Bad Omen HHV Records 15 Items

Wytch Hazel’s stellar 2016 debut Prelude confirmed these Lancastrian apprentice wizards to be Britain’s most promising new hard rock band. Two years on, that promise comes to abundant fruition on II: Sojourn, an album that moves Wytch Hazel on from the innocence and exuberance of the debut to a darker, more profound and complex place, carefully wrought into optimum shape by the band’s singer, guitarist, songwriter and mastermind Colin Hendra. The most crucial influence fully expresses itself via Les Paul guitars in sweet twin harmony through cranked Super Lead Marshalls. In the parallel universe where the New Wave Of British Heavy Metal happened 600 years early, Wytch Hazel are the band of choice for the discerning Plantagenet headbanger.

The quest for the transcendent is writ large throughout rock lore and legend, with the desire for connection beyond this earthly plane indivisible from the electric charge of heavy amplification, This is a mission fully understood by two skilled purveyors of their craft, Spell and Pøltergeist, who join forces here on a seven-inch mission, utilising the psychic forces of sound and fury to forge a portal to other dimensions. Whilst these two outfits share Canadian origins, they take singular and eccentric paths on their journey into the ether — Spell with a version of occult legends The Devil’s Blood’s A Waxing Moon Over Babylon that weaves its incantatory invocation through their own savagely graceful metallic filigree; and Pøltergeist with the propulsive and crepuscular Fall To Ruin — a crypt-kicking deathrock anthem that charts a pathway from the catacombs to the stars. For Spell, this seven-inch marks something of a devotional practice, as the band’s brothers Cam Mesmer and Al Lester have been rabid fans of The Devil’s Blood since their inception. The duo even went as far in their earlier years as to take a pilgrimage across the Atlantic to Helvete Club in Oberhausen, Germany, the better to see the band perform one of their first ceremonial rituals, after which they slept in a local graveyard. Their take on a song from the Dutch conjurers’ debut 7-inch is therefore as replete with all the spiritual charge one could demand from a band whose fierce love for classic heavy metal is only matched by their gnostic and distinctive approach; blissful guitar harmonies and haunting melody intertwine here for an evocative and appropriately nocturnal serenade. Pøltergeist meanwhile set out with a track of their own writing, and one that’s rich with its own uniquely twilit magic. The brainchild of Calgary’s Kalen Baker, the band takes a distinctly DIY and punk rock approach to stadium-sized songcraft, weaving their distinctive web with inspiration from the gothic rock and 4AD indie of the ‘80s as well as the deathless glory of the NWOBHM. The result is Fall To Ruin, a track which marks out the band's dark marriage of the bleakly catchy and the perversely uplifting. Featuring Spell’s Al Lester on drums, this is only the first taste of a musical elixir sure to provoke rapture all across the darker quarters of the musical spectrum. This dangerous meeting between two possessors of mercurial powers marks a communion powered by mighty serendipity; starlit protagonists driven by similar intent yet casting defiantly singular sorcery. Dare you step across the rubicon? 1. A Waxing Moon Over Babylon2. Fall To Ruin

On a holy roll after the success of their stunning 2023 LP IV: Sacrament, Lancastrian heavy metal apostles Wytch Hazel here ally themselves with the underground pomp wizardry of Phantom Spell for an addictively flippable split seven-inch. From the diamond grooves and emotive hooks to the antiquarian sleeve art, apparently depicting a woodland encounter between Robin Hood and Gandalf, this is an artefact dripping in the ethos and atmosphere of long ago. This perfectly matched union of talents take us from the pre-history of Middle-Earth, via the sylvan mystique of the Dark Ages, to the magical scene of the mid-late 1970s, when Judas Priest, Rainbow, Magnum and Kansas were enjoying their first flush of success, Tom Baker commanded the TARDIS, and all was right with the world (apart from the power cuts, civil unrest and disco, obviously). With their open-hearted chivalric anthem Ride On, Wytch Hazel effortlessly extend their yawning purple patch, Colin Hendra’s devout troubadours currently among the hottest names in British heavy metal, even while rocking white spandex and singing songs to the glory of God. As with so many great Wytch Hazel tunes across four superb albums since 2016, this almighty galloping earworm will swiftly munch its way through the corpuscles in your head, its gorgeous guitar solo slithering gracefully along your cortex, warping time to convince you this has surely been a family favourite drivetime rock classic for decades. On the flipside, Phantom Spell explore more cryptic vistas with Palantíri, a song about Tolkien’s crystal balls, nailing the arcane, otherworldly vibe of those early NWOBHM pioneers who used keyboards to project a heightened level of mystical drama - cult raves like Shiva, Limelight or Marquis De Sade - as well as household names like Rush and Styx. Entirely the work of Kyle McNeill, founding frontman of London-based trad metal whizz-kids Seven Sisters, Phantom Spell’s beguiling debut LP Immortal’s Requiem emerged in 2022, but Palantíri is their strongest tune yet, building and bursting with shimmery cascades of warm guitar surrounding an imploringly epic chorus. Colin and Kyle have been friends and fans of each other’s work since Wytch Hazel and Seven Sisters emerged on the English metal circuit in the early-mid 2010s, sharing bills and wavelengths, so this enchanting mutual endeavour has been a long time coming. Between them, Wytch Hazel and Phantom Spell shoot a beam of brilliant light into our modern darkness, affording us a chance to glimpse other times and other worlds. Seize it. 1. Ride On2. Palantíri

