamel on Instagram

Lonely Kamel on Bandcamp

Stickman Records on Thee Facebooks

Stickman Records website

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Friendship Premiere New Single “Gypsy”; Ain’t No Shame LP Coming Soon

Posted in audiObelisk, Reviews on January 26th, 2018 by JJ Koczan


Today, Jan. 26, marks the release of Friendship‘s new single ‘Gypsy’ ahead of the impending Kozmik Artifactz issue of their sophomore full-length, Ain’t No Shame. On an almost song-by-song basis, from the arena-rock lead-in of opener “Are You Ready?” to the Stevie Wonder-style soul and funk of the penultimate “Live Peacefully,” the record showcases a multifaceted personality on the part of the Oslo-based trio. There are some commonalities, of course — the earlier “Harmony Turns to Sound” is plenty funky as well — but mostly what ties together Friendship‘s work is the underlying songwriting prowess, and whether it’s the boogie shuffle and build of “Gypsy,” or the eight-track ready sunshiny brightness of “Got Me Feeling So Good,” the Hammond-laced post-Graveyard melancholy of “Moments,” or the ultra-vibrant mega-fuzz start-stop of “Fire,” which follows, that sense of craft holds firm even through the blowout blues of “Alaska Night” in headphone-worthy sonic nuance, mindful performances and an earthy production that allows the band to maximize their scope while remaining consistent in overarching sound and tone.

Friendship made their debut in 2012 with the Alpha Male EP and followed with a 2014 self-titled long-player that Kozmik Artifactz picked up in 2016. For Ain’t No Shame, the lineup of drummer/vocalist Fredrik Skalstad, guitarist FRIENDSHIP GYPSYSander Eriksen Nordahl and bassist Martin Morland returned to work in conjunction with engineer Christian Engfelt (also Elephant9 and many others across a wide swath of genres), and the fruit of that labor can be heard in the confidence with which the 10-track/41-minute LP pulls off its various sonic turns. I wouldn’t call the album linear exactly — it does seem more interested in jumping from place to place in terms of style rather than digging into a single overarching groove and riding it out for the duration; nothing against either approach when it works — but it does find common groun through its sense of structure and while brimming with variety nonetheless retains a human core of performance beneath that plays up not only a classic feel but cohesion behind even that of hook-making or choice-level chorus execution.

What does that mean? It means the chops are in place, but as you dig into the track premiere for “Gypsy” below which I’m thrilled to be hosting today, don’t necessarily expect the track to speak for the entirety of what Ain’t No Shame brings to bear on an aesthetic level. Do, however, expect a damn good time.

Please find “Gypsy” on the player here, followed by some discussion from the band about the track and the long-player from whence it comes, which again is out soon on Kozmik Artifactz:

Friendship, “Gypsy” official track premiere

Friendship on “Gypsy” and Ain’t No Shame:

Gypsy is a rock tune with a riff that gave associations to a dude who rides alongside railroad tracks, and the lyrics pretty much came after that. The song is about a guy who lives his life on the road looking for love. The band worked a bit to get the riff to sound tight and we are happy with the way it turned out on tape. We included bongo drums in the main riff to recreate the association the riff gave when it first was made on an acoustic guitar in Fredrik’s living room. Sander came up with the riff for the chorus and the rest of the song came together through a collaboration in the rehearsal room. Gypsy is the first taste of a new album from Friendship that sounds like rock and good vibes!

‘Ain’t No Shame’ is an album consisting of ten songs with various feels, grooves and stories. Hence the name, Ain’t No Shame. There are songs inspired by country tunes from bands like The Band and Dylan from his Nashville Skyline period to hard, heavy and slow Sabbath-feel songs. Where we wanted the song to sound like a soul song we went all out; four horns, a Hammond organ, crazy percussion and an extremely talented female singer. The album sounds like Friendship in 2018. Many of the groovy riffs and energetic rhythms from the debut album are present, only performed better. The sound is also more defined and has a higher level of quality. We used a great studio with an amazing technician, Christian Engfelt, who also mixed the record.

We are extremely excited to show the record to everyone. It sounds surprising, sexy and superb!

