SAHG are never a band to take the easy road, and as they
gear up for the September 23rd release of their next album, ‘Memento
Mori’, what better way than to release a seven minute plus single…
And for once the blurb seems just about right…
‘Sanctimony’ is the perfect first single from ‘Memento Mori, because
it tells a lot about what this album is: versatile, unpredictable, relentlessly
uncompromising, and very heavy. It has a disturbing darkness to it, an untamed
lunacy, and a soft shimmer of light.
What begins as a twisted, heavy stomper, ends up growing into a wretched
monster, that clocks in at seven minutes, 30 seconds. So, yeah, it is the
perfect single.
"Hide behind a shield of religion and let it justify your evil deeds."
- Olav Iversen (vocals, guitar)
IF you didn't know it already, The Distortion Project in the shape of Mr Loveday, has booked Sabaton to play with Alestorm in March, but if you can't wait until then do you fancy going to Norway?
Because between the 1st and 3rd October in Trondheim Sabaton headline a festival jam packed with metallic delights.
They're joined with power Finnish metal legends Stratovarius...along with a host of others.
And, in terms if others...Primordial, Korpilanni, Between The Buried And Me, and quite a few others...
US progressive metal legends Between The Buried And Me, the absolutely fantastic Skálmöld, the hugely entertaining doomsters Sahg, Norwegian black metal crew Iskald, their fellow countrymen, doomsters Tombstones as well as a host of others. No serious, a host of others that we haven't the time to list!
To make matters even more tempting the sixth Trondheim metal fest is being held in the Scandic Lerkendal Hotel - the biggest conference hotel in Norway - and for Trondheim Metal Fest there will be three stages, a metal market area, meet and greets, quizzes, etc etc.
Oh, and did we mention Sabaton? And, Stratovrious? Or Skálmöld?
And, feck all that because Promordial are going to tear the hotel apart.
FROM the mists of the burgeoning rock and metal scene in Bergen there emerged four hard rockin' beasts, who combined their fire and fury into the force that is SAHG - a band that has evolved and become ever more 'special' in this world of 'vanilla' rock.
We caught up with vocalist and guitarist, Olav Iversen ahead of the band's March appearance at Hammerfest VII. And first of we wanted to know that when the band formed in 2005 did they expect to still be playing and recording.
"We had no idea," said Olav. "We didn't even think beyond the first album. We were so obsessed with shaping our first creation in our own perfect fashion, that was all we could think of.
"I remember how completely absorbing this band was from day one. It was all about making it sound exactly right, at any cost. And ever since it's always been one album, one step at a time.
"At the level we are on, you never know what's gonna happen next. You just keep going, keep working, and before you know it, ten years have passed. It's been terrifying and completely exhilarating, and we are dying to live the next ten!"Delusions of Grandeur [Our review is here] seemed to us to be a more focussed record with a lot of prog elements. We put to Olav that this seemed a deliberate plan... "It totally was," he explained. "After three albums we felt that we needed to revitalize the sound and seek some new inspiration.
"It’s not like 'Sahg III'was an artistic 'deficit project' in any way, but after we had toured that album and started to plan the next one, we saw that the well was running dry and we needed to dig a new one.
"Also, we had become more and more inspired by the new wave of prog metal that was rising, and we wanted to mix some of that into our vintage metal-based sound. So instead of falling into the trap of dwelling in the comfort zone, 'proceeding as usual' and trying to squeeze more out of the old lemon, we decided to make the effort it took to find a new approach on our sound.
"It demanded a lot of time and hard work, but when 'Delusions Of Grandeur'came out on the other end, it was all worth it. Now we feel we have the perfect platform and tons of ideas and inspiration to make a fantastic next album, and we intend to put it out before the end of the year."
Good news for all SAHG fans - but we also wanted to challenge Olav about a conversation we had when they played Belfast with Audrey Horne a couple of years back. They included a section of Thin Lizzy’s Emerald in your opener. Afterwards Olav and bandmates insisted that this was not just because they were in Ireland. But was it... "That was a little white lie, I’m sorry!" said Olav. "We have adopted the solo section of Emerald into our own song The Executioner Undead on many occasions, and we probably will again.
"But it was extra special to play itin Thin Lizzy’s homelands. We are big fans and have a lot of respect for what Phil Lynott and his boys have contributed to the legacy of rock’n’roll, so that was a special and memorable experience, indeed." With Delusions of Grandeur being something of an immersive experience for the listener we wanted to know whether one day they will produce something that will be too impenetrable?
"We don’t have that focus," insisted Olav. "Our aim is always to challenge ourselves and to excite our fans. And in order to do that, I think we need to constantly push the limits of what is expected of us. If you give people exactly what they expect, it’s never going to be impressive.
