Has it been worth the wait for Sweden’s Witchcraft, put on hold since 2007 after the release of the amazing “The Alchemist” album? A lot can happen in five years and Witchcraft has not gone unscathed with original founder Magnus Pelander (guitar and vocals) and Ola Henrickson (bass) being the remaining remembers from five years ago. The band is now backed up by Oscar Johansson on drums, Tom Jondelius on guitar and Simon Solomon on guitar as Magnus has dropped guitar duties in favour of focusing on his unique vocal talents instead. I did wonder whether Witchcraft (one of 13 bands with this name only, no prefixes or suffixes according metal archives) would actually return to recording and playing at all.
Anyone familiar with the past material will not be disappointed one iota, the band has enhanced the sound giving it a rich organic feel that opens with “Deconstruction”. The laid back doom rock riffing gently lay a path for the riff break and an upbeat rocker not too far off Iommi inspired riffs during Dio era Sabbath. Magnus’s vocals are firmly entrenched into the songs, seamlessly flowing with the guitar work from one verse to another. The total change in the tune is very like Rush to me, with a placid vocal line sweetly in place. A very fine start to this album indeed, “Flag Of Fate” follows with a drum intro and bass line and a guitar riff that has a 60s floweriness about it. Having listened to a bit of very old rock from the late 60s and early 70s there is a vibe like Bloodrock about the tune here something I would not have said six months ago. I thought the solo was very good at the end too, having a slight slide effect and a trippy personality.
“It’s Not Because of You” has been released as a single and been available for quite a while, and demonstrated how the band has changed without revealing too much. The rock solo at the end is again steeped in 70s headiness along with flowing bass lines the song is so damn catchy. Now a slight change occurs on “An Alternative To Freedom” which has a blues context very like Black Country Communion as the guitar work has a Joe Bonamassa hook to it. The song is moody and also a bit like very early Witchcraft work. More blues rocking appears on “White Light Suicide” as the soothing singing drops for a solid hard rock riff that alternates with the vocal tranquillity.
The shortest song “Democracy” is similar to other Witchcraft material but I did feel the guitar is much rawer here, akin to the fuzziness of the Sir Lord Baltimore debut from 1970. This isn’t to say it lacks polish, no chance, just a general feel for the tone that’s all. I did think the vocal lines in the mid section break with lyrics such as ‘Fuck Your Heroes’, ‘Fuck Your Icons’ were very weird like someone tormenting you. The album ends with the two longest songs beginning with “Dystopia”, which begins with soft bass work and some rather lovely notes sprinkled over it. The tender drum work creates a 70s appeal again as the guitar works its way through the tune and is much heavier. Magnus’s vocals take on a slightly higher pitch to my ears as the song rarely increases tempo preferring to stay within the confines of soft and malleable doom rock. The solo is very metal however as it closes with calming cymbal work.
The album’s epic finale is “Dead End”, a sweeping soundscape to be lost within. The song utilises the vocal elements exceptionally well. Magnus’s voice is in very fine condition, maybe a little more tuned, possessing more character than before in some places, but I digress. Some acoustic guitar work announces its presence, as the bass work maintains position, and the drifting sounds of some spacey keyboards filter through the mix. It works, as the vocals return and actually reminded me of Glenn Danzig, for their character. The song alternates with heavier guitar elements and this aspect dominates and circularises the main component of the song for quite a while before fading slowly and returning. The spacey aspects will always remind me of Hawkwind though the comparison is much generalised based on my Hawkwind experiences.
Is this Witchcraft on top form? I’d say yes but it’s a different version of the band with a hazy filled headiness, creating an intimate and thoughtful vision for today’s Witchcraft. However Witchcraft fans, fear ye not, the band still has all the points Of Saint Vitus, Trouble and Sabbath firmly integrated though there are shades of other stuff here too. Not quite Witchcraft’s defining moment; I reckon that is still to come.
8.5/10 (Martin Harris)
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