Angel Witch's 'Angel of Light' - Album Review

The English heavy metal band Angel Witch are certainly one that embodies missed opportunities. Having formed in 1976, and found their feet during the NWOBHM movement, the band had the potential to really make something of themselves and were poised for greatness. In truth, the same can be said for many of the bands that made up the NWOBHM movement throughout the 1980s, but Angel Witch seem to epitomise the 'burning brightly' nature of that period. Their tale of false starts and modest success is perhaps more surprising than others' experiences however, as Angel Witch were certainly one of the genre's most unique and distinct-sounding bands. Angel Witch were one of the heaviest bands of the NWOBHM, and also the most atmospheric. There was always something spooky about Angel Witch's music. From their horror-themed album covers to their unsettling songs about mythical creatures - Angel Witch essentially started a whole metal sub-genre. Like many of the NWOBHM acts, Angel Witch live on more in their influence than in their records. Many of the bands albums are extremely hard to get these days, and considering the fact that the band's sole founding member Kevin Heybourne seems to hate most of them I doubt we will be seeing reissues any time soon! True success eluded many of the NWOBHM bands for a variety of reasons, but I feel that Angel Witch's lack of success was largely down to themselves. From the off Heybourne; the band's lead singer, guitarist, and main songwriter; has been the sole consistent Angel Witch member with many others coming and going over the years. An unstable line-up, coupled with long periods of inactivity, certainly derailed (and arguably still derails) the band's momentum - especially considering how the band burst onto the scene. The band's 1980 self-titled debut album was something of a hit in the metal world, and is rightly considered to be one of the best NWOBHM albums. The band should have capitalised on this, but it took Heybourne - and various new band members - five years to release a follow-up. Screamin' 'n' Bleedin' was released in 1985, with Frontal Assault following a year later, but not long after the pair dropped the second era of Angel Witch was over with Heybourne once again without a band. Incidentally these are the two albums that he dislikes now, essentially wiping a whole era of the band (and a big chunk of their small discography) out of existence. That discography was increased earlier this year however, as Heybourne released Angel of Light - the band's fifth studio album and first since 2012's As Above, So Below. A seven-year wait for a new album is a blink of an eye in the context of Angel Witch's career, but fans of the band were probably surprised when the new record dropped none the less. Stylistically, Angel of Light is very typical of Angel Witch's previous work (or at least the work I can actually listen to) and it fits perfectly into their existing canon. Spooky melodies, catchy hooks, and slightly progressive songwriting are the order of the day here, and Heybourne and co. seem out to prove that there is still more life in this witch yet.

The eight-track album kicks off with Don't Turn Your Back, a great old-school track that really harks back to the Angel Witch album nearly 40 years ago. With a warm, slightly fuzzy production, the album really recalls the NWOBHM period - and there is certain solace to be found in Heybourne's refusal to move with the times. A spooky guitar melody kicks things off, before a a weighty yet simple guitar riff provides the album's first moment of heaviness. All previous Angel Witch studio albums have been recorded with a single guitarist, but Angel of Light sees Jimmy Martin adding some additional guitar work throughout. Having a dedicated rhythm player this time around really helps to bulk out the songs, with the verses here feeling nice and thick thanks to the presence of two guitars. The heaviness is helped by the solid mid-pace, which mostly endures throughout, with Fredrik Jansson's hollow drumming really keeping everything within a tight groove. The choruses are a little faster, and based around a catchy vocal hook that is easy to recall after only a couple of listens. Heybourne has never been the greatest of singers - but his slightly-strained voice fits in with the eerie sound the band conjures up. Don't Turn Your Back is a strong opening track that should feel instantly familiar to fans of the band, and really captures the classic Angel Witch spirit. Death from Andromeda, for which a video was filmed, ups the pace with some galloping rhythms and the occasional burst of twin lead guitar. The gallop is a key sound of the NWOBHM movement, and its inclusion here perfectly recalls that era - while injecting some real energy into the album's early moments. Bassist Will Palmer, who amazingly is the second longest serving Angel Witch member in the band's entire history, holds everything together with his muscular playing - while Heybourne and Martin weave their six-string magic atop. This is a song that seems to be focused much more on the guitars' riffs and leads than on Heybourne's vocal melodies - although a simple chorus still provides something of a focal point. The way the album has been mixed means that the vocals always feel somewhat quiet. This does help to enhance the spooky vibe, but also means that some of the melodies feel a little buried - which is a shame. It is left to a soaring guitar solo instead to provide some real melodic meat - with a riff-heavy closing portion also adding plenty of weight. We Are Damned opens with some early Iron Maiden-esque (think their debut album) dual guitar leads that really come to dominate the whole feel of the track. Having two guitarists in the band really allows this side of their sound to be expanded - with Heybourne and Martin taking many opportunities throughout the album to team up and lay down some old school melodies. This is another track that really focuses on the guitar playing, although a chorus with a catchy refrain also provides a strong hook. It is a chorus that could have done with bulking out with some powerful backing vocals however in my opinion, as the call-and-response style ends up being a little buried - with a tasty guitar lead clearly given preference in the mix over the vocals. A lengthy Heybourne guitar solo more than makes up for this lack of vocal power however, and showcases his playing style well. He is not the most distinct of players, but has a certain way with phrasing that helps to contribute to the overall atmosphere of the song. There are quite a lot of lengthy instrumental sections here, with the fade out to We Are Damned being one of them.

