EP Review: Häxan - Death Of Me
Reviewed by Dan Barnes
Acknowledging the gap between their 2020 White Noise debut and the release of this follow-up EP, Häxan’s mitigation comes in the form of their extensive touring commitments since the world powered back up. Shows with the likes of the Quo, Phil Campbell and his family, and Foreigner, as well as festival appearances at Bloodstock and Download, and further afield in Scandinavia and the US, means that the band, who do not write on the road, have becomes victims of their own success.
But all good things come to those who wait and, finally, the south Wales three-piece have managed to get themselves into the studio, nab the producing services of the Grammy-nominated Romesh Dodangoda, and lay down five-tracks for this long-overdue EP.
Clocking in a smidge under eighteen-minutes, Death of Me kicks off with the title tune, firing out of the blocks with a solid and uncompromising intent from the get-go. Grooving rhythms and crunchy guitars from Sam, rock-solid rhythms from Harriet and drummer, Jesse, give the who endeavour the feel of those classic power trios.
The appropriately named Sirens arrives faster and more intense, maintaining the classic rock feel but incorporating a dirtier, far nastier feel. Burn Alive keeps the tempos high and brings in a bit of swing to the proceedings, all building to a big, anthemic chorus that is guaranteed to elicit a fist-pumping singalong with every performance.
Closer, Collide, comes with a grim and doomy opening, reminiscent of Dio-era Sabbath, with Sam’s guitar tone having the sound of Candlemass. Big, chugs are accompanied by an unbending intent, with the finale of both the song and the EP being ushered in on the back of a bass-led charge.
At the centre of Death of Me sits Thirteenth Hour, scheduled for a single release it is a track that should see Häxan break into mainstream rock consciousness. Harriet’s walking bass and Sam’s angelic vocals wring the emotion out of the song. It ticks all the nostalgia boxes that someone whose musical development took place in the Eighties can relate, with every one of Häxan’s strengths being played to in four-minutes.
Being a trio means there’s no place to hide and each of the three members deliver the goods: Sam’s guitar rips and her voice is both Heavenly and Hellish as required; Harriet’s bass runs through every moment like rebar, reinforcing the structure, while Jesse’s drums provide the most solid of foundations.
So, Häxan put us on the horns of a dilemma: we want to see them out on the road, wrecking stages and giving big-name headliners the worries of how to follow them; but we also want more new music like this from the band!
Hmm – choices, choices.
Be the first to comment