Friendship is:
Fredrik Skalstad – drums and vocals
Martin Morland – bass
Sander Eriksen Nordahl – guitar

Friendship on Thee Facebooks

Friendship website

Kozmik Artifactz website

Kozmik Artifactz on Thee Facebooks

Kozmik Artifactz on Twitter

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Lonely Kamel Sign to Stickman Records; New LP in 2018

Posted in Whathaveyou on December 12th, 2017 by JJ Koczan

As they move into 2018 and mark a decade since the arrival of their self-titled debut, Oslo-based heavy rockers Lonely Kamel have been announced as signing to Stickman Records for their impending and yet-untitled fifth offering. It will be the first for the four-piece since 2014’s Shit City (discussed here) came out via Napalm Records and by releasing through Stickman, it continues the impressive pedigree the band has built over their time together, having achieved veteran status through performances over the last several years at Freak Valley, Desertfest Belgium, Roadburn and so on.

With Sound of Liberation behind them for booking and Stickman helming the release, I don’t at all imagine this will be the last time we hear from Lonely Kamel heading toward the New Year, and that’s just fine as far as I’m concerned. With an early 2018 tentative arrival date for the record, I wouldn’t be surprised to see their name pop up on a Spring festival or two, but of course, we’ll have to wait and see when we get there.

In the meantime, Stickman announced the partnership thusly:

lonely kamel


Just before the close of the year we’re ecstatic to welcome another band to our fold: Lonely Kamel from Oslo will be releasing their 5th full-length album early next year on Stickman! The band’s melange of smokey blues, hard rock and stoner riffs have caught our ears for a while and we’re glad to be home to their next album. More details on this soon!

This camel is certainly not a lone voice in the wilderness. Especially since LONELY KAMEL indeed sound like a desert, but in truth come from Norway. And obviously traditional Hard Rock can be produced quite exquisitely between fjords and endless forests, which sound nice, meaty and dry. On their fourth album the Norwegians act in the tension between Hard Rock from the seventies, Stoner Rock, Blues, Psychedelic and a dash of Doom.

Lonely Kamel, “Shit City” lyric video

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Thulsa Doom to Release A Keen Eye for the Obvious Feb. 16

Posted in Whathaveyou on November 23rd, 2017 by JJ Koczan

thulsa doom

By the time it lands in February, A Keen Eye for the Obvious will be arriving upwards of 13 years after its most recent predecessor from Norwegian heavy rockers Thulsa Doom, which was 2005’s Keyboard, Oh Lord! Why Don’t We?. Needless to say, anyone with a keen eye for the obvious can tell you that’s plenty long enough. Near as I can tell, it’s a release through Duplex Records with distribution from Stickman, though it could be a direct release through Stickman as well — I’m not really sure. Either way, it’s coming out, and the band have a new video for opening track “Lady Nina” playing now that’s rife with boozy themes and Thin Lizzy bounce, and you’re not going to hear me complain about that in the slightest. These guys were always a good time, and one is glad to see that the intervening decade-plus hasn’t changed that core aspect of their sound.

This weekend they play Caliban Sessions alongside Black Debbath and a host of others. There’s more info at their Thee Facebooks page, which is linked below.

Dig it:

thulsa doom a keen eye for the obvious

Thulsa Doom – A Keen Eye for the Obvious

European release distributed by Stickman Records!

We are proud to announce that «A Keen Eye for the Obvious” will be released in Europe, february 16th, 2018.

The release is in the best of hands, distributed through legendary German label Stickman Records who has been, and will always be, a true friend of quality music from Norway.

We look forward to a new chapter in the Thulsa Doom story through Rolf and Stickman, and are really happy to, from now on, be associated with many of our favourite bands from past and present, including Fireside, The Soundtrack of Our Lives, Radio Birdman, Motorpsycho and Elder, just to name a few.

We hope to see you on the road next year as well.

1 Lady Nina
2 Eloquent Profanity
3 Wrap the Bad up
4 Shadows on the X-rays
5 Consider Me
6 Bag of Fries
7 Quest for Fire
8 Magazine
9 In Italics and Bold
10 Baby, Hate IT

Thulsa Doom, “Lady Nina” official video

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Wobbler Sign to Karisma Records; From Silence to Somewhere out Oct. 20

Posted in Whathaveyou on September 15th, 2017 by JJ Koczan


I was fortunate enough to see Norwegian progressive rockers Wobbler last year in Oslo at the first night of the Høstsabbat festival (review here). They played on the larger of the two stages at the Vulkan Arena and offered a style that basked in classic progressive fluidity and still maintained a vital rock edge. Prog and rock! Both kinds of music! To my detriment as a human being, I did not end up buying everything they had for sale in the merch area, but I probably should have, and needless to say, I’ll be keeping an eye on the Oct. 20 arrival date that’s been set for their fourth long-player, From Silence to Somewhere, by their new label home, Karisma Records.

