The Horse And Other Weird Tales

Third album from the Finnish occult rockers.  Once again strong retro-sounding vibes that reek of the late 60s/early 70s.  The whole scene seems like it started with the late lamented band  The Devil's Blood.  Jess And The Ancient Ones picked up the mantle and carried on with a similar sound.  Now you have Avatarium and if you want to stretch it a bit more you've got Blues Pills.  This is music that evokes the sound and feel of Jefferson Airplane but this time around in a head on collision with Ray Manzarek of The Doors.  Soulful female vox, ripping distorted guitar leads and organ splashes conjure up a late night jam session at Aleister Crowley's mansion.  Hey I think they even sneak some Mellotron sounds in the mix!  Highly recommended.

"“All things old become new again.“

—Harley King

The above statement holds much truth for metal. Our beloved musical genre is ever-obsessed with looking backward for inspiration1. We’ve been battered by rethrash since the early aughts, and the whole trve metal thing is an invasive, difficult to eradicate species. Death metal is now (always) looking back to its primordial roots, and basements across the world have countless Vardans, cranking out lo-fi black metal with unquenchable Transilvanian hunger. The “occult rock” phenomenon is yet another time capsule blasting backward to poach the treasures of the distant past. Avatarium went from retro doom to 60s rock in the span of 3 albums, and over their own 3 album run, Jess and the Ancient Ones took the yellow submarine from occult 70s rock/metal to what they’ve become on The Horse and Other Weird Tales – tripped out 60s hippie rock with nary a metal influence to be found. A shorter trip to be sure, but no less regressive, The Horse is loaded with nods to The Doors and Jefferson Airplane, but manages to retain much of the band’s off-kilter personality. But does the lava lamp still burn?

Thankfully, it does. Despite a more permanent relocation to the era of flower power, cults and free love, Jess and the Ancient Ones still deliver high-octane music with plenty of weird quirks and enigmatic charm. Opener “Death is the Doors” is an amusingly titled number loaded as it is with nods to The Doors and their organ-cetric style. Imagine that classic band at their peak with Janis Joplin replacing Jim Morrison and you should get an idea of what to expect. Cuts like “Shining” and “Your Exploding Heads” rock hard but stay safely within the confines of the 60s sound. The writing is tight yet adventurous, with short 2-3 minute songs, but music running all over the place in the allotted time.

The Horse has 2 longer tracks where the band gets to explore their psychedelic ideations more fully. “You and Eyes” delivers a codswallop of emotion and power courtesy of a knockout performance from Jess. She takes us from smoky, sultry cabaret singing to unhinged, Janis Joplin on acid and Red Bull outbursts, blowing listener’s minds and showcasing the band’s playful inventiveness. Add some outstanding keyboards and beautiful guitar-work and you have a real doozy of a tune. 8-minute album closer “Anyway the Minds Flow” is a more edgy, volatile ride, with constantly shifting moods and emotions, but it works, benefiting from the uneasy marriage of melody and lunacy. This is Sybil-core and it definitely keeps one on their toes.

Downsides? Though there isn’t a weak track present, some of the songs are too brief, amounting to mere interludes. Also, the prevalent and oddball samples can become a distraction. Considering the album’s 35 minute length, time is of the essence and the extraneous fluff takes up space better left for the music. Sound-wise the biggest issue is the over-prominence of the keyboards in the mix. Though things are generally well balanced, Keys tend to dwarf and drown out the guitar when the music get busy.

As with the previous albums, Jess and her rich, diverse vocals are the main attraction. The lady can belt and belt she does. She manages to sound plausibly stuck in the 60s, but the sheer power of her voice sometimes elevates the music back toward modern day metal aesthetics. After Jess comes the flood (of keyboards). The keys often function in the “lead guitar” role and there are a lot of organ noodles and fills here. At times this can become too much of a good thing. Sole guitarist, Thomas Corpse is an understated team player, but he has a knack for nuanced and interesting grooves and leads, playing off the keys with lively riff patterns. His solo-work can be quite emotive, and I wish there was more opportunities for him to cut loose.

The Horse and Other Weird Tales isn’t quite as wondrous as Second Psychedelic Coming, and it’s definitely more lost in the past than ever, but the band retains their unique charm, vibrancy and writing chops. If you enjoy what Avatarium is currently doing, you’ll likely enjoy this as well. The 60s may not be coming back, but if that’s where you left you heart, mind or wallet, Jess and the Ancient Ones will be there to help you find them. Come for the rock, stay for the white rabbit." - Angry Metal Guy

There are no review yet. Be the first!

