Quick: Name the ingredient missing from most so-called metal bands of today. If you answered “metal itself”, then give yourself a prize. Yes, it would seem that today’s modern headbangers have forgotten most of the music’s glorious history that has led up to its angst-fueled decay in the new millennium. So many metal bands these days eschew vocals and guitar melodicism — two important aspects back in ye olden days of the genre — for growled howling and jackhammer minor key rhythms.
So it is with much pleasure and excitement that I bring a report on Seven Witches’s new album Xiled to Infinity and One. This is one truly amazing, impeccable work that reclaims metal’s glory days and dishes out the thunderous goods over the course of ten unforgettable tracks. This is the stuff that Tenacious D’s wet dreams are made of. From the classy cover art of a witch/demonic figure holding a passed out scantily clad woman down to the supremely righteous music, this album is what metal is all about.
Seven Witches was conceived by Jack Frost, an incredibly gifted guitarist who then scored high by bringing in ex-Crimson Glory member Wade Black on vocals. Black has that classic metal vocal thing down. From angry snarls to high operatic wails, Black is everything you could want in a front man for a metal group. On the rhythm section is bassist Billy Mez (recently replaced by Joey Vera) and drummer Brian Craig, an absolute whirlwind of graceful timekeeping and technical power. Is that a double kick drum I hear? Craig may be the last man on earth who knows how to play with those without tearing a band down into washed out overdrive.
Listen to this album and be prepared to be taken back to when bands like Black Sabbath, Iron Maiden, hell, even Guns N Roses were creating cutting edge metal. Not to say that Seven Witches don’t bring their own platter of goodies to the table, but they haven’t forgotten the blueprints that made those classic acts what they were. In fact, this group has undoubtedly updated those plans with an all new brand of sonic assault and guitar propulsion.
“We’re taking back the metal!” exclaims Black on the opening track, “Metal Tyrant”, and take it back they do. With Jack Frost’s tasty riffs, and the rhythm section going for broke, Black plays his hand out marvelously. “Metal tyrant, Metal god, Metal tyrant” chants Wade at the chorus, exposing his wide dynamic vocal range. On “Salvation”, he sounds a bit like Axl Rose, but this is a new beast of a different breed. “They say that Jesus saves, but he hasn’t gotten to me”, exclaims Black in a classic opening moment. The PMRC would have had a field day with Seven Witches.
And whether or not these guys truly are demonic doesn’t matter. The fact that they brought back the old metal tomes and mythology is what counts. Today’s kids might not get it the first time they hear this, as so many bands have tossed these motifs out the window in favor of point blank unoriginal rage. But as Frost points out, “I’m really into medieval stuff.” It makes all the difference on this album. Really, tunes about mighty beasts and good and evil and all sorts of spooky stuff is a thousand times cooler than the hollow grindcore perpetrated by so many “heavy” acts out there.
Getting back to the music. The title track is nothing but a stunner, with a semi-acoustic intro and outro, “Xiled to Infinity and One” explores the depths of Seven Witches’ musical prowess. Chock full of pristine riffs, tough bass work, and again, those terrific drums of Brian Craig, the song is nearly six minutes of head banging ecstasy. As Frost notes, “I really concentrated on being the best rhythm player I can be. Don’t get me wrong, solos are important, it’s icing on the cake. Rhythms are the meat and potatoes.” He’s right. Seven Witches explode all over the map with their powerful rhythmic work.
Frost and Black work together as a well-oiled machine on the beautiful “Warmth of Winter”. Frost’s guitar work here is incredible. And on “Anger’s Door”, the man just shreds. But that’s how it is with this band. Nothing but excellence through and through, all the way to the end on the imposing cover of Grim Reaper’s “See You in Hell” (with Annhilator’s Joe Comeau). Could it have closed any better?
Xiled to Infinity and One is a truly a blast of fresh air in a stagnant genre. This music is nothing but high quality rock, with zero missteps. Seven Witches should very well be a force to be reckoned with and a band to keep both eyes on. If metal does indeed make a comeback, look for these guys to be at the forefront of the movement. This is one hell of a great album, and should be easily embraced by those who thought the good old days of heavy metal were gone.