Witch Fever have shared new single “In Birth“, the latest single from their debut EP Reincarnate, set to be released on October 29th. The new track follows on from previously released “Reincarnate” and “In The Resurrect“.
Witch Fever continue to intoxicate on the new single through chugging sabbath-worthy riffs and propelling drums. They address the torment of patriarchal structures and the predatory behaviour that is born out of them with an eye to the wind. “You praised me / Undressed me / Telling me I was your wet dream” remarks singer Amy on the chorus, before declaring that she’ll “Eat you alive / Tear your bones head to toe just to see what’s inside”. They’re here to tear the establishment down and they’re doing it in explosive style.
Speaking on the new single singer Amy Walpole:
“‘In Birth’ has been kicking around for a little while now, so it’s nice to finally exorcise it into the world. Whilst the theme of a lot of our songs is reclamation, empowerment and catharsis, it’s definitely far more vulnerable. It felt right to juxtapose this with big chuggy riffs and noisy, cymbal heavy drums. The power that Alisha, Alex and Annabelle create on this track accompanies the anger in my lyrics perfectly.”
She continues, “We created and directed the video with Sam O’Leary and it’s a tongue in cheek way of presenting the narrative. We wanted something camp and fun, but still powerful and angry. Plus, everything’s better with a bucket of fake blood!”
Manchester’s newest doom punk future stars descend on Oxford Street’s iconic 100 club to deliver a blistering set that proves they need to be headlining venues of this size as soon as possible.
Although Witch Fever may not be the main attraction on the evenings billing, with the headline spot coming from punk/ grime/ metal heavyweight duo Bob Vylan, they will have surely made enough fans during their performance to bring them back for plenty more.
It’s a surreal atmosphere that surrounds the gig, with every fan eager to get back to the newly reinstated true gig experience. You can sense the relief and desperation to get back into the pit. The mixture of crusty punks and middle aged men is back in full swing with each complimenting each other’s band t-shirts and many commenting on this being their first proper gig back. The company is great and life feels like it may be heading in the right direction.
Opening the night is tik-tok emo-pop star Zand who ushers in the flocks of early attendees with a mixture of tracks from their Ugly Pop EP and latest single “Slut Money” . Accompanied by a squid-masked DJ, Zand perfectly set the tone for the evenings events; weird and wonderful.
From the moment they step onto the stage, Witch Fever bring about an untamed amount of explosive energy to their performance. As guitarist Alisha Yarwood summons the rest of the band into action with her Sabbath-heavy riffs, the spell of Witch Fever begins to shroud over all who are within its grasp.
Lead singer Amy Walpole marches across the stage and you soon realise that you are witnessing one of the most exciting upcoming live bands in modern punk. They’re not just taking this as a chance to impress, but as a chance to ignite the fires that will surely bring them to stages much greater hopefully very soon.
They blast through a set of old tracks and new, most from upcoming debut EP Reincarnate with particular highlights being the furious “In The Resurrect” with a legion of head-bangers following in its furious rhythm and sharp cutting riffs. And title track “Reincarnate” that although didn’t cause any jaws to be spin-kicked on this occasion, brought about enough energy for everyone to forgot about the horrors of the past 18 months and feel free again.
You can’t help but be in Awe at the level of intensity and the close-knit nature of the band. They dance the dance and crash about the stage, but always landing back down on the same succinct beat. A flurry of furious outbursts and solos comes from drummer Annabelle Joyce, acting as though she’s beat-barer for your final descent into the red land below. And just before the curtain falls on their showcase of sound, Walpole descends into the rafts of attendees, screaming lyrics in the faces of those who dare stand in her way. Finally making her way to the bar where she appears to order herself a beverage before climbing onto it and using it as a makeshift stage. This is what it’s all about.
Manchester’s Witch Fever have today announced their debut EP Reincarnate, set to be released on October 15th and on 12″ vinyl on December 3rd. Pre-order here. The announcement comes alongside the release of new single “In The Resurrect” which will appear on the EP. This follows on from previous single “Reincarnate“.
Speaking about the EP singer Amy said:
“This is the first time we’ll be releasing something longer than a single so it’s very exciting for us! The EP doesn’t really have a singular meaning behind it, it’s a mix of what our favourite songs to date were! Some of them we wrote and finished during the lockdown and some are a few years old. The overall lyrical content is a cross between biblical and horror imagery as a way to explore empowerment, catharsis and anger. It’s about owning my sexuality, my body and channelling my anger through music. With every piece of music we write we want to break the boundaries of a typical ‘Witch Fever’ song and push ourselves as musicians to keep evolving and getting out of our comfort zones! The more brutal the better!”
