Year : 2019
Style : Heavy Metal , Hard Rock , Female vocals
Country : United States
Audio : 320 kbps + all scans
Size : 116 mb
Bio:
Brooklyn’s Sanhedrin scale boundaries and elude genre norms on their second studio album, The Poisoner. The band’s intoxicating blend of doom and classic metal is complemented by lyrics that delve into the darker elements of humanity and the cyclical nature of destructive ideas. Thought-provoking and inherently catchy at the same time, The Poisoner is indicative of a band unafraid to venture into unchartered territory.Sanhedrin’s 2017 A Funeral for the World debut full-length was originally released independently, but reissued for broader release by Cruz Del Sur Music in 2018. The Poisoner picks up where its predecessor left off, with the Brooklyn trio (who consist of former Amber Asylum/Lost Goat bassist/vocalist Erica Stoltz, Black Anvil guitarist Jeremy Sosville and drummer Nathan Honor) parlaying their vast array of influences into eight gripping, instantaneously memorable numbers that rely melodic riff choices, the affecting vocals of Stoltz and touches of dark atmosphere.Recorded with producer Colin Marston at Menegroth, The Thousand Caves, the members of Sanhedrin cite Marston’s ability to pick up on the minute details of their sound as one of the reasons for their collaboration, which began on A Funeral for the World. According to Sanhedrin, Marston, who usually tackles some of extreme metal’s most unique and unrelenting acts, is on the same sonic wavelength as the band, capable of translating their musical vision without sacrificing the raw and natural elements of their sound.The Poisoner reflects the various sides of Sanhedrin, from classic, if not soaring jaunts, to tight, direct melds of gallop-oriented metal to doom-channeled motifs, most notably, the album’s title track, which features a guest appearance by Stoltz’s former Amber Asylum bandmate Kris Force on violin. This diversity is less of a jigsaw than it is the natural melding of various ideas and styles, taking Sanhedrin to new places on each song. On The Poisoner, Sanhedrin defies categorization, hereby entering into their own carved-out space where exploration and timeless songwriting are paramount.
Album:
SANHEDRIN is one of my absolute favorite new bands to appear on the scene. For those of you that are unaware, they play traditional Heavy Metal in a pure, undiluted way that does incorporate some elements of Doom as well. They are far from newcomers to the scene despite this being their second full-length as they are comprised of members who have played in AMBER ASYLUM and play in BLACK ANVIL. Because I received their debut to review last year, I assumed it was released in 2018, but it actually came out in 2017. I suppose that could disqualify them from occupying third place in my list of favorite albums from 2018, but who cares about semantics? The release date mix- up does explain how the band was able to release a new album so seemingly immediate.This band is the perfect drug for metalheads who are burned out on blast beats and breakdowns. Their music is a perfect go-to for those sincerely craving real Metal created and performed like the legends. I know those are lofty words, but somehow these three musicians have blended their immense talent in such a way as to channel the albums that accompanied you as cassettes, forever residing in the panel of your car. Simply put, anyone who literally wore out OZZY’s “The Ultimate Sin,” DEF LEPPARD’s “High and Dry,” and ACCEPT’s “Restless and Wild” will partake of “The Poisoner” as if it is homemade comfort food for the soul.What makes SANHEDRIN truly appealing is that they approach the making of an album in the same way as the classics. These aren’t simply the eight tracks they happen to jamming on at the moment but rather are a custom-tailored experience. The listener is welcomed in to take a journey through the imagination, a deep dive through the ether with the band. “Meditation (All My Gods are Gone)” kicks off the album with an epic, anthemic feel wrapped up in aggression that is carefully refined. “The Getaway,” the fifth track, is perhaps the heaviest. With a page neatly torn from the Zakk Wylde bible, Jeremy Sosville invokes the classic “No Rest for the Wicked” approach. There are gargantuan examples of fierce double-picking and expressive arpeggios that elevate his guitar playing to the next level.Instrumentally, the band is truly memorable as it is a clear sum of its parts. All three members equally pull their weight to establish themselves as a forceful three-piece to be reckoned with. The bass work from Erica Stoltz is steady and groovy with the occasional thoughtful run, propelled by a solid tone that has just enough gain to allow it to fully and deeply resonate. The four notes in track eight, “In from the Outside,” that precede the guitar solo are simple yet showcase a powerful low-end that thunderously makes its presence known. Working double duty, she is the band’s lead vocalist as well. With an edgy yet soulful voice, hers is powerful as it conjures up memories of some of the best acts. It actually works out perfectly to have a female singer for this traditional approach for she comes across as melodic, pissed, and unique without sounding like a gimmick. The drums, played by Nathan Honor, are solid and are played in the spirit of greats like Bill Ward, Chuck Biscuits, and even hints of one John Bonham. They exhibit a swinging, almost jazzy groove that is always pushing the song forward. While the last album seemed to reference Tony Iommi and Richie Blackmore to me at least, the guitar on this release has moments reminiscent of everyone from Zakk Wylde and Jake E. Lee to Eddie Van Halen, and even CHEAP TRICK’s Rick Nielsen. His use of wah on track seven, “Saints and Sinners,” is inspiration enough for me to put mine back on my pedalboard after sitting on my desk for six months or more. Clearly, he’s done his homework uniting influences to create a singular sound that puts equal amounts of attention to monster riffs and dazzling solos.There is a different vibe on this record compared to their debut. While the former seemed a bit darker, this release exudes energy plain and simple. Rarely can a band be assembled in which each member is a superstar in their role yet still contribute synergistically to create truly memorable songs. There is no fluff or filler here, but there is pure, uncut, raging Heavy Metal. Watch it go!
Line Up:
Jeremy Sosville - Guitars, Backing Vocals
Nathan Honor - Drums
Erica Stoltz – Bass, Lead Vocals
Tracklist:
01. Meditation (All My Gods Are Gone)
02. Wind on the Storm
03. Blood from Stone
04. The Poisoner
05. The Gateway
06. For the Wicked
07. Saints and Sinners
08. In from the Ouside
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