Year: 2021
Total Duration: 1:01:09
Label: Nuclear Blast
The Swiss all-female quintet BURNING WITCHES is back with its fourth album, released just a year after the previous work, including a 12” vinyl EP in between. Despite the fact that the music scene has largely been on hold over the past year, the band didn’t waste time. BURNING WITCHES worked hard on their music, being improved both musically and compositionally (at least according to their statements), and now presenting us “The Witch of the North”. Four albums in five years! This is quite a noteworthy track record for today’s standards.
The first change (even before listening to the album) is the departure of guitarist Sonia Nusselder, who has been replaced by Larissa Ernst, an old school friend of the group. Musically, things are somewhat predictable—not necessarily a bad thing. The band continues in a similar vein as before but has made small, steady strides forward. Their main influences remain bands like JUDAS PRIEST and IRON MAIDEN. However, the epic element has become more dominant in their music, as it is clear that the works of MANOWAR, AMON AMARTH, and even ENSIFERUM haunted their creative nights during this year of general inactivity and restrictions.
The album features quite a few good tracks. In fact, none of the songs can be considered “bad,” as significant effort has gone into the composition, execution, and production. However, given its extended duration (a full hour) and a total of 14 tracks, it’s natural that some songs might be overshadowed.
The title track, which starts atmospherically after the mystical intro Winter’s Wrath, is the first highlight, with its epic elements unfolding rhythmically and powerfully. We Stand as One follows in a similar vein, while Tainted Ritual accelerates the pace, and Flight of the Valkyries starts as a ballad but transforms into a speed metal anthem. The Circle of Five also appeared on their eponymous 12” EP released last December, while Lady of the Woods is a classic metal ballad, a staple in any self-respecting classic or epic album. Further along, we find Nine Worlds, which has a strong JUDAS PRIEST vibe and delivers heavy, solid energy—it was one of my favorites for its relentless impact. The remaining tracks are not bad, but they don’t particularly stand out for me until we reach the grand finale: a cover of the iconic Hall of the Mountain King by SAVATAGE. For this rendition, they enlisted Chris Caffery himself, and as they mentioned, Romana even bought the same guitar model used by the late Criss Oliva during that era. It’s an excellent tribute, honoring a historic band like SAVATAGE.
As mentioned earlier, there’s no bad material here. Laura Guldemond’s talented vocals shine, the two guitarists collaborate flawlessly with impressive solos and riffs, and the rhythm section is faultless. The studio guidance and production by Schmier (DESTRUCTION) and Swiss veteran musician/producer V.O. Pulver (whom I admittedly wasn’t familiar with) add an extra layer of quality, resulting in a high-standard production. The band has plenty of talent and drive—now it’s time to see them on stage, and the future looks even brighter for them.
Rating: 7/10
Reviewer: Antonis Livanios
Online Links: BURNING WITCHES – Official Page
