It would be futile to list the metal bands who have come from Birmingham. Mainly because there’s that damn many of them, where do you cut it off? However, few, if any, have went back to the original well where it all began. And that’s where Margarita Witch Cult come in. Sounding like they’ve come kicking and screaming from the late 60s/early 70s, the Brummies made old new again with their debut album a couple of years ago.
Now, they’re back with album two, Strung Out in Hell, having teased new material at a couple of shows at King’s Heath’s Hare and Hounds over the past couple of years. Clearly not a band to sit on their hands since they had material ready to try out, it may have been a bit of a wait between the two records but one listen to this new one will make you realise it was worth it. Album opener “Crawl Home to Your Coffin” shows nothing much has changed in Margarita Witch Cult’s world but now they’ve levelled up. The droning, chugging riff is drenched in fuzz, bringing in elements of stoner, setting the expectations for what follows.
Indeed, a single listen to their new album makes the debut, in retrospect, sound like it was just the three of them jamming to find out what came out. This is more assured, more focused, and more mature. Whilst there’s still some psych elements to be found, they’re relegated to the tones of the riffs now in numbers like “Conqueror Worm” and the opening stomp of “The Fool” which could have featured on the debut. However, the latter is one of the album’s more complex tracks as brass permeates throughout, clambering over the chugging riff and if not for Abbott’s gnarled vocals, it easily could have been on an early Queens of the Stone Age album as it descends into full-on anarchy.
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The trio of Scott Abbott (vocals/guitar), Jim Thing (bass) and George Casual (drums) bring power and nuance, adding to the old school feel they’ve cultivated by not having a second six-stringer. There’s several instances where Abbott’s guitar bashes into Thing’s bass, the pair of them locked in battle on “Witches Candle” where the band dabble with a thrashier sound. It’s fast and furious, picking up where “Scream Bloody Murder” leaves off. It’s tracks like these which show how potent a force they are, taking tips from the Motörhead playbook of getting in and getting out in as little time as possible. And then there’s the cover of “Rebel Yell”. Yeah, the Billy Idol classic may be a staple of every cover band but they’ve transformed it into something ridiculously filthy. It’s not until the lyrics kick in that you even recognise it. There’s a demonic feel to it and those iconic lyrics now become threatening and unsettling rather than bring the party to a night out.
On the other hand, “Who Put Bella in the Wych Elm” finds the band in a more deliberate fashion. Its thrumming bass and gentle drums play against a looping set of chords for the best part of two minutes. Then it explodes into a distorted mess. Clocking in at almost seven minutes, it’s an absolute beast and there’s nowhere better for it than to close out the album. Sinister and oppressive sounds sit on top of the bass line. It’s one of the album’s slower songs but it demands your attention, powered by Abbott’s gritty vocals, almost sounding possessed.
Strung Out in Hell is the natural evolution for Margarita Witch Cult. It’s more of what made the debut album feel fresh and exciting whilst paying homage to their heritage and pushing their own story forward. Even the production makes this album feel like it’s over five decades old with its lo-fi feel and you found the vinyl in some backstreet second-hand music shop. There’s no school like the old school, especially when it comes to metal.
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Strung Out in Hell is released on 18th July
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