REVIEW: 'Reincarnate' by Witch Fever
Words by Jack Hinks
Birthed from the hugely diverse music scene of Manchester, Witch Fever are an aural force to be reckoned with.
Releasing their first single with their current line up in 2019, ‘Berzerk(h)er’, Witch Fever is Amy, Alex, Alisha and Annabelle. They have been concocting a potent sonic assault on listeners for the past two years, and their latest single, ‘Reincarnate’ pulls no punches.
My attention was immediately grabbed by a swollen, distorted guitar chugging through a dark, hypnotic riff that sent me straight to thoughts of Black Sabbath. Drums and bass are swiftly added, and the guitar kicks up a notch and builds on the riff now taken by the bass guitar. A concise wall of punchy sound 15 seconds in? A very promising start.
The vocals provided by Amy fit exactly as they should; full of confidence, style and aggression. Her presence is more than enough to front a band of this intensity. You need only watch the video to see just how unified and imposing they are together.
The first verse caught me lyrically. My impression of this song speaks of elevating above negative people and energies, and finding empowerment in your autonomy and ability to rise above and recreate yourself.
“Sitting in my living room
I thought that I saw you
Folded in the corner
Acting as a warning”
The band say that their name is inspired by the hysteria which accompanied the witch trials in Salem, Massachusetts, and Europe, which they have long considered were a means to belittle, suppress and diminish women. Even their band bio is powerful.
Reincarnate - Witch Fever
The track continues to build in intensity and my desire for layers of filthy guitar tones is satisfied. As if they were catering to my personal tastes, the track reaches its peak before dropping in to an ensnaring half-time breakdown, which really hammers home the essence of the track like a chanted spell.
“After all that I’ve been through
After all that I’ve seen
You wont break me”
Full of anger and empowerment, Witch Fever command your attention from start to finish. I’m positive they will only go up from here. You can find and support Witch Fever here:
Jack Hinks is a musician, producer and music journalist based in Scotland.
REVIEW: 'Age of Fatality' by Livia Rita
Words by Jack Hinks
Livia Rita is a young pop artist and fashion designer from London with a devotion to visual and aural art, and avant-garde performance. Feroce was lucky enough to catch her Winter Solstice single, Age of Fatality.
My first impression of Age of Fatality was a two pronged attack on my visual and auditory senses. The accompanying music video-turned fashion film displays Livia Rita’s depth of care for every aspect of her creative process. The visuals’ synchronicity with what I would have expected to see based on the track is scarily accurate.
“Hysterical hearts are hungry
To be reborn, to rewild, vulnerable inside”
We are lured into a cave-like setting filled with Livia and her fellow witches all in a shared, resolute worship. Whilst visually compelling and somewhat intimidating, there is a distinct air of purpose, belonging, fertility and security. Livia is known for her eco-conscious feminist writing, and it certainly isn’t amiss here.
Age of Fatality - Livia Rita
The first thing that hooked me into Age of Fatality, is its hypnotic simplicity. A driving and bouncy bass synth welcomes you, open with almost endless opportunities of how the song will build on an already infectious start. Livia’s whispered and staggered vocals reel you like the faint glow of an angler fish’s light: before you know it, you’re too close to escape as you begin to see and hear the bigger picture. The chorus explodes with higher layers of wet, crackly synths and pads as the bass synth grows and swells in aggression. A post chorus chants “Fatality” as the bass begins to rise and descend with more hostility as full drums kick in, making this feel much more like a spell than a refrain. All of the other worldly pads, ethereal synth-like vocal harmonies and crashing drums dissipate as we are brought back to the core bass synth for another round of expert dynamicism, like the tide pulling us out before delivering us the the earth once more.
The second chant builds even further on the first, with the synth bass resolving to a major with Livia’s vocals changing tone also. This feeling swells and crackles as we ride out the last few bars of the song on almost a whole new plain. Whilst all of the sounds and familiar textures are with us, it somehow feels new and a very refreshing end point for the song, to me, implying growth and positive change or optimism for the future.
“Summoning empathy
Come close
Touches of
Savage emotionality”
Truly an artist not limited to one style or even medium, Livia Rita is definitely one to watch. Alongside her single release, accompanying ArtFashion collection and upcoming 2021 debut album, FUGA FUTURA, you can find and support Livia Rita here:
Jack Hinks is a musician, producer and music journalist based in Scotland.
