In the tradition of Coven, Castle, and Blood Ceremony, comes HIGH CRIME. Recently formed, this North Carolina crew features the collaborative talents of Larry Burlison of Demon Eye, Ryan Masecar of Cygnus X-2, Matt Couchon of Noctomb, and Reign of WitchTit.

Today, we’re hearing “Succumb,” a riff-centric amalgamation of ‘80s-era metal and hard rock. The beat and groove of the song are undeniable, and have a way of wooing you like the fabled Succubus. It’s one of those tracks I could (and indeed did) listen to several times over.

For the band’s part, “Succumb” is “about the struggle against addiction and vices in an attempt to cope with mental illness and succumbing to vices and escapism. It personifies that concept and that’s who’s speaking in the song”

High Crime’s “Succumb” is available now for digital download (get it here). This month, High Crime embark upon a tour with Mortal Man. Stick them on a playlist with Joan Jett, Judas Priest, and Def Leppard.

Give ear…

SOME BUZZ

Larry and Reign of High Crime became friends through the local music scene when their bands Witchtit and Demon Eye performed together in November 2018. They started sending riffs and vocals back and forth until they had a few song ideas to expand on. In September of 2022, they brought in Matt Couchon and Ryan Masecar and established their line-up.

High Crime started writing quickly, working off of old and new riffs Larry had, and pretty soon they had a set and started gigging in early February 2023. Musically the band draws from an array of influences including the likes of Deep Purple and Geezer Butler to Joan Jett and Iron Maiden.

HIGH CRIMES Tour Dates with MORTAL MAN

• June 23rd - The Golden Pony, Harrisonburg VA, with Krode
• June 24th - Milk Parlor, Blacksburg VA, with Engineered Extinction
• June 25th - Cobra Cabana, Richmond VA, with Riot Queen

Purification. As that word washed over me with all the stinging crispness of a peppermint, I was left pondering if there could be a notion more alien to human nature than purity? Certainly, it’s something we strive for, and may even come close to achieving, though we know character is based upon striving with imperfection.

Something derails my heady trail of thought and I return to fingering through an inventory of new tapes, CDs, and 7" records. Groceries will have to wait, because it looks like we’ve got some exploring to do. Okay, now here’s something that looks promising. Came out in what 1989? 1990?

I fish out a rather severe looking record, featuring a kind (long dead) affixed to the throne of power. This unusual scene is presided over by a Rasputin-like figure, while an accuser points a finger knowingly towards both priest and the king. I’m describing the cover art for ‘Perfect Doctrine’ (2020) by the band PURIFICATION, featuring members of the Portland, Oregon-area acts Troll and Thrown.

The whole world is warzone
And your life is getting grim
Their fantasies are your miseries
And your pain it seems, must never end
Never end…No!

Just then, a deep purple van rolls up to the record store and some dude slides back the van door, which is donning a righteous looking mural of axe and shield. “C'mon! We’ve got places to go, people to see, man. Did you forget?” It’s the band Purification itself, welcoming me aboard this groovy beast, with its impressive collection of empty beer cans, a dart board, low hanging chandelier, wood panelling from front to back, littered with roaches. “Get in. Quickly! The ritual’s about to begin.”

Opium Blade

Perfect Doctrine opens decisively with “Opium Blade.” It’s a sad waltz, like a low hanging cloud dusting across the dance floor. The duo of Purification axemen animate the bittersweet theme, as Grand Field Marshal William Purify takes to the airwaves, delivering his dark gospel to the masses.

On The Wings of Pestilence,
Darkness Takes Flight

This one is replete with warm storybook magic. A soaring, ethereal chorus threaded with multilayered voices hovers overhead, blessing our mind with this exalted state. Simultaneously angelic and weirdly haunting, the song is among the strangest and most sublime I’ve heard encountered in all of epic doom. I wondered for a minute whether Purification was related to one Jeremiah Sand.

