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Which Grave? - 59%

Buarainech, January 31st, 2014

Swedish 4-piece Withchgrave's 2011 debut EP was a firm statement of intent laying out their style of charmingly sloppy Blackened Heavy Metal and looking back to the review of it in WAR ON ALL FRONTS #1 I remember a sense that the future was going to be very exciting as far as this band was concerned. At last the band have returned with they debut full length album, but I fear my anticipation has created a level impossible for this album to live up to. The winning formula from the EP has been retained, even refined and added to, and Witchgrave have done everything I expected them too- all except shatter my expectations it seems.

On “Raising Hell” Sven Nilsson kicks it off with a drumbeat torn straight from the Philthy Phil Taylor playbook while frontman Joakim Norberg puts on his best Cronos snarl for the vocals and the music hurtles along like a primitive ramshackle cart, yet conversely boasting some excellent lead work from the guitar pairing of Slingblade's Tobbe Ander and Antichrist's Gabriel Forslund. This is Witchgrave in a nutshell- A riotous punch-up of Motörhead, Tank and Venom in a fashion so primitive that it goes right to the edge of the realm of Black/Thrash, just about kept in check by the Iron Maiden/Cloven Hoof dual guitar work that keeps this rooted in the early 80's. The atmospheric similarities to countrymen Portrait are reinforced on “The Apparition” by the addition of some King Diamond-styled vocals but aside from that Witchgrave have not altered their plan of attack.

The problem then is not a case of style, as this will still certainly appeal to fans of contemporaries like Midnight, Speedwolf and Cruel Force, but it is those points of comparison that highlight the biggest trouble here. Simply put, the standard for this style is so high these days that without the memorable song factor any release will get lost in the mass of vying bands. With the EP there was a definite sense that Witchgrave had elbowed themselves straight to the top of the pile, but here it feels like the songwriting quality has actually taken a step back. Both by their own standard and by their peers this album feels like a bit of a disappointment.

It gets better with multiple listens, but really only “Seduced By The Dark” gives that initial rush and instantaneous infectiousness that the EP tracks like “The Devil's Night” and “Beg For Mercy” had. There are other memorable choruses, but the fact that on “Motorcycle Killer” the band go down the Thor/Helvetets Port route of intentional daftness says a lot. Witchgrave seem to have unfortunately gone from being a band of immediacy and simple-minded spontaneity to being more style than substance. On the EP everything felt so natural and free-flowing, whereas here touches like the clipping vocals on “The Last Supper” feel almost carefully orchestrated. I still think that Witchgrave have the potential to deliver that genre-classic album that they seemed destined to write 2 years ago, but this is certainly not it. [5/10]

From WAR ON ALL FRONTS A.D. 2013 zine-

Best album of 2013. - 97%

HomicidalBreath, September 26th, 2013

I hadn't heard of Witchgrave until a month ago. When I was told they're a new traditional metal band I thought "oh great, another Enforcer...", looks as if I was very wrong. "Witchgrave" is as old school as it gets in 2013 that any fan of Venom is going to drool over. Keep in mind that I said Venom, you may see that a lot throughout this review.

The vocals are one hundred percent Cronos worship. Though the thing that still keeps them original is the swedish accent that is very noticable. As well, there's a few moments throughout when you start to wonder if King Diamond sings on this record, check "The Apparation". I question every time I listen to it how someone can sound so identical to someone with such a rare, distinct voice. These guys obviously have something special with that being said. The vocals sound evil and straight out of 1982.

The riffs are very speed metal and rather simplistic actually. A quite noticable punk element in some songs (Raise Hell stands out most), others strong Maiden influence (Rites of the Dead), and the rest just have a noticeable Venom style of speed metal riffs. The thing about this record is that it reaches so many different spectrums of metal genres. Traditional heavy metal, black, thrash, speed and even rock n' roll. So it's very hard to describe each thing and how it sounds, the only way to sum it is fucking evil, especially the production. One may find it absolutely impossible to believe this album was released this year. I even had a hard time coming to terms with this.

Despite all the comparisons I have made, Witchgrave are the most original band around right now. The other traditional metal bands that have come out recently all sound very similar, but these guys really stick out of the bunch. Dirty, raw production, possessed vocals, speed metal riffs, drums with a punk feel and thick bass lines. Listen and worship.

Witchgrave - Witchgrave - 80%

Radagast, May 3rd, 2013

Traditional 80s-style metal has been relatively big business lately, displacing the so-called ‘thrash revival’ of a few years ago (and likely to be forgotten about just as quickly as the new bands sink or swim) in the zeitgeist as the place where things are happening.

As with any sort of movement there is a great variance in the quality of product being doled out from band to band, but generally the thing they have in common is that you know what you’re hearing straight away. It's 80s metal with 21st century production values - usually charming and most probably well-meant but at the same time often lacking that feeling of authenticity and character.

Witchgrave play things a little differently. What with the scummy cover art, the distant, reverby recording quality, the band members who look like they’ve slept in their stage clothes for 4 days and the densely packed 8-song/31-minute playing time, it would be an easy mistake to confuse this full-length debut for a forgotten 80s obscurity.

The difference is that it doesn’t feel like an intentional throwback to an older style, but more like Witchgrave have just collectively woken up from a 25 year coma in the same sweaty codpieces and are getting straight back to business.

All well and good, but how are the tunes? Well, just great, thanks. While still largely influenced by the NWOBHM, Witchgrave forego the more obvious Iron Maiden-derived route and feel most obviously like the offspring of Venom and their ilk, not least due to Joakim Norberg’s throaty, Cronos-like growls and the humorously schlocky cod-Satanic lyrics.

Generally the arrangements are very pared-down, focusing only on getting from A to B with minimal fuss by means of a storming chorus. There is still plenty of melody to be found, mostly in form of soaring guitar harmonies, but the main focus is on the scuzzy proto-thrash riffs and the relentless aggressive tempo. Some unusual moaning cleaner vocals also crop up from time to time that are more mindful of a young Tom Warrior and there is even some charmingly amateurish King Diamond aping on “The apparition”.

I suppose at the end of the day looking for differences between Witchgrave and their more polished contemporaries is splitting hairs somewhat, but for fans of more lo-fi 80s classics this debut should prove to be a grubby delight as it positively crackles with deviant energy. Cronos, Warrior, Shermann and the like haven’t been delivering the goods in these terms for many a year now, so these upstarts are as entitled as anyone to try their best to pick up the mantle.

(Originally written for