Arriving directly from a zone between dream and waking, the third album from Spell is here to weave its potent magick. Established as intrepid pathfinders on the journey of classic Heavy Metal into the mystic, ‘Tragic Magic’ sees the Vancouver outfit honing their approach to seductive effect. The songcraft here is steeped in the atmosphere of the arcane, yet the hooks are more razor-sharp than ever as ten occult-tinged anthems marry majestic bombast with otherworldly allure. Fans of Rush, Blue Öyster Cult and the Nwobhm will find much to sink their teeth into, yet more than ever this unearthly brew sounds like no one else but Spell - gnostic rock warriors transposing their dark arts fearlessly and alchemically into the light.

Arriving directly from a zone between dream and waking, the third album from Spell is here to weave its potent magick. Established as intrepid pathfinders on the journey of classic Heavy Metal into the mystic, ‘Tragic Magic’ sees the Vancouver outfit honing their approach to seductive effect. The songcraft here is steeped in the atmosphere of the arcane, yet the hooks are more razor-sharp than ever as ten occult-tinged anthems marry majestic bombast with otherworldly allure. Fans of Rush, Blue Öyster Cult and the Nwobhm will find much to sink their teeth into, yet more than ever this unearthly brew sounds like no one else but Spell - gnostic rock warriors transposing their dark arts fearlessly and alchemically into the light.

Arriving directly from a zone between dream and waking, the third album from Spell is here to weave its potent magick. Established as intrepid pathfinders on the journey of classic Heavy Metal into the mystic, ‘Tragic Magic’ sees the Vancouver outfit honing their approach to seductive effect. The songcraft here is steeped in the atmosphere of the arcane, yet the hooks are more razor-sharp than ever as ten occult-tinged anthems marry majestic bombast with otherworldly allure. Fans of Rush, Blue Öyster Cult and the Nwobhm will find much to sink their teeth into, yet more than ever this unearthly brew sounds like no one else but Spell - gnostic rock warriors transposing their dark arts fearlessly and alchemically into the light.

Birth evolved from Astra, whose two albums for Rise Above Records - 2009’s ‘The Weirding’ and 2012’s ‘The Black Chord’ - had already reinvented classic sonic textures and mind-melds in lucid and intoxicating style. Conor Reilly and Brian Ellis nonetheless found themselves seeking out new life and new civilisations. Initially this led to a collaboration with Psicomagia’s Trevor Mast and Paul Marrone, although later Marrone (while he does play on ‘Born’) was replaced by Thomas DiBenedetto (of Sacri Monte, Joy and Monarch) as sparks began to fly in earnest. The result has been a debut which combines a questing spirit with a dystopian take on the here and now. Musically, whilst traces can be discerned of the dark and magisterial King Crimson of ‘Red’ herein, as well as the yearning cadences of early Yes and the delirious contortions of Van Der Graaf Generator, a whole host of influences made their presence felt in these mournful cadences, joyful solo passages and kinetic freakouts, from '70s mainstays like Aphrodites Child, Premiata Formeria Marconi and Area to the primitive folk of Robbie Basho and the symphonic soundtrack work of Osanna. Yet far from the trappings of retro chic and fashion-aligned classicism, these five celestial serenades stake their claim in a different headspace to most other exponents of the form. Certainly, it’s true that many of the audial shapes manifesting themselves here - the exploratory jazz-rock diversions, Mellotron and Hammond-abetted textures and the rich melancholia of the song-writing - may recall moments from progressive rock’s past and the listener may be forgiven for losing themselves in a gatefold-sleeved reverie. Nonetheless, this is a band which was thrown into life via the constrictions and temporal shifts of a global pandemic, as well as one which has largely set about chronicling a reality in which the surrounding world appears to be hurrying its own demise. Alchemical forces have done their considerable work with ‘Born’, in creating an uplifting album for the ages, 42 minutes in which past, present and future are blurred; an album haunted by earthly concerns even whilst its sonics aim for the stars.

