Live at the Witch Trials is the debut studio album by English post-punk band The Fall. It was released in March 1979 on Step-Forward Records. The album is known for its raw and energetic sound, with frontman Mark E. Smith's distinctive vocals and unconventional song structures. It has been praised by critics for its originality and influence on the post-punk genre. The album was recorded on a tight budget, with the band using borrowed equipment and recording in a small studio.
When the Fall’s “Industrial Estate” plays during the closing credits of High-Rise–Ben Wheatley’s new big-screen adaptation of J. G. Ballard’s classic novel–it’s more than a case of similar subject matter. True, the film is about urban malaise, and so is the song. But Ballard’s vision of a tower block turned hermetic, ingrown, incestuous, and cannibalistic unfolds with a clinical exactitude. 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. At the time, the first wave of post-punks were taking Johnny Rotten’s “no future” rant and parsing it like surgeons, laying it bare and reducing it to its components like Ballard. The Fall were no exception but, where many of their contemporaries used anesthetic and scalpels, they packed switchblades.
No Xmas for John Quays, meanwhile, almost establishes the Fall formula on its own Smith chanting and yelling over a quick, semi-rockabilly shamble and attack punctuated by unexpected stops and starts. By the time the eight-minute closer Music Scene crawls its way into oblivion en route, beating Public Image Ltd s similarly distended Theme and Fodderstompf to the punch by months the Fall had already established themselves as something far more wobbly and toxic than the emerging post-punk mass.
The album was recorded on a tight budget, with the band using borrowed equipment and recording in a small studio. This DIY approach gave the album a rough and unpolished sound, which added to its charm. Despite its limited resources, the album showcases The Fall's creativity and vision.
The Fall - Live At The Witch Trials LP
The first full-length album of The Fall, Live At The Witch Trials, is not actually a live album. Emerging out of a two-day studio session at Camden Sound in North West London during a sickly December of 1978, Witch Trials amounts to the sinister foundation of the band's diverse sound. Every song explores drastically different styles and wild terrain, leaving much to decipher over its eleven tracks.
"Frightened" has magnetic attraction / repulsion that shifts between Martin Bramah's skeletal guitar, Yvonne Pawlett's plastic keyboards and the lurching rhythm section of Marc Riley and Karl Burns. Mark E. Smith's mesmerizing bark and eerie lyrics warp the cosmic context with each repeated non-chorus. "Rebellious Jukebox" takes yet another turn and showcases the band's more melodic leanings.
One gets the sense that The Fall are in a time-travel hallucination (from 19th century witch trials to a scathing critique of the late-70s punk scene) where the band's snot-nosed scrabble afflicts the shape of pop to come. As Smith dictates, "We are The Fall, northern white crap that talks back."
Superior Viaduct's edition is the first time that Live At The Witch Trials has been available on vinyl domestically since its initial release in 1979. Liner notes by Brian Turner.
Track Listing:
- Frightened
- Crap Rap 2 / Like To Blow
- Rebellious Jukebox
- No Xmas For John Quays
- Mother-Sister!
- Industrial Estate
- Underground Medecin
- Two Steps Back
- Live At The Witch Trials
- Futures And Pasts
- Music Scene
"Frightened" has magnetic attraction / repulsion that shifts between Martin Bramah's skeletal guitar, Yvonne Pawlett's plastic keyboards and the lurching rhythm section of Marc Riley and Karl Burns. Mark E. Smith's mesmerizing bark and eerie lyrics warp the cosmic context with each repeated non-chorus. "Rebellious Jukebox" takes yet another turn and showcases the band's more melodic leanings.
Live at the Witch Trials features a mix of punk, rock, and experimental elements, with songs ranging from short bursts of energy to longer, more atmospheric tracks. The lyrics, often cryptic and surreal, delve into themes of alienation, paranoia, and social commentary. Mark E. Smith's unique and idiosyncratic vocal delivery adds another layer of depth to the songs. The album opens with the driving "Frightened," which sets the tone for the rest of the record. Other standout tracks include "Industrial Estate," with its catchy guitar riff and biting lyrics, and "Rebellious Jukebox," an anthemic and energetic song that showcases The Fall's raw power. Live at the Witch Trials was a critical success upon its release, gaining praise for its originality and challenging approach. While it did not achieve mainstream success, it still had a significant impact on the post-punk and indie scenes, influencing many artists who came after. Overall, Live at the Witch Trials is a powerful and influential debut album that showcases The Fall's unique sound and vision. Its raw and energetic nature, combined with Mark E. Smith's distinctive vocals and cryptic lyrics, sets it apart from other albums of the era. It remains a cornerstone of the post-punk genre and a testament to the importance of innovation and creativity in music..
Reviews for "The Fall’s 'Live at the Witch Trials': a chaotic journey through post-punk"
1. Sarah - 2/5 - I was really disappointed with "Live at the witch trials the fall." The sound quality was extremely poor, making it almost impossible to hear the lyrics and appreciate the music. The band seemed out of sync and there was a lack of energy in their performance. Overall, it felt like a rushed and half-hearted attempt at a live album. I expected so much more from The Fall and this release did not meet my expectations at all.
2. Tom - 1/5 - "Live at the witch trials the fall" was a complete letdown. The vocals were off-key and Murray's guitar playing was sloppy and out of time. The mix was all wrong, with the bass overpowering everything else. It was a painful experience to listen to and I couldn't even make it through the whole album. Save your money and skip this one.
3. Emily - 2/5 - I'm a big fan of The Fall, but "Live at the witch trials the fall" just didn't do it for me. The recording quality was subpar and it felt like the band was just going through the motions. There was no spark or excitement in their performance. It's a shame because I know they are capable of so much more. I would recommend sticking to their studio albums instead.