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Hand-in-Hand - In Metal We Stand - 85%

Naught, June 1st, 2020
Written based on this version: 2019, Digital, Independent (Bandcamp)

Feeling imprisoned in a land of darkness,
My reckless heart is chained up inside of me,
I have encountered what I fear most of all,
A world of entrapment where corruption rules it all…
Corruption rules it all...


Hadron’s self-titled debut album released after two demos, and a live recording at the Noselake Music Festival in Sweden during the June summer of 2018, encompasses approximately three years worth of activity since the band’s inception in 2009. In short, Hadron provides us with approximately forty-seven minutes beckoning us to retreat into a realm where metal-and-magic skip across crystal clear lakes towards immaculate archways, spiraling towers, and ominous skies where the echoes of the past resound throughout the sky. Hadron’s marriage of traditional heavy metal, classic rock-and-roll, and the foreboding tremors of doom metal’s earthly sound is carefully crafted throughout the duration of this album—mixing bellowing bass lines, galloping rhythms, persistent kick and snare percussion. Last but not least, Martin Twisttmann’s vocal melodies, anthemic verses, and variation of style embellishes Hadron’s sound with a unique yet familiar flavor akin to many of a New Wave of British Heavy Metal (NWOBHM) singer, reciting tales of triumph and glory, love and despair, and vengeance coupled with a dash of destruction. Each note, rhythm, and melody cooperates together curating a synchronized sound that is enjoyable to the ear, just as a crisp, well-poured quadruple ale tastes in the evening after a hectic, and long day. Each sip tastes similar yet different much as Hadron attempts crafts an album sounding recognizable yet refreshing in its own right. However, unlike how one’s taste in ale differs from one to the next, Hadron’s debut album is relatively consistent, rewarding those listeners with a varied palate an array of familiar tastes that aim to please.

Recorded, mixed and mastered by Lasse, Ballaed Studio in 2017, the production quality heard throughout this album is balanced, discernible, and mixed in the footsteps of today’s traditional doom metal bands, focusing each rhythm and harmony with its accompanying percussion to create a whole sound. Each instrument is heard, and enjoyed in its entirety without protruding upon one another, while Martin Twisttmann’s singing soars airborne above the mix. Hadron employs a safe yet satisfying approach towards the recording of the album, allowing each instrument to be distinctly heard yet enjoyed together to create a cohesive, balanced sound that is pleasing to the ear.

Feeling somewhat tense? Agitated? Do you just want to kick back, relax and sip on a crisp, chilled beer after a day’s honest work? Fear not, Anders Lorentzen’s guitar rhythm, melodies, and grooves dance, step-for-step to Martin Nielsen’s bass rhythms providing a much needed reprieve from the stress from the day’s tumultuous tidings. Each rhythm appropriately accompanies the percussion as a quality Russian Imperial Stout lavishes the taste buds after a hearty, whole supper. Rooted in an 1980s inspired sound, this duo composes something special for us here: Incorporating carefully crafted traditional doom metal rhythms, riffs, and melodies inviting us to dash towards the armory, wield our broadswords and set forth to the vast expanses beyond in search of the lost necropolis told from the Stygian verses of Sheltonian legend. Straightforward and succinct, each song is identified by a key motif of rhythm meets melody as the bass and percussion gallops alongside verse-by-verse. Hadron sticks to the tried-and-true doom metal sound while adding their own hops to the mix creating a sound reminiscent to the styles of beer and ale that are aplenty yet we all love the same.

As you lean back in your reclining chair, sipping on a delicious ale, would you just like to nod your head to the beats and rhythms of your favorite band? Hadron provides us with that opportunity as the bass guitar and drums create a compelling percussive rhythm, and beat that appropriately accompany the guitar—once more redolent of the well-known late-1980s doom metal sound, while sprinkling in a fleeting classic rock-and-roll pattern here and there. Mesmerizing in its sound, Thomas Pedersen’s style at the helm of the drum kit harmonizes with Nielsen’s and Lorentzen’s guitar and bass sound, enveloping the listener in a groovy trance that is relaxing as it is reinvigorating.

Whether you prefer beer over wine, whiskey over vodka, or even rum before tequila, Hadron allows us all to link hands as one for roughly forty-seven minutes to enjoy our beverages together, nod our heads in unison, and jam out with no frills attached to a balanced, and vigorous doom metal experience that flirts openly with the traditional heavy metal sounds of yore. I’m really excited to hear what these folks compose next, and Hadron’s debut full-length album is a welcomed nod to the adventurous spirit that heavy metal embodies within us all.

Children they cry us a river of tears
There's no hope no longer, no the end is near,
The reaper has come to collect our soul
Still broken and buried deep down below,
In ruins of an empire that no longer stands
All time will slowly run out into the sand...