Product Review

You must login or register to post reviews.
Laser Pic

customers also bought

  • It s nice to hear a band like Siena Root playing it for real in this overly-processed world that we live in. Power to them, and I wish them all the success in the world! - Mick Box (Uriah Heep)"Siena Root is an experienced live act and an experimental project with its roots in analogue old school rock music. The group was founded in Stockholm in the late 90s. The sound is classic but yet original, based on heavy organ, howling guitars, bass riffing and big drums. It is also often enriched with bluesy soulful vocals, various guest musicians and psychedelic vibes.Siena Root is well known for its unique spectra of appearances, its many great guest artists, its broad musical range and its different interpretations of rock music. Yet, with a foundation in a traditional quintet, and a sound rooted in late 60s analogue gear. Don't expect to experience the same Siena Root show twice.In the sense that blues is blue, hard rock is black, and reggae is pan African coloured, this music has the colour of siena. It is a warm colour, originally from the muddy roots of the earth. Because this sound has roots that go deep, it was also natural to let root be a part of the bands name.Four full length studio albums, one live album, one DVD and two 7 singles have been released so far, each one marking the development and refinement of the bands diverse style. Through touring the music has developed in such a way, that jamming and improvising has become an essential element, always keeping you on the edge of your seat. A Siena Root concert is dramatic and exciting, visually, as well as emotionally. It's a dynamic root rock experience.""The musical world is rich and powerful and that is also a correct description of Siena Root's music. This is a Swedish hard rock band which aren't very progressive but still play in a progressive spirit or a psychedelic mood, without being psychedelic thankfully. "Pioneers" which is totally new is their fifth record and all their records has got very high (but few) ratings on this site. Especially their first "A new day dawning" from 2003 and their third "Far from the sun" from 2008. 2014 year's record follows a five year spectrum of now records. Their record has a lovely cover with a yellow landscape and the sillouettes of the five band-members heads in the background sky. Left from former line up is Love Forsberg, the band's drummer and Sam Riffer, the band's bassist. Otherwise the lead guitarist and organist KG West is gone as well as the lead vocalist Sartez Faraj. They are replaced by the keyboardist Erik Errka Petersson(who has played with my choir actually), the new vocalist Jonas Åhlén and the guitarist Matte Gustafsson."Pioneers" is a record of very high standard music which will please folk who like the hard rock of the late sixties and early seventies. The music is straight and melodic, filled with heavy organ sound and a caressing hard rock vocal. The musicians themselves has beautiful beards and it's obvious they love what they are doing. The only shame is that they have chosen to sing in English, that makes their music less interesting. I compare with the Norwegian band Höst which did a better choice. But still this music is lovely and very pleasurable. I think almost every track is similarily good but "In my kitchen" is absolutely the best(9/10), calmer and more atmospheric than the others. "Between the lines" and "Root rock pioneers" are two other songs I recommend(8/10). The record is extremely even so you won't find any bad or uninteresting tracks. This is specially a band and a record for fans of classical hard rock such as the late sixties' Deep Purple. This record is definitely at least a four star record. Recommended!" - ProgArchives
  • Napalm Records has been branching out over the past few years, adding some excellent stoner/space rock bands to the fold.  Swiss band Monkey3 is no exception.Monkey3 is primarily an instrumental band but Astra Symmetry does features vocals in spots.  This is the case with the lethal opener "Abyss" which has a strong middle eastern sound mixed with Zeppelin riffing (OK that may be an oxymoron).  The album features 12 tracks and is split into 4 parts: Water, Air, Earth, and Fire.  Plenty of psychedelic space rock fun ensues.  The music has a slow burn feel but gets heavy as hell.  The guitar solos alone will melt your face off!  If you like bands like My Sleeping Karma or Colour Haze you'll revel in this one.  Highly recommended.
