In july 83 AXEWITCH entered the legendary Decibel studios in Stockholm (Heavy Load, Yngwie Malmsteen) to record their debut album ”The Lord Of Flies” with Torch producer Olle Larsson overseeing the proceedings from the mixing desk. The LP gainded great reviews and sold very well on home turf, crashing the Swedish charts with an impressive number seven.
In December of the same year AXEWITCH played their debut (the very first of its kind) Swedish heavy metal tour all around the country, combined with two other domestic hopefuls, Torch and Silver mountain. Despite bordering on the brinks of finacial disaster at the times, the tour turned out to be a successful promotional endeavour and was well recieved by both audiences and press - a highlight in terms of media coverage was without any doubt an extensive tour report by OKEJ magazine, Sweden’s biggest music publication in the early 1980s. Plans were then set afoot for the trek to set sail for Germany and southern Europe as well, but the band's utter disappointment lack of monetary funding prevented this idea from ever becom a reality. On a more positive note, "The Lord of Flies"garnered licensing interest from abroad and was released by Megaton records and Discotto respectivly.
Now the ball was rolling for AXEWITCH and the summer of 84 saw them returning to Decibel studios in Stockholm to record their follow-up album ”Visions Of The Past” once agin with Olle at the helm and assisted by Robban Wellerfors and Tomas Sunnmo. In a smart move the band also released a 12” single called "Stand up" which quickly mutated into an unexpected success story when entered the Swedish Rock singel charts as a staggering number nine. Before "Stand up", a triumph like this was pretty much unheard of the exponents of music as heavy as AXEWITCH.
The album itself settled for a solid entry as number 12 in the Swedish hard rock album listing, and on the back of its domestic prosperity Fingerprint records managed to negotiate license agreements for other parts of the globe. Neat records gladly accepted the offer to issue ”Visions Of The Past” in the UK, Roadrunner records did likewise for continental Europe and Banzai records in Canada even gave the LP an official release in cassette format. However, communication between the band and Fingerprint records at the time was in some what inadequate, to put it mildly, and this may explain why AXEWITCH were well aware of the Neat deal but never knew about the other international releases until they learned the hard facts many moons later.
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