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THE WYTCHES

Annabel Dream Reader We have been suitably impressed with this album. ‘Digsaw’ is an honest track with a rich ebb and flow from the grunge sound cornering their intentions squarely. The morose attributes brilliantly linger alongside lay psychedelic touches as it all builds. Dragged through charmingly is ‘Wide At Midnight’. The seductive way it travels and the seamless hold of the vocals also add up. It is a withdrawn tune and that anomic value is something that is delivered in a high end fashion. The catchy hooks of ‘Gravedweller’ graduate from the intro to a more progressive calling. It is a select number in its own right. The amble running cornered fits around everything rather fashionably. There is a harder sense of urgency to ‘Fragile Male’. The vocals navigate this in their own way. The distinction is secured from the narrative of the lyrics which knowingly find their place to produce an astounding tune that moves things up a level. The brash swagger of ‘Burn Out The Bruise’ sets up an unrelenting tune in the process. The snappy drumming and rounded guitar combine well. The raw objectification is what sells you on this as it comes through with pure menace. With ‘Wire Frame Mattress’ they show what they can do. The awning vocals merge with the steady build. This is then lead into a more proportionate affiliation as the progression closes around the delivery. It is a conclusive tune with distinction written all over it. The personified

9 coolness of the bridge is also excellent. A scattered rhythm shows sternly on ‘Beehive Queen’. There is a temerity to how it is scored that is crowned by the disenfranchised vocals and lyrics. As it plays out it burns brightly with perfected brilliance. They revert inward on ‘Weights And Ties’. This in turn correlates the volume in the coveted conveyance that tidily bides away of its own accord. You realise how good they are with ‘Part Time Model’. The exactness leaves its mark in the breakdown. There is a well-reasoned approach adopted in the running that takes prominence before a leaner cut sharply drives it forward. The depth of the rhythm guitar enhances what is motioned in a rotund fashion that makes you sit up and take note. Then they bring things down to a more personified level with ‘Summer Again’. They expand on the lighter workings. The structure and arrangement are a point of focus here that is picked up on. It is their inclusion that cleverly frames this in a remarkable way. They walk through it but there is nothing sold short. ‘Robe For Juda’ reverts back to their shoegazer style. In the regal front of the rhythm is an engaging process that recedes in a coveted way which treatises the music efficiently. After that is ‘Crying Clown’ and it catches the cautious side with relevance. There is a comfortably numb knack that comes across which then procures a refined calling as it plays out. It is a heavy affair that is actively full on. Distinct closing number ‘Track 13’ falls into place by design. The emerging and ornate nature clings to it cleanly. It is a short and sweet number that brings the curtain down on a fine album in the manner it deserves.

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Unsigned & Independent (November 2014)  

In this month's issue we have interviews with Gymnast, Sugarking, Staring At Lakes, Raphaels, Soldiers Can't Dance, Mick Dolan and Makings....

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