AwfullyFawfully
Beautifully mellow, the instrumentals are seldom explosive and the pace is gentle, with satisfying exceptions when the song swells in a grand tone. It’s a slow-burn kind of metal I've never experienced, well worth steeping yourself into on a quiet afternoon.
With their third full-length album, “Mirror Reaper,” Seattle’s doom metal duo BELL WITCH have created a truly enormous work – one continuous 83-minute piece unfolding as a single track. The album will be released on October 20th by Profound Lore Records.
Engineered and mixed by veteran producer Billy Anderson (Swans, Sleep, Neurosis), the duo of Dylan Desmond (bass, vocals) and Jesse Shreibman (drums, vocals, organ) have pushed the band’s sound further than it’s ever gone before. While retaining the monolithic heaviness of their previous releases, “Mirror Reaper” sees the band explore the more meditative, melancholy, and introspective aspects to their sound through the introduction of long, lonely organ passages and the return of honorary BELL WITCH member, vocalist Erik Moggridge (Aerial Ruin), offering a prominent presence. The artwork for “Mirror Reaper” was painted by Mariusz Lewandowski respectively.
Formed by Desmond and ex-drummer/vocalist Adrian Guerra, BELL WITCH released their first self-titled demo in 2011 and partnered with Profound Lore Records for their debut album, “Longing,” in 2012. The duo’s second LP, the acclaimed “Four Phantoms” (2015) was recognized as one of doom metal’s triumphs of the year. The band extensively toured in North America and Europe, securing notable festival appearances (Roadburn, Basilica Soundscape, Sled Island, Psycho CA).
On the themes surrounding the concept and lyrics of “Mirror Reaper” the band state:
“The title ‘Mirror Reaper’ is indicative of the Hermetic axiom ‘As Above, So Below,’ written with two sides to form one whole. The song is both its own and its reflection, as an opposite is whole only with its contrary. Our focus as a band has always been the perception of ghosts and the implied archetype of the dichotomy of life/death therein. ‘Mirror Reaper’ is a continuation of that concept.
During the writing process we were devastated by the loss of our dear friend and former drummer, Adrian Guerra. In love and respect to his memory, we reserved an important yet brief section in the song for him that features unused vocal tracks from our last album. This specific movement serves as a conceptual turn in the piece, or point of reflection. We believe he would be proud of it as well.
‘Mirror Reaper’ was the first collaborative writing project with the new line up, and Adrian's death during it brought extra emotional weight. We sought to match the complexity and weight of these events within the composition of the piece.”
credits
released October 20, 2017
Bell Witch is
Dylan Desmond - bass, vocals
Jesse Shreibman - percussion, Hammond B3, vocals
Additional vocals and lyrics performed and written by Erik Moggridge
Produced and Engine-Eared by Billy Anderson and Bell Witch
Recorded at Hallowed Halls in Portland, Oregon
Mixed by Billy Anderson at Everything Hz in Portland, Oregon
Mastered by Justin Weis
Artwork by Mariusz Lewandowski
Album layout by C.N.
“The Words of the Dead" by Adrian Guerra
For more than a decade, Bell Witch have sent tides surging over the seawalls of the song form, unraveling conventional
expectations about the ways music stations itself in time to absorb a listener's attention.
The Clandestine Gate pulses and breathes on a filmic timeframe. It constitutes the first chapter in a triptych of longform albums, collectively called Future's Shadow....more
supported by 751 fans who also own “Mirror Reaper”
For me this is Yob’s masterpiece. An exceptionally emotional performance of beautiful melancholy, especially on the tracks Ablaze, Beauty in Falling Leaves, and Our Raw Heart. Yob is love. 9/10 RJ
supported by 724 fans who also own “Mirror Reaper”
What I like the most about this album is that it seems to be more riff-oriented and memorable compared to their earlier albums which were chock-full of crazy dissonant riffage but their songs often meandered or lacked any distinct progression. That is not to say that this this album is any less dense, but is certainly a little catchier, here and there. As always with Ulcerate, their music rewards repeated listening while clearly retaining the tragic, emotional feeling the band is known for. Lefteris Kefalas