All The Glittering Jewels

“All The Glittering Jewels (Part I)” is the easiest track to get into, if you’re seeking one with an immediate headbanging groove. “Don’t wait…save yourself!” is a powerful moment in the song, especially when the stinging hiss of those words are juxtaposed with a sonamulant chorus of “woes.”

Rainbo can’t help himself. He likes to venture into the cobwebbed caves of long forgotten sound schema like a psychedelic Sherlock, shining light on all of that is dark and mysterious about us, while the gem-specked walls thirstily drink in the most dazzling colors. During this chaotic section, some sounds don’t seem to belong together, to put it crudely, but everything converges in Part II, which is donned in the majestic radiance of glittering jewels, the pomp ending in a cascade of sparks.

Throw Away The Cross

“Throw Away The Cross” is pure uncanny valley. Like 3:30am in the morning kind of stuff. As the song’s intensity ratchets up, the Grand Marshal’s singing becomes more and more unhinged (reminding me of the bluesy madness of KOOK’s Troy Aschenbrenner). At times, I forget I’m even listening to a metal song, so disorienting is this blurry, twangy soundscape unfolding before me.

Throw away your cross
And face the Master!

For such heavy lyrical sentiment, the track ends up tasting surprisingly sanguine. There’s something very strange about the overall vibe, which for whatever reason brought to mind an Adam Curtis documentary, The Living Dead (1995), particularly a moment in which one woman’s memories of a long ago Hawaiian vacation were “activated” by a surgeon simply by applying a current of electrical stimulation to the temporal lobe. I suppose it was the ukulele-like strumming in the song’s B-section that got me thinking of all this.

Sabbatharian Blood Feud

“Sabbatharian Blood Feud” is precisely the kind of eerie encounter we’d expect to have in the realm of dreams. Be prepared to question everything.

You think you know god
But you are a fool
You think you pray rightly
Your prayers are no use

Dark Age Warlord
Resurrected By Seditious Trickery

“Dark Age Warlord Resurrected By Seditious Trickery” is Purification’s “Aerials.” I was thinking midway through that it would be straight up dope if Serge Tankien did a cameo on this one. At times, Grand Field Marshal William Purify strikes a similar tone and tenor as the System of a Down singer. There’s a phrase in the song that I found particularly sad, if not profound: “I wish I were dead, but no one would take my soul.”

The Theurgy/Lunar Hymn 999

At last, the album draws to a close with what feels, for all intents and purposes, like liturgy. This is, in fact, a hymn and follows its basic architecture and cadence quite faithfully. Why, it almost feels like I’m in church.

Give ear…

Stoked to have supercharged Calif quartet SOLAR HAZE back with some new riffage following the release of their excellent self-titled debut last year.

The West Covina boys are bringing trve metal back in a big way with single “Burn The Light,” a song that would feel quite cozy next to Angel Witch or Witchfinder General. Sharp guitars, possessed rhythms, and an specter of a voice crying out from the netherworld, this track really rumbles.

It’s one of several surprises that await us on the forthcoming Metal Assault Mixtape Vol. 3, releasing August 14th (pre-order here), which will span 12 artists featured on the label.

Today, Doomed & Stoned is giving you a first listen to the latest “leak” from the lumbering new record. Get ready to get your Solar Haze on!

Give ear…

Some Buzz

The third installment of Metal Assault Records’ cassette compilation series, Metal Assault Mixtape Vol. 3 is releasing on August 14, and features brand new music by 12 bands from the Los Angeles area, altogether making a diverse blend of various heavy styles and sub-genres. 10 of the 12 tracks on offer here were written, recorded and submitted by the bands exclusively for the purpose of this mixtape.

Symphonic metal, power metal, hard rock, stoner rock, traditional heavy metal, groove metal, grindcore, hardcore punk, rock ‘n roll, prog, death metal and black metal … this mixtape has it all, and we can say with confidence that listeners will not be disappointed.

