The witch revival refers to the resurgence of interest in witchcraft and the occult in contemporary culture. In recent years, there has been a noticeable increase in books, films, TV shows, and even fashion trends that center around witches and witchcraft. This revival can be attributed to several factors, including a growing interest in spirituality and alternative forms of faith, a desire for empowerment and self-discovery, and a rejection of patriarchal religious norms and gender roles. One significant aspect of the witch revival is its connection to feminism. Many modern witches see their practice as a form of reclaiming feminine power and embracing their individuality. This feminist perspective rejects the historical portrayal of witches as evil or misguided women and instead celebrates their connection to nature, intuition, and healing.
This feminist perspective rejects the historical portrayal of witches as evil or misguided women and instead celebrates their connection to nature, intuition, and healing. By embracing the label of witch, many women find a sense of empowerment and community, as they discover a lineage of powerful female figures who defied societal norms and expectations. Furthermore, the witch revival can be seen as a reaction against the dominant religious and social structures.
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
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.
In a world that seems increasingly uncertain and controlled by external forces, individuals turn to witchcraft as a way to regain control over their own lives. Witchcraft offers a path of self-discovery and personal transformation, allowing practitioners to tap into their own intuitive wisdom and connect with the mystical energies of the universe. The popularity of witches and witchcraft in popular culture has also played a significant role in the witch revival. Books like "Harry Potter" and shows like "Sabrina the Teenage Witch" have captivated audiences of all ages, sparking an interest in magic and the supernatural. The portrayal of witches as complex and relatable characters has helped to dispel some of the negative stereotypes surrounding witchcraft, making it more accessible and appealing to a wider audience. In conclusion, the witch revival represents a cultural shift towards embracing alternative forms of spirituality and exploring the power of the individual. It has provided a platform for women to reclaim their feminine power and challenge societal norms. By tapping into the ancient wisdom and mystical energies of witchcraft, individuals are finding a sense of empowerment, self-discovery, and community. The witch revival is a testament to the enduring fascination with magic and the allure of the unknown..
Reviews for "From Salem to Present: Tracing the Witch Revival Movement"
1. Jane - 2/5
I was really looking forward to "The Witch Rebirth" after hearing such positive reviews, but I was extremely disappointed with the film. The story was confusing and lacked depth. The characters felt one-dimensional and I struggled to connect with any of them. The pacing was slow, and I found myself bored throughout most of the movie. Overall, "The Witch Rebirth" did not live up to the hype for me.
2. Mark - 1/5
"The Witch Rebirth" was an absolute disaster. The acting was horrendous, and the dialogue was cringe-worthy. The special effects were subpar, and it was clear that the budget was low. The story made no sense and left me with more questions than answers. I couldn't wait for the movie to end, and I would not recommend it to anyone.
3. Sarah - 2/5
I had high hopes for "The Witch Rebirth" as I am a fan of the horror genre, but unfortunately, it fell short for me. The scares were predictable and lacked originality. The plot had potential, but it was poorly executed, leaving me feeling unsatisfied. The film relied too heavily on jump scares and lacked the psychological depth that I was hoping for. Overall, "The Witch Rebirth" was a disappointing watch.
4. Mike - 2/5
I found "The Witch Rebirth" to be underwhelming. The story lacked coherence and failed to build up any suspense. The acting was mediocre, and the characters were forgettable. The climax of the movie was a letdown, and the resolution felt rushed. I was hoping for a thrilling horror experience, but instead, I was left feeling disappointed.