The Night is Calling is a bit more of a dynamic piece, opening with a melancholic clean guitar pattern that Heybourne soon starts to croon over. I always find that Heybourne has one of those voices that you have to get used to - much like Ghost's Tobias Forge for example - but once you are 'in the zone' you really could not imagine anyone else fronting the band. The somewhat more laid back vibe that much of this song has means that his voice is much more prominent here - although once the song ramps up it returns to its semi-buried state. It is a track that constantly shifts between gentler passages like the opening and heavier sections - which help to create an unsettling vibe. As the song moves on however, the heavier sections begin to dominate with a muscular riff driving everything and a lengthy twin guitar melody that leads into a reprise of the chorus, with Heybourne howling the lyrics - only for the pace to increase suddenly and a shredding solo take its place. Condemned returns to a more consistently heavy sound, and opens with a somewhat doomy riff that definitely channels Black Sabbath. The song is fairly varied pace-wise however, mixing these slower sections with other parts that have more urgency to them. Much of the song is actually fairly pacy however, with an expressive riff driving the verses and a chorus that features one of the biggest vocal hooks of the album - with some subtle harmonies employed to widen the sound. Despite the strong vocal hooks, the song still maintains that classic Angel Witch vibe with many portions of the track seeing Heybourne and Martin linking up once again for some spooky leads - before the former tackles a shredding solo part way through. Those who loved the old-school NWOBHM gallops found throughout Death from Andromeda will also love Window of Despair - which is very similar. Palmer's bass once again shines, keeping the pacy groove up throughout the entire song, but this time the guitars are also really contribute to the gallop - giving the song a fuller and somewhat heavier feel. Nothing found throughout this album is particularly complicated, but there are still lots of strong riffs to be found throughout. There are a more than a handful in this track too, with some razor-sharp moments that really defy the album's production. The fuzzy, old-school production really helps the album to sound great, but it does somewhat take the edges off some of the riffs. That is how things were in the 1980s however, so its use here is entirely appropriate - but there are still a couple of riffs here that are potent enough to defy the fuzz. It really helps the song to stand out, with a furious guitar solo from Heybourne and a fast-paced pseudo-thrash ending section also adding plenty of weight - and showing their influence on other bands that followed.

With two tracks left, the band seem to push for greater heights during the album's home straight. I Am Infamy opens with some of the strangest guitar atmospherics on the album, further enhancing the album's overall mood, before a chunky verse takes over with some of the tightest rhythms of the album. Angel Witch is basically Heybourne and whoever he surrounds himself with at any given time - but the other three members of the band all do their bit to ensure that the album sounds strong. Jansson in particular shines on this track, with a varied performance and style. Old-school production often muffles drums somewhat, and there is sometimes little distinction between the different parts of the kit. That is somewhat the case here, but he still manages to make his presence felt. There is a lot of cymbal work throughout the piece, which really helps to add to the heaviness. It fits in nicely with the heavier guitars, and also helps to add some variation to the somewhat catchy chorus - although I do wish that the vocals were not so buried as the melodies seem to be pretty strong. The album's title track finishes the album off, and it opens with another chiming, unsettling clean guitar melody before some tough rhythms join in. This is the album's longest song, so as a result there is a lot going on. The band's progressive side is on show here, with a few distinct riffs being put on display before the vocals kick in - along with some neo-classical shredding. Producer James Atkinson also contributes some Hammond organ to the song, which adds some depth, but it never really dominates and still allows the band's classic guitar-dominated sound to shine. There are almost as many riffs to be found throughout this song as the throughout the rest of the entire album put together, and it is clear that Heybourne really put a lot of effort into this closing number. The vocal melodies however seem a bit of an afterthought, with no real catchy hooks to latch onto in that regard. This is most certainly a guitarist's piece, with all the riffs that anyone could want as well as a number of distinct solos - all showcasing Heybourne's fast-paced style. It is a pretty heavy track throughout, never really dropping out until the end - with the album finishing on a low-key clean guitar pattern that slowly fades away. It is a strong end to the album, and a song that showcases the skills of all involved. Overall, Angel of Light is another enjoyable album from Angel Witch. It does nothing evolve the band's style, instead sticking to the tried and tested formula that was first exhibited back in 1980. There are no real duds here, but with a few of the songs lacking some real hooks it stops short of being a truly great release. Considering there will probably be another good few years and line-up changes pass before we see another Angel Witch album, this is a release that is sure to keep the band's fans coming back for more.

The album was released on 1st November 2019 via Metal Blade Records. Below is the band's promotional video for Death from Andromeda.