Cassette tape + digital download is now available for pre-order (cassette tape limited to 100 copies only).

Metal Assault Mixtape Vol. 3 Track Listing

Side A:
1. ANTHEA – Discovery (4:31)
2. THE SLEEPING SEA KING – Devil’s Soldiers (2:55)
3. BLACKWATER REDS – Chasing Eight (4:35)
4. MARISHI TEN – Never Look Back (3:53)
5. AGAINST THE GRAVE – Killing Us Slowly (2:43)
6. FLESH AND MACHINE – Hectic Fevers / Seeding Meat (3:23)

Side B:
7. SOLAR HAZE – Burn The Light (3:24)
8. RISING ELIJAH – Degenerated (4:03)
9. SUBSURFACE TENSION – Devil Pin-Up Girl (3:11)
10. DEIFIED – Harvester (4:59)
11. WARWIND – Night Fall (4:34)
12. FLESHBONG – The Bloody Peanuts Within Thy Stool (1:39)

Back in February, blackened doom rising stars Thorr-Axe made a joint decision to put the band to rest. As saddening as this was, it didn’t come as a surprise. In the several months before calling it quits, guitarist and singer Tucker Thomasson has been forming a new band that was taking off quickly in the NWOTHM (New Wave of Traditional Heavy Metal) subgenre, under the name THRONE OF IRON.

What began as a solo project for Tucker quickly grew into a full band as Throne of Iron began to catch the attention of bloggers and record labels alike. Thorr-Axe drummer Jacob Luett joined Throne of Iron, then guitarist Corwin Deckard and bassist Evan Pruitt were also added to the ranks. As a full band, they are now signed to No Remorse Records and Witchcraft Records.

While the name makes them sound like they could be a Game of Thrones tribute, their sound has them more aligned with 1980’s Dungeons & Dragons imagery than anything else. I’ve read on Metal Archives that Throne of Iron was formed in response to the passing of Manilla Road’s Mark “The Shark” Shelton. If this true, one can look at the calendar and see what a fast acting band Throne of Iron is. Their demo was written and recorded in just a few days over an ordinary month.

What you can expect from this demo is a trio of incredibly catchy and straight-forward traditional metal tracks, each about five minutes long. Throne of Iron succeed in fully encompassing the true spirit of heavy metal. From the “Electric Eye” inspired intro of opener, “A Call To Adventure,” and the epic storytelling that follows, to the intricate epic metal solos and Tucker’s flawed yet infectious clean vocals, fans of Manilla Road, Omen, and Visigoth will find themselves enjoying Throne of Iron.

Keep your eyes peeled as Throne Of Iron focus on dominating the planet! They are confirmed to perform at Gencon in Indianapolis this August and will be in Athens, Greece next year for Up The Hammers XV warm-up show.

Enough with the wizards, stoner-doom – let’s bring on the mages! The difference between the two, you’re wondering? One person (and I don’t remember who) put it something like this: “The mage is not just a practitioner of the magic arts, he’s also a scholar. Whereas the wizard? The wizard is just a user.” Okay, that wasn’t very nice, but it’s not entirely without its truth. What we get with the mage is wisdom, the perspective of history, and deep, deep lore. Pair that with the ability to see clearly the mysteries of the occult and awaken forces supernatural and you can’t be beat. Now, throw a little pot into the mix and you’ve got HAZE MAGE.

The Baltimore heavies are mages in the most fundamental sense, at least as far as the music is concerned. On the cusp of releasing their second full-length record, the band continues to conjure the galloping trot of NWOBHM glory and the rousing spirit of epic doom, along with a flair for showmanship in ‘Chronicles’ (2019). It’s the next chapter in the fantasy world established by Haze Mage’s debut, 'Blood Mist’ (2017), which my fellow Doom Charts editor Bucky Brown called “a gutsy combination of Danzig meets The Sword drowning in riff-heavy psychedelic fuzz, propelled by dynamic stoner blues, with classic rock tones and doom inspired groove.”

