STERBHAUS‘ new live album Necrostabbing at Göta Källare – Live in Stockholm charted at #1 (for physical sales) on the week of its release in Sweden and that is now complemented with the release of the third single “Grudgeholder+Hatemonger”. The choice for third single is directly related to what fans and reviewers listed as their top choice on the album… and it is a blistering thrasher that is impossible not to love – if you like your Metal fast, furious and with spitting lyrics.
The new “Grudgeholder+Hatemonger” live video also features a somewhat legendary TV-clip from Swedish public service TV originally broadcasted in the mid 80s. A TV show that took it upon themselves to safeguard Swedish morality disguised with an obvious Christian Bible bashing agenda – an agenda that in the end was financed by the tax payers. The object of the smear campaign for this specific clip was the legendary band W.A.S.P. It is hilarious to watch today – albeit a bit scary.
”Necrostabbing at Göta Källare – Live in Stockholm” took most of the Metal scene by surprise when it was released on July the 9th. It shows Sterbhaus at their best – which is in a highly energetic live setting. The band is relentless and the show is a complete gem. It was also filmed in its entirety and on the release date of the album Sterbhaus streamed the whole show in a live online event. If You missed out on the streaming event, make sure to check out the two previous singles/live videos (“Absolutely Do Not Die – Live” and “New Level of Malevolence – Live”) and why not give the bands parody of reaction videos a spin as well?
To have ”Necrostabbing at Göta Källare – Live in Stockholm debut at #1 in Sweden for physical sales and #9 for all Metal sales was an unprecedented and enormously pleasant surprise for the Swedes. Sterbhaus is the home of Marcus Hammarström (also in Shining), Erik Röjås (also in Ondskapt), Jimmy Ahovalli and at this time also Simon Olovsson (now in Avslut).
STERBHAUS have released the crowd-pleaser “Absolutely Do Not Die! (LIve)”! The first single track from the band’s upcoming album “Necrostabbing at Göta Källare – Live in Stockholm”, set for release via Black Lodge Records on the ninth of July 2021.
The urban myth of French soldiers throwing their wooden shoes (named “sabot”) into the machinery at the time of the industrial revolution – hence giving rise to the word “Sabotage” may be fiction, but it’s an interesting allegory to when fate, reality and the industry threw their wooden shoes in the machinery of one Stockholm based act in the most untimely of moments. What is so surprising is how amazingly well-oiled and blisteringly convincing the machinery of Sterbhaus remains with all those wooden shoes rattling around in there. The new live album “Necrostabbing at Gota Kallare – Live in Stockholm”, which is so timely released now in the midst of the Covid pandemic shows Sterbhaus at their very best… and that has always been live. It’s a hungry and energetic live show from a band eager to exact revenge from having been stranded locally when all booked tours after the new album release was cancelled. The whole affair was actually also filmed and will be available on social media together with this live album.
Sterbhaus is the home of Marcus Hammarström (also in Shining), Erik Röjås (also in Ondskapt), Jimmy Ahovalli and at this time also Simon Olovsson (now in Avslut).
STERBHAUS return with the live album “Necrostabbing at Göta Källare – Live in Stockholm”! The album is set for release via Black Lodge Records on the ninth of July 2021.
The urban myth of French soldiers throwing their wooden shoes (named “sabot”) into the machinery at the time of the industrial revolution – hence giving rise to the word “Sabotage” may be fiction, but it’s an interesting allegory to when fate, reality and the industry threw their wooden shoes in the machinery of one Stockholm based act in the most untimely of moments. What is so surprising is how amazingly well-oiled and blisteringly convincing the machinery of Sterbhaus remains with all those wooden shoes rattling around in there. The new live album “Necrostabbing at Gota Kallare – Live in Stockholm”, which is so timely released now in the midst of the Covid pandemic shows Sterbhaus at their very best… and that has always been live. It’s a hungry and energetic live show from a band eager to exact revenge from having been stranded locally when all booked tours after the new album release was cancelled. The whole affair was actually also filmed and will be available on social media together with this live album.
