Audrey Horne have been this good for years. The only mystery is why they remain so criminally under the radar in the UK.
“Achilles”, their eighth album and first in four years, ought to change that. Vocalist Toschie, guitarists Ice Dale – also of Enslaved – and Thomas Tofthagen, bassist Espen Lien and drummer Kjetil Greve have produced something that feels almost like a greatest hits collection, such is the breadth and quality on display. Yet, crucially, it remains incredibly cohesive.
The title track begins things in sprawling, ambitious fashion. “Achilles” has the scope of a power metal epic, yet it is over and done within five-and-a-half glorious minutes. There is no excess for the sake of it, just a band operating with supreme confidence.
“In The Eye Of The Hurricane” moves pleasingly into the late 1970s and early 1980s, delivering the sort of Dio-infused metal that understands grandeur without becoming weighed down by it. Then “Vampires” strides across the earth, stacking its harmonies impossibly high while the twin guitars are simply sublime.
“God Damn Beautiful” performs an immediate about-face. Hard rock? AOR? Whatever you want to call it, they have absolutely nailed it, mate. Bassist Espen Lien takes the lead vocal and gives the record another dimension, while the melodies are enormous.
“Pretty Little Lies” offers a slice of heavy metal tenderness, complete with a wonderful solo. The incredible thing about Audrey Horne is that they can sound as though these songs have been resurrected from decades ago while simultaneously making them feel entirely modern.
The soundtrack-like “Prodrome” amounts to an atmospheric introduction to “Insanity”, and what follows is irresistible. If Iron Maiden played a Thin Lizzy song, it might sound something like this. Then Audrey Horne add the gravitas of a spoken-word section just because they can.
“Hell Is Eternity” proves that they absolutely love a gallop and a fists-in-the-air chorus, while “Six Feet In The Ground” adds a slight Blue Öyster Cult flavour. The irony, of course, is that music like this is nowhere close to dying. Indeed, Audrey Horne make it sound more alive than almost anyone.
“Running Through The Night” evokes that era saddled with the dreadful term NWOBHM, but we all understand what it means: riffs, energy, melody and metal played without apology.
Finally, “New Star Falling” is anchored by Lien’s bass and develops into an absolute beauty. Like the opening track, it possesses real scale, bookending the record with enormous class.
“Achilles” takes familiar sounds and makes them thrilling again. Audrey Horne have quietly become masters of this stuff, but there should be nothing quiet about the reaction to their eighth album.
If there is any justice, “Achilles” will finally bring them the attention they deserve.
Whatever happens, it is brilliant.
Rating: 9/10
