Bewitcher: Crossroad Blues

Speed metal really is a bit underappreciated in the grander scope of heavy music, isn’t it? We’re all losing our mind at how incredible death metal is at the moment with the unstoppable revival movement. Black metal is enjoying perhaps its most artistically lofty period in the genre’s history. Doom seems to be ever-present, if nothing else then in the sheer volume of bands releasing music dedicated to the art of the riff. But speed metal – boozy, breakneck, old-school speed metal – just doesn’t have the same wealth of bands as it used to. However, that doesn’t mean there’s even a hint of weakness in the scene – especially when it comes to blackened speed metal. Aberdonian outfit HELLRIPPER is on fine form releasing The Affair of the Poisons last year, while Ohio’s MIDNIGHT are as strong as ever with newest offering Rebirth by Blasphemy But something very special this way comes in the form of BEWITCHER, with their game-changing new opus Cursed Be Thy Kingdom, out now via Century Media Records. 

Speed metal lyrics can oft be a touch superficial. Rarely do you see philosophical musings or intense poetry – but that’s kind of the point, its fast, fun, aggressive music that doesn’t tell stories so much as it acts as a musical vessel for a love of partying, casual blasphemy and potentially some gratuitous violence. This isn’t – nor has it ever been – the case with BEWITCHER. Deeply occult lyrics have been a staple of the band since their early demos, and there has always been a sense of deeper understanding than many of their contemporaries. This time, front man and creative driving force Matt Litton delves deep into history, with a unique “deal with the devil” angle to his tales.

“The theme was rooted in the old Deep South blues legend Robert Johnson selling his soul to the Devil at the crossroads, mixed with the apocalyptic Book of Revelations – those kind of vibes. Lyrically I wanted to talk about Imperial falls from grace, Faustian bargains and how they all relate to each other. It’s not a concept album at all, but these are the themes that recur throughout the record.” Litton explains, before giving an example of the historical impact on the lyrics. “Mystifier (White Night City) is based on the rise and fall of Rasputin, leasing into the First World War and the fall of the Russian Empire. It’s an example of those themes that come back around – it ties into what we’ve done in the past as well, he was a holy man, the holy devil.”

Alongside these historical themes, BEWITCHER have always been drawn to witchcraft and occult for the thematic basis of their lyrics. But its no mere superficial mention – there has always been a very strong sense of understanding in the lyrics, a foundation of knowledge from which the lyrics are built. But what has drawn Litton to these themes in particular across BEWITCHER‘s career?

“I don’t like the idea of religion. I don’t like the idea of dogma, and rules, and consequences for going against those rules – spiritual experience should be something you are free to explore yourself. Religion is a fear based manipulation of people and I don’t think that’s very healthy, you should be able to explore your own spirituality. I’ve always been drawn to witchcraft and paganism, and for me it embodies freedom and self reflection – not being forced to bow down to a God angrily waving his finger at you all the time.”

With the insane pace heavy music has progressed over the last few decades, evolving and spawning subgenres too numerous to count, it can be easy to forget the true roots of guitar-driven music. BEWTICHER may well be a blackened speed metal band, owing much of their sound to the likes of VENOM and MOTÖRHEAD, but the real roots of their music – and all heavy music – go far deeper than legends of the 1980s. Deeper than the origins of heavy metal with BLACK SABBATH and DEEP PURPLE. Past the rock and roll outfits that revolutionised the music industry, and deeper still. The roots stretch back all the way to the late 1800s and early 1900s, and the beginnings of guitar-based music with blues. And although Cursed Be Thy Kingdom is very much a blackened speed metal album, here, BEWTICHER show plenty of love for the musical movement that heavy metal eventually came from. Just like in the lyrical basis of the record, this appreciation of blues makes its way into the music as well.

“I’ve always had a love for blues, but I’ve been digging into it more the last couple of years, just trying to get back to the roots of it all. It’s the rock and roll side of it too – Tony Iommi and Jimmy Page were blues guitar players before they were rock guitar players. I just wanted to dig deeper into that side of music, and have it represented on the record, fitting in with the themes of the lyrics as well.”

Litton and co. have really come up with something special with Cursed Be Thy Kingdom. They’ve had a well-earned cult following for some time now, but listening to their newest body of work there’s a very real feeling that the trio are about to rocket their way to the big leagues. Bluesy, blackened speed metal might seem like a sound as niche as they come on paper, but it’s impossible to be drawn into BEWITCHER – the incredible vocal patterns and performance from Litton, the wild solos, the bluesy melodies and black metal attitude, it all comes together in an unapparelled fashion. Robert Johnson may have written the first Crossroad Blues, but BEWITCHER have brought it kicking and screaming into the realms of heavy metal.

Cursed Be Thy Kingdom is out now via Century Media Records. 

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