For many, this writer included, the first introduction to Rob Sanford’s fascinating world was via the artwork of his latest album, Onward. Its warm, rustic depiction of a cute, fluffy pony gazing inquisitively into the lens, a pretty mountain range piercing the azure sky behind him, looks like something ripped straight from the front cover of a children’s adventure book.
It’s a lovely image, but that’s not why it’s grabbed so much attention. Next to the artwork is the gnarled, majestic but totally illegible logo of Lammoth, the project that birthed the album. It is, unmistakably, a black metal logo, creating an irresistible aesthetic juxtaposition that saw the album’s cover go viral in metal social media circles.
“I was definitely surprised!” says Rob when asked about the reaction. “I was really taken aback. This project, I just made it in a room in my house and released it independently. I never expected a lot of people to connect with it.”
I never expected a lot of people to connect with this
Rob Sanford/Lammoth
If the album’s artwork was an amusing enigma, it had nothing on the album itself. Onward is surely a genuine first for metal: a concept album about Bill the Pony, the unwitting, unsung tenth member of the Fellowship Of The Ring, the courageous motley crew at the heart of the first part of J.R.R. Tolkien’s Lord Of The Rings trilogy. Poor Bill’s adventure ends when he is let go by a sobbing Samwise Gamgee as the Fellowship reach the mines of Moria (spoiler: they’re reunited at the end).
“The label I work with, Fiadh Productions, is a non-profit that donates all proceeds towards animal welfare,” Rob explains. “And I am a big animal rights activist myself. The label head does an animal-themed tape once a quarter that subscribers can get a copy of, and so she approached me and asked if I was interested in doing one.”
By this point, Rob – a Texas native, now based in North Carolina, who had been experimenting with extreme metal for a few years – had already launched Lammoth, a project designed to unite his love of black metal with a lifelong obsession with the works of Tolkien (the name ‘Lammoth’ is derived from an area of Middle Earth referenced in his posthumous 1977 book, The Silmarillion). The project had sprung a handful of tracks and an EP, 2024’s Tales Of Treachery, but this was an opportunity to attempting something a bit more ambitious.
“I was sitting there thinking, ‘How am I going to do my Hobbit black metal stuff and make it animal-themed?'” Rob recalls. “That’s where I was like, ‘Oh! Bill the Pony is an obvious choice here!’ It was a silly idea at first, but the more I thought about it, Bill actually has such a compelling story, and is kind of an underrepresented hero in Tolkien’s legendarium, especially in the metal world. I cannot think of another metal song that mentions Bill the Pony at all.”
Yep, like we said: it’s a first. And if the album’s concept (and it’s culture-clash artwork, created by Jacob Kuddes) isn’t enough to convince you that this is unlike anything else you’ll stumble across this year, the music will do it. Kicking off with the sound of galloping hooves (of course), whimsical, twinkling piano and a thrumming, 8-bit drum beat, opening track Poor Old Half-Starved Pony kicks into life with an explosion of tremelo riffing and piercing shrieks.
Bill the Pony is an underrepresented hero
Rob Sanford/Lammoth
Soon that warm piano sneaks back in for a delightful, left-kilter tonal undercut, and just as you think you’ve got your head around the bizarre mash-up it creates, that 8-bit beat comes crashing in again with the subtlety of a hoof to the groin.
What follows is one of the most dizzying but compelling listens of 2026 as triumphant, major key black metal scythes through bouncy chiptune, shimmering walls of shoegazey ambience and galloping heavy metal. And it really works: what at first might seem like a whacky experiment actually quite deftly harnesses those duelling shades of light and darkness that lie at the heart of Tolkien’s work. It’s a soundscape, much like its source material, in which the epic and the whimsical can live side by side. It’s also a mix quite unlike anything Hammer has heard before, though Rob is happy to educate us on the roots of his sound.
“I listen to all kinds of different music other than metal, and a lot of it ends up being video game music,” he says, namedropping Zelda/Mario Bros composer Koji Kondo and Final Fantasy composer Nobuo Uematsu as two big influences. He also references New York genre-benders Anamanaguchi and Gonemage, a fellow chiptune/extreme metal splicer who he collaborated with last year. Regardless, his own spin on the genre has struck a particularly profound chord – Lammoth’s bandcamp is littered with comments from fans claiming Onward has brought them to tears.
“I’ve gotten so many messages,” Rob reveals, looking visibly touched. “I’ve got people saying this album’s gotten them through rough times. Messages from people saying they’re in the hospital, and this album is giving them hope . It makes me want to cry. Just thinking that some little thing I made has that kind of an impact on complete strangers. It’s really cool, man.”
Despite the extra level of attention Onward has brought, Rob isn’t overthinking his next steps. He tells Hammer he likely won’t write more music for Lammoth before “late 2027”, but he’s hoping to follow up the one live show he’s played with a more beefed-up presentation soon.
In the meantime, he’ll be using Lammoth to promote the causes most important to him – his ‘Hobbits Against Fascism’ merch line has been a huge hit – and hoping that his little hobbit black metal project will continue to inspire people through dark times.
“Sometimes, we find comfort in heavy music,” he muses . “When we’re listening to the heavy music that we like, we’re not always sitting there angry and sad. The music is there to make us feel better. I think hope is such a specific emotion that I really appreciate, and I thought it would be cool to push that forward in black metal. And hope is such an essential Tolkien theme, so it just made perfect sense to use it to make hopeful music.”
Onward is out now via Fiadh Productions. Listen to it via Bandcamp
