Conan & Bell Witch, Auckland NZ, 2018

Conan & Bell Witch

13th November 2018
Whammy! Bar, Auckland, New Zealand.

Review & Photography by Sarah Kidd.

The metal community has long been one that is worldwide, so it was therefore rather befitting to see a trio of acts from three different countries come together under one roof on a Tuesday evening in Auckland city.

Local flavour is always the quintessential way to begin any evening of metal; Auckland’s own instrumental three-piece Mothra taking the stage as they have done so many times before during their illustrious ten-year career. Soundscapes is often a word that get’s thrown around far too frequently when it comes to instrumental bands; however, Mothra truly have embodied the word. Not only that, they have perfected it. Swirling together elements of sludge, psychedelic rock and by their own admission math metal with a splash of post metal they create soundscapes that draw you into a cradle of noise that ebbs and flows before stomping its way into battle with Godzilla himself.

With Hugh Allan on guitar and Reuben Saffer on bass sonic storylines unfold before the captivated audience; drummer James Armstrong – who is off to the side of stage almost cloaked in shadow – providing the rhythm to this collective procession towards a distant destination. Featuring tracks from their 2016 debut album Decision Process including the rather atmospheric ‘Awake the Machine’ as well as ‘Splinters’ and of course the title track itself, the audience is treated to music that is complex in it’s simplicity, which in no uncertain terms is a feat that few instrumental bands could even ever hope to accomplish.

From across the oceans or more specifically Seattle, Washington – the city usually synonymous as the birthplace of grunge – comes the second act of the evening, that of the duo know as Bell Witch. Formed in 2010 the duo consisting of Dylan Desmond and Adrian Guerra soon began to taste success after the release of their four-track demo. However, two studio albums later in 2015 drummer Guerra stepped aside allowing Jesse Shreibman to take over the reins. Tragically less than a year later Guerra was dead. But from great tragedy can come exquisite beauty and Bell Witch’s latest album entitled Mirror Reaper is just that. The record consists of just one eighty-three-minute track and features both Desmond and Shreibman, while Guerra’s vocals that were left over from their second album entitled Four Phantoms are artfully added to the mix. To witness Bell Witch live is not something to be taken lightly. This is funeral doom/doom metal at it’s finest. It is hypnotic and haunting, it is all-consuming. It is music that crawls inside you and claws at your very soul; examining each chunk in its decayed hands before forcing you to face your deepest fear while simultaneously freeing you from the very chains that fear has bound you with.

Playing a slightly shorter version of ‘Mirror Reaper’ Bell Witch eviscerate themselves on the Whammy stage for all to see, taking the audience down into the very depths of darkness with them. Desmond begins the proceedings on his six-string bass, each note played with specific purpose. The song begins slowly, building in emotion, subtle layers being added by Shreibman as he delicately strikes the symbols, their shimmering sound lifting the veil between the realms. Powerful crescendos form, Shreibman’s death growl masterful in it’s control, his left foot every so often sliding out to the side to caress his Roland PK-6 MIDI Pedal which adds yet another layer to the music in the form of an symphonical organ. Each strike of his drumstick is made with a flourish, this being a ceremony after all.

From underneath waves of hair, Desmond’s vocal refrains are like ancient incantations, they are melodic and uplifting and in complete contrast to those of Shreibman’s, yet they are the light to his dark, one unable to exist without the other. An hour-long set consisting of just one song, certainly sorts the fans from the casual observers, those near the front lost within the silken web that has been spun by Bell Witch, others (thankfully) moving between the bar and friends with (mostly) little chatter. Make no mistake, for those that open themselves to it, Bell Witch live will leave your perceptions of doom metal forever changed.

Hailing from Liverpool, England, the third and final band of the night brought some downtuned battle music for the audience to bask in. Leading the three piece is founder Jon Davis on guitar, a mess of hair and vocals that are wonderfully coarse and infectious in their cry to join him on his quest. To his left, his black hoodie drawn up around his head like a form of protective armour, his legs often splayed apart in the widest possible stance is bassist Chris Fielding. Having quite the bark himself he often accompanies Davis on vocals, unfurling from his permanently hunched position momentarily to utter his commands into the microphone.

Their set begins with ‘Prosper on the Path’ from their most recent album Existential Void Guardian, an album that Conan would go on to play nine tracks off, much to their fans delight. The front rows had changed over somewhat, Bell Witch fans drifting backwards to make way for those who came with beer in hand and necks loosened ready to pay homage with the traditional war moves of headbanging. Moving straight into ‘Eye to Eye to Eye’ and Conan’s distinctive mix of stoner rock and sludge metal began to fill the room; pushing against the walls it flexed its muscles and the fans were loving it.

There is little banter in-between; Davis occasionally thanking the crowd every few songs as both himself and Fielding would rehydrate before the next assault. Behind them both sat the latest addition to the band; Johnny King on drums who proved time and time again throughout the night that he was more than capable of smashing out some impressive rhythms along with brilliant moments of double kick drums.

Adding a few older hits to the mix including ‘Horns for Teeth’ from their 2014 Blood Eagle album and the crowd were really beginning to throw their rowdy selves into the mix, a line of headbanging seeing cascades of hair match the chugging riffs being pile-driven into the stage by Davis. Finishing their massive thirteen track set on ‘Paincantation’ again from their latest album and Conan were serenaded with riotous applause, the audience obviously thrilled that just like their namesake, Conan were primal in their delivery, embracing all that is enjoyable about heavy metal.

Three countries, three decidedly different bands, three brilliant sets. Who could have asked for more?

Were you there at Whammy! Bar to witness this downtuned Doom Metal gig? Or have you seen Conan or Bell Witch perform live somewhere else before? Tell us about it in the comments below!

Conan Setlist:

1. Prosper On The Path
2. Eye To Eye To Eye
3. Gravity Chasm
4. Horns For Teeth
5. Vexxagon
6. Foehammer
7. Volt Thrower
8. Hawk As Weapon
9. Satsumo
10. Total Conquest
11. Throne Of Fire
12. Battle In The Swamp
13. Paincantation

Bell Witch Setlist:

1. Mirror Reaper

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