  • "It hardly seems like a coincidence that Swedish rockers Graveyard chose the fall to release their fourth full-length effort, Innocence & Decadence. Just as shimmery summer days begin their slow transition into dark winter nights, the band, too, is ripe with change. After a lineup swap that saw co-founding bassist Rikard Edlund out and founding member Truls Mörck back in, one had to wonder what kind of an impact it might have on Graveyard's brand of '70s inspired blues-rock. The change, as it turns out, suits them just fine.From the psyched-out swing of opener "Magnetic Shunk" to the dripping, bare bones vulnerability of closer "Stay For A Song," the material on Innocence & Decadence is everything you'd expect from a Graveyard album plus a little bit more. There's a touch of Motown-inspired soul here, and some acid-tripping psychedelia there. Hell, there's even a blast beat on this sucker. In fact, the band seem more than capable of plucking any style from their eclectic array of influences and painting it with their signature blues rock sound. And there are other surprises too: guitarist Jonathan Ramm competently takes over lead vocal duties on "Far Too Close," while "A Hole In The Wall" treats us to Truls Mörck's husky croon for the first time since the band's debut.So as you cling to summer's last few blissful rays of warmth this fall, remember that change is inevitable. Maybe if we all moved forward with the same amount of confidence and authentic bravado as Graveyard, it might even be welcomed." - Exclaim
  • Canada's Blood Ceremony return with their fourth album, Lord Of Misrule.  Once again the band mines that deep well of 70s hard rock/prog/psych sounds.  Very English sounding the band shares a lot of similarities to their ex-Rise Above labelmates Purson.  Out front is vocalist Alie O'Brien who also contributes her signature flute and organ.  Yes the 'tron makes an appearance as well.  Ripping fuzzy guitar leads abound.  Amazing how its in vogue to make your album sound like it was recorded in 1972.  Blood Ceremony nail it. Highly recommended."Blood Ceremony has once again evolved, going further down the path they started on their 2013 release, The Eldritch Dark, bringing their hard rock, folk and psychedelic influences to the forefront, which results in an album that is catchy, dark and alluring.In fact, Lord Of Misrule adds another new wrinkle to the fold, as they go further into the past, and include a few songs that have a 60’s garage rock feel to them. Instead of diluting their sound, it just adds broadens their palate.Opener “The Devil’s Widow” starts off quietly and then breaks into a quick pace, with vocalist Alia O’Brien’s flute playing, riding shotgun over the riffs. In addition, guitarist Sean Kennedy, lets loose with one of many ripping guitar solos. Though the track, takes some detour into more traditional doom on the chorus, it retains its up-tempo pace for most of the track.“Loreley” adds some Middle Eastern chords to the mix, while “Flower Phantoms” sounds like a catchy nugget of fuzzed out sixties garage rock. “The Rogue’s Lot” is a slice of doom-influenced hard rock, while “Old Fires”, opens with a blast of organ that wouldn’t sound out of place on a Deep Purple album, and rocks out in a most righteous way. “The Weird Of Finistere” offers a more paired down take on psychedelic folk, while closer “Things Present, Things Past” ends the album on a somber note.Lord Of Misrule is the sound of a band stretching beyond their original influences and really coming into their own. Some people may not classify them as a metal band anymore, but that’s their loss, because this new album is an exciting slice of dark hard rock.It will be interesting to see where they go from here." - New Noise 
  • Reissue of the band's long out of print album from 2001, originally released on Monster Zero.  The band's sound at this point is a bit more primitive and raw in a way - its definitely guitar freak out psychedelia but there is a desert/stoner rock feel.  More overly like Monster Magnet and Kyuss.  The brain blower is the near 20 minute "Elektrohasch" in wich guitarist Stefan Koglek really lets it all hang out.
  • Siena Root has been one of Sweden's best kept musical secrets over the past decade or so.  The roots (no pun intended) of the band are clearly in a 70s sound - a bit hard rock - a bit psychedelic.  Their earlier albums have a looser, jammier feel.  A Dream Of Lasting Peace finds them walking a similar path but the material is a bit more focused.  The DNA is still there - the sound is sort of like Deep Purple meets Allman Brothers.  No Southern twang here but the heavy organ work of Erik Petersson definitely reminds more than a little bit of Gregg Allman and at times some Jon Lord as well.  New vocalist Samuel Björö is simply phenomenal.  The guy has a great set of pipes.  So essentially in 2017 we find Siena Root refining and focusing their sound a bit, distilling it down to its purest essence.  So yeah the tunes might be a little bit shorter but you won't feel it.  You'll feel 40 years younger listening to this one - I promise!  BUY OR DIE!!
