A taste of the past with a futuristic veneer, this is the perfect definition of the Trondheim rockers, SPIDERGAWD, and their newest release “From Eight to Infinity” released on September 12, 2025 via Crispin Glover Records and Stickman Records.
Led by experienced musicians of Norwegian music, SPIDERGAWD seems to go against the grain of most current bands, releasing a string of albums since their founding in 2013 without complaint or hesitation. Overflowing with energy and a saga-like mix of hard rock with psychedelic, stoner, and progressive elements, the band has earned a place in the hearts of a considerable number of listeners in their homeland, but they sparked the curiosity of some others across Europe and has been a regular on my listening list for the past few years.
SPIDERGAWD was born from the reminiscences of the famous band Motorpsycho through bassist Bent Sæther and drummer Kenneth Kapstad. This was the initial step in attracting an audience, but their stylized sound, hovering between the 70s and 80s with a baritone saxophone, brought a new and refreshing characteristic, as if they were still being released in the past, where the music seemed simply fun and enjoyable to listen to, without the tons of complaints about AI music, vocaloids and abusive band managers, just good fun music to play in the car or enjoy anywhere.
“From Eight to Infinity” (From 8 to ∞) features a beautiful cover concept right from the start: A beautiful character in a fantasy setting, limited but mesmerizing colors, a play on words with the infinity symbol which simultaneously becomes the number eight, the eighth album, something that reminds me of many progressive rock covers like Asia, and the same psychedelic concept that runs throughout their discography and visual stage work, courtesy of the French artist Émile Morel. In addition, the vinyl edition gains even more splendor with a truly interesting extra insert.
The choice of the title already demonstrates changes for the future, something beyond the simple numerical sequence, the release indicates a new project of the group for a different line of compositions perhaps guided by the difficult period in which Per suffered from health problems and injuries during the winter prior to the recording of the album, which significantly influenced the atmosphere and outfit of the new disco, giving place to melodies more obscure, harder, in addition to a more mature band in action.
Starting with a micro intro with an Indian harp vibe “The Grand Slam” explodes into animation with pulsating vocals and fast riffs where the choruses give that pleasant feeling of youth and freedom that breaks through in “Revolution“, where the tide of the New Wave Of British Heavy Metal seems to return to its golden age. A short, agile track — “Revolution” revs the engine. An immediate leap in intensity after the debut: more nervous riffs, a more direct tempo, fewer empty spaces, in the vein of “let’s shake things up” the theme of revolution carries both a musical urgency and a lyrical sense of change. It’s the kind of track that could enter the live repertoire almost like an instant shot, even if its less than four minutes make things compact, the delivery is total.
SPIDERGAWD knows exactly what they’re capable of, and “One in a Million” travels at the speed of sound through balanced hard heavy metal, with clean, echoing drums over a rhythmic bass and a chorus worthy of being sung by the masses; you can practically visualize it echoing at a good summer festival. Meanwhile, “Confirmation” takes us back to the New Wave of British Heavy Metal vibe, and at this point I wonder how a band like this can be stuck with just a local audience. The guitars here become so classic to the genre, and the elevation of rhythm and layers make this track a delight for any worthy headbanger. One of the best tracks on this album so far. And if you still find yourself thinking about the past and wondering if the musicians don’t make tracks like the bands of yesteryear anymore, then welcome to “200 Miles High” and I love how these guys blend genres seamlessly; it reminds me a lot of The Night Flight Orchestra with amazing solos and killer riffs.
This band is exactly that: a piece of the past being reincarnated, and “The Hunter” will prove it to you. The time transitions are smooth, the drums maintain the energy, the bass is pulsating and vibrant, the lyrics are meant to be sung—it’s all there. It will only depend on you understanding that the world of rock may no longer revolve around its glory days, but its heirs are doing great work out there. Moreover, this track will lead you to an insanely crunchy solo worthy of the first rank of heavy metal. And you thought the pink cover in simple and delicate tones gave it all away, haha, you deluded fool!
We’ll still go through “The Ghost of Eirik Raude” in the same vein until we reach the final act in “Winter Song” and if you’re thinking of another one of those tracks with Norwegian folk influences blah blah blah, forget it, this won’t be a ballad either. This will be the slowest track, yes, but hard heavy also has its cadences. Beautiful from beginning to end, a living memory of what hard/heavy is still capable of offering. Faithful, ingenious, energetic and captivating, From Eight To Infinity is an album for many, and plans are already open to catch the guys live. SPIDERGAWD remains strong in my listening and I can’t wait to see what they will create next.
RATE: 9,5/10
TRACK LISTING
1 – The Grand Slam
2 – Revolution
3 – One in a million
4 – Confirmation
5 – 200 Miles high
6 – The Hunter
7 – The Ghost of Eirik Raude
8 – Winter Song
LINE-UP
Per Borten – Guitar and Vocals
Kenneth Kapstad – Drums
Rolf Martin Snustad – Baritone Saxophone
Hallvard Gaardløs – Bass
Brynjar Takle Ohr – Guitar
RELATED LINKS
