The Wytches
Annabel Dream Reader
August 25 2014 (Heavenly Recordings)
7/10
Words: Leanne Crowley
Formed in Peterborough, but creating their sound in Brighton, this marks the debut full-length from The Wytches. The 46 minutes of 13 tracks makes for a varied offering, and one that, perhaps unsurprisingly, doesn't fit neatly into any one genre classification.
Take ‘The Digsaw', the loud and screech-driven guitar opener, that from the offset intersperses with persistent drumbeat, powering through building riffs and the force of Kristian Bell's vocals; the raw edge to the track is enchanting and the heavy chorus adds weight. ‘Wide At Midnight' offers a slower start and the vocals are subdued to allow the focus to drift to the bass of Dan Rumsey. As the guitar swoons and swirls, the drums remain consistent whilst allowing the noise level to build continuously. It's not long, however, before Bell kicks off at full volume pitch in his characteristic way. Impressive stuff.
A western guitar riff rolls around on ‘Gravedweller', a track that having been around for a while has helped build the fans love for The Wytches. Vocals are key here and the guitars are loud, acting ad a perfect foil. ‘Fragile Male For Sale' is full on from the offset, the feel is different from the predecessors, with more balance, and the plucked guitar effect is a neatly alluring. ‘Burn Out the Bruise', on the other hand, is somewhat less distinct, while ‘Wire Frame Mattress' is essentially the ballad song of the album, with a intriguing guitar section placed in the middle that us juxtaposed with the interesting use of dual vocals. The instrumental at the end different to what we're used to from the band, is however, one that really shows off their musical talent and comes over a treat.
‘Beehive Queen' really is the album standout with its distinctive guitar opening to draw you in. Elsewhere, the slow and dreamy quality to ‘Weights And Ties' lends itself to a repetitive measure that while flowing, doesn't feel as natural to the band and therefore some of its clarity is lost. ‘Part Time Model' comes back fast and punchy after its predecessor, the drum beat of Gianni Honey combined with Bell's guitar is as dramatic as it is timely; the lyrics adding provocativeness. The style of this track suits them well and the sudden departure leaves you wanting more. Is this The Wytches at their finest? It would certainly seem so.
‘Summer Again' is the best example of a slower tempo track on the album, it feels less forced than others and is nicely mellow and melodic. ‘Robe for Juda' is yet more of the loudness we have come to know and love and offers a shimmering organ sound at the end of the track which has an eerie feel to its presence. Penultimate track, ‘Crying Clown' has instant vocals and the bass line is more prevalent than the rest of the album. The lyric ‘like a pendulum' is repeated and the song does appear to swing back in forth in its motion. Concluding the album is ‘Track 13', the slowed down beginning and the vocals are sung here rather than the usual characteristic screech. The use of an acoustic guitar offers a nice touch and the track offers a surprising and refreshing end to the album.
Overall 'Annabel Dream Reader' proves a strong debut offering from The Wytches, and with such a distinct sound, a band that must have plenty in store for the future.
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