Indeed, the vocals remains a distinctive feature of the Haze Mage sound. Matthew Casella channels the dignity of Mats Björkman, the insanity of Scott Reagers and, yes, the bravura of Glenn Danzig. I would hasten to add, there’s a just the slightest touch of strangeness that reminds me of Michael Scalzi of The Lord Weird Slough Feg – which incidentally was a hop, skip, and a jump away from Casella in the '90s when Slough Feg was a staple of the Philly scene (interesting: Scalzi is a philosophy professor – I’m calling him Mage Mike from now on).

Joining Casella in the dramatic line-up: Kevin Considine (guitar), Nick Jewett (guitar), Scott Brenner (bass), and John De Campos (drums). Together they are one tight troupe of magic makers, holding their own on stage with the likes of Valiant Thorr, The Flying Eyes, and Ruby The Hatchet, not to mention a veritable Who’s Who of Doomed & Stoned Festival alumni, from Heavy Temple and Foghound to Horseburner and Book of Wyrms.

We got our first taste of Haze Mage’s sophomore effort with the single “Fire Wizards,” a feisty five-minute number, and the rest of the album follows suit, though with plenty of variety so that I never felt I was listening to the same thing over and over (the Achilles heel of doom-stoner music). If the celebratory rips of “Bong Witch” don’t drag you in, then certainly the rich fantasy world of Haze Maze will, with standouts like the unhinged “Harbinger,” the melancholy “Corpse Golem,” the slow-burning “Priest of Azathoth,” and (my favorite) the balladic ten-minute closer, “Dread Queen.” In short, there’s plenty here to satiate the bloodlust of the Riff Gods!

Chronicles releases on Grimoire Records this Friday, April 19th, with pre-orders for a sleek limited edition CD happening here. And now what you’ve all been waiting for: the world premiere of Chronicles by Haze Mage, which Doomed & Stoned is pleased to present at this time.

Give ear…

Some Buzz

Forged in Baltimore, Maryland in late 2015, Haze Mage creates riff-driven anthemic fantasy metal that transports listeners to a world where they explore ancient dark forests, slay savage beasts, and bask in the sacred mystic haze. Haze Mage weaves their fantasy world through lyrics and sound that draw inspiration from many subgenres of metal to create one all their own: Sword and Sorcery Doom.

Through the sanguine tinted lens of a nameless warrior, experience a blood-soaked landscape shrouded in magic and inhabited by otherworldly beings. Ancient tomes of the realm recite tales of those seeking vengeance on evil, the perils which have been witnessed and passed down for generations, and the warnings of an impending doom.

Shrouded in blackness a shadowy towering figure layered behind curtains of effluvium, It’s clawed hands rise to the empyrean, silvery eyes glowing red and massive spiked horns cut through the vapor to reveal the master of this realm and the miasma of smothering murk he commands, the Haze Mage. Will you succumb to his haunting power or will you be consumed by the power of the haze?

London powerhouse-and-a-half GREEN LUNG are back, just one year after capturing the affections of listeners with the Doom Charts-ranking EP, ‘Free The Witch’ (2018). Their debut LP, 'Woodland Rites’ (2019), shows us the London act’s true powers, now a five-member strong team with Tom Templar leading the charge on vocals, Scott Masson on guitar, Andrew Cave on bass, Matt Wiseman on Drums, and John Wright on the organ.

“We’ve been leading up to the themes of Woodland Rites,” the band tells me, “since our very first demo Green Man Rising. It’s an eight track heavy-psych LP inspired by folk horror and the sense of the uncanny that pervades parts of the British countryside, in the tradition of proto-metal bands like Black Widow, Comus and Coven. Lyrics explore everything from old British folklore like 'Bella in the wych elm’ to the Blind Dead movies, and while the emphasis is on heavy psych, wider musical influences are bubbling in the mix, from NWOBHM to Goth rock.”

