Return to Salem

“…come with me as I take you back through the sands of time…”

Hammer Witch’s debut ep is somewhat of a minor celebrity amongst collectibles, known as one of those thousand-pressed, vinyl-only indies that hasn’t to any impressive degree been officially reissued. It’s also representative of the trio’s original power/thrash style that, come their ’91 Legacy of Pain demo, climbs onto heavier, more volatile branches of metal’s tree of life.

Return to Salem evokes a strong, early-to-mid-career Leatherwolf-like spirit, which is known for exceptional and ardent musicianship, admirable songwriting know-how and fairly heavyweight, yet eloquent aggression, a recipe that when done well usually comes together as a time-tested, three ingredient palate favorite. This, as you may have guessed, is executed in such fashion.

Just about every kind of ‘80s metal fan (sans delusional lightweights who maintain Whitesnake/Ratt/Slaughter hair band hard rock is metal) can find some kind of solace in this six-songer. Its wide cache of rhythmic and timing changes and notable above-average proficiency can assuage the musician proper and beyond, such as those looking to anchor their chops to a boatload of songcraft. While such staunch talent ascribes to the music’s overall creation, with little surprise the accompanying heaviness threatens weak-kneed commercial markets enough to be regularly overlooked and welcomes Hammer Witch into the same predicament that's enjoyed by Leatherwolf as well.

The ep as a whole well documents the group’s penchant for traveling dissimilar routes to achieve well-crafted end-runs, but fervent “Brainchild”, moody “Judgement Day” and undiagnosed bi-polar “Burned at the Stake” are stand-outs slightly ahead of dramatic “Psycho”, anthem-to-be “Live for Metal” and the closing title track. That, however, doesn’t mean the margins between them aren’t harrowingly narrow, for on a good day any one of ‘em could overtake the others as alpha prime candidates.

The vocals of guitarist Frankie Dee are skilled, confident, and prefer to emulate a throatier medium-tenor likened to, say, Manuel Lopez of Ulysses Siren, only with more controlled, humane edges. It's a shame these guys - bassist Wayne Abney and drummer Sal Torneo - managed to out-perform so many musicians at the time, who for lesser accomplishments had or still have all kinds of acclaim hanging off 'em, yet remain then and now veritable unknowns in the scene. Well, it happens to the best as well as the worst.

Return to Salem and Hammer Witch remain roamers of barren plains where the severely underrated and under-circulated in metal history seek that elusive oasis of recognition. Hey, someone wanna reissue this thing? I mean, no matter how underground these guys burrowed, they still shoulda enjoyed at least equal reverie earned by early/mid-‘80s Loudness (despite owning probably more commercial reverie than the rest combined), Slauter Xstroyes and aforementioned predators Leatherwolf.

“…conjuring all her power can’t save her from burning at the stake…”