oktober 2025 Archives

Hard Heavy, Hard Rock, Norwegian Band30.10.202530.10.2025

Musikkanmeldelse (Review): Spidergawd – From Eight To Infinity (From 8 to ∞) (2025)

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.

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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

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Blues Rock, Classic Rock, Norwegian Band, Progressive26.10.202526.10.2025

Musikkanmeldelse (Review): Verdsmannen – Ver den som skin (2025)

Verdsmannen, that’s the name echoing in my ears for the past week, and it’s no wonder. As I always say, Norway has become a pro at exporting heavy and obscure metal, or Viking folk music, but has forgotten its heirs in other genres with many more years to tell stories. However, my curiosity to discover what lies beyond the names quoted at Eurovision and local festivals continues to ignite the need to find what lies beyond, and fortunately, in this case, I was found, and blessed be, for what lies beyond ends up being as refreshing and invigorating as one imagines. Well, we still see some mainstream pop gaining an audience here and there and some picturesque hard rock resonate, but that’s all the outside world has of musical Norway, but here is the “man of the world,” the literal translation of another of those hidden gems in these infinite fjords, presenting their latest release “Ver den som skin” released on October 12th via Nye Nor.

Originally called Verdsmannen Thorbjørnsen, this project band is led by Ketil Thorbjørnsen and a few ingenious musicians and crew who have reached their fifth release since 2018, quietly maintaining a first-class rock style with varied elements, without much juggling, but delivering quality entertainment straight from Sogn. The proposal here is clear: simplistic and accurate lyrics, themes that go straight to the heart, and a well-balanced sound that truly accompanies a fine wine like a silk glove.

And so, without much fuss, I begin my listening by diving into “Blårøyken” with its dirty guitars imbued with unexpected atmospheres, mysterious keyboards, and a delightful sense of simple, well-crafted music, with a mesmerizing solo that takes the listener on an intoxicating journey until “Alkislåt” where there’s bubbling drum, bass, and sax work, courtesy of Ørjan, Øyvind, and Karl. Ketil, for his part, possesses a very unique and performative singing style, very expressive, and I dare say it would be truly interesting to hear him sing in English at some point. It would probably reach a new level, but for now, I’m definitely happy to hear such ingenious performers still around. Norway has a genuine passion for music, and that certainly reminds me every second of this album of why music should be made. Touching, captivating, and enchanting.

We arrive at “Posen i gangen” immersed in an unexpected sonic blend that combines country rock with progressive notes and a taste of the past, a combination of Norwegian “heartland” and folk rock genuine. I’d say it’s a delicious appetizer for listeners of Bruce Springsteen and other top names in the genre.

Now it’s the turn of “Meir drit, som eg ikkje kjem på” with its slow, reflective blues rock groove, progressively throwing shit at the fan and bringing up bad feelings that should be left aside. I confess that I love how Verdsmannen evolves throughout this album. Don’t expect the kind of highly emotional thing, but rather passionate and human, to at the same time make you reflect but calm your inner demons, all carried by the wind in a delicate choral at the end. A sonic detachment sometimes necessary in life. And obviously, I don’t even need to mention that this review is far from being a technical musical reading for a small group of experts. This review delivers sensations to an audience thirsty for liberation and disconnection, and certainly in need of new energy that only music can achieve. That’s exactly what the following track will give you. “Hjerte” (Heart) follows the line of its predecessor on a solitary journey with simplistic guitars, angelic backing vocals, and a late-night feeling. But don’t give in to inactivity just yet. This band still has plenty of fuel left to burn, and “Nedgangstid” will put you back on the edge of your seat, combining passion with anger in crunchy riffs and fun, bouncing keyboards while the sax takes a high-level leap, accompanied by a band that seems to have been electrified. A delicious, fresh track packed with good, applause-inducing blues rock. And a big YES (JAAAAAA) this is genius, nothing new, but so absolutely well executed.

We approach the end of the album with “Timeglaset” a cadence and a confrontation, time is running out. A slow but emblematic track, it brings diffuse dark elements to chaos, war, time, and suffering. To the rhythm of touching sax lines, Ketil seems to release the suffering before “Dødsvals” closes the curtain on a delicate and moving piano solo that accompanies you to the exit, timeless, elegant, and classic. An album to play, to mark, and to transcend.

I certainly couldn’t end this review without mentioning the album’s opening title track, “Ver den som skin“, be the one who shines, with its harsh, dirty guitars aligned with a mature band and Karl’s pulsating drums hovering over Terje’s keys. It’s a vivid reminder of what you should take into life, the moving energy of an album made by locals, with local support, local musicians, local sponsorship, a local studio—proof that rock remains as burning as ever, even if encrusted in the bowels of these icy fjords.

I end this review eager to hit the road for my next road trip, because the perfect soundtrack has already been chosen.

Discover Norway, much more than meets the eye!

