Music can have a deep rooted and personal message with an underlying infusion of self expression for a lot of artists. It’s a means to show the world their deepest darkest emotions, whilst shrouding them in an enigma of clues about who they really are.
Hank Von Hell has orchestrated this on his latest release Dead. the Norwegian frontman of Turbonegro turned solo artist delves into expressing a personal reflection of the darker sides of his life. Having released his debut solo album Egomania in 2018, eight years of lust and hunger from fans was satisfied, but that quickly went away and they were ravenous for more.
The album builds on his debut release rising up stronger with the hooks and riffs that pierce right through your soul. Running hand in hand with an arsenal of action, danger and debauchery; emphasised through swaggering sound design that can only be defined as Hank Von Hell.
Gracing the music world for 30 years it’s no surprise that there are a plethora of contacts that Hank Von Hell can call upon to capture and enhance his vision for his own music. One such contact is Tom Dalgety who has previously worked on ‘Prequelle’ by Ghost, ‘Rammstein’ by Rammstein and ‘Sorceress’ by Opeth to name but a few. The influence that Dalgety has on the tracks worked on for Death really shines through, whilst encouraging Hank Von Hell to push through his limits to create something even he wouldn’t expect.
‘Disco’ is one such track that Dalgety worked on for the album, it stands out as a punk rock disco track flowing through a bass led intro with an upbeat persona about it, with a hard edge that you could crack your teeth on. It swaggers into the album, almost as if it shouldn’t belong but slots perfectly into the heart of the album, still providing the big riffs and glorious chorus. The track shows just how Hank Von Hell can adapt and provide variety in an album generated around hard rock and punk.
Title track ‘Dead’ is a superb full length introduction into the album, with a concept based around the darkest times in a person’s life, it captures this idyllic moment via leading on from the introduction ‘Ad Conteram Incantores’. Echoing throughout the track “You can’t kill me” over a slow chugging guitar riff before repeating the phrase one last time “You can’t kill me / I’m already dead” before exploding into the opening riff.
This is an album that clearly paints a very personal and darker side of Hank Von Hell, in a way it gives fans a clearer picture of the notorious Norwegian musician. Giving a personal look into his life, having said he has been building on the concept for 10 to 15 years it’s clear there is a strong flow of emotion, passion and ferocity behind every track.