Teaser: Eneferens – The Bleakness of Our Constant (2018)

My introduction to Eneferens came when I was browsing through the records in the eminent establishment that is Sound Pollution: a record store located in Stockholm’s Old Town. The staff was playing The Bleakness of Our Constant through their stereo system, and there was something about the sound of this record that grabbed me

Black Sabbath – Heaven and Hell (1980)

“Children of the Sea” could possibly be my favourite song on the album, it’s definitely a top 3 album song for me. It’s also one of the best Dio-era Sabbath songs in my opinion. I would actually go as far to say that it’s one of Sabbath’s best songs ever! It starts off with a beautiful acoustic guitar picking pattern. Iommi’s clean electric guitar then enters, followed by Geezer who plays his bass in third harmonies

Opeth – Ghost Reveries (2005)

The next part feels like what the song has been building up to in the 6:26 minutes since the song started. Åkerfeldt, Lindgren and Mendez play a jagged and supremely evil riff in unison. Lopez matches the staccato nature of the riff with double bass drum action. A nice little detail is how there’s a faint growl that comes before the vocals kick in

Martin Birch (1948-2020)

His production on the Iron Maiden, Black Sabbath and Rainbow albums are some of my favourites. No matter how many instruments are playing simultaneously, everything is perfectly audible and balanced. “The Clairvoyant” from Seventh Son of a Seventh Son is a fast paced song with drums, bass, two guitars, vocals and keyboards, yet everything is perfectly balanced in the mix.

Hällas – Excerpts from a Future Past (2017)

My first impression of Hällas was “Uriah Heep meets Iron Maiden” or “This is what Iron Maiden would sound like if they were a 70’s Hard Rock/Prog-Rock band with a John Wetton- like vocalist”. There are also touches of Rush, Pink Floyd and Peter Gabriel-era Genesis in their sound

Iron Maiden – Somewhere in Time (1986)

This album was somewhat controversial among Iron Maiden fans at the time for introducing guitar controlled synthesizers (guitar synths) into their sound. I had listened to all the Iron Maiden albums leading up to Somewhere in Time before listening to it, and I don’t think it’s a departure from the sound they established on Number of the Beast in 1982