Interview with SHADOW WITCH

‘Eschaton’ is a significant chapter for SHADOW WITCH. What sets this album apart from your previous releases?
We always begin with me editing rehearsals; I cut and paste riffs and jams into what “I feel” could be a song, record roughed out lead vocals, add harmonies, maybe some keyboards, then present that as a demo back to the band. Everyone has a say, but generally we go from there. This was the first time though that our drummer, Justin, was involved in the writing process, and he brought a lot of new ideas to the table. He ended up playing piano and Hammond on a couple of songs, and also recorded and engineered all the basic tracks. Having another “cook in the kitchen” was challenging, and a little hard on an ego here and there, but in the end it really forced everyone to up their game. I think we all realized we were creating something special.

What inspired the title ‘Eschaton (The End Of All Things)’ and how did this theme influence the album’s lyrics and overall concept?
The whole thing started when I heard the line “the lion and the lamb” in my head, and incorporated it into a lyric. I had been thinking a lot about the visionary works of William Blake, and Milton’s Paradise Lost. The fall of the angels, the loss of Eden, and the fall of man. Combine that imagery with a contemporary society so full of hate and ignorance and fear, so ready to burn the witch, and there’s my template!

The Hudson Valley’s atmosphere often features in your music. How has this environment influenced the themes and moods explored on ‘Eschaton’?
I suppose maybe in some sort of pastoral sense, but where we are isn’t rural, more like old factory towns. So I suppose there’s a feeling of urban decay, and of nature springing up to reclaim it’s crown.

Your music explores occult and esoteric themes. How do these influences shape the storytelling and atmosphere of ‘Eschaton’?
With this record those influences feel more alchemical. More symbolic. Less witch, more shadow.

Each SHADOW WITCH album has its own identity. How does ‘Eschaton’ fit into the band’s evolving musical journey?
I think certainly we’ve broadened our pallet. There are more stylistic shifts, and more nods and winks to influences. As always we wanted the songs to be able to stand alone, but we also created a little suite of songs, and that’s a first for us.

Stoner/doom has a dedicated global following. How do you see SHADOW WITCH contributing to the genre’s evolution with ‘Eschaton’?
We’ve never tried to “fit in”. We first and foremost are interested in making something unique to us. I think the more that happens, the more these genres and sub-genres will evolve, and hopefully remain vital.

Live performances are integral to your band. How did the energy of your shows impact the recording process of ‘Eschaton’?
That’s always an issue. Jeremy, and maybe the other guys too, will tend to only want to record what can be reproduced live. Obviously you want to capture lightning in a bottle, feel urgency, be fiery in your performance, but the studio should also be about creating something magical or fantastical, something almost hallucinatory. If that means that suddenly there’s a twenty voice choir, church bells, or a backwards string section, so be it.

What does the artwork for ‘Eschaton’ symbolize, and how does it complement the music?
It represents an imagined day of judgement, as worlds ready to collide, and a solitary figure begins to blow the last trumpet. Placed within the narrative of the album it’s the last measures of The Lion and The Lamb.

Are there specific tracks on ‘Eschaton’ that hold special meaning for the band, either lyrically or musically?
The second side of the record is definitely a song cycle, and the heart of the album. SATELLITES (from side 1) was intended to be part of that suite, but vinyl time constraints made it impossible.

Looking back, what moments or achievements have defined SHADOW WITCH’s growth and identity as a band?
What we’re most proud of is that our songs don’t fit easily into a single sub-genre. We serve the song, and I think the folks that like what we do appreciate that.