If you go travelling around you never know sometimes what you’re likely to find. For example, crawling amongst the dusty shadows lurk the ominous spectre of Bloody Hammers in Transylvania County, NC. Now on their third studio album, the sense of their identity is well defined and those of you familiar with Hammer House of Horror will have no issues in relating to this band. Horror television meets doom rock, hints of psychedelic rock and splashes of stoner for good measure.
Since releasing their self-titled and their Spiritual Relics album on a Dutch-based record label, this is the first result of the union with a major record label. First single The Town that Dreaded Sundown sets the tone admirably. Shrouded in all things dark and foreboding, Anders Manga remains absolute crafting ten gloomy sirens. It is quite a ride and shouldn’t disappoint those who appreciate a little melody wrapped up in doom-like masquerades.
Sludge-oozing beast The Moon-Eyed People exhibits a dirty groove swimming through a cauldron of poison whilst Welcome to the Horror Show turns down the lights and feels menacing. Slicing this carcass in to other highlights reveals the dark majesty of the title track, Spearfinger complete with suitable atmospherics and the driving demon Dead Man’s Shadow on the Wall.
If you catch the band on the road touring their show of horrors, you’ll quite possibly witness the drama unfold thanks to Manga on bass and vocals, Devallia wrestling piano and organ tapestries with Doza smashing the skins. This sort of proposition doesn’t happen too often I suspect, so keep your eyes peeled for such eventualities
The Last Alarm provides a backbone made out of a rolling bass line which might suggest comical overtures, but instead becomes embroiled within a ragged and frantic song swaying in a breeze like a torn item of clothing. Even the final curtain closer The Necromancer digs deep in the grave to serve up a dish of rotten fruit complete with buzzing flies.
It is clear to those who hear this band how they don’t compromise and yearn for their fix of horror morsels. It isn’t always a success when fans of this genre try to produce a solid release encompassing all they adore, but Under Satan’s Sun does a good job merging atmosphere, melody and riff in to a cocktail fit for an evil mastermind.