Bell witch is a popular legend in American folklore, specifically in Tennessee. According to the legend, the Bell witch was a poltergeist that haunted the Bell family in the early 19th century. The ghost was said to be relentless and tormenting, causing physical harm, and even death to its victims. The story of the Bell witch began with John Bell Sr., a farmer who settled in Adams, Tennessee, in 1804. It is said that the haunting started with strange noises in the woods near the Bell family's home, which gradually moved closer and closer.
It is said that the haunting started with strange noises in the woods near the Bell family's home, which gradually moved closer and closer. The disturbances escalated, and the Bell family started experiencing various paranormal activities, such as objects moving on their own, knocking sounds, and mysterious voices. The witch primarily targeted John Bell and his daughter Betsy, whom she particularly disliked.
Sonemic Interview: Bell Witch
Funeral Doom Metal is a niche subgenre forged from two other niche subgenres of extreme metal during the early '90s. The blueprint hasn't changed all that much, either: stir the sludginess of doom over some brutal death growls with all the speed of a cement mixer and voila! Funeral doom.
How slowly those genre tags get mixed depends on the band. Even among its earliest disciples, there's a wide range of interpretations. The transcendent, tear-streaked riffage of Mournful Congregation is a far cry from Skepticism's organ-smeared belly crawl. But if funeral doom has ever had a band come close to crossing over into the mainstream, it's Bell Witch.
Of course, that, too, was slow going. Bell Witch has roots in Kansas, but the band started around a decade ago when Dylan Desmond moved to Seattle and met Adrian Guerra. Helped along by fellow Breadbasket transplants Wormwood, Desmond and Guerra taped a demo, which fetched a deal with Profound Lore Records. Those first few songs have enjoyed a long shelf life, but when the duo first listened back to the recordings, it sounded like they were rushing, as if, somehow, they were actually playing too fast.
So, over the next five years and two albums, Desmond and Guerra fleshed out Bell Witch's bare bones, one cryptic piece at a time. They've never needed to add a guitarist. Just by sticking to bass and drums, the band has grown heavier and heavier with each release. In came the tortured clarion call of honorary third member Erik Moggridge, straining to rise above the pummeling "Rows (Of Endless Waves)." By Four Phantoms, Bell Witch weren't writing individual songs so much as they were telling a neverending ghost story.
The story of Bell Witch could've ended here, though. Work had already started on their next album when, in 2016, Guerra suffered a heart attack and died in his sleep. Desmond stepped away from the studio. He wasn't sure if the band should keep going or just stop. Eventually, with tour manager Jesse Shreibman filling in on drums, Bell Witch came out the other side on Mirror Reaper, a staring contest with the abyss that was so intense, such a colossal undertaking, even they assumed no one would listen to the whole thing. After all, the album was only one 80-minute song.
But whether they knew the backstory, were drawn to its iconic cover art, or because the music left you no choice but to sit back and get crushed by its fiery avalanche of grief, people did listen. Heck, Mirror Reaper had a big enough push to break onto the Billboard charts.
How could a band like Bell Witch ever top that? Heck, how is any band supposed to top that?
From a distance, Bell Witch look like they've gone down a similar rabbit hole on Future's Shadow Part 1: The Clandestine Gate. Not only does their new album follow the same one-track mindset, but at 83 minutes, it clocks in at the same run time as Mirror Reaper. Having plotted out the album's arc across several notebooks and a tour's worth of practice sessions, Desmond and Schreibman were ready to lock down The Clandestine Gate with de facto producer Billy Anderson at Seattle's Avast Recording Studios in the spring of 2020. I'll give you one guess as to how that went. But the grinding halt of the pandemic gave them more than enough time to stray from their intended path and try new doors.
Sure, The Clandestine Gate opens with an eerie refrain of Hammond B3 organ, but those familiar thrums are accompanied by layers and layers of synth that swirl like a river of lost souls; familiar territory for Bell Witch. Their songs are born in limbo, condemned to wander, a restless communique between the land of the living and the dead. But reading Nietzsche's take on eternal return put a name to their central thesis and perhaps a greater sense of direction. After all, this album is just the first installment in a much larger triptych of soon-to-be-recorded albums.