"We rather want to challenge our fans’ ability of musical interpretation, because we believe that is the way to impress and stay interesting. It may mean we will lose some fans, but I am sure we will win even more.
And Olav is sure that they know their own boundaries.
"...we trust our own limits of how 'impenetrable' we will allow our music to be, so I’m not worried that we will get completely carried away into the artistic wilderness.
"Looking at the material we have got cooking for the next album, I am confident it is going to hit the spot with our fans and blow away quite a few people. With Hammerfest just around the corner we asked just how important are festivals for bands like SAHG. "We dig festivals!" said Olav. "Both playing them and just hanging out. I mean, lots of beer, lots of good music, and lots of good people. What else would you want?
"Playing festivals is a high priority for SAHG. We love the festival vibe, which is more laidback and open-minded than at most regular club gigs, and our show has always fit well in the festival format. Probably because we enjoy the concept of festivals so much.
"And we are excited about playing Hammerfest this year, we have heard a lot of good words about it, and I am sure it will be great. We played its 'twin festival', Hard Rock Hell, a few years ago, and judging from that, it’s going to be one hell of a good time. Finally - we wanted some tips for first-time festival goers how to survive the mayhem. "I could say 'make sure you get enough sleep' and 'look after your money and credit card at all times'. But screw that, that’s not what makes a good festival experience.
"Just chill out, have a brew, and make sure you don’t miss out on your favorite bands. Don’t stress and just let it flow, that’s the key to a good time at a festival."
Sahg play Hammerfest VII, which is at Hafan Y Môr Holiday Park, Pwllheli, Gwynedd, North Wales, from March 12th to 15th.
WHEN SAHG played in front of a thin crowd in Belfast earlier in 2013 there was no doubt about their pedigree as performers, and now with their fourth album, Delusions of Grandeur they have reinforced their credentials as an increasingly impressive act.
While not an immediately accessible album, it is, however, one with impressive depth in song structure, delivery and intensity; all the tricks in the classic metal bag are teased out to construct an album worthy of the title 'classic'.
From opener Slip Off The Edge of The Universe to the epic closer Sleeper's Gate to The Galaxy there is a sense of the monumental about this release.
However, part of the secret lies in the two-and-a-half minute instrumental, Odium Delerium. Here, the riffs and guitar work are a seamless blend of the best of 70s heavy music á la Sabbath and Zep, and more modern work like that of Mastodon. It's not just because this is what the band claim in the release blurb; it is evident to any listener that this is a Norwegian act that is both knowledgeable about the past, but able to put their own spin on it.
While Sleeper's Gate may have echoes of Opeth and Zep III, it also twists this into a spaced out conclusion to the album's concept.
Concept album? Don't run away in fear! Each song stands on its own merits. The stomp of Firechild, the full on Blizzardzone or Then Wakens the Beast could fit into a set list and not seem out of place.
The concept is one best explained by front man Olav Iversen:
“We came up with the story about a person, whose delusions of grandeur escalate to the level where they consume him completely,” he said.
“From becoming increasingly psychopathic and dominant, he loses touch with everyone around him, and isolates into his own imaginary, psychotic world, where he becomes the almighty ruler of the universe.
"As he stands on the highest peak of his domain and beholds all that he has conquered, he suddenly slips off the edge and floats away, weightless. Helpless and stripped of all power, he drifts further into the open space, until he disappears into the darkness.
"It’s an album about how desire for power and property can distort and destroy who we are.”
Got that? Yes, it might seem to have a little bit of Floyd's Wall about the rise and decline, without the pretentiousness of fans regard for that. Instead, one must take this to reflect what it must be like to be in the creative furnace of Bergen and watch lesser bands rise to the front pages of magazines with mediocre albums and overblown egos. Very few last the course.
SAHG on the other hand are based on solid musicianship, a background of its member's experience in playing everything to classic hard rock to death/black metal. That experience has been used to produce a musical journey in Delusions of Grandeur that is as complete a space opera as any sci-fi film produced since Alien.
From within the realm of science fiction one can explore themes and metaphors that in straight forward lyrics would appear clumsy. Politicians and demagogues, as well as musos would do well to pay heed to he essential message: rise to the top and often there is nothing there of worth.
But set aside everything else, and what SAHG have delivered is an impressive, classic album. The twin guitars of Olav and Thomas Tofthagen are a dexterous melange of wondrousness, while Tony Vetaas and
Thomas Lønnheim nail the complexity down with a precision that does not intrude, but instead complements the vision of each song and the album overall.
