Audrey Horne – Pure Heavy (2014) Album Review
When it comes to Scandinavian rock-metal music, the mind often gravitates towards the more extreme varieties, typically embodied in genres like black, death, doom metal, and the like. Norway, in particular, stands out as a stronghold for these styles of metal, especially black metal. Legendary bands like Mayhem, Burzum, Dimmu Borgir, and Immortal are among the most renowned representatives of this scene. However, if we take a moment to look at “the other side of the coin,” Norwegians also have plenty to boast about when it comes to hard ‘n’ heavy music. This story is about Audrey Horne, a band that knows how to liven up and electrify Norway’s cold nights, even in the very “capital” of black metal and the largest city on Norway’s Atlantic coast, Bergen.
This 100% Bergen-based (and patriotic) band was formed back in 2002. Its current lineup consists of vocalist Torkjell Rød (Toschie), guitarists Thomas Tofthagen and Arve Isdal (Ace Dale), bassist Espen Lien, and drummer Kjetil Greve. The band’s name was inspired by the character portrayed by Sherilyn Fenn in the TV series Twin Peaks. To date, these guys have released five albums, culminating with their latest in 2014, titled Pure Heavy. Audrey Horne is essentially an outstanding classic melodic rock band, despite the fact that guitarists Thomas Tofthagen and Arve Isdal are also members of more extreme metal bands like Sahg and Enslaved, respectively. This duality may be the key to their success and the breakthrough of this type of music in a region dominated by extreme metal styles.
When reviewing the band’s discography as a whole, it becomes clear that their last three albums truly define what Audrey Horne represents today. On the self-titled Audrey Horne (2010) and Youngblood (2013), a decisive shift towards classic hard rock is evident. Pure Heavy is a logical continuation of this, but it stands out as their best work to date.
In short, Pure Heavy is an excellent, almost perfect classic rock album, released in 2014. Creating something like this in today’s musical climate is quite daring, requiring a great deal of experience, boldness, and ingenuity—qualities that these guys possess in abundance. The album features 13 songs, including two bonus tracks. Right from the opening track, Wolf In My Heart, these Bergen rockers throw open the doors emblazoned with “CLASSIC ROCK!” The twin lead guitars of Tofthagen and Isdal evoke a Thin Lizzy vibe, while the bombastic chorus channels The Who meets Led Zeppelin. Toschie, as a vocalist, proves he’s up to the task, and the adventure begins.
After the excellent opening track comes Holy Roller, a slightly faster piece. You can sense a touch of Judas Priest here, complemented by the signature “brotherly” dual guitar leads. The next song, Out Of The City, feels like a classic Thin Lizzy anthem—one that even Phil Lynott would have enjoyed. It’s also the first track from this album to receive a music video. Following that is another heavier, crunchier track, Volcano Girl, with its bombastic and catchy “whoa” chorus and those ever-present guitar leads. Ah, those “brotherly leads”—how delightful they are to hear!
Next comes Tales From The Crypt, a full-on David Lee Roth/Van Halen style track, brimming with all the flair of L.A.’s music scene. The following track, Diamond, is just 90 seconds long and serves as an interlude. In my opinion, it’s unnecessary, but such interludes were common among the idols of these musicians. After a brief pause, the band dives into yet another Priest-Meets-Maiden rocker, Into The Wild.
The album continues with classic tracks like Gravity, followed by the guitar-heavy, Maiden-esque High and Dry. The penultimate track, Waiting For The Night, leans towards an American style, reminiscent of a song that could easily fit into an action movie soundtrack. The closing track, Boy Wonder, takes on a darker and more progressive tone compared to the others, which is logical given the guitarists’ backgrounds in bands like Sahg and Enslaved. Of course, the album also includes two bonus tracks, Let Live and Between The Devil And The Deep, which are of slightly lower quality, but that’s why they’re bonuses.
Thin Lizzy, Led Zeppelin, Judas Priest, Van Halen, Iron Maiden—all these influences can be found on this album. But don’t get me wrong—this isn’t theft; it’s homage, a tribute to these great bands. Judging by comments from the band members in interviews and press statements, they proudly acknowledge and embrace these influences. On the other hand, everything is beautifully packaged and produced at the highest modern standards.
For many, this album may seem boring because it’s “all been done before,” a throwback to the past, etc. But for true classic rock connoisseurs, it will likely be a treat, especially when they’re in the mood to listen to something other than albums over 30 years old while staying firmly rooted in the same rock ‘n’ roll realm. It’s a pity that Audrey Horne isn’t more widely known to the global audience and hasn’t become a “big band,” despite their latest album being as monumental and grand as, say, Sognefjord!
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