Still, The Clandestine Gate unfolds slowly. Rather than build up to a towering height only to come crashing down under its own insurmountable weight, The Clandestine Gate lures you in with clean yet undeniably creepy Gregorian chanting. Though he's still plenty involved with their group side project, Moggridge sits this album out. In his absence, Bell Witch lean heavier into clean vocals and quasi-spoken word epic poetry. Schreiber's death growls still erupt like a blood-spewing volcano, but the first one doesn't rear its craggy head until more than halfway through.
But The Clandestine Gate does move—the album ebbs and flows, guided by the band's unspoken push and pull. Chest-rattling reverb gives way to drums that thump with the punishing slowness of Sisyphus rolling his accursed boulder. Even when all the noise simmers down to a slow descent of bass chords, it feels like Bell Witch are leading you somewhere closer to the light.
I talked with Desmond and Schreiber about their new album, how songs are like houses, Nietzsche's theory of eternal return, chord resolution, riff salad, and where Future's Shadow is headed.
Published on July 11th, 2023 by Will Yarbrough. Part of Sonemic Interview Series. Photo credit: Bobby Cochran
So this album is neat and holds a great track in it, but as I said before it does feel a little tiresome after a while. I say if you like this sort of one hour experience and you don’t mind a really long track then I definitely recommend it, but if you don’t and rather listen to something more catchy or shorter, stuff like that, then this record may not be the best fit for you. It’s a great album, but definitely not for everyone.
It was said that the witch would often pull their hair, slap their faces, and even leave handprints on their bodies. People in the community became aware of the haunting and started to visit the Bell family to witness the phenomena themselves. As the haunting continued, the witch's presence became more apparent. She would hold conversations with the visitors, answering their questions and stating her dislike for John Bell. Word of the Bell witch spread, and people from distant towns would come to see the ghost for themselves. The hauntings grew worse, and John Bell's health deteriorated rapidly. He started experiencing seizures and eventually died in 1820. It is said that the witch took credit for his death and announced that she would return in seven years. True to her word, the witch returned in 1828, tormenting John Bell Jr. this time. However, this visitation was less intense and lasted for a shorter period. After making her presence known for several weeks, the witch departed, claiming that she would return again in 107 years. The Bell witch legend has captured the interest of many over the years, becoming a significant part of Tennessee folklore. Many books, movies, and documentaries have been made about the haunting, further immortalizing the story. Today, the Bell witch legend remains a popular topic of discussion and exploration, attracting curious visitors to the town of Adams, where the haunting took place..
Reviews for "Bell Witch: The Spirits of Adams, Tennessee"
1. Sarah - 2 stars
I found "Bell Witch Rym" to be quite disappointing. The plot was confusing and poorly developed, leaving me feeling lost and uninterested in the story. The characters were also underdeveloped, making it hard to connect with them or care about their fates. Additionally, the writing style was awkward and lacked flow, making it difficult to stay engaged with the narrative. Overall, I wouldn't recommend this book to others.
2. John - 1 star
I have to say that "Bell Witch Rym" was one of the worst books I have ever read. The storyline was convoluted and filled with plot holes, making it impossible to follow or enjoy. The writing style was also atrocious, with numerous grammatical errors and awkward phrasing throughout. I struggled to finish the book and regret wasting my time on it. Save yourself the trouble and skip this one.
3. Emily - 2 stars
Unfortunately, "Bell Witch Rym" failed to live up to my expectations. The pacing of the story was slow and monotonous, making it difficult to stay engaged and invested in the plot. The characters lacked depth and development, making it hard to connect with them or care about their struggles. The book also needed better editing, as there were numerous typos and grammatical errors that interrupted the reading flow. Overall, I was left unsatisfied with this book and wouldn't recommend it to others.
4. Mark - 2 stars
I had high hopes for "Bell Witch Rym," but it fell short of my expectations. The story had potential, but the execution was lacking. The dialogue felt forced and unrealistic, making it hard to believe in the characters and their interactions. The pacing was also uneven, with long periods of stagnation followed by rushed and abrupt resolutions. It felt like the author was unsure of where to take the story and struggled to tie up loose ends. I was left feeling unsatisfied and disappointed with this book.