Germany, 1486: The Dominican inquisitors Kramer and Sprenger publish 'Maleus Maleficarum' (The Hammer of the Witches), the most important book on the headhunt and execution of witches and heretics in medieval Europe. The book features detailed information on how to recognize, judge and execute the witches. 'Maleus Maleficarum' was approved by the Catholic Church in the year of 1487. Norway, 1986: Withchammer is formed in Sarpsborg, Norway, playing compromise less thrashy heavy metal with melodic overtones. They draw inspiration to many of their lyrical concepts from the 'Maleus Maleficarum', from which the name also is derived. Originally a four piece in their first incarnation in August '86, they were joined by Finn C. Gjerlaugsen just in time for their debut gig in November. Finn freed lead singer Per Ståle Pettersen from the 4-stringer, leaving him to concentrate on the vocals. Guitarists Tor Erik "Totto" Håkonsen and Peder Kjøs, together with drummer Jan Erik "Gokki" Eide completed the lineup. Being one of the first real metal bands in the area, Withchammer immediately gained a strong local following. After a year of writing more original material, and appearing live in the local area, Witchhammerheaded for Borg Studios, and a demo recording just after X-mas '87. At first a four track project, this eventually led to the recording of a whole album's worth of material. The result was finished in September '88. At this time the band had gone from strength to strength, with the most notable achievement being a top ranking in the Heavy Metal category of a national "Battle of the Bands" contest. Extensive touring as support act to more well-known Norwegian bands, such as Artch and TinDrum had also taken place. Per was at this time a well reputed vocalist, having appeared in several cabarets and musicals. He has been an important piece in the production of big musicals, such as "Jesus Christ Superstar" and "Les Miserables" in Norway. While pushing the tape of the album to record companies, guitarist Peder Kjøs suddenly left in April '89, just one week before the band was to hit the road with Artch for an extensive Norwegian tour. Luckily, Frank Wilhelmsen was lurking around the corner and joined the band just in time. The tour was a huge success for the band, gaining a strong following throughout the country. Witchhammer had suddenly established themselves as one of the finest live Heavy Metal acts in Norway. But the line-up didn't last long. Frank quit the band in October the same year, only to be replaced by Morten Skute in November. Morten came in from Metal Thunder, ironically the band Frank left for. March 1990 saw the band finally releasing their "1487" album on their own label. Now a sold-out item, the album got distribution in Europe through Semaphore, as well as underground distribution in Scandinavia. A few copies even found their way across the Atlantic. Good reviews in magazines such as Metal Forces and Metal Hammer may have accelerated the sales. Withchammer got one of their Oslo gigs broadcasted nationally on a cable television channel. The TV appearance gave the band a whole lot of attention, and the album "1487" soon became a hit in Heavy Metal shows an radio stations throughout the country.

1487 (1990, 2005) DAZED & CONFUZED

I've got to warn my readers that I'm pretty biased when it comes to bands from my own hometown. You see, Sarpsborg is just a small town, in the little Country of Norway. So for any metal band from this place to even get a record out, was a big deal back in the day. WitchHammer and Artch were the two biggest acts from Sarpsborg, and naturally became favorites of mine pretty quick. WitchHammer was by far the heaviest of the two, riding the fence between thrash/speed and power metal. Their biggest influence was Metallica, but their music is also comparable to the likes of Metal Church and Flotsam & Jetsam. '1487' was a landmark in Norwegian metal history, and it is so good to finally get to hear the songs again on CD, 15 years later. The songs were actually recorded over a period of time in '87 and '88, so material is close to 20 years old. But I will honestly say that they uphold a standard that will surpass even today. Well, the production might not be done in Studio Fredman, or by Andy Sneap, but the songwriting, and performance is still great. Every track on this album are classics to this listener, and many of them are in the bands live set today, simply because these are the songs the fans want to hear. WitchHammer blends simple, yet effective, riffing with Per Ståle's clean, smooth, gritty and aggressive voice. Most of the songs are fast thrashers, but we also get some mid-paced metal, and even a ballad (well, as close as you can get to a ballad, playing thrash metal) in "The Whore Of Babylon"). The folk inspired intro is new to this release, and the entire album have been remastered.

Killer tracks: All of them.

THE LOST TAPES (2001) DAZED & CONFUZED

After touring extensively, and finally getting to release their first album, WitchHammer went back in the studio to record their sophomore effort. The final result is finished in August of 1991. But then things start to happen, or should I rather say; not happen. The band slowly fades away, and the album never sees the light of day. Eventually the master tapes gets lost, not to be found again until 1999. I'm a little confused to when things happened, as I also remember a demo called "The White Edition" that was recorded after this album, but this is besides the point. 'The Lost Tapes' came as a result of the band finding the original masters, and wanted to at least release them for the fans. The music is a bit more mature, if you will, then on the debut. The band had grown as musicians, and the songs are a bit more technical and diverse. I prefer the debut, but this is still WitchHammer as we know them. In hindsight I wish they would have done a much better job on the cover art and booklet though. WitchHammer also did a release party concert for this CD, and they packed the building they played it. People had to be turned down at the door, because the place was filled to the brim.

Killer tracks: Human Rights, Confrontation, Beware The Child, The Ultimate Constellation, On My Own, The Touch Of An Angel