Witchtower: Witche’s Domain-2020.

Witchtower:Heavy Metal from Spain.


Return to the Witches’ CastleEP2013
Hammer of WitchesFull-length2016
A Tribute to RandySplit2018
Convent Guilt / WitchtowerSplit2018
Witches’ DomainFull-length2020


Víctor M. de la ChicaVocals, Guitars (2012-present)
See also: Sombras del DestinoToca Madera, ex-Moonlight Fear, ex-Reino de Hades, ex-Aria Inferno
Antonio J. MorillasGuitars (2017-present)
See also: Toca Madera
Miguel MorenoBass (2019-present)
See also: Chantrice, ex-Raging Fire, ex-Ariete
UdemDrums (2019-present)
See also: RetrofaithAriete, ex-Castleaxe, ex-Deathblow, ex-Udûn

Past Members:

Jesús VillarBass (2013-2014)
EduDrums (2013-?)
ChinchillaGuitars (2013-2014)
See also: ex-Alchemists of Darkness
Juan Carlos SánchezBass (2014-?)
Miguel OrtegaGuitars (2014-?)
See also: Cabeza de CaballoSanto Rostro

One thought on “Witchtower: Witche’s Domain-2020.

  1. CHAIRTHROWER, May 6th, 2020
    Written based on this version: 2020, Digital, Independent.

    So it goes, now that it’s been precisely three months since both El Presidente Trump sealed off his border and Jaén, Spain’s toothy, yet none too gnarled, Witchtower, rounded the bend with enchanted broomsticks…as opposed to generic pitchforks.

    Thus, the Tank-like and ever-ready, oh-so-rockin’ n’ rollin’, as well as braggadociously fulminating, beat machine which is Torre de Brujas expounds, like Mach truck “Christine” styled possession, since digital (as well as independent), CD and 12 inch vinyl February inception under Germany’s Unsilent Tombs Records — itself, a heady, however conservative, purveyor of classic metal bliss akin to Iona, No Quarter and, in Vulture’s Vengeance’s Italian regard, latest 7 ” single. (Of note, Spain’s own Witchcraft Records slyly churned out a limited edition cassette in its own right, yet this still fails to explain away a cryptically received, or rather, un-accounted for, hectic single/bonus track long dissipated at the exalted self-tube.)

    Nary a minute into Witches’ Domain, though, and one readily agrees the Andalusian solo project-turned-quartet hasn’t lost or eschewed any of its mendaciously flowing, rollicking, top-heavy stride; beyond introduction proper, the thirty-plus second, not to mention wholly Iron Maiden-esque (in both nomenclature and mien), “A Revelation”, a maniacally twitching and finger-banging, lead-choked, par-for-the-Warhorse, dead-to-rights Witchtower banger in “The Theosophist” rolls out the crimson carpet in similarly flaming and non covertly coveted Covid manner as the self-titled full-length debut’s “Don’t Turn Off The Lights”, already a great (Southern) sign of things to come…undone!

    Assuredly, one needs to sits tight (or strapped, racked, flayed) in order to get full WT jollies with “Over The Top”. Things get real whence likened afflictions of “Stronger Than You (Are)”, as well as “Salem Witch Trials” (see 2014’s Witchtower proper and sonorously softer Hammer of the Witches, from 2016, for assiduous, un-ambiguous situating) ensue, sans shoehorn or, ahem, four-leaf clover. In its favour, Witches’ Domain is chock full of musical variegation, whether it be from the snappy, mid-pace, anthem-ic omnibulator “Night of the Witch” – an outlier, for sure, in terms of this release, in addition to entire discography – or any later, fully immersive and nigh well brewed catastrophy piece. (“Mrs. Artisson”, while dishing out poisoned apples with razor blades, relegates front mage Victor de la Chica’s tight-end quasi-raps to the forefront prior to some Rush-likened progression sure to hit hard n’ heavy 1970s rock fans on the noggin…a bullseye within the bullseye, what!).

    Theme wise, Witchtower is, once again, on Pentagram point. Hell, dig, with side-kicking gremlins, “Zugarramurdi (Sorginak!)”, as a quick fix Wikipedia chit reveals it’s “a town and municipality located in the province and autonomous community of Navarre in northern Spain [which] passed into history as the setting of alleged occult activity featured in the infamous Basque witch trials held in Logroño in the seventeenth century.

    (Uff, pass the sardines!)

    On a personal whim, I radically dig the honky arm-in-arm, black cat trampler standing in as “The World Is Upside Down”, not least of which is its starkly arresting, untoward swing riff combined with ratcheted palm muted notes, the lot of it going a long way towards bringing this mad house down (Susperia style, eh?). The mid-point jazzy solo riot on behalf of Vic and fellow Toca Madera ax-slave Antonio J. Morillas readily (lam)bastes my goat in all kinds of maliciously seasoned/numeric tumeric, a spiralling crescendo of chromatic craziness, notwithstanding.

    Actually, at first glance and on first listen, Witches’ Domain almost sounds too contrived – and even a mite long – for its own good. Hence, I strongly recommend delving into the Spaniards’ work bottom-up, that is, starting with the titular album from more innocent or less hysterical times. That put, Witchtower’s latest (not ill-fated) literally grows on you, not unlike tomb mould, and I’d even venture, some of the later ditties, like the knavishly sashaying and bass-rampant “Love Potion” and/or sluggish and other-Worldly, well-tambourine’d & cymbal ridden schizo piece “Look for the Truth”, hold up as many incandescent wax candles as any of their well-tread, above-mentioned Satanic brethren.

    For its part, “Witches’ Domain”, as late-game, preemptive dozer, makes the most of its 7.667 minutes of mercurially espoused and malignant, tumour infested growth. Of course, it begins to get a little experimental at this point, but as El Dorado’s Bucky Head can relate, over in the land of fruits and nuts (California-side), such instrumentally eclectic legerdemain can only be good for showbiz. Granted, while filler is predominantly absent from this third full-rate effort, there are a couple tracks afoot whose omission wouldn’t have detracted, at all. The atmospherically bleak, but highly Angel Witch-ish “Chosen”, as closer, thankfully, slams shut the crone’s Oak panelled door with aplomb, if not to dying sound of raucously cackling mirth and laughter! Kudos, as well, to rhythmic cloutters Miguel Moreno and Udem, on bass and drums, respectively.

    In a toxic nutshell, Witchtower’s latest encompasses best of prior efforts, yet, sadly, lacks a bit of the full-bore, kick-ass spontaneity of its namesake (release). Still, truth be told, and despite a killer staple in “Fast Broomsticks”, Witches’ Domain duly trumps its pockmarked predecessor, Hammer of Witches. Only time, now, will tell, if Witch Shtick triumphs as a fraternity, in quaternity…


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