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Last Updated on 01:31 AM by Giorgos Tsekas
Norway 1990. The country’s music scene is simmering, the second wave of Black Metal that will radically change the landscape of extreme sound is still in its first stages. Its creators are still planning the next phase in the infamous basement. As for the rest of the world, 1990 is remembered as the last year, of which the majority of its releases are referred to today as masterpieces of metal sound. But in this country that made Black metal one of its main exportable products, an album of furious heavy metal music was created in 1990, which unfortunately even today, does not enjoy the appreciation it deserves.
Witchhammer were created in Sarpsborg, Norway in 1986. They took their name from the famous book of the 15th century, ‘Malleus Maleficarum’ (The Hammer of the Witches), the unholy manual written by two Dominicans of the Inquisition (Kramer and Sprenger) for the chase and execution of witches and heretics in medieval Europe. They started in August of ’86 initially as a four piece, with Per Ståle Pettersen on vocals and bass, Peder Kjøs and Tor Erik “Totto” Håkonsen on guitars and Jan Erik “Gokki” Eide on drums. Shortly before their first concert in November of the same year, Finn C. Gjerlaugsen enters the band taking over the bass, leaving Pettersen free to concentrate on vocals. With this line-up they recorded their first demo in January 1988. Towards the end of the same year they recorded their second demo ‘Into the Halls of Justice’. By that time the band had already gathered a strong fan base and gained a lot of experience on stage. The first major opportunity comes with a proposal to support their compatriots Arch on tour. In April ’89, a week before the Norwegian tour guitarist Peder Kjøs leaves. Frank Wilhelmsen is his replacement. The tour is a success, but things are a little strange with Frank. This situation results in an informal exchange of guitarists with Metal Thunder. So Frank leaves and here comes Morten Skute. After that all is ready for their first album which is released in March of ’90. It is entitled ‘1487’, the year in which the Catholic Church has approved the release of ‘Maleus Maleficarum’.
The musical triumph of 1487 is based on the totally successful mix of heavy, speed and thrash metal which is strengthened with the major component, which is none other than the synthetic and executive skill of Witchhammer. Few records managed to combine roughness with melody so harmoniously. The examples that first come to mind, always speaking for this particular period (without mentioning the countless demos) are the magnificent releases of of Attika – When Heroes Fall (1991), Holy Terror – Mind Wars (1988), Anacrusis – Suffering Hour (1988), Heathen – Victims Of Deception (1991), Paradox – Heresy (1989). The style of some of the aforementioned album can be tilted more towards the progressive / technical thrash, while others to classic heavy / speed metal. But all share the same musical vision, with Witchhammer intersect more to the classic heavy metal sound.
The record opens with ‘Transylvania’. This composition could easily be part of ‘Walls Of Jericho’ of Helloween. The structure of the piece, the solos, all refer to the Germans. In fact, someone that listens to this for the first time could consider these Norwegians as another copy-cat band of the legendary Germans. But the truth is that the song works wonderfully as an intro to the philosophy of the album and predispose the listener for the greatness that follows. ‘Kill All In Sight’ continues in a more mid-tempo vibe. The production is just as it should. The guitar sound cuts very deep and the rhythm section shoots over the ears of the listener like a cannon. Absolute bane follows with ‘Burning Court’. In roles of judges and executioners they unleash their furious riffs in all directions. The ‘The Whore Of Babylon’ is the power ballad (if I may say so) of the album. The dismal introduction with the piano and the wonderful guitar melody blends beautifully with the soft vocals of Per Ståle Pettersen who shows us that he can actually sing and not just spit lyrics with hatred. The representation of the chaos prevailing in Hiroshima after the dropping of the atomic bomb is shown in the most eloquent way on the speed / thrash demon ‘Enola Gay’. Although the whole album stands at the same level (no fillers, only killers) this piece will stand out as their most representative. Ripping speed, furious rhythm and solos from another planet. ‘The Hallows Eve’, ‘My Execution’ ‘By This Axe I Rule’ continues the streak of inspiration and ‘Curiosity About Death’ closes the album in full throttle, just like it started. The alternation of fast and mid-tempo tracks combined with the quality of the compositions keeps the listener constantly alert.
The release of ‘1487’ was self-funded and came out on a limited amount of copies. These guys were so passionate with their music that although they didn’t manage to sign a contract with a record company, they took a loan in order to release the record themselves. That’s fucking Heavy Metal. Semaphore assumed distribution in Europe. The album got good reviews from major magazines like Metal Forces and Metal Hammer. In Norway, radio stations played their songs and an appearance in Oslo was presented via television throughout the country.
The album was recorded by Magne Østby, Ed Kuczynski and Witchhammer in Borg Lydstudio. The vinyl is now almost impossible to find. In 2005, celebrating 15 years after the creation of the album, it was re-released on cd by Dazed & Confused.
Side A
1. Intro
2. Transylvania
3. Kill All in Sight
4. Burning Court
5. The Whore of Babylon
Side B
1. Enola Gay
2. Hallows Eve
3. My Execution
4. By This Axe I Rule
5. Curiosity About Death
