HÄXMÄSTAREN - Skuggor Del 1

The lineup changes HÄXMÄSTAREN experienced following 2021's "Sol i Exil" could easily have dealt a serious blow to the band's musical continuity. Losing three of their five members, drummer Markus Andersson, vocalist Niklas Ekwall and bassist Lucas Monryd, forced the Swedish outfit to rebuild its lineup. The new configuration saw Joakim Atterfelt take over behind the drums and Simon Hansson assume vocal duties, while guitarists Fredrik Frendberg and Andreas Petersson shared bass responsibilities during the recording sessions. Released after five years of silence, "Skuggor Del 1" marks the band's first recording since these changes and also serves as the opening installment of a planned full-length album. Spanning three tracks and 17 minutes, the EP makes for a lively return to action.

The influence of traditional doom metal pioneers such as Saint Vitus and THE OBSESSED is readily apparent in HÄXMÄSTAREN's music. However, the band does not approach this legacy solely through slow, heavy riffs. The more energetic and direct sensibilities of Punk Rock and Heavy Metal also play an important role in the songwriting. The gritty guitar tones, prominent use of fuzz and swinging rhythmic foundation keep the stoner doom character firmly alive. The more aggressive vocal approach and stronger Punk Rock influence compared to the band's previous material also reveal what the new lineup brings to the table. Certain energetic transitions even bring KVELERTAK to mind, demonstrating how the band combines its traditional doom roots with a more contemporary Heavy Metal drive.

Opening track 'Shadows of the Black Sun' provides a fitting introduction to the EP's defining characteristics. Following a brief sample, the guitars kick in with a straightforward yet effective riff that evokes the tradition of BLACK SABBATH. Rather than relying on complex arrangements, the track draws its strength from the riff's rhythmic character and the way it is repeated. The pronounced fuzz tone during the solo section reinforces the song's raw character while demonstrating that the guitars offer more than just a rhythmic foundation. The relationship between the vocals and instrumentation leans towards a harsher, more direct form of expression than the restrained delivery traditionally associated with doom metal. The slowdown in the latter part of the song, which carries naturally through to its conclusion, also brings the band's sense of groove to the forefront.

'Kill the Light' delivers the EP's most energetic and aggressive moments. Moving at a faster pace from the outset, the track distinguishes itself from its predecessor through near-screamed vocals and a distinctly Punk Rock-influenced rhythmic approach. The momentum built around the guitars' chugging riffs gradually expands as the drums become more forceful in the latter sections. What stands out here is that speed is never treated as an end in itself. Rather than constantly introducing new sections, HÄXMÄSTAREN channels the rhythmic movement into a groove-oriented approach built around the riffs. This decision reinforces the track's directness and memorable character.

At nearly eight minutes, 'Skuggor' takes a different compositional approach from the EP's other two tracks. Sung in Swedish, it represents the more atmospheric side of the release, with its slower pace and extended guitar passages. Following the shorter, more energetic opening tracks, this longer composition demonstrates that the band is not content to remain confined to the more energetic conventions of stoner doom. The traditional doom character associated with Saint Vitus and THE OBSESSED becomes more pronounced here, while the guitars' extended melodic passages further enhance the psychedelic elements. The instrumental expansion towards the end is particularly noteworthy. Moving away from the track's earlier dark and heavy atmosphere, it ventures into a brighter, more expansive and melodic Post-Doom/Post-Stoner territory, creating an unexpected contrast. What makes this section work is that the atmospheric shift is not merely a passing effect; its melodic development lends a different perspective to the structure established in the preceding sections.

Kalle Lilja's production at Welfare Studios preserves the raw, dirty sound HÄXMÄSTAREN has opted for while keeping the energy of the instruments sufficiently defined. A suitable balance is struck between the guitars' fuzz-heavy tone, the rhythmic movement of the drums and the harsh character of the vocals. There is no attempt to create an overly polished sound in which every detail is perfected. Instead, the production approach supports the sense of vitality running through the band's music. It is equally important that the psychedelic guitar solos and extended melodic passages have enough room to breathe within this overall sound. The instrumental section at the end of 'Skuggor' is a particularly good example of how the production creates a broader musical space without sacrificing atmospheric detail.

Despite its brief running time and three-track format, "Skuggor Del 1" demonstrates that HÄXMÄSTAREN has not simply fallen back on its old formula to get through the rebuilding process. The band's traditional doom metal foundations, drawing on the likes of Saint Vitus and THE OBSESSED, have been combined with the directness of Punk Rock and a psychedelic guitar approach, giving its musical identity a more energetic character. Of course, a 17-minute EP offers limited scope for assessing the new lineup's approach to longer-form songwriting. Furthermore, with this release conceived as the first installment of a larger work, any judgment on the overall cohesion of the completed album will have to wait until the next chapter arrives. Nevertheless, HÄXMÄSTAREN shows that it has enough material at its disposal to rebuild its musical identity following the loss of several longtime members. While remaining within the familiar boundaries of traditional stoner doom, the EP also makes attempts to push beyond them, particularly through the melodic expansion at the end of 'Skuggor'. It's a successful comeback that leaves the prospect of what's to follow genuinely intriguing.

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