What really makes Delusions of Grandeur stand apart from the herd of schtick produced by the wannabes is that even after a few listens you know this is an album you will come back to a month down the line, a year down the line, or five years down the line and it will still feel as fresh and as impressive.
SAHG release Delusions of Grandeur on October 28th on Indie Recordings.
THERE is a school of professional thought that when reviewing gigs a journalist should stand cooly at the back of the venue, surveying the scene in a detached, aloof manner, with his pen poised to record pithy phrases and putdowns.
Screw that!
With more than 20 years experience of journalism both on news desks and reviewing music we must have misplaced that guidebook. Much better to sample the atmosphere at the front, pint in hand and horns hoisted aloft.
And last night (Monday 29th April) it was impossible to remain detached when bands as superb as SAHG and as awesome as Audrey Horne hit the Limelight stage.
SAHG opened the proceedings and not minding whether the audience was yet to build laid down a space rock, psychadelic, tourde-force - but to be honest we were won over when they managed to segue some of the twin solos and riffs from Thin Lizzy's Emerald to their opener. (They later denied that this was just for Irish dates, as they have included that for years.
With songs as strong as new single Slip Off the Edge of the Universe, Firechld and Godless SAHG are here to stay and we reckon a headlining tour may not be far around the corner.
However, the evening was let down slightly by the stand-in band The Mercy House. Grant us the mercy not to spend any time slagging off a band who genuinely seemed to put in so much effort, but they seemed to pulling in different directions, with guitarists and bassist headbanging away while the singer was doing his best to look like Sebastian Bach.
Audrey Horne...Dear Lord Lemmy - they are good!
Those three words could sum up the show, but fail to convey the delivery, poise, confidence, and passion that the entire band laid down - it would simply be wrong to pick out any member as they all pounded the audience into adoring submission.
Opening up with Redemption Blues they rattled through huge parts of this year's album Youngblood, and with a few older tracks. The Cruel Sea and There Goes a LAdy were notable, but then again there was not a dropped phrase, a stupid interlude or daft posturing. This was a twin-guitar outfit, laying down hard rock they it was meant to be: surging vocals, guitar harmony solos and a rhythm section nailed down to the foundations of the Limelight2.
Audrey Horne are as tight an outfit and as good a set of international performers that have graced a Belfast stage in many a long while. They deserve to reach the heights!
Special mention for The Distortion Project for laying this night on - cheers as always Mr Loveday - and to Napalm Records for keeping faith with SAHG and Audrey Horne. And a huge thank you on behalf of the audience to all band members who took the time to chat after the gig. You can see the band's own photo of the crowd on Facebook here.
OH DEAR Lord Lemmy forgive us humble mortals for we be bereft of the funds to be worshiping at the glorious altars of rock and metal this week!
And what a week there is in store for us humble souls...
Saturday - take your pick - Limelight 2's Distortion Project with By Any Means, Skypilot, Warcrux and Death By Consent or should it take your fancy Million$Reload are recording a live album at the Diamond Rock Club.
With Sunday set aside to recover, Monday sees the immense Audrey Horne, backed by Mercy House and SAHG at Limelight 2.
Younger types with weird tastes might like to take on board Enter Shikira on Tuesday night in Belfast or Derry the following night, but really you shouldn't...
Thursday, May 2nd will see Maverick, Sweet Taste and Infamy at Belfast's Voodoo, before Stormzone blow Saxon off the stage on Friday at the Mandella Hall...
Come Saturday May 4th Finnish rockers Lordi will be ripping apart the Limelight before Sunday, May 5th sees the Devin Townsend Project tear The Stiff Kitten a new one...
First off we'd like to see all of these, but we can't (boo hiss I hear you call!), so will be only making limited appearances. But that doesn't stop you turning up and rocking out!
Oh, and don't forget that Trucker Diablo will be launching Songs or Iron on May 18th (review here).
In the meantime here's Audrey Horne's Redemption Blues to whet your appetites....
OKAY people, by now you shouldn't need any more reasons to head along to see Audrey Horne on Monday night other than seeing the immense Audrey Horne, but we'll give you another four letter reason to make sure you are there - SAHG.
Norwegian doom psychedelia rock, SAHG is a one of the many projects King has in the bag, and this Bergen band are worthy of a few minutes of your time! [And, yes we know of all the controversies around King's other stuff with Gorgoroth, but we couldn't care less, we just like good metal!]
Their new album is due out in October, and they have just released the first track, Firechild (see link below).
NB - In a change from the original line-up for Monday night, Mercy House now occupy the middle spot between SAHG and Audrey Horne.
