Three years on from their debut ‘Congregation’, Manchester quartet Witch Fever have returned with a record that’s both more refined and more in hock to doom-metal — ‘FEVEREATEN’ brims with creativity, catharsis, and a sense of atmosphere. Amid its tumultuous guitars, brooding instrumentals, and sense of rage, it showcases new depth that keeps the listener on their toes.
Kicking things off with the drone-driven heavy hitter Dead To Me!, Witch Fever start as they mean to go on. It’s a strong opener that lays out the album’s core themes. Singer Amy Walpole, who contrasts saccharine sung vocals and guttural shouts throughout, has never shied away from discussing their upbringing in the Evangelical church and subsequent estrangement from it.
The track combines grungy backing with Mancunian-accented cries of the title, along with a scathing commentary on Walpole’s complex relationship with religion. Northstar, meanwhile, tells a story of being left behind by people and institutions who should protect you. It’s an anthem of independence.
Continuing in the same vein, the horror-themed Final Girl positions Walpole as the self-sufficient survivor, overcoming adversity without the help of others. Ominous synths and rumbling bass underpin defiant chants: “You can’t bury me / I part the red sea.”
On The Garden, Witch Fever tackle internalised misogyny, rejecting the vilification of Eve in the Bible, and instead painting her as a relatable figure who has helped the singer accept their own past mistakes. The noisy pedal work and distortion of this track, as well as Burn To Hit, hint at Witch Fever’s varied influences, with nods to the Deftones and shoegaze evident. Drank The Sap, though, is a high-octane metal track underpinned by its fervent drums and vehement riffs.
Several songs on the record nod to romantic relationships, notably ‘SAFE’ and ‘AMBER’, both of which happen to be softer, more melodic moments on an otherwise intense LP. A cello solo at the close of the former track exemplifies Witch Fever’s increasingly leftfield artistic choices. This versatility is apparent as ‘FEVEREATEN’ rattles to its conclusion with the title track and I See It, further musings on religion.
On FEVEREATEN, Walpole yells “I thought I’d gotten over it”, with the sentiment reflected back by the the sense of paranoia that pervades I See It, alluding to the singer’s struggles to shake the past. Chiming bells and haunting Kate Bush-esque chants of “I’ll go through ya” mark the song’s build up before uproarious riffs and caterwauling illustrate Witch Fever’s multifaceted approach and knack for seething songcraft.
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