Rating: 10/10

TRACK LISTING
1 – Ver den som skin

2 – Blårøyken

3 – Alkislåt

4 – Posen i gangen

5 – Meir drit, som eg ikkje kjem på

6 – Hjerte

7 – Nedgangstid

8 – Timeglaset

9 – Dødsvals

LINE-UP

Ketil Thorbjørnsen – Vocals and guitars

Terje Norevik – Keyboards

Ørjan Lindborg – Bass

Øyvind Aga – Drums

Karl Seglem – Tenor Sax

Ketil Thorbjørnsen – Music and lyrics

Alf Magne Hillestad – Producer and co-arranger

Recorded at Hallibakken Lydstudio – August 2024

Tor Magne Hallibakken – Studio technician

Mixed by Bård Ingebrigtsen

Mastering by Espen Høydalsvik

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Black Metal, Metal13.10.2025

Musikkanmeldelse (Review): – Echoes In Eternity – Funeral World (2025)

Ah music…poetically, the definition of how the melody that gives life to the spirit and senses is condensed into a song that unites words and sounds to evoke emotions and express through rhythm and harmony, just as poetry expresses in verse and rhyme all the immensity and depth of the human soul. The fusion of both creates a unique language, where melody can be the “sensitive life of poetry” and the text takes on a new sonic guise…practically like a ritual gaining proportion and power, or like a catharsis massively releasing pent-up emotions, feelings, and tensions, or an escape valve to keep us from madness. This is the perfect definition for FUNERAL WORLD, the new release from Adelaide-based Australian metallers ECHOES IN ETERNITY, released on September 12, 2025.

It was a long two-year hiatus before these guys returned to the scene, following a sad breakup just as they were poised to explode onto the Froth & Fury Festival stage with their monumental debut full-length “Into The Negative“, and just like life’s strange coincidences and a series of personal situations, the reunion between composer and lead guitarist Aidan Cibich (Apophis) and vocalist Lee Gardiner (Double Dragon) brought back to life a sonic monster ready to confront all the negativity and pain these musicians have experienced in recent years. As the band themselves mention, this new album sees the band delve into a darker, more abrasive, and unrelenting sonic territory. Heavily inspired by the chaos of Pantera’s “The Great Southern Trendkill”, along with influences from Carcass and Death, the album abandons its previous mantra of composing positive and uplifting themes, the pain purely channeled and confronted with all the fervor of genius musicians. FUNERAL WORLD is a cathartic soundscape of self-discovery, exploring harsh themes like depression, family illness, and post-addiction survival. Recorded exclusively in Adelaide by Aidan Cibich, the album also features guest appearances by local legends KILLER (Storm The Crown) and PAUL13 on the final two tracks, a heavy nine-track return with striking cover art.

Hoka på salg: Kupp årets modeller til nedsatt pris

Aidan and Lee aren’t new to my reviews, from the beginnings of Apophis to the very beginnings of Echoes In Eternity, I’ve followed the development of these musicians. It took me a long time to finish this review because I wanted to be absolutely certain of every note on this album, every verse, every lyric, every detail. It was a long-awaited and deserved return.

I begin my listening with “The Ruins As They Lay” an engaging and timeless introduction that opens the album with a mature and firm sound that immediately delivers heavy guitars. But don’t get used to the serenity; this band came to bring the pain to its peak, remember?! In the blink of an eye, you’ll be immersed in a bold solo with an intoxicating atmosphere that will be brutally shattered in “Carnivore Incarnate”. Here, the instrumental builds to a visceral crescendo where Lee completely elevated his vocal capabilities, oscillating between harsh growls and strong choruses. The most delightful thing about this track is that it still plays with tempo changes and brings madness before another absurdly ferocious solo. An insane and forceful start to the album, with clean and precise production, a brave and honest track that’s also meticulous.

We move on to “Desolation” and here Death and Motörhead fans can easily join in the mosh pit, Aidan and Lee have a unique formula for uniting nuances and bringing each element of the track to the forefront in detail, as well as metal nuances without any confrontation. Death/Black Metal lovers will also delight in “Blood of Thy Coven” which simultaneously explores a darker side with passages that remind me of Opeth’s depressive and melancholic progressive metal, a curious and brilliant blend. One of my favorites so far. We now arrive at “Shinigami” and here this melancholy takes on a more aggressive sound, where drums duel with guitars and bass—a tribute to the production quality; each instrument is in its proper place without loss of quality.

Now follow me to “Scarlet Whispers” which brings balance and a breath of fresh air to the album, until we reach “Betrayal Of Flesh” with its horror-movie-worthy soundscape and blackened vocals. I must say, at this point, if all suffering leads to growth then Lee is literally proof of it. His vocals have become as violently insane as they are profuse and intimate when necessary. The guy simply goes from one end of metal vocal lines to the other without fear, the stuff of every producer’s sleep. Added to this are Aidan’s strings, which elevated technique and guitars to a new level on ECHOES IN ETERNITY.

We close the album with “Virtue Of Despair” and the title track, “Funeral World” an explosion of energy in lyrics and impeccable instrumentals. A strong band candidate to be the new face of Metal.