SMALL towns - much the staple of American fiction; so much so that the introverted, eccentric nature of small towns was immortalised in the surrealistic drama Twin Peaks. And it is from a small town in Norway that a band named after a Twin Peaks character are preparing to descend on the UK and Ireland - including a stop in Belfast.
Audrey Horne come from Bergen - a name etched into the metal roll of honour whose hard pedigree isn't too shabby either!
As the Audrey Horne prepare for the April 29th date in Belfast's Limelight2 -together with Ancient Wisdom and SAHG - we caught up with Ice Dale and wanted to know first off was the hard work they'd put into the band since 2002 finally paying off with this tour and new album Youngblood being critically acclaimed.
"Yes - absolutely!" he said. "We have gotten fantastic press and reviews on our latest album and our new label, Napalm Records are doing a great job, so things look very good at the moment.
"The band has never been stronger and more dedicated so we look forward to this tour and playing some festivals too/
"We promise to kick ass and deliver energetic and mind-blowing shows at every concert, so hopefully this album will take us a big step up and get more people aware of the band!"
As mentioned previously Bergen has long been known as a haven for black metal acts, yet Audrey Horne plies raucous hard rock, while at the same time members are no strangers to the darker metal arts.
"Bergen is pretty small, so pretty much everyone who plays in a band knows each other and go to the same bars etc," explained Dale. "There is not much competition between bands and genres. We get more inspired from each other and if a band has success, it's good for the others too.
"Since I play in Enslaved and have worked with a lot of extreme metal bands we have a very close relationship with the metal scene in Bergen. Musically we don't work much together even though Abbath [Editor's note: guitarist/vocalist etc with Immortal] often calls me and says he has some ideas for song names and riffs we could use in Audrey Horne!"
All of which speaks to the closeness of the band to the Norwegian music scene in general with current and past members playing in SAHG, Enslaved (as mentioned above) and Gorgoroth. Has this meant a cross-fertilisation of influences.
"I would say none," said Dale emphatically. "We all do our own thing and even though we have a lot of the same inspirational sources we approach the music very differently.
"On the new albums at least Audrey Horne, SAHG and Enslaved have recorded in the same studio with the same producers and engineers, so some of the basic sounds may be similar but I don't think you could tell if you didn't know cause they all sound very different in the end.
One thing Audrey Horne put a lot of effort into are their music videos - with Redemption Blues being a good example. For new and existing acts we wanted to know is there a need for bands to put as much effort into videos as well as albums.
"That's a difficult and interesting question," mused Dale. "Music videos used to be a very good and important way of promoting bands. TV stations all over the world showed music videos and it was a great way to discover new bands.
"Now all of that is gone and the only place to look at music videos is on Youtube. I still think it is important for bands to have a music video but the problem is that all record labels don't want to put as much money into them.
"The videos don't have a direct promotional value like they used to so only the big acts have a million dollar budgets and the rest of bands have to be more creative to make the videos look good; and these days you can also make a decent video with pretty cheap equipment so it's more about having a good idea!"
And Redemption Blues is a video for a top song that ticks all the boxes.
Dale continued: "Redemption Blues - even though it was a low budget and we made it pretty fast - works as a feelgood video and captures some of the energy and atmosphere in the song."
And energy and atmosphere are key points for Audrey Horne's Youngblood, which to our cynical ears is a real step up from the more mediocre, formulaic hard rock - an important factor one would think for any band.
"Actually we didn't think too much when we made this album," said Dale. "We just jammed and had a lot of fun. There are a lot of influences from all the bands we listened to when we grew up and we just mixed it with our own sound and our own way of approaching it
"Maybe that's one of the reasons it stands out from a lot of the albums in the hard rock genre. We made this album for ourselves and didn't care what people would think about it.
"That should be the main thing for every band. You can't make music you think people will like or think will sell well - then you'll have a short career. We had rehearsed the songs and the band sounded so good in the end we decided to record the whole album live."
Two weeks of recording and mastering that emphasises the dynamic rather than a push to be too loud is a combination that makes Audrey Horne's Young Blood stand out and rock harder than many.
Finally - The Twin Peaks connection...
"We just wanted a 'different'; name for the band and not the typical hard rock/metal name," said Dale. Which was to have unintended consequences on the release of the band's first album. The band know of one unsuspecting lady who thought she was buying an album reflecting the Twin Peaks style of music ...
"She put the album on and turned it up really loud and was totally shocked when the opening track 'Dead' blasted out of her speakers! We heard that ended up sitting in the corner of her room, scared and shaking! Mission accomplished!"
And should you choose to check out Audery Horne on April 29th we can assure you that you'll be rockin' to such an extent that for all concerned - on and off stage - it will be mission accomplished.
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