Tuscan occult inspired doom/classic rock hybrid created with some divine backing Psychedelic Witchcraft are back with the follow up to their impressive 2016 release, ‘The Vision’. Not giving much away with the title, hinting heavily in the direction of the arcane arts, it’s time to see what they have brought forth this time.

“Come A Little Closer” opens the album, and the sultry and seductive sounds of vocalist Virginia Monti, along with some real classic blues rock build up lead into a simple but highly effective opening number. Growing in presence from a rather restrained verse, the warm overdriven sound and rich bass really rings out. The unmistakable proto-metal feel of the early to mid 70’s is prevalent all over this track and the clever use of volume, really growing louder when it matters for the big choruses and solo’s works nicely, opening up this album in a great way.

“Godzilla” is a cover of the Blue Öyster Cult classic from their 1978 album ‘Spectres’ and given the sound of the band, you know tone issues aren’t a problem on this cover. The female vocals get a little more bite in them on this track and honestly, it’s not a superb cover, but its passable enough to keep you nodding along to it. Following on from this iconic track, it’s back to business as normal.

“Set Me Free” is an energetic feeling track which still retains that haunting edge Psychedelic Witchcraft are so good at creating, giving an almost early Deep Purple feel but more sinister in its delivery whilst “Wicked Dream” plunges us headfirst into the more arcane and magickal side of the bands inspirations. The ominous reading by William S. Burroughs from the 1922 film ‘Haxan’ leads to an initially minimalistic and atmospheric passage and as it progresses it comes more to life, culminating in a more hectic finish.

The Sabbathian/Proto-Metal sounds return again on the aptly titled ” The Dark Lord”, bringing a decent paced and raw rock vibe to the front. Monti’s vocals work well, warm sounding but with a subtle undercurrent of darkness to her delivery and it ties in with the steady rock tempo set by the tightly delivered music. “Angela” opens up with another classic horror film quote, this time from ‘Blood On Satan’s Claw” (1971) and the song heavily centres around this film and its lore, all delivered in that hazy BÖC/Sabbathian style vibe.

“Lying On Iron” has a slow building intro with some hypnotic and clean vocal melodies over a subtle clean guitar passage. As it grows in presence musically, Monti’s vocals retain the mystical edge but the focus switches to the lead and instrumental portion of the track which initially gives off a Pink Floyd like vibe in its delivery before it comes back with some real fire in the form of Monti’s more passionately delivered vocals which in places have the hairs on the back of your neck tingling. “Black Magic Man” has a real raw and dirty blues feel to it. With muddy overdrive and fuzz giving a warm but murky sound, the more bold sound in the vocals gives it that classic late sixties sound, almost in the Iron Butterfly ballpark when it comes to the sound and the closing track, “Slave Of Grief” which closes the album, follows in a similar fashion to the previous track.

In all, this 39 minute slice of classic sounding, atmospheric and arcane inspired rock really shines out. It follows on great from Psychedelic Witchcraft’s debut, The Vision (2016) and whilst it subtly builds on the foundations, it doesn’t really take you further musically, instead keeping you close as the band attempts to solidify its sound and find the spark which should surely catapult them further on following releases.

Still, if anything, “Magick Rites and Spells” certainly lives up to its name, subtly taking over your mind and opening you up to the will and vision Psychedelic Witchcraft have in store for us all.

(7/10 Fraggle)

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