  • 2CD edition comes with a bonus live disc recorded at the Loud Park 2010 festival."Taking a cue from where post-psychedelic and hard rock left off in the seventies before our hard rock heroes either went disco or into questionable directions, Spiritual Beggars’ picks up the pieces, just like Grunge did in its heyday; but adding a little more balls to the mix as an authentic force to be reckoned with. A supergroup featuring members of Arch Enemy, Opeth, Firewind, Carcass, and other extensions, the amped up sound of this Swedish powerhouse throws the pretentious mannerisms of out of the mix, gaining them a status that has created a solid dichotomy between them and many other stoner rock bands.Even as these guys are native to extreme and symphonic metal bands, the tunage gets to the point, reflecting Black Sabbath, Deep Purple, Blue Oyster Cult and early-Priest, as the heavy blues & R&B flavored upbeat moods have always raised the roof. Inflamed by grinding riffage and screaming Hammond organ, Earth Blues again sees Spiritual Beggars taking no retreat from their enigmatic rock and roll feast. The opening track “Wise as a Serpent” immediately spurs the dark groove into power pop territories, yet more intricate sides are heard on the multi-faceted “Sweet Magic Pain” & the dark 1-2 punch of “Kingmaker,” both offering up a salvo of to a Sabotage-meets-Agents of Fortune attitude. Without reckless abandon, these guys also explore a psych/funk mindset on “Turn the Tide,” plus you have “One Man’s Curse” which could have been a long last tune from Come Taste the Band.Even on the ballad “Dreamer” and the low key rocker “Dead End Town,” the band flexes their ideology the same way Zeppelin did at times; and that ideology is further expressed by way of  a set of live tracks on a bonus disc, proving they can hit the road with the attitude to kick ass. Still, whatever way you hear Spiritual Beggars, there will be no denying that their solid foundation of hard rock possesses intrigue, forgoing all the poser musicianship and letting the songs, the true grit of emotion, and the conviction to simply rock out speak loud for Earth Blues. Heavy, commanding, & sophisticated, Spiritual Beggars continue to map out their presence with bold, sharp, & gripping, metallic grandeur, affording no shame whatsoever." -
  • "Freaks is the third release from Qoph, a Swedish psychedelic rock band on Transubstans Records. Basically, all I needed to say was Transubstans Records and most of you regular readers of SoT would have assumed this band was from Sweden and played in a retro style, and you of course would have been correct. Qoph are comprised of Filip Norman (guitars), Rustan Geschwind (vocals). Federico de Costa (drums), and Patrik Persson (bass), and together they lay down some interesting sounds here on Freaks.Imagine a cross between The Doors, Led Zeppelin, and early Soundgarden and you have an idea of what to expect with Freaks. Trippy, fuzz toned guitars permeate "Hearts & Sorrows" and "In Your Face", while the crunchy "Ride", with its heavy riffs and squealing saxophone, comes across like a midnight jam session between Soundgarden, Jimmy Page, and John Coltrane. Geschwind's vocals are a cross between Chris Cornell, Robert Plant, and Jim Morrison, very expressive and fitting every aspect of the bands music. Some of the mellower, more haunting songs such as "Seconds & Minutes" and "Feverland" work quite well too, and " The weirdness to come" even has some space rock elements mixed in with the heavy arrangements. The most adventurous track though might be the lengthy closer "Remedy", complete with jam-like guitar patterns and mysterious sax explorations, a must hear for any fan of psychedelic rock.Solid stuff here on Freaks, a very enjoyable album that will certainly appeal to psych lovers of all ages." - Sea Of Tranquilit
  • OH YES OH YES!  THIS IS THE ONE!!!2010's Long Distance Trip is just that - a blast into the outer realms of the cosmos by this incredible German psychedelic quartet.  Led by guitarist Christian Peters, Samsara Blues Experiment are at the forefront of the stoner/trip rock scene along with countrymates Colour Haze.  Long Distance Trip tends to focus on extended length tracks - one of them clocks in at almost 23 minutes.  Total lysergic wah wah laced guitar jamz that should send any fan of Ash Ra Tempel, Guru Guru, and Hendrix into a frenzy.  Toss a little sitar in for some added magick.  These guys left nothing in the studio - its all here on the disc.  The album will sap you of all of your strength and crush your skull.  This one is an unbelievable mindf**k.  You like your psych served up heavy with a dose of the past on the side????  BUY OR DIE!Gorgeous 2LP gatefold vinyl edition.
  • The 5th Sun is the fourth album from this Swiss instrumental stoner/space rock band.  The album launches into deep space with the 14 minute epic "Icarus" and carries on from there.  The band touches on heavy psychedelia and even post rock.  Think of Tides From Nebula but with solos!  If Eloy and Karma To Burn had an unholy offspring it might sound something like this.  Highly recommended. 