I haven’t seen or heard any audio from the release as yet, but that should be along soon, and in the meantime, the PR wire had the album art and following details to offer:


WOBBLER – From Silence to Somewhere

Norway’s leading Symphonic Prog band WOBBLER have inked a deal with Karisma Records and are set to release their fourth full-length album, “From Silence to Somewhere” on the 20th October.

Formed in Hønefoss in 1999, WOBBLER’s current lineup features current and former members of TUSMØRKE, WHITE WILLOW, THE CHRONICLES OF FATHER ROBIN and JAGA JAZZIST. With Lars Fredrik Frøislie on keyboards and backing vocals, Kristian Karl Hultgren on bass, bass clarinet and bass pedals, Martin Nordrum Kneppen on drums, percussion and recorder, Andreas Wettergreen Strømman Prestmo on vocals, guitar, glockenspiel and percussion, and Geir Marius Bergom Halleland on lead guitar and backing vocals, the band can avail itself of a considerable array of instruments that have a huge, and very interesting impact, on the overall sound.

“From Silence to Somewhere” offers up a sound that is enigmatic, multi-flavoured and adventurous, with the use of copious amounts of Mellotron, Moog, Hammond, Chamberlin and other classical analogue keyboards, and of course the renowned Rickenbacker Bass. The guitar riffs go from poignant to edgy. Melancholy harmonies combine with powerful crescendos and high-energy, spinet-driven passages, flavoured with a touch of Flamenco and Italian Renaissance music to produce and album comprising four epic tracks that explore the idea of metamorphosis and alchemy. It is a natural continuation from WOBBLER’s previous albums, but with a darker, more introspective edge.

With artwork by Thomas Kaldhol (Samuel Jackson 5, Panzerpappa, Lukas Kasha etc) , and a running time of 47 minutes, tracklisting on “From Silence to Somewhere” is as follows:

1. From Silence to Somewhere
2. Rendered in Shades of Green
3. Fermented Hours
4. Foxlight

Release details + links:

Format: LP, CD, Digital
Label: Karisma Records
Distribution: Soulfood (Germany), Plastic Head (International)
Genre: Progressive Rock
Release Date: 20/10/2017

Wobbler, “In Orbit”

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Purple Hill Witch Set Nov. 10 Release for Celestial Cemetery

Posted in Whathaveyou on September 6th, 2017 by JJ Koczan

purple hill witch

Late Fall seems like as good a time as any for the second full-length from Norwegian doom-rocking trio Purple Hill Witch to arrive. Titled Celestial Cemetery and given its release through The Church Within Records like the band’s preceding 2014 self-titled debut (review here), the album doesn’t have any unveiled audio or much to go on at this point other than the description in the announcement below — you could do far worse for touchstones than Angel Witch, Black Sabbath and Hawkwind, to be sure — but certainly the artwork carries a classic metal feel as well as you can see below, and if nothing else, it’s got a song called “Ghouls in Leather” as the opener. So, you know, automatic win there.

Nov. 10 is the release date. Hoping to have more to come on it before we get there, but we’ll see what comes together. Info follows as posted by The Church Within:


CW046: Purple Hill Witch – Celestial Cemetery

With their sophomore album Celestial Cemetery out on Church Within Records, Norwegian Purple Hill Witch hits a sweet spot in the metal triangle between Angel Witch, Black Sabbath and Hawkwind. It’s that alchemistic moment where psych, doom, NWOBH, proto metal and rock is molded and sculpted into a perfect entity. Whereas their debut album had more of a stoner rock vibe to it, the new album takes the listener on a sheer proto doom journey past vast galaxies of swirling, Iommic riffs, blistering soli, driving drums and a steady surge of pulsating bass.

What really strikes through on Celestial Cemetery is how much atmosphere and true feeling the band manages to cramp into the furrows of their sonic landscape – this album oozes with hallucinogenic visions of occult rituals and barren medieval country sides haunted by wicked witches. As such it leaves an even darker, more sinister imprint, and if there ever was an immaculate soundtrack for when going witch hunting across celestial cemeteries this would have to be it. Grab the magic wand and a copy of Purple Hill Witch’s new album before the next hunt, you will need it.

1. Ghouls in Leather
2. Hardbinger of Death
3. Celestial Cemetery
4. Around the Universe
5. Menticide
6. The First Encounter
7. Burnt Offering

Street date: 10th of November

Purple Hill Witch is:
Kristian – Gitar & vokal
Andreas – Bass
Øyvind – Trommer

Artwork by Kristian Valbo.

Purple Hill Witch, Purple Hill Witch (2014)

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