"Coven's Will"

By Octopi Mills

Witchskull hail rom Australia, and they have a certain edge of surprise…they have enlisted Billy Anderson to run his feelers all over this one. He uses those feelers less on "Raven" which comes across his boards like Molly Hatchet might have in their own time. "Son of the Snake" is next and it is apparent and perhaps now fixed; this sound they have here. Guitars do what they are expected and told to in the name of good ole rock and roll and pair up with latter day doom traditions well and with honest means unlike many other saints of the latter days . 

Tight, electric, fast,  and vintage it is, slowing down with "Priestess" enough to make friends with folks who listen to Orange Goblin, Uncle Acid and the Deadbeats, or maybe something else from the Rise Above roster.. And though I don't usually break down tracks, "Breathing Blue Light" tends the fields I mentioned and I will keep the tradition of free thought by saying it follows the boundaries more like a traditional collie than getting lost in such freedoms lent to the retarded genius of a wire haired terrier mix. Having a beer on this thought, I can see how it grooves; I see it in the palm muted actions of the string man and in the rhythm as well, which locks together undeniably like a grappling hold from some old pro wrestler. I forgot Billy Anderson, and that is maybe the man's genius- in letting bands breathe and play like live bands damn well should if they are live bands . I feel the producer is absently present and wonder what he would do with a band like Clutch if he had his simple feelers on the death sentence of so many levers and pulleys that overwhelm the common man. "Demon Cage" stays on the same pages as before and the album continues on the common thread where most sane folk go when pursuing these things.

 Though it is different, the energy is much like Orange Goblin at times in its lively-ness and processes. Whether it's "Spyres" or "Lord of the Void", the song remains the same. They jam in and out of pentatonic patterns and bend, blast and pound along all the same and it must be the mark of men who have played together a lot and keep the passion for what they do. The tone and execution of the album is fun and good-time feeling and I can't fault much here. "The Empty Well" closes it all as I gaze on the buck horned, well dressed, familiar olde fellow on the cover art and know all too well who he is and what he's doing in the forest there. I also found the last song to be my favorite on the whole album. It keeps the doom tradition alive and has a big dumb yet genius title. It ends on a heavily Sabbathy note, which is,in fact, where it all began- the whole god damned thing....I also would like to take the time to say that I admired how they let the amp calmly feedback at the end. Golden Regards...