REVIEW: 'Graceless' by Gefahrgeist
Words by Jack Hinks
Gefahrgeist are a brand new electronic pop duo based in Edinburgh, combining the pedigree talents of Fiona Liddell & Niall Rae. At the end of October this year, they stunned us all with their debut single, ‘Graceless’.
Both coming from musical backgrounds, Fiona and Niall already boast a wealth of experience and influences. Fiona; being a singer-songwriter, vocalist, and violinist originally from Glasgow, tells us most of her influences growing up were fellow female singer-songwriters - Aimee Mann and Mary Chapin Carpenter to name a few. This definitely comes across in her writing, as she is no stranger to leading multiple projects and collaborations with her powerful, dynamic melodies and lyrics. Pair this with Niall (pronounced Neel), a bassist and producer from Aberdeenshire with an abundance of musical diversity and a penchant for rock, electronic and hip-hop, and you can see how tightly Gefahrgeist mesh together as one experimental, melodic unit.
‘Graceless’ begins with an ethereal soundscape: Airy synths, Fiona’s lush vocal harmonies, and a fluttering harp (provided by Esther Swift of Twelfth Day). It’s there we are first introduced to Gefahrgeist’s lyricism. Fiona’s lyrics land like silk with the invitation for a much deeper, sometimes darker interpretation. Within the first 30 seconds, it’s already a song that suggests a second listen - there’s just that much going on.
“Vigorous hearts full of blood and tar
Loop an endless start to forget who they are”
Niall’s production hits you like a buttery punch; smooth yet forceful. His arrangement allows him to showcase his virtuosity on bass guitar without ever drawing attention away from the bigger picture, the markings of a true professional.
‘Graceless’ grows with each stride, and by the end we are enveloped in a wall of synths and vocals, which are promptly tossed aside with a snappy and proud ending before we even know what hit us, or how we can get more.
Gefahrgeist have re-sculpted the landscape of what electro-pop can be, and we look forward to seeing them build on an incredibly strong foundation.
For those wanting more, you’re in luck. Gefahrgeist recently announced their second single, ‘Nukular’, will be released on January 29th 2021, and is available for pre- save here.
Support Gefahrgeist here:
- ‘Graceless’ was written and performed by Fiona Liddell. It was arranged and produced by Niall Rae. It features harp from talented Edinburgh musician Esther Swift (Twelfth Day) and was mastered by Phil McBride (Midi Paul). The single’s artwork/video were created by Tyler Andrew Mortimer of Blank Page Digital Art.
INTERVIEW: FAIRUZA Balk | ARMED LOVE MILITIA X MEL SANSON
I got in touch with Fairuza and Mel to ask some burning questions about their collaboration together, and it’s my pleasure to be able to share the conversation with you all here at Feroce Magazine. I wanted to know how they discovered each other, the dynamics of their artistic relationship and what their plans are for the future. In between we discuss what’s important to them about the music industry and more.
In a world of mindless consumption, Fairuza brings honesty, authenticity and a tangible essence of pure talent to the industry. By her side in perfect harmony, Mel Sanson.
Photo by Valentina Socci
DR: Please tell us how you both met!
Mel: Like most alternative girls I’ve been a huge fan of Fairuza's acting since I was a teenager. In 2011 I randomly looked her up to see if she was on twitter. I must have watched one of her films. I discovered she was also a musician!! Not just any musician an AMAZING musician. She had recently released Stormwinds. I was immediately blown away. The textures, layers and emotion in Fairuza's voice were like nothing I had heard before. I loved it and wanted more, so I let her know! I sent over my music and she was very complimentary and super supportive about it. We’ve been sending each other songs we’ve been working on ever since and have become really good friends.
Fairuza: Ditto! What Mel said.
DR: Mel, what was your first impression of White Lillies when you heard it?
MS: It gave me goosebumps. I thought it was absolutely perfect and was a little terrified that adding my vocals would ruin it! I had some harmony ideas and mentioned where they would go and Fairuza said no, I want you to harmonise on ALL of it. Fairuza is the real deal. Music is in her blood and it absolutely pours out of her when she sings. She is unapologetically herself in every way and the music world is crying out for something so real.
Jennifer Sanson Photography @Jensansonphoto
DR: Fairuza, what compelled you to get Mel involved, can you tell us about the moment you realised she was perfect for the track?
