The Rock Pit - Hard rock, Metal and Blues Interviews, news & reviews from Australia and around the world

The Rock Pit - Hard rock, Metal and Blues Interviews, news & reviews from Australia and around the world




MARCH 17 2014



The Oath sound like a band out of time in the best possible way. Over the last few years the Doom-laden, Sabbathesque sound has undergone a glorious revival and produced a number of fine bands who have managed to take a vibe, translate it for modern audiences and drive it forward. Denmark’s The Oath is another band that you should take time to check out.


With music laden with occult themes and psychedelic elements Linnéa Olsson and Johanna Sadonis have created an album that recalls both Sabbath and later revivalists like ‘Trouble’ as well as a host of current revival bands. What they add to that is a fresh simplicity and almost proto-Metal stylings.


‘All Must Die’ the first track released from this album (and opener to boot) offers a kind of Metal which sounds both fresh and ancient; It starts with a stomping riff which has that meaty bottom end and a vocal that you can’t help but hear a little early Lita Ford within.  It’s an ominous and portentous opening that is immediately is superseded by the driving riff to ‘Silk Road’ which adds space and some great guitar. ‘Night Child’ which first raised its head on their debut EP keeps the fires of Hell burning long enough to add a psychedelic wash to proceedings.


The ballad ‘Leaving Together’ is an interesting turn, still dark, very atmospheric and with a great breakdown, it shows depth and control before the fire of ‘Black Rainbow’. The Oath has that sort of aggression and approach that you can’t help to look back at bands like Hellion from the early eighties for comparisons, and while in the harsh light of day this has more Sabbath in the mix there’s that same quality of material that made bands like that stand out.


The remainder of the nine track album has plenty more power and dark magic to come: ‘Silver and Dust’ is built on a hypnotic riff that increases the psychedelic element, coming across like a Doom-laden Jefferson Airplane; while ‘Death Delight’ one of our highlights is more akin to Sweden’s ‘Blues Pills’ in its retro-doom approach and sixties psychedelic swirl. Closing pair: the delightfully light ‘In Dream’ which explores a delicate and light guitar motif and the epic seven and a half minute ‘Psalm 7’ which crunches your bones in a real outpouring built on a slowly building guitar-led journey through the darnkness. It’s as impressive as anything here.


The Oath adds a new twist to the continuing rebirth of Heavy Metal and it’s one you’ll enjoy.   



by Mark Diggins