For whatever reason, Green Lung’s first record didn’t connect with me quite as powerfully as the effort before us. Blending elements of doom, occult rock, and NWOBHM, Woodland Rites is an extraordinarily thoughtful metal record, enhanced by an organ here, vocal harmonies there, singing dual guitars at another crucial moment. Say what you will, Green Lung know how to work their way to a climax! I also loved the way one song lends itself so naturally to another. At times, I had to check to see if I was listening to a B-section of an early section, like some kind of Queen-esque ballade that continues to surprise with unfolding dimensions. The net result was that I was never tempted to leave the record or to skip around to different tracks.

And now we come to the song before us, receiving its worldwide premiere via Doomed & Stoned. “Call of the Coven,” Green Lung tells us, “was the last song we wrote for the album, and probably the one that came together quickest. It’s a love letter to Blood on Satan’s Claw. Fans of the movie will notice that the chorus lyrics reference the chant in the central woodland ritual scene. The song has one of my favourite of Scott’s solos on the album and a galloping NWOBHM feel that reminds me of the band Witchfinder General, but I’ve gender-flipped the lyrics so that instead of getting hunted, the witches are doing the hunting. Green Lung is a pro-witch band!”

I’ve already tagged this one for me to revisit when Doomed & Stoned considers the Heavy Best of 2019. This is exceptional in every way. Look for Woodland Rites to drop via Kozmik Artifactz on March 20th (pre-order here).

Give ear…

Some Buzz

South London-based heavy rock quintet Green Lung have announced details of their debut album. 'Woodland Rites’ (2019) will be released on heavyweight vinyl, CD, cassette and digital editions on March 20, the Spring Equinox. The band captured the attention of the international underground in 2018 with the release of their much acclaimed EP, 'Free the Witch,’ and spent the year sharing stages with the likes of Conan, Conjurer and Primitive Man before signing to cult Berlin-based label Kozmik Artifactz.

With the addition of new member John Wright on organ, the band have also expanded their horizons musically, voyaging beyond the doomy psych of the EP to explore a spectrum of heavy music. On Let the Devil In they conjure up a blasphemous, arena-baiting hard rock single, while on Templar Dawn they veer into the cavernous (free)masonry of traditional doom metal. The psyched-out, prog-inflected The Ritual Tree attempts to answer the mystery of ‘Who put Bella in the Wych Elm?’ while May Queen is an ergot-tinged ballad of failing harvests and human sacrifice. The overall, irresistible impression is of a young band summoning up the eccentric English spectres of '70s proto-metal, early-'80s NWOBHM and '90s stoner rock and dragging those sounds kicking and screaming into the 21st Century.

Singer Tom Templar said, “With the response to 'Free the Witch,’ the introduction of a new member and the chance to write a full LP we’ve been spurred on to take our sound to the next level – so expect a pro-witch party album of diabolical riffs, harmonized solos, inescapable hooks and lyrics inspired by folk horror films like The Wicker Man and Blood on Satan’s Claw. We hope Woodland Rites will become the soundtrack to many a debauched backwoods Sabbath in 2019.”

'Woodland Rites’ was recorded and mixed by Wayne Adams (Vodun, Ghold) who reprised his Free The Witch duties at Bear Bites Horse Studios. Mastering was undertaken by Brad Boatright at Audiosiege. Woodland Rites will be packaged in hallucinatory artwork by renowned woodcut artist, Richard Wells (The Wicker Man, Doctor Who) on vinyl and CD, with the cassette cover featuring photography by Courtney Brooke.

Green Lung will be on tour in April with Puppy, then touring both the UK and EU with label mates Deathbell in May, with confirmed shows in Paris, London, Liege and Cologne; more information will be available in due course. The band will also appear at HRH Doom vs Stoner alongside Monolord, Orange Goblin and Church of the Cosmic Skull on September 29.

