My introduction to Sergeant Thunderhoof seems, in hindsight, relatively late - it's not a band name you forget easily after hearing it for the first time, but I only really began taking note after hearing their cover of Alice Cooper's 'Halo of Flies' around the tail end of last year. Leading up to that point, they'd released a few full-length albums through their own label after forming as a band in 2013. Playing trippy, groovy heavy rock around the UK in the decade or so since, most enthusiasts of underground doom or stoner in this country will be well-acquainted with The Hoof by now - and frankly, after the release of This Sceptred Veil, their monumental album number four, there's no excuse not to be.
Recorded with Josh Gallop (Phoxjaw) at Stage 2 Studios in Bath and mastered by Tony Reed of Mos Generator fame, This Sceptred Veil is noticeably darker and heavier than anything they've released before. All the stoner, progressive and psychedelic-tinged elements are still present, and there is a real transcendental, mystic quality to the record that can't be escaped, but the mood is more intense and gut-wrenching compared to previous efforts such as Terra Solus or Ride of the Hoof (unless my ears deceive me, the guitars are tuned lower this time around too). Moreover, Sergeant Thunderhoof sound bigger on this record. The production is excellent, the harmonies are rich, and the presence is a warm one.
DoD Interview with Dan Flitcroft, January 2022
Speaking about the album, vocalist and lyricist Dan Flitcroft says, “I decided early on that I wanted to explore the rich history of our surrounding area in the South West of England, whilst incorporating the story of ‘The Sergeant’ which we have been cultivating since the very start of the band. Right from the debut record ‘Zigurat’ I was keen to introduce the idea that the name of our band represented a mythical, time travelling figure which could help inspire new ideas and themes. When the pandemic hit, it forced me and my family to make more use of our immediate environment, and we are so lucky in our part of the world to have such amazing history and sights on our doorstep. I researched many mythical, semi-factual stories regarding the ancient history of England (Avalon), amongst some fantastical tales revolving around the idea of the Biblical figure of Christ.
I’m particularly pleased with ‘This Sceptred Veil’ as it feels, at least to me, like a rich and focussed body of work. The finale of Avon & Avalon Parts 1 & 2 which close the album really capture the darkness, light, paranoia, fear and redemptive qualities of which we were all feeling throughout the pandemic. I always steer clear of politics or current events in our music as we like to keep everything in the world of The Hoof. However, listening back now, I can certainly hear a lot of the cynicism, sadness, hope and decay of my life at the time. I think the pandemic forced me to confront my own mortality and perceived failings. Now I am a father, it occurred to me that my actions have profound consequences on those around me.”
To my ears, the vocal performance is one of the strongest elements of the album. From opening number 'You've Stolen The Words', a specific emotional backdrop is created. A sense of loss is quite clearly conveyed, though it's not one of pure, despondent hopelessness. It's an appropriate match for the tone of the instrumentation - more on that in a bit. Whether Dan is building gorgeous, warm-sounding layers of harmonies, or veering into vocal distortion over songs such as the epic 'Foreigner' or the grungy 'King Beyond The Gates', every line is delivered with conviction, meaning and purpose. Even the glam-esque 'Show Don't Tell' has a convincingly uplifting feel to it, where Dan (almost) goes into full Rob Halford mode. I'd like to say that this comparative change in mood feels like a breath of fresh air at its late point in the album, rather than coming across as out of place. You have to hear it to believe it, but honestly, it works incredibly well.
The rest of the band - with Mark on guitar, Jim on bass and Darren on drums - flirt with a few different styles over the album. From the jaunty prog riffs of 'Absolute Blue' to the sexy, dirty blues shuffle found in 'Woman Call', from the stoner swing of 'Devil's Daughter' to the epilogue of 'Foreigner', which is straight-up doom metal, they navigate through loud, quiet, fast, slow and everything in between with ease. The instrumentalists do tend to more contemplative moods; crushing, Sabbathy riffs will switch up with more delicate moments to build atmosphere. Mark's restrained guitar leads complement Dan's vocal melodies very tastefully (and psychedelically) for one. With that said, Sergeant Thunderhoof aren't afraid to turn up and rock out, particularly over 'Show Don't Tell' or 'Woman Call'. The band's versatility is surely used to their advantage, making a well-rounded album.
It's hard to pick out favourites so I'll follow my heart here. 'Absolute Blue' is absolute genius, its towering melodies and bubbling emotivity almost forcing you to stop for breath. Album centrepiece 'Foreigner' is simply stunning, at over ten minutes long and with three sections that lull you in and gently ooze from one to another. It has some of This Sceptred Veil's heaviest moments at its end and the lyrics are fantastic - as they are in 'King Beyond the Gates' - try listening to the chorus of that one during a typical British summer's day!
I haven't even mentioned the colossal, two-sided 'Avon & Avalon' that rounds everything off at the end, taking up over one quarter of the total runtime. The word 'epic' gets thrown around a lot in music, but is completely appropriate here. From the sound of birds tweeting at the start to the calming resonation of the waves as the record draws to a halt, the attention to detail is applaudable. It has its main riff - turned up a little louder over the second part - but one of the best (and heaviest) guitar passages of the album comes right at the end of Part II. Dan does a stellar job on lead vocals and lyrics as always, and those final lines of the album in particular just give me goosebumps. There's a lot more that could be said, that other reviewers before me have already written in better words than I could, so I'll leave this to you, the listener, to take in.
There's so much groove, heavy riffage and heart on display here, and This Sceptred Veil just gets better and better with every listen. There's a lot to unlock and take in - at just under 70 minutes, it's not a quick listen - but it rewards and gives back with the more time you put in. I didn't really know what to expect coming in, but I'm just blown away by this effort. If you're into bands like Pink Floyd, Boss Keloid, Soundgarden, Baroness, Black Sabbath or early Queens of the Stone Age, you'll find something here.
Enthralling.
9.5/10
This Sceptred Veil comes out tomorrow (3rd June 2022) via Pale Wizard Records
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