They have also announced that they will be supporting the political grime meets punk duo Bob Vylan on their UK Tour at the end of this month through to August, and are still set to play Wave Before The Kick In The Chest in Leeds, and Burn It Down in Devon. Tickets available here.
Listen to the new single below!
1. Reincarnate 2. In The Resurrect 3. Abject 4. In Birth 5. Initiation 6. Bully Boy
Heavy and harsh is the sound of The Horrors newest EP Lout. Following on from 2017’s V, an album that blended the emo-rock aspects of the bands sound with a synthesised drive. They return with an EP that is full of abrasive, distorted and beat driven tracks that returns to the heavier roots of their 2007 debut album Strange House.
Title track “Lout”, which is a word used to describe brutalist men, bursts into action with its heavy syncopated drum beat and industrial metal guitar lines. As lead singer Faris Badwan borders on the lines of screamo and the bands classic emo rock, you can hear the true ferocity that the band have tapped into. The soundscape is alive, continuously grinding and overall just simply exciting to listen to.
Moving into “Org” with sounds that were found on the likes of Poppy’s I Disagree, the band go even more left-field incorporating their synthesised sound into a new blistering form. The glitchy vocals and beats are pounding and it feels like you’re at an underground rave, roof shaking all whilst the guy on stage sees how many effects he can throw onto a sound. There’s even some 100 gecs inspired movements during the second with the off-key switch up. It’s both disturbing and emphatic at the same time.
And on “Whiplash” the band combines elements of both previous tracks to create a harsh and unforgiving goth metal banger. This newfound sound from the band both matches the melodic and stylistic feelings from previous workings, whilst simultaneously pushing the boundaries of how far the heaviness of their sound can go. Upon the announcement of this EP the band said that this would be an insight into the direction of their upcoming album. If it’s anything similar to the quality of this EP then it could well be some the bands most exhilarating work of recent times.
The Horrors have announced a new EP Lout, set to be released on March 12th. The band have also shared the title track from the upcoming EP, “Lout”, which sees the band take a more industrial metal attack to their sound.
“There’s something about it which feels like a return to a heavier sound but really it’s a million miles away from anything we’ve done,” said keyboardist Tom Furse. “Keeping the sound aggressive and the beats heavy was a central tenet, everything seemed to fall around that.”
Bassist Rhys Webb added: “It’s the nastiest music we’ve made since [2007 debut] ‘Strange House’. An intense barrage of industrial noise. A return to the spirit and attitude of our debut LP but blasted into the future.”
“In the past whenever we’ve written stuff with a harder edge it’s come from the energy we get from all playing together in a room but creating this kind of atmosphere remotely was a different challenge,” said Badwan. “It’s the same level of intensity as the 100-miles-an-hour stuff we’ve done in the past but the anger is somehow more channelled. I can’t wait to play these songs live as there’s so much freedom in that kind of chaos.”
Free from the pressure of the usual release schedule treadmill, Webb explained how the band enjoyed the act of “not making record for anybody except ourselves” – with that liberating spirit feeding into their next album.
“With so many platforms now lost, the pressure to deliver a single for radio or to get on TV just doesn’t exist any more and is probably all the better for it,” he added. “The only thing we need to worry about is making the most exciting new music we can. We’re lucky enough to have been together for 15 years and to be working on our sixth studio LP.
“It seemed like the perfect time to go in guns blazing, no holds barred full on Horrors, the way it should always be.”
When you hear the name King Gizzard & The Lizard Wizard casual listeners might be forgiven for thinking they were ‘that psychedelic rock band from Australia’ but dedicated fans would be quick to correct you as in their 10 years of playing and 15 album output much has changed in that time. From the funk-jazz collaboration with Mild High Club on ‘Sketches of Brunswick East’ to the spoken word ‘concept album to end all albums’ on ‘Murder Of The Universe’ King Gizzards sound has always been hard to define yet each release stays consistently ‘Gizz-ish’ for lack of a better term, and consistently good at that. Earlier in the year they released their first album after a years break, a long time in King Gizzard terms after delivering 5 in 2017, the bluesy boogie-woogie induced ‘Fishing For Fishies’ which saw them tackle issues of climate change and the over reliance on fishing. This album almost felt like a soft release compared to some of their output and hinted towards a sign of maybe King Gizzard were slowing it down a bit. How wrong we were.
Thrash metal to put it simply has no time for slackers. It’s time to throw away those LSD induced tie-dye t-shirts, don those black jeans, black shirts, black doc martins, that black eye liner you bought for ‘maybe one day if I feel like it’ and get ready to punch your neighbour in the pit. Although this may be one of their shortest releases at 34 minutes, this album is all killer and definitely no filler.
