The Ultimate Review of Angel Witch

Angel Witch was one of the bands that emerged from the first wave of the British movement in the early-80’s, probably the originators of the occult-NWOBHM trend, the most underground incarnation of this new invasion of young groups – definitely the enormous bunch of exquisite Hammer Film Productions low-budget serie-B horror movies had an impact on that generation of musicians, inspiring them to write about alternative lyrical issues to the usual 70’s spirit of drugs, chicks and rock ‘n’ roll. Not only the words were something almost unexplored to that date (yes, they were preceded by Black Widow, Coven and Black Sabbath), the sound these guys developed discovered new possibilities for a genre that was unavoidably headed for disaster, getting predictable and uninspired. Bands like this made hard/heavy rock fresh and current again, while the icons of the previous decade slowly declined in favor of the NWOBHM enthusiastic kids that would bring new ideas and formulas against the growing tediousness and mediocrity of classic rock.

Songs like the homonym opening-track and “Atlantis” have nothing much to do with the typical old-fashioned bluesy rock British bands had been playing for years, it certainly takes influence from them – yet new elements are substantial and more crucial to define Angel Witch’s sound. As most of their peers, the looseness of rhythms and the more simplistic insistent low-tuned lines take control, creating here an unusual dark climax in contrast with the generally cheerful atmosphere of the 70’s. A brand new perspective is exposed, innovative and distinct from anything European audiences heard before, on other hand pretty common among the new movement groups because only a few were repeating the obsolete clichés of the past. What really make these guys stuff so peculiar are those harmonies, accented melody and great sophistication they manage to combine with their innate desire for roughness and speed. “White Witch” or “Sorceress” include some surprisingly touching slow sections of mellow chords and lyrical vocals, among predominant heavy riffs and aggression, so you can’t say they’re simply cheesy or exclusively violent, that ideal balance makes them truly musically rich and varied. Others times, bigger emphasis is put on melody and tortured words, particularly on “Free Man”, a minimalist ballad of easy – yet effective configuration that shows Angel Witch’s sensitive side. On the contrary, the velocity and the power of “Angel Of Death” with those crushing low-tuned riffs increase the ferocity and rage of the music notably, remaining on other hand constantly refined and controlled, always presenting some melodic arrangement. You can also find straight-forward cuts like “Confused” and its unnervingly depressive lyrics or numbers that mix traditional rock ‘n’ roll and blues reminiscence with less-cheerful words as “Sweet Danger”, proving this group ain’t denying the influence of by that time obsolete music.

This is a brilliant debut from one of the most promising acts of the NWOBHM on which they already determine their own sound, completely deprived of 70’s clichés or topics – for others, it took more time to finally find their identity and stop abusing of bluesy characteristics and formulas no longer effective. Angel Witch made a difference too on the technical aspect of the music, they never intended apparently to make it progressive or peculiarly intricate, they embrace explicit simplicity, though offering an admirably accurate instrumental execution. Some harmonies are simply heavenly and remarkably designed, solos are revealing creativity, meticulousness and absolute discipline while the Hogg/Riddles rhythm section constructs all tempos professionally. Structures of the titles as well are the result of a preceding competent song-writing process, lacking no direction at all, not particularlFinal Score: 12 / 100