  • Beyond The Wall Of Time is the skull ripping new album from this French instrumental stoner trio.  Napalm has really scored big with My Sleeping Karma and Glowsun (they should tour together).7 lengthy tracks filled with wah wah laced solos over a pounding Butler/Ward influenced rhythm section.  Nice pacing to the tunes as they slow down and breathe and then explode in a fret filled fuzzed out lysergic fury.  The occasional dialogue sample and pedal effects amp up the psych quotient.  There can simply be one answer to this onslaught: BUY OR DIE!
  • OH YES OH YES!  THIS IS THE ONE!!!2010's Long Distance Trip is just that - a blast into the outer realms of the cosmos by this incredible German psychedelic quartet.  Led by guitarist Christian Peters, Samsara Blues Experiment are at the forefront of the stoner/trip rock scene along with countrymates Colour Haze.  Long Distance Trip tends to focus on extended length tracks - one of them clocks in at almost 23 minutes.  Total lysergic wah wah laced guitar jamz that should send any fan of Ash Ra Tempel, Guru Guru, and Hendrix into a frenzy.  Toss a little sitar in for some added magick.  These guys left nothing in the studio - its all here on the disc.  The album will sap you of all of your strength and crush your skull.  This one is an unbelievable mindf**k.  You like your psych served up heavy with a dose of the past on the side????  BUY OR DIE!
  • Latest studio album from this lethal German band.  SBE was formed by guitarist Christian Peters in 2007.  The quartet (twin guitar, bass, and drums) will deeply satisfy the musicial appetite of any fans of 70s psychedelia, space rock, and doom metal.  They may well be the ultimate stoner rock band.Revelation & Mystery finds the compositions a bit tighter than previous efforts but that's a relative term when the title track runs past the 12 minute mark. Vocals don't interfere too heavily with the acid laced space trippin' guitar work.  Peters sings a bit and then they get down to serious business jamming their way into the cosmos.  If you are fan of early Guru Guru, Hawkwind, and Black Sabbath, or even Deep Purple you need to hear this band.  I got high just looking at the cover art.  This album is a total lease breaker to boot.  BUY OR DIE!  "The second album from Samsara Blues Experiment in as many years, Revelation and Mystery (World in Sound) takes a surprising turn in approach from their Long-Distance Trip debut, distilling the jams of the first record into more structured, song-based material. The tracks of Revelation and Mystery almost exclusively follow verse-chorus-verse patterns, and while part of the joy of listening to a song like “Singata Mystic Queen” from the prior collection was meandering along with it, Samsara Blues Experiment don’t completely lose sight of the journey in favor of the straightforward. Right from its start, Revelation and Mystery sees the four-piece layering guitar effects and infusing their parts with swirls and a spaced-out feel. It’s not that they’ve completely changed their methodology so much as they’ve shifted the balance within their sound. These structural elements were certainly present on Long-Distance Trip, but a cut like the semi-acoustic “Thirsty Moon” shows that Samasara Blues Experiment are able to work within these parameters to grow their songwriting. One gets the sense in listening to opener “Flipside Apocalypse” (which follows a 17-second nameless intro track) that this process is just beginning and that the band are still finding out what they want their sound to be, but that only makes Revelation and Mystery a more immediate, direct experience; the linearity of the album unfolding gradually as the songs move from the straightforward into the more sublimely jammed.Fast-paced rumbling from the bass of Richard Behrens in the surprisingly punkish beginning of “Flipside Apocalypse” is an immediate clue to the changes the last year have brought about in Samsara Blues Experiment. The mood is more active, less calming and chilled out than last time around, and the guitars of Hans Eiselt and Christian Peters – who also handles vocals – seem to be more concerned with riffing out than stacking layers upon layers, though there’s some of that too, even as later in the song a riff straight out of the biker rock milieu shows up and carries the song through to its end. I don’t know if it’s the result in some change in the band’s songwriting process or just how things happened to come out this time, but the change continues through “Hangin’ on the Wire,” which is genuinely hooky and thoroughly in the realm of heavy rock. A crisp production during the solo section brings to mind some of Queens of the Stone Age’s finer moments, and drummer Thomas Vedder locks in with Behrens’ own excellent fills with a few of his own. Peters, though, emerges at the head of the song. His vocals confident and effected in equal measure, he works quickly to establish the verse and chorus patterns, both worthy of sing-alongs, so that by the end, “Hangin’ on the