Sweden
On their fifth album Nucleus, Witchcraft continue to carry the torch of '70s hard rock/proto-metal bands while striving torward a broader sound. Pelander has put down his axe to focus entirely on singing, as well as production; unsurprisingly, the mix that he and producers Philip Gabriel Saxin and Anton Sundell decided upon gives him all the space he needs to croon to heart’s content. Apart from that, the album sounds downright gargantuan. From the airtight, string-inflected boogie of "The Outcast" to the grizzled march of the title track, each cut optimizes volume over vulnerability, a torrent of liquid lead rushing into the ears. Folk, and maybe even a little bit of jazz, sveltely sneak their way into the mix in the form of of flutes and strings—but by and large, Nucleus is an album that refuses to stay quiet, roaring and clawing forth for over an hour before coming to a shuddering halt.
On their fifth album Nucleus, Witchcraft continue to carry the torch of '70s hard rock/proto-metal bands while striving torward a broader sound. Pelander has put down his axe to focus entirely on singing, as well as production; unsurprisingly, the mix that he and producers Philip Gabriel Saxin and Anton Sundell decided upon gives him all the space he needs to croon to heart’s content. Apart from that, the album sounds downright gargantuan. From the airtight, string-inflected boogie of "The Outcast" to the grizzled march of the title track, each cut optimizes volume over vulnerability, a torrent of liquid lead rushing into the ears. Folk, and maybe even a little bit of jazz, sveltely sneak their way into the mix in the form of of flutes and strings—but by and large, Nucleus is an album that refuses to stay quiet, roaring and clawing forth for over an hour before coming to a shuddering halt.
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