ALBUM REVIEW: Bewitcher - Spell Shock

I think one of the best things about doing these reviews is listened to bands that I haven't heard in ages, or ones I didn't know about. Bewitcher are one of the latter. 

Formed in Portland, Oregon in 2013 by frontman/guitarist M von Bewitcher, and bass player A Magus (I'm going to hazard a guess at these being stage names/pseudonyms; I could be wrong) Spell Shock is their fourth full length album, following on from 2021's Cursed be thy Kingdom, 2019's Under the Witching Cross and, self-titled 2016 debut Bewitcher. They are joined this time by A. Hunter on drums, for their foray into hedonism, witchcraft, and, of course, evil. 

It's an effects ridden intro, like a storm brewing, which then launches into a fast-paced beat with the snare drum hammering, and NWOBHM riff ripping through, as Starfire Maelstrom kicks us off, with a soaring solo gives way to Fenriz like vocal. Riffs change but keep the same vein, until a slower groove in the middle akin to The Four Horsemen, which then gives way again to speedy riff for the solo and the final verse/chorus. 

A '1,2,3,4' quick cymbal count into a fast maidenesque guitar, and a driving bass brings us into Lavish Desecration. Crash cymbals dominate, and bring a waterfall of metal work. A slower chorus breaks the song up, before it gets hectic again. A melodic solo graces the middle eight, and the cymbal fills ring out. Lead motifs flourish around the end of the track, with nice touches on the cymbals again. The title track provides a groovier rhythmic palm muted alternate picking opening with simple bass and drums, before a couple of bars of riff only, a bass fill, and a Motörhead-like verse, but where the bass climbs higher up the fretboard for a more Steve Harris style low end. The chorus enters with a chanting backing vocal, which is used very infrequently through the album. It reverts to the intro for a few bars in the middle, before the main riff is recycled in a slower groove, and a melodic solo ensues, before it ramps up into a second faster paced solo, and final chorus. 

Out Against the Law is screamed out and we are straight into it. A track that musically made me think of early WASP, but also gave me a hint of a faster paced Fields of the Nephilim. I could feel a western gunfight coming on amongst the dust. These guys like to break things up with a slower part in the middle, but no matter how brief, then comes the shredding and lead guitar over the final chorus compliments it with the ending a classic NWOBHM style. This is the shortest track and probably my favourite track of the album. Next is Dystopic Demonolatry, beginning so fast that there would have to be a check for a false start; thrashy from the off. Again, there is a Fields of the Nephilim gothic groove feel to it. A change from the relentless rhythm gives the chorus a different feel, as does the bridge. The middle eight solo slows a bit for you to catch breath, before pounding you once more. 

Seasons of Foul Harvest has a bit of a different beat to it. A little more staccato, slower, with some key modulations, before it gets going. A few more chords are allowed to ring out in this track, and the sparsely used chanting vocal is back in the chorus and used to good effect. This one gets groovy in the middle, and this time there is a bit of singing over it instead of just solo. Transition to the verse from this is a bit clunky, and I think it goes on a little too long, but that's being picky. We Die in Dust is another slower number, oozing heaviness and bring the blues notes out in the riffs. There’s speed in the middle, and a definite Motörhead feel. The bass playing includes some good up runs in the interlude before the track slows to the final chorus and finish. 

The Harem Conspiracy is back to the old school riffs and dynamics, the bass thunders along in a non-complicated way, and the kick beats steadily, until it hits the double time part. A couple of verse and choruses, and the track slows, with some open chords ringing out amongst minimal bass and drums before the rhythm section engages and tribal style tom rolls come in, whilst MVB sings over them. A short and sweet shred solo gives way to the final chorus and rendition of the main riff. Pagan Shadows is an interlude, a bit of Americana, which is unexpected, but I don't hate it, and it provides a bit of acoustic respite with tambourine hidden inside. Ride of the Ironfox is a catchy number, with more backing chanting on the chorus. The bass is prevalent on this track and appears to be more dynamic than on other songs. The solo is good but does seem overly long before a fade out. A fuzzy bass fades in and then out, and I am left feeling cheated that a Burton-esque solo wasn't embarked upon before going into a final chorus. 

This album is influenced by many NWOBHM and early bands. You could make a bingo card for it. Motörhead, Iron Maiden, Venom are all there, but I sure can hear WASP, Darkthrone, and even Fields of the Nephilim. Riffs are delivered in classic style and whilst not ground-breaking, they are catchy for the most part. The bass is driving and not over complex, but it doesn't have to be as it forms a great foundation for the rest to work with. Sometimes the skank beat of the drums, particularly in the first track, could have some variation, though as the album progresses it does get a lot more interesting. The vocals, now these did take some getting used to. It was the well-produced music with the almost lo-fi reverb drench black metal stuff that put me off to start with. It isn't something I love, but I did get used to it (more than I ever have to Bonded by Blood, I know, I'm a philistine). They songs are a little formulaic with either fast, fast, slow, fast; or slow, slow, fast, slow; but that didn't bother me as it worked. The music is well mixed, with everything having its place. Guitars sound good, bass sounds as it should, and drums hammer through without being too in your face. I think there is a bit of sub build up in the kick when the fast doubles come in, and crashes are a little harsh, but mostly the metalwork rings. 

In summary, a modern riproarer that blasts along, pays homage to the past, but fizzles out in the last minute.

Spell Shock is out now via Century Media

Review by Rich 'Tricky' Hudson