Wire” feels like its earned its handclaps, and though “Into the Black” starts out more ethereal, with extended solo sections and a long instrumental introduction, the shuffle soon takes hold and it proves to be more boogie than nod.But perhaps “Into the Black” is where the band begins their subtle shift into more esoteric sonics, because as the soft strums and plucks and interplay of electric and acoustic guitars take hold on “Thirsty Moon,” the song feels neither out of place nor especially unexpected, which it very well might have if placed earlier on Revelation and Mystery. Peters’ vocal line feels a little rushed during the verse – it’s almost as though there were too many syllables to fit in the line – but the interaction of his and Eiselt’s guitars in the instrumental break and the balance between the guitar and Vedder’s drumming in the mix makes up for any such hiccups. Another chorus feels delivered more appropriately, and the progression cycles through again; solo section into chorus, solo section into chorus. And it’s not until Behrens’ highlight bass line begins “Outside Insight Blues” that it’s apparent just how much Samsara Blues Experiment put into the album’s flow. Added keys allow the guitars to go farther out into sporadic notes without sacrificing fullness of sound, but after about two and a half minutes, there’s a turn into riffier material that carries the groove through the next six. There are a few part changes, but things don’t really feel jammed out until the classic ‘70s boogie meets psychedelia of the last 90 seconds or so, blues harp and all. It’s a shift worthy of Siena Root, and the two-minute interlude “Zwei Schatten im Schatten” (in English, “Two Shadows in the Shadow”) follows suit with an appropriate marriage of Eastern and Western musical traditions with sitar and acoustic six-string. There’s something sweet and solemn in the intertwining melody, and it’s a passing thing on the way to the 12-minute closer, but worth paying attention to in a way that many interludes aren’t.Then, at last, comes the ending title cut. Worthy of its name, “Revelation and Mystery” caps the album with a sense of psychedelic majesty through which Samsara Blues Experiment show their ability to keep hold of a song no matter how deep into space they might also want to push it. The song winds. Its progression is at once driving and subdued, and of all the songs on Revelation and Mystery, it’s probably the best blend of all sides of what’s shown itself to be the band’s current sound. Of course, at 12 minutes, one could easily argue it has time to do and be all these things – with room left over for a bit of that sitar to show up as well among the guitar leads – but still, it’s another display of the maturity Samsara Blues Experiment have been able to take on in a relatively short amount of time (their demo gave first notice in 2008). Some bands need three years to learn and foster growth between their albums, and some bands need to play. If the jump between their first and second records is anything to go by, Samsara Blues Experiment would seem to be the latter. Wherever this stylistic form takes them, I don’t imagine it’ll be too long before we find out, but until then, the 47 minutes of Revelation and Mystery provide a varied and exciting listen worthy of repeat visits. Samsara Blues Experiment continue to progress, continue to impress." - The Obelisk
  • "They're back! The Swedish based juggernaut known as The Quill return with their original line up, Magnus Ekwall on vocals, Christian Carlsson on guitars, Roger Nilsson on bass and Jolle Atlagic on drums. The classic lineup, who made the albums, 'Silver Haze', 'Voodoo Caravan' and 'Hooray! It´s a Deathtrip' have reunited to unleash their new studio album, 'Born From Fire' and it's a MONSTER! There's just a little bit of me which will be forever stuck in the early seventies. I just can't help it! The same could be said of The Quill. Their new album is like hitting play and stepping out of a time capsule fully-formed and loaded with riffs that would make Tony Iommi proud. Magnus Ekwall is powerful singer with a strapping pair of lungs which he deploys with just the right amount of intensity which these twelve songs on this album demand. When he opens up and lets rip, as he does convincingly on "Stone Believer", he is also capable of restraint as he demonstrates on "Set Free Black Crow". Christian Carlsson certainly delivers the goods in the riff department.  There are some absolutely huge ones to deal with here, "Snake Charmer Woman", "The Spirit And The Spark" and "Hollow Of Your Hand". 'Burn From Fire' is a new chapter for The Quill and it’s hard to imagine any fans of this band not liking it. Whether you’re into the classics like Sabbath, Deep Purple and Uriah Heep or the later generation bands like Orange Goblin, The Sword and Graveyard, you’ll want to check out The Quill and this album is a great starting point." - Dedicated Rocker Society