Nothing brings more satisfaction to a music nerd than following a band from their beginnings, perceiving their potential, and then seeing them rise and succeed. Sanhedrin is such a band for me. I came across them by pure chance, having been offered their first album for review. The band’s music instantly appealed to me, and I can hardly imagine anyone who likes the classic sound of Black Sabbath, Iron Maiden, Judas Priest and Motörhead not being partial to Sanhedrin’s compositions. This is old-school heavy metal, proudly and unashamedly, but with a modern twist to it.
Starting out with a demo (2015) and a self-released first album (A Funeral for the World, 2017), Sanhedrin struck a deal with Italian label Cruz Del Sur. After a re-release of A Funeral for the World in 2018, album number two The Poisoner came out in 2019. The European tour that followed was a great success and cemented the positive impression left by the two albums. The band were great to watch live, their delivery spirited and highly infectious. The buzz they created didn’t go unnoticed. In November 2020 they signed with major metal label Metal Blade Records, who are now releasing Sanhedrin’s third album, Lights On.
Sanhedrin are a three people from Brooklyn, New York City: Erica Stolz (Amber Asylum, Lost Goat) on vocals and bass, Jeremy Sosville (Black Anvil) on guitar, Nate Honor on drums. All three musicians know their craft very well and don’t allow any room for sloppiness. Erica is an outstanding frontwoman who knows how to engage an audience. Her voice has appeal and stamina, it can be sensitive, emotive, but also strong and angry. Jeremy Sosville is a terrific guitar player who writes ingenious, hooky riffs and plays mind-boggling solos. Finally, there is Nate Honor, a skilled drummer, who has been constantly upping his game and who is delivering probably his best performance so far on Lights On.
One of the things I like best about Sanhedrin is that they are firmly rooted in the here and now. Social commentary has been a constant on all releases so far and the new album continues this tradition, although with changed subjects. Previously, pollution and the devastating effects of narcotics abuse and the drug trade had served as themes. Lights On comments on the pandemic, the fear, the pain, the deaths, and all the burning societal wounds it uncovered, but also on the police killings of black people and on pre-Christian images of womanhood.
Of the album’s eight tracks, not one sounds like the other, yet all are recognizably Sanhedrin. The album opens strong with Correction and continues melodic and catchy with Lights On and Lost at Sea. My first personal highlight is track number four, Change Takes Forever, featuring a killer chorus with juicy riffs and an excellent double kick drumming storm in its finale. After Code Blue follows Scythian Woman, for me the best track on the whole album, with a galloping rhythm and lyrics to sing along and raise your fist to. This is the first feminist heavy metal anthem I have ever heard, portraying women as horse-riding warriors and referencing an archaeological find of four female warriors from ancient times. The guitar and the drums follow and enhance the lyrical subject – simply fantastic. Things calm down a bit with Hero’s End, the song that comes closest to a metal ballad. Death Is A Door returns to a more energetic sound for the finish, allowing for some hope, even in the face of dire circumstances. The production, though top-notch, doesn’t feature anything too polished or too fancy. This has been done so on purpose, because the bands want to keep their sound honest and not too different from their live performance. I like and respect that.
Old-school heavy metal with engaged lyrics, paying homage to the roots, made honestly and with gusto, performed by three decent human beings. What’s not to like?
(9/10 Slavica)
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