Review Summary: Double, double, toil and trouble.
4 of 5 thought this review was well writtenThe season of the witch is upon us, once again we prepare for another festive All Hallow’s Eve, there’s no better time to offer up a treat, pulling plenty of fiendish tricks for creatures of the night. Elvira, mistress of the dark, appears in four musical forms through an séance of gothic inspired garage rock. The resurrection of an expired 60’s scene escapes from a crystal ball, foretelling bad intentions.
The Black Belles debut self-titled album is a monsters mash of eerie collections, illuminating through a sinisterly carved jack o’lantern filled with ghostly fright. Necromancer Olivia Jean spews banshee echoes along the decrepit corridor of possessed drums ramming against the wailing guitar licks walls. It strikes unease with booming bass blowing out windows as demonic organs seal the souls fate.
The frantic needle off the record, ‘Honky Tonk Horror,’ thrashes between whispered laments to hair-raising sermons. Lucifer rests on a blood-covered girl’s shoulder, with cigarette in hand, savoring the burial of a murderous love. In shivery short tales of haunting reverie, ominous pale-skin figures contort with an undead symphony, cladly dressed in black to seduce the purest pulsating hearts.
The all female anti-convent stroll down the desolate trail of so many foolish victims of unoriginality’s curse, cementing their rightful place as protégés of instrumental warlock Jack White. It doesn’t take an ouija board to spell out why these easy on the eyes replicas of Lydia Deetz are luring prey with an off-kilter aim, snatching the youth with an irreversible potion swirled in their cauldron.
