Combining music genres in alternative music is very rare and, when it is done correctly, the results can be mind-blowing. Witch Fever, in their short career thus far, have always been aiming to push the boundaries of alternative music, by combining shoegaze esque soundscapes with heavier guttural vocals at times which sound like yells. Fevereaten features this formula constantly, and it ultimately falls short of what it aims to achieve as the best songs are the more melodic ones.
‘The Garden’ is the first highlight of the album. Here the guitars sound very soft and dreamy, both in the verses and in the epic cinematic chorus. The vocals are extremely emotional here, and the synths add another layer to the emotion in the hook which makes the song sound that much more impactful as a result. The bridge, just like the verses is stripped down, which results in the final chorus feeling much more impactful.
‘Drank The Sap’ combines the raw heaviness of the harsh vocals in the chorus with the shoegaze like musicianship on display throughout the record. The guitars in the chorus are ferocious, and the drumming is the perfect accompanying tool, as the double bass work elevates the ferocity of this hook to another level. The vocals are a true standout as they go from harsh to clean effortlessly. The song ends with a very rhythmic instrumental section which cuts off abruptly. This gives the song another layer of uniqueness as most of the tracks on Fevereaten end in a more typical way, such as a drowned-out chord, so having ‘Drank The Sap’ end the way it does is a breath of fresh air which is needed at this point in the album.
The following track is still fast paced, but is nowhere near as heavy as what came before it. The vocals are a highlight here with the vocal layering in the chorus being very subtle, yet easily noticeable. Once again, even though the song is fast, the instruments are toned down in the verses before they are given room to explode in the choruses, of which, the chorus on this song may be the best on the whole album. The bridge feels almost progressive as the rhythm changes and the musicianship on display is extremely technical, especially the bass and the synths. This particular song has another unique ending, as a violin is introduced to wrap the song up with a gorgeous yet short solo.
‘Reprise’ is a very fitting song for an album that releases on Halloween. The melody in the chorus is extremely creepy and is capable of giving you goosebumps as soon as it is introduced. The verses on this track are very unique because as they progress, they get louder, which is the perfect buildup to the choruses. The song ends on another high as every element of the band comes to life, delivering monstrous riffs and bass licks alike, and despite the song ending in a very familiar way, this is a track that must be played no matter what upon listening to this record.
Overall, Fevereaten does have its highs, as well as its lows, and when the good parts come on, they are fantastic, but when the bad moments show up, and these are most of the shorter songs, they can get quite annoying, making this listening experience inconsistent, but worth it for the highlights that these 12 tracks offer.
With all this being said, this is only the second album in the Witch Fever discography, and even though this is a much better album than their debut, this is still an experimental album and tells me that the band has not yet found the sound they really want to focus on expanding. Because of that, this album could be improved, and when the next release after Fevereaten comes out, it may be much more focused, which is exactly why Witch Fever are a young band the world needs to keep their eyes, and ears on.
Witch Fever: Fevereaten – Out 31 October 2025 (Music For Nations / Sony)
