"Live at the Witch Trials" is the debut studio album by the iconic British punk rock band, The Fall. Released in 1979, the album is considered one of the most influential and important records of the post-punk era. It showcases the band's raw and aggressive sound, combining elements of punk, new wave, and art rock. The album kicks off with the fast-paced and energetic track "Frightened," setting the tone for the rest of the record. Lead singer Mark E. Smith's distinctive vocals and cryptic lyrics are central to the album's appeal.
New reissues of the Fall’s first two albums find the band hungry, angry, and taking switchblades to a grim future.
On the other hand, Industrial Estate is a spew of dissonant chaos, fugue-state chants, and malfunctioning carnival organs that inhabits the liminal space between punk and post-punk just like the rest of album it appears on, the Fall s 1979 debut Live at the Witch Trials. His inimitable drawl moan and general vision of the universe idiots are everywhere and idiotic things are rampant similarly sprawl all over the music -- there s no question who this is or whose band it is, either.
Smith's distinctive vocals and cryptic lyrics are central to the album's appeal. His offbeat and often nonsensical poetry adds a layer of surrealism to the songs, making them intriguing and enigmatic. Songs like "Rebellious Jukebox" and "Industrial Estate" showcase the band's unique sound and their ability to create unconventional structures and arrangements.
Review: The Fall: Live at the Witch Trials (1979)
If Mark E. Smith calls your indie band something along the lines of “a load of retarded Irish folk singers,” maybe you shouldn’t just dismiss him as just some bitter bloke. This guy does front The Fall, a band that influenced insanely influential bands such as Sonic Youth, Pavement and Nirvana. He legitimately can throw a bottle at your indie band, because he helped create your music.
In fact, you can hear some of this indie/alternative rock foreshadowing on the band’s 1979 debut album Live at the Witch Trials, especially on the longer songs. “Frightened” opens the album with a slow sludge, with Smith appropriately sneering “I’m in a trance.” “Mother-Sister!” goes between loud and soft sections, a la The Pixies. “Two Steps Back” is also another slow post-punk song, while the album ends with the 8 minute long smorgasbord “Music Scene,” a structureless indulgent mix of distorted guitars, shredding and sound samples. In addition, an ethereal electronic piano plays in the background throughout the whole album, giving the whole release mysterious veneer. It’s the raw, unpolished, jeering roots of alternative rock.
Then again, you could point to the faster, more punk-like songs on Live at the Witch Trials as proof that Smith isn’t all godlike. In turn, any insults he spews from his mouth shouldn’t be taken so personally. “Crap Rap 2/Like To Know,” “Future and Pasts,” “No Xmas For John Quays,” “Industrial Estate” “Rebellious Jukebox” and “Underground Medecin” flouts the usual adrenaline filled, “don’t fuck with us” attitude of British punk rock, though the electronic piano does make these punk songs sound a little more introverted. It’s also with these songs where Live at the Witch Trials becomes a little tedious. Instead of building on musical themes, The Fall prefers to wallow in repetition, which is problematic because we can only take so much of Mark E. Smith shouting bitter chants over electric piano notes and distorted guitars. If you aren’t bother with the repetitiveness of early Ramones, you definitely won’t mind it on here. For the rest of us, you’ll probably appreciate the cantankerous nature, but then you’ll find yourself wishing that the songs had some sort of progression.
Live at the Witch Trials is not the brilliant, groundbreaking album you’d expect from a heavily cited band such as The Fall. But, despite the lack of focus, it’s still an album worth listening to.
Grade: 7/10
Share this:
Like this:
Like Loading.Related
The Fall's experimental and non-conformist approach to music is evident throughout the album, with each track offering something different and unexpected. One of the standout tracks on the album is "Mother-Sister!" which features an intense and frenetic energy. The song captures the band's punk rock spirit and rebellious attitude, making it a favorite among fans. Another standout is "Crayola" with its catchy guitar riffs and infectious rhythm. While the production on "Live at the Witch Trials" is often described as lo-fi, it adds to the album's charm and authenticity. It gives the songs a raw and unpolished feel, perfectly capturing the band's live performance energy. Despite its critical acclaim and significance in the punk rock genre, "Live at the Witch Trials" was not a commercial success upon its release. However, it has since gained a cult following and is now recognized as one of the essential punk rock albums of the late 1970s. In conclusion, "Live at the Witch Trials" is an essential punk rock album that showcases The Fall's unique sound and rebellious spirit. Its rawness and experimental approach have made it a standout record in the post-punk genre. With its distinctive vocals, cryptic lyrics, and energetic performances, the album has stood the test of time and remains a favorite among punk rock fans..
Reviews for "The Sonic Sorcery of Live at the Witch Trials"
1. Mary - 2/5 - I was really excited to listen to "Live at the Witch Trials" as I had heard good things about it. However, I was quite disappointed with the album. The songs felt disjointed and lacked a cohesive sound. Moreover, the vocals were difficult to understand and sometimes felt like the singer was just shouting random words. Overall, I found the album to be messy and hard to enjoy.
2. John - 3/5 - While "Live at the Witch Trials" has a few standout tracks, the overall album failed to impress me. I found the instrumentation to be repetitive and lacking in originality. The lyrics also didn't resonate with me and felt like a random combination of words. I can see why some people might enjoy the rawness and DIY aesthetic of the album, but it just wasn't my cup of tea.
3. Sarah - 2.5/5 - I listened to "Live at the Witch Trials" after hearing it was a classic punk album. However, I found it to be underwhelming. The production quality was poor, making it hard to fully appreciate the music. The songs were also quite short and didn't have enough time to develop. Overall, I felt that the album lacked depth and failed to leave a lasting impression.