“The skies are dark. The atmosphere is thick with dread. The future looks bleak. Only pure, red-blooded heavy fucking metal can save us now.” That’s the beginning of the bio for Witchskull. And while it might seem a tad exaggerated, as these things often are, after having listened to the band’s new album Driftwood Cross, I’m inclined to say that they might be onto something. Their new album, in any case, is the first release of the year I’m really excited about. Not because it would feature something radically new – it doesn’t – but it’s back-to-the-roots, meaty, lush and no-bullshit sound with colossal RIFFS is just delicious. It took my mind off nuisances and worries, and it might do that for you too. Since it worships Black Sabbath, displaying a liking for Led Zeppelin and Kyuss along the way, I believe that any lover of early heavy metal, doom, stoner or Desert rock will find something to like on Driftwood Cross.
Witchskull are a trio from Canberra, Australia. Their self-released debut album The Vast Electric Dark (2015) made them a force to be reckoned with, I have learned, in the field of “monolithic, turbo-charged and fuzzed-out doom”, and the follow-up Coven’s Will (2018, Rise Above), which we also reviewed here, cemented their reputation as creators of high-quality, heavy, fierce and groovy music, broadening their fan base.
This is my first encounter with Witchskull, but judging from what I’ve found out about the band and their music I’d say that Driftwood Cross is everything fans could have hoped for and more.
What’s most apparent from the beginning is the thickness of the sound, a charged, electric quality that’s almost palpable, and doesn’t let up from start to finish. The sound is created via the aforementioned gigantic riffs, fuzz, galloping drums and melody. In addition, there are clean, first-rate vocals, reminding me of Chris Cornell at times, and lyrics with a story-telling approach. All is wrapped in a cloak of the Occult. What’s not to like?
Largely contributing to the album’s appeal is a confidence in the music produced, audible in every song. You only find that with experienced, veteran musicians. These gentlemen know exactly what they are doing and what they want. The fact that the album has been reduced to eight tracks although twelve were originally recorded, also speaks for the amount of knowledge involved. Clocking in at just under 40 minutes, Driftwood Cross has exactly the right length for the listener to like the sound without getting bored of it.
My favourite tracks are the first three, not because they are better than the other five, but because they best fit my personal taste. Black Cathedral, Baphomet’s Child and The Silent Place have a colossal sound, are midtempo, melodious and proudly and unashamedly rooted in the old school, while their song-writing really is timeless. Excellent.
Weighty, substantial and very satisfying. It’s a shame I can’t drive anywhere at the moment. I would love to hear this on full blast in the car, driving through a vast, arid landscape. The highway on my way to work would also do. Either way, I know it would give me a hell of a rush.
(8.5/10 Slavica)
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