Fairuza: I really admire Mel’s voice and energy. She is a great performer and an even better songwriter which is saying a lot. If you ever seen her perform you know what I’m talking about. It wasn’t so much like I knew she’d be a perfect fit for this track it was more like “ Hey I have this cool Appalachian folk/murder ballad style song and I was thinking it might sound really great with some harmonies on it. Wanna check it out and see how it goes”? So I sent her the song, she dug it and worked out some harmonies which she recorded and sent back to me and I was blown away.
“That song always felt like something was missing but I couldn’t quite nail down what it was. Once I heard it with our voices combined it just fit like it had always been done that way. ”
DR: Both of you, can you tell us about the day that you recorded the track together? What was it like? What is the most memorable part of that day for both of you?
Fairuza: Oddly enough, I remember being in a lot of pain. I’d had an impacted molar pulled out that week and the dentist has sprained my jaw badly. I couldn’t open my mouth more than an inch or so. Mel could only stay for those days so we had to get it done. Mel is such an awesome funny person. I was all swollen up looking like a hamster with cheeks full of nuts groaning in pain and Mel laughed and said “ “Use it! Take that pain and push it through “! Which I did. I’m surprised when I listen to it because that pain is audible in the track but it comes through in the emotion. Makes me laugh when I think about those hamster cheeks of mine. We were rehearsing and I’d be singing away @ White Lillie’s they ——— expletive———— to the ground” suddenly cursing really loud cuz I kept forgetting to keep my jaw closed. What can I say, making art keeps you tough ! Lol!
MS: Absolutely! Fairuza’s heroic efforts were not in vain. Those hamster cheeks were like little mini acoustic halls. Her voice sounded incredible. We had this cool rehearsal/live music space for the week. I bought my home studio with me from the UK and set it all up. We were supposed to have the whole week to hang out, rehearse and record. We did hang out and got some rehearsals in the first few days but then we lost a few days post dentist surgery because it was so bad at first she couldn’t even open her mouth. We actually ended up recording the track in one take at 3am, the morning of my flight back to the UK. The most memorable part was that we managed to do it! There’s a little giggle from Fairuza right at the very end of the recording that I wanted to keep in because it sums up the feeling we both had when we realised we managed to get the take!
DR: We read in one of your blog posts that you realised you both sang really well together - what sort of things would you sing together?
FB: Mel and I share music back and forth. We email each other songs we're working on or ideas. We trust each other’s opinions and trust that we will get an honest opinion back. I’ve never had a friend I’ve really done this with in this way but it’s really wonderful. White Lillies is the main song we’ve worked on together but there are a couple other songs that we might work on. We’ll see.
MS: It’s rare to find someone that you’re able to sing harmonies with so easily. They just come so naturally with us, it’s awesome :)
DR: What is something that you both believe is super important to the music industry?
MS: Real music firstly. I can’t get behind generation autotune. Over production wipes out the textures and layers that I spoke about before, the realness that grabs you in the gut. Each to their own but please don’t let the real music die. Secondly women, cis, trans and non binary.
“We have to keep fighting for our visibility. Whether it’s on stage, behind the stage, out the front or in the crowds. We have to look out for each other and the guys need to fight with us. ”
This year I have started to see this change because people are speaking up. Courtney Love and Shirley Manson have been vocal about it for 20 years which heavily influenced my generation to pick up a guitar and write songs. Now we’re seeing up and coming artists like Dream Wife & Jen Cloher kicking off about it, which is great. Isn’t it crazy though, it’s been over 100 years since we’ve had the right to vote but go look at festival line ups and award ceremonies, it’s all incredibly male dominated. It’s very easy to feel like you don’t fit in and give up. We have to speak up and support other female artists. Check out this article written about Sammy Andrews. A force of nature in the music industry at the moment who is pioneering this change as we speak :)
FB: I agree with everything Mel just said. I think that the industry is in a big state of transition these days. I think that there is more interest in singer/songwriters than there has been in a while.
“People are getting tired of the modern highly overly produced stuff. They want to be able to actually feel something from music again.”
I think that’s why people are getting back into collecting records and tapes because the sound is so much more visceral.
DR: What’s next for both of you?
FB: We’ll see. I’m not the kind of person who likes to really make plans per se but I love Mel. I have the utmost respect for her as an artist so I hope we will record some more tunes together. Fingers crossed :)
MS: I’ve just released my debut solo record Ghost and am writing and recording my debut EP. I’m very excited about the release of the Armed Love Militia Raw Life Lo-Fi EP. The more Fairuza music in the world, the better place it will be.
Check out more here!