Brand new recordings from two of the heavy rock underground’s most vital acts: "Chain Yourself" sees Wytch Hazel deliver a blistering slice of classic early eighties style heavy metal complete with 16’s on the "disco hats" and hooks that will lodge in your cranium from first hearing, while Spell’s “New World” is a riveting take on Strawbs’ gothic folk masterpiece. Rich mellotron and ghostly harmonies condemn violence in a delicate balance of fragile beauty and disquiet force.

These raw & vibrant demos capture the embryonic spirit of early Wytch Hazel

Born and bred in London, John Hoyles moved to Sweden in his early teens where he became the lead guitarist in the legendary doom metal band Witchcraft in the year 2000 playing on their self-titled debut, 'Firewood' & 'The Alchemist'. Nine years later he founded the band Spiders, and in 2016, he formed the group Big Kizz, together with his friend Axel Sjöberg from Graveyard. Whether creating in tandem with his fellow musicians or flying solo on his own, Hoyles creates music from the heart: some punk, pub rock, a little 70's glitter, heavy psych and a touch of vintage metal. His playing and singing are honest and accomplished while his warm, wicked tone is unmistakable.

Bad Omen Records reissue Hoyles' 2017 solo album, 'Night Flight' (previously issued on the now defunct Swedish label Crusher Records), including the previously unreleased track "Highwire". One of the more interesting rock releases of the past few years, 'Night Flight', is a killer sounding rock and roll album that would sit right at home in the late 1970’s London scene. It's also the first time that the guitarist brought his gruff British-accented snarl to the mic, to alluring result. The eight track album clocks in at just under 22 minutes and includes the punk-flavored opener ‘Talking About You’, the acid folk cut ‘In the Garden’, the psychedelic title track, a killer cover of former Pink Fairies guitarist Larry Wallis’ “Police Car”, and more.

Albertan deathrock denizens, Pøltergeist, have signed with independent music label Bad Omen Records (Watch Hazel, Satan's Satyrs). The Canadian new musick trio will release its debut LP, 'Nachtmusik', on October 25th. Described as a mix of Post-Punk, traditional metal, and shoegaze from the frostbitten plains, Pøltergeist plays propulsive, crypt-kicking coldwave that charts a pathway from the catacombs to the cosmos. Perhaps the most perfect distillation of the Pøltergeist style arrives with ‘Children Of The Dark’, a catchy, tempestuous rocker that also functions thematically on a dual level- not only as Kalen reckons “a call to arms for people who share a passion for underground music” but also arriving via a morbid angle to assault the iniquities of the modern labour market; a Stokerist-critique of late-stage capitalism, if you will, but laden with biting hooks. “I consider us first and foremost a Post-Punk band, but heavy metal will always play an important role,” says Baker, citing the likes of In Solitude, Unto Others and Tribulation as bands who’ve explored the hinterlands between the two worlds. “When I got really into Goth Rock, one thing I noticed was that it was just as cold and bleak as black metal but in a different way”. Having a longstanding love for the mystical metallic strains of Angel Witch, Cauldron and Blue Öyster Cult, Baker found himself moved by both Vancouver contemporary post-punk act Spectres and the epochal British melancholia of The Chameleons’ ‘Script From The Bridge’, not to mention gothic and post-punk legends like Sisters Of Mercy and The Sound, and paradigms of the ethereal like Cocteau Twins, Slowdive and My Bloody Valentine. Bolstered by the lyrical influence of spiritual progenitors like Moorcock, Lovecraft, Poe and the David Lynch of Twin Peaks, the sound of Pøltergeist was born; a gritty but magickal realm where crepuscular intensity is joined in psychic battle by metallic fortitude. ‘Nachtmusik’ is true to Baker’s vision of ‘a kaleidoscope of emotions, sounds and ideas’. This is a record which, at heart may yearn for the spiritual realm of the 1980s, but with feet firmly treading the twenty-first century here and now. As storm clouds gather overhead, Pøltergeist’s journey into darkness is just beginning. 1. Einfürung2. Burning Sword3. Ethereal Nightmare4. Cold in September5. Yesterday Fades6. Nachtmusik7. Children of the Dark8. Swallowed by the Ocean9. Will We Ever Live Again10. Walking Alone11. Dämmerung (Outro)

Fresh from the overwhelming success of their latest album ‘IV: Sacrament’ Lancaster's heavy bards and spiritual hard rock titans Wytch Hazel have gone all in on delivering a fully-fledged, tubular-bell-ringing Christmas single. Transposing the hymnal classical influences of Handel's Messiah and the spirit of carols the like of "The First Noël” via the earthy heraldry of Steeleye Span and Wishbone Ash, the band deliver something for which perhaps only they would have the skill, sensitivity and spiritual charge. Replete with Wytch Hazel's trademark twin-guitar harmonies and finely honed arrangements, "King Of Israel" is both a stirring devotional tribute and a heartfelt message of unity, peace and goodwill to all on Earth.

