Tomorrow, Sept. 27, is the release date for the third single from New York’s Northern Heretic. Dubbed “Ghosts in the Hills” and given to a moody, languid flow in its verse, it follows behind April’s “Angrboda” (premiered here) and late-2023’s first offering, “Killing Floor” (premiered here), and if the links didn’t make it clear enough, yes, it’s the third in a row being premiered in this space. I’ll tell you outright that isn’t a coincidence.

Neither is it purely a result of the component members’ pedigree either. Plenty of bands around with dudes who’ve been in other bands not starting out by unveiling three tracks in a row here. Each of the three pieces Northern Heretic have released to-date — and mind you, I don’t know that they’re ‘pieces’ of anything as regards an album release or whatever, I just don’t like using the word ‘song’ 75 times in the same post — adds something to the picture of who the band are going to be separate from the past work of guitarist/vocalist Ken Wohlrob, bassist Davis Schlachter and drummer Rob Sefcik in bands like Eternal Black, Reign of Zaius and Kings Destroy, let alone other collaborations any of them have going on, whether that’s Wohlrob and Schlachter in the hardcore-crossover outfit End of Hope or Sefcik playing in Thinning the Herd. Specifically in terms of mood.

At over eight minutes long, “Ghosts in the Hills” is the most substantial of the three thus-far tracks Northern Heretic have presented, if not by a ton. It’s more about how the time is used. “Ghosts in the Hills” isn’t particularly brash, and it’s not as outwardly aggressive as “Killing Floor,” but it finds a baseline and dwells there in order to create a sense of drudgery. Its lumber comes not from sounding huge, but from meditating on its central riff the way it does, letting it evolve into an atmosphere across its span. This is something Northern Heretic haven’t really done yet in this way, and though it has its moments of pickup in the chorus and ends with an effects-laced drawling slowdown — not quite Echoplex, I think, but not far off — the fuller impression the song makes is one of digging in a bit deeper and seeing where they end up, rather than just getting there. A focus on verse over hook, resonant vibe over immediate impact.

“Ghosts in the Hills” further underscores the purposeful nature in which Northern Heretic‘s material has surfaced up to this point. I’m not sure it would have worked as a first single, but set against the backdrop of the other two, it has a fuller context in which to be understood for what it’s doing in expanding the band’s stylistic take. When and if there’s a fourth single to come, I don’t know that I’d get to premiere it (though I would; I kind of like how there’s a thread in these posts so far), but I’ve appreciated the chance to experience “Killing Floor,” “Angrboda” and now “Ghosts in the Hills” as part of a distinct and increasingly complex narrative, and I’m curious to hear where it’s all leading. Are they going to keep getting weirder and more brooding, or is this an aberration? Maybe we’ll find out in a few months.

Please enjoy:

Northern Heretic on “Ghosts in the Hills”:

“Ghosts In The Hills” is the song we’ve been most excited for everyone to hear. From the rhythmic patterns of the drums, to the character of the vocal parts, to the different guitar riffs, to the way the overall complexity builds as the song moves forward, “Ghosts In The Hills” sounds far from anything we’ve ever done before.

This track freed us up, allowing us to move past the guardrails of the current heavy music scene. We think that comes across in the energy and dynamics of the song. It can be laid back, but it can also pummel you. It can be simple, yet incredibly complex. “Ghost In The Hills” became a culmination of everything we set out to do differently as a band.

“Ghosts In The Hills” was recorded at Suburban Elvis Studios in New York State, the same studio where the Eternal Black and End of Hope albums were recorded, as well as the last Begotten album. Once again, we worked with Joe Kelly, who produced all of those albums and helped us to achieve the big sonic boom we wanted for this new project.

“Ghosts In The Hills” is the third of four singles to be released this year. The way people listen to music has changed and we’re adapting to that. Rather than making fans wait for a whole new album, we’ll release songs as they’re ready.

The cover art for “Ghosts In The Hills” is by New York artist Melissa Pracht, who also painted the covers “Killing Floor” and “Angrboda.” She will be creating art for all four NORTHERN HERETIC singles released in 2024. Each cover will be unique, but there will be a shared thematic feel to them.

Formed in April 2022, NORTHERN HERETIC consists of Rob Sefcik (Kings Destroy, Begotten) on drums, Davis Schlachter (Reign of Zaius, Clothesline, End of Hope) on bass, and Ken Wohlrob (Eternal Black, End of Hope) on guitar and vocals. “Ghosts In The Hills” follows two previous singles, “Killing Floor” and “Angrboda,” which were released on November 10, 2023 and April 12, 2024.

“Ghosts In The Hills” written by Northern Heretic
Produced, mixed, and mastered by Joe Kelly
Recorded at Suburban Elvis Studios, April 2023
Cover art by Melissa Pracht
© 2024 Northern Heretic / All Rights Reserved
Golgotha Records

Northern Heretic is:
Davis Schlachter (Reign of Zaius, Clothesline, End of Hope): bass, keyboards, backup vocals
Rob Sefcik (Kings Destroy, Begotten, Thinning the Herd): drums
Ken Wohlrob (Eternal Black, End of Hope): guitars, vocals, keyboards

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