Tracklist
01. Necrostabbing the Corpsefinder 02. Absolutely Do Not Die! 03. New Level of Malevolence 04. Grudgeholder + Hatemonger 05. El Giftus Satanus 06. The King of the Red 07. Baby Jee and the 3 Stalkers 08. Bloodbarf 09. Ministry
Sterbhaus is the home of Marcus Hammarström (also in Shining), Erik Röjås (also in Ondskapt), Jimmy Ahovalli and at this time also Simon Olovsson (now in Avslut).
The slightly terrific troupe STERBHAUS(spearheaded by Marcus Hammarström of Shining, previously of Elvira Madigan) from Stockholm/Sweden finally releases their much asked for Christmas-EP in physical format on Friday the 13th of December 2019. Together with this the band also announces its own demise in 2020 as well as the release of a live album (fully filmed and released in video format also) and a very last final studio album in late 2020.
The tremendously effective Christmas EP “Krampusnacht” with artwork by Brom (renowned in his own right but now – due to his involvement in the videogame Diablo 2, tentalizingly enough engaged in the Diablo 4 installment) was first released digitally in 2016 December – and has been enjoyed annually as a free downloading treat every December month. This unorthodox Yule time effort will now be available physically for the first time and the title track – which is dedicated to Santa Claus Alpine opposite devoted to punishing those children who have been naughty (-there should be quite a few of those these days) has been completely re-booted for this release with a new edit/cut, production, mix and master.
Marcus explains: “I absolutely love that ‘Krampusnacht’ song. I think it’s honestly one of the best we ever did, apart from our coming album ofc ;-). But that recording of 2016 never really sat right with me. Something was so obviously off and I just got a big knot in my belly every time I heard it, ’cause I new how it was supposed to sound but didn’t. If we rehearsed it or played it live – which we only did once in Stockholm as far as I remember, it was always special and felt ripping and heavy as bloody hell. But on that recording it was another thing. I was actually even a bit angry and frustrated cause once you get a song out there, it’s final… most of the times.
But funny thing is that our recent silence which had postponed that physical release actually provided me with an opening to get this whole thing fixed. So I spent a month after summer going through takes and cuts and re-editing it until it sounded just as we play it normally. And I did find a lot of weird issues that I honestly have no idea why they made it to the mix the first time. I then contacted Ronnie Björnström, hauled up money from my own pocket and got it fully reproduced, remixed and remastered. So I’ve been spinning this new version at home for weeks now and it’s like a brand new song for me… And it sounds like it was always supposed to. So you can bet I’m pretty excited about this! But hell, that’s not all… the vinyl is going to be the sexiest thing ever. The artist ‘Brom’ has always been the best one ever when it comes to imagery as far as I am concerned. I even had a dialogue with him back in 2004 or something, when I was recording the Elvira Madigan album ‘Regent Sie’ and I am just beyond exhilarated to sport an album with one of his best works. Again, the vinyl is gonna be hot!!”
Earlier this week STERBHAUS was relaunched in order to accomodate its own death and all releases scheduled up until that very last day in 2020. Not much has been revealed yet of the many reasons for the band disbanding but one rather undramatic cause is that the members just simply need and want to focus on other artistic and musical undertakings, many of which are currently obvious (Marcus Hammarström as a member of Shining and Erik Röjås as a member of Ondskapt). There are however quite some interesting other activities and bands/projects that at this point can’t be revealed. The band used this relaunch opportunity – on the 1st of November, to release a previously unknown bonus track intended for the 2012 album “Angels for Breakfast …And God for Lunch” which is a quite heavy version of the 1969 song “For a Thousand Mothers” by Jethro Tull – and should definitely be heard, a new homepage and a new web shop.
Marcus: “Well, we can’t really go into Why we decide to break up at this point. It has been building up to this for the last couple of years but instead of wallowing in our demise, we would like to focus on all the upcoming activities and releases before we call it a day. We’ll probably disclose more in future… I don’t know, but I don’t think that matters much right now. None of us are on bad terms with each other and we just feel this is what we need to do. I think our EP, live album and final studio album is far more interesting at this moment”
Sterbhaus Line-Up
Marcus Hammarström – Vocals/Bass
Jimmy Ahovalli – Guitars
Erik Röjås – Drums
Stockholm based powerhouse STERBHAUS releases Christmas EP “Krampusnacht”, which is available for free download, but only for a limited time!
