will release their fourth studio album, Hexenhammer on May 25 via Candlelight/Spinefarm Records.
Written during a hermetic period following an intense run of live shows, and recorded at Skyhammer studio in Cheshire with longtime co-conspirator Chris Fielding (Conan, Primordial, Electric Wizard), and mastered at the legendary Orgone studios by Jaime “Gomez” Arellano (Ghost, Paradise Lost), the seven featured songs find Witchsorrow continuing to explore the darker corners of doom, illuminating them with the blinding light of sheer heavy metal forged of the strongest steel. It’s an almost anthemic soundtrack to the end of the world lyrics.
“I’ve always been obsessed with the end of the world,” explains vocalist/guitarist Necroskull. “On previous albums, I’ve been wanting it to happen, because I was caught in a very dark place. On No Light, Only Fire, I was almost angry that it hadn’t happened. Now, it’s a massively confusing time where we’re basically staring at it and waiting for it. I have no solutions. There are none to be had.”
If 2018 needs a soundtrack to its madness, Witchsorrow has provided it. Heavier, darker, doomier, and more metal than ever before, with a title relating to “Malleus Maleficarum” (“The Hammer of Witches”), a famous fifteenth-century treatise, perfectly captured in the artwork by legendary Italian metal artist Paolo Girardi (Diocletian, Inquisition, Bell Witch), one of doom’s leading lights have made the perfect album for our times.
Smoldering away in the dark corners of metal since Black Sabbath birthed it with that immortal tritone, doom has lurked in the shadows for decades, waiting for the earth’s lost souls to find their solace in it. Following in the footsteps of Sabbath, Saint Vitus, Candlemass, Trouble, Cathedral, Reverend Bizarre and countless other greats who have carried the torch for this genre are Hampshire doom disciples Witchsorrow – a triumvirate for whom this music is a calling, an obsession.
Formed by singer/guitarist Necroskull and bassist Emily Witch to embody their love for the form, from their first embers in 2006, Witchsorrow’s puritanical devotion to doom has become their life’s work. Armed with riffs forged in the same Iommian fires as their doom metal forebears, they have fanatically explored the genre for new sparks to stoke the fire – all the time biting their thumb at the world they hate. And with the riffs, misanthropy and pure doom worship of 2010’s self-titled debut, 2012’s Armageddon-invoking God Curse Us, and the heavy metal thunder of 2015’s No Light, Only Fire, Witchsorrow have earned a reputation as one of the UK’s finest underground doom outfits. Think the atmosphere of early Cathedral, Electric Wizard’s heaviness, the heavy metal heart of Candlemass or Solitude Aeternus and you’re in Witchsorrow’s parish.
“I just want to carry on what Sabbath started,” states frontman Necroskull. “I want to keep that old flame alive. I think that’s always been what all the great doom bands have strived to do. It’s a tremendous honor to add our own color to the great tapestry of doom metal.”