Review: Angel Witch (UK) – As Above, So Below (2012)


Holy messenger Witch is generally viewed as one of the greatest groups that are credited for working up Nwobhm-class (or development, what ever you need to call it). Nwobhm remains for “The New Wave Of British Heavy Metal”, and was first found and named in 1979 in The Great Britain, where groups, for example, Angel Witch, Iron Maiden, Samson, and Saxon were perceived by having their own new bona fide style by media. Geoff Barton of “Sounds” magazine was in reality first individual to utilize term Nwobhm. The sound that adjusted from exemplary shake and punk shake, taking best of the two universes.

Heavenly attendant Witch were one of the more epic and instrumentally more gifted groups of the Nwobhm development, discharging their first presentation collection in 1980 “Blessed messenger Witch. Much adulated epic Nwobhm creation with enchanted arrangements, being same time doomy, melancholic, strange and drawing impacts from 70’s dynamic shake. After this they turned out with two all the more full length discharges: “Screamin’ n’ Bleedin'” in 1985 and “Frontal Assault” in 1986. In any case, at the season of the last two discharges Angel Witch had appeared to lose that extraordinary climate that made the introduction so epic, so very commended, thus one of a kind. The creations got all the more straight forward, smidgen more standard, heavier, more standard overwhelming metal. They kept their “emotional ” and “melancholic” impacts in their tunes, however lost intricacy of it.


Presently it’s year 2012 and Angel Witch have come back with a fresh out of the box new “get-together” collection called “As Above, So Below”, initial one of every 26 years. That is a damn prolonged stretch of time. The band has had some movement during the time between real accounts however.. so I got an inclination that melodic organizations have been living and shaping in Kevin Heybourne’s head, who’s solitary unique part left of any lineup since the 80’s. Not to stress however, Heybourne has been the main thrust behind the Angel Witch’s wheel previously. Close by him he has enlisted two more up to date talens with no specify commendable profession in any known overwhelming metal groups previously.

The new collection accompanies FANTASTIC cover-craftsmanship, discharged by Rise Above Records, containing not too bad measure of tracks (eight), and running respectable 50 minutes in addition to. After a long break between discharges you’re certain to make two inquiries: it’s so long break that is the collection irresolute discharge that does not have the first power? What’s more, have they sticked with both of the previous styles or modernized their sound? Well I got uplifting news for you. The plain premise of this collection, its assortment, is of a correct sort. As a matter of first importance this isn’t pitiful discharge.. Heybourne is in a decent shape as an author, guitarist, and vocalist. No indications of tiredness. Furthermore an awesome thing is that this collection is attached maybe the most to their sound from times of “oneself titled presentation collection”! Well it’s a blend of that and a portion of the “Screamin’ n’ Bleedin'” period as I would see it. It hangs there in the middle of yet is unquestionably nearer to the presentation by sound and organizations.

The motivation to this may well be that Angel Witch have utilized a few old organizations here to re-record old melodies. Truth be told “Dead Sea Scrolls” and “Witching Hour” are from around 1983-1984 initially, a period between the introduction and it’s spin-off, while “Into The Dark” and “Guillotine” (which was later utilized in “Frontal Assault” under various name: “Meet With the Blade”) date from times before previously mentioned. Rest of the tracks are new. This at any rate underpins the collection’s sound attached to mid 80’s seasons of the band.

So melody organizations seem like blend of selt titled introduction and the second collection. What about the general sound of collection? The sound itself is damn great! The musicality guitars are kind of a somewhat sloppy, profound and still kind of fresh with light twisting. They’re kind of a “doomy” which is cool. While lead guitars themselves are fresh, clean, and exceptionally discernable. Bass is kind of a dry, fluffy, not taking the show but rather can be heard well and includes doomy environment. Taking off lead guitar tunes joined with doomy beat guitars takes you on a trek to late 70’s/mid 80’s without a doubt. What’s more, notwithstanding correlation with prior Angel Witch, the band additionally seems like Witchfinder General with their “Capital punishment” collection – sound insightful. They didn’t overproduce the collection which gives it characteristic conceived crude power and harshness to their delightful sytheses. I ought to likewise say that drumwork is exceptionally pleasant. The drummer centers to many-sided quality maybe more than “straight forward roaring”, however his utilization of the hello there caps and cymbals as “fills” sounds awesome! It Brings Iain Finlay (ex-Running Wild) from “Death or Glory” collection to my psyche. Heybourne’s desolate center pitched clean vocals are as yet solid as previously. While he may not be the most unique vocalist around, with not having those shrill puncturing shouts, or cool unpleasant soul-filled edge on his voice, he knows how to sing Nwobhm style stuff with feeling.

