The term ‘Horndal Effect’ could have two definitions; for the business management nerds in attendance it relates to productivity unexpectedly rising when a business operates in survival mode due to the threat of closure, while for those in the metal fraternity, it relates to excessive head banging caused by exposure to heavy arsed riffs emanating from Stockholm. Horndal’s debut full length, Remains, was based on the plight of their Swedish home town (from which the band took their name). In 1977 the Horndal steel mill which provided employment for much of the local population closed down, leading to mass unemployment and poverty; the sad story of a post war industrial town being left behind due to globalisation and advancements in technology. Horndal (the band) return with their sophomore release Lake Drinker; a concept album chronicling the Devil revisiting present day Horndal in the guise of large technology companies, offering false hopes of prosperity while destroying the local environment.
The cover artwork (which is awesome) loudly screams “Death Metal!”, if the band tour again I will be hot-footing it to their merch desk to increase my inappropriate skull emblazoned regalia tenfold. About that death metal though… while the self-titled EP was more noise rock and Remains leaned towards punk and metallic hardcore, Lake Drinker is a different proposition. If any track sounds like the artwork looks, it’s the opener ‘Rossen’; it’s a blast, there’s a brief calm before the storm, then all hell breaks loose. Scorching guitars and pounding drums crash in like a tidal wave of molten metal and malevolence, demolishing everything in its path. The thrash guitars are of huge Slayer-like proportions and there’s a screeching guitar solo that is reminiscent of Kerry King at his evil best. It’s a thunderously heavy opening, but it’s also apparent that Horndal aren’t necessarily going to pummel the listener to death for the duration of their shift.
‘Horndal’s Blodbad’ features classical percussion from Pelle Jacobsson (Sweden’s National Radio Symphony Orchestra), which is the perfect accompaniment to the huge Mastodon sized riffs and Henrik Levahn’s vocals which are evocative of Troy Sanders’ sometime gruff howl, crossed with Tom Hardy’s Batman nemesis, Bane. Horndal have no doubt progressed from the fast paced hardcore of old, replacing it with humongous smelted slabs of metal, the like of which not seen since the days of the infamous steel factory. ‘The Black Wheel’ features a wonderful spooky intro and trance inducing guitars that captivate and crush in equal measure, aqueous riffs that twinkle and soothe but can violently drag the listener under at any moment. ‘Kalhygget’ and ‘Ruhr’ are equally mesmerising; the former is fast and aggressive, packing a groovy chord-driven riff briefly resembling early Helmet, while the latter chugs and grinds, but is offset by clean melodic guitars and drum beats which bring to mind Agonist era Latitudes.
Horndal have matured on Lake Drinker, the hardcore and rough edges have been replaced with monstrously heavy riffs and complex song structures. The addition of horn arrangements and classical percussion reveal huge ambition; Horndal are snapping at the heels of the big hitters with their brand of atmospheric sludge akin to Cult of Luna melded with Mastodon’s progressive metal. In lesser hands the inclusion of vast melodies and various instruments could stifle momentum, but here it feels natural, sounding like a horror film playing out in front of your ears. The only minor niggle is that it’s a tad overlong, eleven tracks being a rarity these days, and no matter the myriad of ideas on offer, it eventually starts to drag a little. Lake Drinker is an impressive concept album nonetheless, with an intriguing narrative; the true story of Horndal may be unfortunate but it has inspired the band to create something very special indeed.
(8/10 James Jackson)
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