17 April - Southampton - The Joiners
18 April - Bristol - The Exchange
19 April - Birmingham - The Flapper
20 April - Manchester - The Star & Garter
21 April - Glasgow - Garage Attic
22 April - Newcastle - Think Tank
23 April - Nottingham - Bodega Social Club
24 April - Leeds - Brudenell Social Club
25 April - London - Underworld

The Midwest has gold fever, with a wealth of amazing musicianship and songwriting. Every day, I load up the ol’ pick axe, gold pan, and shovel and set about to discover something new and different. I never know exactly what I’m looking for, but I sure know it when I find it. This was the case when I stumbled upon three-piece rockers ICE HOWL from Bloomington, Indiana, who were preforming at my favorite mine, the 5th Quarter Lounge (home of this November’s Doomed & Stoned Festival).

Forged from the lode of Thorr Axe with guitarist/vocalist Travis Roach, bassist/vocalist Tucker Thomasson (AVAKR), and drummer Niko Albanese (Lawbringer) it is very notable that Ice Howl owns a unique and fascinating sound. Further, I’ll state that Ice Howl is one of the most interesting bands I’ve come across recently. The trio released their debut recording, ‘Crack The Earth’ (2016), which caused more than a few shockwaves in the heavy underground.

Cobbling together a Thin Lizzy vibe, healthy doses of stoner rock, NWOBHM stylings, and a heavy metal twist, Ice Howl’s Crack The Earth is an absolute treat. Tucker and Niko bring a pleasing balance of riff making and distinguished rhythms that call to mind The Sword’s Age of Winters or even Three Inches of Blood’s Advance and Vanquish. All of this breathes fresh life into familiar themes of wizards and witches

The record embarks on its journey with “Where The Druids Dwell,” an instrumental showcasing fast, almost thrashy riffs with massive tone giving the listener of what is ahead. There’s a fun stoner groove at play here, as well, which is hard to pigeonhole into a particular subgenre or even classify as exclusively rock or metal.

“Echoes of Wars” follows, delivering the kind of majestic statements you might expect from a Grand Magus record like Hammer of The North. Travis Roach has a clean and powerful vocal style that provides Ice Howl with character, even if it sometimes clashes with the might of its own musical energy. Despite relative shortcomings, “Echoes of War” is an effective track that showcases old-school heavy metal spirit coupled with modern stoner touches.

Speaking of traditional metal, Ice Howl put their NWOBHM roots on blast for the title track. Clearly a must-listen, “Crack the Earth” maintains an addictive blend of heavy riffs and melodic solos, featuring some of the best guitarwork on the record. While Roach has room to develop as a singer, his crisp vocalizations compliment exquisite melodies and riff-heavy nature of the song.

Ice Howl picks up speed in “The Tracker with chugging rhythm leading to incredible tempo changes. The vocal arrangements follow in similar fashion to the previous track alongside impressive quantities of fuzzy distortion.

One other favorite of mine is "Kyteler.” Trading some of that old-school, fist-in-the-air sentiment for a more contemporary style, this song will likely become a fan favorite at live shows. It is arguably the catchiest song of the record, owing to its catchy guitar leads, vibrato bass, and thunderous drumming. Ice Howl show off ambitious musicianship by wading into progressive metal territory, though never becoming overly proggy.

“Sorcerer’s Call” heads into much the same direction as “Kyteler.” Some of the most memorable riffs of the album are here, notwithstanding some clashing with Roach’s vocals and the instrumentation. Ice Howl still manage to leave a lasting impression, thanks in part to the unique staccato style near the three-minute mark.

The record comes to a close with “Beyond The Ice Fall.” Full of intensity and vitality, Ice Howl presents a final instrumental track with strong dynamics – tempo changes, heavy riffing, and cymbal crashing – everything demanded for epic headbanging. What a fitting close to an excellent album.

