King Witch - III

Angry Metal Guy

A great singer can be a game-changer, and Edinburgh doom outfit King Witch is lucky enough to have an exceptional one in Laura Donnelly. Combining the grit of Janis Joplin, the range of Chris Cornell, and the tonality of Ann Wilson (Heart), Donnelly is currently one of the best in the game thanks to her commanding delivery. But there’s no “I” in “band,” and every great singer needs instrumental prowess to back them up. Enter guitarist/producer Jamie Gilchrist and bassist Rory Lee,¹ whose earthmoving riffs—rooted in doom, 70s rock and grunge—perfectly augment Donnelly’s gifts. Since hitting the scene in 2015, King Witch has evolved their artistic direction across two full-length albums and two EPs.² Their 2018 debut, Under the Mountain, impressed one Ferrous Bueller, who underscored the group’s significant potential through strong songwriting and powerful performances. Their 2021 follow-up, Body of Light, then shifted focus, emphasizing dynamics via tempo and mood changes. With III, King Witch aims to combine the best aspects of their previous work and elevate their sound to the next level.

They’ve definitely succeeded. III features top-notch songwriting that highlights King Witch’s strengths. Donnelly dominates, fronting spirited rock anthems (“Digging in the Dirt,” “Suffer in Life”), acoustic ambiance (“Little Witch”), and introspective segments (“Behind the Veil,” “Last Great Wilderness”) with her impressive vibrato and vast range. Gilchrist’s versatility shines through a litany of memorable riffs, effortlessly shaping a Soundgarden of doom, grunge, and classic rock into a cohesive whole. From “Sea of Lies’” lumbering, grungy plods to “Deal with the Devil’s” blues-infused refrains, Gilchrist assembles a sophisticated and magnetic foundation of genre-bending material. Replacing Lyle Brown, session drummer Andrew Scott (Paul Gilbert, Slice the Cake) lays down Sabbathian-sized rhythms that unite with Lee’s driving bass, producing iron-clad tempos which bolster King Witch’s potent attack. Thanks to Gilchrist’s bright production, everything on III is brimming with energy and punch, elevating King Witch’s Candlemassive sound and reinforcing the album’s pervasive quality.

King Witch’s songwriting utilizes conventional structures with a newfound conciseness and maturity. The quartet’s knack for subtly varying tracks—even longer ones—to hold listener interest is a true testament to their skill in crafting memorable musical motifs. Repeat choruses that soar higher than the first (“Sea of Lies”), delicate and somber bridges that provide dynamic contrast to hard-hitting verses (“Last Great Wilderness”) and welcome variations in mood and energy that pull Scott’s and Lee’s performances into focus (“Behind the Veil,” “Swarming Flies”), add fresh dimensions within otherwise predictable verse-chorus frameworks. Simultaneously, these nuanced permutations grant the underlying performances the creative freedom and space to show their mettle while III’s succinct songwriting prevents stagnation. In this context, Gilchrist’s solos stand out and consistently impress, blending virtuosity with extraordinary feel without being too excessive. His blues-rooted phrasing and progressive technicality complement a lively wah tone that fuses III’s song structures together with a myriad of hammers, bends, sweeps, and taps.

Still, Laura Donnelly’s vocals remain the dominant force in King Witch’s music, and her incredibly emotional and powerful delivery makes III a genuine blast to experience. Serving as the band’s flagbearer, her voice is a masterclass in drama, power,r and dynamic control. Her range is off the charts, driving III’s catchy hooks and melodies with full-force belting (“Swarming Flies”), soulful croons (“Deal with the Devil,” “Last Great Wilderness”), and even falsetto (“Sea of Lies”) that glues me to every note. While I could wax poetic for hours about her superb performance on III, her Heartfelt singing atop the unplugged “Little Witch” is particularly noteworthy for its soothing yet chilling soulful presentation.

III is incredibly stout, and I’ve had it on repeat ever since it arrived. Pinpointing genuine flaws is a challenge, though if pressed, closer “Last Great Wilderness” occasionally meanders and “Behind the Veil” concludes rather abruptly. Moreover, the opening of motivational anthem “Diggin in the Dirt” doesn’t quite grip me as hard as its counterparts. These minor quibbles, however, do little to detract from III’s resounding success and the album masterfully fuses King Witch’s past strengths into one of the year’s best records. Great music often transcends labels, and III does exactly that. Buckle up—King Witch has officially arrived, and the future for these Edinburgh rockers is remarkably bright.



Rating: Great!
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Listenable Records
Websites: kingwitchband.bandcamp.com | facebook.com/kingwitch | instagram.com/kingwitchband
Releases Worldwide: June 27, 2025

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