The 7” red marble vinyl edition is backed by Colin Hendra’s minor key arrangement of “Auld Lang Syne” which was misspelled on the first pressing as “Old Lang Syne” by the Bad Omen elves.

Wytch Hazel’s stellar 2016 debut Prelude confirmed these Lancastrian apprentice wizards to be Britain’s most promising new hard rock band. Two years on, that promise comes to abundant fruition on II: Sojourn, an album that moves Wytch Hazel on from the innocence and exuberance of the debut to a darker, more profound and complex place, carefully wrought into optimum shape by the band’s singer, guitarist, songwriter and mastermind Colin Hendra. “I’m really into the idea of an album,” notes Colin. “I don’t do mix-tapes, I don’t listen to singles, I’m interested in albums. I want to make a good, listenable, cohesive work, that is the whole thing.” Asked what inspirations were brought to bear this time, Colin has good news, and even better taste: “I was listening to plenty of Judas Priest, Thin Lizzy and Wishbone Ash last year,” remarks the frontman. “This seems to be more of a hard rock album, where the last one was more rock-folk. It’s definitely more rock than folk!” The most crucial influence fully expresses itself via Les Paul guitars in sweet twin harmony through cranked Super Lead Marshalls - “Exactly the same type of amp that Thin Lizzy would have used,” beams Colin - a benefit of working in James Atkinson’s Hand Of Law Studio, a converted gaolhouse in Leeds. “We knew there would be a lot more great gear, more amps, more options,” enthuses Colin of this productive new work environment. “We were more prepared, we planned better. I had a lot more vocals to record on this album, pretty much every song has at least three harmonies, but James is a really chilled out guy, he made it easy for us. I had a very clear idea of how I wanted each song to sound, I thought about every single aspect. I probably over-prepared for this album, and it paid off!” Wytch Hazel’s proud, avowed Protestant Christianity continues to set them apart from the occult hocus-pocus of their peers, and the very title Sojourn has a Biblical inspiration: “It’s used a lot in the Old Testament, people would travel somewhere to stay for a short period of time,” explains Colin, comparing the idea to Wytch Hazel’s development since Prelude. “We’re going to reside here with this sound for a while, and the next album might not sound the same. Come and have a listen to this aspect of Wytch Hazel - it’s a temporary stay. We’ll be here for a while, then there will be something else. I’m always writing, it’s a constant stream, but I’m always trying to raise the bar, because I don’t want the next album to be not as good as the other ones!”

Over the past near-decade, Lancashire’s medieval metal phenomenon Wytch Hazel have been honing an uncommonly wholesome, rustic and devotional brand of timewarped hard rock that’s all their own, with 2016’s Prelude and 2018’s II: Sojourn summoning to mind fevered images of Robin Hood and his Merry Men grooving to Jethro Tull and Thin Lizzy. Yet within moments of pressing play on their third LP, III: Pentecost, the musty mystical minstrelsy takes a back seat in favour of a rich, sumptuous, anthemic late-night drivetime vibe, passionately embracing the most high-end smash-hit classic rock and metal circa its late 1970s heyday. “I thought I put a lot into the second album, but this album has been an absolute obsession,” stresses the band leader, Colin Hendra. “Every aspect had to be as good as possible. We’ve gone back and forth, Ed was tinkering with it for months on end. There’s quadruple tracking going on with the rhythm parts, then we’ve doubled, tripled and quadrupled all our lead parts to get that richness and fullness of sound, all meticulously planned with pages and pages of organisational notes. It wasn’t just ‘get in the studio and see how it goes!’” he laughs. “One day I did 14 hours of vocal recording. All vocals are double-tracked, I can’t express how much hard work that is. The last album feels like a breeze compared to what we’ve done with this - and I don’t plan on ramping it down!” Musically, there are gorgeous self-professed touches of Black Sabbath, Blue Öyster Cult, Ac/dc and early Scorpions—“With the soloing I was trying to go for Michael Schenker” beams Colin—while the scampering headbanger I Will Not initially took a nod from Angel Witch, who Hendra was helping out on second guitar back in 2015 when the track was composed, before studio treatment made it sound “a lot more Wytch Hazelly”. But perhaps the most lateral comparison is to a band from the opposite spiritual realm, with Archangel an explicit homage to Swedish faux-Satanic devil cult Ghost. “I find them fascinating, Ghost; musically great, the songwriting is spot-on,” enthuses the frontman. “We share an intrinsic connection, with [Bad Omen honcho] Will Palmer being the person who discovered us both. “Music is created for all, it’s a common grace for everyone,” he affirms, “which is why the music that shows the glory of God the most, in my opinion, is not music created by Christians. It’s Black Sabbath!”