With Crack The Earth Ice Howl is well-positioned to begin their musical career. I hope they are damn proud of the final product, for it’s a very solid debut that should attract listeners wired to riff-loaded heavy metal and melodic rock. While I hope for more abysmal lyrical content in future, Crack The Earth is a wholly worthwhile spin that promises plenty of enjoyment. I find myself returning to it over and over again.

By “Papa” Paul Rote

I received this promo late at night a week or so ago. It looked cool, but I wanted to head to bed. You know me, I couldn’t resist, so I decided to get a quick scan of this cool looking album from a band called BUS out of Athens, Greece. My curiosity was peaked and I listened further on The Unknown Secretary the third song, then the fourth, thinking the whole time, “Man, there is a certain familiarity about this.” I decided to play the next song a little longer. The vocals, the sound, the style, it hit me like a ton of bricks - this sound draws inspiration from the historic first album by Angel Witch. I paid closer attention as I continued my scan, all the while continuing to be blown away.

Thirty-six years after ‘Angel Witch’ (1980) rocked the world with a new style of metal, someone finally pays homage to that New Wave of British Heavy Metal (NWOBHM) sound. For some reason, that amazing album never took off in the popular imagination. There were a couple attempts, sure, but nothing came close - most were a little heavier on the thrash or early black metal, just missing the mark altogether. Look at another ground-breaking act that emerged just a few years later, a band called Metallica. Hundreds of bands emerged that sounded just like them (so many, I got bored with the sound). It was Angel Witch, however, which basically paved the way for this later development in metal.

Needless to say I lost some sleep the night I discovered BUS and couldn’t wait for my drive to work to seriously crank this out at high volume. I am blown away by the first full album by BUS. Let’s walk through it, track-by-track.

Fallen

The opening track, “Fallen,” starts out with a brief guitar interlude of a melodious riff, a style left behind in the need for faster, louder, and heavier. A few seconds in the vocals kick in a unique voice and a style that emphasizes certain words (for instance, stretching a one-syllable word into multiple syllables). The leads are old school and the drumming pounds away NWOBHM style. I would love to have the lyrics available to me.

Masteroid

The second song, “Masteroid,” just intensifies the melodies, this time with a more defined chorus: “I don’t want to die like witches burn, I never will forget” - classic lyrics that, again, hearken to themese of witches and the occult that were especially prevalent in the early-eighties. The song is harmonious, yet relentless. This was the charm in those early years. The music was similar, yet darker…more intense. BUS rekindle the flames.

New Black Volume

The third song incorporates a small touch of punk energy into the mix, (which, interestingly, was also a part of NWOBHM), but make no mistake: this is metal. Early-sounding, classic heavy metal.

Forever Grey

The fourth song is proto-power metal. The urgency in the vocals clues you in as to how power metal grew out of the NWOBHM style; bands just dialed up every aspect of the sound.

Don’t Fear Your Demon

The fifth song introduces doom into the mix, early-eighties doom that is. I was calling this sound “doom” before Trouble, Saint Vitus, and Candlemass existed. This could be well the favorite track of the album for you doomer die-hards. It certainly stood out to me.

Rockerbus

“Rockerbus” is the longest song at 7:38 and it is possibly my favorite. After two minutes of a fairly unique riff, the vocals kick in and I cannot help but to hear Angel Witch, again. That said, this could also be an Orchid song, especially in the chorus. It’s that undefined sound from the NWOBHM era not Sabbathy, not Priest, but heavy as hell from the era’s standpoint.

Withered Thorn

“Withered Thorn” – guess what? Possibly my favorite again. The song just explodes opening up with a serious lead, heavy chops, and the vocals erupt with dark and passionate tone and this will leave those of you who know and love Angel Witch awestruck. Okay, okay, I’m not doing so well leaving Angel Witch out of this review. For me, it is unavoidable and the highest compliment I can pay to BUS. Come to think of it, “Withered Thorn” also reminds me of a Hades Paradise song. This far in, and I can tell you we’ve got a great album on our hands. There are two more killer songs to go.