This collections has a lot of those dynamic shake components that were there in early Angel Witch structures. It lives in melodies like “Into The Dark”, which is a mind trip itself. It’s extraordinary compared to other tunes in the collection. It begins as laid back dynamic/doomy track blending smooth songs with melancholic and baffling ones, while lead guitars fabricate maze like examples taking audience to an excursion to the opposite side, and after that closure with animosity and speed. Another my most loved would be melancholic and epic “Dead Sea Scrolls” with fresh Nwobhm style beat riffage at it’s best, and taking off lead guitars crying over that. “Mentally conditioned” would be third most loved to specify with that grim and spooky lead guitar prelude, driving into even old period Megadeth-like mood guitar lines, while tune is unquestionably as Angel Witch as it gets and the track includes some decent dynamic like destroying parts. Then again “Gebura” could be straight off the Screamin’ n’ Bleedin’ collection, and “Guillotine” sounds like Frontal Assault-material, where it was later on utilized.

Verses are kind of a beautiful, riddling, puzzling and epic on different tunes, while there’s positively that more philosophical and significant side the verses excessively like in “Mentally conditioned”:

“Perhaps the story’s valid for adherents

A casualty’s account of trickiness

A divine being separated from everyone else, and we begin with officers, a basic man

A deceive be made for the intensity of control

To startle them for the blame

Wash yourself, begin with their blood

To wear the image to what made the torment

Whatever made the demise

Investigate your own particular eyes

Your appearance demonstrates you’ re mentally conditioned

Limit yourself inside

Prevent yourself from being mentally conditioned”

Verses and also those that makes us think – kind of verses that influences us to perceive things in ourselves and around us – are constantly cool.


The drawbacks of this collections are relatively few. Sensational, melancholic, and desolate air – with those spooky minutes – that I cherish in old Angel Witch records is to be found in “As Above, So Below” with shockingly old school established sound blend that has it’s unpleasant edges, however with refreshed quality. While this collection respects exemplary Angel Witch, it neglects to catch an incredible same significance and air than the introduction. The nuts and bolts of the collection are straight on the correct tracks. Outdated style sound and creation is there, just piece consummated. Presentation style dynamic/doomy sytheses are somewhat there, with a portion of the bit more current sounding all the more straight forward mid-80’s material joined. As I would see it the band are getting it done when meandering into dynamic/doomy waters with bit more unpredictable and novel tracks, for example, “Into The Dark” which assurances to bring your psyche into an undertaking.

Maybe this record by and large is still not exactly as mind boggling, dynamic and differing than the introduction was. It feels touch diluted in examination. Not unreasonably much, but rather somewhat, enough to not achieve exemplary status. It’s difficult to perceive the genuine blames here.. maybe “The Horla”, “Upon This Cord”, and “Guillotine” drag a bit. “As Above, So Below” needs maybe somewhat of an “artfulness” in spite of the fact that it has a few extraordinary tunes. Creations simply neglect to coordinate the introduction – however they’re great by and by! It’s pleasant to see this collection respect the band’s unique roots and sound.

I’d state that Angel Witch keeps running here with vitality level on 7.5/10 and material is maybe about the same, some incredible, some nicely great, yet the general introduction of collection – this collection sounding maybe as near the mid 80’s as conceivable – merits 9/10. It’s significance will develop gradually on you. As Above, So Below is exceptionally invited rebound that abandons you needing more.. maybe next time they figure out how to wrench out eight quality tunes that are considerably more epic! Suggested can hope for anybody cherishing overwhelming metal from mid 70’s to the 80’s – yet considerably more fundamental to the Nwobhm fan and aficionados of the band.

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