Stated STERBHAUS: “There is no real enjoyable Christmas music that is Metal… Until now.”
With Gerald Broms’ masterly portrayal of Krampus the Christmas demon, enshrining the cover, STERBHAUS is now releasing the digital Christmas EP “Krampusnacht”. With its dynamic, high-quality Metal STERBHAUS clearly shows what Christmas should be all about. As always with tongue in cheek wit but this time also with proper “slay bells” in spirit. In addition to the two original songs – title track “Krampusnacht” and the instrumental “Santa Claus in Satans Claws” a cover of Britain’s finest Spinal Tap “Christmas with the Devil” can be found. Mix and master was handled by Jocke Skog (Clawfinger, Crucified Barbara, Entombed, Scar Symmetry, The Haunted). The EP is available for free download annually from December 1 – December 31.
Any attempt to download “Krampusnacht” post-Christmas will be followed by a ridiculous price-tag.
Stockholm based quartet STERBHAUS who deals in Metal Deluxe released a new video for the song “Bloodbarf” on the 23rd of October in conjunction with their delayed releasegig with “Grave and Raise Hell” in Stockholm. The video is as extraordinary, inventive and entertaining as always referring to STERBHAUS past video outputs but this time it is currently banned in several forums and most prominently for Facebook promotion due to it being considered explicit.
STERBHAUS is rather bewildered by this response as the video portrays – although some gore and a lot of real animal blood – an unusually positive and sweet approach to a suicide sect which in order to obtain their goal of ascension devours their great object of affection and worship (a character who also clearly approves of this undertaking). The video is a feature with higher budget than usual and a third time result of the hugely successful collaboration with filmmaker Martin Strandberg (Sabaton, Shining, Snowy Shaw) who is also responsible for the previous artsy Ingemar Bergman inspired video “Crossed and Pissed and Devoured” (also from the new album “New Level of Malevolence on Black Lodge/Sound Pollution) and the popular humoristic and bizarre video for “Absolutely Do Not Die!”.
As a side-result of the “Bloodbarf” video being banned STERBHAUS are currently also banned for promoting earlier efforts as the extremely rigid Facebook rules seem to always find some very small detail in any backcatalogue material to label it explicit. Texts in biographies or previously mentioned songtitles for other videos for instance and just mentioning the title of “Bloodbarf” while excluding links to the video is also forbidden.
STERBHAUS issues the following statement: “It is rather worrying that this is the trend today. We have an artistic and creative approach to do our stuff and since we don’t just put out another performance video or cute/cheap lyric video some people who hold the strings find they have the authority to censor unoffensive creativity. This is almost worse than the public view of Metal in the eighties and the PMRC stuff because this time around – in what we consider to be an age of free information, people absolutely Believe they are not subjected to censorship! And yet they indeed are. Sorry to disclose this, but everything everyone sees on Facebook that is not from private accounts needs to be payed for in order for You all to see it – it’s called “promoting” or “boosting”. To simply “like” a page doesn’t necessarily mean you will see the pages post in you stream. So for Sterbhaus this situation means in the end, we can’t display our art in what is unfortunately the biggest forum in social media. There is only sweetness and love portrayed in this video – albeit draped in a lot of real animal blood, but it’s gone so far that just because it contains the words “Blood” and “Barf” it may not be promoted.
It’s scary to see so much hate and bigoted opinions are being aired freely by dubious characters (maybe not promoted but shared excessively) in the aftermath of the horrors around the world – especially after what happened in Paris recently, and an up-and-coming act like Sterbhaus can’t share the craft they run themselves ragged to create. We fail to see the logic in this. Newborn Christians marauders within the ranks of top Metal and Thrash acts and pop Metal acts (often female fronted) seems to set the standard for how Metal is to be portrayed as today in order for it to be OK in major social media. When did things go so wrong? Heck – we’re not even extreme! Extreme acts seem to get their stuff thru in the underground for some reason just because they’re just over the top with putting morals aside. But we don’t care for that either as we really don’t see what we do as offensive but instead just as valid as the past huge arena acts of the eighties when it comes to image or how we portray what we do. We can just hope the Metal realm will watch all this folly unfurl and rise even stronger in the end because of it… having learned a lesson or two. We shouldn’t let mainstream social media decide what we should listen to”.