Over The Hills

“Over The Hills” is another riff-laden track with an amazing chorus and a passionate stanza. If you want a lesson in early-eighties metal this is class 101!

Jimi

The ninth and last song “Jimi” is a doom-tinged proto-metal number (to borrow a description from one of my Doom Charts colleagues, Bucky Brown), ending in more of that contagious up-tempo, proto-power metal.

This album is so good we have to coin some new vocabulary to help describe it. Get it now on Twin Earth Records.

Purple Hill Witch is:

• Kristian Ingvaldsen (vocals, guitar)
• Andreas Schafferer (bass) (Spectral Haze)
• Øyvind Kvam (drums) (Condor)

Norwegian doom metal band Purple Hill Witch has come out with their first full-length album after their debut EP Alchemy last year. I never had a chance to listen to the earlier release, so this was a very happy surprise to me, with no expectations at all. The first thing that came to mind as I was listening through the album and taking notes was how many references I made to Witchfinder General, and I will add Count Raven and Lord Vicar as influential on the Purple Hill Witch sound.  Not only has Purple Hill Witch managed to capture some of the “Lord Chritus & Co” vibe on this record, they recently also toured with Lord Vicar.  I also hear sections reminiscent of Sleep, Black Sabbath, and Pentagram—so how could I not like it?  Let me take you through, track-by-track.

Queen of the Hill starts up slow and for a short moment the melody reminds me of the teasing sounds of a child (I might have to answer for that). About 4 minutes into the song, there is a lovely Sleep Dragonaut moment in the guitar. Kristian’s voice is very much reminding me of Zeeb Parke’s vocals.

Astral Booze is a track with plenty of Witchfinder/Sabbath reflections. A meeting in the skies sharing astral booze with a lady, or what she represents. “Have a smoke at the dawn of time. Baby, I’ll show you when the planets align.” Metaphor or just stargazing? I would dare to say that this will be many listeners’ favourite track. And it is the song I probably would put second on my favourite list. Very appealing in the way it gets stuck in your head.

The Final Procession is a soft number with a comfortable groove to it. I pick up a lot of Lord Vicar in this track, but with a different singer.

Karmanjaka has plenty of 70’s hard rock guitar. “Through the Karmafalls, across deserted planes, Tengil rides through on his mighty black horse.” For some reason Purple Hill Witch is making a song based on the famous children’s book, The Brothers Lionheart by Astrid Lindgren. It’s quite a trippy story about exploring the afterlife. The song focuses especially on the evil Tengil and the dragon Katla.

The Landing—lots of Sabbath and Pentagram flavours to enjoy.

Aldebaranian Voyage (Into the Sun) is the one all-instrumental track on the album.

Purple Hill Witch is my favourite track of the album. The guitar playing seems inspired by Nordic folk music and leads me to think of bands like Burning Saviours, Witch, and Lucifer Was. Five minutes into the song, something happens—it all stops up a bit and changes into some kind of nightmare with a trippy harmonica that gives it a lovely, creepy sound.  A real highlight of the album (this song is 9/10 for me).

In short, a very welcome album from Purple Hill Witch. A taste of NWOBHM in a traditional doom metal album, with plenty of 70’s vibe and an amazing bass player in Andreas Schafferer. All of my favourite doom bands seem to be an influence to this album and well-included as I listened to its bits and pieces. I pick out Sleep, Lord Vicar, Pentagram, Witchfinder General, Count Raven, Pagan Altar, Burning Saviours, and Lucifer Was, as known preferences. Still, they make their own thing well and the result is a really good album. A playfulness of talented musicians which lures me in to the hands of The Purple Hill Witch. I am under “her” spell. Refreshing.

D&S Rating: 8/10

Witch Miss Sabbath