Leaving no time for fancy introductions the crashing drums of ‘Planet B’ set into motion the pace for the whole album, intense. Heavy guitars hit hard from every direction with much more intent than they ever have before. “Open your eyes and see, there is no Planet B” screams lead singer Stu Mackenzie telling the audience exactly how it is outside their own window. The world is on fire and if we don’t do something there’s no alternative. Anthemic and loud, it wouldn’t feel out of place blasting out of the speakers of an Extinction Rebellion rally.
Staying with the ‘woke’ feeling of the album ‘Mars For The Rich’ tells the story of a field worker who dreams of leaving his burning planet to go to Mars, but as the song says “Just forget it, you ‘aint coming here; the tickets too dear” as Mars has been inhabited by only those who can afford it, the rich, perhaps a slight nod to the recent rise in space tourism trips that really are only for the rich. The riffs on this song are perhaps the most bluesy of the album and slowed and calmed down wouldn’t feel out of place on one their less heavy releases like ‘I’m In Your Mind Fuzz’.
‘Organ Farmer’ could easily be argued as the bands hardest hitting song to date. The riff heavy guitars almost feel like they could be cutting into your skin just like the ‘Organ Farmer’ being described in chilling detail, “blood minestrone, fatty rolls are free”. The thrash comes fully into action on this song as the drums and bass move in unison to create a beat that moves like a train down a rail line and it ain’t stopping to let you off. Expect heavy moshing at a Gizzard gig to this one.
Although the album may only be 34 minutes long, almost a quarter of that run time is taken up by the epic story that is ‘Superbug’. With a riff that’s almost reminiscent of ‘Road Train’ off of ‘Nonagon Infinity’, ‘Superbug’ tells the story of a desolated planet that’s running out of options to fight off this disease that has “likely killed humanity” sound familiar? Again taking parts from their bluesy past King Gizzard deliver a hard hitting headbanger that builds to a an almost gothic like climax and leaves you begging for more from the second side of this album. And more is what you get.
The next 3 tracks tell yet another mini story within this grand tapestry of a not so far fetched future. ‘Venusian 1’, ‘Perihilion’ and ‘Venusian 2’ all tell the tale of a band of travellers looking for a place after leaving their desolated planet. They then pass by the sun and are tempted to crash themselves into it after the satan tempts them towards the fiery oblivion. Although these tracks don’t throw up a huge amount of new ideas within the sound that can’t be found within the previous four, the harmonies found on these 3 are some of the best on a King Gizzard album to date. The stars cascade by outside your window as the chugging riffs carry you along this 3 part journey through the cosmos.
The call to hell beckons on the last two tracks as the opening drums on ‘Self-Immolate’ wouldn’t be out of place on an old war ship, carrying its troops to their final fate. “I have gone insane-o. I lust for volcano” growls Stu Mackenzie as this track kicks into action and the nightmare fuelled sonic landscape created within the crunching guitars and furious solos feels like you really might have gone insane-o. Perhaps the most enraged and intense track on the album, telling the story of how these travellers lust to be set on fire, ‘Self-Immolate’ could easily take the crown for the defining Gizz-metal (a new sub-genre?) track.
Finally we descend into our long awaited destination, Hell. Again a more bluesy riff on this track but sped up about 200%. Everything on this track hits hard, the drums, the crunching guitars, the heavy bass and the more pumped than ever vocals as the the travellers make their final descent. With Satan as their guide, the travellers are finally told to “Infest the rats nest” as “15 infantry paratroop into the propylene new scene”. Could this be Satan telling the travellers to take revenge upon the rich who first ravaged their planet and then left for a new one? Or perhaps it’s a more literal take with the accompanying video game that was released where the player literally shoots down rats in a Call Of Duty style first person shooter. Either way the story has concluded for now and fans will be eagerly awaiting for more.
The overall production on this album keeps with the vintage feel of most King Gizzard records, setting it slightly aside from other thrash metal releases recently. The bass is mix warm, the drums feel heavier than ever and the vocals pack a punch. Although this may be the band’s most ‘ out there’ record to date they still keep a few of their usual quirky qualities, such as the screeching guitars and wild vocal effects. And it wouldn’t be a King Gizzard album without mentioning the various odd time signatures used, with beats changing almost on a bar basis. Moshing in 4/3 has never felt better.
Although the story embezzled within this album may screech past at light-speed as it escapes into the night sky, the dystopian nightmare hells-cape that King Gizzard have created will long be imprinted in your mind.