You’ve heard of True Norwegian Black Metal, but have you heard of True Norwegian Heavy Metal? If you haven’t, well, let us introduce you to Bergen’s Sahg (also known in circles as the ‘Toxic Trio’), who happen to be the masters of high-octane, post-Sabbath, contemporary doom-infused heavy metal. These guys are not just masters of this stuff within their own country. No. In fact, Sahg‘s take on this niche sub-genre is among the best this world has on offer. The three-piece got their start all the way back in 2004 and have released six full-length albums in that time. Earlier albums, such as the triumvirate of Sahg I (2006), Sahg II (2008), and Sahg III (2010), demonstrated an evolving mastery of doom metal, drawing on classic influences while carving out a distinct identity all their own.

With their 2013 album, Delusions Of Grandeur, the band focused less on the doom metal aspects found on their first three albums, choosing instead to explore a sound that balanced progressive rock, doom metal, and psych-rock influences. This exploration continued with their 2016 album, Memento Mori, which also showcased a much more groove-laden approach. With the release of their last album, 2022’s Born Demon, the band played around with a decidedly 80s vibe that recalls the high-energy heavy metal antics of Riot and even a smidgen of early Mötley Crüe.

Which brings us to Sahg‘s brand new release, More Of Nothing. This EP features four previously-unreleased songs, which includes a cover of ‘Children Of The Revolution’ by UK glam rock pioneers T.Rex. Right off the bat, we are hit with an incredibly hefty riff that opens the title track ‘More Of Nothing’. The song is an absolute ode to Crack The Skye-era Mastodon, particularly as it relates to the vocals of frontman Olav Iversen who exudes the luscious melody of Mastodon drummer Brann Dailor, more specifically his stunning performance on the song ‘Leviathan’. The thunderous and evocative riffing alternates between punishingly heavy chords and soaring, melodic sections that would not have felt out of place on the aforementioned Mastodon album. The track is infectiously catchy while showcasing Sahg‘s ability to balance aggression with subtle complexity. ‘Suffer In Silence’ sees the band switching gears a bit, this time laying down an ominous sounding vibe that hints at contemporary Darkthrone-like dynamics. Don’t get me wrong, this track is not black metal by any stretch of the imagination. Where it does relate to their fellow Norsemen is in its ability to take the listener on a brooding, desolate musical journey by combining a crushing doom-soaked heaviness with classic heavy metal sounding moments built around intricate and introspective black metal-like chord progressions. This is a song you need to see through until the end to get the full experience.

The guys then hit us with their cover of T.Rex‘s ‘Children Of The Revolution’. Like the original (released way back in ’72) they manage to capture the rebellious spirit of the era in which the original was penned while also staying true to the song’s signature blend of swagger, mystique, and infectious rhythms. Initially, the band intended to slow it down and tune it even lower than the original, but ended up with the same tempo and tuning. Where it does differ is the exclusion of the strings and the addition of the Toxic Trio’s take on classic heavy metal. The band bookend the EP with the track ‘She’s A Queen’ which sees the band deliver a straight-up blend of dark blues, country, and rock, with a stripped-back, acoustic-based approach. It’s a superbly-competent song that is an obvious reflection of Sahg‘s love of artists such as Johnny Cash, Nick Cave And The Bad Seeds, Leonard Cohen, and Tom Waits.

At the end of the day, More Of Nothing gives us a glimpse into the making of Sahg. It wears its influences on its sleeve while also exhibiting a band unafraid to fuck with their formula. In doing so, they have penned one of their strongest tracks yet with the title track ‘More Of Nothing’. If this is the direction we can expect with the next full-length, well, I’ll be counting those days off one by agonizing one.