ARMED LOVE MILITIA (FAIRUZA BALK & MEL SANSON): WHITE LILLIES REVIEW
Armed Love Militia, fronted by the beautifully present Fairuza Balk are in the process of releasing their 3 song EP and a part of this is the track White Lillies. Haven’t heard their previous tracks? Check out Davie, Dream 45 and Stormwinds. White Lillies was written 8 years ago however last year Fairuza recorded a duet with friend and fellow singer songwriter Mel Sanson and the results are astonishing. You’ll be familiar with Sanson’s own haunting sound from our review of her latest track here, but now, the musical gods have blessed us and Fairuza and Mel have come together to produce a track that’s so good we’re going to be devastated if these two don’t sing together again soon.
Two previews of the track have been released online so far but we were lucky enough to be sent the whole thing to review for our readers. In a nutshell the track is down to earth, mellow, and every aspect of the track is beautifully defined. Featuring crisp acoustic guitar and siren like singing from Fairuza and Mel, it’s relaxing to the casual observer and a painful experience to those who are familiar with the tale.
The introduction to the track is a small masterpiece on its own. The pause just before the vocals is intense and the intro does a good job of setting the atmosphere and building the anticipation for the duet. Being fans of both Fairuza and Mel separately we could barely wait for the introduction to finish to hear them both together.
The vocal melody between the two is unforgettable. They sing not only like sirens, but two wise women you’d meet on your travels with every single syllable holding your attention. Insane vocal quality, there is simply not a better combination of voices for the track.
Fairuza describes the lyrics as follows:
“The lyrics speak of a lover mourning the loss of the beloved, eternally searching for them through eternity, calling out to them through song like a Siren to try and find them again, to be reunited. Also a warning that should the song be heard by a stranger's ears the curse that befell the beloved could land on them as well.”
Fairuza is inspired by traditional folk music and was taught some by her father when she was younger. Here she has created her very own folktale, written years ago, initially recorded back then too. But like all folk tales, as they are retold the story changes. This change has come with the addition of Mel Sanson.
“My very talented singer/songwriter friend came in and we did it as a duet and finally FINALLY it sounded the way it had in my head! Joy! That’s one thing about songwriting, you know the difference intrinsically between when it’s not quite there and when it’s right. This felt beyond right and it was like breathing a huge sigh of relief that it was finally done.”
All in all there’s not a lot of words for White Lillies. For us, the simplicity of this track IS its complexity. The welcomed absence of over-production and the presence of only 2 key elements: vocals and acoustic guitar, imprints the track in your mind far too easily. The emotional impression the track leaves on you is intense. Their performance is intimate and sincere. Even if you forget the story this track tells, you won’t forget the feeling it gave you.
You can pre-order the EP on Fairuza’s website. There’s a lot of awesome packages up for grabs, including signed CDs and tapes, badges, t-shirts, or even the whole set.
We encourage our readers to share this piece and support Fairuza/ALM and Mel Sanson as independent artists bringing great contributions to the industry. People power!
Cover photography Valentina Socci
MEL SANSON: ‘GHOST’ REVIEW
English singer-songwriter Mel Sanson has made her first solo debut with the single Ghost. This talented performer’s track is worlds apart from her other projects, Auxesis (Rebels & Lost Souls) and Kenelis (Nobody Sees Me But You). The charismatic, badass frontwoman of Kenelis, often compared to The Pretty Reckless, is here stripped completely bare.
In her own words:
“This is Ghost. I’ve come to realise that the worst part of dying is not really death itself, but how much it hurts the ones you leave behind. The people that love us the most will hurt the most. Life’s cruel joke. I’d like this song to be a comfort to those going through the motions; it’s the hardest thing.”
The song’s structure has a wave-like feel to it; you drift in and out of different thought patterns as you listen. The introduction is slow and steady, and your mind wanders to uncharted territories before you’re brought back to the present moment by Sanson’s vocals. The ending mirrors this, with a repetitive mantra of “I know this much is true” that lulls you into a cosy security blanket before the song ends, leaving you almost startled by the silence once it fades out.
The overall performance on the record is stunning. There’s a sensitivity behind Sanson’s delivery, as though she herself knows the pain the listener is going through and treats it with tentative support. The live feel of the track isn’t just live; it feels like sitting down beside her while she pours her heart into your ears, without oversharing. If this track truly comes from the heart and soul as she says, then we have an angel walking among us.
Good music doesn’t just get put on repeat, and this track has encouraged Mel’s fans to open up and share their own stories and pain. There’s a cathartic effect for those who listen. At times, she sings from the perspective of someone already gone, acting as a melodic medium between the listener and someone they’ve lost. “A ghost will follow you, I know you’ll come through.”
