For years I’d managed to pretty much avoid Sahg; nothing to do with the band’s ability and nothing deliberate, it was just a case of too many acts to listen to and so little spare time. As it was, this year me and my better half caught them live for the first time at my editor’s behest (many thanks Pete) at a sadly under attended show at Glasgow’s Ivory Blacks in April 2013 with Audrey Horne. Overall I enjoyed the evening, albeit the unknown openers played to a near empty chatting venue and London band The Mercy House had me yawning. What does my evening in Glasgow have to do with this review, I metaphorically hear you ask? Let me expand.
Sahg opened second on a night of four bands, and during their set, as well as amongst their offerings from Sahg, Sahg II, and Sagh III, the band played a few tracks they introduced as being from their forthcoming album, surprise, surprise, Sahg IV. In the context of the evening, the songs sounded far more complex and progressive compared to the hard rock and stoner sensibilities of the band’s first three full length releases; in the context of a new album for review, they stand out even more. Now fully realised, toured and rehearsed, it is time to consider the new album’s recorded impact.
Firstly, Sahg IV has not arrived, rather the non-linearly named ‘Delusions of Grandeur’ has, an album that in the words of the band’s vocalist/guitarist Olav Iversen, is “a concept record about a person, whose delusions of grandeur escalate to the level where they consume him completely.” Whilst I have no idea of the inner thoughts of the band as to the album’s concept, having only shared a round at a bar with them rather then an intellectual discussion, what I will say is that this album, ‘Delusions of Grandeur’, is far more a progressive rock offering then the stoner inspired albums they’ve released in the past; once again, do not take this as a criticism, and I urge all devotees of musicianship to hold on to the end of the review.
Eight tracks fill the whole album, with only one coming in under the pop formula 3 minute length, the rest being far longer and extended to allow the band to allow lyrical and musical adventures. Opener ‘Slip Off The Edge Of The Universe” is an outstanding prog track that could stand alone from the album, 5.55 minutes of cosmically transcending vocals and lyrics ably supported by whirling guitars and hypnotic, Tool like rhythms. Track on track the album becomes darker and ever more challenging; ‘Blizzardbounre’, whilst having an almost hippy and trippy initial delivery gets darker beat by beat, whilst ‘Firechild’ screams of anger and frustration, the vocals perfectly melding with the primal scream of the guitars, merging in a blast of fury with ‘Walls of Delusion’, a textbook portrayal of the album’s protagonist’s anger and obsession. The whole album is an exercise in darkness and frustration, clearly designed to invoke an intellectual reaction in the listener; nothing is a pit inducing attack, and by the time the into of concluding track ‘Sleeper’s Gate To The Galaxy’ trips out, all pretence of this being a modern commercial album in thrall to engineers has been blasted into the ether, sounding like a pre indulgence Pink Floyd track before building to a massive percussive crescendo, the vocals promising and delivering an escape in “space and time”.
With this latest album Sahg have firmly planted their flag in the realms of progressive metal, played with an undeniable skill and ability. I just hope there is an appreciative audience ready to shake off formulaic and restrictive musical shackles and be willing to listen to this whole album.
(8/10 Spenny)
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