There’s a morbidity to her lyrics that is masterfully balanced with comforting vocals and an intimate sound. Something so haunting yet so soothing at the same time is not an easy balance to achieve. This track can have two effects: it’s three and a half minutes of the comfort you needed, or a gentle insight into “life’s cruel joke”. One thing we do know is that when the time comes for Sanson (dark, we know), she will be more than covered with a debut that explores an unexpected, gentle yet powerful aspect of herself as an artist, rooted at the core of her being. Very few get to leave a gift like this behind.
This isn’t the type of track you’d ever hear in the charts, but the kind a listener keeps close and shares with others when they need to hear Sanson’s words the most. That is worth miles more.
Listen to Ghost below:
You can follow Mel Sanson on these links:
http://www.facebook.com/melsansonmusic
http://twitter.com/melsanson
https://www.instagram.com/melsanson/
https://www.youtube.com/c/MelSanson
https://itunes.apple.com/gb/album/ghost-single/1434064553
KYAN PALMER RELEASES NEW SINGLE
LISTEN HERE: https://open.spotify.com/album/3ez7Zio1ZipshqIdfHHVbP
Fresh off the release of his new single "Make It Up," Palmer announces his debut EP 'Burn Mona Lisa,' slated for release on September 28th 2018. In celebration of the EP, Palmer will be hitting the stage the same night with an intimate set at Elsewhere's Zone One. Tickets are on sale now and are available here: http://bit.ly/kyanreleaseparty
LA-based singer, songwriter and artist Kyan Palmer is emerging as a promising act to watch with his unique blend of pop and R&B. Last month, Palmer released his brooding and addictive single, "Make It Up," which has already amassed almost 300K across DSPs.
Arizona-raised, LA-based Kyan Palmer is proof that there is no one path to success in the music industry. A former employee of Republic Records, Palmer released his debut single while still sitting behind a desk in the Universal Music Group building. With no expectations and no team behind him, his debut single “Burn Mona Lisa” took a life of it's own, getting added to numerous Spotify playlists, hitting the viral charts, and amassing over 3 million Spotify streams to date.
Since his initial release, Palmer has stepped out from behind his desk and into the spotlight. Now relocated from New York to LA, Palmer has become a sought after up-and-coming writer, collaborating with the likes of Little Mix, PRETTYMUCH, Sam Fischer, Alex Tirheimer (Andy Grammar, Sabrina Claudio), The Fliptones (Britney Spears, Jason DeRulo) and Aire Atlantica, among others. He has also continued to put out a steady stream of solo releases such as "Hidden Feelings," "Can't Help It," "Poetry In Motion," and, most recently, "Make It Up."
Palmer's forthcoming EP, named after his hit single 'Burn Mona Lisa,' promises more intoxicating pop and R&B infused anthems. With a growing catalog of hits, there is no doubt that Kyan Palmer is an artist you don't want to sleep on.
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CREEPY: THIRD CULTURE KINGS - SUNSHINE FOR SADIE
Sunshine for Sadie is the latest to be taken from the forthcoming debut album 'Is That Light You Carry?' - out 18th August 2017 via 100.000/Internet & Weed.
‘Is That Light You Carry?’ is the debut record from Third Culture Kings, a new project led by Jan Johansen (Glorybox) and Alap Momin (dälek). Filtering classic vibes through modern interpretation, 3CK reimagine The Velvet Underground or Leonard Cohen as if they had been mixed by King Tubby and Afrika Bambaataa, all the while incorporating influences as diverse as Indian drone, early 80’s synth pads and Miami booty bass.
Cuts like ‘Seven Slayers’ send you on an arcane descent into alien subterranea, while ‘Sunshine For Sadie’ floats you across a dreamy, space-like universe. Elsewhere in tracks like ‘Flamingo’ and ‘Higher’, rock and roll guitars are juxtaposed with rattlesnake drums, creating ambient desert soundscapes perfect for an imagined intergalactic western. Throughout the record, hypnotic layers of sound and ambient psychedelics grip you to an electric-folk universe in which slow bubbling beats are matched with woozy flourishes and gently propellant melodies.
Personally, we're in love with the video that features many creepy dolls, malevolent vibes and a sad madness. If we're honest, if you could 'hear' Xanax, this is probably how it would sound. Don't play the video late at night and listen when you want to chill out and creep out.